American Kenpo Forum

Predatory Violence. You ready!

Uncle — Sat, 25 Apr 2009 00:32:00 GMT

As I sit here, smoking a wonderful Ashton VSG stogie, I'm trying to respond to a person from the great State of New York. "Mr. LaBounty, Mr. LaBounty, why are your posts often... well.. dark?" Hmm.. well, I guess that is how I see the world of self defense, self-protection, whatever you choose. Now mind you I LOVE Kenpo! It truly is a lifes passion, comfort and even... saving grace for me. I actually love all martial arts, they give me something for my 'tool box' and something to comment on. I'm not really one of those who compares martial arts to my Kenpo, or your Kenpo, or any other system. I DO compare your and of course my take on them. See, as I've said in other posts, you are the delivery system of a thought, not of the "ultimate system" which is any system when put into motion, works as designed. Such as a handgun, which is a precision tool, that has a purpose when the sight picture is acquired, and the trigger is pressed rearward. The tool performs as designed.

I've been a Police Firearms Instructor for many years, teaching both at the Academy Level, the Advanced and active shooter level, and the Special Teams level. In this, to use a parallel viewpoint to martial arts, this teaching is done without a true predatory attack. Even when one fails to stop the attack, he/she has an ass chewing, some remedial suggestions, and then another chance. That is called continuing education programming.

The predatory mindset of an attack, assault, etc, is very powerful. Most of the time it is very cold blooded, explosive, at times inhuman, and utterly controlled when applied. As Rory Miller has said: " it reduces the target of the assault from human to resource" Well said, IMHO. There are no referee's, no instructor, no never minds, there is just the objective. There are only odds, tactics for the attacker, and the target recipient. The predators mindset is choice, sometimes its just blind rage. The victim of this predatory attack is now dealing with shock and awe, to borrow a phrase. a true predator brings 'cheating' into the mix, no rules or codes of conduct and not in little ways either, but in all out fury, with hate most times.

We martial artists will, for the most part, bring our experience from the dojo, school, studio, kwoon, dojang, into this rapid fire and frightening mixture of violence. As a child you probably were taught to fight fair. As a martial adult, you might have been taught to respect your partner, your school, even in the most protracted and horrendous of all situations. We are to remember that usually our 'fights' are usually between two fairly matched persons, not this slobbering, drug induced, hate carrying person who is barrage punching or kicking or both, all within seconds of this lifetime. Most of us are not prepared for this type of assault. Though we're well past the movie version of the martial arts, we still are dealing with the pain, fear, blood (possibly ours). This committed attacker is unlike the majority of our training isn't it? Remember it is only a "sudden" for us, not the attacker.

So, what to do?? I have my ideas, you have yours. Train for all conditions? That's good. Develop a series of 3 or 4 techniques that work 90% of time? Mmm... maybe. You tell me... I have my ideas, develop yours...

And now, the sun goes down, the glass of Irish Whiskey calls... I love Kenpo, I love the martial arts.... Just find a way to Be Ready....

P.S. I'm not going to proof read this, apologies for mistakes...

Self Defense vs Righteous Rage vs Sport?

Uncle — Sun, 15 Feb 2009 04:26:00 GMT

I've written before on various aspects of violence, its just a subject that I cannot stop talking about, working on (personally also) and teaching about. I think that society is finally convincing Martial Artists/Athletes especially teachers, that a more sober acceptance of the fact that they are rehearsing for a 'real time' event involving not so friendly people, who bring extreme stress producing situations to their lives. When the time is NOW, then the rehearsal doesn't always go as planned and its behooves the artist/athlete to prepare not only physically, but emotionally and mentally with a "split second" response.

The Self-Defense aspect is the most prevalent. Given that if put into real time motion, it is an event most would do anything to avoid. it requires facing hate, though possibly temporary, and facing facts, its a hard thing to train for, given the surprise attack that usually occurs. Also, you may be injured before you can mount any response to this shock and surprise event. An old training partner of mine used to call it the "Big Freeze" and in reality that would be mostly what you would be training for, well, that and recovery. So, if your awareness and preventions skills have been compromised, you enter a survival mindset one step behind. I believe that if the artist has conditioned themselves through good, diligent and honest training, they can, due to their awareness from the sparring classes, technique lines, and ground survival classes, can recover enough to get through a particular situation.

During my years as a Police Officer, I was a sexual assault detective for several years. In the investigation of violent rapes for example, some of the victim's "Righteous Rage" assisted them in either the escape from the event, or if that was not possible, the identification of all aspects of the events, including a detailed description of the attacker (if not known to her), and the willingness to testify in court with the attacker present. This "Righteous Rage" I believe, is in all of us in some form and can be an integral part of the overall emotional survival of a toxic event, even outside of the example I've given. In this rage, you declare yourself as a particular individual that has a set of beliefs that cannot be compromised and you'll do anything to maintain those beliefs even if the situation does not go your way. In some "Righteous Rage" incidents the attacker found out that assault isn't just for the criminals. The 'victim' can and will assault to persevere. Note I say "assault" as opposed to "defend", for some the assault brings home the empowering factor of ability. Since words have power and conjure up visions of, in this case, reaction to an attack, the 'rage' gives them something they had lost even shortly... control.

Sport is in some ways a form of a duel. In the tournaments of my day, we dueled more than we fought. Some fights did occur (that's another post), but the point sparring was a game of tag, and had all the markings of a "take ten paces and turn" occasion. Unlike a duel we were trying to find something (a title) and receive something (a trophy), along with a personal goal (admiration of others) and not to reverse some lost honor through an egregious slight. Still, we did test ourselves and we conditioned ourselves to find new ways to baffle whatever opponent we faced. It wasn't really about total domination but more of what I can do at that time, and show what I've learned. The MMA is a long evolution of this concept and taking as far as it safely can go.

So, if you can go from a surprised, overwhelmed, terrified victim to the assault mindset by just flipping a switch, you're pretty much where most if not all of us want to be. If you recognize that this is the opposite of the "Big Freeze" in sudden and frightening assaults, you'll begin to train yourself in creating the 'freeze' in the attacker.

Finally, recognize that all of these things I've mentioned, any many I have not mentioned, play into the progression of a martial artist/athlete's training. Remember that you all of these factors hard-wired into you. Nurture them for what they are, part of a never-ending journey..

Painting by the Numbers

Uncle — Sat, 24 Jan 2009 04:00:00 GMT

Recently, at the weight gym I train at, they added a heavy, well actually a 40# bag, for persons to practice their kick boxing... I guess? I hit it a couple of times and began to get the urge to seek out my 120# bag and work with it, rather than get over confident with my deadly hooks and crosses on "Bob". Ah, the first strike my patented straight right cross...OUCH!... "Bob" was more forgiving and this damn thing was fighting back without fighting back! I decided that I would do a better warmup, forms for example, that too was an "ouch" but in a less bruising way, if you don't count ego. I knew that now after all the turkey, pie, brownies, frownies, ho-ho's, hee-hee's, and krap I've eaten over the holidays, it was time to get back to work. You see, at 66, its easy to rest on what laurels you remember, accurately or not, and try and convince your self that you deserve a rest from all the training. Not so. At any age. Of course, age does matter and so you work smart.

In doing techniques, I am reminded of some of the great performances of Kenpoists from such a long time ago. I am also reminded of the 'smack down' Kenpoists as well and it made me think of something that brought back to mind an incident several years ago. I was to do a seminar and the host flew me in early to work with him, but with the intention of transitioning to the Phase III movement from the Ideal/base phase I. As we went through some of his favorite techniques, I would try and mimic him in the way they appeared to me, the onlooker and ultimately, the opponent. The phrase that kept coming to mind was "Paint by Numbers". By that I mean this: When you paint by numbers, which he did, you follow lines that ultimately become a picture of 'something'. As long as you stay within the lines, you'll be fine and end up with a nice looking piece of work that is suitable for framing, which then can be hung on the wall for all to see. But in reality you didn't create the picture, it was created FOR you. It was the originator who took the time and the effort to 'see' the picture in his mind and then put it on paper, copy it and give it a series of numbers for the buyer to enjoy.

Kenpo is the same. In phase one, you are 'painting by numbers' , following the creators imagined lines, though perhaps it is the result of a real time incident that prompts him to see it in his way, But until you actually feel the impact, experience the failure, and finally get hit after the failed block, kick, move, you have no creation of your own. Passing quickly through Phase II, "What If", you come to the point where YOU, must be the creator of the picture which is right in front of you waiting to be directed to a particular place and hopefully by you. The SGM once told me to put my own signature on "it". the "it" was forms, techniques, sparring, etc, but stay within the logical principles and concepts when doing so. To me, he was saying, "stay within the lines, but don't be afraid to create your own picture" In other words, it is my fight and while I have the pattern, I will create my own defense from that patten.

So now, my bag work (which I've always loved), has improved even with arthritic hands. The techniques will always be a challenge to accept, and my forms save my ego from total ritual suicide. There's no quit nor laurels to rest on. If you sign on for the long haul, you then must stay on the road. You MUST create for your self, and with every failure know that there will be a success. Just have the chutzpah to understand that this success may come in tea spoons, not in shovels. LIve in the real world, live in the world that you're most worried about, that causes you most concern. In that world, comes peace also, but you must keep your sword sharp and polished, and in doing so, it will be exclusively yours, not one that someone else created...

Into the breach once more....

Uncle — Sat, 27 Dec 2008 18:42:00 GMT

For sometime now, I've been coaxed to begin a small, weekly class for beginners and up. Now, its been quite a while since I taught a class of beginners, though my neighbor studied with me for two years before she moved away. In teaching her, I rudely found out that my take on the fundamentals of Kenpo were somewhat...ah... dusty? Oh I knew the shortcuts and the "what really works" but to give a newbie a good foundation, a beginning foundation, was more daunting than I remembered. Then, while teaching a seminar in Tucson recently, I saw one of the teachers while doing his beginning class, stressing the IMPORTANCE of good stances, and the words of my teacher appeared: " 'ey (Hawaiian accent here) base first, always, base first, K?" I've lived by that for such a long time but realized that I wasn't paying enough attention to my own 'house' and worrying about teaching good, practical seminars that assumed everyone understood this principle.

So, why me? Well, using the "practical" word again, and living by it, I know the following about martial arts, and I'm mostly speaking ideal phase here. First, they promise self-defense, self discovery, fitness, confidence and some even receive a spiritual growth from them. Secondly, camaraderie, most important to the person(s) looking to belong to something unique. In being unique, we are 'above' it/them all and we make lifetime friendships, some marriages and partnerships. Thirdly, the shadow can be hidden. The Shadow? oh you all know about "The Shadow" that 'bag' that we drag along throughout life, and that contains all the dark parts of ourselves that we would rather keep secret. Anger, jealousy, selfishness, pride, insecurity even destructiveness.... But enter the word "practical" once again. The more practical you are or become, the more confidence rises and that controls the parts of the shadow that hold us back, that hurt us and others, that make the art of Kenpo a performance, not a path. i wondered if I had fallen off my path, since I wear a rank in AK, shouldn't I, of all people proselytize fundamentals?

So, I will teach, if I can figure out how many nights. I have my dear friends' Jiu-Jitsu club where I train often and he has consented. How much do I charge, the curriculum is easy, its already in place and I can add my influences to that. I know that cardiovascular conditioning is important to life, but I also know that real time fighting, with one or many is very anaerobic, thirty seconds of hell possibly. How often you tax your system and how good your nutrition is may bring your body to the point of being ultimately prepared for this possibly horrifying event, especially if its an ambush. I believe that in the ugly, surprise attack, taking damage unprepared (oh yes, damage is present ), the student will need brutal and close quarter survival skills. Here is the mind-set one needs to work with me. BUT, when do I introduce that. I guess I'll know on a case by case basis, IF I even get some beginners.

I have to tell you, this all has 'juiced' me up and I think that by revisiting my own beginnings once again, in the ideal and base phase, will improve so many things that I feel I'm missing... Hell, I might start working on my love handles while I'm at it!

The Never, ever, ever of violence

Uncle — Sat, 20 Dec 2008 04:53:00 GMT

Never, ever, ever delegate responsibility for your own safety.

Never, ever, ever override your own experience and common sense on the say-so of some self-appointed "expert" including me.

Never, ever, ever ignore what your eyes see because it isn't what you imagined. Strive to always know the difference between what your eyes are seeing and what your brain is adding.

Violence is bigger than all of us. There's more out there and more kinds of violence than we'll ever see... and certainly more than we could survive. Violence is a bigger subject than any person will ever understand completely or deeply. Know this: watching every martial arts movie ever made gives you about as much understanding of fighting/violence than a child watching the movie Dumbo will learn about elephants/flying.

Martial artists get caught up in the technique and its intended effect. They don't, or seldom introduce the fact that they may not be able to have the "ready, set, Go" experience they have in the school. Fighting is a complex mess with a series of "what ifs" interjected. In this big complex mess, if we want to survive, we'll need a quick and simple answer. That's hard.

This is a multidimensional event done in a multidimensional way, and needs a matrix to describe it. The core ethos of martial arts is: get close, hit hard, do damage and that leaves a bit of a hole in the multidimensional event. One must prepare for all the various nuances of a fighter and forget "points" with the intention to win/survive. Where to start? with reality and the the three examples given above...

Thank you Rory Miller...

Sigh

Uncle — Mon, 08 Dec 2008 23:40:00 GMT

Now that all the "AKF is offline, what happened??, who closed it, Claunch went to the mountain and got lost" stuff is over, I'm pleased to write once again as a catharsis and, I can't seem to get published on my own web page. My son has shown me how, I just seem to crash and burn. ANYWAY, So soon after giving thanks for all the things that I do have, and having no desire to rant about the way things are not, I really just want to posit some good and not too controversial thoughts... As part of my "employment" which is to say that my pension don't support me, especially here is California, I still teach advanced Police courses to supplement that pension. I had just finished a two week Defensive Tactices Instructor program, for Law Enforcement personnel who will teach at their respective departments, and then went to Tucson Arizona for a seminar for Shawn Knight and his cohorts from AIK. The Police course sometimes has people in it who essentially 'steal their paycheck' that is, show up, do not too much of nothing, are put into positions that they can do little harm to the department and City/County as well, and so are sent to get a P.O.S.T. certificate saying they know what they are doing. In this particular course, taught in Monterey California, that was as far from the truth as it could be. 30 dedicated, mostly young, men and women who love their job, are up to date on the latest laws and procedures of law enforcement, are tactically sound, and withstood two weeks of what would seem like a simulated boot camp in the Marine corps, with no or very little complaining. The course put on by International Training Resources, is a high energy, practical defensive tactics for coppers, marshals and sheriffis to survive up close and personal encounters, as well as simple search and handcuff, search and seize the person tactics meant to assist the officer in safe application. Bruises abounded, even in me (that ain't suppose to happen), scratches, scrapes from ground work and multiple handcuffing, and no major injuries because these stand up folks obeyed the rules and left the "hot dogging" out of the course. Great and pleasant surprise. The camp in Tucson, was also a bunch of dedicated martial artists who, coming from a Tracy based system via the late Bill Packer, working hard to transition to EPAK and bringing the likes of Lee Wedlake, myself and soon to be others, to give our perspective to the EPAK material and leave them with the encouragement to continue seeking what the SGM wished his system to be. Using the EPAK curriculum, but also versed in Muay Thai, grappling, weapons, both Filipino and western, this group of about 65 (I thought I was told that) had no naysayers, but just a great, eager and responsive student base from 7 years old to over 60 years of age, in the class sweatin' to the oldies and the newies.. Great family baquet after, which I LOVE to do. More peace is found and sustained at a family meal and I've always had them in my lineage since the early 60's. Awards given, laughter all around and hugs abounded. Lifted my spirits to be sure. So you see, nothing to commiserate over in this missive, just some well needed happiness and friendship with two of the things I love the most and centered on the 'calling' that I've spoken of before. Sorry if I've disappointed you, but I'm SURE that you'll not have long to wait for your fix of "does size really matter?" posts. I love this art so much and have seen it change for the almost 48 adult years I've studied in it. Now and again, Brotherhood/Sisterhood, peace and tranquility ain't too bad.... *Sigh*

Not a job, not a hobby, it's a calling...

Anonymous — Sun, 19 Oct 2008 04:19:00 GMT

Recently, I learned that a certain "master" (lower case intended) had told several people in his circle that I, and several other of my friends and peers had 'stolen' our belts and that Mr. Parker NEVER gave us our ranking. In my case, Alva Tracy while a student and Black Belt of Edmund Kealoha Parker, awarded me my 1st. degree Black Belt (only his third) and that made my belt 'illegitimate' according to him. I've had a difficult time finding the source of this lie and while I was mentioned only in passing, I was still mentioned. I've now located him and sent him a notice (called a challenge in my day) to put up some evidence that from 2nd to 7th ALL of my Dan ranks thatcame from our SGM were not legitimate. If he did not, the next time I was in his area I would gladly put my plain Black Belt against his intergalatic Golden Showers belt and he who walked away would be considered 'legitimate'. Now this gentleman is of my age, much thinner though I've only seen him once in 30 years and I'm not sure about that either, but I doubt he has had the blessing of training with some great, great martial artists that I've had. Plus, I also doubt he's done the "business" while I KNOW I have and have the broken body to prove it! The story is to illustrate something that gets forgotten these days with all the fast pace jockeying to be number one, and some sort of "master" (see earlier comment above). That is, some of us are such a part of the martial landscape that for the system that to be without us would be like some company razing a forrest to put up a parking lot. Something would be missing. It may help to realize, as tradition has taught for centuries that there are two pulls in us, one upward towards transcendence, ambition, success, progress and keeping it Kenpo, intellectual clarity. Another downward, into indivudual, vernacular life. The first is obviously magnetically inspiring, while the latter is much more quietly and subtly satisfying, but its challenges at times, dull even lacking any sort of inspiration. Yet we stay attached nonetheless to an idea, way or thought that seems to fill our days with comfort and fear. You see, if any part of a long journey diminishes in our memories, or if we forget a name, time, class, etc. we see ourselves lacking the attachment to the past which all humans are inclined to, rather than the future. The attachment to people, places, things is preferred to a detachement away from such things, and in that way we feel not so quick to move on to the inevitable. Many of my generation are passing away, and some others are ill, some seriously. What sustains my remaining 'warrior' ethos is that fact that I've chosen this art as a calling. In doing so it feeds my soul, my spirit and especially my desire to pass it on in my own way. I am saddened that it is so maligned this path, with those who wish only to take from it, and not serve it's future and destroy it's past. I am saddened a lot these late days, and I wait for that soul work that inspires me to face all the challenges that life brings, even those from a Golden Showers intergalatic belt master who only speaks to a fear and lonliness of spirit, that I thankfully do not have just because I have "The Calling". Moreover, I still have two or three good kicks and four or five great punches left in me, and boldly I say, he wouldn't have look farther than the tip of his nose to see it all. Its good to be writing again...

Thoughts on practise.

Anonymous — Wed, 21 May 2008 16:10:00 GMT

"Always practice with a purpose. Practicing without a purpose is like a broken pencil: pointless" These words by guitar virtuoso Scott Tennant ring true in just about everything, but for me particularly in Kenpo. You need a clear idea of what you need to practice. Organize the hierarchry of items you want o improve upon. Some are long term goals, but within those long time goals are smaller goals (like improving your strength) that can be accomplished in one or two good practise sessions. Actually, if you think about it you have two choices: to improve or to go downhill. If you practise without getting anything done, you've either not concentrated hard enough or put too many things on the menu for the day. Next time, focus on smaller goals. Allowing your self to make even a bad technique, basic or form pass muster without taking steps to correct it is not acceptable. Any chance you waste to train something well is a step downhill, for there is always something on which you can improve, no matter how small, whenever you begin your practise. So, there is Practise and there is Training for "it". The common thread between the two is the simple discipline we cultivate of striving for that little glimmer of excellence.

Quotes from a long Kenpo life...

Anonymous — Tue, 11 Mar 2008 01:42:00 GMT

In an attempt to resume writing without the doom and gloom of my recent mood, I offer some quotes I've found through reading, listeniing, remembering and even a few of my own. Don't know why or who'll care, lets call it a catharsis of sorts, K? I'll gladly give credit as memory serves. Ed Parker: "Are you really going to do it like that?" "You're not what you think you've become" (ouch!) Paul Pearsall: "Go ahead and give up. Perservering is not the only way to demonstrate strength. Strength can also mean knowing when to engage in enlightened surrender, willingness to give in and move on" " Settle for second (or third or sixth) best. In any life endeavor there can only be one number one. Relax and enjoy being one of the thousands who fall short" Maya Angelou: (Paraphrased) "People will not remember how they met you or what you said to them, they will remember how you made them feel" Diane Spaulding (My only true love in the 10th grade) "You want me to do what?" (comic relief here, awaiting laughter) Me: "Most advanced martial artists that I've seen, abandon their basic training. Advanced training is certainly necessary, but not at the expense of the explosive, devastining, basic instinctive training" (Seminar 1992) Gosei Yamaguchi: "learn to crawl, learn to walk, learn to mature, learn to grow old with Karate" (Friday not open sparring to all styles, sometime in the 70's) Jimmy LaFond: " I guarantee you, when that martial artist drops into his deadly stance, I've cut him four or five times" (Paraphrased) Me: (to an arrogant M.A. kenpoist at a seminar) "You are more interested in a visual presentation of your slappity-slap - slap than the pracitcal application of the movement that you've never felt in combat. Your theatrical perfomance does not instill fear in me nor confidence in your ablity to take my worst punch on the worst day of my life" (all said with no profanity btw..) Me, and lastly for this offering:" Don't be all that you can be, if you look to attain that, then that's all you'll ever be, do what you can and enjoy what you can become" Many, Many more for another time perhaps....

How to teach a seminar, a syllabus

Anonymous — Sat, 09 Feb 2008 05:31:00 GMT

I was asked today on how or if I prepared for my presentation at a seminar. I sort of answered the question but in an effort to get this gentleman to start looking at AKC, I thought I'd share, briefly, my way of doing it. Equipment: Uniform, Belt, groin guard (for the white belts that think you have iron balls or can block anything). ACE bandages, lots of them, tape, knee guards, both for support and ground work, ice bag, flexall, ibuprofun (vicodin if I can get it), gloves (in case I think I REALLY can still spar), notes from previous seminars, which I never look at, Power bars, TUMS, since most promoters think I can eat a ton of ribs, burgers, nacho's, chachos, twinkies, ho-ho's, hee-hees (for breakfast of course), Alka seltzer for the constant beers I'm expected to drink but can't. Material: Depends on the crowd, but it will always, always start with warmups, a few basics, and a lecture on real time fighting and survival. Iron worker ethos always at the front, can't hit him hard, often and deeply, what's the point? Watchmaker principles next but not too complicated, make the student actually feel what I'm trying to put across and bring in the essence of what I think the SGM was conveying. Flow: Lots of time for questions, suggestions (while staying in control) but much sweat, me too, and lots of ideas put into play but in a logical setting. Q&A time at the end, usually history stuff or what kind of dirt do you have on Kelly, Planas, Sepulveda, etc? I always answer, about as much as they have on me....next question! How I prepare: (seriously). six weeks prior, if I can, cardio, weight training, mostly for direct power and explosion, lots and lots of bag work, ground work mostly for escape and conditioning, back to stand up. Also I use it for follow up to failed techniques. Go over three techniques for each class I teach, have yet to really do a complete three, one seems to open questions to other methods/concerns. Read over notes from my Police days and Academy teaching. Go onto Police sites for the latest of how this Officer was attacked, what went wrong, if he/she expired, how to avoid it. People like to hear this, in my opinion it speaks to their deep seated fears of being attacked. After action: Bed of ice, ibuprofun/vicodin, call home, sit with old friends and tell war stories, listen to their concerns about the system, have something to eat an hour or two later, take a shower, go to bed, wake up the next morning saying: "why the hell didn't I go over this!!??" or "why didn't I answer that question like this?" I'm a bigger critic than most who take my seminars. That is how , in a nutshell, a 65 year old kenpo student prepares to pass on his take on this wonderful and most elusive, everchanging system. I cannot do justice to the feeling of doing a seminar, it will never be good enough for me (or others), but I cannot quit. Too stupid, or just don't know how..... So, there you are sir. You say you have 25 years in the art(s). Then you can see between the lines of the 47 adult years of learning, and what had to change as time marched along. You asked for advice, I give you a quote from Maya Angelou (I think). "people will not remember what you said, nor what you did, but they will always remember on how you made them feel" My advice? Make them feel the reality of it and they'll always remember you and the progress they've made... Good Luck!

Some ramblings on various crap...

Anonymous — Tue, 05 Feb 2008 06:00:00 GMT

Hope: Ah yes, to have hope, what a wonderful idea. It's one of those 'self-help' mantra's that ring throughout all the private therapeutic sessions, the political campaigns, the medical people who when one is stricken with a life ending disease, are told to repeat it over and over. It might be a good idea when were in trouble, but it's not the only idea... is it? Like some Kenpoists, it can be just adopting a forced illusion, and we must ask if it's the only way we can make an effort to improve our situations. Hope is usually offered when things aren't going well, so I heard alot about it during various trying times in my life, both martial and personal, one being related to the other. Was I deceiving myself with forced positive thoughts thinking it was really helping me? I dunno, maybe. I know that I was afraid that the constant "hoping" might cause me to sacrifice today for the possibility of a better tomorrow. Maybe, just maybe if I had studied the way to a better Kenpo mousetrap, I could hope to be famous. If I challenged the best Kenpo fighter to a bare knuckle contest, win or lose I could hope to have a 'tough guy" reputation, that way I could hope to be a legend. I don't think I'm addicted to hope, but I might be. Addiction is not a fact of life but a description about how we are choosing to live, so says Bruce Alexander. Now a days, I just hope I heal enough to try Kenpo one more day and learn or pass on some sort of reality to myself or the student who asks the questions. Is that misleading thinking? It might be helpful for me to do a little less hoping about the future and pay more attention to the present and to life by being fully engaged in all of my emotions and those of those around me. It's not job, it's not a hobby, it's a calling. I can't "hope" myself to a glorious and honorable end, I can only work (and very hard) to achieve it. That's the beauty of the calling, it's just keeps on...calling...

