i

ULTIMATE

RANK REQUlREMENTS

S H O D A N1ST DEGREE BLACK BELT

- STUDENT EDlTlON -S

HO

DA

N

ii

ULTIMATE

S

HO

DA

N

RANK REQUlREMENTS

S H O D A N1ST DEGREE BLACK BELT

© 2012 Z-Ultimate Self Defense Studios LLCAll rights reserved - The material contained in this publication is Confidential and Protected under Federal Trademark and

Copyright Laws. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying,

recording, or otherwise, without the prior written permission of Z-Ultimate Self Defense Studios LLC.

Version 1.0

1

W

EL

CO

ME

Z-Ultimate Self Defense Studios was founded by a family of Professional Black Belt Instructors with one definitive mission in mind:

To inspire the men, women, and children of our communities to realize their personal best through the timeless traditions of the Martial Arts in an environment that is proudly built

upon the more rewarding aspects of life –

Respect, Health, and Happiness.

Our system of Ultimate Kenpo is a dynamic blend of Karate, Kung – Fu, and Jiu Jitsu with historical origins dating back thousands of years. All of our professional instructors are internally grown and have been certified through the University of Martial Arts Professionals, making them a true product of what they represent.

Through our exclusive and proven methods of personalized “TNT” (Teach-N-Train) instructional strategies and curriculum, our students are both enlightened and empowered while enjoying the most comprehensive, versatile, and effective form of Martial Arts training available today.

Ultimate Mind, Body, and Spirit is achieved through a collection of CLASSICAL, PRACTICAL, and TACTICAL values, philosophies, and blended applications which have been carefully defined for all age groups by our highly skilled and experienced Board of Masters.

The purpose of this student manual is to serve as a reference to your training. The Martial Arts cannot be learned from a book or video. Your instructor is the key to your progress in the Martial Arts.

Congratulations on taking your first step in your training.

Welcome to Z-Ultimate Self Defense Studios!!

2

MlSSlON STATEMENT

Our Mission is to lnspire the

Men, Women, and Children of

Our Communities to Realize

Their Personal Best through the

Timeless Traditions of the

Martial Arts in an Environment

That is Proudly Built upon the

More Rewarding Aspects of Life -

Respect, Health & Happiness.M

ISS

ION

ST

AT

EM

EN

T

3

With Sincere Pride and Appreciation of theCommunities We Serve, We the lnstructors of Z Commit to

Being the Best and Most Extreme Example of its KindThrough the Timeless Traditions, Philosophies and

Values of the Martial Arts in order to be aTrue Product of What We Represent.

We further Commit, with Great Honor and Privilege, toProvide Our Respected and Valued Students the

Ultimate in Personalized Martial Arts lnstruction soThey too may Realize the Powerful Rewards of

ULTlMATE SELFMind – Body – Spirit

ULTlMATE SELF DEFENSEClassical – Practical – Tactical

ULTlMATE SELF DEFENSE STUDlOSProud – Personable – Professional

lNSTRUCTORS’ CREED

INS

TR

UC

TO

RS

’ C

RE

ED

4

H

IST

OR

Y

HISTORY

5

N

UT

RIT

ION

An oft-repeated and time honored cliché is that a healthy mind, body and spirit go together and are all necessary for total health. While many of us desire a healthy lifestyle, we seem to leave our well-being in the hands of destiny, or ignore it completely. Some delegate maintenance of their physical health to their physicians, while denying their mental and spiritual health. Others leave their fate passively in the hands of a higher power.

As a flood is engulfing a town, a neighbor approaches a Zen priest in his temple, and warns him to leave. “God will save me!” Replied the priest. Later, when the rising water forced the priest to the second story, he was hailed by a man on a raft. “Jump to safety!” Cried the man. “God will save me!” Retorted the priest. Finally when the flood forced the priest to the roof of the temple, one final boat came by. Refusing help, the priest again proclaimed “God will save me!” Eventually the priest drowned and was quite angry when in the company of God. “How could you forsake me when I displayed such faith and devotion?,” he asked. “You were not forsaken”, claimed God, “first I sent your neighbor, then the raft, and finally the boat! I did save you, you chose not to save yourself!”

We live in an environment very different from the one in which we were selected by evolution. There are vast differences in our diet and daily lifestyle from that of early man. We must take a much more active role in our survival. Let us take a look at the obstacles we face, and how we might overcome them.

As a physician committed to Family Practice for over 25 years, and Board Certified in Bariatric Medicine (diseases related to obesity), I have dedicated myself to finding ways of preventing or minimizing the horrific consequences of disease and illness. The National Center for Health Statistics cites that over 60% of adults in the USA are overweight. No longer just an affliction of Western society, obesity has increased 75% worldwide since 1980. More alarming is the rapid increase in childhood obesity. It is not surprising that The World Health Organization has now proclaimed obesity a global epidemic. Weight related problems are fast becoming the greatest contributors to illnesses worldwide. The incidences of diabetes, heart disease and stroke are also increasing at epidemic rates. Statistically, most people reading this will die as a consequence of one of those ailments.

When I began my practice, most people affected by this were 50 or older. Today, I am heartbroken to discover that many are children whose health is complicated by obesity, hypertension, and other metabolic disorders. In fact, the majority of my patients already display some of these abnormalities.

Why is this happening?

It appears that the problem arises from the interaction of genetic factors with changes in both food choices and levels of physical activity. I will address each of these three components, and how they relate to our current health dilemma.

NUTRITION

6

N

UT

RIT

ION

Identical twin studies reveal an estimated heritability of up to 90% with regard to being overweight. One very popular theory is the Thrifty Genotype Hypothesis. In this theory we humans have been subjected to millions of years of evolutionary pressure. Conditions favored genes yielding people who survived starvation by gaining weight easily and losing it slowly. Weight loss was resisted by redundant systems that developed in response to millions of years of periodic famine. These genetic mechanisms for weight control are believed to be mediated by chemicals in the brain (neurohormones) that control appetite and energy expenditure.

During the time period that we were being genetically selected, our food choices were very different. There were major differences in the quantities and sources of all three major food components. These are the macronutrients; better known as protein, fat and carbohydrates.

Historically in our diets, the main resource of non-vegetable protein (both animal and fish), fed on and absorbed vitamins from natural food sources. Cattle and sheep ate grass, fish ate algae. These foods contained many nutrients that have been shown to prevent obesity and its complications. Today this is not the case. Grassland and waterways are very valuable. Cattle and fish are farm-raised on other artificial diets. Animals are kept idle, and overfed grain to increase their girth. Although this makes the meat tender, it causes both the muscles and organs to be rippled with fat. As a result, most protein in our diet is now laden with this harmful saturated fat. Often, fat is mixed in or ground together with leaner protein. This can take the form of ground beef, sausage and other pressed meats.

What a shame! Studies are showing that our diets should contain a higher percentage of protein. Our ancestors derived a greater portion of their caloric intake from protein, albeit from healthier origins. Additionally, it now seems that when people eat meals with high protein content, they feel full and satisfied for a longer period of time. They also eat less at their next meal. Protein is not stored. Much more energy is required to digest and utilize protein, than either fat or carbohydrate. Eating relatively large amounts of protein does not appear to be harmful to the kidneys unless pre-existing disease exists. Unfortunately, kidney disease may be hidden until its later stages. It can, however, easily be detected by testing blood and urine. In short, eat more protein, but try choosing quality sources that are not mixed with saturated fat.

Speaking of fat, humans evolved with most of their dietary fat coming from nuts, olives and seafood. Such foods contain the polyunsaturated Omega-3 and Omega-6 fats that have shown many healthy benefits. These fats actually prevent heart disease, diabetes and strokes. Replacing this good fat, saturated fat is now the most abundant fat in our diet. It occurs readily in processed meats, fried foods, and in baked goods made with butter and shortening. Only since the availability of refrigeration, (approximately 100 years), have we consumed it in significant amounts, since they are liquid at room temperature. Medical studies document that a return to our historic pattern of fat consumption would have many beneficial affects. Several popular diets such as the Mediterranean Diet incorporate this principle by including olives, nuts, and fish, and minimizing dairy intake to lower saturated fat forms, such as hard cheese.

As is the case with protein and fat, currently consumed carbohydrates differ greatly from those eaten historically. Of the three, carbohydrate patterns have probably changed the most.

7

N

UT

RIT

ION

Traditionally, humans consumed complex carbohydrates arising from whole grains, fruits, and vegetables. In their uncooked and unprocessed forms, they are full of essential fiber, vitamins and minerals. Some of these are potent antioxidants which have demonstrated a preventative role in many cancers, as well as obesity and cardiovascular disease.

Unfortunately, what little of these foods that now appear on our plate, have been stripped of their benefit by the methods in which they were prepared. The modern diet owes the majority of its calories to highly refined simple carbohydrates. They provide very little nutritional benefit other than calories to burn. Entering the blood stream very rapidly, these carbohydrates (known as high glycemic index), challenge your bodies regulatory systems. Particularly guilty sources of these simple sugars are soft drinks, such as sodas and even fruit juices. In many cases the extra calories they provide are harmful. Eating whole, fresh fruit is preferred. I have seen people lose significant amounts of weight simply by eliminating soft drinks from their diet. It is reasoned that repetitive consumption of these types of “bad” carbohydrates, unmasks Insulin Resistance. Insulin Resistance is believed to be one of the main culprits in the development of Diabetes, Cardiovascular Disease and Stroke.

In lean times, many cultures developed ways to provide the needed additional calories demanded by the daily workload. A large percentage of calories were easily and cheaply found in breads, potatoes and rice. Despite the fact that our current lifestyle no longer warrants these extra calorie foods, culture ensures their omnipresence in our diet.

Particularly troublesome, is the habit of beginning the day with a meal containing mostly simple sugars. They are present in the fruit juices, breads, and sugary cereals we have become accustomed to eating. Consuming these foods initiates a rapid rise in blood sugar, and may actually trigger subsequent hunger and later overeating. If you must eat such foods for breakfast, at least begin the meal with protein. The digestive process of protein may delay the rapid rise in sugar caused by the later ingestion of simple carbohydrates. Remember that these types of meals were culturally adopted when much more physical energy was expended in the morning.

Water has proven to be the healthiest thirst quencher. Tea (black, green and Oolong), contain antioxidants, which have health benefits. Coffee may also be beneficial, but specific amounts needed have yet to be determined. Alcohol such as red wine, in moderation seems to have some positive statistical affect on cardiovascular risks when limited to two drinks per day for men, and one drink per day for women.

The negative health effects on society caused by the over consumption of poor quality calories is accentuated by a simultaneous lack of energy expenditure. The relationship of energy consumed to energy expended is essential in determining net weight loss, gain or maintenance. It does not take much of an imbalance to have a significant long term effect on weight. An excess of just 10-20 calories per day (one cracker perhaps or a teaspoon of sugar), can lead to a 1 pound weight gain per year.

It is not unusual for many of us to face a great imbalance between ingested and expended calories. As our culture has modernized, people’s daily energy expenditure has diminished.

8

N

UT

RIT

ION

No longer must we hunt, plow, or labor physically just to survive. We drive everywhere! Even children no longer play in a manner that expends the same energy as before.

Energy expenditure occurs mainly in the form of Basal Metabolism and exercise. This basal metabolism (BMR) is affected by the amount of energy expended to run your body’s survival machinery. There is little that we do that affects BMR greatly in the short term. It does, however, take only small cumulative changes to have a significant effect over time. Food substances that increase the energy cost of digestion; protein, caffeine, green tea etc. exert some of their influence on weight through this mechanism. Improving body composition by increasing the muscle to fat ratio accomplishes this as well.

The majority of calories expended however, are in the form of physical activity. There appears to be no major genetic or cultural bias that encourages exercise. This is unfortunate since weight loss is almost impossible without an increase in energy expenditure. This is where genetic influences developed during chronic exposure to starvation kick in. Attempts to lose weight by dieting alone, lead to a release of chemicals in the brain that cause increased hunger and decreased metabolic rate. This occurs specifically in order to avert weight loss. Since only a prolonged combination of caloric restriction and increased energy expenditure are effective for weight loss, it is necessary to increase our level of physical exertion. The National Weight Loss Registry, (which tracks people who have maintained a 30 lb weight loss for a least a year), notes most members exercise daily for at least 30-60 minutes.

Even without weight loss, increasing exercise has its benefits. It has long been known that people who are “fat and fit” have a dramatic improvement in the risk of disease and death compared to their unfit counterparts. People, who exercised without changing their net caloric intake, still lost abdominal fat. It is this abdominal fat that is associated with diabetes and heart disease.

Minimal weight loss has yielded good results in improving health. Only a 10% loss of excess body weight yields remarkable health gains. Long term studies reveal that modification of diet and exercise are significantly more effective in improving disease risk factors than any medication available.

Regrettably, there appears to be no major genetic or cultural motivating factors that encourage activity merely for exercise benefits. As most of us are not predisposed to exercise, we must actively seek to adjust our lifestyles. Time is such a precious commodity in our busy world. It seems wise to choose a form of exercise that provides the most benefits for the hours and effort allotted.

When I personally was faced with such a decision, I examined the medical literature and evaluated my choices. I chose the Martial Arts because they offered solutions to so many of the health problems we face today. True advancement requires growth in mind, body and spirit. Additionally, the Martial Arts had elements that provided benefits to both sexes in all age groups. Many of these gains help to prevent or ameliorate the most common risk factors and diseases. Noted benefits range from preventing and reversing obesity and heart disease in children, to

9

N

UT

RIT

ION

helping those suffering from arthritis. Sharing its origins with yoga, the improved flexibility developed during training preserves range of motion and decreases pain in aging joints.

Improvement gained in reflexes and balance help to prevent serious accidents that are common risks to us all. The integral communal support derived from group participation, encourages the long term effort that is necessary to have any meaningful health impact. Measurable levels of achievement provide a level of self confidence that feels earned. The hardest person for anyone to impress is themselves. The training teaches us not to place limitations on ourselves, and that if we prepare properly, we are capable of more than we ever imagined. Lastly, let’s not forget the self defense aspects! In these days of Terrorism, one never knows when they might be called upon to defend themselves or loved ones in a critical situation.

Present society provides many challenges and pitfalls to our health. We must exercise better judgment in picking our foods. They must be enjoyable, healthy and in the proper portions. Free time and energy levels are limited, so we must choose our elective physical activities wisely.

Dr. Jeffrey A. Ostriker, M.D.

10

STUDENTETIQUETTE

ST

UD

EN

T E

TIQ

UE

TT

E

11

C

OD

E O

F C

ON

DU

CT

CODE OF CONDUCT

Remove Street Shoes Before Entering the Dojo.Bow when Entering and Leaving the Dojo.

No Food, Gum, or Drink is Allowed in the Dojo.No Jewelry Should be Worn During Class or while Practicing.

Turn Off or Silence All Cell Phones and Electronic Devices.Full Uniforms are Required for All Classes and Testing Procedures.

-Please Make Sure They are Clean and Odorless-Black Uniforms May be Worn at the Rank of Purple Belt.

Black and White Uniforms May Not be Mixed Together by Students.- Instructors Only -

All Uniforms and T-Shirts Must Display the Z-Ultimate Self Defense Studios Logo.Always Kneel while Putting on or Removing Your Belt.

Kneel while a Black Belt is Putting on or Removing Their Belt.If a Class is Kneeling and Meditating, You Should Also Kneel and Meditate.

Available Time Inside the Dojo Should be Spent on Your Own Material.- Do Not Watch or Disturb Another Student’s Lesson -

Do Not Teach Other Students Your Material Unless You are Asked to do so by Your Instructor.- This Will Only Create Confusion -

Do Not Use any of the Kick Shields, Focus Mitts, or Heavy Bags while aPrivate Lesson is being Instructed.

Do Not Walk Through a Class in Progress, Walk Around and/or Behind it.Absolutely No Sparring without the Supervision of a Black Belt Instructor.

Full Safety Equipment is Required for All Students while Sparring.(Headgear, Gloves, Forearm & Shin Pads, Foot Protection, and Mouthpiece)

Groin Protectors are Required for All Male Students.Always Bow to Another Student Before and After You Train with Them.

Always Refer to Your Instructor as “Sensei”, “Sir”, or “Ma’am”.Never Suggest or Inquire about Your Next Rank Test.

12

Chinese characters represent ULTlMATE

“The Best and Most Extreme Example of its Kind.”

The Black fading to Blue symbolizes a NEW DAY and the Sincere Gratitude it takes to Realize all of the Great Blessings and Opportunities that come with it. Yesterday is History, tomorrow is a Mystery, today is a Gift, thus we call it the Present.

The Gold symbolizes the VALUE of KNOWLEDGE and the Vital Importance it has for you to Respect and Treasure through your daily practices, so you can Productively Share your Wealth of Wisdom amongst your Family, Friends, and Community.

The Red Sun symbolizes the POWER and PASSION for Life and the Martial Arts, which ignites the Courage it takes for you to Realize your Personal Best and Inspire others to do the same.

The three (3) Slashes of the “Z” symbolize three (3) separate, but important meanings: 1.) The collective benefits Martial Arts training provides for your Mind, Body, and Spirit; 2.) The Classical, Practical, and Tactical applications and training methods of our proven style of Martial Arts; 3.) Z-Ultimate Self Defense Studios’ Prioritized Crusade amongst our family of Professional Martial Arts Instructors -

Ultimate Self – Helping each student achieve and progress in every aspect of their life through the timeless traditions of the Martial Arts.

Ultimate Self Defense – Teaching effective techniques and skills to keep our students aware, confident, and able to successfully defend themselves and/or protect the ones they love.

Ultimate Self Defense Studios – Providing the Ultimate in Personalized Martial Arts Instruction through the highest level of professional protocols and technologies.

Z LOGO SIGNIFICANCE

Z L

OG

O S

IGN

IFIC

AN

CE

13

VALUES

V

AL

UE

S

14

A

NIM

AL

S -

TIG

ER

TIGER

From the Tiger we learn to be strong and tenacious with focused power, courageous and dedicated.

When the best defense is a good offense, then the Tiger is the animal of choice to emulate. Known for it’s strength and power and direct approach to accomplishing tasks, the Tiger teaches us to be strong in the face of adversity. No one ever makes it to black belt level without employing characteristics of the Tiger. To develop the physical traits of the Tiger one should focus on strength building exercises that increase overall condition of the bodies frame. Explosive straight line attacks supported by strong stances combined with ripping and tearing movements give the Ultimate Kenpo practitioner the Tiger qualities needed to be able to defend themselves in many real life self defense situations. When sparring, one can develop courage by attacking directly and ferociously when the opportunity presents itself. Even if the practitioner is smaller in size and not as comfortable using Tiger concepts, learning about and practicing Tiger can be very useful and beneficial. There will be times in all of our lives when these traits can be used with great effect.

