Download - American Kenpo Yellow Belt Journal

ED PARKER'S INTERNATIONAL KENPO KARATE ASSOCIATION

Kenpo Creed-I COME TO YOU WITH ONLY KARATE, EMPry HANDS. I HAVENO WEAPONS, BUT SHOULD I BE FORCED TO DEFEND MYSELF,MY PRINCIPLES, OR MY HONOR; SHOULD lT BE A MATTER OFLIFE OR DEATH, OF RIGHT OR WRONG; THEN HERE ARE MYWEAPONS KARATE, MY EMPry HANDS."

-ta

Copyrlght @ 1987 Ed Parker Sr.

IntroductionMost people ore totolly oblivious to donger. Others disregord donger,

convinced thot donger will never be port of their life. However, whoteveryour ottitude moy be, be reolistic ond ACCEPT the foct thot impendingdongers do exist, ond consider them seriously. Once you ACCEPT the exist-ence of these impending dongers, ond reolize thot logicol meosures ofprevention con help to ovoid them, you hove inherently ormed yourself witho prime weopon ogoinst ottock.

You must then creote the DESIRE to do something obout it, hove theCONVICTION to begin your study of preventive meosures, ond instill the WILLPOWER to see your desire to completion,

Whotever the ottitude . so is the response, When in or out of closs, treotyour fellow students with respect. Belittle no one, encouroge oll, ondbecome on inspiring exomple. Develop positive otliludes of olllimes. Avoidbeing odverse to chonging your ottitude. Be willing to leorn, to think, tooccept chollenges, to explore, ond to shore the knowledge leorned. As yougrosp the elements of the Art, be creotive! Do not just solve problems, butdiscover whot they ore! Subsequently, do not criticize others unless you hoveestoblished solutions. Problems without onswers serve no purpose. Cultivoteflexible thoughts. They help to expond your Vocobulory of Motion. Develop-ing flexible thoughts inevitobly leod to increosing your obility to olter ondtoilor.

Diligently study the terminology for it contoins o weolth of onswersprovided by Mr. Porker. Do not procrostinote. Moke every effort to leorn theterminology now. lt will occelerote your understonding of Kenpo, ondincreose your enjoyment of the ort. Commence with bosics. Do not beenticed to odvonce your study of the ort premoturely. Commence withfundomentols of importonce. First moster your stonces. They ore thefoundotion of your fighting ort, lf you follow this odvice, you will find greoterenjoyment in Kenpo, ond look forword to continued study. This some ort willodditionolly yield self-confidence, self-oworeness, olertness, self-discipline,etc.,. All of which moy be colled upon if needed to defend yourself,

2Copyrlght @ 1987 Ed Parker Sr.

FormalitiesWhenever trodition con compliment the present, os well os influence

the future, we should not hesitote to odopt it. Formolities ond ceremoniesossocioted with the Mortiol Arts hove ond still serve on importont role.Becouse of their positive quolities, they ore stressed ond emphosized of olllnternotionol Kenpo Korote Associotion schools. Through odherence toformolities ond ceremonies, discipline ond respect become ingroined in thestudents. lt must be emphosized, however, thot odherenceto formolities ondceremonies does not compel onyone to comply with ony sect or religion.

l. UNIFORMS: Students' uniforms sholl be white ond should be mointoined in

o cleon ond sonitory condition. All brond nome togs should be removedfrom the uniform.

2. PATCHES: The IKKA SHOULDER PATCH should be ploced 1 /2 inch below theseom ond centered on the left shoulder.

The ASSOCIATION PATCH should be ploced on the left front side of theGl, To find the proper height, the potch should be positioned so thot thedividing lines of the circle in the potch ore centered over the left breost of thenipple or slightly obove it. To olign your potch for sewing, it is recommendedthot you first put on your top, cross your left

I.K.K.A PATCH

UNIVERSAL PArcH

TARGE ASSOChNON CRESf PArcH

CIW NAME PATCH

I.K.C. FIAME PATCH

togs sholl be removed from belts, Be sure you hovereceived instruction on how to properly tie your belt.

Only instructors ore ollowed to tie ond position their belt with the knotto the front ond in the middle. However, when on instructor is tought bysomeone of higher ronk, he relinquishes this privilege ond ploces the knot tothe left to show respect to his inslructor. Disregording this formolity denotesdisrespect lo on instructor ond to the Art. The one

Copyrtght @ f 987 Ed Parker Sr.

Formalitiesond only time o student con position the knot in the middle is when he (or she)

competes of o tournoment.All mole students tie their belt with the knot positioned to the left (see

illustrotions). This not only shows respect, but it shows the honor given to theinstructors ond those of higher knowledge.

All femole students tie their belt with the knot positioned to the right.Agoin, this not only shows respect, but thot she is o femole novice not yetprivileged to shore the honor held by instructors (mole or femole), ond thoseof higher knowledge.

Mole students weor their knot to the left (the weok side) ond femolestudents weor their knot to the right (the strong side) becouse femoles ore thestronger of the two sexes in terms of the omount of internol poin thot they conendure (especiolly during childbirth).

4. VERBAT RESPECT: Block Belts ond instructors should be oddresed os "Mr."(Miss or Mrs, if the instructor is femole) ond then by their lost nome. This

generotes respect to those of higher ronk, lt helps to ocknowledge their skill,

experience, ond time devoted to the Art. Since we oddress older men of thecommunity os "Mr." os o meons of showing our respect for their obility,wisdom, oge,ond experience, so shouldwe show respecttothosewith rnoreexperience in the Art.