Master of Violence

Anonymous — Thu, 13 Dec 2007 15:56:00 GMT

In my martial life, I've had the good and bad fortune to train with, learn from and even leave a lasting impression on many a great teachers. I remember so well maybe four or five that changed my thinking and perception of the journey most, but not all of us have taken and it's instruction into the real reason we do all of this "stuff". My 'Master' who really introduced me into violence was named Johnny B. Lifetime thug, gangster BIG chip on his shoulder and hated cops and the fact that I was white added fuel to the fire. Four or five encounters with him none of which were peaceful, the last retired me and he went to prison soon after. He had no concept of his height and width zones, of his power principles, of his combinations or his ghost imagery. He didn't know the Kenpo creed, but he knew his own creed which changed daily to fit the situation. Johnny B. could really hit and hard. He could, though impaired with alcohol and drugs, keep fighting until the sun rose if you let him and it always took a bunch of us to subdue him. He is just one of many in my life, most out there in the Kenpo world have their own. But it occurred to me (again) that what I've really been studying is "violence" first and martial arts secondly. Violence is crippling, more so than just plain anger. Of course they are sympathetic bedfellows, but violence is the act of engaging in behaviour that has the intent to damage, hurt or kill. The power of a "Master of Violence" can be overwhelming both emotionally and of course physically and can leave inner and outer scars that last a lifetime. Even when this 'MofV' is overcome, the memory is haunting and sometimes removes a large part of the confidence and self esteem that the victim had. I've made this subject long enough, we could go on forever with it, and maybe someday there'll be a great Kenpo "potlach" where we'll trade, buy and sell, or destroy legends, myths, info or the latest and greatest moves never seen before. But I'll leave with these little tidbits of coping skills of things that I don't do, or try to amend to face the reality of life and the true study of violence. 1. I don't subscribe to the "Be all you can Be" ethos. That is a true path to burnout and assumes that if I am (or become) all I can be, that's all I'll ever be. I am all I can be right now, but I do have some energy in reserve. 2. "What goes around comes around" Nah, people that are total jerks or evil people often get all the good beaks. Being nice guarantee's nothing and sometimes, things just don't work or balance out. 3. Love conditionally. Healthy, lasting love is conditional, not unconditional. Throwning around the "Love you's" "I love you man" and so on are nice platitudes for comforting yourself and others. But real love for a person is earned and not neccesarily something I deserve (with a few exceptions). 4. Instead of correcting my faults, I try to enhance my inner strengths. Then it seems, my 'faults' peel away since I'm more aware of them and they are crutches to hide my laziness to making my strengths greater. 5. Savor life. It ain't all that bad! Yeah, you get your butt kicked but after a while and if you don't go running off to hide and cry, you learn to move your butt or block it successfully and come out the wiser for it. If you are truly a martial artist, Kenpoist or any other follower, then you should be a Student of Violence as well as a student of motion. I've tried for 47 years, to change that order of words and thoughts but life continually brings me back to the truth...

On being a traditionalist....sort of..

Anonymous — Thu, 22 Nov 2007 23:33:00 GMT

"The greatest enemy of truth is not the lie-deliberate, contrived, and dishonest, but the myth-persistant, persuasive, and unrealistic" - President John F. Kennedy The traditional approach to a martial art has become a bit of a pariah today, but it is also called upon when one needs a bit of self helpism to get through the rougher parts of their training. The application of violent movement upon a being much like you is in itself a dark venture into your own belief system.We seem to be more and more 'guilt ridden' in our society today. We are addicted, lonely, obsessed, lipo-ed, peeled, and in search of that elusive "self-esteem" that has escaped us throughout all of our lives. We are told that we have 'repressed memories' that is why we don't do well, are full of guilt or shame or both, and that unless we buy the bazillions of self help books, go to the mountain to seek the answer, or talk to the guru that taught all the other guru's and has done Oprah several times, we will never realize our own destiny and happiness. So, many go back in time, in some form or another to see how the Elders did "it" and overcame the massive changes the the art went through. The old days of punch and kick Kenpo, when the highest form was short #3 and that was a big "HUH?" or "WTF," suddenly seem relevant again, and in being in this comfortable place, where we know we'll not stay for long, still gives us the respite we need to refocus.. So for me the "sort of" comes in this form: Guilt is a good thing sometimes as it is essential for making real changes. It canlead to a more thoughtful consideration of life, how we lead it, and how we influence other lives. According to Dr. Paul Pearsall, without guilt, we become self-absorbed beings, maybe even sociopaths. Also, you're not a victim, unless you have been physically attacked, been in an accident, or some such thing. Most arn't a victim of anything except thinking they're victims. Listen to any group of people talking about daily problems and you will hear the victim mentality, even if they arevictgims of something as rudimentary as the "world today". Movement is the answer. Both physically and emotionally. That has been a traditionalist mantra forever. It still is and though the sophistication that permeates the arts today has a good and worthy place in exemplary martial arts, and artists, the traditional approach of "remove your comfort zone" and find the truth about your training and spirit. Discard myths for survival, but use them to dream of what might be, and where you could place in that dream. Never let your spirit lag behind, always keep it to the forefront of your movement. Dreams can be crushed, the spirit must never be... There you are my Kenpo son and for you my Kenpo daughter, should you return...

The Body follows Belief

Anonymous — Mon, 22 Oct 2007 14:40:00 GMT

I got a familiar question this following weekend. A person asked me "how do you know if any of this works?" The most predictable answer to the most asked question would be "You don't until you use it". The puzzled and painful look on this persons face who was looking for a non-contact way to resolve a physical conflict was also text book. But an old saying that I read, heard or in some way was given to me and placed in my memory banks for use just in these situations was simple. The Body follows Belief. To believe in what you're doing and that you're doing it to the best of your ability is a step towards emotional security. But the saying includes the caveat that you cannot just think or will it to a successful end, you must live it and feel it. Segue to a statement from a large, heavy handed Hawaiian gentleman who taught the same thing....

Ritual? Does it makes us better or not? Part 2 of 2 (Long)

Anonymous — Wed, 26 Sep 2007 15:00:00 GMT

So, continuing on this subject and to clarify a bit more on the term "Death of Kenpo". Much of the modern bias to any form of ritual is contained in the thinking that the 'mythical' symbols would lend some sort of superstitious character to the acquisition of Kenpo skill. Sort of an unhealthy climate of escapist dreams. Archaic and meaningless trappings of training that would create a "practicing" rather than a "believing" practitioner. In other words, a student blindly walking through the Kenpo with glazed over eyes doing what the ritual tells him to do, rather than really knowing from hard application what his potential truly is. We all know that this is true, and it will not disappear in our lifetimes. But should it? It seems to me that the more the symbols of the origins of our art were discarded or altered to make Kenpo "relevant", the more irrelevant it became. Each alteration in any form, conveyed the message that any form of ritual was meaningless and should be discarded. But in fact what changed was that new symbols and rituals appeared and the flood gates of confusion were opened. The answer for some of these "reformers" was that if you held onto an "old" tradition, symbol or ritual your training was somehow subverted. This thinking broiught out the "change agents" and there seem to be a crisis in identity of who was in charge, who was marginalized, who was the new leader, etc. Functionaries appeared to lead us from the ritual and tradition to the new ways of doing Kenpo. Some, with wonderful ideas and flexibility for others thoughts, some, mired in the world of change and becoming what they feared the most. So, as my thoughts wander on, I'll wrap this up for you to think on. One of my favorite authors was Mary Douglas. I remember reading her book "Natural Symbols" and liking it very much. I did so when I was having my own issues with ritual and tradition and though the book is long lost, and my notes are very illegible, I put my own memory down for perusal. The decline of ritual retards social organization, and the group tends to slide toward chaos and disintergration. An absence of rituals, grand or minor, are necessary to place the whole weight of the community behind particular values ." They allow us to comprehend the world we have chosen, to give precision to our feeling of it, defines our emotions which in turn enables us, morosely or joyfully, grimly or cavalierly, to endure the world we must face, especially the horror that exists in it." (paraphrased from Clifford Geertz). The rejection of the traditional ritual places the individual outside his community and is hence an alienating experience; it tends not toward an increase of happiness or meaning but the reverse. Ironically, although the Kenpo avant-garde talk much about community, in the end they reveal themselves as radical individualists, unconcerned about whatever community exists or existed. I do not believe in wallowing in rituals for their own sake, but I do believe that the rituals and traditions lend a strength and direction towards my own improvement as practitioner and teacher. The completeness of the system doesn't lay in just changing ideas of application solely, but also in the pride of belonging to something ancient or old at least, that has transcended time and objection as well as realistic projection. It is your fight, physical, spiritual, emotional. It's not you rising to the occasion, it's you rising to your level of training and belief. This is only opinion and it works for me.....

EPAKS Orange Belt Manual

kenpoist — Wed, 12 Sep 2007 19:14:00 GMT

Disclaimer:

I appreciate everyone's response to the information being released
(specifically the belt manual). Although the information contained is
invaluable to the study of American Kenpo, please understand that this, like
most all writings, are subject to typographical errors.

This material was in the final editing stages at the time of my fathers passing.
It is possible to find typos in reference to such things as directions of
movement, weapons used or selected targets. This material should be used as
a resource, not your primary means of study in the Art. Seek out
knowledgeable instruction to ensure proper understanding of the material.

This material is for personal reference and historical purposes only, and not
intended for resale.

Enjoy,

Ed Parker Jr.

_______________________________________________________________________________

ORANGE BELT PLEDGE

          I UNDERSTAND THAT I AM BUT A BEGINNER IN A NEW

     AND FASCINATING ART WHICH WILL DIRECT ME TO GREATER

     OBLIGATIONS AND RESPONSIBILITIES. TO HONOR MY

     OBLIGATIONS AND RESPONSIBILITIES, I PLEDGE MYSELF TO

     SERVE MY INSTRUCTOR, FELLOW STUDENTS, AND FELLOW MEN.

– Ed Parker

TABLE OF CONTENTS

TITLE PAGE

Orange Belt Pledge 1

Table of Contents 2

Introduction 3

Prerequisites 4

Formalities 5-7

Sayings 8

History 9, 10

Synonyms 11

Description of the Association Patch 12

Anatomy 13-15

Terminology 16-20

Basics 21

Techniques
    a. Required Techniques    22
    b. Explained    23-34
    c. Notes    35-56

Forms (Long Form #1)
    a. Explained    57-60
    b. What it Contains & Teaches    61,62
    c. Notes    63

Sets (Kicking Set #1)
    a. Explained    64,65
    b. What it Contains & Teaches    66,67
    c. Notes    68

Leg Exercise    69
    a. Explained    69,70
    b. What it Contains & Purpose of    71,72

Orange Belt Freestyle Techniques    73
    a. List    74
    b. Explained    75-77
    c. Notes    78

Written Test 79-82

Student Notes    83

INTRODUCTION

    It is sad, but true, that Yellow and Orange Belt students are often like college freshmen, who think they know all the answers. This level of training can be dangerous, and caution is advised when practicing with fellow students, or when forced to use the Art in real combat. This primitive stage of learning requires dedicated time and practice. It is an intangible stage cluttered with knowledge that lacks perspective. We, therefore, urge and encourage you to practice faithfully, to understand what you are learning, and to develop mental and physical control. Only after adhering to, or obtaining these qualities, can you move on to the mechanical stage with certainty.
    While it is important that you learn the contents of this journal, do not neglect studying your Yellow Belt material. Each journal is an important building block. They provide you with basic disciplines that add to the total structure of Kenpo. More importantly, they form the basic foundation of your Kenpo knowledge. Weak basics lead to unsuccessful achievements. Therefore, lengthen your practice sessions, and make each workout productive. View basic disciplines in their embryonic state. As you strive for perfection, increase your awareness of existing details. Learn how these details function. Identify them, dissect them, analyze them, and perfect them. Accomplish this, and you will understand what sophisticated basics are all about.
    Perfect your best side first, then proceed to practice your techniques on your weaker side. There are a number of benefits to this; (1) it forces you to take the time to analyze your stronger side, which in turn, (2) makes you become more aware of the points you may have overlooked, (3) increases the strength of your weak side, (4) expands your vocabulary of motion by increasing your knowledge of variables, and (5) leads to acquiring more ambidextrous qualities.
    It is important that you begin to set personal goals at this learning stage. Develop various aspects of your material, as well as improve self-discipline, self-awareness, self-confidence, will power etc. Prepare yourself inwardly to meet the challenges of daily life. The qualities that help you master the Art can enhance other aspects of your life. In time, you will be able to compatibly apply these facets to your family life, school activities, work contacts, etc. Always be conscious of who you are. Remember that you are steadily taking on greater responsibilities. The effects of your activities will have a direct reflection on your school, your Art, and your Association. With that in mind, conduct yourself in a manner that you can be proud. To state it differently, you are increasingly becoming a miniature showcase of our system. Learn to ask intelligent questions and to explain your Art to others. Do not be overly critical of other styles, or practitioners of other styles. Try to learn about their Arts, and gather adequate information to understand and converse with them intelligently.

PREREQUISITES FOR ORANGE BELT

1. You are responsible for knowing and being able to execute all of your YELLOW BELT material.
2. Recite the Orange Belt Pledge.
3. Follow the Formalities of the Association and your studio.
4. Recite the Orange Belt Sayings.
5. Know some of the History for Orange Belt.
6. Know the Synonyms used in the names of the techniques.
7. Be able to give a description of the ASSOCIATION PATCH.
8. Know your Anatomy for Orange Belt.
9. Be able to explain the Terminology and give examples to clarify their meaning.
10. Execute your basics with preciseness and crispness. Be sure of the details of proper execution.
11. Perform Long Form #1 on both sides.
12. Be able to explain some of the things that Long #1 Contains & Teaches.
13. Perform your Kicking Set on the strong side.
14. Be able to explain some of the things that the Kicking Set Contains & Teaches.
15. During the time you are a Yellow Belt, be sure to put some long hours into performing the Leg Exercise.
16. Know your techniques, and begin practicing your Yellow and Orange techniques on both sides.
17. Increase the level of spontaneity on your techniques.
18. Know the EQUATION FORMULA.
19. Know your Orange Belt Freestyle Techniques.
20. Spar frequently using the basic IDEA of the Orange Freestyle Techniques.
21. Be able to answer the questions on the Written Test.

FORMALITIES

1. PATCHES: The UNIVERSAL PATTERN also goes to the left arm and should be centered and placed 1/2 inch below the IKKA CREST. This patch has many patterns. Prior to sewing, it should be precisely positioned so that the shape of the heart is upright.
    Your PERSONAL NAME should be placed 3/4 inch above the big ASSOCIATION PATCH containing the Tiger and the Dragon. Only instructors, Brown, and Black Belts will be allowed to have their last names on this patch. All other belts are to use their first names only.
    The INTERNATIONAL FLAME PATCH should be placed on the right front side of the GI. The patch should be positioned so that the FLAME is horizontally centered on the same level as the Dragon on the ASSOCIATION PATCH. However it will vary with the individual. Additional FLAME PATCHES that are earned are not to be worn on the GI. The INTERNATIONAL FLAME PATCH is to be worn only by those individuals who have earned it by participating at the International Karate Championships as an official or contestant.
    The STUDIO NAME of each school should be placed 1/2 inch below the right seam and centered on the right shoulder. Its position will be identical to, but opposite of, the IKKA CREST.
    No other patches may be worn on the GI of Association members.

2. TOURNAMENTS: Students may wear BLACK UNIFORMS when they compete in tournaments. Black uniforms prolong the appearance of cleanliness throughout the day's events. When fighting, the possibility of your opponent's dirty foot leaving a tell-tale mark, indicating a point, will be greatly reduced. Remember, Association members are only to wear white or black uniforms at tournaments.
    The PERSONAL CONDUCT of students should always be above reproach. Absolutely no drinking, smoking, or abusive language will be tolerated. Consistently treat officials with politeness and respect. Demonstrate good sportsmanship, and should someone else be the victor that day, be sure to congratulate him (no sour grapes).
    Your ATTITUDE should be positive; persistently carry an air of confidence; be calm; perform with poise; avoid nonsensical action. Remember, "The will to prepare precedes the will to win."
    When performing in FORMS' competition:

    1. Enter and leave the ring with a BOW OF RESPECT.
    2. Approach the judges and come to ATTENTION.
    3. ANNOUNCE your form:

        a. Your name.
        b. The name of your system (Ed Parker's American Kenpo).
        c. The name of your form.
        d. The name of your instructor.

** After you gain some experience you may announce your form at different moments of your opening.

    4. BEGIN and END your form with the appropriate opening for that form.
    5. Tournament rules vary. Be aware of the particular rules of each tournament.
    6. Performing variations of the standard forms is permissible, but remember to announce your form as a variation, e.g., "a variation of Long Form #1".

    When performing in FIGHTING competition:

    1. Enter and leave the ring with a BOW OF RESPECT.
    2. Salute the referee.
    3. Salute your opponent.
    4. Protect yourself at all times.
    5. Control your strikes for the safety of your opponent.
    6. Upon completion, salute your opponent first before saluting the referee.

    Be aware of where you are AT ALL TIMES and do not walk through rings where people are competing. KEEP your friends and relatives in the stands. As a courtesy to others, they are not to be invited on the competition floor.


3. HISTORY AND MEANING OF THE SALUTATION:

    Our SALUTATION is a combination of the "old and the new". The initial part of our SALUTE honors the originators of our art, the Chinese.
    Prior to the establishment of Shao-lin, an open left hand resting on a clenched right fist was used as a salutation just before the commencement of a set or form. There were several meanings to this gesture: (1) Respect to the originator of this particular system, including all who had studied before him, with him, and presently study under him. (2) Respect to the audience. (3) Respect to both scholars and men of the Martial Arts alike, since the left hand (open) of this salutation represented the scholar and the right hand (clenched), the man practicing the Martial Arts.
    During the period of the Shao-lin in the Ch'ing Dynasty, the meaning of the gesture changed when two additional movements were added. The change was that the left hand represented the sun, the right hand the moon. With this change, the combination of sun and moon represented the Chinese character Ming, thus meaning revolutionary defenders for the cause of the Ming restoration. The two additional movements which were added to the sun and the moon were formed by placing the back of the hands together with both palms out. The fingers at this point were in a claw-like-fashion and raised to the chest and heart. This gesture meant, "We are against foreign domination and our hearts are for the real China." The last movement was to clench both hands and draw them to the sides of the waist. This pulling gesture meant, "By pulling and working together we can take our country back." These movements were perpetuated by the Hungs, who were secret triad societies in China. In short, "Scholar and warrior, united together, back to back, pulling together, to defend against the foreign intruders".
   The first part of the salutation was preserved in recognition and respect to the traditions set forth by the Chinese. The concluding portion of the salutation was added to tie in the heritage of the "old" with the logic of the "new" and innovative fighting art. Thus, the second part of the SALUTATION interprets as:

   1. I come to you with empty hands; I am friendly and unarmed -- I
       have no weapons. (Both hands are place together as they form
       the shape of a triangle.)
   2. I now cover my weapon, my fist which is my treasure, for I do
       not wish to use it. (Your left open hand is used to conceal
       your right clenched fist.)
   3. Now that I am being forced to use my weapon, to momentarily
       become an animal, I pray for forgiveness for what I am about
       to do. (Both hands are placed together as if praying.)
   4. The SALUTATION ends by outwardly circling the hands and arms
       and coming to attention.

SAYINGS FOR ORANGE BELT

Let time be your measurement to skill and experience.

To hear is to doubt, to see is to be deceived, but to feel is to believe.

In every offense there is a defense and in every defense is an offense.

Katas or forms are expressions of basic skills.

One becomes great when he comes to the realization that what he knows is very little.

Condition and guts take over where knowledge and skill end.

When circular moves end, linear begin; when linear moves end, circular moves reoccur again.

Many answers lie in a single move, but many moves do not necessarily give a single answer.

There are no pure styles of karate. Purity comes only when pure knuckles meet pure flesh no matter who delivers or receives.

He who hesitates, meditates in a horizontal position.

NOTE: The SAYINGS continue throughout the belt levels through 1st Degree Black Belt.
For a more complete listing of Mr. Parker's sayings refer to THE ZEN OF KENPO.

ORANGE BELT HISTORY

     The exact history of Kenpo has been lost in the antiquity of time, and consequently no definite date can be established as to when it actually began. Many of the records that exist today are obscure and incorrect. We cannot tell how many writings have been destroyed or how many developments have never been recorded. Bits of information seem to indicate that Kenpo, as it is known today, may have been practiced in India and China as long as five thousand years ago. Writings on turtle shells tell us that the Chinese did in fact practice the art as far back as 21 B.C.
     Although its true origin is obscure, a popular story that prevails gives credit to the Indian priest, Daruma or Bodhidharma in about 525 A.D. However, other great men such a Hu'a To (190- 265 A.D.), a brilliant doctor, and Yuen Fei, a popular general (who lived during the Sung Dynasty 960-1279 A.D.) are considered the forefathers of modern-day Kenpo. Kenpo means "fist law" (a term used by the Okinawans to describe the Chinese systems). From China it crossed over to Okinawa where, known as "te", it consisted primarily of blows, chops and rips with the hands and fingers. Thus originated the Karate method of Kenpo.
     In 1923 the Okinawans changed the character of Karate, which was then Chinese to that of a Japanese character. Thus the meaning changed from "hands of China" to "empty hand". This change assuredly brought about a deeper meaning in which the spiritual overcame the physical.
     From Okinawa two experts, Kenwa Mabuni and Gichen Funakoshi, lifted the veil of secrecy in 1915 to introduce their techniques to Japan. Their aim was not to promote Karate as a martial art, but as a sport throughout Japan.
     Long before the Art was ever introduced to Okinawa many styles of the Art existed in China. Each style or system was noted for at least one distinct feat such as the development of the tiger claw, butterfly kick, panther punch, etc. In addition, many members of the various systems guarded their secret ways of training. Among the systems of Southern China stemming from the Shaolin or Shorinji Temple the most well known were the following five: Hung, Liu, Ts'ai or Choy in Cantonese, Li, and Mo. There are other Cantonese as well as northern systems. The northern systems placed great emphasis on floor rolling, use of the foot, and jumping movements. Because of this not as much emphasis was placed on strong stances. The southern styles placed great emphasis on stance work as well as hand work.
     There are basically five known styles of karate in Okinawa: Kobayashi-Ryu, Shoreiji-Ryu, Shito-Ryu, Goju-Ryu, and Uechi-Ryu.
     In the last five decades since the Japanese took it up, the techniques have been modified so that they too claim styles of their own such as: Shoto-Kan, Waddo-Ryu, Chito-Ryu, and others.
     The Koreans have also modified their techniques claiming such styles as: Tae-kwon-do, Moo-do-kwon, Tang-soo-do, and others.
     Regardless of national modifications that were developed and suited to their individual environment, we can say that four systems exist in the Orient today -- Chinese, Okinawan, Korean, and Japanese. In comparison, the Chinese styles are graceful, flowing, circular, and are much more flexible than the Japanese styles (which utilize powerful punches and kicks), Okinawan styles (which stress breathing exercises), and Korean (which specialize in high kicks and the breaking of boards and bricks) These other styles are basically rigid.
     Unfortunately, many of the classical Chinese styles along with the Japanese, Okinawan, and Korean styles are impractical as a modern means of self-defense. This stems from the fact that many of these systems were originally designed for exercise. In addition, most of these styles today do not recognize the need for change, especially in our environment. While some offer excellent ideas on unarmed fighting, a number of their methods are outdated theories unfit for present day fighting in the United States or any part of the world for that matter.
     These same arts, influenced by the Chinese, were brought to the Hawaiian Islands. It was here that Mr. Parker, a native of Hawaii, learned these arts under one of the world's leading Black Belt holders and American innovators of the art, the late Professor William K. S. Chow.
     In addition to Professor Chow's modifications, Mr. Parker has also realized the need to revise the old methods to cope with modern day fighting. Thus the system he now teaches is unique, practical, realistic, applicable, and encompasses sound logic, reasoning, and theoretical innovations not yet employed by other systems. Through Mr. Parker's innovations a fifth system has emerged-- the American System- -to be more specific "The Parker System of Kenpo".
     Although we should respect the various styles of Kenpo stemming from the Orient, we must not overlook their need for improvement. While Mr. Parker's system still retains traditional flavor to enhance ethical behavior, it has been designed to fit the needs and ability of the individual concerned.
     We should be grateful for Mr. Parker's unending contributions and proud and privileged that we have his creative knowledge to guide us in keeping abreast with updated developments.

SYNONYMS

                       Branch...Leg

                       Feathers...Hair

                       Gift...Handshake

                       Prong...Thumb

                       Salute...Heel Palm, Push

                       Talon...Wrist Grab

                       Wing...Elbow

ORANGE BELT DESCRIPTION OF THE ASSOCIATION PATCH

1. THE SHAPE: The top of the crest of the patch is like a roof which gives shelter to all who come under it.

2. THE TIGER: Represents the earthly strength derived through the early stages of learning. This is the stage where the individual is more impressed with his own physical prowess.