15

A

NIM

AL

S -

LE

OP

AR

D

From the Leopard we learn to be fast and agile with superb timing, good reflexes and cunning.

If you are smaller in size than your attacker, then the Leopard is a good animal of choice to use. Smaller than a Tiger the Leopard still has a lot of power in it’s attack. The Leopard gets his power and strength through speed and footwork. Loose whip like movements in the hips also contribute to the Leopard’s power and speed as well. The Leopard will use it’s quick footwork to change angles to stay out of a straight on confrontation. Striking rapidly and continuously not giving the attacker an opportunity to respond is another trait of the Leopard. The Leopard is also know for strong muscles and tendons, in fact Leopard’s can carry animals larger than themselves into a tree. The Leopard’s cunning means that the Leopard knows when to wait, when to attack and when to evade. Because of these characteristics the Leopard helps the Ultimate Kenpo practitioner work on two of Kenpo’s 10 Laws, namely, Multiple Strikes and No Block laws. In practice students should work on their footwork and being relaxed to develop speed and reaction time.

LEOPARD

16

A

NIM

AL

S -

DR

AG

ON

DRAGON

From the Dragon we learn wisdom, flexibility and the fighting spirit.

Sometimes considered best for medium sized students the Dragon’s versatility make it an important and integral part of the Ultimate Kenpo system. Unlike the western version, the eastern Dragon is considered in Chinese mythology to be a sign of good fortune that helps one to become more aware of the spiritual aspects of life. This is a direct reflection of Kenpo’s tenth law, Warrior Spirit. The significance of the Warrior Spirit law is that in order to have any chance to survive when attacked and left no alternative the martial artist must be totally committed to their defense and turn on their Warrior Spirit. Noted for it’s wisdom in an ability to size up any situation properly the Dragon reminds the martial artist of the most important weapon he or she possesses, their mind. From the physical standpoint the Dragon techniques uses raising and falling, swirling and spinning motions which are deceptive while also being elusive. The Dragon’s flexibility means that it is able to fight on land, in water, or in the air, in other words, under any circumstance. When employing the Dragon, students should work on mixing up their attacks and defenses while continuing to move and flow like water. When it comes to the understanding that martial arts training should be for the develop of the mind, body and spirit, one can clearly see the benefit of using the qualities one develops from their Dragon training.

17

A

NIM

AL

S -

SN

AK

E

From the Snake we learn suppleness, rhythmic endurance and Qi (chi).

When using Snake techniques the Kenpo student attacks the most vulnerable targets of the body such as the eyes, throat and groin. This approach ties in with the Kenpo law of Striking Weak Points. Very suited for people who have a slender physique, the Snake also uses twisting and zigzagging combined with to and fro motions to compensate for it’s lack of limbs and helping it to evade danger. Coiling like a spring ready to release it’s energy at the appropriate time gives the Snake a surprising amount of penetrative power when strikes are focused to the softer targets it prefers to attack. This is best applied when properly combined with Qi (Chi). The Snake also has a variety of wrapping and controlling techniques allowing it to temporarily tie up an opponent using Chi Sao (sticky hands) type of movements. The understanding of how to apply Qi is developed by the focus on proper breathing being both rhythmic and calm. Imagine how useful these qualities would be in a real life confrontation.

SNAKE

18

A

NIM

AL

S -

CR

AN

E

CRANE

From the Crane we learn balance, grace and refined movement.

If you really want to perfect the No Block law of Kenpo then the Crane is a must. Renown for it’s balance, the Crane has excellent balance and can maintain it even while disturbing the balance of another. The Crane has a quite calm nature which allows it to demonstrate tremendous focus and concentration. Practice of Crane will help students to improve footwork while doing so in the most balanced state possible. This means that the Crane also helps to develop the Upright Stances and Mobility laws of Kenpo. Since the Crane is somewhat frail, it uses angles and softer flowing motions to redirect attacks rather than trying to oppose them. This approach not only makes the Crane incredibly difficult to near impossible to hit, but also gives it surprising power on it’s counter attack. The Crane employs continual circular deflecting, sweeping and striking motions all in one which allows it to keep a safe distance until it’s ready to counter. The Crane is also known for longevity and fidelity (loyalty), which are only two more of it’s long list of virtues. Again it is easy to see why the ancient masters have chosen the Crane as an animal worthy of studying to learn it’s positive attributes.

19

S

UR

VIV

AL

OF

FIT

NE

SS

SURVIVALOF

FITTEST

20

U

PP

ER

BO

DY

UPPER BODY EXERCISES

Push Ups - Hands are flat on the ground slightly wider then shoulder width. Keeping your body flat, bend your elbows until your chin, chest and hips touch the ground. Then return to starting position.

Knuckle Push Ups - Hands are in Front Two Knuckle or Thrust Punch position. Execute a push up.

Wide Grip Push Ups - Hands are flat on the ground wider than shoulder width. Execute a push up.

Diamond Push Ups- Pointer finger and thumbs are touching (forming a diamond) under the chest. Execute a push up.

Close Grip Push Ups - Place your hands flat on the ground directly under the shoulders. Execute a push up as your arms rub against your ribs.

Wrist Push Ups - Place the back of your hands on the ground. Execute a push up.

Finger Tip Push Ups (Tiger Claw) - Only let the tips of your fingers touch the ground. Execute a push up

Push Ups with a Back Fist - Place the hands flat on the ground. Execute a regular push up. Once you are back in the starting position, throw a back fist straight up to the ceiling. Repeat on other side.

Plyometric Push-ups - Hands are flat on the ground. Bend your elbows, lowering your body to the ground. Push yourself up extra hard so that your hands and feet leave the ground.

10 Second Push Up - Place the hands flat on the ground. Take 5 seconds to lower your body down, take 5 seconds to raise back up to starting position.

SOMETHING ABOUT UPPER BODY EXERCISES

21

L

OW

ER

BO

DY

LOWER BODY

SOMETHING ABOUT LOWER BODY EXERCISES

Squats - Spread your feet slightly wider than shoulder width. Bend your knees up to 90 degrees making sure that your back is straight and your knees stay behind your toes. Return to an upright position.

Squat Kicks - Execute a squat. As you return to an upright position, execute a kick, then land back with your feet apart.

Lunges - Start with your feet together. Step forward with your right foot and bend both knees up to 90 degrees making sure not to let your front knee exceed your toes and that your rear knee does not touch the ground. Return to a standing position with your feet together. Repeat with your left.

Twist Lunges - Start with your feet slightly wider than shoulder width. Step with your right foot in front of your left, bending your knees up to 90 degrees making sure not to let your front knee exceed your toes, your right does not touch the ground and your hips stay square to the front. Return to standing position with your feet apart. Repeat with your left.

Calf Raises - Start with your feet together. Lift your heels off the ground as high as you can. Return to a standing position.

Frog Hops - Start with your feet slightly wider than shoulder width. Squat down and touch the ground with both hands. Jump as high as you can and lift your feet. Land on the balls of your feet.

Kick Outs - Start with your feet together. Squat down and place your hands on the floor. Kick your feet straight behind you into a push up position. Kick your feet back into a squat position and stand up to starting position.

Bun Busters - Start on your hands and knees. Execute a Right Back Kick straight towards the ceiling and return to starting position. Repeat with your left foot.

Fire Hydrants - Start on your hands and knees. Lift your right knee up to the outside of your body and return to starting position. Repeat with your left foot

Mountain Climbers - Start on your hands and feet with your left knee at your chest and your right leg extended. Bring your right knee to your chest as you kick your left leg straight back. Bring your left knee to your chest as you kick your right leg straight back returning to your original position.

22

A

BS

/ C

OR

E

ABS / CORE

Crunches - Lie down on your back with your feet on the ground and knees up. Place your hands across your chest. Contract your abs, pulling your body half way up to your knees, keeping your back as straight as possible. Return to your starting position and repeat.

Reverse Crunches - Lie down on your back with your feet up and your knees bent at 90 degrees. Place your hands across your chest. Contract your lower abs, pulling your hips up towards your chest. Return to your starting position and repeat.

Leg Lifts - Lie flat on the floor with your hand under your hips and your feet 6 inches off the ground. Contract your lower abs and lift your feet 12 inches off the ground. Return to your starting position and repeat.

Mason Twist - Sit on the floor with your upper body about 45 degrees. Twists your upper body so that both hand touch the floor on the right side. Twists back to the left side touching the floor on the left side. For added difficulty keep your feet off the floor.

V Ups - Sit on the floor with your upper body and your feet slightly off the ground. Contract your abs bringing your upper and lower body together. Return to starting position and repeat.

Planks - Start with your elbows and feet on the ground. Hold your body flat off the ground as you contract your abs.

Obliques - Lie down on your right side. Place your left hand by your head. Contract your abs on your left side bringing your left elbow towards your hip. Return to starting position and repeat. Repeat on the left side.

Water pumps - Lie down on your back. Have a partner stand above you at your shoulders of armpits. Grab on to their feet. Contract your abs and bring your feet up to your partner. Have your partner push your feet down and do not let them touch the ground.

Boxing Sit Ups - Lie down on your back with your feet on the ground and knees up. Contract your abs and sit up to your knees. Throw a punch towards the left with your right hand and then throw a punch to the right with your left hand. Return to starting position and repeat.

Jack Knives - Lie down on your back with your hand above your head. Contract your abs and bring your hands and feet together above you. Return to starting position and repeat.

SOMETHING ABOUT AB AND CORE EXERCISES

23

S

TR

ET

CH

ING

STRETCHING

You most likely already know what flexibility is and what the advantages are to having it developed to a high level. A high level of flexibility helps one to perform more economically. Some motor qualities are inborn, such as speed: others, such as balance, have to be developed at a certain age to reach an exceptional level. Flexibility is like strength and endurance, however in that it can be brought to high levels by anybody and at any time in one’s life.

You can improve flexibility by doing exercises such as running, swimming, and weightlifting as long as your limbs go through the full range of motion. Not all martial artists can always lift weights or run middle and long distances, though. Properly chosen stretching exercises are less time and energy consuming than indirect methods.

Apart from increasing the range of movement in your joints, stretching has other functions in your workout. At the beginning of the workout, some dynamic stretches can be good warm-up exercises. At the end of it, stretching facilitates recovery: regulation muscular tension, relieving muscle spasms, and improving blood flow in muscles. It also makes a great cool-down exercise.

Balancing the flexibility of all the muscles in a joint and improving the strength and endurance of the weaker muscles are the easiest measures for prevention of injuries. Applying the methodology you find advocated here in your training will prevent you from making any mistakes in developing your flexibility. These principles are included in the descriptions of stretching methods.

Dynamic stretching involves moving parts of your body and gradually increasing reach, speed of movement, or both. Perform your exercises (for instance, leg raises or arm swings) in sets of 8 to 12 repetitions. If after a few sets you feel tired, stop. Fatigue causes a decrease in the amplitude of your movements. Do only the number of repetitions that you can do without diminishing your range of motion. After reaching the maximum range of motion in a joint in any direction of movement, you should not do many more repetitions of this movement in a given workout.

Dynamic stretches do not involve stopping and holding the stretched position. Such holding is a feature of static active stretches. Do not confuse dynamic stretching with ballistic stretching either. In ballistic stretches, you use the momentum of a fast-moving body or a limb to forcibly and abruptly increase the range of motion. Ballistic or bounce stretches may result in immediate as well as residual pain. In dynamic stretching there are no bobbing, bouncing, or jerky movements and the movements are controlled thoroughly even though they are quite fast.

Static active stretching involves moving your body into a stretch and holding it there through the tension of the muscle-agonists. You may notice that the harder you tense the agonistic muscles the less resistance you feel from the stretched muscles. Static active stretches

24

S

TR

ET

CH

ING

increase both your static active range of motion and you static passive range of motion. Longer (15 seconds) static active stretches are more effective for increasing an active range of motion than shorter (5 seconds) ones.

Relaxed stretching for static passive flexibility involves relaxing your body into a stretch and holding it there by the weight of your body or by some other external force. This type of stretching is more effective than dynamic stretching for increasing the static passive range of motion and decreasing the amount of force needed to hold a stretch. For increasing static range of motion the most effective duration of relaxed stretches is 30 seconds, and the most effective frequency is once per day.

Relaxed stretches relieve cramps of over stimulated muscles. Slow and light relaxed static stretching is useful in relieving spasms occurring in muscles that are healing after an injury or are just sore. Stretching of sore muscles, however, may further damage them. After all, soreness is a sign of muscle tissue damage. Stretching may cause delayed onset of muscle soreness. So, if you feel that a stretch may relieve spasms in the sore muscles, to be safe stretch lightly – only as much as it takes to feel relief.

Isometric stretching for static passive flexibility uses positions similar to those in static pas-sive stretching and adding the strong tensions of stretched muscles, you can cause post contrac-tive relaxations and, subsequently, increases in the stretch. For a greater effect as you relax the stretched muscle, you can tense its antagonists (the muscles that oppose it). Eventually, when you achieve your maximal stretch, you hold the last tension for several seconds. This increases the strength of the muscles in this position. Even without these last tensions, contract-relax stretching improves your range of motion both in passive and active movements as well as your strength in concentric, isometric, and especially in eccentric actions.

Isometric stretching is the fastest and the most efficient method of increasing static passive range of motion. Because of the strong and long tensions in this type of stretching, apply it according to the same principles as other strength exercises. You should allow sufficient time for recovery after exercising, depending on your shape and on the total volume of exercises, their intensity, and the sequence of efforts. Do not exercise so hard as to make your muscles sore and do not exercise sore muscles strenuously. Muscle soreness is accompanied by loss of strength and of range of motion, so if you make your muscles sore often you will reduce your flexibility. Muscle shortening is most pronounced 2 days after performing the exercises that caused muscle soreness. It is a good idea to do isometric stretches in strength workouts and, on days when recovering from these workouts, do either static relaxed stretches or replace the last, long tension in your isometric stretches by just holding the relaxed muscles in the final stretch.

To increase static passive flexibility do isometric stretches as least twice a week, depending on your recovery, though. The best time for isometric stretching is the end of a workout – this is the time when isometric stretches are most effective. For maintaining flexibility it may

25

S

TR

ET

CH

ING

be enough to do isometric stretching once per week.

There are six kinds of flexibility, with classification depending on the character of the muscles’ action and on the presence or absence of an external force that aids moving through the range of motion or assuming and maintaining a stretched position.

Dynamic active flexibility (only using the muscles of the moving body part)

Dynamic passive flexibility below the pain threshold (using as much external assistance as needed to reach the painless limit of motion)

Dynamic passive flexibility over the pain threshold and up to pain tolerance (using as much external assistance as needed to reach the maximal limit of motion permitted by pain tolerance)

Static active flexibility (only using the muscles of the stretched body part to hold a stretched position)

Static passive flexibility below the pain threshold (using as much external assistance as needed to reach the painless maximum stretch)

Static passive flexibility up to pain tolerance (using as much external assistance as need to reach the maximal stretch permitted by pain tolerance)

Practically speaking, however, in training practice usually three kinds of flexibility are deliberately developed – dynamic active, static active and static passive (below the pain threshold).

Passive flexibility usually exceeds active (static and dynamic) flexibility in the same joint. The greater this difference, the greater the flexibility reserve and the greater the possibility of increasing the amplitude of active movements. This difference diminishes in training as active flexibility improves. Doing static stretching alone does not guarantee an increase of dynamic flexibility proportional to the increase of static flexibility.

The flexibility of a martial artist is sufficiently developed when the maximal reach of motion somewhat exceeds the reach required in application. This difference between a martial artist’s flexibility and what is needed is called “the flexibility reserve.” It allows the martial artist to do techniques without excessive tension and prevents injury. Achieving the maximum speed in an exercise is impossible at your extreme ranges of motion, i.e., when you have no “flexibility reserve.”

The training of flexibility, as well as any other motor ability, should proceed in form from general to specific – reflecting the needs of a particular activity. In choosing stretches, you should examine your needs and the requirements of your activity. Martial artist need mostly a

26

S

TR

ET

CH

ING

dynamic flexibility of legs, hips torso, arms and shoulders. To increase your range of motion, you need to do dynamic leg raises in all direction, bends and twist of the trunk, and arm swings. You can perfect your technique by doing various dynamic exercises. You cannot learn dynamic skills by using static exercises, and vice versa.

In Martial arts, punches and kicks should hit their targets with maximum speed. Some targets require nearly fully stretched muscles of the hitting limb (in the case of kicks). Your nervous system has a way of making sure that a stretch, particularly a sudden one, does not end abruptly, causing a muscle tear. But a gradual slowing down before the moment of contact will spoil the impact. Therefore, you have to train your nervous system so you can have maximal speed at the moment of contact even if it is close to the maximal reach of motion in the movement. In the case of kicks, you can learn this skill by using your hands as a target for them. Centers in your brain that regulate coordination and rapid movements know about the hand. They know where it is and that it can stop the kick, so the leg does not have to be slowed down gradually to prevent overstretching.

You must first develop the ability to move your limbs with moderate speed within a full range of motion in joints in order to do these specific kicking drills. You should start at a lower height to avoid injury from any sudden contraction of rapidly stretched muscles. You can use this exercise only in a warm-up because of the limited variety of kicks that you can practice this way.

Fighters relying on high kicks as their combat techniques should spend a few minutes in the morning on the dynamic stretching of their legs. Starting slowly, they should gradually raise the legs higher. Later they should increase the speed of their movements, using the previously described “hand-kicking” drill. Practical experience shows that doing the actual combat kicks in this morning stretch is not necessary to be able to do them later in a day without a warm-up.

You should be careful in choosing your stretches, however, because too much flexibility in some parts of the body can be detrimental to your performance or just unhealthy. For example, you should not perform shoulder stretches past the frontal plane of the body to avoid damaging the joint capsule and cartilage. Forced stretching past the point where you can move using the stretched muscle, can damage the joint, leading to shoulder instability and pain.

A muscle does not have to be maximally stretched to be torn. Muscle tears are the result of a special combination of a stretch and a contraction at the same time, and neither the stretch nor the contraction has to be maximal. Sometimes the contraction is really a spasm, resulting from a chronic weakness of the muscle. Even the most flexible martial artist can develop an overuse injury that manifests itself as a muscle spasm. If you continue to exercise with a muscle spasm, eventually a strong tension of the affected muscle may (and often does) tear it.

