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.
Posted
Sep 12 2007, 02:14 PM
by
kenpoist