3. THE CIRCLE: Is symbolic of several things. It depicts life itself, as a continuous cycle, where there is no beginning or end. So is it with the art of Kenpo. It too is a cycle of unending and perpetual movement or motion. Techniques follow a cycle, movements are part of a cycle. Physical prowess, humility, and self-restraint are no more than components of a progressive learning cycle. The circle is the base from which our alphabet stems.

4. THE ORIENTAL WRITING: Is a reminder of the originators of our art, the Chinese. It is in respect to them and not that we serve them. The lettering to the right means Kenpo Karate, Law of the Fist and the Empty Hand; the art that we practice.

5. THE "K"; stands for Kenpo, the art that we practice.

6. THE COLORS: The white background is significant of the many beginners who form the base of the art. The yellow or orange represent the first level of proficiency, the mechanical stage, the dangerous stage of learning. It is a time when the student is more impressed with the physical, and, who like a freshman in college, thinks that he knows all of the answers.

ANATOMY - VITAL TARGETS

    An often neglected aspect of Martial Arts training is having a thorough knowledge of the precise location of TARGET AREAS on an opponent's body and the effect produced when striking these targets. Having a thorough knowledge of these points serves a dual purpose. You will know where to strike to obtain maximum results as well as which areas of your own body to protect.
    VITAL TARGETS are of maximum importance. Your efforts should always be channeled so as to produce immediate and positive results. Logic dictates this. Since some TARGET AREAS only require a minimum of force to cause helplessness, it is only logical that we learn where they are located.

ILLUSTRATION - FRONT VIEW VITAL TARGETS

        SUGGESTED
TARGETS        NATURAL WEAPONS        RESULT/EFFECT

Eyeballs        Finger Thrusts,Hooks,        Rupture,Infection,
            Claws            Loss of Eyesight,
                            Possible Loss of Eyeball
_________________________________________________________
Nasal Bone        Heel of Palm,            Severe Pain,
(Bridge of Nose)    Hammerfist,Handsword    Dislocation,Easy
        Normal Fist,Elbow,        Fracture,Hampered
        Knee,Ball of Foot,        Vision,Possible
        Heel of Foot            Death
_________________________________________________________
Mandible         Heel of Palm,            Unconsciousness,
(Chin)        Normal Fist,Back Fist,        Possible Bone Fracture
        Knee,Foot(Various Parts
            Of Foot)
_________________________________________________________
1st Thoracic     Half Fist Handsword,        Severe Pain,
Vertebra        Reverse Handsword,        Paralysis,Loss of Speech,
(Adam's Apple)    Two Finger Chop,        Physical Collapse,
        Footsword                Gagging and Nausea,
                            Possible Death
_________________________________________________________
Temporal        Back fist,                 Pain,Headache,
(Temple Cavity)    Hammerfist,            Hemorrhage,Possible
        Heel of Palm,            Unconsciousness,
        Handsword,Ball of Foot,    Possible Bone
        Heel of Foot            Fracture or Death
_________________________________________________________

        SUGGESTED
TARGETS        NATURAL WEAPONS        RESULT/EFFECT

Facial Vein        Middle Knuckle Fist,        Contusion,Possible
        Back Fist,Hammerfist,        Paralysis, Unconsciousness
        Handsword,Back Elbow,    and Rupture
        Heel of Foot
_________________________________________________________
External Jugular    Handsword,Reverse        Possible Unconsciousness
Vein        Handsword,Hammerfist,    or Death
        Inner Wrist Bone,
        Elbow,Footsword
_________________________________________________________
Sternum        Normal Fist,Back Fist,        Pain, Loss of Breath,
(Upper, Middle,    Middle Knuckle Fist,        Possible Fracture
Lower)        Heel of Palm,Elbow,
        Knee,Ball of Foot,
        Heel of Foot(Front,
            Back, & Side)
_________________________________________________________
Solar Plexus    Middle Knuckle Fist,        Temporary Paralysis,
        Normal Fist,Back        Nausea, Physical
        Fist, Elbow,Heel of        Collapse,Possible Death
            Foot
_________________________________________________________
Lymph Gland    Middle Knuckle Fist,        Pain,Swelling,
(Lower Arm Pit)    Normal Fist,Back Fist,        Possible Death
        Elbow,Heel of Foot
_________________________________________________________
Heart        Normal Fist,Hammerfist,    Severe Pain,Possible
        Heel of Palm,Elbow,        Death
        Knee,Ball of Foot,Heel
        of Foot(Various Sides)
_________________________________________________________
Metatarsus        Hammerfist,Heel of         Pain,Unable to Stand
        Foot(Various Sides)        or Walk,Possible Fracture
_________________________________________________________
Testicles        Reverse Handsword,        Severe Pain, Paralysis,
        Reverse Hammerfist,         Rupture of the Bladder,
        Normal Fist,Hammerfist,    Possible Death
        Handsword,Elbow,Knee,
        Ball of Foot,Footsword,
        Heel of Foot(Various Sides)
_________________________________________________________
Tibia        Normal Fist,Hammerfist,    Pain,Unable to Stand
        Handsword,Elbow,        or Walk,Possible Fracture
        Footsword,Ball of Foot,
        Heel of Foot(Various Sides)
_________________________________________________________

ILLUSTRATION - BACK VIEW VITAL TARGETS

                SUGGESTED
TARGETS        NATURAL WEAPONS        RESULT/EFFECT
_________________________________________________________
Mastoid        Normal Fist,Back Fist,            Pain,Headache,
                  Hammerfist,Handsword,         Temporary
                    Heel of Palm,Elbow,               Disability,Possible
                    Heel of Foot(All Sides)            Unconsciousness and
                                                                 Fracture
_________________________________________________________
Maxillary Hinge        Normal Fist,Back Fist,        Possible
                            Hammerfist,Handsword,        Unconsciousness,
                            Heel of Palm,Elbow,           Dislocation and
                            Knee,Ball of Foot,Heel          Fracture
                                                                        of Foot(Various Sides)
_________________________________________________________
Floating Rib       Normal Fist,Middle             Pain, Possible
                        Knuckle Fist,Back Fist,        Fracture or Death
_________________________________________________________
Kidneys        Elbow,Knee,Heel of Foot    Possible Rupture
        Normal Fist,Back Fist,        Severe Pain,
        Hammerfist,Elbow,Knee,    Temporary Paralysis,
        Ball of Foot,Heel of         Physical Collapse,
        Foot(Various Sides)
_________________________________________________________
Tibia Nerve &    Normal Fist,Middle        Pain Paralysis to
Popliteal        Knuckle Fist,Hammer-        Lower Limb,Unable to
(Hollow of Knee)    fist,Handsword,Elbow,        Stand or Walk
        Knee,Footsword,Heel of
            Foot
_________________________________________________________

ORANGE BELT TERMINOLOGY

ADD - The inclusion of a move prior to or after a base move has been executed; or the inclusion of one or more moves inserted intermittently or sporadically throughout a technique sequence. See PRE-FIX, SUFFIX, HIDDEN MOVES, INSERT, COMPOUNDING A TECHNIQUE and other related terms.

AIMING - (1) The pointing of a weapon (natural or man-made) so that it will follow a direct course of action when propelled toward the selected target. Depending on the intended target and the weapon to be used, other parts of the body may be selected as guides in giving proper aim when executing a chosen weapon. As an example, the knee may be directed to an opponent's chin just prior to your executing a front thrust ball kick. The knee, in this case, when properly aligned, can insure the accuracy of the front thrust ball kick. (2) Use of CONTOURING to help improve your accuracy. See CONTOUR GUIDANCE.

ALTER - To vary a weapon and/or target within a technique sequence.

ANATOMY - The study of the human body structure which aids in determining the vital striking areas on an opponent, as well as determining those body parts which could be readily used as natural weapons or defenses.

ANCHOR - To weigh down the elbow or buttocks for better leverage, coverage, or control. For example, the elbow is firmly fixed at a much lower level than the fist when executing an inward block. This principle, when applied, gives better bracing angel, more force, and allows a greater margin for error, in that it gives one greater protection.

ANGLE OF EXECUTION - Any angle which, when an attack is executed, produces maximum results. Refer to ANGLE OF CONTACT.

BACK-UP-MASS - The use of body weight that is directly behind the action that is taking place. As example, (1) a punch delivered when the elbow is directly behind of the fist, or (2) the bracing of one finger directly behind the other when delivering a two finger chop to the throat, etc. BACK-UP-MASS is greatly enhanced when proper BODY ALIGNMENT is achieved. BODY ALIGNMENT gets MASS into proper perspective and allows the body to take full advantage of channeling weight and energy while traveling in the same direction (DIRECTIONAL HARMONY).

BASE LINE(S) - Imaginary line or lines used to visualize the angle on which you are to concentrate your attention. See LINE OF SIGHT.

BLACK-DOT-FOCUS - Our Kenpo concept of focus. We visualize a black dot on a white background, representing total awareness. Our concern is not only with maximizing power, but protection as well. See WHITE DOT FOCUS.

BUCKLE - Methods used to force an opponent's leg to bend in or out, forward or back. Properly used, it can unbalance, twist, sprain or even break an opponent's leg.

CHECK - To restrain, hinder, or prevent an opponent from taking action. This is accomplished by pressing, pinning, or hugging an opponent, usually at the joints, so that it minimizes his leverage and nullifies his action. Positioning your arms and legs in various defensive postures can also keep an opponent from striking you effectively. See POSITIONAL CHECK.

COMPLEMENTARY ANGLE - A strike or block that follows a path or angle that parallels an attacking weapon, a defensive posture, the contour of your or your opponent's body, or a given line. Following these angular paths allows clear entry to desired targets. Taking advantage of these angular opportunities helps to produce accuracy and damage and thus maximizes results.

CONTROL - (1) The regulation of force to produce (a) accuracy as well as (b) the degree of injury. For example, a punch that strikes a specific target without injuring it requires control. Control may or may not involve touching your target. It takes even greater CONTROL to avoid injuring a person who is constantly moving. (2) The ability (a) to prevent or curtail your opponent's actions, or (b) to guide your opponent wherever, however, and whenever. Checks are types of controls. They are good examples of how one can temporarily prevent or curtail an opponent from taking action.

COORDINATION - Refers to (1) the synchronization of all body parts so that they function with continuity, timing, and dexterity, (2) the synchronization of your moves with the moves, timing, and direction of your opponent in order to take best advantage of them and attack him more effectively.

DEFENSE - Protective moves designed to safeguard against injury.

DELETE - The elimination of a weapon and/or target within a technique sequence.

DIVERSIFIED TARGETS - Striking various targets to insure multiple effects.

ECONOMY OF MOTION - Entails choosing the best available weapon for the best available angle, to insure reaching the best available target in the least amount of time, while still obtaining the desired result. Any movement that takes less time to execute, but still causes the effect intended. Any movement that inhibits or does not actively enhance the effect intended is categorized as WASTED MOTION.

FEEL - A word used to describe the foot or hand as it slides from one point to another. In the case of the foot the concept teaches you to move your foot back very lightly so that you literally feels the ground, when sliding in the hope of overcoming possible obstacles.

FIGHTING POSITION - A defensive posture used prior to or during combat, as well as in tournament sparring. It may be coupled with an assumed stance, or formed when protecting yourself while on the ground, on the beach, in bed, seated in a chair, etc.

FOCUS - Is the result of the entire body working as a unit at the very instant a target is struck. The concentration of mind (knowledge), breath, strength, and methods of execution must unite as one in conjunction with body momentum, torque, gravitational marriage, timing, speed, penetration, etc. It must be remembered that it is not just the concentration of weapon meeting target, but the entire body meeting the target as one unit that fully defines the term FOCUS.

GAUGING OF DISTANCE - The ability to systematically regulate the distance between opponent and self for purposes of defense or attack.

GRAVITATIONAL MARRIAGE - The uniting of mind, breath and strength while simultaneously dropping your body weight along with the execution of your natural weapon(s). Timing all of these factors with the dropping of your body weight greatly adds to the force of your strikes. This combined action literally causes a marriage with gravity, and makes vertical use of BODY MOMENTUM while employing the dimension of height.

HARD - Generally refers to moves that are executed with total power. It is also another term used to describe major moves; hard hitting moves; moves that cause devastation.

INTENTIONAL MOVES - The execution of planned moves.

LEFT TO LEFT - A fighting position where both combatants face each other with their left foot forward.

LINEAR MOVES - Movements that are direct in nature. Moves that specifically follow a straight line or path. Although these moves are primarily offensive, they can be used defensively. They are useful follow ups that often trail circular moves that meet resistance.

OFFENSE - Offensive moves employed against an opponent to score points (tournament), or to injure or defeat (self-defense).

OUTER RIM THEORY - An imaginary egg-shaped circle that is used as a visual aid. This egg-shaped pattern starts at eyebrow level, and ends slightly below the region of the groin. The larger portion of the egg is positioned at the top. This concept teaches you to confine defensive and offensive movements of your arms and hands, to those areas within the imaginary circle. You learn never to over-extend nor over-commit beyond the circle with your arms and hands. To do so not only exposes your vital areas, but limits your ability to counter quickly. Employing this concept reduces the number of openings in your defense, and with them, the odds of getting hit. It is a supplemental aid in the study of the ZONE THEORY.

POSITION - (1) A command used while teaching which has a student assume his original starting position. (2) A set or arranged posture used in class for training purposes other than mentioned, or when fighting. (3) How your or your opponent's body is angled.

PRACTITIONER - One who learns, teaches, and practices the Martial Arts.

PRIMITIVE - Embryonic state of movements. Moves that are singular in purpose. See EMBRYONIC BASICS.

PRONOUNCE A MOVE - An analogy used so that a student realizes that basic moves are to be learned in stages, like the phonetic pronunciation of a word. This process is used only during training. After getting acquainted with the power derived from the ideal positions, one should then learn to use the basic moves realistically, without exaggeration or hesitation, and from their POINT OF ORIGIN.

RANGE - The distance which exists between you and your opponent.

RECOIL - To spring back after a blow or kick has been delivered. Fast retrieve after delivery.

REDIRECT - To alter the direction of an attacking weapon.

SLOW MOVES - Moves that are taught slowly to beginners who need to learn precision and proper synchronization of the body. Learning moves slowly helps to eliminate bad habits.

SOFT - Refers to moves that are applied with little force. They are flexible moves that generally sting, but do not injure. These are MINOR MOVES that are useful set ups for moves that strike with greater magnitude.

SOLIDIFY YOUR BASE - Means to strengthen your stance so that it is both firm and strong.

STEP - The moving of the front foot forward, or the rear foot back, to increase the depth or width of a stance. It may also involve moving the right foot to the right, or the left foot to the left, depending on one's purpose(s).

WASTED MOTION - Motion which has no appreciable effect.

WHITE-DOT-FOCUS - In this concept of focus one visualizes a white dot on a black background representing unawareness. All styles and systems that primarily stress linear motion conform to this concept. Their concern is with the target, and with maximizing power--not protection.

WITH - A very useful word in the Kenpo vocabulary, which is reserved for the more adept. It involves dual movements and eliminates the word "and". One doesn't block "and" then strike. He blocks "with" a strike. Employing this principle eliminates wasted motion and economizes on time.

PREREQUISITE BASICS FOR ORANGE BELT

STANCES                       FINGER TECHNIQUES

Reverse Bow                   Horizontal Finger Thrust
Wide Kneel                   Outward Whip
Close Kneel

BLOCKS                       KICKS

Inside Downward Palm Down       Front Knee
Inside Downward Palm Up           Front Stomp
                       Back Stomp
                       Side Stomp
PARRIES                       Shuffle Kicks
                        (Drag-Kicks)
Inward Parry
Outward Parry

                       FOOT MANEUVERS

PUNCHES                       Switch
                       Cover
Step Through Block-Punch

STRIKES                       FORMS & SETS

Thrusting Heel Palm               Long Form #1
Upward Elbow                   Kicking Set #1
Back Elbow
Obscure Elbow
Underhand Reverse Hammerfist
Outward Back Knuckle

REQUIRED TECHNIQUES FOR ORANGE BELT
(In the order they are to be taught)

1. CLUTCHING FEATHERS - Front Left Hand Hair Grab

2. TRIGGERED SALUTE - Front Right Hand Direct Push

3. DANCE OF DEATH - Front Right Straight Punch

4. THRUSTING SALUTE - Front Right Step Through Kick

5. GIFT OF DESTRUCTION - Handshake

6. LOCKING HORNS - Front Headlock

7. LONE KIMONO - Front Left Hand Lapel Grab

8. GLANCING SALUTE - Front Right Hand Cross Push

9. FIVE SWORDS - Front Right Step Through Roundhouse Punch

10. BUCKLING BRANCH - Front Left Step Through Kick

11. SCRAPING HOOF - Full Nelson

12. GRIP OF DEATH - Left Flank Right Arm Headlock

13. CROSSING TALON - Front Right Cross Wrist Grab

14. REPEATING MACE - Front Left Hand Push

15. SHIELDING HAMMER - Front Left Step Through Hooking Punch

16. STRIKING SERPENT'S HEAD - Front Bear Hug, Arms Free

17. LOCKED WING - Hammerlock

18. OBSCURE WING - Right Flank Left Hand Shoulder Grab

19. REVERSING MACE - Front Left Step Through Straight Punch

20. THRUSTING PRONGS - Front Bear Hug , Arms Pinned

21. TWISTED TWIG - Front Wrist Lock

22. OBSCURE SWORD - Right Flank Left Hand Shoulder Grab

23. RAINING CLAW - Front Right Uppercut Punch

24. CRASHING WINGS - Rear Bear Hug, Arms Free

TECHNIQUES FOR ORANGE BELT

1. CLUTCHING FEATHERS (Front left hand hair grab)

Standing naturally, step back toward 6 o'clock with your left foot into a right neutral bow (facing 12 o'clock). Simultaneously pin your opponent's left hand to your head with your left hand as you thrust a right vertical middle-knuckle fist to your opponent's left armpit. (This action should cause your opponent to bend forward.)
As your opponent begins to bend over and toward you, pivot into a right forward bow (facing 12:00) as you deliver a left thrusting heel palm strike to your opponent's jaw, simultaneous "with" a right extended outward block to the inside of your opponent's left forearm. (Your opponent's head should snap back.)
Immediately pivot back into a right neutral bow (facing 12:00) while delivering a right inward raking back knuckle strike diagonally across the bridge of your opponent's nose (to cause a corrugated effect).
Right front crossover, and cover out toward 7:30.

2. TRIGGERED SALUTE (Front right hand direct push)

While standing naturally your opponent pushes your left shoulder with his right hand. Immediately and simultaneously (1) turn your left shoulder counterclockwise and ride your opponent's right push as you (2) step forward with your right foot into a right neutral bow (between ll:00 and 12:00), (3) buckle the inside of your opponent's right knee with your right knee, (4) thrust a right heel palm strike to your opponent's chin, as you (5) have your left hand pin and check your opponent's right hand to your chest. (Your opponent's head should snap back and away from you.)
Forecasting the response of your opponent's upper body, (1) frictionally slide your right hand down your opponent's right arm while forming the shape of a crane (making sure to anchor your elbow), (2) hook your opponent's right arm down and toward 5:30; (3) ROUND THE CORNER with your right arm as (4) you unhesitatingly deliver a right inward horizontal elbow strike to your opponent's solar plexus. (The frictional pull will bring your opponent's upper body forward and diagonally to his right. The force of your elbow strike should make him bend forward at the waist.)
After following through with your right inward elbow strike, deliver a right outward horizontal elbow strike to your opponent's right floating ribs. (This should cause your opponent to bend even further.)
Using RESIDUAL TORQUE, follow-up with a right outward horizontal back knuckle strike to your opponent's right floating ribs or kidney, and immediately cock your right fist to your right hip. (Your repeated follow-ups should magnify the damage to his ribs).
Without any loss of motion, thrust a right vertical back knuckle strike (right fist is inverted and horizontal) up and under your opponent's chin while your left hand continues to pin your opponent's right hand against your left shoulder. (This Contouring Fit should drive your opponent's head back.)
Right front crossover, and cover out toward 7:30.

3. DANCE OF DEATH (Front straight right punch, with left leg forward)

Standing naturally, step forward toward 10:30 with your left foot into a left neutral bow (facing 12:00) as you get out of the Line of Attack. Simultaneously deliver a left inward block to the outside of your opponent's right punch (ending at or above the elbow) as your right arm hangs naturally to the right side of your body. (Your inward block will nullify the width of your opponent's body.)
Immediately pivot into a left forward bow (facing 12:00). While still maintaining a left BRACING ANGLE CHECK to your opponent's right arm with your left hand, strike to your opponent's groin with a right underhand reverse handsword. (This strike should cause your opponent to bend forward at the waist, and possibly move back.)
Immediately step through with your right foot into a right neutral bow (facing 12:00) "with" a right inward horizontal elbow strike to your opponent's right lower ribcage. During this action, your left hand (1) CONTOURS down the right side of your opponent's body, (2) slides along his right leg (which is not the lead leg), (3) grabs the back of your opponent's right knee, and then (4) pulls toward you, so that your left hand grab concludes at your opponent's right ankle. Be sure to have his right foot pass to the left and outside of your left thigh, and pin his left foot to your left hip with your left hand. The pull and strike must counteract each other to be effective. (Please refer to the NOTES to study the WHAT IF factors that can alter your plans.)
Use of precise synchronization of BODY MOMENTUM should help you to drop your opponent onto his back. In anticipation or your opponent's left leg popping up (Unintentional Move), execute a right outward back knuckle strike to the inside of your opponent's left knee. Immediately (1) have your right hand continue in a "figure 8 pattern", (2) drop into a right wide kneel stance, and (3) while taking advantage of marriage of gravity execute a right inward downward handsword to your opponent's groin. (Be conscious of the possibility of your opponent's legs drawing together.)
Right front crossover, and cover out toward 7:30.

4. THRUSTING SALUTE (Front right step through kick)

Standing naturally, step back with your right foot to 4:30 (to get you out of the Line of Attack) into a left neutral bow, as you deliver a left downward block to the inside of your opponent's right kicking leg. Instantly recoil your left hand counterclockwise into a vertical position, to act as a positional check (hand open). (Your downward block should deflect your opponent's right kicking leg out and away from you.) During this action, your right hand cocks near your right hip (palm up and fist clenched).
Immediately execute a right front snap ball kick to your opponent's groin. (Do not be surprised you if your opponent violently bends forward at the waist.)
Plant your right foot forward, toward 10:30, and into a right neutral bow (inside of your opponent's right knee so that your right knee can check or buckle his right knee). Simultaneous with the plant (while capitalizing on your forward momentum and gravitational marriage), execute a right torquing heel palm strike to your opponent's jaw, as your left positional check relocates near your right ribcage. (This action should cause your opponent's head to snap back, and possibly cause his entire body to move away from you.)
Right front crossover, and cover out toward 4:30.

5. GIFT OF DESTRUCTION (handshake)

With your right hand shaking your opponent's right hand, hop forward to 11 o'clock with your left foot, as your right hand JERKS (taking advantage of your opponent's dead weight to launch you forward) your opponent's right hand toward you diagonally and down past your right hip. This action is aided by rotating your right arm clockwise, so that the palm of your right hand faces up. This should aid you in properly exposing the joint of your opponent's right arm.
With the above action, simultaneously strike in and against the joint of your opponent's right elbow with your left heel palm, as you deliver a right knee kick to your opponent's groin. (This dual action should check your opponent's Height and Width Zones, as well as force him to bend forward at the waist.)
Plant your right foot forward into a right neutral bow while you simultaneously (1) buckle the inside of your opponent's right knee with your right knee, (2) deliver a right inward elbow strike to the left side of your opponent's jaw, as (3) your left hand checks down and on top of your opponent's right arm. (This action should cause your opponent's head to move back and away from you.)
Right front crossover, and cover out toward 7:30.

6. LOCKING HORNS (Front headlock)

With your feet in line with each other and your body bent forward (caused by your opponent applying a front headlock using his left arm to lock you with) simultaneously (1) step forward with your right foot toward 11 o'clock into a right wide kneel stance between your opponent's legs, (2) deliver a right underhand reverse handsword to your opponent's groin, (3) have your left hand check just above your opponent's right knee while (4) turning your chin to the left, and tucking it against your chest to prevent your opponent from cutting off your air supply. (Your opponent should loosen his grip and bend forward at the waist. Depending on the effectiveness of your strike, your opponent's legs can conceivably move back and away from you.)
Immediately follow-up with a right vertical obscure elbow strike to the underside of your opponent's jaw, "with" your left hand still checking the knee, and while keeping low in a right neutral bow. (This elbow strike should force your opponent's head up in preparation for the next strike.)
After snapping your opponent's jaw upward with your right obscure elbow, simultaneously (1) shuffle forward, (2) deliver a right inward horizontal elbow strike to the left side of your opponent's jaw, along with (3) a left heel palm strike that hooks in and to the right side of your opponent's jaw. (The force of this sandwiching effect may cause your opponent to pass out and fall to the ground.)
Right front crossover, and cover out toward 7:30.

7. LONE KIMONO (Front left hand lapel grab)

Standing naturally, step back toward 6 o'clock with your left foot into a right neutral bow (facing 12:00). Simultaneously (1) pin your opponent's left hand to your chest, as you (2) rotate your left hand clockwise to expose and properly position his left elbow, while (3) delivering a right upward forearm strike against his left elbow just above the joint to cause the elbow to break. (This action may cause your opponent to rise up on the tips of his toes.)
Immediately circle your right arm counterclockwise (over and down) and convert it into an inward-downward strike to your opponent's left forearm. Complete this strike with your right palm up, and your left hand checking high. Make sure that your opponent's left arm is driven diagonally and down to your left. (This move should now cancel your opponent's Width and Height Zones.)
With your action forcing your opponent's head and body down and toward 7:30, ROUND OFF THE CORNER with your right hand and immediately execute a right snapping outward handsword strike to the right side of your opponent's neck. Be sure to maintain a left hand check in the NEUTRAL ZONE.
Right front crossover, covering out toward 7:30.