Early Morning StretchingIf you need to perform movements requiring considerable flexibility with no warm-up, you ought

27

S

TR

ET

CH

ING

to make the early morning stretch a part of your daily routine. Early morning stretching, which you do before breakfast, consists of a few sets of dynamic movements – for example, arm swings and leg raises to the front, rear, and sides. Before doing these dynamic stretches, warm up all your joints with easy movements. Do the stretches before breakfast because after the meal blood flow in the muscles is diminished, which decreases flexibility, and because doing dynamic stretches, such as high leg raises, with a full stomach is not good for digestion. Do not do isometric stretches in the morning if you plan to work out on strength or flexibility later in the day.

Stretching during a workoutStart with a general warm-up, including cardiovascular. Flexibility improves with an in-

creased blood flow in the muscles. Follow this with dynamic stretches – leg raises to the front, sides and back, and arm swings. Do leg raises in sets of 10 to 12 repetitions per leg. Do arm swings in sets of 5 to 8 repetitions. Do as many sets as it takes to reach your maximum range of motion in any given direction. The total number of repetitions needed for reaching the maxi-mal range of motion increases with age. It may take 15 to 25 repetitions for 8 year olds to reach the maximum range in shoulder and hip joints but 30 to 45 repetitions for 17 year olds. For properly conditioned martial artist, even those who are much older, usually one set in each direction is enough warm-up.

Doing static stretches in the warm-up for a workout that consists of dynamic actions in counterproductive and it certainly does not prevent injuries. The goals of the warm-up are: increased awareness, improved coordination, improved elasticity and contractibility of mus-cles, and a greater efficiency of the respiratory and cardiovascular systems. A proper warm-up improves the mechanical, chemical, and neural aspects of your muscles’ function and thus prevents injuries, but an improper warm-up, including wrong stretching, may predispose you to injuries.

Stretching at the end of your workoutWhen the main part of your workout is over, it is then time for the cool-down and final stretch-

ing. Usually you would only use static stretches here. You can start with the more difficult static active stretches that require a relative “freshness.” After you have achieved your cur-rent maximum reach in these stretches, move on to either isometric or relaxed static stretches, or both.

After all the isometric stretches, you can do relaxed stretches for the same muscle groups. The relaxed or static passive stretches permit staying in maximally extended positions longer than the isometric stretches. Doing relaxed static stretches after isometric may increase your passive range of motion and reduce tension in static stretches further than using either type of stretches alone.

28

S

TR

ET

CH

ING

If you follow these guidelines, you should be able to display your current level of flexibility (the level you normally display during a workout when you are sufficiently warmed up) within a month without any warm-up. Of course it is still better to warm up before any exercises. Being able to do the splits and high kicks without a warm-up does not mean that you are ready to exercise. Warming up lets you perform efficiently during your workout and speed up the recovery afterward. Muscles prepared for work do not get as much mechanical and chemical damage as the unprepared ones.

After you attain the required reach of motion, you may reduce the amount of work dedicated to maintaining this flexibility. Much less work is needed to maintain flexibility than to develop it.

29

RANK TESTING

R

AN

K T

ES

TIN

G

30

TOURNAMENTS

T

OU

RN

AM

EN

TS

31

B

AS

ICS

-

FR

ON

T P

OS

ITIO

N

The Front Position is one of the most effective street stances, because it looks so unassuming. By standing with your feet together, you are not threatening to those that might feel challenged and compelled to start something if they see you in any other fighting stance. From this stance you may quickly leap forward, backward, or to the side. You can also easily and quickly strike an opponent.

When you assume the Front Position, stand upright with your feet together and knees slightly bent. Face forward with your back straight and elbows to the front. The left hand (yin) is rested open over the right fist (yang). This hand position represents yin and yang and can be translated as peace over power; a balance of mind, body and spirit. The pictured Front Position is how we are postured when we bow to show our respect for the traditions of the Martial Arts.

FRONT POSITION

32

B

AS

ICS

- H

OR

SE

ST

AN

CE

S

HORSE STANCE

The Horse Stance is mainly intended for practice and training. Since you are wide open and vulnerable, it is not advisable to use this stance in a real life self defense situation. However, you might use what many call a “Side Horse Stance” – this is the basic Horse Stance, only you turn your body so your side is facing your opponent. Naturally, you will need to turn your head to face your opponent.

When you assume a Horse Stance, your feet are placed slightly wider than shoulder-width apart, with your weight evenly distributed on both feet. Your feet are pointed straight, knees are bent and slightly turned outward, just like a person riding a horse. Hands may be at elbow position, or on guard, with your head up and back straight.

33

B

AS

ICS

- H

AL

F M

OO

N S

TA

NC

ES

A Half Moon Stance is a versatile stance used frequently in forms, Defensive Techniques, and in sparring.

When you assume a Half Moon Stance, your feet are placed slightly wider than shoulder width apart, but with one foot forward and one foot back. Your body weight is evenly distributed as you face your opponent. Hands may be at elbow position, or on guard, with your head up and back straight. Just like boxing, strikes delivered with the forward hand lack the power of the rear hand, but are delivered quickly – jabs and pokes, for example. The rear hand or leg will have the entire body mass behind the strike or kick, but takes longer to deliver, thus enables your opponent to evade or retaliate.

HALF MOON STANCE

34

B

AS

ICS

- F

LA

MIN

GO

ST

AN

CE

S

FLAMINGO STANCE

The Flamingo Stance is considered a transitional stance used prior to and when recovering from mainly linear kicks. In other words, it is a stance that exists in most kicks, although in timing it will not be distinguished as a separate movement.

When you assume the Flamingo Stance, slightly bend the weight bearing leg as you raise the kicking leg off the ground, with the knee pointing at your opponent. Keep your back straight, head up, and face your opponent directly. Practice on both the right and left side.

As with any stance that places most or all of your weight on one leg, you are vulnerable to being hocked or swept. Pay attention and be alert!

35

B

AS

ICS

- C

AT

ST

AN

CE

S

The Cat Stance sacrifices power for speed. This is because only approximately fifteen percent of your body weight is placed on the leading foot, which makes it very easy to lift the foot and kick. Also, it is a good transitional stance and useful when springing forward into action.

When you assume the Cat Stance, both legs are bent and only the ball of the leading foot touches the ground; the heel remains elevated. Keep your back straight, head up, and face your opponent directly. Practice on both the right and left side.

CAT STANCE

36

B

AS

ICS

- C

RA

NE

ST

AN

CE

S

CRANE STANCE

The Crane Stance improves balance. With all of your body weight planted on one leg, your vulnerability to a sweeping leg attack has increased; however, you are postured with improved groin, stomach and head protection.

When you assume the Crane Stance, start with both feet together. Raise the left knee until your thigh is parallel with the ground, while the right (standing) leg is slightly bent. Position your left forearm just in front of the left thigh with the hand opened and tensed. The right arm is positioned by placing your right hand (opened and tensed), just in front of your forehead shielding the eyes. Keep your back straight, head up, and face your opponent directly. Practice on both the right and left side.

37

B

AS

ICS

- B

OW

AN

D A

RR

OW

ST

AN

CE

The Bow & Arrow Stance is sometimes referred to as a “T” Stance, because your feet are placed with the leading foot as the stem of the letter and the back foot as the top of the letter.

When you assume a Bow & Arrow Stance, almost all of your body weight is on the back foot, and only the ball of the leading foot touches the ground. Because of the weight-back feature, the Bow & Arrow Stance enables quick kicks executed from the lead foot. These quick kicks will not have the same force behind them like a Roundhouse or Thrust Kick. Keep your back straight, head up, and face your opponent directly. Practice on both the right and left side.

BOW AND ARROW STANCE

38

B

AS

ICS

- L

EA

NIN

G S

TA

NC

ES

LEANING STANCE

NEED A DESCRIPTION

39

B

AS

ICS

- H

AN

D S

TR

IKE

S

HAND STRIKESYou will find that hand strikes are called by different names depending upon the instructor or

type of Martial Art being studied. The following describes those hand strikes taught by instructors of Z-Ultimate Self Defense Studios, and upon which you will be tested. Hand strikes are delivered to “soft” and “hard” targets. Soft targets are particularly vulnerable areas like the eyes, temple, nose, ears, groin, kidneys and pressure points. Hard targets are bony surfaces such as the skull, spine, ribcage, legs, knees, arms, elbows, feet and hands.

BASIC FIST

Open your hand with your fingers fully extended and together. Now curl your fingers by bending at the middle joint, so that your fingertips meet the top of your palm. Bend your knuckles to curl the fingers toward the heel of the palm. Lay your thumb over your fore and middle fingers. Keep your wrist straight and strike with your fore and middle knuckles in the classic “Two Knuckle punch.” This will be the fist formed to execute other strikes like the Hammer, Rising Sun Punch and Backfist.

FRONT TWO KNUCKLE PUNCH

(Reverse Punch)

After making the Basic Fist, place your hands palm up against your ribs. Extend your arm forward, sliding your arm along your ribs as your fist extends forward. Let the natural motion turn your fist inward so that by the time your arm is fully extended, your palm will be facing down. You will be striking with the two knuckles of the fore and middle fingers.

BACK TWO KNUCKLE PUNCH

Place your fists against your ribs, extend your arm forward, only keep your palm facing up. The back of your fist will face your opponent. You will strike with the same two knuckles as in the Front Two Knuckle Punch.

BACKFIST

Make a Basic Fist and strike to the face or temple with the back of your fist, keeping your wrist rigid. The Backfist does not have a lot of power, but is very quick and can be delivered accurately.

BACKHAND

This is like a Backfist, but you keep your hand open. Use more of a whipping motion when delivering this strike, which is particularly effective on such targets as the nose and ears. Integral to DT #18.

40

B

AS

ICS

- H

AN

D S

TR

IKE

S

BEAR PAW

Open your hand with fingers fully extended and together. Now curl your fingers by bending at the middle joint, so that your fingertips meet the top of your palm. Strike with the palm side using a swiping motion; especially effective against the nose and ears.

CHICKEN WRIST

Bend your wrist as far down as it will go (at least 90 degrees), letting the fingers hang naturally and loose. You strike your opponent’s temple or jaw with the end of the wrist bone with a rising motion, using your weight to thrust with power. It is integral to DT #1 and DT #5.

CORKSCREW PUNCH

This strike uses the execution of a #1 Block or #2 Block with the Front Two Knuckle counter strike, in a fluid and powerful manner. This block and strike combination is found at the end of #2 Pinan.

CRANE’S BEAK

Draw your fingertips together, opposing the tip of your thumb to represent a crane’s beak. You strike with a pecking motion to the soft, vulnerable areas like the eyes, temple and throat. The strength of this hand strike is that it requires little windup to deliver it, and that it can be very penetrating. The weakness of the Crane’s Beak is that extreme accuracy is required.

CROSS BODY

This describes a strike that is delivered with the rear hand and must come across the body.

EAGLE’S TALON

This strike uses the tips of your bent fore and middle fingers, plus your bent thumb, to claw, poke, gouge and rip soft areas like the throat and eyes. It also can be used to grip and reach pressure points.

41

B

AS

ICS

- H

AN

D S

TR

IKE

S

ELBOW

Your elbow delivers two striking surfaces – the front of your elbow, as in a rising strike to the head, and the point of the elbow itself, as in a downward strike. Both are very powerful strikes, capable of breaking large bones. Various different elbow strikes are: Downward Elbow, Upward Elbow, Side Elbow, Glancing Elbow, Roundhouse Elbow, Rear Elbow and Wing Elbow.

FATAL FINGER

Extend your fore and middle fingers, curling the ring and little fingers by bending at the middle joints. Cross the forefinger atop the middle finger, which reinforces this longest digit during strikes to the eyes, throat and pressure points.

FOREARM STRIKE

This blow can be delivered with a smashing or glancing motion. It is very powerful and can be used to most target areas. Make a fist and bring it up to your opposite shoulder. Now extend the elbow out to the side and the forearm surface is exposed for striking.

HAMMER

Form the Basic Fist. Rather than the knuckles, the contact area of the Hammer is the fleshy bottom of the fist. Because of this padding, this strike is suitable for hard targets like the skull.

IMMORTAL MAN

Similar to the Fatal Finger, except the hand is held vertically and the forefinger does not lie atop the middle finger. Fore and middle fingers are kept just slightly bent. Used against soft targets exclusively. Integral to DT #4 and Southern Two Man Fist Set.

JAB

Another strike commonly seen in boxing. Create the Basic Fist and strike with your leading hand. This term really refers to the motion of delivery, since many strikes besides the punch may be“jabbed” at the target.

42

B

AS

ICS

- H

AN

D S

TR

IKE

S

LEOPARD’S PAW

This strike derives its name from its similarity in appearance to the paw of a leopard. Open your hand with fingers fully extended and together. Now curl your fingers by bending at the middle joint, so that your fingertips meet the top of your palm. Bend the first joint of the thumb and hold the thumb against the palm. Tense the muscles of the hand and wrist, then deliver a snapping strike. Because of the small mass created by the Leopard’s Paw, it is especially effective in slipping into narrow places, such as the throat, neck, and armpit and for penetrating muscles. Integral to DT #21 and DT #26.

PALM HEEL

This strike, with the heel of the palm, delivers a strong blow and is particularly good for those who lack strong wrists. Start with your hand open, fingers fully extended, palm downward. Now raise your hand vertically, so your palm is facing your opponent. You may leave your fingers extended or curl them at the middle joint, similar to a Leopard’s Paw.

PHOENIX FIST

Make a Basic Fist, and then extend your curled middle finger. The protruding middle joint will be your striking surface. This strike is more powerful but less accurate than the Trigger Finger strike, because you are using your larger muscle.

POISON THUMB

Form a Basic Fist in the vertical position. Move your thumb on top of the forefinger, with the tip protruding over the closed fist. You will strike with your thumb at pressure points and nerve centers. Do not strike hard targets with this strike.

RIDGE HAND

Open your hand, keeping your fingers together, as if you’ve placed it palm down on a desk. Bend and tuck your thumb completely under your palm. Tense your hand and strike with the inside edge of your hand between the knuckle and wrist.

RISING SUN PUNCH

The Rising Sun Punch is like a Front Two Knuckle Punch only it is not delivered from an elbow position, but from wherever the fist is – and it is always delivered “rising” and locked. Integral to Pinan #5.

43

B

AS

ICS

- H

AN

D S

TR

IKE

S

SHUTO

Open your hand as if you have placed it palm down on a desk. Keep your fingers together and your straight thumb touching the hand. Tense your hand and strike with the outside edge or “blade” of your hand. This strike is also referred to as the Knife Hand Strike and is particularly effective against the neck, throat and groin, as in DTs #1, #2, #10, #19, #20 and #26.

SPEAR HAND

Form a Shuto, however, instead of striking with the blade of your hand, you will be striking in a thrusting motion with the fingertips. This is a very penetrating strike and should be used only to soft targets such as the neck. Integral to DT #17.

TIGER’S CLAW

Place your fingers as if you are doing fingertip push ups, then bend the middle and end joints so that the fingertips are pointing at each other. (Imagine you are carrying a pickle jar with your fingernails.) Your hand resembles a claw and this clawing, raking, poking strike is used to attack the face, eyes and groin.

TIGER’S MOUTH

Open your hand, fingers fully extended and together, but with the thumb fully away from the other fingers. Now slightly curl your fingers by bending at the middle joint and bending at the end joint of the thumb. This strike with the junction formed by the inside of your thumb and forefinger, will be directed at the opponent’s throat. It is integral to DT #1 and DT #20.

TRIGGER FINGER

Form a Basic Fist. Extend the middle joint of the forefinger so that it protrudes beyond the knuckles and forefingers. Place your thumb on top of the tip of your forefinger and press down, forming a potent striking weapon that should be used for small, sensitive, soft targets. Deliver this strike with a short jabbing motion. It is integral to DT #11 and Southern Two Man Fist Set.

TWO-FINGER POKE

Make a Basic Fist, then turn your fist horizontally, as if delivering a Front Two Knuckle Punch. Now extend and separate your fore and middle fingers, keeping the remaining fingers and thumb in a fist. Bend the extended fingers slightly. You will use this strike strictly for the eyes.

44

B

AS

ICS

- H

AN

D S

TR

IKE

S

TIGER’S RAKE

Form a Tiger’s Claw with your striking hand. Keep your fingers tensed and rake them as a tiger would with his claws. Integral to DT #4.

UPPERCUT

This is similar to a Back Two Knuckle strike, except that it is delivered with an upward, hooking motion, generally to the underside of the jaw of an upright opponent. It is a very good strike in close.

UPWARD PALM

This is delivered like an uppercut, only the strike is a Palm Heel with the fingers pointed away from the opponent.

45

B

AS

ICS

- K

ICK

S

KICKSThe name and type of kick used by a Martial Artist results from the direction of motion used

to cause the kick, such as spinning or rising, and the name given to the kick, such as Crescent or Roundhouse. Kicks are much more powerful than punches, as they usually have the full weight of the body behind them. They can be delivered from longer distances also, which offers more protection for the Martial Artist. Following in alphabetical order are some of the basic kicks and how to perform them.

AXE

As an axe chops down on a log, so does an Axe Kick. It strikes downward with the heel, the leg locked, striking the collarbone or back of the neck of a prostrate opponent, or it can be used to smash through his guard.

A regular Axe Kick begins away from the outside of the target, arcs up and over the target, then crashes down with the heel.

A Reverse Axe Kick comes up on the inside, crossing your body, then arcs up and over the target before smashing down with the heel.

A Spinning Reverse Axe Kick calls for spinning off your lead leg with the striking leg coming across the body, arcing up and over the target, then smashing down.

A Jump Spinning Reverse Axe Kick is essentially the same motion as the former with a jump added as you initiate the attack.

BACK

The Back Kick is a very powerful kick, driving the heel deeply into the target – usually the solar plexus, groin or ribs.

A regular Back Kick begins by coming into a Flamingo Stance and looking over the “cocked” shoulder, over the right shoulder when in a right Flamingo Stance, for instance. The kick then extends out behind you, striking the target with your heel, then returns into a Flamingo Stance position.

46

B

AS

ICS

- K

ICK

S

A Spinning Back Kick starts with a spin off your lead leg, bringing your kicking leg into a Flamingo Stance before driving your heel into the target. Continue the spin while bringing your leg back into a Flamingo Stance until you return to your original position.