5. LATE STUDENTS: lf o student is lote for closs, he/she must stond otthe edgeof the troining room, be recognized by the instructor with o solute, beforebeing ollowed to join the closs.

6. CREED & PLEDGES: The CREED hos become on occepted code for monyMortiol Artists. lt denotes the MortiolArtist's woy of life in todoy's environment.Equolly os importont, the Creed octs os o guide to the Mortiol Artist in

developing o keen sense of Justice.The use of the words "right or wrong" leoves no morgin for clemency

but to defend one's self , A motter of 'life or deoth' meons strict odherence

T


Formalitiesto survivol in protecting loved ones or self even if it meons deoth to theodversory should no olternotive be lett. "Principles' must be upheld ondprotected, for without them the very core ond soul of mon is volueles.'Honor' motivotes o Mortiol Artist to oction becouse it gives him dignity.'Empty Honds" (os well os other body weopons) ore the substitutes lhot oMortiol Artist uses in ploce of mon-mode weopons to sustoin his honor.Discipline developed through troining without weopons implonts justice onddiscretion when opplying the Mortiol Arts.

The PLEDGESoTe extensions of theCREED, composed ond designedtofurther promulgote spirituol chorocter omong the lower ronks.

7. BOW OF RESPECT: Whenever o student enters or leoves the troining oreo,he is required to bow, Bowing to the troining oreo demonstrotes respect forthe Art os well os the oreo where others hove troined before him. Bowing is

done to inonimote objects only, A solute (hond gesture) is olwoys done toshow respect to on instructor or individuol.

The bow should stem from on ottention stonce. When you ore bowing,bow your heod for o period of two seconds before returning to on ottentionstonce,

8. SATUTE OF RESPECT: Upon entering the school, solutotions utilizing pre-

scribed hond gestures ore mode to oll Block Belts ond instructors olong withthe proper verbol greeting. The solute is olwoys directed to the senior beltholder first ond then in the order of lheir ronk (highest to lowest). Block Belts

from other systems ore ocknowledged ofter those of our own system.Even when o closs is being conducted (privote or otherwise) on

instructor is required to coll his students to ottention, hove his students focethe senior instructor when he orrives, ond solute him.

The some procedure, utilizing the prescribed solute, occurs oftermeditoting ond when o student is obout to leove the proclice oreo orschool'

Even while owoy from lhe school, students ore encouroged to continueto show this respect. Like o hondshoke it is o sign of respect ond friendship.Through such proctice, students leorn to humble themselves, to be courteousto others, to develop potience, os well os oppreciote their instructor's efforts.

Copyrlght @ f 987 Ed Parker Sr.

FormalitiesPROPER WAY TO SALUTE

I l. MEDITATION: Before o closs octuolly commences, students ore requiredto meditote in o horse stonce, with their bocks erect, heod bowed, eyes

closed, ond their left open hond covering their right clenched fist. This

pogtion is olso ossumed of the end of the troining session. The purpose of this

proctice is to hove the students cleor their minds of oll outside octivities prior

io slorting their closs. ln the event they moy hove hod o confrontotion on thestreet cousing negotive thoughts, they should cleor their minds of such

thoughts to pievent them or fellow students from receiving possible injury.

With a colm ond serene mind, they will be oble to obsorb new moteriol morereodily, become more conscious of their every effort, ond crisp in theiroctions. ln short, it prepores the mind ond body to receive or reflect on theknowledge obtoined.

When meditoting of the conclusion of closs, students ore to ponderover the knowledge releived ond moke o personol commitment never tomisuse the new (oiold) knowledge. They ore to constontly reflect upon thepreciousness of life ond the Creed which they ore to follow.

12. PERSONAI CONDUCT: At oll times you ore to oct with respect towordyourself , others, ond your school, Absolutely no smoking, drinking, or obusive

tonguoge is ollowed on ony occosion involving you ond/or other members

of /our-school, ond certoinly not while in uniform. Be respectful to your

troining center; help to keep it cleon of oll times for lhe benefit of oll' ln

oddition, be prompt ond courteous with the poyments for your lessons.

copyrlght @ 1987 Ed Parker Sr.

Ed ParkerSenior Grondmoster Ed Porker wos known world-wideos the "Fother of Americon Kenpo, He wos thefounder ond president of the lnternotionol KenpoKorote Associotion, ond the Ed Porker Korote Studios.He is the Fother of Americon Korote hoving originotedthe first Americon version of Korote. He opened thefirst profesionol Korote studio in the United Stotes inPosodeno, Colifornio in 1956.

He hos been feotured in Notionol ond lnternotionolmogozines: Time, Look, Strength ond Heolth, Show

Business lllustroted, lron Mon, Action Korote, Block Belt, Korote lllustroted,officiol Korote, lnside Kung Fu, Americon Korote, ond Korote/Kung Fulllustroted; in newspopers notion-wide; orticles in the World Encyclopedioond mony others,

He hos oppeored in dozens of movies ond television shows, includingRevenge of the Pink Ponther ond The Curse of the Pink Ponther. ln oddition,he hos tought korote to neorly every big nome octor ond octres in Holly-wood since the lote

.l950's. He hos olso been o technicol odvisor for motion

pictures ond TV.Throughout the yeors, Mr. Porker hos ouihored mony books: Bosic Korote

Book, Kenpo Korote, The Womon's Guide to Self Defense, Secrets of ChineseKorote, A Guide to Low Enforcement, Guide tothe Nunchoku, lnfinite lnsightsin Kenpo (Volumes l-5), The Zen of Kenpo, lnside Elvis ond much more.