8. GLANCING SALUTE (Front right hand cross push)

Standing naturally, while your opponent pushes your right shoulder with his right hand, (1) step forward and slightly to your left (11:00) with your left foot into a left neutral bow (facing 12:00), (2) pivot to your right into a right forward bow toward 3:00 (to ride the force of your opponent's push) as (3) your right arm pins your opponent's right wrist to the right side of your chest along with (4) the execution of a left inward vertical forearm strike against the joint of your opponent's right elbow to cause a break. (This action should cause your opponent to turn counterclockwise, as well as cancel his Width Zones.)
Pivot to your left (toward 12 o'clock) into a left forward bow as your left hand pins your opponent's right arm to his body, and simultaneously execute a right thrusting heel palm strike to his jaw. (The action of the left pinning hand should bring your opponent's head down and forward into your right heel palm strike. This strike should force his head up and back.)
Have your right hand (1) circle to the right of your opponent's face as it then hooks around and back of his neck (forming the shape of a crane), (2) pulls your opponent's head down and toward the ground (ANCHORING your right elbow in the process) while (3) executing a right knee strike to your opponent's stomach. (Your opponent's strength should wane, with his feet moving back and away from you.)
Plant your right foot forward into a right neutral bow, as your right knee checks (and possibly buckles) the inside of your opponent's right knee. Simultaneous with the plant (while capitalizing on your forward momentum and gravitational marriage), execute a right inward elbow strike to your opponent's face, as your left hand pins your opponent's right arm to his body. (This should cause your opponent's head to move up and back.)
Right front crossover, covering out toward 7:30.

9. FIVE SWORDS (Front right step through roundhouse punch)

While standing naturally, step forward with your right foot into a right neutral bow (facing 12 o'clock), and check the inside of your opponent's right knee with your right knee. Simultaneously with your right neutral bow, execute a right inward block to the inside of your opponent's right forearm, while your left hand checks high at your opponent's wrist. (The effect of both actions is to expose the width of his body.)
Immediately strike to the right side of your opponent's neck with a right outward handsword. (This action should help to nullify the Height, Width, and Depth Zones of your opponent.)
Pivot into a right forward bow (facing 12:00), as you execute a left five-finger thrust (palm down) to your opponent's eyes, and your right hand cocks at your right hip (fist clenched and palm up). (The effect of this poke should snap your opponent's head back and away from you.)
Having your opponent's head to move away from you, and his midsection to jut forward, take advantage of this anticipated response by (1) pivoting into a right neutral bow, (2) executing a right uppercut punch to your opponent's stomach, as (3) your left hand becomes a COCKING CHECK (guarding horizontally and palm down) near your right biceps. (This action should result in your opponent bending over at the waist.)
With your opponent now bending over, immediately slide your left foot counterclockwise toward 4:30, and into a right forward bow (facing 10:30), as you execute a left outward handsword strike to the left side of your opponent's neck. (Your right hand acts as a positional check against any potential danger from your opponent's left arm.) have your left hand (during the interim) hook to the left side of, as well as on top of, your opponent's neck, to aid you in pulling his head down if necessary.
Without hesitation, and while pivoting into a right neutral bow,have your left hand hook around the back of your opponent's neck (to force his head down), followed by a right inward handsword to the back of his neck. At the time your right handsword strikes, your left hand should be checking low.
Right front crossover, and cover out toward 4:30.

10. BUCKLING BRANCH (Front left step through straight kick)

While standing naturally with both feet together, step back with your right foot toward 4:30 into a left neutral bow. Simultaneously block your opponent's left kick (from the outside) with a left downward block as your right hand (clenched and palm up) cocks to your right hip. Instantly recoil your left hand counterclockwise into a vertical position as a positional check. (Your intent is to generate pain to your opponent's left leg, as well as to increase the width of your deflection.)
With your opponent's back turning toward you, deliver a right front snap ball kick to your opponent's groin (entering from the rear). (This should make your opponent bend over at the waist. Both you and your opponent should be facing 10:30.)
Plant your right foot forward (again toward 10:30) into a right front twist stance (modifying it if necessary), and deliver a left knife-edge kick to the inside and back of your opponent's right knee (keeping both of your hands open and in a defensive position). (This kick should buckle your opponent to his knees.)
Have your left kick flow into a left front crossover, covering out toward 4:30.)

11. SCRAPING HOOF (Full Nelson)

While in a Full Nelson, thrust both of your fists toward the ground (to help free you from your opponent's grasp, and to pin his arms to your body). Simultaneously with this action cheat your left foot toward your right foot, as you straighten your knees, back, and neck into a full upright position. (Here, the intent is to have your opponent focus his attention on your arms and the pressure applied to your neck.)
Immediately have your left knee bend (REVERSE MARRIAGE OF GRAVITY) as you deliver a right back side scooping heel kick to your opponent's left inner knee. Then, execute a right knife-edge kick to your opponent's right shin and follow through with a scraping stomp to his right shin, and instep. (This sequence of action should buckle your opponent's legs as well as move his legs outward.)
Repeat movement number two to the left side.
Step with your right foot to 11:00 and left front crossover, covering out toward 10:30.

12. GRIP OF DEATH (Left flank right arm headlock)

With your opponent applying a headlock from your left side, step forward and to your left (toward 10:30) with your right foot into a right close kneel stance, while turning your head to the left, and tucking your chin against your chest. Simultaneously deliver a right hammerfist to your opponent's groin and a left hammerfist to your opponent's left kidney. (This action should buckle your opponent.)
Circle your left arm over your opponent's right shoulder, and have the fingers of your left hand press under your opponent's nose (or depending upon the circumstances, have your left hand grab your opponent's hair) FULCRUMING with your forearm and elbow against your opponent's back and shoulder to increase the LEVERAGE down and back against his head and neck. (This should cause sharp pain to his philtrum, and also cancel his Height Zones.)
Immediately (1) pivot into a left forward bow toward 6 o'clock, and (2) while taking advantage of your ROTATIONAL FORCE deliver a right heel palm strike to your opponent's chin, as you simultaneously (3) execute a left SLIDING CHECK down your opponent's right arm, ending at the elbow. (Make sure that the head of your opponent, in either of the above methods of FULCRUMING, is arched and forced back and down to minimize your opponent's leverage. The force of your strike should cause your opponent to fall to the ground.)
Pivot back to a left neutral bow. Left front crossover, covering out toward 10:30.

13. CROSSING TALON (Front right cross wrist grab)

With your opponent's right hand grabbing your right wrist, (1) countergrab his right wrist with your right hand as (2) your left foot steps toward 1:30 (traveling in front of your opponent) into a left neutral bow, as (3) you strike your opponent's right elbow with a left inward vertical forearm, while (4) your right hand pulls in, toward, and past your right hip. (The effect of this action is to sprain or break your opponent's right elbow, and force him to bend over, which automatically checks his Height Zones.)
Continue to pull your opponent's arm to your right while using your left forearm to force your opponent's head down and possibly striking your left knee.
Immediately deliver a left outward elbow strike (palm up or down depending on circumstance) to your opponent's right jaw hinge or temple. (This action may cause your opponent to pass out and drop toward the ground.)
Immediately follow-up with a left heel palm strike and five-finger rip to your opponent's face while using your opponent's shoulder and back as a fulcrum to leverage, contour, check, and enhance your action. Continue your left arm clockwise circle and execute a left inward overhead downward elbow strike to your opponent's upper spine. (This action should cause your opponent's body to bow toward the ground.)
Follow up with a left downward heel palm strike to the back of your opponent's left mastoid. As your left hand continues to push your opponent's head down, simultaneously deliver a right knee strike to your opponent's face, thus causing a sandwiching effect. (Your opponent should fall to the ground.)
Replant your right foot to its POINT OF ORIGIN. Left front crossover, covering out toward 4:30.

14. REPEATING MACE (Front step through lunging left hand push)

Standing naturally, Simultaneously have (1) your left foot slide back toward 4:30 into a right neutral bow (facing 12:00), (2) your left hand hook (left palm is up like a waiter carrying a tray) on top and to the outside of your opponent's left elbow, and (3) deliver a right inward raking hammerfist to your opponent's left kidney.
Without stopping the flow of your action loop a right outward back knuckle strike to your opponent's left ribcage (as you settle into your right neutral bow stance). (The effect of these two strikes is to first have your opponent's midsection move forward and turn clockwise to his right. The second strike should turn him counterclockwise and force him to bend over at the waist.)
Immediately shift your weight onto your left leg and deliver a right downward looping roundhouse kick (utilizing your right instep) to complement the angle of your opponent's left thigh and strike the top of his left calf from the back of his knee. (This action should buckle his left knee, and force him on his knees.)
From the Point of Contact of your right kick, execute a right front crossover, covering out toward 4:30.

15. SHIELDING HAMMER (Front step through hooking left punch)

Standing naturally, step back with your left foot toward 6 o'clock into a right neutral bow (facing 12 o'clock) as you deliver a right extended outward block to the inside of your opponent's left forearm. Your left hand should be in a POSITIONAL CHECK off near your right ribcage.
Immediately deliver a right inward raking back knuckle strike diagonally in and down across the bridge of your opponent's nose (striking toward 10:30 to insure depth of penetration). (This action should turn your opponent's head clockwise to his right.)
Shuffle forward while continuing the counterclockwise motion with your right hand and follow-up with a right horizontal dipping outward elbow strike to your opponent's solar plexus. Your left hand should be checking high. (This should cause your opponent to lose his wind and bend forward at the waist.)
Execute a right front crossover, and cover out toward 7:30.

Ritual? Does it makes us better or not? Part 1 of 2 (Long)

Anonymous — Thu, 30 Aug 2007 13:07:00 GMT

I've been reading lots of posts lately regarding the thoughts of Kenpo teachers, practitioners and side line watchers. The opinions are varied from those who have appointed themselves as keepers of the terms, practices and norms of Kenpo, to those who just want to amass knowledge replete with some sort of approval from the cyber gods for their ability to communicate with the Kenpo "code" speak. None of this is bad really, the diversity gives us different perspective as to the thinking, and practices of Kenpoists from all over, and how they would prepare for the most toxic event in their lives, confrontation with natures most dangerous animal, Man. But, does some sort of ritual help us to prepare, aside from all other aspects of our training, can we benefit from rituals and ceremonies? I've recently discovered some old notes jotted down in the early 70's while at a presentation in Berkeley California with an American who became Ram Das, an East Indian devotee of Hinduism, etc. It prompted me to look into ritual in those days, which was much more acceptable then than now, but now the evolution (again) of the "me" as the god of my idolatry, prompted me to investigate my own thoughts on how ritual affects my journey. The SGM was not real big on ritual in Kenpo, but he allowed, along with our practical studies of the art, a cautious departure from the standards he posited for us. Let me say this: I have no collegiate pedigree, I'm not appointed, anointed, ordained, not had any revelations from anywhere, other than 65 years of life, so these are my opinions and beliefs. They carry no weight other than my unquenchable passion for life and it's continuation in peace and harmony and the fierce willingness to maintain that peace and harmony with whatever means and to whatever end. Whew! there!! Among the most common "human needs" is the desire for stability, tradition, and order, few experimental practices seem to fulfill this need, and in neglecting to do so they often prove to be dysfunctional. This dysfunctionality crept into the system and allowed the "norms" to be stretched, bent, and broken to accommodate the momentary tastes of a particular group, be they serious or whimsical. The most obvious as noted by another poster, was the "expert" advice given by certain teachers in an almost transcendental application of techniques, using their so-called expertise in pontificating that their view of Kenpo was beyond pain, sweat, personal 'dents' and long hours of trial and error. All of this coming "ex cathedra" from 'wounds that have never felt a blow'. Still, tradition and ceremony DO have a revelance in ones training. This is my take and I call it " The Death of Kenpo" A community, any community which seeks to live primarily with its past or comes to repudiate much of its past is likely to disintegrate. The past is a major factor in defining the present character on any community, and like it or not, Kenpo is community. To lose the past tends to make the community formless and purposeless, and one might say that the loss of a clear and committed leader tends to also. Among other things, there's an obliteration of the people's awareness of belonging, totally, to that community. One could also say (and I am about to) that there might be a poverty in Kenpo. Not a poverty of material, God knows we have a wealth of that, and more coming every day. But emotionally or dare I risk the ire of all by saying even "spiritually"? Do we need historical figures to give us the sense of belonging, being part of the greater scheme and evolution of our Kenpo? If we honor these figures, do we then become stuck in the past? If the answer is 'no' , then we must honor ceremony and ritual as well. In part II, I will expound on the why of ritual and ceremony, the modern bias which gives "ritual" a negative connotation which has lead to a failure to understand the nature of ritual action. Then honor is to be given those who see Kenpo as an evolutionary system applicable to any society.

SGM Parker Notes on TECHNIQUES (DIRECTIONAL)

kenpoist — Thu, 16 Aug 2007 19:32:00 GMT

TECHNIQUES (DIRECTIONAL)

GRABS & TACKLES

FRONT

1. (Y-1)                       Delayed Sword - Right Front Lapel Grab
2. (Y-8)                       Mace of Aggression - Front Two Hand Grab - Pull In
3. (O & 1st BRN-1)      Clutching Feathers - Front Left Hand Hair Grab
4. (O & 1st BRN-7)      Lone Kimono - Front Left Hand Lapel Grab
5. (O & 1st BRN-13)    Crossing Talon - Front Right Cross Wrist Grab
6. (P & 1st BLK-8)      Charging Ram - Front Tackle
7. (P & 1st BLK-14)     Darting Mace - Front Two Hand Wrist Grab
8. (P & 1st BLK-20)     Twin Kimono - Front Two Hand Lapel Grab - Push Out
9. (B & 2nd BLK-1)      Begging Hands - Front Two Hand Grab To Wrists
10. (B & 2nd BLK-8)     Raking Mace - Front Two Hand Lapel Grab - Pull In
11. (B & 2nd BLK-20)    Gripping Talon - Front Left Hand Direct Wrist Grab
12. (B & 2nd BLK-23)    Broken Ram - Front Tackle
13. (G & 3rd BLK-15)    Conquering Shield - Front Left Stiff Arm Lapel Grab
14. (G & 3rd BLK-20)     Intercepting The Ram - Front Tackle
15. (3rd BRN-1)            Glancing Spear - Front Direct Wrist Grab
16. (3rd BRN-8)            Desperate Falcons - Front Two Hand Grab To Wrists
17. (3rd BRN-15)          Dominating Circles - Front Right Shoulder Grab By Opponent's Right Hand
18. (3rd BRN-21)          Blinding Sacrifice - Front Two Hand Choke Or Grab Attack
19. (3rd BRN-24)          Falling Falcon - Front One Hand Grab

FLANK

1. (O & 1st BRN-18)   Obscure Wing - Flank Left Hand Shoulder Grab
2. (O & 1st BRN-22)   Obscure Sword - Flank Left Hand Shoulder Grab
3. (G & 3rd BLK-1)     Obscure Claws - Flank Left Hand Shoulder Grab

REAR

1. (P & 1st BLK-1)     Twirling Wings - Rear Stiff Hand Lapel Grab
2. (B & 2nd BLK-15)   Crossed Twigs - Rear Two Hand Grab To Wrists
3. (G & 3rd BLK-8)     Menacing Twirl - Left Hand Rear Belt Grab

PUSHES

FRONT

1. (Y-2)                      Alternating Maces - Two Hand Front Push
2. (O & 1st BRN-2)     Triggered Salute - Front Right Hand Push
3. (O & 1st BRN-8)     Glancing Salute - Right Hand Cross Push
4. (O & 1st BRN-14)   Repeating Mace - Front Left Hand Push
5. (P & 1st BLK-2)      Snapping Twig - Front Left Hand Chest Push
6. (P & 1st BLK-9)      Parting Wings - Front Two Hand Push
7. (P & 1st BLK-15)     Hooking Wings - Front Two Hand Low Push
8. (B & 2nd BLK-2)      Thrusting Wedge - Front Two Hand High Push
9. (B & 2nd BLK-9)      Snaking Talon - Front Two Hand Push
10. (B & 2nd BLK-16)   Twist Of Fate - Front Two Hand Push
11. (G & 3rd BLK-2)     Encounter With Danger - Front Two Hand Push
12. (2nd BRN-1)           Fatal Cross - Front Two Hand Attempted Low Push

REAR

1. (G & 3rd BLK-9)    Leap From Danger - Rear Two Hand Push

PUSH/PUNCH

1. (2nd BRN-8)        Circling Windmills - Front Two Hand Push Followed By A Right Punch (Back Near A Wall)

PUNCHES

RIGHT FRONT

1. (Y-9)                      Attacking Mace - Front Right Straight Punch
2. (O & 1st BRN-3)     Dance of Death - Straight Right Punch
3. (O & 1st BRN-9)     Five Swords - Front Right Roundhouse Punch
4. (O & 1st BRN-23)   Raining Claw - Front Uppercut Right Punch
5. (P & 1st BLK-3)      Leaping Crane - Front Step Through Right Punch
6. (P & 1st BLK-10)   Thundering Hammers - Front Straight Right Punch
7. (P & 1st BLK-21)   Sleeper - Front Straight Step Through Right Punch
8. (B & 2nd BLK-30    Flashing Wings - Front Straight Right Punch
9. (B & 2nd BLK-10)   Shield & Mace - Front Straight Step Through Right Punch
10. (B & 2nd BLK-17)   Flashing Mace - Front Straight Right Punch
11. (B & 2nd BLK-21)   Gathering Clouds - Front Straight Right Punch
12. (B & 2nd BLK-24)   Circling The Horizon - Front Step Through Right Punch
13. (G & 3rd BLK-10)   Circles Of Protection - Front Step Through Overhead Right Punch
14. (G & 3rd BLK-16)   Taming The Mace - Front Step Through Right Punch
15. (3rd BRN-9)           Leap Of Death - Front Straight Punch
16. (2nd BRN-9)           Destructive Kneel - Front Step Through Right Punch

RIGHT FLANK

1. (G & 3rd BLK-21)   Kneel of Compulsion - Flank Step Through Right Punch
2. (G & 3rd BLK-24)   The Back Breaker - Flank Step Through Right Punch
3. (3rd BRN-16)         Destructive Fans - Flank Right Punch With Opponent's Right Leg Forward
4. (2nd BRN-19)        Prance Of The Tiger - Right Flank Step Through Right Uppercut

RIGHT REAR

1. (3rd BRN-2)        Thrust Into Darkness - Right Punch From Rear
2. (2nd BRN-17)       Escape From Darkness - Right Punch From The Left Rear Flank

LEFT FRONT

1. (Y-3)                      Sword Of Destruction - Front Left Hook Punch
2. (O & 1st BRN-15)   Shielding Hammer - Front Hooking Left Punch
3. (O & 1st BRN-19)   Reversing Mace - Front Straight Left Punch
4. (P & 1st BLK-16)   Shield & Sword - Front Straight Left Punch
5. (G & 3rd BLK-3)    Circling Destruction - Front Step Through Left Punch
6. (G & 3rd BLK-23)   Glancing Wing - Front Left Uppercut Punch
7. (2nd BRN-2)        Twirling Hammers - Front Step Through Left Punch

LEFT REAR

1. (2nd BRN-14)       Unfolding The Dark - Left Step Through Left Punch From The Right Rear Flank

COMBINATIONS - LEFT AND RIGHT

1. (3rd BRN-3)        Circling Fans - Front Straight Left and Right Punch Combination
2. (3rd BRN-10)       Protecting Fans - Front Left and Right Punch With Opponent's Left Leg Forward
3. (3rd BRN-17)       Unfurling Crane - Front Left and Right Punch, Opponent's Right Leg Forward
4. (2nd BRN-21)       Entwined Maces - Front Left and Right Punch, Opponent's Left Leg Forward

COMBINATIONS - RIGHT AND LEFT

1. (2nd BRN-23)       Fatal Deviation - Front Right and Left Punch With Opponent's Right Leg Forward

KICKS

RIGHT FRONT

1. (Y-4)                     Deflecting Hammer - Front Right Thrust
2. (O & 1st BRN-4)    Thrusting Salute - Front Straight Right Kick
3. (G & 3rd BLK-11)   Circle Of Doom - Front Straight Right Kick
4. (2nd BRN-3)           Defensive Cross - Right Front Snap Kick

RIGHT ROUNDHOUSE

1. (P & 1st BLK-4)    Swinging Pendulum - Front Right Roundhouse Kick
2. (G & 3rd BLK-4)    Detour From Doom - Front Right Roundhouse Kick
3. (2nd BRN-10)       Bowing To Buddha - Right Front Roundhouse Kick (Kneeling On The Ground)

RIGHT SIDE

1. (B & 2nd BLK-4)    Hugging Pendulum - Right Front Side Kick

RIGHT REAR

1. (B & 2nd BLK-11)   Retreating Pendulum - Front Right Rear Kick

LEFT

1. (O & 1st BRN-10)   Buckling Branch - Front Straight Left Kick

COMBINATION KICKS

1. (3rd BRN-4)        Rotating Destruction - Right Front Snap Kick and Left Spinning Back Kick Combination
2. (3rd BRN-11)       Deceptive Panther - Combination Front Right Snap Kick (Low) And Right Roundhouse Kick (High)

COMBINATION KICK/PUNCH - RIGHT

1. (2nd BRN-4)        Dance Of Darkness - Right Front Kick Followed By A Right Punch
2. (2nd BRN-15)       Unwinding Pendulum - Right Front Kick Followed By A Right Punch

COMBINATION KICK/PUNCH - LEFT

1. (2nd BRN-11)       Reversing Circles - Left Roundhouse Kick Followed By A Left Punch

HOLDS AND HUGS

FRONT

1. (O & 1st BRN-5)    Gift Of Destruction - Handshake
2. (O & 1st BRN-16)   Striking Serpent's Head - Front Bear Hug - Arms Free
3. (O & 1st BRN-20)   Thrusting Prongs - Front Bear Hug - Arms Pinned
4. (P & 1st BLK-17)   Gift In Return - Front Handshake
5. (B & 2nd BLK-12)   Tripping Arrow - Front Bear Hug - Arms Free
6. (B & 2nd BLK-18)   Gift Of Destiny - Front Handshake
7. (G & 3rd BLK-12)   Broken Gift - Front Handshake

REAR

1. (O & 1st BRN-11)    Scraping Hoof - Full Nelson
2. (O & 1st BRN-24)   Crashing Wings - Rear Bear Hug - Arms Free
3. (P & 1st BLK-5)    Crushing Hammer - Rear Bear Hug - Arms Pinned
4. (P & 1st BLK-11)   Squeezing The Peach - Rear Bear Hug - Arms Pinned
5. (P & 1st BLK-22)   Spiraling Twig - Rear Bear Hug - Arms Free
6. (B & 2nd BLK-5)    Repeated Devastation - Full Nelson
7. (G & 3rd BLK-5)    Squatting Sacrifice - Rear Bear Hug - Arms Free
8. (G & 3rd BLK-17)   Twirling Sacrifice - Full Nelson

LOCKS AND CHOKES

FRONT

1. (O & 1st BRN-6)    Locking Horns - Front Headlock
2. (O & 1st BRN-21)   Twisted Twig - Front Wrist Lock
3. (P & 1st BLK-18)   Bow Of Compulsion - Front Wrist Lock Against Chest
4. (B & 2nd BLK-6)    Entangled Wing - Front Arm Lock 5. (B & 2nd BLK-22)   Destructive Twins - Two Hank Choke - Pull In
6. (G & 3rd BLK-13)   Heavenly Ascent - Front Two-Hand Choke - Arms Straight
7. (G & 3rd BLK-18)   Cross Of Death - Front Two-Hand Choke

FLANK

1. (Y-6) Grasp Of Death
2. (O & 1st BRN-12)   Grip Of Death - Flank Headlock
3. (P & 1st BLK-6)    Captured Leaves - Flank Finger Lock

REAR

1. (O & 1st BRN-17)   Locked Wing - Hammerlock
2. (P & 1st BLK-12)   Circling Wing - Rear Two-Hand Choke - Arms Bent
3. (P & 1st BLK-23)   Cross Of Destruction - Rear Two Hand Choke
4. (P & 1st BLK-24)   Flight To Freedom - Hammerlock
5. (B & 2nd BLK-13)   Fallen Cross - Rear Two-Hand Choke
6. (B & 2nd BLK-19)   Wings Of Silk - Rear Two-Arm Lock
7. (G & 3rd BLK-6)    Escape From Death - Right Rear Arm Choke

TWO MAN ATTACKS

GRABS - FRONT/REAR

1. (3rd BRN-18)       Grasping Eagles - Right Front Lapel Grab And Rear Arm Grab By Two Men

GRABS - FLANK

1. (3rd BRN-5)        Falcons Of Force - Left And Right Shoulder Grab By Two Men
2. (3rd BRN-12)       Courting The Tiger - Left And Right Arm Grab By Two Men
3. (3rd BRN-22)       Snakes Of Wisdom - Left And Right Shoulder Grab By Two Men
4. (2nd BRN-5)        Marriage Of The Rams - Right And Left Shoulder Grabs (Close By Two Men)

MULTIPLE COMBINATIONS PUNCH AND HUGS

1. (3rd BRN-6)        The Bear And The Ram - Front Right Punch And Rear Bear Hug Arms Free
2. (3rd BRN-13)       Gathering Of The Snakes - Front Left Punch And Rear Right Punch By Two Men

3. (3rd BRN-19)       Parting Of The Snakes - Front Right Punch And Rear Attempt By Two Men
4. (2nd BRN-6)        The Ram And The Eagle - Right Front Punch And Left Rear Collar Grab By Two Men
5. (2nd BRN-12)       Reprimanding The Bears - Right Front Punch And Rear Bear Hug Arms Free - By Two Men

WEAPONS

CLUB ATTACKS - FRONT

1. (Y-7)                    Checking The Storm - Right Overhead Club
2. (P & 1st BLK-7)    Evading The Storm - Front Right Overhead Club
3. (P & 1st BLK-13)   Calming The Storm - Front Right Roundhouse Club
4. (P & 1st BLK-19)   Obstructing The Storm - Front Right Overhead Club
5. (B & 2nd BLK-7)    Defying The Storm - Front Right Roundhouse Club
6. (B & 2nd BLK-14)   Returning Storm - Front Roundhouse And Backhand Club Attack
7. (G & 3rd BLK-14)   Capturing The Storm - Front Right Overhead Club
8. (G & 3rd BLK-19)   Securing The Storm - Front Right Roundhouse Club
9. (G & 3rd BLK-22)   Clipping The Storm - Front Right Thrusting Club
10. (2nd BRN-13)       Circling The Storm - Right Front Club Poke

CLUB ATTACKS - FLANK

1. (G & 3rd BLK-7)    Brushing The Storm - Flank Right Overhead Club
2. (2nd BRN-7)        Escape From The Storm - Right Flank Overhead Right Club

KNIFE ATTACKS - FRONT

1. (3rd BRN-7)        Raining Lance - Front Overhead Knife Attack
2. (3rd BRN-14)       Glancing Lance - Front Knife Thrust - With Arms Down
3. (3rd BRN-20)       Thrusting Lance - Front Knife Thrust
4. (3rd BRN-23)       Entwined Lance - Front Knife Thrust
5. (2nd BRN-16)       Piercing Lance - Front Knife Thrust - With Arms Up

GUN ATTACKS - FRONT

1. (2nd BRN-18)       Capturing The Rod - Front Right Pistol (Against Your Chest)
2. (2nd BRN-22)       Defying The Rod - Right Front Pistol
3. (2nd BRN-24)       Twisted Rod - Right Front Pistol

GUN ATTACKS - REAR

1. (2nd BRN-20)       Broken Rod - Rear Right Hand Pistol

EPAKS Yellow Belt Manual

kenpoist — Wed, 18 Jul 2007 05:45:00 GMT

Here is the beginnings of the "The Official Ed Parker American Kenpo System Yellow Belt Manual".