A Jump Spinning Back Kick is the same as the former, but the attack originates with a jump in the air.

A Rising Back Kick eliminates the Flamingo Stance position and features a locked leg that rises straight back and up to attack the groin or solar plexus, then returns to the original stance.

A Mule Kick is a where you plant both hands on the ground and execute back kicks with both legs simultaneously.

CRESCENT

The Crescent Kick is a circular type of kick that whips your opponent with an almost locked leg, striking with the inside or outside of the foot.

A regular Crescent Kick comes up to the outside and arcs inward, striking with the heel of the foot.

A Reverse Crescent Kick starts to the inside and comes across the body then arcs outward to strike with the outside heel of the foot.

A Spinning Reverse Crescent Kick is essentially the same kick, however while spinning the kicking leg is held in Flamingo Stance until striking with the outside of the foot.

A Jump Spinning Reverse Crescent is essentially the same as the former except the maneuver starts with a jump. Continue the spin until you are in the original position.

A Butterfly Kick is another jumping kick. It is a Reverse Crescent Kick followed by a Jumping Crescent Kick.

47

B

AS

ICS

- K

ICK

S

A Hurricane Kick is multiple Jumping Crescent Kicks that progress forward towards a target.

FRONT

Many street confrontations are eliminated before they get started by the use of this kick. Facing your assailant, you raise the kicking leg into a Flamingo Stance with the knee pointing at the opponent, then kick out with the foot in a snapping motion and return to Flamingo Stance, cocked and ready for more of the same.

A Front Ball Kick strikes the opponent with the ball of the foot, keeping the toes bent backward and out of harm’s way. This is useful on almost any target, but especially the knee caps, stomach, solar plexus, ribs and face.

A Front Heel Kick is especially valuable on knees and groin, but requires good hamstring flexibility to reach higher targets. Because the heel is a hard surface, much damage can be inflicted on softer targets by using this kick.

A Front Instep Kick uses the Flamingo. The kick whips up and strikes the groin with the instep or top of the foot. This kick is very effective to the groin.

An Inverted Front Kick is valuable for working around the opponent’s guard. The Flamingo is done at an inward angle, so that the knee is pointed away from your body.

An Old Man’s Kick is used for striking to the knee. It is more of a push then a snapping strike.

HOOK

A Hook Kick is deceptive in that it initially bypasses the target, which is then attacked from the rear with the heel of the bent leg. For example, a Side Blade Kick is delivered just wide of the opponent; the Martial Artist then bends his knee and hooks or kicks, striking with the heel.

A regular Hook Kick targets the kidneys, spine, back, or side of the head when the opponent is facing you. If he is facing away, targets include the groin, solar plexus or face.

48

B

AS

ICS

- K

ICK

S

A Spinning Hook Kick calls for a spin off of your lead leg, arcing your slightly bent attacking leg toward the target, which is then kicked with a snapping motion.

A Jump Spinning Hook Kick is essentially the same as the Spinning Hook Kick, but originates with a leap into the air.

KNEE

Knee strikes are executed much in the same way as going into a Flamingo Stance. The bent leg is brought up and smashes the target, which must be in line with the thigh. A Rising Knee is brought straight up and into the groin if the opponent is upright, or into the body or face if the opponent is bent over at the waist.

A Roundhouse Knee comes around from the outside and smashes into the body if upright, or the head if the opponent is bent over.

A Jump Rising Knee delivers a knee into the face or solar plexus, resulting obviously from jumping into the air.

A Jump Roundhouse Knee targets the head and upper body, and originates with a leap into the air.

ROUNDHOUSE

This kick begins by bringing the knee around past your centerline, with your leg bent, in an arcing motion. Just before reaching the target, the foot snaps out and, on impact, should be traveling in a horizontal fashion parallel to the ground. Your supporting foot will pivot 180 degrees during the full extension of the kick. Use the power of your hips to whip around and add force to your strike.

A Roundhouse Ball Kick contacts virtually any part of the body with the ball of the foot, toes bent back out of the way.

A Roundhouse Instep Kick calls for keeping the toes pointed away, so you strike with the instep or top of the foot. You have longer reach with this kick, but the softer nature of the instep calls for care when attacking hard targets.

49

B

AS

ICS

- K

ICK

S

SIDE

This kick is delivered from a Flamingo Stance, out to the side of the body.

A Side Blade Kick strikes with the outside edge of the foot, a small, hard striking area that can do great damage.

A Side Thrust Kick is designed to exert force through the target area. The heel is the primary striking surface.

A Rising Side Blade Kick is like a Rising Back Kick, in that it starts with the leg rising straight up to the target, bypassing the Flamingo Stance, then returns to original position.

A Flying Side Blade Kick usually comes after a running start, bringing the rear leg forward to kick forward while airborne, the other leg tucked up to protect your groin.

SMASH

The Smash Kick is actually a half-Roundhouse Kick. Begin by bringing your knee around in a Roundhouse fashion, leg bent, then snap the ball of the foot into the target at a 45-degree angle. This kick uses less hip than a regular Roundhouse Kick and is good for targeting knees, thighs, and ribs.

SNAKE

This kick can be done in multiple direction. The main focus is to strike with the toes to soft targets. This kick requires a lot of strength in the foot to keep the toes flexed.

STEPPING STOOL

The Stepping Stool Kick is a double kick and begins in the Half Moon Stance. Move the rear leg forward as if stepping on a stool, then jump up and deliver a Front Ball Kick with the opposite leg and land back in a Half Moon Stance.

50

B

AS

ICS

- K

ICK

S

STOMP

This kick hits with the heel of the foot and is done by lifting the leg into a flamingo and coming straight down.

WHEEL

A Wheel Kick is delivered by spinning the body, using the extended leg to hit the opponent. You begin with a spin off the lead leg and arc your kicking leg around and into the target as you watch over your shoulder. The striking surface for this kick is the heel.

51

B

AS

ICS

- B

LO

CK

S

Blocks used by the Martial Artist may be rigid and hard, or yielding and enveloping. They may be delivered in an Outward, Inward, Upward or Downward direction. They can be executed with hands opened or closed, and can even be delivered with knees, elbows, shins or forearms. You will learn the Eight Point and Ten Point Blocking Systems, plus the Eight Point Blocking System with Counter Strikes.

OUTWARD

Outward Blocks are executed with the forearm, knife hand, backhand and ridge hand. An Outward Block is one that comes from across the body, pushing the strike outward. For example, your right arm would go to your left side then deflect a strike outward to the right. The Outward Block is best used against strikes using the same hand – block a right punch with a right Outward Block, for example.

The first Outward Block learned is the Outward Forearm Block. It uses the meaty part of your opponent’s forearm, away from the wrist, to soften the impact and prevent extreme soreness. Normally the arm is bent at a 45-degree angle.

The Outward Knife Hand Block uses the meaty edge of the palm to block incoming strikes. Keep the back of your hand toward your opponent until the last second, then snap the knife hand out. This practically turns the block into a strike.

The Outward Backhand Block is actually a parry using the back of your hand to deflect the opponent’s punch out and away.

The Outward Ridge Hand Block uses the edge of the hand near your thumb. The arm isn’t bent more than about 45 degrees, thus, this is used at longer ranges.

INWARD

An Inward Block is one that originates on one side of the body then pushes the strike inward. For example, the right arm would move inward to the left, pushing a strike to the left side. Unlike the Outward Blocks, these are best used against opposite-handed strikes such as a right Inward Block against a left punch.

BLOCKS

52

B

AS

ICS

- B

LO

CK

S

The Inward Forearm Block is the first one learned. Keep the back of your fist toward your opponent and use the meaty part of the arm to soften the impact.

The Inward Knife Hand Block uses the meaty edge of your palm to block an incoming strike, and is almost always a strike against the opponent’s wrist as he punches. Keep your palm facing the opponent until he strikes then snap the knife hand against the wrist.

The Inward Palm Block is actually a parry using the palm to deflect the opponent’s punch across the body and away.

UPWARD

There are five types of Upward Blocks: Forearm, Knife Hand, Backhand, Crossing and Deflecting; and like previous blocks, the Upward Forearm Block is the first taught. Upward Blocks are those that come from below the attack and push the strike upward and away from vital areas. By pushing an opponent’s strike up, his ribs are exposed for a counterstrike; this is also true when stopping a downward strike.

The Upward Forearm Block uses the meaty part of the arm to stop a blow, and usually the arm is bent 90-degrees. Keep the palm of your fist towards the assailant and close your hand for safety.

The Upward Knife Hand Block uses the meaty edge of your hand. Hold the back of your hand toward your opponent until the last second, then snap the edge upward as a strike against the wrist. This block usually goes upward and outward simultaneously.

The Upward Cross Block is very strong and is designed to stop a downward strike by crossing the arms. Sometime it is executed while moving forward into the opponent, which robs the opponent’s strike of some power.

The Upward Deflecting Block uses the upward arm at a 45 degree angle to deflect the opponent’s downward strike.

53

B

AS

ICS

- B

LO

CK

S

DOWNWARD

As the student would suppose, these six blocks originate from above the attack and push the strike or kick downward and usually outward. As with previous blocks, the first Downward Block studied is with the forearm.

The Downward Forearm Block uses the fleshy part of the arm to block downward and outward. Keep the back of your fist toward the opponent. Forming a fist keeps the forearm muscles tightened and firm, which protects the bones in your forearm.

The Downward Knife Hand Block uses the blade of the open hand, snapping the knife hand downward and outward. This can be dangerous during practice if done incorrectly.

The Downward Palm Block jams a kick or pushes down a strike and is usually executed after first moving in closer to the opponent. This robs the kick or strike of much power, and is effective even if reserved for last-ditch situations.

The Downward Parry Block is usually executed while moving back and away from the opponent, thus redirecting the strike or kick. The palm is employed to deflect the opponent’s attack softly to the outside.

The Downward Cross Block is the strongest of all downward blocks, capable of stopping even the most savage rising kicks. Both arms are crossed above the attack.

The Downward Hooking Hand Block is executed with the wrists bent. The inside of the bent wrist hooks and deflects the strike softly to the outside.

COMBINATION BLOCKS

Some blocks use a combination of the foregoing, and include, but are not limited to; the Iron Fortress, the Dragon Trap and the Upholding Hand.

The Iron Fortress is a powerful block, capable of fending off virtually any hooking punch. It has the liability of requiring two hands to block just one. Another disadvantage is that it is designed for use inside an attack, which makes you vulnerable to an attack by the second hook punch from the other hand.

54

B

AS

ICS

- B

LO

CK

S

A left Iron Fortress would be described as a Left Outward Block with a simultaneous Right Palm Block across the body, resting close to the left shoulder. The Left Outward Block will stop the power of a right hook at the inside of the elbow, while the Right Palm Block will guard against any remaining power at the opponent’s wrist.

The Dragon Trap uses the same basic motion as the Iron Fortress, but usually is employed against cross-hand straight punches of the same hand; a Left Dragon Trap Block against a Left straight punch, for example. Like the Iron Fortress, it uses two hands to block one and thus creates some vulnerability, but it compensates in a clever way, breaking your opponent’s balance.

When the opponent delivers a left “cross-hand straight punch,” for example, the Left Outward Block and Right Palm Block protect the Martial Artist. Then your left hand presses downward slightly on the opponent’s elbow while the right hand traps the opponent’s wrist against your shoulder. You step back slightly, pulling the opponent off-balance toward you – and now you can retaliate!

The Upholding Hand Block features an upheld arm, bent at the elbow, with the elbow reinforced by the other hand, as if holding it up. It is well used to deflect punches over your head.

OTHER BLOCKS

As mentioned, the knees, elbows and shins are also capable of blocking, as are the forearms. The bent knee held in Flamingo position is an extremely hard target, even against kicks, and capable of quick counterstrikes. Use it against low to medium-high kicks.

The elbows are hard targets, especially when bent, useful against medium kicks and low to medium-high punches. Elbows can take quite a bit of punishment and can dish out counterstrikes quickly because they are already “cocked.” The skin and bony shank of the forearm are not the best when it comes to blocking, but these medium-tough targets are much preferred to a strike reaching the groin or solar plexus!

Jamming techniques as learned by advanced students are very useful in street conflicts as you prevent the opponent from doing much harm. Moving in close with the body denies his kicks or strikes of impacting with power, plus you can counterstrike or upset his balance.

Martial Arts students will also learn about using a foot to interrupt a kick and often leave the opponents off-balance and vulnerable. The Palm Heel Strike to a shoulder or bicep to jam a punch robs the strike of its power and gives you an opening.

Trapping is used in more advanced forms and requires much practice. A trap is a two-part

55

B

AS

ICS

- 8

PO

INT

BL

OC

KIN

G S

YS

TE

M

maneuver, first to redirect the kick or strike, then to grab or catch the opponent’s limb. You follow up with a movement to unbalance or incapacitate your opponent.

Western boxers have learned that the best way to prevent being hit by a punch is to avoid it. The most successful have been known for their ability to bob and weave out of harm’s way. If you can do so without getting unbalanced, do so, then counterattack!

A Check Block is a soft block usually done with the palm of your hand. It is a secondary defense measure usually in addition to bobbing and weaving.

A Strike can be used as a block in two ways, and both are restricted to use by advanced students or proficient Martial Artists.

One use is to strike with an incoming kick or strike. This calls for great precision. You must hit a softer target with your harder surface, but if you do, the opponent will be made more cautious and wary.

The second use of a strike instead of a block is to beat the opponent to the punch – literally. If a Roundhouse punch comes your way, you explode with a Front Punch that hurts and unbalances your opponent, also causing his strike to miss. Speed is required, as is the ability to “read” your opponent.

Then there are those times when you will be hit – when you must take a punch or kick. You can lessen the damage by learning to absorb the punch. For example, an opponent hits you in the solar plexus with a punch. You can lessen the impact by relaxing and pulling one shoulder back, away from the attack. This uses the principle of “yield and overcome.” The same can be done with a punch to the head. By going with the direction of force, rather than trying to resist it with a firm neck, you weaken the force of the blow.

EIGHT POINT BLOCKING SYSTEM

Routinely during execution of the forms, a block will be specified by number; therefore, commit these to memory.

1. Right Outward Block

2. Left Outward Block

3. Right Inward Block

4. Left Inward Block

5. Right Upward Block

6. Left Upward Block

7. Right Downward Block

8. Left Downward Block

56

B

AS

ICS

- 8

PO

INT

BL

OC

KIN

G S

YS

TE

M

EIGHT POINT BLOCKING SYSTEM WITH COUNTERSTRIKES

Block and punch is a rhythmic procedure your instructor will demonstrate. Thus, this uses the Martial Arts philosophy of yield and attack, give and take.

1. Right Outward Block, Right Front Two-Knuckle Punch

2. Left Outward Block, Left Front Two-Knuckle Punch

3. Right Inward Block, Right Cross-Hand Hammer Strike

4. Left Inward Block, Left Cross-Hand Hammer Strike

5. Right Upward Block, Right Inward Hammer Strike

6. Left Upward Block, Left Inward Hammer Strike

7. Right Downward Block, Right Rising Chicken Wrist Strike

8. Left Downward Block, Left Rising Chicken Wrist Strike

57

B

AS

ICS

- 1

0 P

OIN

T B

LO

CK

ING

SY

ST

EM

TEN POINT BLOCKING SYSTEM

The Ten Point Blocking System utilizes both hands simultaneously. It teaches us how to defend against multiple strikes. Ten Point Blocking System is executed closer to the body then the Eight Point Blocking System is. These are practiced in a formal manner with dynamic tension. Begin in Front Position, bow, then right foot steps out into Horse Stance.

1. Double Downward Knife Hand Blocks while exhaling.

2. Double Outward Rising Ridge Hand Blocks while inhaling, then double Downward Knife Hand Blocks while exhaling.

3. Double Outward Knife Hand Blocks while exhaling.

4. Double Inward Leopard’s Paw Knife Hand Trap while exhaling.

5. Double Downward Palm Blocks while exhaling.

6. Hands left fist over right fist (cup and saucer) on right side, double “U” driving Tiger’s Claws (right up, left down) to the left while exhaling.

58

B

AS

ICS

- 1

0 P

OIN

T B

LO

CK

ING

SY

ST

EM

7. Hands right fist over left fist (cup and saucer) on left side, double “U” driving Tiger’s Claws (left up, right down) to the right while exhaling.

8. Double Outward Knife Hand Blocks. Reach out, grab opponent and pull in.

9. Right Upholding Hand Block, bridged with left hand. Simultaneous Right Downward Block (right goes through left) and Left Upward Block. Simultaneous Outward “U” Tiger’s Claw Strikes (right up, left down) while exhaling.

10. Left Upholding Hand Block, bridged with right hand. Simultaneous Left Downward Block (left goes through right) and Right Upward Block. Simultaneous Outward “U” Tiger’s Claw Strikes (left up, right down) while exhaling. Right foot meets left in Front Position, then bow.

59

LINEDRILLS

L

INE

DR

ILL

S

60

BAGDRILLS

B

AG

DR

ILL

S

61

UNIVERSITY

U

NIV

ER

SIT

Y O

F M

AR

TIA

L A

RT

S P

RO

FE

SS

ION

AL

S

62

63

R

AN

K L

EV

EL

S

WHITE is the color of innocence. The White Belt Symbolizes one whose mind and spirit are “blank;” one who knows little or nothing about Martial Arts. It is the color of the beginner.

6th Rokkyu

YELLOW is the color of the sun as well as the color of light and new riches. The Yellow Belt indicates that the light of a new day has begun to shine. It is the color of learning.

5th Rokkyu

ORANGE is also the color of the sun, but the sun at zenith. The Orange Belt indicates the first flash of day has matured; on whose skill and understanding are reaching new heights.

4th Rokkyu

PURPLE is the color of courage. The Purple Belt symbolizes that a student has started to unite mind, body and spirit.

3rd Rokkyu

BLUE is the color of the sky and ocean. The Blue Belt symbolizes that the student’s aspirations have begun to expand to new horizons.

2nd Rokkyu

BLUE W/ GREEN STRIPE 1st RokkyuGREEN is the color of growth, grass, and forests. The Green Belt symbolizes that the student has begun to absorb the light and started to blossom and bear fruit.

Gokyu

GREEN W/ BROWN STRIPE Yonkyu3RD BROWN is the color of earth and solidity. The Brown Belt indicates ones techniques have become competent, the mind is fertile and spirit is formed.