He is o groduote of Komehomeho High School in (1949), Honolulu,Howoiiwhere he wos born ond roised. Mr. Porker received o B,S, Degree fromBrighom Young University in

.l956, with o Mojor in Sociology ond Psychology,

ond o Minor in Politicol Science.Mr. Porker produced the lorgest onnuol mortiol orts tournoment, the

lnternotionol Korote Chompionships in Long Beoch, Colifornio.Mr, Porker's uniqueness rests in his continuous efforts to combot lro-

ditionol restrictions binding progressive thinking. He wos truly o creotivegenius becouse of his incredible obility to discover the problems within theMortiol Arts. His contributions ond innovotions ore endless, encompossinglogic ond reosoning not yet employed by others. His neorly four decodes ofexperience, contributions, ond endeovors estoblish him os the Moster ondFounder of our system, ond the outhor of our troining moteriol.

7Copyrtght @ 1987 Ed Parker Sr.

SayingsoDistonce is your best friend

rWhotever the ottitude, so is the response.

.When blocking on the inside of on opponent's orm, do so belowthe elbow, never obove it.

.When blocking on the ouiside of on opponent's orm, do so of orobove the elbow, never below it.

.The onkle is the wrist of the foot.

.A knife-edge kick is o chop with the foot.

oDeflection: then infliction of poin.

Pleose leorn your soyings, They ore involuoble tools. Some moke comporo-tive onolysis for you; others provide procticol insights into the woy reol survivolencounters ore. All these soyings provide logicol ond useful insights intoKenpo. The opplicotion of mony moy be extended into other focets of yourdoily life.

Copyrtght @ 1987 Ed Parker Sr.

Synonyms

Hondsword...Chop

severol reosons. Their usoge moke lhe nomes of lhe self-defenselechnigues more colorful, descriplive, ond inleresting. Secondly, lhenome often indicoles lhe ottocking weopon, or your response 1o lheoltock.

Mocg..,,,Fist

Storm....Club Attock Twig,...Arm

Copyrlght @ 1987 Ed Parker Sr. I

Standardized Markings For RankAt ED PARKER'S KARATE STUDIOS every beginning student commences

their progrom by weoring o WHITE belt, The first belt ronk of ony distinction is

the YELLOW belt. The entire belt is yellow with no other ottoched designotion.The second promotion, ADVANCED YELLOW, entitles the student to weor onoronge strip on his YELLOW belt. Eoch color belt thereofter up to GREEN is

divided into two stoges -- REGULAR (ploin), ond ADVANCED (designoted byo strip of the nert corresponding color odvoncement); ORANGE -- ORANGEwith o purple strip; PURPLE -- PURPLE with o blue strip; BLUE - BLUE with o greenstrip; GREEN - GREEN with o brown strip,

Eoch corresponding color strip sholl be precisely 112 inch wide. Theresholl be one ( I ) inch from the end of the belt to the stort of the colored strip,The strips should be mode of "IRON ON TAPE". The brond nome (togs) of thegi compony sholl be removed from both ends of the belt.

All odvoncements requiring strips must be put on by the studentimmediotely ofter their promotion. See the following illustrotion for properplocement of the strip:

(NOTE: odditionol strips moy be odded ond is up to the Heqd lnstructorof the school,)

END TO STRIP I INNO STRIPS (PLAIN)


Clock PrincipleThroughout your lessons constont reference will be mode to the foce of oclock. This reference ocluolly relotesto ongles used when teoching,to showyou the proper positioning of your feet in the performonce of your bosics, self-defense techniques, freestyle techniques, forms, etc. For exomple, whenstorting o form set), you should picture yourself stonding in the middle of olorge clock thot hos been ploced on the floor. The direction you foce whenstorting should olwoys be l2 o'clock, to the right of you, 3 o'clock, directlybehind you 6 o'clock, ond to your left,9 o'clock. Like on Air Force pilot youshould imogine the hour hond of the clock holf woy between the mojor clockpositions to determine l:30, 4:30, 7:30, ond 10:30. As you move from yourstorting position, hoving knowledge of where other points on the clock orewill help you perform your moves with o more definite sense of direction. Thisprinciple olso opplies when leorning self-defense techniques; l2 o'clock willolwoys be the direction you foce when first storting regordless of where theottock stems - flonk, reor, or otherwise. Still onother exomple; when you oreleorning, you moy be focing l2 o'clock with your opponent ottocking from3 o'clock ond being osked to hove your left foot step bock to 9 o'clock os youfoce your opponent ottocking from 3 o'clock, Three focets would hovebeen involved here: the originol direction in which you were focing (12o'clock), the ongle from which your opponent ottocked you (3 o'clock), ondthe correct position of yourfoot (9o'clock)which would hove been necessoryto thwort the ottock.

ln short, the "Clock Principle' is o directionol reference used to oid you

L ]t

in selecting the proper direction when ottocked, retolioting,orworking your


nx11 0

TerminologyANGTE(S) OF AIACK - The eight mojor directions ftom which you or onopponent con ottock or defend.

BASTCS - Simplified moves thot comprise the tundomentols of Kenpo. Theyore divided into stonces, moneuvers, blocks, strikes, speciolized moves ondmethods, etc.

BLOCK(S) - A defensive moneuver used to hinder or check on ottock; olldefensive moves employing physicol contoct to check, cushion, deflect,redirect, or stop on offensive move.

CHOP - The execution of o cutting blow to on opponent or object whichgenerolly employs the knife-edge of the hond os the weopon.

CLASSICAL- A term used to describe the so-colled pure systems of Korote orKung Fu. Mony of the movements osocioted with these systems ore notprocticol in our present environment, since their methods were creoted forthe types of defense found prevolent during their porticulor time of history.