In the next 30 plus days, I will upload the entire manual.

Disclaimer:

I appreciate everyone's response to the information being released
(specifically the belt manual). Although the information contained is
invaluable to the study of American Kenpo, please understand that this, like
most all writings, it is subject to typographical errors.

This material was in the final editing stages at the time of my fathers passing.
It is possible to find typos in reference to such things as directions of
movement, weapons used or selected targets. This material should be used as
a resource, not your primary means of study in the Art. Seek out
knowledgeable instruction to ensure proper understanding of the material.

This is material is for personal reference and historical purposes only, and not intended for resale.

Thank you,

Edmund K. Parker Jr.

KENPO CREED

“I COME TO YOU WITH ONLY KARATE, EMPTY HANDS. I
HAVE NO WEAPONS, BUT SHOULD I BE FORCED TO DEFEND MYSELF,
MY PRINCIPLES, OR MY HONOR; SHOULD IT BE A MATTER OF LIFE
OR DEATH, OF RIGHT OR WRONG; THEN HERE ARE MY WEAPONS,
KARATE, MY EMPTY HANDS..”

–– ED PARKER

TABLE OF CONTENTS

TITLE    PAGE

Kenpo Creed    1
Table of Contents    2
Introduction    3
Prerequisites    4
Formalities    5-7
Ed Parker History    8,9
Sayings    10
Synonyms    11
Clock Principle    12
Standardized Markings for Lower Belt Rankings    13
Terminology    14-17
Basics    18
Techniques
   a. Required Techniques    19
   b. Explained    20-25
   c. Notes    26-35
Forms (Short Form #1)
   a. Explained    36
   b. What it Contains and Teaches    37
   c. Foot & Hand Movements    38
   d. Notes    39
Sets (Blocking Set #1 - Star Block)    40
Freestyle
   a. List    41
   b. Explained    42
   c. Notes    43
Written Test    44-48
Student Notes    49

INTRODUCTION

       Most people are totally oblivious of danger. Others disregard danger, convinced that danger will never be a part of their life. However, whatever your attitude might be, be realistic and ACCEPT the fact that impending dangers do exist, and consider them seriously. Once you ACCEPT the existence of these impending dangers, and realize that logical measures of prevention can help to avoid them, you have inherently armed yourself with a prime weapon against attack.
   You must then create the DESIRE to do something about it, have the CONVICTION to begin your study of preventive measures, and instill the WILL POWER to see your desire to completion.
   Whatever the attitude so is the response. When in or out of class treat your fellow students with respect. Belittle no one, encourage all, and become an inspiring example. Develop positive attitudes at all times. Avoid being adverse to changing your attitude. Be willing to learn, to think, to accept challenges, to explore, and to share the knowledge learned. As you grasp the elements of the Art, be creative! Do not just solve problems, but discover what they are! Subsequently, do not criticize others unless you have established solutions. Problems without answers serve no purpose. Cultivate flexible thoughts. They help to expand your Vocabulary of Motion. Developing flexible thoughts inevitably leads to increasing your ability to alter and tailor.
   Diligently study the terminology for it contains a wealth of answers provided by Mr. Parker. Do not procrastinate. Make every effort to learn the terminology now. It will accelerate your understanding of Kenpo, and increase your enjoyment of the art. Commence with basics. Do not be enticed to advance your study of the art prematurely. Commence with fundamentals of importance. First master your stances. They are the foundation of your fighting art. If you follow this advice, you will find greater enjoyment in Kenpo, and look forward to continued study. This same art will additionally yield self-confidence, self-awareness, alertness, self-discipline, etc...all of which may be called upon if needed to defend yourself.

PREREQUISITES FOR YELLOW BELT

1. Recite the Kenpo Creed.
2. Follow the Formalities of the Association and your studio.
3. Recite the Sayings for Yellow Belt.
4. Read the History of Mr. Parker.
5. Know the Synonyms used in the names of the techniques.
6. Be able to explain the Clock Principle.
7. Be able to explain the Belt Ranking System.
8. Be able to explain and give examples of the Terminology.
9. Execute your Basics in a relaxed manner, accurately, and with comprehension of proper execution.
10. Perform Short Form #1 on both sides.
11. Be able to explain some of the things that Short Form #1 contains and teaches.
12. Know your Yellow Belt Freestyle Techniques.
13. Familiarize yourself with the concepts contained in the Yellow Belt Freestyle Techniques.
14. Know your Techniques; that is, know the attack, the proper sequential response, and the proper name associated with it.
15. Practice your techniques with confidence against all types of people: short, tall, heavy, light, meek, aggressive, experienced, skilled, awkward, etc...
16. Develop ways to practice your techniques semi-spontaneously.
17. Be able to answer the questions on the Written Test.

FORMALITIES

   Whenever tradition can compliment the present, as well as influence the future, we should not hesitate to adopt it. Formalities and ceremonies associated with the Martial Arts have and still serve an important role. Because of their positive qualities they are stressed and emphasized at all of our Association schools. Through adherence to formalities and ceremonies, discipline and respect become ingrained in the students. It must be emphasized, however, that adherence to formalities and ceremonies does not compel anyone to comply with any sect or religion.

1. UNIFORMS: Students' uniforms shall be white and should be maintained in a clean and sanitary condition. All brand name tags should be removed from uniforms.

2. PATCHES: The IKKA CREST should be placed 1/2 inch below the seam and centered on the left shoulder.
   The ASSOCIATION PATCH should be placed on the left front side of the GI. To find the proper height, the patch should be positioned so that the dividing lines of the circle in the patch are centered over the left breast at the nipple or slightly above it. In aligning your patch for sewing, it is recommended that you first put on your top, cross your left lapel over your right lapel, and then position your patch.

3. BELTS: All brand name tags shall be removed from belts. Be sure you have been instructed on how to properly tie your belt.
Only instructors are allowed to tie and position their belt with the knot to the front and in the middle. However when an instructor is taught by someone of higher rank, he relinquishes this privilege and places the knot to the left to show respect to his instructor. Disregarding this formality denotes disrespect to an instructor and to the Art. The one and only time a student can position the knot in the middle is when he (or she) competes at a tournament. All male students tie their belt with the knot positioned to the left . This not only shows respect, but it shows that he is a novice who has not yet earned the privilege of sharing the honor given to the instructors and those of higher knowledge. All female students tie their belt with the knot positioned to the right (see illustrations). Again, this not only shows respect, but that she is a female novice not yet privileged to share the honor held by instructors (male or female), and those of higher knowledge. Male students wear their knot to the left (the weak side) and female students wear their knot to the right (the strong side) because females are the stronger of the two sexes in terms of the amount of internal pain that they can endure (especially during childbirth).

4. VERBAL RESPECT: Black Belts and instructors should be addressed as "Mr." (Miss or Mrs. if the instructor is female) and then by their last name. This generates respect to those of higher rank. It helps to acknowledge their skill, experience, and time devoted to the Art. Since we address older men of the community as "Mr." as a means of showing our respect for their ability, wisdom, age, and experience, so should we show respect to those with more experience in the Art.

5. LATE STUDENTS: If a student is late for class, he must stand at the edge of the training room, be recognized by the instructor, and acknowledged by the instructor. The student will then return the instructor's acknowledgement with a salute, before being allowed to join the class.

6. CREED & PLEDGES: The CREED has become an accepted Code for many Martial Artists. It denotes the Martial Artist's way of life in today's environment. Equally as important, the Creed acts as a guide to the Martial Artist in developing a keen sense of justice.
   The use of the words "right or wrong" leaves no margin for clemency but to defend one's self. A matter of "life or death" means strict adherence to survival in protecting loved ones or self even if it means death to the adversary should no alternative be left. "Principles" must be upheld and protected, for without them the very core and soul of man is valueless. "Honor" motivates a Martial Artist to action because it gives him dignity. "Empty Hands" (as well as other body weapons) are the substitutes that a Martial Artist uses in place of man-made weapons to sustain his honor. Discipline developed through training without weapons implants justice and discretion when applying the Martial Arts.
   The PLEDGES are extensions of the CREED, composed and designed to further promulgate spiritual character among the lower ranks.

7. BOW OF RESPECT: Whenever a student enters or leaves the training area, he is required to bow. Bowing to the training area demonstrates respect for the Art as well as the area where others have trained before him. Bowing is done to inanimate objects only. A salute (hand gesture) is always done to show respect to an instructor or individual.
   The bow should stem from an attention stance. When you are bowing, bow your head for a period of two seconds before returning to an attention stance.

8. SALUTE OF RESPECT: Upon entering the school, salutations utilizing prescribed hand gestures are made to all Black Belts and instructors along with the proper verbal greeting. The salute is always directed to the senior belt holder first and then in the order of their rank (highest to lowest). Black Belts from other systems are acknowledged after those of our own system.
   Even when a class is being conducted (private or otherwise) an instructor is required to call his students to attention, have his students face the senior instructor when he arrives, and salute him.
   The same procedure, utilizing the prescribed salute, occurs after meditating and when a student is about to leave the practice area or school.
   Even while away from the school, students are encouraged to continue to show this respect. Like a handshake it is a sign of respect and friendship. Through such practice, students learn to humble themselves, to be courteous to others, to develop patience, as well as appreciate their instructor's efforts.

9.SALUTATION: THE HISTORY & THE MEANINGS: The history and meaning of these movements will be described in the upcoming belt levels.

10. MEDITATION: Before a class actually commences, students are required to meditate in a horse stance, with their backs erect, head bowed, eyes closed, and their left open hand covering their right clenched fist. This position is also assumed at the end of the training session. The purpose of this practice is to have the students clear their minds of all outside activities prior to starting their class. In the event they may have had a confrontation on the street causing negative thoughts, they should clear their minds of such thoughts to prevent them or fellow students from receiving possible injury. With a calm and serene mind, they will be able to absorb new material more readily, become more conscious of their every effort, and crisp in their actions. In short, it prepares the mind and body to receive or reflect on the knowledge obtained.
When meditating at the conclusion of class, students are to ponder over the knowledge received and make a personal commitment not to ever misuse the new (or old) knowledge. They are to constantly reflect upon the preciousness of life and the Creed which they are to follow.

11. PERSONAL CONDUCT: At all times you are to act with respect toward yourself, others, and your school. Absolutely no smoking, drinking, or abusive language is allowed on any occasion involving you and/or other members of your school, and certainly not while in uniform. Be respectful to your training center; help keep it clean at all times for the benefit of all. In addition, be prompt and courteous with the payments for your lessons.

12. KENPO KARATE: A simple translation of Kenpo Karate would be "Law of the Fist and the Empty Hand". Chinese instructors of Kenpo were imported by the Okinawans to teach them the art of Kenpo. The Okinawans then developed the "Karate method of Kenpo". When Mr. Parker first began learning with Mr. Chow, Mr. Chow was calling the art, Kenpo Karate. This choice of words was due to the public familiarity with the word Karate. Today we refer to our art as Ed Parker's American Kenpo.

ED PARKER

    Mr. Ed Parker is the foremost authority and instructor of Kenpo Karate in the United States today and is known world-wide as "Mr. Karate". He is the "Founder of American Kenpo", the president and founder of the Ed Parker Kenpo Karate Studio chain, as well as the International Kenpo Karate Association. He is the Father of American Karate having originated the first American version of Karate. He commenced teaching professionally in Provo, Utah in 1954. He opened his first professional Karate studio in the United States in Pasadena, California in 1956.
    He has been featured in National and International magazines: Time, Look, Strength and Health, Show Business Illustrated, Iron Man, Action Karate, Black Belt, Karate Illustrated, Official Karate, Inside Kung Fu, American Karate, and Karate/Kung Fu Illustrated; in newspapers nation-wide; Martial Arts' magazines world wide; articles in the World Encyclopedia and many others.
    He has appeared in dozens of movies and television shows, including Revenge of the Pink Panther and The Curse of the Pink Panther. In addition, he has taught Karate to nearly every big name actor and actress in Hollywood -- including, Robert Culp, Joey Bishop, Jose Ferrar, Rick Jason, Nick Adams, Frank Lovejoy, Robert Wagner, Elvis Presley, Natalie Wood and Elke Sommer, to name a few. He has also been a technical advisor for motion pictures and T.V.
    Mr. Parker has spoken, lectured or put on his exciting demonstrations at: high schools, colleges, civic clubs, clinics, tournaments, church groups, youth groups, etc. He is a highly sought-after speaker and his Karate demonstrations are famous nation and world-wide. He is in great demand throughout the world to put on his blinding demonstrations of speed, skill and power along with his picturesque analogies when explaining the Art so all can understand. He frequently puts on Seminars and Demonstrations in Australia, England, Spain, Ireland, Chile, Venezuela and has many worldwide government officials as his students.
    Throughout the years Mr. Parker has authored many books: Basic Karate Book, Kenpo Karate, The Women's Guide to Self Defense, Secrets of Chinese Karate, A Guide to Law Enforcement, Home Study Karate Workshop Course, A Guide To The Nunchaku, Infinite Insights into Kenpo (Volumes 1-5), The Zen Of Kenpo, Kenpo In The Streets, Speak With A Knife, Speak With A Club, Everyday Gestures That Can Save Your Life, Answers To Multiple Attacks On The Street, Inside Elvis, Accumulative Journals (Yellow - 5th Black), and his revolutionary Encyclopedia of Kenpo. Instructional video tapes are also products of his endeavors to enlighten others of the merits of Kenpo.
    He is a graduate of Kamehameha High School (1949), Honolulu, Hawaii where he was born and raised. Mr.Parker has a B.S. Degree from Brigham Young University (1956) with a Major in Sociology and Psychology, and a Minor in Political Science.
    Mr. Parker annually produces the world's largest and foremost Karate tournament, the International Karate Championships in Long Beach, California. Mr. Parker is also a consultant and advisor to numerous other Karate tournaments world-wide.
    Mr. Parker's uniqueness rests in his continuous efforts to combat traditional restrictions binding progressive thinking. He is truly a creative genius because of his incredible ability to discover the problems within the Martial Arts. His contributions and innovations are endless, encompassing logic and reasoning not yet employed by others. His four decades of experience, contributions, and endeavors establish him as the Master of our system, the author of our training material, and the final voice of approval.

SAYINGS FOR YELLOW BELT

Distance is your best friend.
Whatever the attitude, so is the response.
When blocking on the inside of an opponent's arm, do so below the elbow, never above it.
When blocking on the outside of an opponent's arm, do so at or above the elbow, never below it.
The ankle is the wrist of the foot.
A knife-edge kick is a chop with the foot.
Deflection; then infliction of pain.

Please learn your sayings. They are invaluable tools. Some make comparative analysis for you; others provide practical insights into the way real survival encounters are. All sayings provide logical and useful insights into Kenpo. The application of many may be extended into other facets of your daily life.

SYNONYMS

Hammer...Side of Clenched Fist (Hammer Portion of Hand)
Mace...Fist
Storm...Club Attack
Sword...Side of Open Hand (Chop or Handsword)
Twig...Arm

The synonyms used in the self-defense techniques were developed for several reasons. Their usage makes the names of the self-defense techniques more colorful, descriptive, and interesting. Secondly, the name often indicates the attacking weapon, or your response to the attack.

CLOCK PRINCIPLE

    Throughout your lessons constant reference will be made to the face of a clock. This reference actually relates to angles used when teaching, to show you the proper positioning of your feet in the performance of your basics, self-defense techniques, freestyle techniques, forms, etc. For example, when starting a form (set), you should picture yourself standing in the middle of a large clock that has been placed on the floor. The direction you face when starting should always be 12 o'clock, to the right of you 3 o'clock, directly behind you 6 o'clock, and to your left 9 o'clock. Like an Air Force pilot you should imagine the hour hand of the clock half way between the major clock positions to determine 1:30, 4:30, 7:30, and 10:30. As you move from your starting position, having knowledge of where other points on the clock are will help you perform your moves with a more definite sense of direction. This principle also applies when learning self-defense techniques; 12 o'clock will always be the direction you face when first starting regardless of where the attack stems -- front, flank, rear, or otherwise. Still another example: when learning, you may be facing 12 o'clock with your opponent attacking from 3 o'clock and being asked to have your left foot step back to 9 o'clock as you face your opponent attacking from 3 o'clock. Three facets would have been involved here, the original direction in which you were facing (12 o'clock), the angle from which your opponent attacked you (3 o'clock), and the correct position of your foot (9 o'clock) which would have been necessary to thwart the attack.
    In short, the "Clock Principle" is a directional reference used to aid you in selecting the proper direction when attacked, retaliating, or working your basics.

STANDARDIZED MARKINGS FOR RANK DESIGNATION
(LOWER BELTS)

    At ED PARKER'S KARATE STUDIOS every beginning student commences his program by wearing a WHITE belt. The first belt rank of any distinction is the YELLOW belt. The entire belt is yellow with no other attached designation. The second promotion, ADVANCED YELLOW, entitles the student to wear an orange strip on his YELLOW belt. Each color belt thereafter up to GREEN is divided into two stages -- REGULAR (plain), and ADVANCED (designated by a strip of the next corresponding color advancement); ORANGE -- ORANGE with a purple strip; PURPLE -- PURPLE with a blue strip; BLUE -- BLUE with a green strip; GREEN -- GREEN with a brown strip.
    Each corresponding color strip shall be precisely 1/2 inch wide. There shall be one (1) inch from the end of the belt to the start of the colored strip. The strips should be made of "IRON ON TAPE". The brand name (tags) of the gi company shall be removed from both ends of the belt.
    All advancements requiring strips must be put on by the student immediately after their promotion.

YELLOW BELT TERMINOLOGY

ANGLE(S) OF ATTACK - The eight major directions from which you or an opponent can attack or defend.

BASICS - Simplified moves that comprise the fundamentals of Kenpo. They are divided into stances, maneuvers, blocks, strikes, specialized moves and methods, etc.

BLOCK(S) - A defensive maneuver used to hinder or check an attack; all defensive moves employing physical contact to check, cushion, deflect, redirect, or stop an offensive move.

CHOP - A cutting blow to an opponent or object, which generally employs the knife-edge of the hand as the weapon.

CLASSICAL - A term used to describe the so-called pure systems of Karate or Kung Fu. Many of the movements associated with these systems are not practical in our present environment, since their methods were created for the types of defense found prevalent during their particular time of history.

CLAWING - Striking action employing the fingertips to scratch or rip with. Such action may employ two or more fingers.

CLOCK PRINCIPLE - A method used to help students visualize the direction in which they are to move. Students are generally asked to think of themselves as being in the middle of a big clock facing 12 o'clock, with 6 o'clock to their rear, 3 and 9 to their right and left, and all other numbers in their respective locations.

COMBAT - Realistic fight which excludes control and rules.

CORKSCREW PUNCH - A torquing, twisting punch that strikes with the palm down.

DRAG - The sliding of one foot toward the other while either moving forward, backward, or to the side.

DRAG STEP - The sliding of one foot forward, backward, or to the side before having the opposite foot step away from it. It is one of the four categorical methods of SHUFFLING.

EMBRYONIC BASICS - Simple basic movements that are generally single in action and purpose. Although primitive in nature they form the basic roots of Kenpo.

FORM - Is literally a short story of motion. It consists of basic movements of offense and defense incorporated into a dance-like routine for purposes of exercising, training without a partner, or training at home. It is an index of movements that gives specific answers, as well as speculative interpretations to combat situations.

FREESTYLE - A term used in Karate for sparring. As in boxing, it is a combination of offensive and defensive moves used extemporaneously. To state it differently, it is a combative method of freely expressing yourself physically.

GUARD - Defensive positioning of the arms and legs in preparation for an attack. See FIGHTING POSITION.

HEEL/KNEE LINE - Method of determining the proper depth of a neutral bow and arrow stance. Here, if you have proper depth to your stance, the heel of the forward foot should just touch the knee of the rear leg if you pivot forward on your toes and kneel.

KICK(S) - Generally refers to method(s) used when striking with the foot. It also includes striking with the shin, calf, peroneus longus, knee, or other parts of the leg.

LOCK OUT - It is a type of check that is used to briefly detain the action of your opponent. It involves striking a target with a natural weapon, and having the weapon remain on the target for a time before retrieving it.

MECHANICAL - Refers to those whose movements are very staccato in execution and appearance. Sequence of movements which look as if it is being done by-the-numbers. Movements are robot-like in appearance.
MOVE - (1) A command used when teaching to cause a student to react during a particular exercise. (2) The traveling of any object from one point to another.

NATURAL WEAPONS - The use of body parts as offensive weapons. This includes using parts of the hand, arm, foot, leg, head, etc.

OVER-REACH - To over-extend oneself with a blow or kick needlessly, or to reach beyond or above a certain point unnecessarily. Target exposure is the result of such action.

PARRY - Redirecting a blow or kick by riding or going with the force.

PIVOT - Is the changing from one stance or position to another while in place. This is done without moving the foot from the spot it is.

POKE - Refers to the thrusting of the tips or joints of the fingers to particular target areas on an opponent's body. The primary targets are the eyes.

PRACTICAL MOVES - Realistic moves that are functional in combat. Moves that not only work during practice, but on the streets as well.

PUNCH - Primarily refers to the methods used when striking with the front portion of the fist.

PUSH-DRAG - A type of SHUFFLE requiring your forward or rear leg to raise slightly before having the supporting leg push forward or back. The pushing leg must then drag toward the opposite leg so that the distance between them returns to its original depth. Once the original depth is re-established you are ready to resume the next PUSH-DRAG SHUFFLE. This is just one of four methods of SHUFFLING.

SET - An appendage to a FORM. See definition of a Form. This term is also used by Western Chinese to describe a FORM.

SHUFFLE - A foot maneuver used to close or increase the distance between you and your opponent. In Kenpo there are four methods that accomplish this; push-drag, drag-step, step-drag, and pull-drag. All four methods are categorized as foot maneuvers.

SNAP(PING) - A method of execution requiring the natural weapon to strike out and back with a greater magnitude than the action of a WHIP. See WHIP.

SOPHISTICATED BASICS - A single basic move that produces multiple results.

STEP-DRAG - The stepping forward, or back, with one foot and the dragging of the other foot so that the distance between them returns to their original depth. This is another of the methods of shuffling.

STEP THROUGH - The execution of full steps, by either moving forward or back. In the case of a step through kick, it means kicking with the forward foot and planting it to your rear, or kicking with the rear foot and planting it to your front.

STRIKE(S) - Methods used to execute NATURAL WEAPONS. VITAL TARGETS can be punched, kicked, chopped, poked, hammered, etc.

SWITCH - In place exchange of lead legs while facing the same direction. This is done by exchanging foot positions from one spot to another. Three alternatives can be used in making the exchange, (1) you can step back to front (2) step front to back, or (3) jump in place.

TARGETS - VITAL AREAS on your or your opponent's body which can be injured or damaged when struck.

THRUST - A particular method of execution used to propel a strike. It resembles an explosive push type action.

TOE/HEEL LINE - Method of determining the proper width of a NEUTRAL BOW AND ARROW STANCE, where the toe of the forward foot is in line with the heel of the rear foot.

TORQUE - Twisting and rotating action used to position your body and muscles to work at maximum efficiency. See ROTATING FORCE.

VITAL AREAS - The major weak points of the body.

WEIGHT DISTRIBUTION - The apportionment of weight related to a particular stance. It may vary, fifty-fifty, sixty-forty, ninety-ten, etc.