Sankyu

2ND BROWN Nikyu1ST BROWN Ikkyu

1ST BLACK is the fusion of all colors. The Black Belt indicates that one has gained all the traits of characterized skill necessary to surpass the obstacles encountered on the “first day of the way.” Black is the color of night. It shows that the first “day” is over and that a new day is coming. The student’s journey has not ended but merely begun.

Shodan

2nd Black Nidan3rd Black Sandan4th Black Yodan5th Black Godan6th Black Rokudan7th Black Shichidan8th Black Hachidan9th Black Kudan

10th Black Judan

RANK LEVELS

64

M

AT

ER

IAL

RE

QU

IRE

ME

NT

S

RANK DT NO.

PAGE #

NAME OF FORMPAGE

#

WHITE BELT6

HALF MOONING WITH 8 POINT BLOCKING SYSTEM

YELLOW BELT 7 PINAN 1

3

ORANGE BELT 2 PINAN 2

5 KATA 1

18

PURPLE BELT 8 PINAN 3

9

12

4

BLUE BELT 15 KATA 2

10 2 MAN FIST SET - NORTHERN

BLUE BELT WITH GREEN STRIPE

11 PINAN 4

14 2 MAN FIST SET - SOUTHERN

GREEN BELT 26 STATURE OF THE CRANE

16

17

GREEN BELT WITH BROWN STRIPE

13 KATA 3

PINAN 5

3RD DEGREE BROWN BELT 19 KATA 4

20

2ND DEGREE BROWN BELT 1 KATA 5

21

1ST DEGREE BROWN BELT KATA 6

MATERIAL REQUIREMENTS

65

W

HIT

E B

EL

T

WHITE BELT L E S S O N P L A N

DATE LEARNED MATERIAL DESCRIPTION

Front Two Knuckle PunchBack Two Knuckle PunchThrust PunchHammer StrikeFront Ball KickFront Instep KickRising Knee8 Point Blocking SystemPartner Pairing - “Punching In”Half Mooning Forward and Backward with Strikes and BlocksDefensive Technique #6 (DT 6)Slapping Out

WHITE is the color of innocence. The White Belt Symbolizes one whose mind and spirit are “blank;” one who knows little or nothing about Martial Arts. It is the color of the beginner.

NOTES:

66

DEFENSIVE TECHNIQUE #6 (DT 6)CLASSICAL - Execute from a Strong Horse Stance with Fists at Elbow Position.

PRACTICAL - Execute from a Strong Left Half Moon Stance with Hands On Guard.

TACTICAL - Execute from a variety of different Stances and Hand Positions.

Quickly lift your right foot into a Flamingo Stance. Deliver a Right Front Ball Kick to your opponent’s solar plexus. “Kiai.” Quickly rechamber your right foot to your Flamingo Stance. Cross your right foot over the left, then step out with your left foot into a strong Right Side Horse Stance with hands on guard facing opponent.

As your opponent attacks:

NOTES:

DT

6D

EFE

NSI

VE

TE

CH

NIQ

UE

#6

67

W

HIT

E B

EL

T

SLAPPING OUTThe physical strategy of slapping out is to take the impacting energy of a fall or throw to

the ground and spread it out over a larger surface area of the body. The more surface area of your body you are able to disperse the energy of the fall or throw, the less impact that will be realized to any one specific part of your body. You especially want to protect your head and joints of the body, since they are most venerable to serious injury. It is important to first practice slapping out under the supervision of a Certified Instructor to ensure your technique

and timing is correct.

Three Practice Stages of Slapping Out:

#1 – Begin by laying flat on the floor with your legs together and your arms crossed across your chest. Keep your teeth together as you simultaneously lift your head and extend your arms away from your body slapping the ground as you “KIAI”.

#2 - Begin by sitting down on the floor with your legs extended in front of you. From this seated position, keep your teeth together, your chin tucked down towards your chest, and your arms across your chest. Lean back towards the floor and once your back meets the floor, extend your arms away from your body slapping the ground as you “KIAI”.

#3 – Begin by squatting down over your feet and wrapping your arms around your legs. From this low squatting position, keep your teeth together, your chin tucked down towards your chest, and your arms wrapped around your legs. Slowly and carefully roll back towards the floor and as your back meets the floor, extend your arms away from your body slapping the ground as you “KIAI”.

NOTES:

68

Y

EL

LO

W B

EL

T

YELLOW BELTM A T E R I A L

YELLOW is the color of the sun as well as the color of light and new riches. The Yellow Belt indicates that the light of a new day has begun to shine. It is the color of learning.

DATE LEARNED MATERIAL DESCRIPTION

ShutoRising ElbowRoundhouse ElbowCross Hand HammerChicken WristSide Blade KickBack KickRoundhouse Knee8 Point Blocking System w/ Counter StrikesPinan #1 (P1)Defensive Technique #7 (DT 7)Defensive Technique #3 (DT 3)

NOTES:

69

PINAN #1 (P 1)

NOTES:

P 1

PIN

AN

#1

2. Look left as you pivot on your right foot and draw into a Left Cat Stance facing 9:00, simultaneously bring your left hand to your right ear and pull your right hand to elbow position. Left foot steps forward into a Left Half Moon Stance and execute a #8 Block.

1. Assume Front Position and bow. Right foot steps out into a strong Horse Stance. Bring your arms together vertically, then Knuckle Roll with Dragon Breathes Fire.

3. Right foot Half Moons forward into a Right Half Moon Stance, Right Front Two Knuckle Punch to the solar plexus as you rechamber your left hand to Elbow Position.

4. Look over your right shoulder as you bring your right hand to your left ear. Pivot 180 degree clockwise on your left foot drawing into a Right Cat Stance facing 3:00. Right foot steps forward into a Right Half Moon Stance and execute a #7 Block.

70

NOTES:

P 1

PIN

AN

#1

6. Pivot 90 degrees counter clockwise on your right foot drawing into a Left Cat Stance facing 12:00. Left foot steps forward into a Left Half Moon Stance and execute a #8 Block with a “Kiai.”

5. Left foot half moons forward into a Left Half Moon Stance, Left Front Two Knuckle Punch to the solar plexus as you rechamber your right hand to Elbow Position.

7. Right foot half moons forward into Right Half Moon Stance, Right Front Two Knuckle Punch to the solar plexus as you rechamber your left hand to Elbow Position.

8. Left foot half moons forward into a Left Half Moon Stance, Left Front Two Knuckle Punch to the solar plexus as you rechamber your right hand to Elbow Position.

9. Right foot half moons forward into a Right Half Moon Stance, Right Front Two Knuckle Punch to the solar plexus as you rechamber your left hand to Elbow Position.

71

NOTES:

P 1

PIN

AN

#1

11. Right foot half moons forward into a Right Half Moon Stance, Right Front Two Knuckle Punch to the solar plexus as you rechamber your left hand to Elbow Position.

10. Bring your left hand to your right ear. Pivot 270 degrees counter clockwise on your right foot drawing into a Left Cat Stance facing 3:00. Left foot steps forward into a Left Half Moon Stance as you execute a #8 Block.

12. Look over your right shoulder as you bring your right hand to your left ear. Pivot 180 degrees clockwise on you left foot drawing into a Right Cat Stance facing 9:00. Right foot steps forward into a Right Half Moon Stance and execute a #7 Block.

13. Left foot half moons forward into a Left Half Moon Stance, Left Front Two Knuckle Punch to the solar plexus as you rechamber your right hand to Elbow Position.

14. Pivot 90 degrees counter clockwise on your right foot drawing into a Left Cat Stance facing 12:00. Left foot steps forward into a Left Half Moon Stance and execute a #8 Block with a “Kiai.”

72

NOTES:

P 1

PIN

AN

#1

16. Left foot half moons forward into a Left Half Moon Stance, Left Front Two Knuckle Punch to the solar plexus as you rechamber your right hand to Elbow Position.

15. Right foot half moons forward into Right Half Moon Stance, Right Front Two Knuckle Punch to the solar plexus as you rechamber your left hand to Elbow Position.

17. Right foot half moons forward into a Right Half Moon Stance, Right Front Two Knuckle Punch to the solar plexus as you rechamber your left hand to Elbow Position.

18. Bring your left hand to your right ear. Pivot 270 degrees counter clockwise on your right foot drawing into a Left Cat Stance facing 9:00. Left foot steps forward into a Left Half Moon Stance as you execute a #8 Block.

19. Right foot half moons forward into a Right Half Moon Stance, Right Front Two Knuckle Punch to the solar plexus as you rechamber your left hand to Elbow Position.

73

NOTES:

P 1

PIN

AN

#1

21. Left foot half moons forward into a Left Half Moon Stance, Left Front Two Knuckle Punch to the solar plexus as you rechamber your right hand to Elbow Position.

20. Look over your right shoulder as you bring your right hand to your left ear. Pivot 180 degree clockwise on your left foot drawing into a Right Cat Stance facing 3:00. Right foot steps forward into a Right Half Moon Stance and execute a #7 Block.

22. Left foot half moons to a Horse Stance facing 12:00.

23. Bring your arms together in vertical position then Knuckle Roll with Dragon Breathes Fire.

24. Right foot meets left assuming Front Position and bow.

74

As your opponent attacks:

NOTES:

DT

7D

EFE

NSI

VE

TE

CH

NIQ

UE

#7

CLASSICAL - Execute from a Strong Horse Stance with Fists at Elbow Position.

PRACTICAL - Execute from a Strong Left Half Moon Stance with Hands On Guard.

TACTICAL - Execute from a variety of different Stances and Hand Positions.

Avoid the attack by stepping to the left and pointing your toes towards 10:30. Quickly bring your right foot into a Flamingo Stance. Immediately deliver a Right Side Blade Kick to opponent’s ribs. “Kiai.” Quickly rechamber your right foot to your Flamingo Stance. Cross your right foot over your left, then step out with your left foot into a strong Right Side Horse Stance with hands on guard facing opponent.

DEFENSIVE TECHNIQUE #7 (DT 7)

75

DEFENSIVE TECHNIQUE #3 (DT 3)CLASSICAL - Execute from a Strong Horse Stance with Fists at Elbow Position.

PRACTICAL - Execute from a Strong Left Half Moon Stance with Hands On Guard.

TACTICAL - Execute from a variety of different Stances and Hand Positions.

As your opponent attacks:

NOTES:

DT

3D

EFE

NSI

VE

TE

CH

NIQ

UE

#3

Avoid the punch by stepping with your left foot towards 10:30 while you simultaneously bring your left hand up to your right ear to guard while delivering a Right Front Two Knuckle Punch to the opponent’s groin. Grab your opponent’s right shoulder with your left hand as you rechamber your right hand to elbow position. Deliver a Right Back Two Knuckle Punch to the opponent’s temple – immediately reach behind opponent’s head and grab their left shoulder with your right hand. Simultaneously push with your left hand and pull with your right hand, spinning opponent towards you and down to the ground as you move your right foot towards 7:30 landing in a Right Half Moon Stance. Bend your left knee into a lunge position, finish with a Left Front Two Knuckle Punch to opponent’s face. “Kiai.”

76

O

RA

NG

E B

EL

T

ORANGE BELTM A T E R I A L

ORANGE is also the color of the sun, but the sun at zenith. The Orange Belt indicates the first flash of day has matured; on whose skill and understanding are reaching new heights.

DATE LEARNED MATERIAL DESCRIPTION

Palm StrikeSide ElbowRear ElbowDownward ElbowSpearhand PokeReverse HammerCross Hand ShutoBackfistRolling BackfistBackhandSide Thrust KickCrescent KickFront Thrust KickPinan #2 (P2)Kata #1 (K1)Defensive Technique #2 (DT 2)Defensive Technique #5 (DT 5)Defensive Technique #18 (DT 18)

NOTES:

77

PINAN #2 (P 2)

NOTES:

P 2

PIN

AN

#2

2. Look left as you pivot on your right foot and draw into a Left Cat Stance facing 9:00, simultaneously bring your Left hand to your right ear and pull your right hand to elbow position. Left foot steps out into a Left Half Moon Stance and execute a #8 Block.

1. Assume Front Position and bow. Right foot steps out into a strong Horse Stance. Bring your arms together vertically, then Knuckle Roll with Dragon Breathes Fire.

3. Right foot half moons forward into a low Right Half Moon Stance, Right Thrust Punch to the groin as you rechamber your left hand to Elbow Position.

4. Look over your right shoulder as you bring your right hand to your left ear. Pivot 180 degree clockwise on your left foot drawing into a Right Cat Stance facing 3:00. Right foot steps forward into a Right Half Moon Stance and execute a #7 Block.

78

NOTES:

P 2

PIN

AN

#2

6. Pivot 90 degrees counter clockwise on your right foot drawing into a Left Cat Stance facing 12:00. Left foot steps forward into a Left Half Moon Stance and execute a #8 Block with a “Kiai.”

5. Left foot half moons forward into a low Left Half Moon Stance, Left Thrust Punch to the groin as you rechamber your right hand to Elbow Position.

7. Right foot half moons forward into Right Half Moon Stance, Right Front Two Knuckle Punch to the nose followed immediately with a Reverse Hammer Strike to the groin as you rechamber your left hand to Elbow Position.

8. Left foot half moons forward into a Left Half Moon Stance, Left Front Two Knuckle Punch to the nose followed immediately with a Reverse Hammer Strike to the groin as you rechamber your right hand to Elbow Position.

9. Right foot half moons forward into a Right Half Moon Stance, Right Front Two Knuckle Punch to the nose followed immediately with a Reverse Hammer Strike to the groin as you rechamber your left hand to Elbow Position.

79

NOTES:

P 2

PIN

AN

#2

11. Right foot half moons forward into a Right Half Moon Stance, Right Back Two Knuckle Punch to the chin as you rechamber your left hand to Elbow Position.

10. Bring your left hand to your right ear. Pivot 270 degrees counter clockwise on your right foot drawing into a Right Cat Stance facing 3:00. Left foot steps forward into a Left Half Moon Stance as you execute a #8 Block.

12. Look over your right shoulder as you bring your right hand to your left ear. Pivot 180 degrees clockwise on your left foot drawing into a Right Cat Stance facing 9:00. Right foot steps forward into a Right Half Moon Stance and execute a #7 Block.

13. Left foot half moons forward into a Left Half Moon Stance, Left Back Two Knuckle Punch to the chin as you rechamber your right hand to Elbow Position.

14. Pivot 90 degrees counter clockwise on your right foot drawing into a Left Cat Stance facing 12:00. Left foot steps forward into a Left Half Moon Stance and execute a #8 Block with a “Kiai.”

80

NOTES:

P 2

PIN

AN

#2

16. Left foot half moons forward into a Left Half Moon Stance, Execute a #6 Block followed by a #5 Block, Left Front Two Knuckle Punch to the groin, followed by a Right Back Two Knuckle Punch to the chin as you rechamber your right hand to Elbow Position.

15. Right foot half moons forward into Right Half Moon Stance, Execute a #5 Block followed by a #6 Block, Right Front Two Knuckle Punch to the groin, followed by a Left Back Two Knuckle Punch to the chin as you rechamber your left hand to Elbow Position.

17. Right foot half moons forward into a Right Half Moon Stance, Execute a #5 Block followed by a #6 Block, Right Front Two Knuckle Punch to the groin, followed by a Left Back Two Knuckle Punch to the chin as you rechamber your left hand to Elbow Position.

18. Bring your left hand to your right ear. Pivot 270 degrees counter clockwise on your right foot drawing into a Left Cat Stance facing 9:00. Left foot steps forward into a Left Half Moon Stance as you execute a #8 Block.

19. Right foot half moons forward into a Right Half Moon Stance, execute a #1 Block followed by a Right Front Two Knuckle punch (Corkscrew Punch) to nose as you rechamber your left hand to Elbow Position.

81

NOTES:

P 2

PIN

AN

#2

21. Left foot half moons forward into a Left Half Moon Stance, execute a #2 Block followed by a Left Front Two Knuckle punch (Corkscrew Punch) to nose as you rechamber your left hand to Elbow Position.

20. Look over your right shoulder as you bring your right hand to your left ear. Pivot 180 degrees clockwise on your left foot drawing into a Right Cat Stance facing 3:00. Right foot steps forward into a Right Half Moon Stance and execute a #7 Block.

22. Left foot half moons to a Horse Stance facing 12:00.

23. Bring your arms together in vertical position then Knuckle Roll with Dragon Breathes Fire.

24. Right foot meets left assuming Front Position and bow.

82

NOTES:

KATA #1 (K 1)

K 1

2. Deliver a Left Front Ball Kick to the solar plexus, landing forward in a Left Half Moon Stance. Deliver a Right Front Two Knuckle Punch to the solar plexus.

1. Assume Front Position and bow. Right foot steps out into a Horse Stance facing 12:00. Quickly execute an Overhead Cross Block and return to elbow position with a “Kiai.”

3. Deliver a Right Front Ball Kick to the solar plexus, landing forward in a Right Half Moon Stance. Deliver a Left Front Two Knuckle Punch to the solar plexus.

4. Pivot 180 degrees counter clockwise on your right foot drawing into a Left Cat Stance facing 6:00, as you pull both fist to Elbow Position.

KAT

A #

1

83

NOTES:

K 1

KAT

A #

1

6. Left foot meets right landing in a Front Position facing 10:30 with hands held fist over fist on the right side of your body in a cup and saucer position.

5. Left foot steps forward into a Left Half Moon Stance. Execute an Overhead Cross Block. Followed by a #8 Block, then Right Front Two Knuckle Punch to the solar plexus, as you rechamber the left hand to Elbow Position.

7. Left foot steps out into a Horse Stance facing 10:30 with fists at Elbow Position. Execute a Downward Cross Block.

8. Left foot meets right landing in a Front Position facing 12:00 with hands held fist over fist on the right side of your body in a cup and saucer position.

9. Left foot steps out into a Horse Stance facing 12:00 with fists at elbow position. Execute a Downward Cross Block.

84

NOTES:

K 1

KAT

A #

1

11. Right foot steps into a Right Side Horse Stance facing 12:00. Execute a Double Knife Hand Block towards 9:00 as you look towards opponent at 12:00.

10. Open your hands and trap the opponent’s leg. Both hands sweep in a circular motion counter clockwise, throwing opponent off his feet. Hands finish in an on guard position, with a Right Overhead Knife Hand and a Left Vertical Knife Hand. (Arms are perpendicular, but not touching.)