CLAWING - Striking oction employing the fingertips to scrotch or rip with. Suchoction moy employ two or more fingers.

CTOCK PRINCIPIE - A method used to help students visuolize the direction inwhich they ore to move. Students ore generolly osked to think of themselvesos being in the middle of o big clock focing I 2 o'clock, with 6 o'clock to theirreor,3 ond 9 to their right ond leff, ond oll other numbers in their respectivelocotions

COMBAT - Reolistic fight which excludes control ond rules.

CORKSCREW PUNCH - A torquing, twisting punch thot strikes with the polmdown.

DRAG -The sliding of one foot forword, bockword, ortolhe side before hovingthe opposite foot step owoy from it. lt is one of the four cotegoricol methodsof SHUFFLING.

EMBRYONIC BASICS - Simple bosic movements thot ore generolly single inoction ond purpose. Although primitive in noture they form the bosic rootsin Kenpo.

Copyrtght @ 1987 Ed Parker Sr

TerminologyFORM - ls literolly o short story of motion. lt consists of bosic movements ofoffense ond defense incorporoted into o donce-like routine for purposes ofexercising, troining without o portner, or troining of home. lt is on index ofmovementsthot gives specific onswers, os wellosspeculotive interpretotionsto combot situotions,

FREESTYLE - A term used in Korote forsporring. As in boxing, it is o combinotionof offensive ond defensive moves used ertemporoneously, To stote itdifferently, it is o combotive method of freely expressing yourself physicolly.

GUARD - Defensive positioning of the orms ond legs in preporotion for onottock. See FIGHTING POSITION.

HEEL/KNEE tlNE - Method of determining the proper depth of o neutrol bowond orrow stonce. Here, if you hove proper depth to your stonce, the heelof the forword foot should just touch the knee of the reor leg if you pivotforword on your toes ond kneel.

KICK(S) - Generolly refers to method(s) used when striking with the foot. lt olsoincludes striking with the shin, colf, peroneous longus, knee, or other ports ofthe leg,

LOCK OUT - lt is o type of check thot is used to briefly detoin the oction of youropponent. lt involves striking o torget with o noturolweopon, ond hoving theweopon remoin on the torget for o time before retrieving it.

MECHANICAL - Refers to those whose movements ore very stoccoto inexecution ond oppeoronce. Sequence of movements which look os if it is

being done by-the-numbers, Movements ore robot-like in oppeoronce.

MOVE - (l) A commond used when teoching to couse o student to reoctduring o porticulor exercise. (2) The troveling of ony object from one pointto onother,

NATURAI WEAPONS - the use of body ports os offensive weopons. This

includes using ports of the hond, orm, foot, leg, heod, etc.

OVER-REACH - To over-extend oneself with o blow or kick needlessly, or toreoch beyond or obove o certoin point unnecessorily, Torget exposure is theresult of such oction.

PARRY - Redireciing o blow or kick by riding or going with the force.

Copyrlght O 1987 Ed Parker Sr. 73

TerminologyPIVOT - ls the chonging from one stonce or position to onother while in ploce.This is done without moving the foot from the spot it is in.

POKE - Refers to the thrusling of the tips of the joints of the fingers to porticulortorget oreos on on opponent's body. The primory torgets ore the eyes,

PRACTICAL MOVES - Reolistic moves thot ore functionol in combot. Movesthot not only work during proctice, but on the streets os well.

PUNCH - Primorily refers to the methods used when you ore striking with thefront portion of the fist,

PUSH-DRAG - A type of SHUFFLE requiring your forword or reor leg to roiseslightly before hoving the supporting leg push forword or bock. The pushingleg must then drog toword the opposite leg so thot the distonce betweenthem returns to its originol depth, Once the originol depth is re-estoblished,you ore reody to resume the next PUSH-DRAG SHUFFLE. This is just one of fourmethods of SHUFFLING,

SET - A term use by Western Chinese to describe o FORM. See definition ofFORM. They ore oppendoges to o FORM,

SHUFFTE - A foot moneuver used to close or increose the distonce betweenyou ond your opponent. ln Kenpo there ore four methods thot occomplishthis; push-drog, drog-step, step-drog, ond pull-drog. All four methods orecotegorized os foot moneuvers.

SNAP(PING) - A method of execution requiring the noturol weopon to strikeout ond bock with o greoter mognitude thon the oction of o WHIP, See WHIP.

SOPHISTICATED BASICS - A single bosic move thot produces multiple results.

STEP-DRAG - The stepping fonarord, or bock, with one foot os the other drogsto meet it. This is onother of the methods of shuffling.

STEP IHROUGH - The execution of full steps, by either moving forword or bock.ln the cose of o step through kick, it meons kicking with the fonrrord foot ondplonting it to your teor, or kicking with the reor foot ond plonting it to yourfront.

SIRIKE(S) - Methods used to execute NATURALWEAPONS. VITALTARGETS conbe punched, kicked, chopped, poked, hommered, etc.

Copyrlght @ 1987 Ed Parker Sr. 74

TerminologySWITCH - ln ploce exchonge of leod legs while focing the somedirection. This is done by exchonging foot positions from one spot toonother. Three olternotives con be used in moking the exchonge, (l )you con step bock to front (2) step front to bock, or (3) jump in ploce.

TARGETS - VITAL AREAS on you or your opponent's body which con beinjured or domoged when struck,

TOE/HEEL tlNE - Method of determining the proper width of o NEUTRALBOW AND ARROW STANCE, where the toe of the forword foot is in linewith the heel of the reor foot.