PREREQUISITE BASICS FOR YELLOW BELT

    STANCES                        FINGER TECHNIQUES

    Attention                           Inward Overhead Claw
    Natural
    Horse
    Neutral Bow
    Forward Bow                    KICKS
    Cat (45 degree)
                                          Front Snap-Ball
                                        Side Snap-Knife Edge
                                        Back Snap-Heel
    BLOCKS                         Front Roundhouse
                                          Step Through Kicks
    Inward
    Vertical Outward
    Upward
    Downward                        FOOT MANEUVERS
    Extended Outward
    Step Through Blocks         Drag-Step
                                           Step-Drag
                                           Step Through

    PUNCHES

    Snapping Horizontal            FORMS & SETS
    Snapping Vertical
    Thrusting Horizontal             Star Block
    Thrusting Vertical                 Short Form #1
    Uppercut

    STRIKES

    Inward Handsword
    Outward Handsword
    Inward Horizontal Elbow
    Outward Elbow
    Inward Overhead Elbow
    Back Hammerfist


REQUIRED TECHNIQUES FOR YELLOW BELT
(In the order they are to be taught.)

1. DELAYED SWORD (front - right hand lapel grab)

2. ALTERNATING MACES (front - two-hand push)

3. SWORD OF DESTRUCTION (front - left straight or roundhouse punch)

4. DEFLECTING HAMMER (front - right front thrust kick)

5. CAPTURED TWIGS (rear - bear-hug, arms pinned)

6. GRASP OF DEATH (left flank - right arm headlock)

7. CHECKING THE STORM (front - right step-through overhead club)

8. MACE OF AGGRESSION (front - two-hand lapel grab, pulling in)

9. ATTACKING MACE (front - right step through straight punch)

10. SWORD AND HAMMER (right flank - left hand shoulder grab)

(CATEGORICAL BREAKDOWN)

    GRABS & TACKLES                         HUGS & HOLDS

    1. DELAYED SWORD                      1. CAPTURED TWIGS
    2. MACE OF AGGRESSION
    3. SWORD AND HAMMER

    PUSHES                                         LOCKS & CHOKES

    1. ALTERNATING MACES               1. GRASP OF DEATH

    PUNCHES                                       WEAPONS

    1. SWORD OF DESTRUCTION        1. CHECKING THE STORM
    2. ATTACKING MACE

    KICKS

    1. DEFLECTING HAMMER

TECHNIQUES FOR YELLOW BELT

1. DELAYED SWORD (front - right hand lapel grab)

Standing naturally, step back with your left foot toward 6:00 into a right neutral bow stance facing 12:00, while simultaneously executing a right inward block to the right inner wrist of your opponent's right hand lapel grab. At the same time position your left hand at solar-plexus level as a precautionary check against further action. (Your block should clear your opponent's right arm, and expose the width of his body.)
Immediately slide your right foot back into a cat stance.
Without hesitation deliver a right front snap ball kick to your opponent's groin. (Your opponent's reaction should cause him to bend forward at the waist.)
Plant your right foot forward into a right neutral bow (facing 12:00), to check your opponent's right knee, as you deliver a right outward handsword strike to the right side of your opponent's neck. Remember to maintain the position of your left hand as a precautionary check. Immediately slide your right hand (after the strike) to the right wrist of your opponent as an additional precautionary check. (Your opponent's response should cause him to fall to the ground.)

2. ALTERNATING MACES (front - two-hand push)

Standing naturally, and as your opponent attempts to push you, step back with your left foot toward 6:00 into a right neutral bow stance (facing 12:00). Simultaneously execute a right inward block to the outside of your opponent's left arm, while your left hand checks at your solar plexus. (This action should turn the width of your opponent's body, and redirect his forward momentum off center.)
Immediately collapse your right arm across the top of both of your opponent's arms (to act as checks), as you deliver a left vertical thrust punch (tracking over your right arm) to your opponent's sternum or solar-plexus. This is done while pivoting into a right forward bow stance. Remember, both the stance change and punch must work in synchronization with each other in order to maximize the force of your left vertical thrust punch. (Your opponent's reaction should cause his body to bend forward at the waist.)
Immediately convert your left punch into a check by having it shift, palm open and down, on top of both your opponent's arms. Simultaneously have your right hand rapidly travel inside and over your left arm as you deliver a right outward back knuckle strike to your opponent's right temple. This transition is done while pivoting back into a right neutral bow stance. (The torque stemming from your stance change helps to increase the whipping action of your right hand, and, if properly executed, should cause your opponent`s head to be driven up and back, with the possibility of his arms flailing upward.)
Immediately have your right hand snap back as a positional check.

3. SWORD OF DESTRUCTION (front - left straight or roundhouse punch)

Standing naturally, step back with your left foot toward 6:00 into a right neutral bow stance (facing 12:00), as you simultaneously execute a right extended outward block to the inner forearm of your opponent's left punch. Your left hand should be in a positional check, covering your solar-plexus.
Immediately slide your right foot back into a 45 degree cat stance.
Without hesitation deliver a right front snap ball kick to your opponent's groin. (Your kick should cause your opponent to bend forward at the waist.)
While planting your right foot forward, inside of your opponent's left leg, and into a right neutral bow (facing 12:00), employ Marriage of Gravity as you execute a right inward handsword strike to the left side of your opponent's neck. (This action should cause your opponent to fall to the ground.)
Immediately snap your right hand back to the left shoulder
of your opponent to act as a check.

4. DEFLECTING HAMMER (front - right front thrust kick)

Standing naturally, step back with your left foot toward 7:30 into a right neutral bow stance (to move out of your opponent's Line of Attack), as you simultaneously execute a right outside downward diagonal block against the outside of your opponent's right kicking leg. Be sure to have your left hand check at your solar plexus during your block. (Your opponent's body should turn slightly to his left when your block is properly executed. Your block should, additionally, turn your opponent`s width, and cause injury to his leg.)
Without hesitation, and while still in your right neutral bow, shuffle forward "with" a left sliding check down and onto your opponent's right elbow. (Make sure your left hand checks your opponent`s forward momentum as well as the width of his upper body.) At the same time, your right hand and arm continue to circle, and will re-orbit (just as you conclude your forward shuffle) into an inward horizontal elbow strike to your opponent's face. ( Your action should cause your opponent's head to snap back, and possibly drop him to the ground.)
Just as you conclude your forward shuffle, execute a left sliding check down and onto your opponent's right elbow simultaneously "with" a right inward horizontal elbow strike to your opponent's face. The body momentum obtained from your shuffle, coupled with the forward momentum of your opponent's reaction, not only adds to the effects of borrowed force, but thoroughly checks your opponent's depth zone as well. (The effects of both action should cause your opponent's head to snap back and possibly have your opponent drop to the ground.)

5. CAPTURED TWIGS (rear - bear hug with arms pinned)

Standing naturally, with your opponent's arms around your arms, step to 9 o'clock with your left foot into a horse stance (while looking over your right shoulder), and simultaneously pin your opponent's hands to your body with your left hand. Just as your weight settles into your horse stance, execute a right back hammerfist strike to your opponent's groin. (This action should cause your opponent to bend forward at the waist, and possibly release his grasp.)
Immediately slide your right foot into a right cat stance (turning 90 degrees while facing 3 o'clock) as your left hand releases the pin, clears your opponent's right arm, and covers in front of your face as a positional check. Simultaneously with the action of your left arm have your right hand cover your groin, and proceed to clear your opponent's left arm.
Execute a right heel stomp kick to your opponent's left instep, causing your opponent to bend forward even further.
Slide your right foot back toward 3:00 into a horse stance. Immediately have your right forearm CONTOUR (track) up the middle of your opponent's body as you execute a right vertical obscure elbow strike to the underside of your opponent's chin. Have your right arm snap back after the strike, and cover your groin. (Your opponent's head should have been popped up and back, and his body may also spin away from you if done properly.)

6. GRASP OF DEATH (left flank - right arm headlock)

With your head forced to bend forward, and your opponent to your left flank (applying a headlock with his right arm), initiate your action by simultaneously, (1) tucking your chin to the left and against your chest, (2) grabbing your opponent's right wrist with your right hand, (3) stepping forward toward 12 o'clock into a right close kneel stance and (4) grabbing your opponent's right inner thigh with your left hand, and pinching the flesh of that leg with as much strength as possible. Your opponent will experience a horse-bite effect if it is done correctly. Be sure to continue checking the outside of your opponent's right leg with your left knee during the course of your action. (Your opponent's right knee may bend and double up, or his leg may pop forward and up off the ground. In addition, your efforts should cause your opponent to loosen his grip.)
As your opponent reacts to your pinch, and partially or totally releases his grip, have your right hand bring his right arm over your head and down to your chest, making sure that your right elbow is anchored to aid you in controlling your opponent's height and width.
Immediately release the grip of your left hand, and simultaneously (1) have your left foot step forward (in front of your opponent's right leg) toward 10:30 into a left neutral bow stance, (2) strike the back of your opponent's right elbow with your left forearm while (3) pulling in and toward you with your right hand. (This action should cause your opponent to step forward with his left foot prior to bending over at the waist.)
ROLL your left forearm on the back of your opponent's right elbow until your left forearm is parallel to the ground. Now slide your left hand to your opponent's right elbow. While controlling your opponent's right elbow with your left hand, pivot into a left forward bow facing 10:30. Immediately execute a right snapping vertical punch to the base of your opponent's skull behind his right mastoid bone. (This action should cause your opponent's head to move away, and possibly result in his body falling to the ground.)

7. CHECKING THE STORM (Front - right step-through overhead club)

Standing naturally, as your opponent swings his club in an overhead fashion, quickly step off to your right with your right foot toward 3 o'clock. Simultaneously drag your left foot toward your right foot as you form a left 45 degree cat stance facing 10:30. Without a break in the flow of your action, execute a right inward parry followed by a left extended outward handsword block (striking block) to the inner wrist of your opponent's right arm. During the natural flow of your motion have your right hand proceed to act as a check in front of your solar-plexus.
Immediately execute a left front snap ball kick to your opponent's groin. (This should cause your opponent to bend forward at the waist.)
Be sure to properly gauge the distance between you and your opponent as you plant your left foot toward 10:00, and deliver a right step-through snapping knife-edge kick to the inside of your opponent's right knee. (Your action should cause your opponent's right knee to bend out and away from you, but cause his head to move closer to you.)
Plant your right foot toward 10:00 into a right neutral bow, and, while employing MARRIAGE OF GRAVITY, execute a right outward back knuckle strike to your opponent's left temple. Have your left hand remain checking at your solar plexus. (This action should drive your opponent's head away from you and possibly cause his body to drop to the ground.)

8. MACE OF AGGRESSION (front -- two-hand lapel grab -- pulling in)

Standing naturally, your opponent grabs your lapel with both of his hands and pulls you toward him. When this occurs simultaneously execute (1) a right stomp on top of the arch of your opponent's right foot, (2) a right inward diagonal downward raking back knuckle strike (toward 10:30) to the bridge of your opponent's nose (stressing depth of penetration), as (3) your left hand pins and checks both of your opponent's hands to your chest. (Your opponent's knees should buckle from the stomp as your back knuckle strike breaks his nose and momentarily drives his head back.)
Continue the motion of your right arm so that it travels horizontally and down, striking both of your opponent's forearms, which will force your opponent to bend forward. (It is important that you keep your right elbow on the outside of your opponent's left arm to prevent it from being trapped.)
Immediately execute a right inward horizontal elbow strike (contouring but not restricting your movement) to the left side of your opponent's jaw, (as your left hand remains checking) making sure that you follow through with your action. (This will turn your opponent's head to his right.)
Without hesitation, return with a right outward horizontal elbow strike to the right side of your opponent's jaw. (This should force your opponent away from you.)

9. ATTACKING MACE (front - right step through straight punch)

With your feet together, drop back with your right foot toward 6:00 into a left neutral bow stance (facing 12:00), as you execute a left inward block to the outside of your opponent's right punch. During this action, your right hand cocks forward and slightly to the right of your solar plexus (fist clenched and palm up). (This action will turn and momentarily check the width of your opponent's body.)
Immediately pivot into a left forward bow stance as you execute a right straight horizontal thrust punch to the right lower ribcage of your opponent. Make sure that your left hand is open as it checks your opponent's right elbow. (Your action should cause your opponent to bend forward at the waist, and to be forced back slightly.)
Circle your right hand clockwise so that it travels down, out, over, and around your opponent's right arm as you countergrab the outside of his right wrist. Immediately pull your opponent's arm diagonally and down past your right hip, while simultaneously delivering a right roundhouse kick to his groin. During this action, cock your left hand slightly above your left ribcage (fist clenched and palm up). (Your kick and pull should cause your opponent to bend forward even further, thus exposing his right kidney.)
Drop forward into a right forward bow toward 12:00, while simultaneously executing a left snapping vertical punch to your opponent's right kidney, "with" your right leg ON AND OVER THE LINE OF ENTRY. (Make sure your right knee is inside of, but over your opponent's right knee and pressing up against it. Your punch combined with your buckle will drop your opponent to the ground, as well as move him away from you.)

10. SWORD AND HAMMER (right flank - left hand shoulder grab)

While you are standing naturally (facing 12 o'clock), your opponent (standing between 3 and 4 o'clock) grabs your right shoulder with his left hand. Immediately and simultaneously (1) step off and to your right with your right foot toward 3 o'clock into a horse stance (with your head and eyes turned toward your opponent), (2) strike your opponent's throat with a right outward handsword, and (3) pin your opponent's left hand to your right shoulder with your left hand. (This action should cause your opponent's head to move away from you.)
As your opponent reacts to your handsword strike and bends backward, settle your body (by bending your knees) and with the help of gravitational marriage execute a right back hammerfist strike to your opponent's groin. (Your opponent should then bend forward at the waist.)

NOTE: The Yellow Belt Techniques do not stress single or double cover outs. These cover out maneuvers were purposely excluded to keep the material simple at this particular belt level. However, those with the rank of Orange and above are required to add the appropriate cover outs when performing the Yellow Belt Techniques.

NOTES ON THE YELLOW BELT TECHNIQUES

1. DELAYED SWORD

1. NAME: This technique derives its name from its basic sequence of movements. The chop (handsword) is delayed by the insertion of a kick prior to its use. Thus the name DELAYED SWORD.

2. THEME: This technique was designed to teach you how to create distance while blocking your opponent's extended arm with your forward arm. You then can follow up with a longer range weapon (in this case a kick using the forward or lead leg) to a target that is farther removed from you. It also teaches you how to gauge distance with your kicking leg, which in turn enables you to properly gauge the distance of your extended hand weapon.

3. THE ATTACK: In the IDEAL PHASE of the technique the attack is from the front. As your opponent grabs your lapel with his right hand, some of the WHAT IF factors that can occur are:

   a. His attacking arm may be bent when pulling you forward.
   b. His attacking arm may be straight and locked out.
   c. His attacking arm may be initially bent and then pushes you out.
   d. His right foot may be forward when grabbing.
   e. His left foot may be forward when grabbing.
   f. He may be leaning forward when grabbing.

In addition, visualize the attack to be:

   g. a right push instead of a grab.
   h. a right punch instead of a grab.
   i. a two-hand grab.
   j. a two-hand push instead of a grab.
   k. a right kick followed by a right punch.
   l. others...........

4. In your early stages of learning it is a good idea to utilize your more coordinated hand to the front when defending yourself.

5. The transitory cat stance of your second move assures proper alignment, which in turn promotes accuracy. It also enhances the speed of your action in addition to allowing you to FORMULATE according to the prevailing circumstances.

6. Learn to fully take advantage of body momentum via MARRIAGE OF GRAVITY (height) as well as forward momentum (depth) when executing your last move (right outward handsword).

7. During the execution of your last handsword, angle your strike so that you diagonally cut down, through, and across your opponent's body to check his height, width, and depth zones.

8. It is highly suggested that you also experiment with various methods of execution (thrusting vs snapping your right handsword on the last move).

9. Familiarize yourself with the basic coordination levels of movement. Learn to increase the efficiency of your movements by adhering to the following:

   a. When moving back, utilize the opposite hand of the foot that steps back (opposite hand/opposite foot).
   b. When moving forward, utilize the same hand as the foot that moves forward (like hand/like foot).

10. During the course of your last move, be sure that your left hand supports your second line of defense with a positional check.

2. ALTERNATING MACES

1. NAME: This technique was so named because of the rythmatic changes of action. Your hands alternate: front, then rear, and then front.

2. THEME: This technique also familiarizes you with the importance of creating distance. As the name of the technique implies, you are to learn to alternate your hands: front, then rear, and then front. Likewise you are to learn how to alternate your selected targets. The technique introduces you to the study of how to use specific weapons to specific targets in a specific sequence of movements to calculate the reactions of your opponent.

3. THE ATTACK: In the IDEAL attack your opponent pushes from the front. He attempts this by stepping through with a two-hand push to the chest. Some additional "what if" factors that can be contemplated are:

    a. The attack may be a low two-hand push.
    b. The attack may be a left push.
    c. It may be a left straight punch.
    d. It is possible that it can be a left cross wrist grab.
    e. It may commence as an attempted two-hand grab.

4. Practice varying the timing and rhythm of your basic sequence.

5. Vary the path of your final back knuckle strike by having it travel under your left arm, or over it. Study the benefits of each.

6. Take special notice of how the height of your opponent's attacking hands influences your response.

7. Explore the most effective way to pivot into a forward bow.
8. Also learn to defend yourself against this attack without the use of a block.

9. Build spontaneity by having your partner vary his attacks: right grab, right push, right punch, left push, left straight punch, two- hand push. Respond to these variables with a right inward block simultaneous with a left positional check. This method of practice will help you to internalize the concept that the same defense may be used on the inside of your opponent's right arm, as well as the outside of his left arm.
    When practicing with the same defense on the inside or outside of your opponent's arms, follow-up with sequences from either Delayed Sword or Alternating Maces as the situation dictates. The practice of blending these two techniques in the manner described will help you to internalize effective responses to diverse situations.

10. Always seek knowledge that will help you cultivate useful variables. Consequently, to assist you in this undertaking, further expand your knowledge by having your partner vary the height of the following attacks: left pushes, left grabs, left straight punches, and two-hand pushes. Respond to these variables with a right inward block on the outside of your opponent's left arm simultaneous with a left positional check. This will teach you that the same defense may be used even though the height of the attack may vary.
    Follow-up your block with sequential movements from either Alternating Maces or the left side of Attacking Mace. Remember to consider all practical alternatives. Therefore, do not only select exposed target areas of significance, but consider your opponent's reactions. Failing to make the latter choice can produce adverse results. Hence, practice with foresight. Foresight is a major key in helping you make the right choice. Please observe that the above technique teaches you how to attack various height zones on your opponent.

3. SWORD OF DESTRUCTION

1. NAME: This technique gains its name, in part, from the powerful action of your last strike. The shape of the hand (natural weapon) resembles that of a sword.

2. THEME: This technique teaches you to apply the theme of Delayed Sword on the inside of either arm.

3. THE ATTACK: In the IDEAL PHASE of this technique, the attack is again from the front. Your opponent starts from a right fighting stance, and proceeds to step forward with his left leg while delivering a left roundhouse punch to your head. Study and learn to counter additional possibilities by visualizing:

    a. the punch as being a hooking punch.
    b. a straight punch.
    c. a punch that travels on a different path.
    d. a punch that seeks a different target.
    e. the attack to be an attempted bear hug from the front.
    f. a high left roundhouse kick.
    g. a low left roundhouse kick.

4. This technique is almost the mirror image of Delayed Sword. Please take special note of the footwork.

5. Be aware of the possibility that your opponent's groin may not be open. Formulate other significant alternatives to this situation.

6. Observe how the attitude of your attacking partner effects your response. Remedy each response accordingly. Learn to do this and you are well on your way to uncovering the merits of TAILORING.

7. Build spontaneity by having your partner vary his attacks:

    a. Right hand (grab, push, or punch) and then left hand (straight or roundhouse
        punch). Respond to these variables with a right inward block followed by a right
        extended outward block. With each block utilize a left positional check.
    b. Left hand (straight or roundhouse punch) and then right hand (attempted grab,
        push, or punch). Respond to these variables with a right extended outward block
        followed by a right inward block. With each block utilize a left positional check.

    This method of practice will help you internalize the concept that the same hand may easily be used to defend on the inside of alternating punches, etc..

When practicing defense with the same hand on the inside of your opponent's arms, follow up with sequences from either Delayed Sword or Sword of Destruction. The practice of blending these two techniques in the manner described will help you to internalize rapid responses to rapidly changing situations.

4. DEFLECTING HAMMER

1. NAME: The name of this technique originates from the hammering action of your initial block and the reaction that results from it.

2. THEME: This technique teaches you how to create distance while employing an angle change. This is accomplished by your stepping away from, and out of the line of, your opponent's attack. Since your opponent is employing a long range weapon, emphasis is placed on the use of foot maneuvers. Foot maneuvers are stressed because of the multiple benefits that they offer; (1) an angle change that causes your body to be out of the line of attack, (2) simultaneous use of your foot maneuver and your blocking arm to insure the deflection of your opponent's attack, and (3) coordination of your foot maneuvers with your hand weapons.

3. THE ATTACK: The IDEAL PHASE of this technique again teaches you that the attack is from the front. The attack is a right step through thrusting ball kick to your groin or midsection. Your opponent's intent is to kick through you while forcefully exerting all of his weight into his kick. As with the previous techniques, the study of other possible methods of employment should also be considered. View additional attacks as:

    a. a low kick to your knees.
    b. a right thrusting knife edge kick.
    c. a right thrusting back heel kick.
    d. a right spinning back heel kick.
    e. a right low kick followed by a right punch to the head.
    f. a high kick aimed to your head.
    g. having your opponent's kick include foot maneuvers, shuffles, crossovers etc.

4. Reduce the force of your opponent's kick by increasing the distance between the two of you.

5. Getting out of the Line of Attack increases your ability to protect yourself against a low kick.

6. While action is normally faster than reaction jamming your opponent's right biceps, during the second move of your sequence, can prevent your opponent from taking further action.

7. Striking high generally entails checking low. To the contrary striking low generally requires checking high.

8. Should your opponent immediately add a right punch to his right kick, it might be expedient for you to formulate a left inward block to the outside of your opponent's right arm. Your follow-up would then be a right inward elbow strike to his right lower ribs.

9. Learn to flow with your technique. While you are encouraged to maintain crispness throughout your technique sequence practice consolidating all moves to look as if they were one.

10. Use your opponent's Marriage of Gravity at the precise moment you employ your elbow strike. This illustrates the value of borrowed force.

5. CAPTURED TWIGS

1. NAME: "Twigs" is a symbolic term for arms. In this technique your arms are momentarily entrapped, thus the name Captured Twigs.

2. THEME: This technique teaches you how flank movements can provide you with exceptional access to rear targets. It also teaches you how to adapt to an overwhelming attack in addition to recognizing the availability of targets and weapons.

3. THE ATTACK: The IDEAL PHASE of this technique introduces you to an attack from the rear. The technique describes your opponent applying a bear-hug, from the rear, with both of your arms pinned near your biceps. As with the other techniques it is imperative that you study additional possibilities such as:

    a. your opponent's arms being at your shoulder level.
    b. your opponent's arms near your waist.
    c. your opponent's arms around your throat.
    d. your feet being further apart than expected.

4. Learn to appreciate the value of pinning your opponent's hands to you. In the case of this technique it prevents the possibility of a choke from occurring. Precautionary moves such as pinning, or any other form of a check, are greatly encouraged.

5. The more you practice dropping into a horse stance, such as the first move of this technique, the more it will help to appreciate the value of stabilizing your base and the benefits of marriage of gravity.

6. On the second move of your technique be sure to direct your force toward your opponent and not away from him.

7. One of the benefits of CONTOURING your right elbow strike on the last move of your technique is that it insures accuracy.

6. GRASP OF DEATH

1. NAME: The name of this technique originates from the severe nature of the attack. The "grasp" of your opponent could prove fatal if your reaction is not properly executed.

2. THEME: This technique is to acquaint you with a flank attack and one that is also a life threatening attack. It further introduces simple body and foot maneuvers. When such positions are obtained they will thwart or decrease the effectiveness of your opponent's attack. We encourage you to also learn from this technique the priorities of self-preservation.

3. THE ATTACK: The IDEAL PHASE of this technique introduces you to an attack from your left flank (9:00). The technique describes your opponent grabbing your head and pulling you down into a side headlock. Contemplate these additional possibilities:

    a. You are already bent over when he attacks.
    b. You are positioned on your hands and knees and your opponent is pulling you up.
    c. There is a wall nearby.
    d. Your opponent pins your right arm with his right arm as he applies the headlock.
4. Alter the targets when rendering your "Horse Bite". Use a pinch to other targets.

5. Be certain to stabilize your base on the first move. It is highly recommended that you make a list of the benefits that stem from it.

6. Study the reaction of your opponent's right leg after employing the "horse bite". Work the "horse bite" on people who are not familiar with the technique.

7. Do this technique to the opposite side by having your partner apply the headlock from the right flank.

8. MACE OF AGGRESSION

1. NAME: The name of this technique stems from your response to your opponent's attack. Your mace, the symbolic term for fist, is aggressively triggered by your opponent's pull.

2. THEME: The theme of this technique is to convert what once was a defensive motion (when retreating) into an offensive motion (when advancing) due to the depth factors.

3. THE ATTACK: The IDEAL PHASE of this technique starts with your opponent attacking you from the front. He begins his attack by grabbing your lapel with both his hands and then pulls you toward him. Study these additional "WHAT IF" factors:

   a. As your opponent pulls you, he keeps his arms stiff vs. bent.
   b. Visualize your opponent's pull to be down on a diagonal.
   c. Your opponent is a great deal taller than you.
   d. Your opponent is a great deal shorter than you.