12. Hands reach out towards 12:00 and trap, left palm over right palm, as you draw hands into Right Elbow Position. Deliver a Right Spear Poke to opponent’s throat at 12:00 as your left hand rechambers to Elbow Position.

13. Look towards opponent at 6:00. Pivot 90 degrees counter clockwise on your right foot drawing into a Left Cat Stance facing 6:00 as you execute a Right Downward Palm Block.

14. Left foot steps forward into a Left Half Moon Stance facing 6:00. Deliver a Left Palm Strike to the heart as you rechamber your right hand to Elbow Position.

85

NOTES:

K 1

KAT

A #

1

16. Pivot 180 degrees counter clockwise drawing into a Left Cat Stance facing 12:00. Execute a #2 Block, as you rechamber your left hand to Elbow Position.

15. Bring hands to an on guard position. Right Front Ball Kick to the solar plexus landing forward in a Right Half Moon Stance facing 6:00, with hands on guard.

17. Left foot steps forward into a Left Half Moon Stance. Deliver a Left Back Two Knuckle Punch to the chin.

18. Right foot meets left landing in a Front Position facing 12:00 with hands held fist over fist on the left side of your body in a cup and saucer position.

19. Look towards your opponent at 3:00. Deliver a simultaneous Right Side Blade Kick to the ribs and a Right Backfist to the temple. Quickly rechamber your fist and foot to a Flamingo Stance. Land in a Horse Stance facing 12:00.

86

NOTES:

K 1

KAT

A #

1

21. Look towards your opponent at 9:00. Deliver a simultaneous Left Side Blade Kick to the ribs and a Left Backfist to the temple. Quickly rechamber your fist and foot to a Flamingo Stance. Land in a Horse Stance facing 12:00.

20. Left foot meets right landing in a Front Position facing 12:00 with hands held fist over fist on the right side of your body in a cup and saucer position.

22. Quickly execute an Overhead Cross Block and return to elbow position with a “Kiai.” Right foot meets left assuming Front Position and bow.

87

DEFENSIVE TECHNIQUE #2 (DT 2)CLASSICAL - Execute from a Strong Horse Stance with Fists at Elbow Position.

PRACTICAL - Execute from a Strong Left Half Moon Stance with Hands On Guard.

TACTICAL - Execute from a variety of different Stances and Hand Positions.

Corner Step into a Horse Stance facing 9:00 perpendicular to the opponent ‘s arm as you execute a #3 Block. Quickly deliver a Right Back Fist to the opponent’s face. Shuffle behind opponent as you deliver a Right Side Elbow to the opponent’s sternum. As the opponent begins to fall back, immediately sweep opponent’s left foot with your right hand (causing opponent to fall to the ground), then deliver a Right Shuto Strike to opponent’s groin. “Kiai.”

As your opponent attacks:

NOTES:

DT

2D

EFE

NSI

VE

TE

CH

NIQ

UE

#2

88

DEFENSIVE TECHNIQUE #5 (DT 5)CLASSICAL - Execute from a Strong Horse Stance with Fists at Elbow Position.

PRACTICAL - Execute from a Strong Left Half Moon Stance with Hands On Guard.

TACTICAL - Execute from a variety of different Stances and Hand Positions.

Corner Step landing in a Horse Stance facing 9:00 perpendicular to the opponent’s arm as you execute a pressing Scissor Block (Left Knife Hand Block and a Right Chicken Wrist) to the opponent’s wrist. Quickly deliver a Right Rolling Back Fist to opponent’s nose with left hand on guard, protecting your ribs. Execute a Right Side Thrust Kick to opponent’s solar plexus. “Kiai.” Cross your right foot over your left, then step out with your left foot into a strong Right Side Horse Stance with hands on guard facing opponent.

As your opponent attacks:

NOTES:

DT

5D

EFE

NSI

VE

TE

CH

NIQ

UE

#5

89

DEFENSIVE TECHNIQUE #18 (DT 18)CLASSICAL - Execute from a Strong Horse Stance with Fists at Elbow Position.

PRACTICAL - Execute from a Strong Left Half Moon Stance with Hands On Guard.

TACTICAL - Execute from a variety of different Stances and Hand Positions.

Step back with your right foot drawing into a Left Cat Stance as you execute a Left Downward Parry Block. Quickly step drag forward into a Left Half Moon Stance aligned with opponent’s center line as you deliver a Left Backhand to the opponent’s ear. Immediately grab the opponent’s shoulder with your left hand and draw your arm back and down pulling opponent forward and off balance. Step back with your left foot and turn 180 degrees landing in a Horse Stance facing 9:00, while pulling opponent down onto their hands and knees. Deliver a Right Downward Elbow to opponent’s spine between shoulder blades. Pivot into a Left Lunge Stance and deliver a Right Reverse Hammer Strike to opponent’s temple. “Kiai.”

As your opponent attacks:

NOTES:

DT

18

DE

FEN

SIV

E T

EC

HN

IQU

E #

18

90

P

UR

PL

E B

EL

T

PURPLE BELTM A T E R I A L

PURPLE is the color of courage. The Purple Belt symbolizes that a student has started to unite mind, body and spirit.

DATE LEARNED MATERIAL DESCRIPTION

Tiger’s ClawCrane’s BeakForearm StrikeReverse Crescent KickRising Front KickStomp KickSpinning Back KickRoundhouse Ball KickRoundhouse Instep KickPinan #3 (P3)Defensive Technique #4 (DT 4)Defensive Technique #8 (DT 8)Defensive Technique #9 (DT 9)Defensive Technique #12 (DT 12)

NOTES:

91

NOTES:

PINAN #3 (P 3)

P 3

2. Look left as you pivot on your right foot and draw into Left Cat Stance facing 9:00, execute a #2 Block as you pull your right hand to Elbow Position.

1. Assume Front Position and bow. Right foot steps out into a Horse Stance facing 12:00. Bring arms together vertically and Knuckle Roll with Dragon Breathes Fire. Inhaling continuously through the nose, turn fists palms up, then pull fists to elbow position. Exhale as you extend both fist in Thrust Punch position, as if delivering strikes to the groin.

3. Right foot meets left foot in Front Position facing 9:00. Keeping your left hand in a #2 Block, drop your right arm to a natural position, as if your punching the groin. Simultaneously execute a #8 Block and a #1 Block, then immediately execute a #7 Block and a #2 Block.

4. Right foot steps back, pivot on your left foot clockwise 180 degrees drawing into a Right Cat Stance facing 3:00. Execute a #1 Block as you pull you left hand to Elbow Position.

PIN

AN

#3

92

NOTES:

P 3

PIN

AN

#3

6. Bring your right hand to elbow position and set your left hand on top of the right in a cup and saucer position. Left foot steps out to a Side Horse Stance, looking towards 12:00. Deliver a Left Rolling Backfist to the nose at 12:00, with the right hand guarding the ribs.

5. Left foot meets right foot in Front Position facing 3:00. Keeping your right hand in a #1 Block, drop your left arm to a natural position. Simultaneously execute a #7 Block and a #2 Block, then immediately execute a #8 Block and a #1 Block.

7. Right foot half moons forward into a low Right Half Moon Stance facing 12:00. Right Spear Hand Strike to the groin, supported by the left hand under the right elbow.

8. Right hand sweeps opponent’s foot. Pivot 270 degrees counter clockwise on the left foot landing in a Left Side Horse Stance facing 12:00. Deliver a Left Cross Hand Hammer Strike to the temple toward 12:00 with a “Kiai,” right hand returning to elbow position.

9. Right foot half moons forward into a low Right Half Moon Stance facing 12:00. Right Thrust Punch to the groin as you rechamber the left hand to Elbow Position.

93

NOTES:

P 3

PIN

AN

#3

11. Quickly deliver a Right Front Ball Kick to opponent’s solar plexus landing forward in a Right Side Horse Stance facing 6:00. Keeping your feet planted, twist your upper body 45 degrees to the left, executing a Right Wing Block. Draw your right foot back into a Right Cat Stance facing 6:00 with hands at elbow position. Step forward with your right foot into a Right Half Moon Stance. Simultaneously deliver a Right Back Two Knuckle Punch to the chin and a Left Tiger’s Claw to the groin.

10. Right foot meets left landing in a Front Position facing 6:00, while placing both hands in Crane’s Beaks on your hips.

12. Left foot meets right landing in a Front Position facing 6:00, while placing both hands in Crane’s Beaks on your hips.

94

NOTES:

P 3

PIN

AN

#3

14 Right foot meets left landing in a Front Position facing 6:00, while placing both hands in Crane’s Beaks on your hips.

13. Quickly deliver a Left Front Ball Kick to opponent’s solar plexus landing forward in a Left Side Horse Stance facing 6:00. Keeping your feet planted, twist your upper body 45 degrees to the right, executing a Left Wing Block. Draw your left foot back into a Left Cat Stance facing 6:00 with hands at elbow position. Step forward with your left foot into a Left Half Moon Stance. Simultaneously deliver a Left Back Two Knuckle Punch to the chin and a Right Tiger’s Claw to the groin.

15. Quickly deliver a Right Front Ball Kick to opponent’s solar plexus landing forward in a Right Side Horse Stance facing 6:00. Keeping your feet planted, twist your upper body 45 degrees to the left, executing a Right Wing Block. Draw your right foot back into a Right Cat Stance facing 6:00 with hands at elbow position. Step forward with your right foot into a Right Half Moon Stance. Simultaneously deliver a Right Back Two Knuckle Punch to the chin and a Left Tiger’s Claw to the groin.

95

NOTES:

P 3

PIN

AN

#3

17. Right foot half moons Forward into a Horse Stance facing 6:00. Right Roundhouse Elbow to the jaw.

16 Left foot half moons forward into a Left Half Moon Stance as you rechamber you hands to Elbow Position. Left Front Two Knuckle Punch to nose.

18. Pivot 180 degrees clockwise on your right foot landing in a Horse Stance facing 12:00. Left Roundhouse Elbow to the jaw.

19. Left foot steps over your right foot landing in a Modified Twist Stance, as you deliver a Right Roundhouse Elbow to the jaw.

20. Jump towards 1:30 landing in a Horse Stance facing 12:00. Deliver a Left Roundhouse Elbow to the jaw with a“Kiai.”

96

NOTES:

P 3

PIN

AN

#3

22. Simultaneous execute a #1 and #2 Block, quickly followed by simultaneous Front Two Knuckle Punches to the eyes.

21. Deliver a Right Thrust Punch to the groin as you rechamber you left hand to Elbow Position. While leaving your right punch out, deliver a Left Thrust Punch to the groin.

23. Bring arms together vertically and Knuckle Roll with Dragon Breathes Fire. Inhaling continuously through the nose, turn fists palms up, then pull fists to elbow position. Exhale as you extend both fist in Thrust Punch position, as if delivering strikes to the groin. Right foot meets left foot assuming a Front Position and bow.

97

DEFENSIVE TECHNIQUE #4 (DT 4)CLASSICAL - Execute from a Strong Horse Stance with Fists at Elbow Position.

PRACTICAL - Execute from a Strong Left Half Moon Stance with Hands On Guard.

TACTICAL - Execute from a variety of different Stances and Hand Positions.

Half moon back with your right foot into a Left Half Moon Stance, while executing a #5 Block. In a circular clockwise motion, clear the opponent’s arm (releasing arm near 9:00) and continue the circular motion as you rake across opponent’s face with a Cross-Body Tiger’s Claw. Immediately deliver a Right Roundhouse Ball Kick to the opponent’s sternum, landing in a Right-Over-Left Twist Stance (hands on guard) as opponent falls to the ground. Step out with right foot near opponent’s right hip and jump up and over their body and land in low Horse Stance straddling opponent’s shoulders. Rapidly deliver a Right Front Two Knuckle Punch to the face, and then a Left Front Two Knuckle Punch to the face. Right foot sweeps the opponent’s head (turning opponent’s face towards their right shoulder) as you slightly lift your foot up and immediately strike with a Right Heel Stomp to the opponent’s temple. “Kiai.” Cross your right foot over your left towards 10:30 then step out with left foot into a strong Right Side Horse Stance with hands on guard facing opponent.

As your opponent attacks:

NOTES:

DT

4D

EFE

NSI

VE

TE

CH

NIQ

UE

#4

98

DEFENSIVE TECHNIQUE #8 (DT 8)CLASSICAL - Execute from a Strong Horse Stance with Fists at Elbow Position.

PRACTICAL - Execute from a Strong Left Half Moon Stance with Hands On Guard.

TACTICAL - Execute from a variety of different Stances and Hand Positions.

Half moon back with your right foot into a Left Half Moon Stance while executing a Left Outward Knife Hand Block. Quickly grab the opponent’s wrist and deliver a Right Front Ball Kick to the opponent’s solar plexus and then immediately deliver a Right Roundhouse Ball Kick to the opponent’s temple. “Kiai.” Cross your right foot over your left, then step out with your left foot into a strong Right Side Horse Stance with hands on guard facing opponent.

As your opponent attacks:

NOTES:

DT

8D

EFE

NSI

VE

TE

CH

NIQ

UE

#8

99

DEFENSIVE TECHNIQUE #9 (DT 9)CLASSICAL - Execute from a Strong Horse Stance with Fists at Elbow Position.

PRACTICAL - Execute from a Strong Left Half Moon Stance with Hands On Guard.

TACTICAL - Execute from a variety of different Stances and Hand Positions.

Half moon back with your right foot into a Left Half Moon Stance while executing a Left Outward Knife Hand Block. Quickly grab the opponent’s wrist and deliver a Right Front Ball Kick to the opponent’s solar plexus and then immediately deliver a Right Roundhouse Ball Kick to the opponent’s temple. Bring your right foot down and place it directly next to your left foot (feet together), with the right side of your body towards your opponent. Deliver a Right Uphold Hand grab to the opponent’s wrist, immediately followed by a Right Side Thrust Kick to the ribs. “Kiai.” Cross your right foot over your left, then step out with your left foot into a strong Right Side Horse Stance with hands on guard facing opponent.

As your opponent attacks:

NOTES:

DT

9D

EFE

NSI

VE

TE

CH

NIQ

UE

#9

100

DEFENSIVE TECHNIQUE #12 (DT 12)CLASSICAL - Execute from a Strong Horse Stance with Fists at Elbow Position.

PRACTICAL - Execute from a Strong Left Half Moon Stance with Hands On Guard.

TACTICAL - Execute from a variety of different Stances and Hand Positions.

Quickly deliver a Left Front Ball Kick to the opponent’s solar plexus. As you gauge and position your left foot, immediately turn 180 degrees facing away from opponent and deliver a Right Back Kick to opponent’s solar plexus. “Kiai.” As you rechamber your right leg pivot 180 degrees stepping back with the right foot landing in a Left Half Moon Stance with hands on guard facing opponent.

As your opponent attacks:

NOTES:

DT

12

DE

FEN

SIV

E T

EC

HN

IQU

E #

12

101

B

LU

E B

EL

T

BLUE BELT M A T E R I A L

DATE LEARNED MATERIAL DESCRIPTION

Leopard’s PawRidge HandAxe KickRising Side Blade Kick10 Point Blocking SystemKata #2 (K2)Two Man Fist Set NorthDefensive Technique #10 (DT 10)Defensive Technique #15 (DT 15)

BLUE is the color of the sky and ocean. The Blue Belt symbolizes that the student’s aspirations have begun to expand to new horizons.

NOTES:

102

NOTES:

KATA #2 (K 2)

K 2

2. Right foot half moons back to a Left Half Moon Stance. Execute a Left Downward Palm Block followed by a Left Chicken Wrist to the chin.

1. Assume Front Position and bow. Right foot steps out into a Horse Stance facing 12:00. Quickly execute an Overhead Cross Block and return to elbow position with a “Kiai.”

3. Left foot half moons back to a Right Half Moon Stance. Execute a Right Downward Palm Block followed by a Right Chicken Wrist to the chin as you rechamber your left hand to Elbow Position.

KAT

A #

2

103

NOTES:

K 2

KAT

A #

2

6. Close your hands as you flamingo towards 4:30. Deliver a Right Side Blade Kick to the solar plexus. As you rechamber your right foot pivot on your left landing in a Side Horse Stance with hand on guard towards 1:30.

5. Pivot 180 degrees clockwise on the left foot, drawing into a Right Cat Stance facing 6:00, with hands on guard in Tiger’s Claw position.

7. Right foot half moons back into a Left Side Horse Stance facing 1:30. Left Outward Ridge Hand Block as you rechamber your right hand to Elbow Position, immediately deliver a Left Spear Hand Poke to the throat.

4. Bring hands to an on guard position. Left Front Ball Kick to the solar plexus landing forward in a Left Half Moon Stance facing 12:00.

104

NOTES:

K 2

KAT

A #

2

9. Look towards opponent at 7:30. Pivot on your right foot drawing into a Left Cat Stance facing 7:30 as you execute a Right Downward Palm Block. Left foot steps forward into a Left Half Moon Stance. Deliver a Left Palm Strike to the heart as you rechamber your right hand to Elbow Position

10. Bring hands up to an on guard position. Left Front Ball Kick to the solar plexus landing forward in a Right Half Moon Stance facing 7:30.

11. Left foot half moons towards 6:00 landing in a Left Half Moon Stance. Execute a #2 Block as you deliver a Right Front Two Knuckle Punch to the solar plexus.

12. Right foot half moons forward landing in a Right Half Moon Stance facing 6:00. Execute a #1 Block as you deliver a Left Front Two Knuckle Punch to the solar plexus.

8. Right foot half moons forward into a Right Side Horse Stance facing 1:30. Right Shuto Strike to the neck as you rechamber your left hand to Elbow Position.

105

NOTES:

K 2

KAT

A #

2

14. Pivot on your right foot and draw into a Left Cat Stance facing 3:00 with hands on guard in Tiger’s Claw position.

15. Left foot steps forward into a Left Half Moon Stance. Immediately half moon forward with your right foot landing in a low Right Half Moon Stance facing 3:00. Deliver a Right Thrust Punch to the groin with your left hand guarding the ribs “Kiai.”

16. Right foot half moons to a Horse Stance facing 12:00.

17. Quickly execute an Overhead Cross Block and return to elbow position with a “Kiai.” Right foot meets left assuming Front Position and bow.

13 Bring hands up to an on guard position. Flamingo your right foot and deliver a Right Back Kick to the opponent at 12:00, rechamber to your Flamingo and immediately deliver a Right Side Blade Kick to opponent at 9:00. Land in a Horse Stance facing 6:00.