TORQUE - Twisting ond rototing oction used to position your body ondmuscles to work of moximum efficiency, See ROTATING FORCE.

VITAI AREAS - The mojor weok points of the body.

WEIGHT DISTRIBUTION - The opportionment of weight reloted to oporticulor stonce - it moy vory,fifty-fifty, sixty{orty, ninety-ten, etc.

copyrlght @ 1987 Ed Parker sr. 75

Prerequisite Basics For Yellow BeIt


Required Techniquesl. DELAYED SWORD (front - right hond lopel grob)

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

3. SWORD OF DESTRUCTION (font-leftshobhtorrourrckptseptnch)

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

5. CAPTURED TWIGS (reor - beor-hug, orms pinned)

6. THE GRASP OF DEATH (left flonk - right orm heodlock)

7. CHECKING THE STORM (ftont - r'ght stepthroueh oretheod club)

8. MACE OF AGGRESSION (front - twohond lopelgrob, pulling in)

9. AIIACKING MACE (front - right step through stroight punch)

10. SWORD AND HAMMER (right flonk - left hond shoulder grob)

(CATEGORICAL BREAKDOWN)


Delayed SWOfd FTont-right hand tapet gr&)

l. Stonding noturolly, step bock with your left foot toword 6:00 into oright neutrol bow stonce focing l2:00, while simultoneously executingo right inword block to the right inner wrist of your opponent, At thesome time, position your left hond of solor-plexus level os o precoution-ory check, ogoinst further oction. (Your block should cleor youropponent's right crrm, ond expose the width of his body.)

2. lmmediotely slide your right foot bock into o cot stonce.

3. Without hesitotion, deliver o right front snop boll kick to youropponent's groin, (Your opponent's reoction should couse him tobend forword of the woist.)

4. Plont your right foot forword into o right neutrol bow (focing l2:S)to check your opponent's right knee, os you deliver o right outwordhondsword strike to the right side of your opponent's neck. Rememberto mointoin the position of your left hond os o precoutionory check.lmmediotely slide your right hond (ofter the strike), to the right wrist ofyour opponent os o precoutionory check, (Youropponent's responseshould couse him to foll to the ground.)


Alternating Maces (nont-ttuo-hand push)

l. Stonding noturolly, ond os your opponent otfempts to push you,step bock with your left foot toword 6:00 into o right neutrol bow sionce(focing l2:00). Simultoneously execute o right inword block to theoutside of your opponent's left orm, while your left hond checks otyoursolor plexus. Ohis oction should turn the width of your opponent's bodyond redirect his forword momentum off center.)

2. lmmediotely collopse your right orm ocross the top of both of youropponent's orms (to oct os o check), osyou deliver o leftverticolthrustpunch (trocking over your right orm) to your opponent's sternum orsolor-plexus. This is done while pivoting into o right forword bow stonce.Remember both the stonce chonge ond punch must work in synchro-nizotion with eoch other in order to moximize the force of your leftverticol thrust punch. ( your opponent's reoction should couse his

body to bend forword of the woist.)

3. lmmediotely convert your left punch into o check by hoving it shift,polm open ond down, on the top of both of your opponent's orms.Simultoneously hove your right hond ropidly trovel inside ond over yourleft orm os you deliver o right outword bock knuckle strike to youropponent's right temple, This tronsition is done while pivoting bock intoo right neutrol bow stonce. Ohe torque stemming from your stoncechonge helps to increose the whipping oction of your right hond.)(Properly executed, this should couse your opponent's heod to bedriven up ond bock, with perhops his orms floiling upword.)

4. lmmediotely hove your right hond snop bock, os it then octs os opositionol check.

Copptght @ 1987 Ed Parker Sr.

SwOrd Of DeStnrCtiOn Ftw,tw sfrvisttt r rwndtwu* ptndf

l. Stonding noturolly, sfep bock with your left foot toword 6:00 into oright neutrol bow stonce (focing I 2 :00), os you simultoneously executeo right extended outword block tothe innerforeorm of your opponent'sleft punch, Your left hond should be in o positionol check, coveringyour solor-plexus.

2. lmmediotely slide your right foot bock into o cot stonce.

3. Without hesitotion, deliver o right ftont snop boll kick to youropponent's groin. (Your kick should couse your opponent to bendforword of the woist.)

4. Plont your right foot forword inside of your opponent's left leg intoo right neutrol bow (focing l2:00) ond while employing Monioge ofGrovity, execute o right inword hondsword strike to the left side of youropponent's neck. (Such oction should couse your opponent to folltothe ground.)

5. lmmediotely snop your right hond bock to the left shoulder of youropponent to oct os o check.

copyrlght @ 1987 Ed Parker sr.

DefleCting Hammef Fvont-right Jrontthrust kick)

l. Stonding noturolly, step bock with your left foot toword 7:30 into oright neutrol bow stonce (to move out of your opponent's Line ofAttock), os you simultoneously execute o right downword diogonolblock ogoinstthe outside of youropponent's right kicking leg. Be sureto hove your left hond check of your solor plexus during your block.(Your opponent's body should turn slightly to his left when your blockis properly executed. Your block should odditionolly turn youropponent's width ond couse injury to his leg.)

2. Without hesitotion ond while still in your right neutrol bow, shuffleforword os your left hond checks inword, toword ond between youropponent's right shoulder ond biceps. Your right hond continues tocircle ond it will re-orbit into on inword elbow strike. (Moke sure your lefthond checks your opponent's forword momentum os well os the widthof his upper body.)