4. Concentrate on your raking back knuckle traveling through the bridge of your opponent's nose to 10:30 so that the depth of your action is increased.

5. Your initial pinning check is a "vice-like" pin. Therefore, pin your opponent's hands to your chest. Remember, the pinning action is not downward, but toward you. Please take the time to investigate how a vice works.

6. By stepping forward with your opponent's pull you not only borrow your opponent's force, but learn to STABILIZE YOUR BASE.

7. Please take notice of the similarities between Mace of Aggression and Deflecting Hammer.

9. ATTACKING MACE

1. NAME: As described above "mace" is symbolic for fist. In this case the technique's name stems from the action of your opponent's attacking fist.

2. THEME: This technique favors grabbing checks to control your opponent. It uses reverse motion twice. In viewing this reverse combination sequence the following can be observed: a) left block then right punch, b) right block then left punch.

3. THE ATTACK: The IDEAL PHASE of this technique begins from the front. Your opponent commences from a left fighting stance. As he steps forward, he executes a right straight punch toward your face. Study these additional "WHAT IF" factors:

   a. Your opponent does not step through.
   b. His punch is directed toward your midsection.
   c. Your opponent attacks you with full body momentum.
   d. Your back is to the wall.
   e. Your opponent precedes his punch with a right step through kick.
   f. Your opponent is thrusting a club.

4. During your right punch to his ribs your left inward block remains checking at your opponent's right elbow. This will prevent intentional as well as unintentional moves on his part.

5. As you complete the grab of his right arm, be sure to position your left fist at your left ribcage (point of origin). This ANGLE OF DELIVERY will promote the accuracy of your next strike.

10. SWORD AND HAMMER

1. NAME: The name of this technique originates from two sources, (1) the natural weapons employed, and (2) the order of their employment. The technique requires that you first strike with a "sword" (knife- edge of your hand) and then follow-up with a "hammer" (your fist).

2. THEME: "WITH" is the theme of this technique. You are pinning with your left hand as you simultaneously strike with your right outward handsword. One move does not follow the other. To repeat, they are both executed simultaneously. The technique also teaches you to move into the semi-unknown with confidence. Internalize this technique and you will prevent your opponent from activating other weapons.

3. THE ATTACK: The IDEAL PHASE of this technique begins with your opponent attacking you from your right flank (3:00). When grabbing your right shoulder your opponent's left arm is bent at the elbow. Study these additional "WHAT IF" factors to increase your mastery of this technique:

   a. Your opponent is pulling you toward him.
   b. Your opponent is pushing you away from him.
   c. Your opponent is slightly located to the rear of you.
   d. Your opponent is much taller than you are.

4. Be sure to look at your opponent when stepping in with your right handsword strike to his throat. Your awareness of all activities is encouraged.

5. Practice should include having your partner, who is acting as your opponent, vary the directions of his attack (between 4:30 and 1:30). This in turn will alter your lines of attack and increase your knowledge of how to cope with each changing situation. Don't forget, practice with your partner attacking you from any one of the directions stemming from 4:30 to 1:30. Your awareness of variables is encouraged.

6. It is a sound concept to pin your opponent's grabbing hand to you to prevent a planned or unplanned counter. Please make a list of some of his possible planned and unplanned moves.

7. "For every action there is an opposite and equal reaction."
As your handsword drives your opponent's head back, his groin may jut forward. Quickly strike your opponent's groin with your hammerfist to borrow this force as well as include marriage of gravity obtained when bending your knees at the precise moment of your hammerfist strike.

SHORT FORM 1

OPENING: ATTENTION STANCE. BOW. DROP TO A MEDITATING HORSE STANCE. COME UP TO AN ATTENTION STANCE. SIGNIFY. EXECUTE THE SALUTATION: 1) SALUTE, 2) SYMBOL OF FRIENDLY AND UNARMED,3) MEDITATING HORSE, 4) PRAYER OF FORGIVENESS. THEN RETURN TO A MEDITATING HORSE, AND CONCLUDE WITH THE HEAD UP AND EYES OPEN.

Your left foot drops back toward 6:00 into a right neutral bow to 12:00, while executing a right inward block, simultaneous "with" a left back elbow strike.
Your right foot drops back toward 6:00 into a left neutral bow to 12:00, while executing a left inward block simultaneous "with" a right back elbow strike.
Cover (by moving your right foot toward 3:00) into a left neutral bow to 9:00, while executing a left vertical outward block simultaneous "with" a right back elbow strike.
Your left foot drops back toward 3:00 into a right neutral bow to 9:00, while executing a right vertical outward block simultaneous "with" a left back elbow strike.
Cover (by moving your right foot slightly to your left while essentially at 9:00) into a left neutral bow to 3:00, while executing a left upward block simultaneous "with" a right back elbow strike.
Your left foot drops back toward 9:00 into a right neutral bow to 3:00, while executing a right upward block simultaneous"with" a left back elbow strike.
Cover (by moving your left foot toward 12:00) into a right neutral bow to 6:00, while executing a right downward block simultaneous "with" a left back elbow strike.
Your right foot drops back toward 12:00 into a left neutral bow to 6:00, while executing a left downward block simultaneous "with" a right back elbow strike.

CLOSING: Cover (by having your left foot drag to your right foot and out to 9:00) into a MEDITATING HORSE STANCE, facing 12:00. COME TO ATTENTION. EXECUTE THE FULL SALUTATION. BOW.

SHORT FORM 1

Contains/Teaches

Contains:

1. Moves that are strictly defensive.
2. Stances:

   a. Attention
   b. Horse
   c. Neutral

3. Basic blocks:

   a. Inward
   b. Outward
   c. Upward
   d. Downward

4. Double blocks ( Double Factor ) :

   a. High
   b. Low

5. Four basic angles of attack.
6. Back elbow strike while blocking.
7. Nineteen moves including both sides and close.

Teaches:

1. Stay down while in a stance.
2. Erect posture.
3. Increased peripheral vision.
4. Always look at your opponent.
5. Never expose your back unnecessarily.
6. How to cover into a neutral bow.
7. Constant head level while changing stances.
8. How to retreat from an opponent when turning to face the unknown.
9. Basic timing of hands and feet.
10. How to block while retreating. (Opposite hand, Opposite foot)
11. Relax and tense at the proper moment.
12. Angle changes in preparation for a mass attack.
13. How to use the opposite arm as a hidden weapon.
14. How to move up and down in an "L" shape pattern.
15. Repetition of the four basic blocks while retreating.
16. To have your block make contact at a distance from you so that your opponent's punch will be greatly diverted.
17. Crisp moves with snap and torque.

CHRONOLOGICAL ORDER OF MOVEMENTS IN SHORT FORM 1

Two (2) inward blocks, two (2) outward blocks, two (2) upward blocks, and two (2) downward blocks while utilizing the "clock principle" to simplify foot movements.

    RIGHT SIDE ONLY

   FOOT MOVEMENTS                 HAND MOVEMENTS

   1. lt - 6                                     rt - in
   2. rt - 6                                     lt - in
   3. rt - 3                                     lt - out
   4. lt - 3                                     rt - out
   5. rt - 9 (slightly left/cover to 3)   lt - up
   6. lt - 9                                     rt - up
   7. lt - 12                                    rt - down
   8. rt - 12                                 lt - down
   9. lt - Horse (facing 12)              Salutation
   10. Close (in bring both feet together have your left foot
   close to the right and place both of your hands
   smartly to the sides of your thighs).

NOTE: Employ the "CLOCK PRINCIPLE" when doing all forms, using 12 o'clock as your initial point of reference.

NOTES ON SHORT FORM 1

1. Practice both sides of the form.
2. Try it in different environments: smooth floor, sand, in the dark, in the bathroom, wearing different clothes, etc...
3. Practice with attackers; learn to first block on the outside of their weapons. Repeat the form while blocking on the inside of their weapons.
4. List some of the benefits of covering.
5. Note the advantage of maintaining a constant head level while moving.
6. Your back elbow strikes should travel directly to your rear.
7. Practice the form while being conscious of what it teaches.
8. List some of the ways the form helps you to improve your freestyle.
9. List some of the ways it improves your fighting.
10. Note the two basic covers in Short Form 1: rear cover and side cover.
11. Practice your blocks utilizing the DOUBLE FACTOR.
12. Study the possible methods of executing your inward blocks on the first two moves of the form.
13. Be sure to keep your fists clenched throughout this form.

BLOCKING SET 1 (aka STAR BLOCK)
(BOTH SIDES)

A. Contains:

Sequence of blocks that are as follows: (up, in, extended outward, down, re-cock, pushdown)

1. Right upward block for a left overhead club attack or chop.
2. Right inward block for a right punch to the body.
3. Right extended outward block for a left punch to the face.
4. Right outside downward block for a left kick to the groin.
5. Right hand re-cocks (a right back elbow block) to your right hip for a left roundhouse kick to your right kidney.
6. Right push-down block for a right knee kick to the groin.

B. Teaches:

1. Five (5) major blocks in addition to one (1) hidden block.
2. Sequence of blocks that promote Continuity of Motion and preserve Economy of Motion.
3. Correct manner in which to use your major blocks.
4. Blocks that protect all three (3) "Zones of Protection".
5. The execution of these major blocks while in a stationary position.
6. Maximum cover of head and upper body areas.

NOTE: REPEAT THE SAME SEQUENCE ON THE LEFT SIDE.

YELLOW BELT FREESTYLE TECHNIQUES

B -- This alphabet represents the BASE MOVE. It consists of two variations. Both variations commence from a " Left to Left" fighting position.

LL -- LEFT TO LEFT:

Your left leg (which is forward) is facing your opponent's left leg (which is forward). The first letter (in this case L) always refers to your lead leg (leg that's forward). The second letter (also L in this case) refers to your opponent's lead leg.

(a) The first variation is a left hooking grab to your opponent's left arm, while pulling down, and diagonally to your left; this is simultaneously executed with a right vertical punch to your opponent's face.

(b) The second variation is a left hooking grab to your opponent's left arm, then pulling it down, and diagonally to your left; this is simultaneously executed with a right uppercut punch to his left lower ribcage. This punch is diagonal and parallel with your opponent's left ribcage.

Both variations require that your forward leg check your opponent's forward leg. This maneuver re-enforces an ANGLE OF DISTURBANCE and an ANGLE OF CANCELLATION.

The numbers represent body and foot maneuvers, and are as follows:

   (1) In-place body maneuver (pivot to a forward bow)

   (2) Push-Drag

   (3) Front Crossover, Step Out

   (4) Front Crossover, Step Out, Step Through

1. Bla            5. B3a

2. Blb           6. B3b

3. B2a            7. B4a

4. B2b            8. B4b

EXPLANATION OF THE YELLOW BELT FREESTYLE TECHNIQUES

B1a -- is the first variation, while pivoting into a left forward bow.

B1b -- is the second variation, while pivoting into a left forward bow.

B2a -- "2" indicates that the movement to be used is a push-drag, needed in the event that your opponent is a little out of range or when your opponent is in the process of moving back slightly, while executing the first variation of the base move.

B2b -- indicates the push-drag is again used, but you are now to execute the second variation of the base move.

B3a -- "3" indicates that a front crossover is executed while executing the grab, followed immediately by a step out while executing the first variation.

B3b -- is the same application of the front crossover, step out, while executing the second variation.

B4a -- "4" indicates that a front crossover is executed while executing the grab, followed by a step out, then a step through while executing the first variation. At this level your right step through should position you inside of your opponent's left leg. (This is referred to as being inside of the Angle of Entry).

B4b -- is the same application of the front crossover, step out, step through while executing the second variation.

NOTES ON THE YELLOW BELT FREESTYLE TECHNIQUES

1.   The LEFT TO LEFT fighting position has been given priority since most Americans are familiar with these positions when boxing or street fighting.

2.   To improve your VOCABULARY OF MOTION, your chances of survival on the street, and your chances of success at tournaments, we highly recommend that you learn these same Freestyle Techniques from the RIGHT TO RIGHT fighting position as soon as possible.

3.   When first learning these movements, try to get a feel for some of the favorable features that they offer:

   a. You cannot always choose the distance when action begins.

   b. Gain knowledge of your hand strikes first. Practice your hand strikes while learning to solidify your base (stances). A firm FOUNDATION is much more important during your initial stages of learning.

   c. Move quickly and unhesitatingly when closing the gap between you and your opponent.

   d. The most effective punch occurs when your strongest arm is chambered in the rear hand position.

   e. If you can cancel your opponent's leverage points, he cannot strike you effectively.

4.   The WHAT IF factors in B4a allow you a number of choices. You can plant your right foot on the inside of, on top of, outside of your opponent's left foot. No matter what you may decide to use, it is important that you create an ANGLE OF CANCELLATION while simultaneously pulling with your left arm and planting your right foot. The precise placement of your right foot, simultaneous with the pulling of your left arm nullifies your opponent's height zones.

THE WRITTEN TEST FOR YELLOW BELT

SECTION I

In section one of this test you are to read a statement, and if that statement is correct, then circle "T" for true. If any part of that statement is incorrect, then circle "F" for false.

T F   1. Mr. Parker was born and raised in Hawaii.

T F   2. "Heel-Knee Line" aids in determining the proper width of a Neutral Bow and Arrow Stance.

T F   3. Mr. Parker went to Brigham Young University until his junior year and then quit to do karate as a living.

T F   4. In the early stages of your learning, it is a good idea to defend with your more coordinated hand to the front.

T F   5. When blocking on the inside of your opponent's arm, do so below the elbow, never above it.

T F   6. In the Yellow Belt Freestyle technique "B2a" the "2" indicates a push-drag shuffle, and the "a" represents a right uppercut punch.

T F   7. There are 3 basic methods of shuffling.

T F   8. Mr. Parker began studying Kenpo when he was 16.

T F   9. "Captured Twigs" is against a bear hug from the rear with the arms free.

END OF SECTION I

THE WRITTEN TEST FOR YELLOW BELT

SECTION II

In this section, a sentence or question will be presented. You are to choose the most correct and the most complete answer from the four possible answers given. Write the corresponding letter in the space provided.

_____ 1. Mr. Parker studied __________ before learning Kenpo.

   a. Tae Kwon Do and Kick Boxing
   b. just Tae Kwon Do
   c. Judo and Boxing
   d. nothing

_____ 2. Which of the following is not one of the three types   of switching.

   a. Moving your back leg to the front, then moving your front leg to the back.
   b. Stepping through.
   c. Moving your front leg to the back, then moving your back leg to the front.
   d. Jumping in-place.

_____ 3. Mr Parker is known as the __________.

   a. "The Father of Kenpo"
   b. "The Father of Karate"
   c. "The Father of the Martial Arts"
   d. "The Father of American Karate"

_____ 4. "Delayed Sword" is not typically used against a _________.

   a. grab
   b. punch
   c. hug
   d. push

_____ 5. Which of the following is not a foot maneuver taught in the Yellow Belt Freestyle    techniques ?

   a. rear crossover
   b. front crossover, step out
   c. push-drag
   d. front crossover, step out, step through

END OF SECTION II

THE WRITTEN TEST FOR YELLOW BELT

SECTION III

In the following section, an incomplete statement is given. You are to provide a word or words in order to correctly complete it. Write your answer on the line given below each statement.


1. Mr. Parker opened the first professional karate studio in (year) .

___________________________________________________________

2. "Whatever the attitude, so is the (what)."

____________________________________________________________

3. "The ankle is the (what) of the foot."

____________________________________________________________

4. Mr. Parker's Kenpo instructor was (who) .

____________________________________________________________

5. In executing a punch you generally strike with (which) portion of the fist.

____________________________________________________________

6. The sequence of blocks in "Star Block" is: upward, inward, extended outward, (what), back elbow,    and push-down.

____________________________________________________________

7. IKKA is an abbreviation for (what).

____________________________________________________________

8. Two basic ways a person may be hit are: intentionally and (what) .

____________________________________________________________

9. "Angles of Attack" are the (number) basic directions from   which you or your opponent can attack    or defend.

____________________________________________________________

10. Mr. Parker is a (number) degree black belt.

____________________________________________________________

11. When paying respect, we bow to (what), and we salute to (whom).

____________________________________________________________

12. Male students wear their belt knots on the (side) , female on the (side) , and (who) in the middle.

____________________________________________________________

13. The weight distribution of a neutral bow and arrow stance is (percentages - in proper order) , a cat stance is (percentages - in proper order) , and a forward bow is (percentages - in proper order).

____________________________________________________________

END OF SECTION III

THE WRITTEN TEST FOR YELLOW BELT

SECTION IV

This last section is divided into two parts. In part A you are required to provide a series of words, a phrase, or a paragraph in order to answer the question or execute the command given. In part B two topics are presented and you are to analyze them in the following way. 1) give a definition of each. 2) explain their similarities, if there are any. 3) explain their differences, if there are any. 4) give examples, illustrations, analogies or any other helpful aid to assist in distinguishing between the two topics. Write your answers on the supplementary paper given. Concise but precise answers are preferred.

PART A:

1. Write out the Kenpo Creed.

2. What is "Over-reach", and why is it good or bad?

3. What is "Guard"?

4. Why is the Neutral Bow and Arrow Stance our basic fighting stance?

5. List five ideas that Short Form I teaches.

6. Why do we use meditation at the begin and end of every class?

7. What is a "Step Through"?

PART B:

1. "Embryonic Basics" vs. "Sophisticated Basics"

2. "Forms" vs. "Freestyle"

3. "Snap" vs. "Thrust"

END OF SECTION IV

Any weapon will do, if you will do....

Anonymous — Wed, 18 Jul 2007 03:50:00 GMT

Ignatius Piazza's great quote. Is this the first stage of combat? I'm thinking of the depth of such statement. Zone's, angles, speed, power, left/right/up/down. Lots of stuff to process in one month, worse in almost 47 years. I must do, or not, and waste all that time. Of course the perpetual injuries would be gone? I like the residuality of training, and won't stop. Too stupid to quit, don't really know how anyway. Process first what you'll do, then all the rest of the.. stuff....

Primitive Stages of Kenpo

kenpoist — Tue, 17 Jul 2007 18:27:00 GMT

    It is sad, but true, that Yellow and Orange Belt students are
often like college freshmen, who think they know all the answers. This
level of training can be dangerous, and caution is advised when
practicing with fellow students, or when forced to use the Art in real
combat. This primitive stage of learning requires dedicated time and
practice. It is an intangible stage cluttered with knowledge that
lacks perspective. We, therefore, urge and encourage you to practice
faithfully, to understand what you are learning, and to develop mental
and physical control. Only after adhering to, or obtaining these
qualities, can you move on to the mechanical stage with certainty.
    While it is important that you learn the contents of this journal,
do not neglect studying your Yellow Belt material. Each journal is an
important building block. They provide you with basic disciplines that
add to the total structure of Kenpo. More importantly, they form the
basic foundation of your Kenpo knowledge. Weak basics lead to
unsuccessful achievements. Therefore, lengthen your practice sessions,
and make each workout productive. View basic disciplines in their
embryonic state. As you strive for perfection, increase your awareness
of existing details. Learn how these details function. Identify them,
dissect them, analyze them, and perfect them. Accomplish this, and you
will understand what sophisticated basics are all about.
Perfect your best side first, then proceed to practice your
techniques on your weaker side. There are a number of benefits to
this; (1) it forces you to take the time to analyze your stronger
side, which in turn, (2) makes you become more aware of the points you
may have overlooked, (3) increases the strength of your weak side,
(4) expands your vocabulary of motion by increasing your knowledge of
variables, and (5) leads to acquiring more ambidextrous qualities.
    It is important that you begin to set personal goals at this
learning stage. Develop various aspects of your material, as well as
improve self-discipline, self-awareness, self-confidence, will power
etc. Prepare yourself inwardly to meet the challenges of daily life.
The qualities that help you master the Art can enhance other aspects
of your life. In time, you will be able to compatibly apply these
facets to your family life, school activities, work contacts, etc.
Always be conscious of who you are. Remember that you are steadily
taking on greater responsibilities. The effects of your activities
will have a direct reflection on your school, your Art, and your
Association. With that in mind, conduct yourself in a manner that you
can be proud. To state it differently, you are increasingly becoming a
miniature showcase of our system. Learn to ask intelligent questions
and to explain your Art to others. Do not be overly critical of other
styles, or practitioners of other styles. Try to learn about their
Arts, and gather adequate information to understand and converse with
them intelligently.
   Your progress toward Purple Belt entails "learning how to learn".
It requires spending your time constructively, discarding such
statements as, "I love work, I can sit and watch it all day."
Remember, skill can only come about through the proper use of time,
and disciplined effort. There is no other way, especially if you
desire to become self-correcting. As with other facets of your
training, tailoring is important. Identical ingredients to successful
learning may not apply to all, but the proportion of each ingredient
will vary according to an individual's natural attributes.
    Some of the ingredients necessary for effective learning are:
CONCENTRATION, COORDINATION, MATHEMATICAL PRECISION, TIMING,
PERSEVERANCE, and MENTAL DISCIPLINE. It is only natural that you may
be required to work harder at one precept than that of another, but
the key is to have each precept developed proportionately to the
limits of your present capacity. We can say this of the following:

1. CONCENTRATION enables you to analyze each situation, evaluate
its importance, and come to a satisfactory conclusion. At the Purple
belt level you should be able to intelligently ask questions and
discuss the Martial Arts with any Black Belt.

    2. COORDINATION, though lacking in some individuals, can be
developed. You must strive to be equally coordinated on both sides of
your self-defense techniques, freestyle techniques, and your forms.
Coordination is necessary because it allows you to have your body
function harmoniously and effectively with your mind.

    3. MATHEMATICAL PRECISION must be learned for you to increase
your effectiveness with each move. At this level your stance work
should be nearly impeccable. It requires having your upper body
synchronize with your stances.

    4. TIMING is another ingredient that contributes to your scale of
effectiveness. It is the regulation of speed with which each technique
is performed that produces effective results. As you learn to bring
all of your basics into "SYNC", you will have realized a key
ingredient to becoming a Purple Belt.

    5. PERSEVERANCE is that driving force that allows you to see a
goal to its conclusion. It is that act or quality of never giving up
in spite of the difficulties encountered. Your instructor may have
been able to "make" you a Yellow Belt or an Orange Belt, but he cannot
"make" you a Purple Belt. This you will have to do with intense work
and the guidance of your instructor.

    6. MENTAL DISCIPLINE trains your mind to develop order, self-
control, character, and efficiency. It is that ability to discipline,
train, and control your mind that ultimately earns you the rank of
Purple Belt.