106

NOTES:

TWO MAN FIST SET NORTH

2MFS

N

2. Look towards 3:00. Simultaneously bring your right fist to your left ear and your left arm under the right, palm open on guard. Right foot steps out into a Side Horse Stance facing 3:00. Deliver a Right Backfist to the temple and rechamber the left hand to Elbow Position.

1. Assume Front Position with palms on thighs and bow. In a circular motion with palms up, raise both hands and join the fingertips with palms down just below the eyes, so vision is not blocked. Then slowly lower hands to groin level while exhaling.

3. Left foot steps into a Right Half Moon Stance facing 3:00 as you execute a Right Outward Knife Hand Block. Deliver a Right Shuto Strike to the side of opponent’s neck.

4. Pivot 180 degrees clockwise on your right foot, landing in a Right Half Moon Stance facing 9:00. Execute a Right Backhand Block then deliver a Left Front Two Knuckle Punch to the nose while rechambering the right hand to Elbow Position.

TW

O M

AN

FIS

T S

ET

NO

RT

H

107

NOTES:

2MFS

NT

WO

MA

N F

IST

SE

T N

OR

TH

6. Left foot steps in front of the right foot into a Left Twist Stance as your cross arms, right over left in front of your solar plexus.

5. Half moon with your left foot into a Right Side Leaning Stance facing 9:00. Simultaneously execute a #7 Block and a #6 Block.

7. Right foot steps out into Side Horse Stance facing 9:00 as you deliver a Right Backfist to the temple and rechamber your left hand to Elbow Position.

8. Step with your left foot landing in a Right Half Moon Stance facing 10:30, and execute a #7 Block.

9. Left foot half moon into a Left Side Horse Stance facing 10:30. Deliver a Left Back Two Knuckle Punch to opponent’s ribs, with your right hand guarding your ribs.

108

NOTES:

11. Jump and turn 90 degrees counter clockwise, landing in a Side Horse Stance facing 7:30. Execute a Right Downward Elbow Block.

10. Left foot steps into a Left Half Moon Stance facing 10:30. Execute a #5 Block. Deliver a Right Hammer Strike to opponent’s ribs, then execute a Right Outward Knife Hand Block. Deliver a Left Leopard Paw Strike to opponent’s throat.

12. Left foot steps to a Horse Stance facing 9:00. Deliver a Right Backfist to the temple.

13. Left foot steps back into a Right Half Moon Stance facing 9:00 as you execute a #3 Block.

14. Step forward with your right foot towards 9:00 and deliver a Right Driving Elbow to opponent’s ribs.

2MFS

NT

WO

MA

N F

IST

SE

T N

OR

TH

109

NOTES:

16. Right foot steps forward into a Right Half Moon Stance facing 9:00. Deliver a Right Palm Strike to opponent’s ribs as you rechamber the left hand to Elbow Position.

15. Draw back into a Right Cat Stance facing 9:00, and deliver Left Pressing Palm Block across your face as you rechamber your right hand to Elbow Position.

17. Half moon with your left foot into a Right Side Leaning Stance facing 9:00. Simultaneously execute a #7 Block and a #6 Block.

18. Deliver a Right Rising Side Blade Kick to the opponent’s throat. As your kick is deflected pivot 135 degrees counter clockwise ending in a Right Side Leaning Stance towards 4:30 with left hand in an open on guard by your thigh and your right hand in an open on guard by your head.

19. Right foot meets your left foot in Front Position facing 12:00. Circle your hands outward to your thighs and bow.

2MFS

NT

WO

MA

N F

IST

SE

T N

OR

TH

110

DEFENSIVE TECHNIQUE #10 (DT 10)CLASSICAL - Execute from a Strong Horse Stance with Fists at Elbow Position.

PRACTICAL - Execute from a Strong Left Half Moon Stance with Hands On Guard.

TACTICAL - Execute from a variety of different Stances and Hand Positions.

Step forward with your right foot into a Right Half Moon Stance facing 10:30 as you execute a Left Outward Knife Hand Block to opponent’s wrist and a Right Circular Ridge Hand Strike to their groin. With your left arm, tightly wrap the opponent’s right arm just above the elbow joint as you chamber your right hand to your right ear. Immediately deliver a Right Shuto Strike to the side of the opponent’s neck as you pull them counterclockwise to the ground landing in a low Horse Stance facing 3:00, locking out their arm as they fall (holding them slightly off the ground), deliver two Rolling Shuto Strikes to the opponent’s heart and jump up and clear the opponent’s arm (with your left arm) and land as you execute a Rolling Shuto Strike to opponent’s heart. “Kiai.”

As your opponent attacks:

NOTES:

DT

10

DE

FEN

SIV

E T

EC

HN

IQU

E #

10

111

DEFENSIVE TECHNIQUE #15 (DT 15)CLASSICAL - Execute from a Strong Horse Stance with Fists at Elbow Position.

PRACTICAL - Execute from a Strong Left Half Moon Stance with Hands On Guard.

TACTICAL - Execute from a variety of different Stances and Hand Positions.

Step with your right foot over your left foot towards 10:30, landing in a modified Twist Stance, as you execute a #5 Block. Simultaneously redirect the opponent’s attacking arm down towards their groin (pinning the arm) as you step with your left foot (landing directly behind the opponent and between opponent’s stance), while delivering a Left Ridge Hand Strike to the opponent’s throat. Deliver a Right Side Palm Strike to the kidney while stepping back with your right foot, as you pull the opponent down over your left leg. Position yourself into a low Horse Stance. Execute a Right Raking Tiger’s Claw from the face to the groin, and then rake from the groin to the face. Deliver a Right Circular Elbow Strike to opponent’s solar plexus, followed by a Right Circular Shuto Strike to their groin. “Kiai.” Step back quickly with the left foot causing the opponent to fall to the ground. Position hands on guard facing opponent.

As your opponent attacks:

NOTES:

DT

15

DE

FEN

SIV

E T

EC

HN

IQU

E #

15

112

B

LUE

BE

LT W

/ GR

EE

N S

TR

IPE

BLUE BELT W/ GREEN STRIPEM A T E R I A L

SOMETHING

DATE LEARNED MATERIAL DESCRIPTION

Inverted Leopard’s PawTrigger FingerImmortal ManStepping Stool KickHook KickHopping Front KickHopping Side KickScissor KickPinan #4 (P4)Two Man Fist Set SouthDefensive Technique #11 (DT 11)Defensive Technique #14 (DT 14)Defensive Technique #26 (DT 26)

NOTES:

113

NOTES:

PINAN #4 (P 4)

2. Pivot 90 degrees counter clockwise on your right foot drawing into a Left Cat Stance facing 9:00 while hands sweep in a counter clockwise motion into Right Overhead Knife Hand and a Left Knife Hand guarding the ribs.

1. Assume Front Position and bow. Right foot steps out into a Horse Stance facing 12:00. Bring arms together vertically and Knuckle Roll with Dragon Breathes Fire. Inhaling continuously through the nose, turn fists palms up, then pull fists to elbow position. Exhale as you extend both fist in Thrust Punch position, as if delivering strikes to the groin.

3. Left foot steps out into a Horse Stance, pivot 180 degrees clockwise on your left foot drawing into a Right Cat Stance facing 3:00, while hands sweep in a clockwise motion into Left Overhead Knife Hand and a Right Knife Hand guards the ribs.

4. Plant your right foot as the left foot steps towards 12:00 into Left Half Moon Stance and you chamber your fists to elbow position. Execute a Downward Cross Block.

P 4

PIN

AN

#4

114

NOTES:

6. Right foot meets left landing in a Front Position facing 12:00 with hands held fist over fist on the right side of your body in a cup and saucer position.

5. Right foot half moons forward landing in a Right Half Moon Stance facing 12:00. Execute a #1 Block as you deliver a Left Front Two Knuckle Punch to the solar plexus.

7. Look towards your opponent at 9:00. Deliver a simultaneous Left Side Blade Kick to the ribs and a Left Backfist to the temple. Quickly rechamber your foot to a Flamingo Stance. Wrap opponent’s head with your left hand as you pivot counter clockwise 90 degrees landing in a Left Half Moon Stance facing 9:00. Left hand braces the opponent’s head as you deliver a Right Roundhouse Elbow with a “Kiai.”

8. Right foot meets left landing in a Front Position facing 12:00 with hands held fist over fist on the left side of your body in a cup and saucer position.

P 4

PIN

AN

#4

115

NOTES:

9. Look towards your opponent at 3:00. Deliver a simultaneous Right Side Blade Kick to the ribs and a Right Backfist to the temple. Quickly rechamber your foot to a Flamingo Stance. Wrap opponent’s head with your right hand as you pivot clockwise 90 degrees landing in a Right Half Moon Stance facing 3:00. Right hand braces the opponent’s head as you deliver a Left Roundhouse Elbow with a “Kiai.”

10. Pivot counter clockwise 135 degrees, facing 10:30, into a Left Lunge Stance. Execute a Left Upward Knife Hand Block and a Right Ridge Hand Strike to the opponent’s groin.

11. Reach out and grab opponent’s head, pulling him into a Right Front Ball Kick to the solar plexus. Right foot lands in Side Horse Stance facing 10:30, immediately step with your left foot behind your right foot to assume a Right Twist Stance facing 10:30, as you deliver a Right Rolling Backfist to opponent’s nose and your left hand guards the ribs.

P 4

PIN

AN

#4

116

NOTES:

13. Left Front Ball Kick to the solar plexus as hands pull to Elbow Position. Land forward in a Left Half Moon Stance. Quickly deliver a Left Front Two Knuckle Punch to solar plexus followed be a Right Front Two Knuckle Punch to the solar plexus.

12. Right foot steps out toward 10:30 as you pivot counter clockwise 180 degrees drawing into a Left Cat Stance facing 4:30 with hands on guard in Tiger’s Claw position.

14. Right foot steps towards 7:30, then draws into a Right Cat Stance with hands on guard in Tiger’s Claw position.

15. Right Front Ball Kick to the solar plexus as hands pull to Elbow Position. Land forward in a Right Half Moon Stance. Quickly deliver a Right Front Two Knuckle Punch to solar plexus followed be a Left Front Two Knuckle Punch to the solar plexus.

P 4

PIN

AN

#4

16. Left foot steps towards 6:00, then draws back into a Left Cat Stance, hands on guard in Tiger’s Claw position.

117

NOTES:

17. Right foot steps towards 6:00, then draws back into a Right Cat Stance, hands on guard in Tiger’s Claw position.

19. Step forward with your left foot landing in a Left Half Moon Stance facing 6:00. Grab the opponent’s head with both hands and pull downward into a Right Rising Knee with a “Kiai.” Land forward in a Right Half Moon Stance facing 6:00 with hands on guard.

20. Pivot 225 degrees clockwise on your right foot counter drawing into a Left Cat Stance facing 10:30 with hands on guard in Tiger’s Claw position.

P 4

PIN

AN

#4

18. Left foot steps towards 6:00, then draws back into a Left Cat Stance, hands on guard in Tiger’s Claw position.

21. Right foot steps towards 1:30 and draws into a Right Cat Stance with hands on guard in Tiger’s Claw position.

118

NOTES:

22. Right foot half moons to a Horse Stance facing 12:00. Bring arms together vertically and Knuckle Roll with Dragon Breathes Fire. Inhaling continuously through the nose, turn fists palms up, then pull fists to elbow position. Exhale as you extend both fist in Thrust Punch position, as if delivering strikes to the groin. Right foot meets left foot assuming a Front Position and bow.

P 4

PIN

AN

#4

119

NOTES:

TWO MAN FIST SET SOUTH

2MFS

S

2. Look left toward 9:00. Left leg steps back into a Right Half Moon Stance facing 9:00. Execute a Right Backhand Block. Deliver a Left Front Two Knuckle Punch to the opponent’s temple as you rechamber your right hand to Elbow Position.

1. Assume Front Position with palms on thighs and bow. In a circular motion with palms up, raise both hands and join the fingertips with palms down just below the eyes, so vision is not blocked. Then slowly lower hands to groin level while exhaling.

3. Step with your right foot steps across the left foot into a modified Twist Stance facing 9:00 as you execute a modified Right Iron Fortress Block.

4. Step with your left foot into a Right Side Horse Stance facing 3:00. Deliver a Right Backfist to the opponent’s temple at 3:00.

TW

O M

AN

FIS

T S

ET

SO

UT

H

120

NOTES:

6. Deliver a Right Front Ball Kick to the solar plexus and without planting your foot, pivot 180 degrees counter clockwise landing in a Left Side Horse Stance facing 3:00 with hands held fist over fist on the left side of your body in cup and saucer position.

5. Right foot draws back into a Right Cat Stance facing 3:00. Execute a Left Outward Knife Hand Block as you rechamber your right hand to Elbow Position.

7. Left foot steps behind your right foot into a Twist Stance facing 3:00. Execute a Left Upward Knife Hand Block.

8. Leaving your left hand in the blocking position, deliver a Left Side Blade Kick to opponent’s ribs, then pivot 135 degrees counter clockwise on your right foot landing in a Right Side Horse Stance facing 4:30.

9. Twist your upper torso to the left and execute a Right Wing Block, while keeping the left hand cocked by your ear. Twist back to the right and deliver a Left Shuto to the neck as you rechamber your right hand to Elbow Position.

2MFS

ST

WO

MA

N F

IST

SE

T S

OU

TH

121

NOTES:

11. Left foot steps forward into a Left Half Moon Stance facing 4:30. Deliver a Left Immortal Man Strike to opponent’s eye.

10. Right foot steps back and the Left foot steps forward into a Left Cat Stance facing 4:30. Execute a Left Downward Parry Block.

12. Left foot draws back into a Left Cat Stance facing 4:30 and execute a Right Outward Knife Hand Block as you rechamber you left hand to Elbow Position.

13. Left foot steps into a Side Horse Stance facing 4:30. Deliver a Left Roundhouse Elbow Strike to the sternum while rechambering your right hand to Elbow Position.

14. Right foot steps into a Horse Stance facing 3 :00. Execute a Right Upholding Hand Block, bridged with the left hand. Then deliver a Left Cross Hand Shuto to the ribs as you rechamber the right hand to Elbow Position.

2MFS

ST

WO

MA

N F

IST

SE

T S

OU

TH

122

NOTES:

16. Left foot steps forward into a Left Half Moon Stance facing 3:00. Deliver a Left Trigger Finger to opponent’s temple.

15. Right foot steps back and draw into a Left Cat Stance facing 3:00. Deliver a Left Downward Trigger Finger to opponent’s Right Elbow.

17. Left foot draws back into a Left Cat Stance. Execute a Right Downward Hooking Hand Block as you rechamber the left hand to Elbow Position.

18. Left foot steps forward into a Left Half Moon Stance facing 3:00 as you deliver a Left Palm Strike to opponent’s ribs, rechamber the right hand to Elbow Position.

19. Execute a #1 Block then quickly half moon forward with your right foot into a Right Forward Leaning Stance, as the left arm comes to an overhead on guard position.

2MFS

ST

WO

MA

N F

IST

SE

T S

OU

TH

123

NOTES:

20. Right foot meets your left foot in Front Position facing 12:00. Circle your hands outward to your thighs and bow.

2MFS

ST

WO

MA

N F

IST

SE

T S

OU

TH

124

D

T 1

1

DEFENSIVE TECHNIQUE #11 (DT 11)CLASSICAL - Execute from a Strong Horse Stance with Fists at Elbow Position.

PRACTICAL - Execute from a Strong Left Half Moon Stance with Hands On Guard.

TACTICAL - Execute from a variety of different Stances and Hand Positions.

Step back with your right foot and draw into a Left Cat Stance while simultaneously executing a Left Inward Pressing Palm Block. Step forward into a Left Half Moon Stance as you execute a Right Trigger Finger to the opponent’s right temple. While dropping low to sweep opponent’s right ankle with your left hand as you simultaneously deliver a Right Inverted Palm Strike to the opponent’s rib cage causing them to fall on their back. While maintaining a hold of the opponent’s right leg, quickly shuffle forward and drop your right knee into the opponent’s groin. Hold the opponent’s leg firmly as you lift up and pivot 180 degrees clockwise stepping over your opponent with your left leg, landing in a Horse Stance facing 6:00 (this movement will turn your opponent onto their stomach). Step back with your right foot dropping your knee into the opponent’s spine as you lift their leg breaking their back. As you release the opponent’s leg, your right foot steps back over the opponent into a Left Half Moon Stance facing 9:00. Drop low into a lunge and deliver a Right Thrust Punch to the ribs. Execute a glancing Right Heel Kick to the ribs, stepping over your opponent, plant your right foot and quickly execute a Left Hook Kick to the opponent’s head. “Kiai.” Land in a Right Half Moon Stance with hands on guard facing opponent.

As your opponent attacks:

DE

FEN

SIV

E T

EC

HN

IQU

E #

11

NOTES:

125

DEFENSIVE TECHNIQUE #14 (DT 14)CLASSICAL - Execute from a Strong Horse Stance with Fists at Elbow Position.

PRACTICAL - Execute from a Strong Left Half Moon Stance with Hands On Guard.

TACTICAL - Execute from a variety of different Stances and Hand Positions.

Step back with your right foot into a Left Half Moon Stance while executing a Left Outward Knife Hand Block. Quickly grab the opponent’s wrist and jump straight up to deliver a Right Scissor Kick to opponent’s solar plexus. “Kiai.” After execution of Scissor Kick, land in a strong Left Half Moon Stance with hands on guard facing opponent.

As your opponent attacks:

NOTES:

DT

14

DE

FEN

SIV

E T

EC

HN

IQU

E #

14

126

DEFENSIVE TECHNIQUE #26 (DT 26)CLASSICAL - Execute from a Strong Horse Stance with Fists at Elbow Position.

PRACTICAL - Execute from a Strong Left Half Moon Stance with Hands On Guard.

TACTICAL - Execute from a variety of different Stances and Hand Positions.

Step back your right foot landing in a Left Half Moon Stance while executing a Left Outward Knife Hand Block. Quickly step forward with your right foot (near opponent’s right foot) into a Horse Stance facing 9:00 as you deliver a Right Inverted Leopard’s Paw to the opponent’s armpit. Pivot 180 degrees counter clockwise on your right foot landing in a Horse Stance facing 3:00. (Double check your position to ensure you are positioned perpendicular to your opponent, with your centerline aligned with their right shoulder). As you finalize your spin, deliver a Left Glancing Elbow to the opponent’s ribs, immediately followed by a Right Tiger’s Claw Grab to the opponent’s groin, as your left arm continues through and sweeps the opponent’s leg with your left hand. Take opponent down hard, while holding opponent’s leg up execute a Right Shuto Strike to the groin. “Kiai.”