3. Just os you conclude your forword shuffle, execute o right inwordhorizontol elbow strike to your opponent's foce. This is done simulto-neously "with" o left sliding check down ond onto your opponent'sright elbow, (Your oction should couse your opponent's heod to snopbock ond couse your opponent to drop to the ground.)

copyrlght @ 1987 Ed Parker sr.

Captured T\rrigS (Rear-beor rlug utitr. crrms pinned)

l. Stonding noturolly with your opponent's orms oround your orms,step off ond to your left toword 9 o'clock with your left foot into o horsestonce (while looking over your right shoulder), os you simultoneouslypin your opponent's honds to your body with your left hond, Just osyour weight settles inio your horse stonce, execute o right bockhommerfist strike to your opponent's groin, Ohis oction should couseyour opponent to bend forword of the woist ond possibly releose hisgrosp.)

2. lmmediotely slide your right foot into o right cot stonce (turning 90degrees while focing 3 o'clock) os your left hond releoses lhe pin,cleors your opponent's right ctrm, ond covers in front of your foce os opositionol check. Simultoneous with the oction of your left orm, hoveyour right hond coveryour groin ond proceed to cleoryour opponent'sleft orm.

3. Execute o right heel stomp to your opponent's left instep, cousingyour opponent to bend forword even further.

4. Slide your right foot bock toword 3:00 into o horse stonce. lmmedFotely hove your right foreorm CONTOUR up the middle of youropponent's body os you execute o right verticol obscure elbow striketo the underside of your opponent's chin, Hove your right orm snopbock ofter the strike ond cover your groin, CVour opponent's heodshould hove been popped up ond bock ond his body moy olso spirolowoy from you if done properly.)


GraSp Of Death (rnJtflank-risht orm headtock)

l. With your heod forced to bend forword ond your opponent to yourleft flonk (opplying o heodlock with his right orm), initiote your octionbytucking yourchin tothe left ond ogoinstyour chest, osyou grobyouropponent's right wrist with your right hond. All of this is done os yourright foot steps forword toword l2 o'clock into o right close kneelstonce while simultoneously grobbing your opponent's right innerthigh with your left hond ond pinching the flesh of thot leg with os muchstrength os possible. Your opponent will experience o horse-bite effectif it is done correctly. Be sure you continue checking the outside of youropponent's right leg with your left knee. (Your opponent's right kneemoy bend ond double up or his leg moy pop forword ond up off theground. ln oddition, your efforts should couseyouropponentto loosenhis grip.)

2. As your opponent reocts to your pinch ond portiolly or totollyreleoses his grip, hove yourright hond bring hisright orm overyourheodond down to your chest, moking sure thot your right elbow is onchoredto oid you in controlling your opponent's height.

3. lmmediotely releosethe grip of yourleft hond ond hoveyourleftfootstep forword toword 10:30 into o left neutrol bow stonce os yousimultoneously strike the bock of your opponent's right elbow with yourleft foreorm while pulling in ond toword you with your right hond. Ohisoction should couse your opponent to step forword with his left footprior to bending over of the woist.)

4. ROLL your left foreorm on the bock of your opponent's right elbowuntil your left foreorm is porollel to the ground. Now slide your left hondto your opponent's right elbow. While controlling your opponent's rightelbow with your left hond, pivot into o left forword bow, focing l0:30.lmmediotely execute o right snopping verticol punch to the bose ofyour opponent's skull, behind his right mostoid bone. Ohis octionshould couse your opponent's heod to move owoy, ond possibly befollowed by his body folling to the ground.)

Copyright @ 1987 Ed Parker Sr.

CheCking tffe StOfm @ontnght stepthlnsh u,erheail ct:ud4

l. Stonding noturolly, os your opponent swings his club in on overheodfoshion, quickly step off to your right with your right foot toword 3

o'clock. Simultoneously drog your left foot toword your right foot osyour form o left 45 degree cot stonce focing l0:30. Without o breok inthe flow of your oction, execute o left extended outword hondswordblock to the inner wrist of your opponent's right orm. During the noturolflow of your motion, hove your right hond precede your left hond os oright porry (executed in the monner of o right inword block) thot stops,hond open, to oct os o check in front of your solor-plexus'

2. lmmediotely execute o left ftont snop boll kick to your opponent'sgroin. (This should couse your opponent to bend forword of the woist.)

3. Plont your left foot (toword 10:00), Be sure to properly gouge thedistonce between you ond your opponent, os you deliver o rightsnopping knife-edge kick to the inside of your opponent's right knee'(Your oction should couse your opponent's right knee to bend out ondowoy from you, but couse his heod to move closer to you.)

4. Plont your right foot toword l0:00 into o right neutrol bow, ond whileemploying MARRIAGE OF GRAVITY, execute o right outword bockknuckle strike to your opponent's left temple, os your left hond remoinschecking otyoursolorplexus. Ohis oction should driveyouropponent'sheod owoy from you ond possibly couse his body to drop to theground.)

Copyright @ 1987 Ed Parker Sr.

Ilfiace of Aggression Ftur*am'hanirrryr;t strr-.wtrrrrg n

l. Stonding noturolly with your opponent grobbing your lopel withboth of his honds, while pulling you in ond toword him, execute o rightstomp on the orch of your opponent's right foot, Simultoneously strikediogonolly through the bridge of your opponent's nose (toword l0:30)with o right inword downword roking bock knuckle strike. Hove yourleft hond pin ond check both of your opponent's honds to your chestof the some time the stomp ond strike ore toking ploce. CVouropponent's knees should buckle from the stomp os your bock knucklestrike breoks his nose ond momentorily drives his heod owoy.)