    Developing these principles helps to instill grace and
confidence, while simultaneously implanting humility and respect for
authority, and acceptable tradition. Through dedicated practice,
humility will automatically eliminate pride and self-assertion. When
this is accomplished, respect is gained.
The Blue Belt level will require exceptional perseverance. To
obtain this level you must be willing to spend time and energy. You
must be prepared to sweat, and to sweat often. Above all, you must
learn to work intelligently. Working intelligently will teach you that
while the ultimate in proficiency comes from simplicity and
repetition, the use of logic is what makes learning functional and
practical.
    The Blue Belt requirements encourage you to pursue avenues of
excellence. They teach you how to become fluid, to develop flawless
stances, to perform crisp and focused forms, and the value of
confining your movements within the framework of your Outer Rim.
Further study will broaden your understanding of Transition, Directional
Harmony, and how to apply Continuity of Motion when
sparring.
    The Blue Belt precepts place major emphasis on self-defense
techniques. They teach technique refinement by adding simple Suffixes
to your basic moves, and how Compounding the Sequential Flow of your
techniques can actually fill in the Dead Space that occurs during each
transition. This procedure (Compounding) helps to reveal Hidden Moves
that would have otherwise gone unnoticed. Needless to say, the
benefits are abundant. You will be introduced to both the Web of
Knowledge and the merits of Family Groupings. You will be encouraged
to spend numerous hours in these areas to further your growth from the
mechanical stage to the spontaneous stage of the art.
    Kenpo is a System that is built around three key words: concept,
theory, and principle. However, Mr. Parker's Kenpo System teaches you
to develop your own style rather than to become a reflection of your
instructor. To complete the continuous learning cycle of Kenpo you are
also taught to remain flexible in your thinking. This, hopefully, will
return you to the concept.
     Each and every self-defense technique, freestyle technique, and
form that you learn in Ed Parker's American Kenpo is an idea, or
series of ideas. As logic commands your reasoning you will be able to
understand these ideas in all stages (primitive, mechanical, and
spontaneous) of development. You will discover that all ideas
throughout the system are equally valid. Consequently, an idea learned
as a White Belt is just as valid as an idea learned as a Brown Belt.
You do not have to wait until you are a Black Belt to get to the
"meat" of the art. You can learn any of the ideas in the system.
However, until your mental, emotional, and physical development
profits through the various stages of learning (primitive, mechanical,
and spontaneous), many of the ideas will be only slightly useful or in
some cases unuseful until later during your training. Without the
proper training your art will remain intangible. With training these
ideas will become tangible and increasingly operative.
"Speed" is one of the key ingredients in your development toward
Green Belt. Mr. Parker's quote, "He who hesitates meditates in
horizontal position." is an indication of how speed can work for or
against you. The quote, "To beat action, meet action." confirms the
merits of the use of speed. It is important, therefore, that speed be
stressed in all of the Green Belt material. While the Purple Belt
material required developing coordination on both left and right
sides, and the Blue Belt stressed fluidity and continuity of motion;
the Green Belt material capitalizes on speed. Following this
introduction there is a section on speed which contains a wealth of
information that you should scrutinize.
    Remember! Do not be enticed to advance your study of the art
prematurely. When you learn a new idea, you are responsible for
developing it to an acceptable level before graduating to another
plateau of learning. The amount of time and work you put into it is up
to you, but the results must satisfy the standards. Therefore,
practice with understanding. Know the how, what, and why of what you
practice.
    Learning Kenpo at this stage should be easy for you. It is the
proper application of Kenpo that requires more dedicated effort on
your part. You must develop a positive and unconquerable attitude,
become more persistent, constantly aware of detail, more flexible,
quicker, stronger, more intense, as well as assert greater control of
your emotions. You must be realistic in your approach, and be able to
apply your art with maximum effectiveness.
    Your basics should reflect your basic understanding of the
concepts and principles of technique movement. Mentally, physically,
and emotionally your actions should be Directionally Harmonized. When
executing your Forms, you should move with speed and clarity of
motion. There should be no "mumbled motion". Your attitude should be
confident and inspiring.
    When Freestyling apply your moves with continuity and speed.
Internalized with a positive and unconquerable attitude, you should be
able to destroy your opponent's foundation and confidence with
intimidating ease. Periodically re-examine your basics. Do not take
them for granted. Review the topics that comprise your Eight
Considerations. Analyze, understand, and apply them when sparring.
Develop solutions to sparring situations against multiple attackers.
    Similar to your Blue Belt material, major emphasis will be
attached to self-defense techniques. Add your Green Belt Techniques
into your Web of Knowledge, and Family Groupings. Additionally, re-examine the
suffixing of all your techniques and try to advance them
to new coordination levels that fit you. You will learn to fill Dead
Space during your Sequential Flow of action, by inserting other Words
of Motion. This should teach you to construct more sophisticated
Sentences and Paragraphs of motion. Sophistication requires review.
Dedicate many hours working your Orange and Purple Belt techniques.
Analyze them from Three Points of View. Refine their themes by
continually drilling the principles contained in each move. Once you
feel the effectiveness of each IDEAL PHASE, practice the SECOND and
THIRD PHASES of each technique.
    Learn to combine realism with effective self-defense methods. Get
into the spirit of the technique and encourage your partner to get
into the spirit of the attack. Grasp the principles associated with
each move, and learn to tailor them to your own distinctive
capabilities. As you learn to tailor, you learn to become innovative.
As variables become routine, appropriate responses become second
nature and spontaneous. Such responses may be necessary in the street
where a surprise attack may delay your ability to examine all of the
possible options. Only instinctive responses, developed through
logical training methods and conditioning, provide the proper transfer
of knowledge required in these situations. Logic as it applies to the
times is your key to success.
    "Power" is one of the key ingredients in your development toward
Third Degree Brown Belt. If you have trained regularly and
intelligently, and have followed the guidelines of the preceding
journals, generating power at this level should come easily to you.
Through the gradual stages of coordination, fluidity, and speed you
should now be at a level where you can "concentrate" as well as
"synchronize" your body, mind, and breath. Always remember, "Flow
first, power later". Following this introduction, there is a section
on power which contains a wealth of information. Scrutinize it
earnestly.
    Remember that it is not the aim of Kenpo to merely produce a
skillful as well as powerful practitioner, but to create a well
integrated student respectful of all. The superconscious self is like
a genie within you who, when called upon, performs beyond the limits
placed upon your natural or normal self. This "power" may be used for
the benefit or destruction of yourself and/or others. Always use
discretion when expending power.
    As a Brown Belt you will have reached an advanced stage of
training. You should have read, as much as possible, from Mr. Parker's
writings. Now, more than ever, you must be a positive example to your
fellow students. Others will be looking to you for guidance and
training. You must train regularly, diligently, and with intensity. In
order to do and explain Mr. Parker's system, you must be able to
intellectually and intuitively understand its simplicity, and its
sophistication.
   Your basics should reflect your new understanding of the concepts
and principles of technique movement. Power should emanate as a result
of the integration of those concepts and principles.
   Employ feinting when freestyling. Know when to use it and how to
use it to your advantage. Discern when to attack in a direct line, and
when to attack on an angle. Know when to attack with explosive
flurries, and when to yield. Spend time learning, understanding, and
internalizing the many aspects of Environment. Determine how
Environment can work for or against you, or your opponent(s). Be
confident when sparring multiple opponents.
   Major emphasis will again be placed on Self-Defense Techniques.
All prior knowledge must be applied to your new material. An added
feature is the Analysis of Motion. Study and application of its
contents will lead you to greater levels of spontaneity. As a final
note, you must dedicate extensive, but intelligent hours, to the
practice of your Third Degree Brown Belt Techniques. Lessons at this
level represent sophisticated motion viewed on a higher plane. Self-Defense
Techniques against multiple attackers, knife attacks, concepts
of surveying, etc. demand exceptional technical skills. Therefore, do
not be enticed to advance your study prematurely. Understand the
"Themes" of these techniques. They insure maximum benefit once
properly understood.
   Be prepared to test in front of Mr. Parker. Your Thesis Abstract
should be clear and concise. Your Thesis Form should be creative, as
well as an expression of harmonious, and powerful movements. You must
be tuned to maximum performance. You must have strength, flexibility,
speed, and endurance. Your physical movements must be an expression of
you -- of the internal harmony that lies within you. Internal harmony
gives you the confidence and ability to apply your knowledge. It helps
to control fear and anger, to develop a positive attitude, and
residually permits unrelenting action. It allows you to get the job
done, no matter what the task.
   For every move, concept, principle, theory, or definition, there
is an opposite and a reverse. If you can fully grasp this statement,
you can "infinitely" expand your Vocabulary of Motion. Not only will
this statement help you to expand your vocabulary, but if properly
understood and internalized, spontaneity will develop beyond your
expectations.
   Remember -- logic combined with realistic thinking is the key.
You must thoroughly understand the terms opposite and reverse and
learn to apply them appropriately. If there is a right inward block,
then there must be a left inward block (the opposite of). If there are
inward blocks, then there are outward blocks (the reverse of).
Deductively, if there are inward overhead claws, then there are
outward overhead claws, and if there are overhead claws there must be
underhand claws, etc.
   As part of your study for Second Degree Brown Belt you will be
required to analyze and apply the above statement to every facet of
Kenpo. This journal will place special emphasis on how this
comprehensive statement applies to stances, maneuvers, blocks,
strikes, including the Universal Pattern. Therefore, diligently study
the Universal Pattern. Learn the many basics and the corresponding
names that describe the various movements and Points of Reference
contained in the Universal Pattern. Visualize the Universal Pattern on
nine planes -- not one.
   At this stage of your training you should have substantially
internalized the basic concepts, theories, principles of technique
movement, and the terms and definitions related thereto. Your basics,
forms, techniques, and freestyle capabilities should clearly express
your successful development of coordination, fluidity, speed, and
power. Internalized with all of these aspects, as well as having an
in-depth knowledge of the terms opposite and reverse, you are now
ready for a formal introduction to man-made weapons. To refresh your
memory man-made weapons are those implementations created or used by
man to defend and/or aggressively use as a means of survival. Natural
weapons are the body limbs which we employ to defend ourselves.
     The knowledge and skill acquired through 2nd Brown should aid
your study of man-made weapons. Although employment of man-made
weapons are no more than extensions of your present knowledge, they do
demand higher levels of sophistication. Consequently, the need to fit
and tailor each weapon to your specific body dimensions again apply.
Anything contrary to employing the principles of proportional
dimension will limit the full potential of your skills.
     Your first introduction will be to learn to work with the staff.
Although there are two methods of employing the staff, single-end or
double-end, focus will be on the double-end staff.
     Both methods require fitting the staff to your body dimensions.
In the case of a single-end staff, proper measurements can be obtained
by standing flat footed and raising your right arm toward the sky with
your arm and fingers fully extended. The length of your staff can be
established by (1) planting one end of the staff to the right of your
right foot, (2) with the major portion of your staff placed alongside
of your right thigh and raised right arm, and (3) the opposite end of
your staff positioned inside of the palm of your right hand. You are
to then mark the top of your staff just above where your middle finger
ends. Cut the staff at this point and you are now ready to function
more efficiently with a single-end staff.
     For a double-end staff stand flat footed and measure the length
of your staff by having one end planted on the ground in front of you
and the other end raised vertically past your eyebrows. Mark the top
of your staff just above the level of your eyebrows, and cut the staff
at this point. You are now ready to function more efficiently with two
ends of the staff.
     Working with the staff will produce many benefits. Among them
are:

     1. Greater opportunity to increase muscle tone.
     2. Increased muscle awareness and flexibility.
     3. Increased consciousness of control.
     4. The value of confining moves to be more functional and
        effective.
     5. Increased perception when employing an extension to the limbs.
     6. Greater awareness of the usefulness and importance of joints.
     7. A deeper understanding of the importance of contouring.
     8. Coordination of intermittent use of natural weapons and man-
        made weapons.

   Continue to refine your knowledge of the many concepts, theories,
and principles that enhance your self-defense techniques with or
without man-made weapons. To expand your knowledge of Kenpo even
further, you will be introduced to Master Key Techniques. With a
rudimentary knowledge of Master Key Techniques you will be prepared
for the major emphasis of this belt level -- freestyle. You must no
longer perceive the concepts, theories, and principles of your self-defense
and freestyle techniques as separate ideas. "Isolation
invariably leads to formulation." Remember, "The Equation Formula is
the Universal Pattern expressed with principles".

A major criteria for obtaining your First Degree Brown Belt is an
in-depth evaluation of your attitudes. It is important that you ask
yourself what your attitudes are toward training or when training?
What are your views concerning fighting or when fighting? If ever
involved in a life or death situation, to what extent would you
implement your knowledge? Would you gauge your knowledge to match the
situation? Or, would you allow your emotions to take over? What are
your attitudes toward teaching others? What attitudes do you wish to
instill in your students? Are you satisfied with your present
knowledge of Kenpo or are you willing to strive for higher goals and
refinements? There is a special section following this introduction on
attitude that should help you understand its importance.
   You must again explore the idea that, "For every move, concept,
theory, principle, and definition there is an opposite and a reverse."
For First Degree Brown Belt you will be encouraged to apply this idea
when blocking with your feet. While most systems stress blocking and
striking with their hands, do not overlook the importance of learning
how to block and strike with your feet. Since the majority of street
encounters end on the ground with one or more opponents it only stands
to reason that you should learn to block as well as strike with your
legs and feet. This knowledge greatly adds to you confidence,
especially when you find yourself on the ground, or when attacking an
opponent you have placed on the ground. When confronted with such
predicaments there is a high probability of your legs being used to
block with. Therefore, you should familiarize yourself with a variety
of dimensional perplexities. It is imperative that you spend hours
learning to block as well as strike with your legs and feet when
confronted with such encounters.
   Additional training requires that you explore the art of
breathing in conjunction with your physical moves. Investigate the
specific differences between the internal and external forms of
breathing. Define the pros and cons of each method of breathing. Spend
quality hours coordinating your breathing patterns with the execution
of your basic movements. Immediately employ your new found strengths
to Short Form #1 through Long Form #4.
   Long Form #4 has often been referred to as containing the "meat"
of Ed Parker's Kenpo. Since "forms are expressions of basic skills",
you must develop Long Form #4 to a point of expressing your physical,
mental, and emotional levels combined with your breathing techniques.
Synchronize these ingredients and you are well on the road to
Harnessing Force, Intone Motion, etc. Needless to say your movements
should be crisp, precise, powerful, as well as contain sequential
flow. Furthermore, seek the many details that Long Form #4 teaches
before expressing them in the form.
   Your Blue Belt Journal introduced you to the benefits of
suffixing. You, therefore, should have become reasonably acquainted
with its use in all of the techniques learned. Investigating and
experimenting with all prospects of suffixing when practicing your
techniques is essential. This trend should continue throughout all
belt levels. First Degree Brown Belt, on the other hand, is your
introduction to systemized extensions to the Ideal Phase of your
Orange Belt Techniques. As with the Orange Belt Techniques, each
extension has a theme; that is it teaches a concept, theory, or
principle not contained elsewhere, or an interesting perspective of
how to modify your existing knowledge. Caution! You certainly must
develop your basic Orange Belt Techniques to a proficient level. It
would be unwise to add to a weak base.
   During the study of your First Degree Brown Belt level please
emphasize your freestyle training. You must continue to explore the
blending of your self-defense concepts with those of your freestyle
concepts. Additionally, you must employ greater timing as you refine
your use of the Dimensional Stages of Action. You should make every
effort to incorporate the use of body maneuvers when employing your
defensive and offensive skills.

NOTE: To understand the terms continuity and economy of motion
more thoroughly, let us analyze the elements involved in learning to
write. Here again we find basic similarities in the study of the
Martial Arts.
    We have already learned that speaking a language requires knowing
the alphabets of that language. After you have combined these
alphabets of that language. After you have combined these alphabets to
create words, phonetic pronunciation is then necessary so that you can
be understood. In short, certain sounds are given to alphabets and
words so that a conversation can be carried on.
    While learning to write the English language, two methods of
writing printing and script are taught. Printing employs circles and
straight lines which parallel and/or join each other at various angles
and contact points.    Although curved lines are also used, they too,
sometimes converge, end, or meet straight lines. Such writing
requires stopping one action before starting another. This stopping
and starting action utilizes staccato movements that lose time.
    On the other hand, script writing flows from one alphabet to the
next taking less time to write. This true because script writing
connects straight and circular lines. Straight lines joined with
circular lines make it possible to write without hesitation. Even
though the lines in script writing often retrace their paths, one
stroke does not have to stop before another begins. The flow is
continuous and the speed enhanced.
    A good Martial Art system should contain all of the elements of
print and script writing. It is acceptable for a system to commence
with printing elements to execute moves, but a well rounded system
should ultimately cultivate the elements of script writing to
sophisticate and upgrade its methods. All systems should contain
linear as well as circular paths for it takes both to complement and
balance a system. Using both insures continuity, economy of motion,
and fighting effectiveness.
    Further sophistication of the Art can be compared to still
another method of writing -- short hand. In short hand, you have
combinations of printing and script writing. These symbolic characters
have been condensed in length and space and their meaning increased. A
few strokes or simple characters may have lengthy meanings. Likewise,
in the Art, one punch may have two or more effects. It may change a
defense into an offense or the reverse, a double defense with a single
offense or the reversed, or other like combinations.
    Here again individuality becomes apparent. Each student basically
learns identical procedures, concepts and rudiments of writing, yet
after developing his own writing style, his writing becomes
distinguishably different from others. So it is with the Martial Arts
-- the same basics, concepts, and principles are taught, but a
distinguishable difference is noticed in the application rendered by
each individual student.

Learning to Cope with Danger

kenpoist — Tue, 17 Jul 2007 18:25:00 GMT

INTRODUCTION


    Most people are totally oblivious of danger. Others disregard
danger, convinced that danger will never be a part of their life.
However, whatever your attitude might be, be realistic and ACCEPT the
fact that impending dangers do exist, and consider them seriously.
Once you ACCEPT the existence of these impending dangers, and realize
that logical measures of prevention can help to avoid them, you have
inherently armed yourself with a prime weapon against attack.
    You must then create the DESIRE to do something about it, have the
CONVICTION to begin your study of preventive measures, and instill the
WILL POWER to see your desire to completion.
    Whatever the attitude so is the response. When in or out of class
treat your fellow students with respect. Belittle no one, encourage
all, and become an inspiring example. Develop positive attitudes at
all times. Avoid being adverse to changing your attitude. Be willing
to learn, to think, to accept challenges, to explore, and to share the
knowledge learned. As you grasp the elements of the Art, be creative!
Do not just solve problems, but discover what they are! Subsequently,
do not criticize others unless you have established solutions.
Problems without answers serve no purpose. Cultivate flexible
thoughts. They help to expand your Vocabulary of Motion. Developing
flexible thoughts inevitably leads to increasing your ability to alter
and tailor.
     Diligently study the terminology for it contains a wealth of
answers provided by Mr. Parker. Do not procrastinate. Make every
effort to learn the terminology now. It will accelerate your
understanding of Kenpo, and increase your enjoyment of the art.
Commence with basics. Do not be enticed to advance your study of the
art prematurely. Commence with fundamentals of importance. First
master your stances. They are the foundation of your fighting art. If
you follow this advice, you will find greater enjoyment in Kenpo, and
look forward to continued study. This same art will additionally yield
self-confidence, self-awareness, alertness, self-discipline, etc...all
of which may be called upon if needed to defend yourself.

Blocking

kenpoist — Tue, 17 Jul 2007 18:20:00 GMT

BASICS

BLOCKING - USE OF HANDS & FEET

   Blocks are primarily defensive moves employing physical contact
to check, cushion, deflect, redirect, or stop an offensive move. On
other occasions they can be an anticipated defensive position, which
if correctly planned, can trigger, a BLOCK. A third method is to
initiate a BLOCK on an opponent who is motionless at the time of your
action. In this situation a BLOCK is built into your offense so that
your single action provides both a defense and an offense. A fourth
method involves body checks where pressure is placed on some part of
the opponent's anatomy to restrain or prevent him from taking action.
   When executing a BLOCK, physical contact can occur: (1) when
force meets force, (2) when force goes with force (3) when force meets
a neutral force, (4) when a neutral force meets a neutral force.
Because of these methods of contact BLOCKS need to be defined. When
force meets force it is a STRIKING BLOCK. When force goes with force,
it is a PARRYING BLOCK. When force meets a neutral force there are two
possibilities. If you are motionless it is called a POSITIONAL BLOCK,
and if you initiate the action it is called a BLOCKING STRIKE. When a
neutral force meets a neutral force, it is referred to as a PINNING
BLOCK (or CHECK). The third and fourth methods are really both
subcategories of checking because they are employed in anticipation of
your opponent's moves.
   BLOCKS may be distinguished by the methods used executing them,
and by the anatomical positioning necessary to anticipate your
opponent's execution methods. Remember that the method of execution is
the manner in which a defensive BLOCK (or offensive strike) is
executed to produce maximum results. It involves: (1) the type of
natural weapon used, (2) the force produced, (3) the timing, (4) the
target chosen, (5) the effect intended, and (6) the angle or path
followed.

Whether using the hands or the feet the basic methods of blocking
once again are: striking, parrying, positioned, pinning, and
specialized. Carefully consider the above factors that determine which
method of blocking you may need in any given situation. (1) Look at
all the natural weapons that you can employ and determine which method
would normally be most appropriate. (2) Ask yourself which weapons
will produce what degree of force when executed in a particular
method. (3) What rhythmic timing can you employ and what are their
benefits? (4) How will the target you have chosen effect your choice
of natural weapons, desired force, and timing? (5) What are the
various effects you may desire to render on any given opponent? (6)
Having thoroughly studied the above factors you must now study the
Universal Pattern to examine all the possible angles or paths your
weapon may travel. (7) How will your environment effect your choice of
natural weapon? (8) Range? (9) Relative Positions of you and your
opponent? (10) Necessary and/or possible maneuvers?

These blocks may be executed: under, over, inside, outside,
inside and outside, over and under your opponent's weapon(s). Please
investigate the many possibilities of how your arms and/or legs may
block your opponent's arms and/or legs. Additionally investigate why
you might select to defend on the inside rather than the outside,
under versus over, etc. and why you might choose one versus the other

Why you might choose your legs versus your arms or vice-versa

A Fourth perspective for some

Anonymous — Fri, 13 Jul 2007 02:25:00 GMT

I defer to all those who have written and asked about this 'invisible' article that was to appear on my site. You're right, I've been absent, in mind as well as in substance, accept my apology. I doubt this will inspire, dare I say it might be boring even. But here goes. My perspective: "here he comes, what did I do, damn he's big, damn he's fast, God, I've got to move and NOW" His perspective: "you pencil neck punk, I'm going to kick your face in, pound your ass until you bleed out of your ears" Another's pespective: "what the hell is happening to this town? where are the freakin' cops? oh my God, that guy is CRAZY, is that some sort of karate he's doing (trying?)." Or something like that. Not many people have been combatants, in the true sense I mean. I shot at a guy once in what I considered was a life and death situation. Didn't hit him. Just as well, spent enough time on leave and with psych testing that I almost went crazy and broke with all the traveling. I have had those whippings where I began to wonder what the outcome was to be. That was scary, but fortunately I survived, even won a couple. The resultant healing was worse than the fight, but I survived. I talk to cop associates and friends that like myself retired, but bear the lumps and bumps of years of doing such a job. What did I learn? Hmm... therein lies the 4th perspective. The historical perspective. All wars, all battles, all victories and all fights leave a lesson. In Police work, especially if its a speciality team operation (SWAT), and there is an 'incident' you have what is called an "after action report". In this, you go over the successes, failures, could've, would've and should'ves, to improve your self and your team when it all happens again, which usually does help. It shows the weakness of the team, the entries, introduction of chem agents, and so on, and asks the eternal question "Could we have done this better, individually?" So, as martial artists, what's the difference? Of course, we don't make arrests, or find ourselves in daily hostile situations, but then again, if we are part of the 3rd perspective, you learn about explosive violence, you learn about hate from a real time situation, and dare I say, you learn about your weaknesses in your art. When/if you really fight, you fight alone, as I've said in a previous blog post. But if you understand that from a historical point of view, meaning in situations where you heard about if after the fact, saw the results of it later that day, or knew the winner/loser personally, you've learned a lesson that most of us cannot translate into a class enviorenment, In other words, from a historical perspective. Now, if your part of the attack, defender or attacker, the 'lesson' is more succinct as the pain is immediately felt, the blood is immediately seen, and the fear, adrenalin dump and follow up shakes are in the here and now. Another historical memory to be played back in future training or situations. The deepend memory of such an event can enhance your training to such a level that you will become more confident in what you do well, and more astute in what you don't. Does the "Historical Perspective" always have to be through violence? Not at all. There is a picture floating around out there, Tom Kelly has it I think, of a bunch of us at a workout one Monday morning in Pasadena. The SGM was fine tuning the system, introducing terminology as I recall, and in one of the brilliant moments he would have was explaning something about why this is called.....whatever it was. The picture was shot from the back door of the Pasadena school and all of us were standing there, sweating, with our mouths open , overhwhelmed with what he was saying. All I remember from that was that we had descriptions of body parts that would prompt our understanding of technique, and he was telling us how he came to this understanding. I look back (historically) and remember thinking it was silly, and some years later, it helped me through the 32 techniques per belt that drove all of us crazy. But as a fourth perspective, it was a guide to making me better, certainly not worse, that I did on my own. History repeats itself, but the lessons and the knowledge gained from them will probably require a different response. Richard Post is right in his assessment of a 5th or 6th. It can end up with a judge and jury.... and you can take that anyway you wish...

Geometric Lines and Paths

kenpoist — Mon, 09 Jul 2007 03:08:00 GMT

GEOMETRIC LINES AND PATHS -- UPPER/LOWER CASE MOVEMENTS

     To further develop Economy of Motion as you acquire new "States
of Motion" you must thoroughly understand the concepts of Geometric
Lines and Paths. GEOMETRIC PATH is the concept of visualizing an
entire limb being used to block or strike with, not just a portion of
it. This concept allows for a greater margin for error, since it is
the entire path of action that you are to contemplate using. Another
comparable analogy is the "SQUEEGEE PRINCIPLE" where it's not the
outer ends that are utilized, but the entire area that exists between
them. The outer boundaries of your action form the geometric lines,
while the area between them constitutes the path. Instead of following
geometric lines, we should all learn to employ geometric paths since
it insures better protection. This principle can also be paralleled to
a third analogy, the concept of UPPER AND LOWER CASE.
    UPPER AND LOWER CASE MOVEMENTS basically adheres to the SQUEEGEE
and GEOMETRIC PATH principles. UPPER CASE MOVEMENTS are moves that
employ the upper part of an arm to block with as opposed to the lower
portion of that arm. The upper part of the blocking arm is discouraged
from being used twice.
    UPPER CASE AND LOWER CASE MOVEMENTS can best be explained in the
following manner. If you were blocking a punch to your head with the
hammer portion of your fist it would be faster and simpler to block a
second blow aimed at your stomach with the lower part of your forearm
instead (LOWER CASE MOVEMENT). Logic should tell you that your forearm
is closer to second line of action (punch to your stomach). This
action can be paralleled with the letters of the alphabets that
require it be written in two forms -- upper and lower case. Employment
of an UPPERCASE MOVEMENT followed by a LOWER CASE MOVEMENT
would have your arm following a path and not a line of action. Following a path
of action as opposed to a line of action again allows you greater room
for error. ECONOMY OF MOTION is the result of its employment.
    Begin by reviewing basic movements of your hands and arms,
especially when blocking. Visualize each of your blocks and strikes as
following a path rather than simply a line of action. Practice with a
partner to see if you can defend, strike, or simultaneously defend and
strike with a single movement. Once you feel comfortable with your
arms following Geometric Paths, apply your training to your legs.
    Employ these three methods of application when practicing self-defense
techniques. Get a partner and defend yourself by utilizing the
Upper/Lower Case, Geometric Path, or Squeegee principles. Have him
randomly strike high and low to various targets on your body as you
conveniently and subtlely employ these principles. Require that your
partner get into the spirit of his movements. Have him strike at you
with force. Don't settle for weak, slow, and sloppy movements. Let
this form of practice improve your awareness, heighten your use of
Economy of Motion, and compel you to protect yourself with meaningful
as well as effective blocks.

From the knowledge gained when practicing your basics and self-defense
techniques, commence employing Geometric Paths (Upper/Lower
Cases) when attacking and defending yourself during your freestyle
sessions. Carefully analyze this concept and make note of the benefits
that surface when modifying your freestyle techniques in terms of
Economy of Motion, timing, Bridging the Gaps, Dimensional Stages of
Action, etc.
Finally, apply this concept to your forms. In-depth study will
reveal greater answers to the Solid, Liquid, And Gaseous States of
Motion.