2. Continue the motion of your right orm so thot it trovels horizontollyond down, striking both of your opponent's foreorms which in turn willforce your opponent to bend forword.

3. lmmediotely execute o right inword horizontol elbow strike to the leftside of your opponent's jow moking sure thot you follow through withyour oction, Ohis will turn your opponent's heod to his right.)

4. Without hesitotion, return with o right outword horizontol elbow striketo the right side of your opponent's jow, Ohis will force your opponentowoy from you,)


Attaeking MaCe Fbnt-rig ht stq thtoushstraisht ptntcttl

l. With your feet together, drop bock with your right foot toword 6:00into o left neutrol bow stonce (focing l2:00), os you execute o leftinword blockto the outside of your opponent's right punch. During thisoction your right hond cocks forword ond slightly to the right of yoursolor plexus (fist clenched ond polm uP). CVou ore turning the width ofyour opponent's body,)

2. lmmediotely pivot into o left fonvord bow stonce os you execute oright stroight thrust punch to the right lower ribcoge of your opponent.Moke sure thot your left hond is open os it checks your opponent's rightelbow. (Your oction should couse your opponent to bend forword otthe woist ond to be forced bock slightly.)

3. Circle your right hond down, out, over, ond oround your opponent'sright orm os you cou ntergrob the outside of your opponent's right wrist.lmmediotely pullyour opponent's orm diogonolly down post your righthipwhile simultoneously delivering o right roundhouse kickto his groin.During this oction, cock your left hond slightly obove your left ribcoge(fist clenched ond polm up). (Your kick ond pull should couse youropponentto bend forword even further,thusexposing his right kidney.)

4. Drop forword into o right forword bow toword 12:@, while simulto-neously executing o left snopping verticol punch to your opponent'sright kidney, 'with' your right leg ON AND OVER THE LINE OF ENTRY.

(Moke sure your right knee is inside of your opponent's right knee ondpressing up ogoinst it.) (Your punch combined with your buckle willdrop your opponent to the ground os well os move him owoy fromyou.)

Copyrrght @ 1987 Ed Parker Sr.

SurOfd arfd HammGf fnrg ft Jtar*-tefi, hand, stwtirder sfi)

l. While you ore stonding noturolly, your opponent (stonding between3 ond 4 o'clock) grobs your right shoulder with his left hond. Step otfond to your right with your right foot toword 3 o'clock into o horsestonce (focing your opponent) while striking your opponent's throotwith o right outword hondsword. Simultoneous with this oction, pinyour opponent's left hond to your right shoulder with your left hond.Ohis oction should couse your opponent's heod to move owoy fromyou.)

2. As your opponent reocts to your hondsword strike ond bendsbockword, execute o right bock hommerfist strike to your opponent'sgroin. (Your opponent should then bend forword of the woist.)

Copyrlght @ f 987 Ed Parker Sr.

Short Form IOPENING: ATTENTION STANCE. BOW. DROPTO A MEDITATING HORSE STANCE.

COME UP TO AN ANENTION STANCE, SIGNIFY. EXECUTE THE SALUTATION: I)SALUTE, 2) SYMBOL OF FRIENDLY AND UNARMED, 3) MEDITATING HORSE, 4)PRAYER OF FORGIVENESS. THEN REIURN TO A MEDITATING HORSE ANDCONCLUDE WITH THE HEAD UP AND EYES OPEN.

l. Your left foot drops bock toword 6:00 into o right neutrol bow focing 12:00,

while executing o right inword block simultoneous'with' o left bock elbowstrike.

2. Your right foot drops bock toword 6:00 into o left neutrol bow focing I2:@,while executing o left inword block simultoneous "with" o right bock elbowstrike.

3. Cover (by moving your right foot toword 3:@) into o left neutrol bow focing9:00, while executing left verticol outword block simultoneous'with'o rightbock elbow strike.

4. Your left foot drops bock toword 3:00 into o right neutrol bow focing 9:00,while executing o right verticol outwo rd block sim ultoneous " with' o left bockelbow strike.

5. Cover (by moving your right foot toword 9:00) into o left neutrolbow focing3:00, while executing o left upword block simultoneous 'with' o right bockelbow strike.

5. Your left drops bock toword 9:00 into o right neutrol bow focing 3:00, whileexecuting o right upword block simultoneous 'with" o left bock elbow strike.

7. Cover (by moving your left foot toword 12:00) into o right neuirol bowfocing 6:00, while executing o right downword block simultoneous 'with' oleft bock elbow strike.

8. Your right foot drops bock toword l2:00 into o left neutrol bow focing 6:00,while executing o left downword block simultoneous 'with" o right bockelbow strike.

CLOSING: Cover (by hoving your left foot drog to your right foot ond out to9:@) into o MEDITATING HORSE STANCE, focing l2:00. COME TO ATTENTION.

EXECUTE THE FULL SALUTATION. BOW.

Copyrtght @ 1987 Ed Parker Sr. 28

Short Form 1

CONTAINS:

l. Moves thot ore strictly defensive.2. Stonces:

o. Attentionb. Horsec. Neutrol

3. Bosic blocks:o. lnwordb. Outwordc. Upwordd. Downword

4. Double blocks (Double Foctor):o. Highb. Low

5. Four bosic ongles of ottock.6. Bock elbow strike while blocking,7. Nineteen moves including both sides ond close.

IEACHES:

l. Stoy down while in stonce.2. Erect posture,3. lncreosed peripherol vision.4. Alwoys look of your opponent,5. Never expose your bock unnecesorily,6. How to cover into o neutrol bow.7. Constont heod level while chonging stonces.8. How to retreot from on opponent when turning to foce

the unknown,9. Bosic timing of honds ond feet.

10. How to block while retreoting. (Qposite l'pM, oppoite foot)I l. Relox ond tense of the proper moment.12. Angle chonges in preporotion for o moss ottock.I3. How to use the opposite orm os o hidden weopon.14. Howto move up ond down in on'L'shope pottern.15. Repetition of the four bosic blocks while retreoting.16. To hsrrc yorrr Hrck moke contoct qt o distonce fiorrt

you so thot your opeonent's punch will be grecrw cf'/erted.17. Crisp moves with snop ond torque,

Conwlght @ f 987 Ed Parker Sr.

Chronolo$cal order in Short Form 1Two (2) inword blocks, two (2) outword blocks, two (2) upword blocks,

ond two (2) downword blocks while utilizing the 'clock principle" to sim-plify foot movements.

t. LT-6

2. RT-6

3. RT-3

4. LT-3

5. RT - 9 (Cover to 3)

6. LT-9

7. LT- t2

8. RT- 12

9. LT - HORSE (Focing l2)

I. RT-IN

2. LT-IN

3. LT - OUT

4, RT - OUT

5. LT- UP

6. RT- UP

7. RT - DOWN

8. LT - DOWN

9. SALUTATION

10. Close ( bring both feet together hove your left foot close to theright ond ploce both of your honds smortly to the sides of your thighs).

NOTE: Employ the "CLOCK PRINCIPLE " when doing oll forms, using l2 o'clockos your initiol point of reference.

**'Both sides of short form one ore required for Yellow belt. First, executethe right side of short form one. When you finish, you should end up in omeditoting horse stonce. From thot position, execute the left side of shortform one. When you ore finished, you should end up in o meditoting horsestonce. From thot position, close with o full solutotion.


Blocking Set 1- Star Block (Borh sides)CONTAINS:

Sequence of blocks thot ore os follows: (upword, inword, extendedoutword, downword, re-cock, pushdown)

l. Right upword block for o left overheod club ottock or chop.

2. Right inword block for o right punch to the body.

3. Right extended outword block for o left punch to ihe foce.

4. Right outside downword block for o left kick to the groin.

5. Right hond re-cocks (o right bock elbow block) to your right hip foro left roundhouse kick to your right kidney.

6. Right push-down block for o right knee kick to the groin.

TEACHES:

l. Five (5) mojor blocks in oddition to one (l) hidden block.

2. Sequence of blocks thot promote Continuity of Motion ondpreserve Economy of Motion.

3. Correct monner in which to use your mojor blocks.

4. Blocks thot protect ollthree (3) "Zones of Protection".

5. The execution of these mojor blocks while in o stotionoryposition,

6. Moximum cover of heod ond upper body oreos.

Copyrtght @ f 987 Ed Parker Sr.

NOTE: REPEAT THE SAME SEQUENCE ON THE TEFI SIDE

37

Freestyle TechniquesB"This olphobet represents the BASE MOVE. lt consists of two voriotions. Bothvoriotions commence from o 'Left to Left' fighting position.

LL-.IEFT TO lEff:

Your left leg (which is forword is focing your opponent's left leg (which is

forword). The first letter (in this cose L) olwoys refers to your leod leg (leg thot'sforword). The second letter (olso L in this cose) refers to your opponent's leg.

(o) The first voriotion is o left hooking grob to your opponent's left orm, whilepulling it down, ond diogonolly lo your left: This is simultoneously executedwith o right uppercut punch to his left lower ribcoge. This punch is diogonolond porollel with your opponent's left ribcoge.

(b) The second voriotion is o left hooking grob to your opponent's left orm,then pulling down, ond diogonolly to your left: This is simultoneously executedwith o right uppercut punch to his left lower ribcoge. This punch is diogonolond porollel with your opponent's left ribcoge.

Both voriotions require thot your forword leg check your opponent's fonrordleg, This moneuver re-enforces on ANGLE OF DISTURBANCE ond on ANGLEOF CANCELLATION.

The numbers represent body ond foot moneuvers, ond ore os follows:

(l) ln ploce body moneuvers (pivot to o forword bow)

(2) Push-Drog

(3) Front Crossover, Step Out

(4) Front Crosover, Step Out, Step Through

l. Blo

2. Btb

3. B2o

4. B2b,

5. B3o

6. B3b

7. B4o

8. Mb

Copyrlght O 1987 Ed Parker Sr. 32

Explanation of Freestyle TechniquesBlo - is the first voriotion, while pivoting into o left forword bow.

Blb - is the second voriotion, while pivoting into o left forword bow.

B2a - '2' indicotes thot the movement to be used ls o push-drog, needed inthe event thot your opponent is o little out of ronge or when your opponentis in the process of moving bock slightly, while executing the first voriotion ofthe bose move.

B2b - indicotes the push-drog is ogoin used, but you ore not to execute thesecond voriotion of the bose move.

B3o - '3' indicotes thot o front crossover is executed while executing thegrob, followed immediotely by o step out while executing the first voriotion.

B3b - is the some opplicotion of the front crossover, step out, while executingthe second voriotion.

B4o - '4' indicotes thot o front crossover is executed while executing thegrob, followed by o step out, then o step through while executing the firstvoriotion. Atthislevelyourrightstepthroughshouldpositionyouinsideofyouropponent's left leg. (This is referred to os being inside of the Angle of Entry).

B4b - is the some opplicotion of the front crossover, step through whileexecuting the second voriotion.

Copyrtght @ f 987 Ed Parker Sr. 33

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