As your opponent attacks:

NOTES:

DT

26

DE

FEN

SIV

E T

EC

HN

IQU

E #

26

127

G

RE

EN

BE

LT

GREEN BELT M A T E R I A L

DATE LEARNED MATERIAL DESCRIPTION

Tiger’s MouthEagle’s TalonWheel KickStatue of the Crane (SC)Defensive Technique #16 (DT 16)Defensive Technique #17 (DT 17)

GREEN is the color of growth, grass, and forests. The Green Belt symbolizes that the student has begun to absorb the light and started to blossom and bear fruit.

NOTES:

128

NOTES:

STATURE OF THE CRANE

S C

2. Left foot meets right landing in a Front Position facing 12:00 as you circle your hands up and around and set left over right in front of your groin.

1. Assume Front Position and bow. Right foot steps out into a strong Horse Stance. Bring your arms together vertically, then Knuckle Roll with Dragon Breathes Fire.

3. Step with your left foot towards 7:30 and pivot 135 degrees counter clockwise landing in a Left Half Moon Stance. Execute a #2 Block as you deliver a Right Front Two Knuckle Punch to the solar plexus.

4. Right foot meets left landing in a Front Position facing 12:00 as you circle your hands up and around and set right over left in front of your groin.

STAT

UR

E O

F T

HE

CR

AN

E

129

NOTES:

S C

STAT

UR

E O

F T

HE

CR

AN

E

6. Left foot meets right landing in a Front Position facing 1:30, while placing both hands in Crane’s Beaks on your hips.

5. Step with your right foot towards 4:30 and pivot 135 degrees clockwise landing in a Right Half Moon Stance. Execute a #1 Block as you deliver a Left Front Two Knuckle Punch to the solar plexus.

7. Hop forward towards 1:30 on your left leg with your right leg held in Flamingo Stance, hands still on your hips.

8. Hop backwards onto your right leg, facing 1:30 with your left leg held in Flamingo Stance, hands still on your hips.

9. Jump backwards onto your left leg as you turn 90 degrees counter clockwise landing in a Right Crane Stance with your body facing 10:30 and looking towards opponent at 1:30. Left hand is in an Overhead Knife Hand Block position with the right hand in Downward Knife Hand Trap position above the thigh.

130

NOTES:

10. Right foot steps toward 1:30 landing in a Right Half Moon Stance, hands open in a palm over palm position on the left side of your body. Simultaneously execute a Right Overhead Knife Hand Block and Left Spear Hand Poke to the throat.

11. Left foot half moons forward into a Left Half Moon Stance facing 1:30. Quickly deliver a Left Front Two Knuckle Punch, Right Front Two Knuckle Punch, Left Front Two Knuckle Punch, all to solar plexus.

12. Jump off your right leg and turn counter clockwise 225 degrees in the air, landing in a Right Crane Stance facing 6:00, while looking at opponent at 9:00. Left hand is in an Overhead Knife Hand Block position with the right hand in Downward Knife Hand Trap position above the thigh.

13. Right foot steps toward 9:00 landing in a Right Half Moon Stance, hands open in a palm over palm position on the left side of your body. Simultaneously execute a Right Overhead Knife Hand Block and Left Spear Hand Poke to the throat.

S C

STAT

UR

E O

F T

HE

CR

AN

E

131

NOTES:

S C

STAT

UR

E O

F T

HE

CR

AN

E

15. Wrap opponent’s head with your left hand, deliver a Right Crescent Kick to the head, landing in a Left Lunge Stance facing 6:00. Deliver a Right Front Two Knuckle Punch to the nose of the man on the ground as you rechamber your left hand to Elbow Position.

14. Left foot half moons forward into a Left Half Moon Stance facing 9:00. Quickly deliver a Left Front Two Knuckle Punch, Right Front Two Knuckle Punch, Left Front Two Knuckle Punch, all to solar plexus.

16. Jump off your right leg and land in a Right Crane Stance facing 3:00 while looking at opponent at 6:00. Left hand is in an Overhead Knife Hand Block position with the right hand in Downward Knife Hand Trap position above the thigh.

17. Right foot steps toward 6:00 landing in a Right Half Moon Stance, hands open in a palm over palm position on the left side of your body. Simultaneously execute a Right Overhead Knife Hand Block and Left Spear Hand Poke to the throat.

18. Left foot half moons forward into a Left Half Moon Stance facing 6:00. Quickly deliver a Left Front Two Knuckle Punch, Right Front Two Knuckle Punch, Left Front Two Knuckle Punch, all to solar plexus.

132

NOTES:

20. Right foot steps forward into a Right Half Moon Stance facing 6:00 as you chamber your fist to Elbow Position. Deliver a Left U-Punch.

19. Left foot meets right landing in a front position facing 6:00 with hands held fist over fist on the left side of your body in a cup and saucer position.

21. Right foot meets left landing in a front position facing 6:00 with hands held fist over fist on the right side of your body in a cup and saucer position.

22. Left foot steps forward into a Left Half Moon Stance facing 6:00 as you chamber your fist to Elbow Position. Deliver a Right U-Punch.

23. Right foot half moons forward into a Right Half Moon Stance facing 6:00 as you chamber your fist to Elbow Position. Deliver a Left U-Punch.

S C

STAT

UR

E O

F T

HE

CR

AN

E

133

NOTES:

S C

STAT

UR

E O

F T

HE

CR

AN

E

25. Left foot half moons back into a Right Half Moon Stance facing 12:00, hands open in a palm over palm position on the left side of your body. Simultaneously execute a Right Overhead Knife Hand Block and Left Spear Hand Poke to the throat.

24. Quickly grab the opponent. Lower your body and pull the opponent on to your shoulders. Pivot 180 degrees on your right foot assuming a Left Cat Stance facing 12:00 Left foot steps forward into a Left Half Moon Stance facing 12:00, use momentum to throw the opponent forward with a “Kiai.”

26. Left foot half moons forward landing in a Left Half Moon Stance, hands open in a palm over palm position on the left side of your body. Simultaneously execute a Right Overhead Knife Hand Block and Left Spear Hand Poke to the throat.

27. Right foot half moons forward landing in a Right Half Moon Stance, hands open in a palm over palm position on the right side of your body. Simultaneously execute a Left Overhead Knife Hand Block and Right Spear Hand Poke to the throat.

28. Left foot half moons forward landing in a Left Half Moon Stance, hands open in a palm over palm position on the left side of your body. Simultaneously execute a Right Overhead Knife Hand Block and Left Spear Hand Poke to the throat.

134

NOTES:

29. Right foot half moons to a Horse Stance facing 12:00. Bring arms together vertically and Knuckle Roll with Dragon Breathes Fire. Right foot meets left foot assuming a Front Position and bow.

S C

STAT

UR

E O

F T

HE

CR

AN

E

135

DEFENSIVE TECHNIQUE #16 (DT 16)CLASSICAL - Execute from a Strong Horse Stance with Fists at Elbow Position.

PRACTICAL - Execute from a Strong Left Half Moon Stance with Hands On Guard.

TACTICAL - Execute from a variety of different Stances and Hand Positions.

Quickly Flamingo your right leg and deliver a Right Front Ball Kick to the opponent’s solar plexus, while you trap or break opponent’s striking arm with a Right Tiger’s Mouth to the inside of the wrist and Left Tiger’s Mouth just above the elbow joint. As you return to your Flamingo Stance, retain your hold of the opponent’s arm. Pivot 180 degrees facing 6:00, landing in a Right Half Moon Stance, as you pull and twist opponent’s wrist bringing opponent to their hands and knees. Step over their arm with your left leg placing your leg above the elbow joint.

* IMPORTANT - Discard opponent arm prior to next step while working with your training partner.

Break the arm with counterclockwise twisting and dropping motion, then step out with your right foot into a low Left Half Moon Stance and execute a Right Thrust Punch to the opponent’s temple. “Kiai.”

As your opponent attacks:

NOTES:

DT

16

DE

FEN

SIV

E T

EC

HN

IQU

E #

16

136

DEFENSIVE TECHNIQUE #17 (DT 17)CLASSICAL - Execute from a Strong Horse Stance with Fists at Elbow Position.

PRACTICAL - Execute from a Strong Left Half Moon Stance with Hands On Guard.

TACTICAL - Execute from a variety of different Stances and Hand Positions.

Step back with your right foot into a Left Half Moon Stance and execute a Left Outward Knife Hand Block. Quickly step in with your right foot into a Right Half Moon Stance as you strike simultaneously with a Left Tiger’s Claw to opponent’s face and a Right Tiger’s Claw to opponent’s groin. With your left arm, tightly wrap the opponent’s right arm just above the elbow joint as you chamber your right hand to your right ear. Immediately deliver a Right Shuto Strike to the side of the opponent’s neck as you pull them counterclockwise to the ground landing in a low Horse Stance facing 3:00. Releasing the opponent’s right arm, execute a Right Thrust Punch to opponent’s ribs, immediately followed by a Left Thrust Punch to opponent’s ribs, immediately followed by a quick Right Spear Hand Strike to the opponent’s throat. “Kiai.”

As your opponent attacks:

NOTES:

DT

17

DE

FEN

SIV

E T

EC

HN

IQU

E #

17

137

G

RE

EN

BE

LT

GREEN BELT W/ BROWN STRIPEM A T E R I A L

DATE LEARNED MATERIAL DESCRIPTION

Rising Sun PunchKata #3 (K3)Pinan #5 (P5)Defensive Technique #13 (DT 13)

SOMETHING

NOTES:

138

NOTES:

PINAN #5 (P 5)

P 5

2. Look left as you pivot on your right foot and draw into Left Cat Stance facing 9:00, execute a #2 Block as you pull your right hand to Elbow Position.

1. Assume Front Position and bow. Right foot steps out into a Horse Stance facing 12:00. Bring arms together vertically and Knuckle Roll with Dragon Breathes Fire. Inhaling continuously through the nose, turn fists palms up, then pull fists to elbow position. Exhale as you extend both fist in Thrust Punch position, as if delivering strikes to the groin.

3. Left foot steps forward into Left Half Moon Stance. Deliver a Right Front Two Knuckle Punch to the groin, left palm parries over the right fist as the right hand rechambers to Elbow Position. Quickly deliver a Right Back Two Knuckle Punch to the chin and rechamber the left hand to Elbow Position.

4. Left foot meets right landing in a Front Position facing 12:00 with hands held fist over fist on the left side of your body in cup and saucer position.

PIN

AN

#5

139

NOTES:

P 5

PIN

AN

#5

6. Right foot steps forward into Right Half Moon Stance. Deliver a Left Front Two Knuckle Punch to the groin, right palm parries over the left fist as the left hand rechambers to Elbow Position. Quickly deliver a Left Back Two Knuckle Punch to the chin and rechamber the right hand to Elbow Position.

5. Look right as your right foot steps forward into a Right Half Moon Stance, immediately draw your right foot into a Right Cat Stance as you execute a #1 Block.

7. Right foot meets left landing in a Front Position facing 12:00 with hands held fist over fist on the left side of your body in a cup and saucer position. Right foot steps forward into a low Right Half Moon Stance, as you execute a Downward Cross Block.

8. Left foot half moons forward into a Left Half Moon Stance as you execute an Upward Scissor Block. Right hand grabs the opponent’s fist as you slip your left hand over the right and deliver a Left Rising Sun Punch to the chin, rechamber your right hand to Elbow Position.

140

NOTES:

10. Right foot steps into a Horse Stance facing 3:00 and deliver a Right Backfist to opponent’s temple at 6:00, as your left fist goes to your chest.

9. Right foot half moons forward into a Right Half Moon Stance facing 12:00. Deliver a Right Front Two Knuckle Punch to opponent’s nose.

11. Look towards opponent at 12:00, then deliver a Left Backhand to opponent’s temple, as your right hand goes to your chest.

13. Left foot steps behind the right foot into a Twist Stance facing 12:00 as you deliver a Right Rolling Backfist to the nose with your left hand on guard.

P 5

PIN

AN

#5

12. Left hand wraps opponent’s head as you deliver a Right Crescent Kick to the temple, turning 180 degrees and landing in a Right Side Horse Stance facing 12:00. Hold opponent’s head as you deliver a Right Roundhouse Elbow with a “Kiai.”

141

NOTES:

14. While still in a Twist Stance, look towards 6:00 and rotate arms your arms in a circular motion with your right hand overhead and the left hand guarding the ribs.

16. Right foot steps towards 6:00 into a Right Half Moon Stance. Execute a #1 Block as you deliver a Left Front Two Knuckle Punch to the solar plexus.

17. Pivot counter clockwise 135 degrees towards 1:30 (your left foot becoming your forward foot), into a Forward Leaning Stance. Deliver Right Tiger’s Claw to the groin with your left hand in at Elbow Position.

P 5

PIN

AN

#5

15. Step out with your left foot towards 6:00, jump and turn 180 degrees, landing in low Right Twist Stance facing 3:00. Execute a Downward Crosshand Strike to opponent on the ground.

18. As you shift your weight to the right leg and assume a Right Side Leaning Stance deliver a Left Cross Hand Shuto to the groin as the right hand rips the groin and pulls back to the right ear, still facing 1:30.

142

NOTES:

20. As you step back with your left foot a Left Side Leaning Stance deliver a Right Cross Hand Shuto to the groin as the left hand rips the groin and pulls back to the left ear, still facing 10:30.

19. Pivot 90 degrees counter clockwise into a Left Bow and Arrow Stance facing 10:30. Deliver a Left Tiger’s Claw to the groin.

21. Right foot half moons to a Horse Stance facing 12:00. Bring arms together vertically and Knuckle Roll with Dragon Breathes Fire. Inhaling continuously through the nose, turn fists palms up, then pull fists to elbow position. Exhale as you extend both fist in Thrust Punch position, as if delivering strikes to the groin. Right foot meets left foot assuming a Front Position and bow.

P 5

PIN

AN

#5

143

NOTES:

K 3

KAT

A #

3

KATA #3 (K 3)

2. Step back with your right foot and draw into a Left Cat Stance facing 12:00. Hands sweep in a circular motion into a Right Overhead Knife Hand and a Left Knife Hand guarding the ribs.

1. Assume Front Position and bow. Right foot steps out into a Horse Stance facing 12:00. Quickly execute an Overhead Scissor Block and return to elbow position with a “Kiai.”

3. Left foot steps forward into Left Half Moon Stance facing 12:00, as you execute a low Right Ridge Hand Block then a high Left Ridge Hand Block.

4. Right foot half moons forward landing in a Right Half Moon Stance facing 12:00, deliver a Right Spear Hand Poke to solar plexus followed by a Left Spear Hand Poke to the throat.

144

NOTES:

6. Pivot 180 degrees clockwise on your left foot drawing into a Right Cat Stance facing 6:00. Execute a #1 Block.

5. Bring hands up to an on guard position. Left Front Ball Kick to the solar plexus landing forward in a Left Half Moon Stance facing 12:00.

7. Right foot steps forward into a Right Half Moon Stance facing 6:00, deliver a Right Back Two Knuckle Punch to the chin.

9. Quickly spring high off the ground and deliver a Right Scissor Kick to the solar plexus towards 6:00. Land in a Left Half Moon Stance. Execute a #8 Block with a “Kiai,” as the right fist chambers to Elbow Position.

K 3

KAT

A

#3

8. Spin 360 degrees counter clockwise on your left foot, dropping into a crouch position with both hands touching the ground, feet together, with weight on the balls of your feet.

145

NOTES:

10. Right foot meets left landing in a front position facing 6:00, arms are crossed in front of your chest in fists.

12. Right foot meets left landing in a front position facing 3:00, arms are crossed in front of your chest in fists.

13. Look left towards 12:00. Right foot steps into Side Horse Stance facing 12:00 and draw into a Left Cat Stance facing 12:00, while exhaling slowing with dynamic tension, execute a Left Tiger’s Claw to the face as the right hand pulls back to a Tiger’s Claw by your right ear.

K 3

KAT

A

#3

11. Look left towards 3:00. Right foot steps into Side Horse Stance facing 3:00 and draw into a Left Cat Stance facing 3:00, while exhaling slowing with dynamic tension, execute a #8 Block as the right hand rechambers to Elbow Position.

14. Right foot meets left landing in a front position facing 12:00, arms are crossed in front of your chest in fists.

146

NOTES:

16. Left foot steps forward into a Left Half Moon Stance facing 9:00. Execute a Left Outward Knife Hand Block then grab the opponent’s wrist.

15. Look left towards 9:00. Right foot steps into Side Horse Stance facing 9:00 and draw into a Left Cat Stance facing 9:00, while exhaling slowing with dynamic tension, execute a Left Immortal Man to the face as the right hand pulls back to a Immortal Man by your right ear.

17. Deliver a Right Front Ball Kick to the solar plexus at 9:00, quickly rechamber to a Flamingo and deliver a Right Back Kick to the solar plexus at 3:00, quickly rechamber to a Flamingo, then deliver a Right Side Blade Kick to the solar plexus at 12:00.

19. Deliver a Left Side Thrust Kick to the opponent’s ribs at 6:00. Cross over towards 12:00 landing in a Left Side Horse Stance, still looking towards 6:00. Hands sweep in a circular motion into a Right Overhead Knife Hand and a Left Knife Hand guarding the ribs.

K 3

KAT

A

#3

18. Right foot steps into Horse Stance facing 9:00. Left foot crosses in front of the right foot into a Left Twist Stance facing 6:00. Hands sweep in a circular motion into a Right Overhead Knife Hand and a Left Knife Hand guarding the ribs.

147

NOTES:

20. Execute a Left Outward Knife Hand Block. Right foot steps forward into a Right Side Horse Stance facing 6:00 as you deliver a Right Inverted Leopard’s Paw to the armpit. Pivot 180 degrees counter clockwise on your right foot landing in a Horse Stance facing 9:00. Deliver a Left Glancing Elbow to opponent’s lower ribs, immediately followed by a Right Tiger’s Claw Grab to the groin, as your left arm continues through and sweeps the opponent’s leg with your left hand. While still holding the leg up deliver a Right Shuto Strike to the opponent’s groin, “Kiai.”

21. Right foot half moons towards 12:00 into a Right Forward Leaning Stance. Execute a #7 Block. Deliver a Left Front Two Knuckle Punch to the groin with a “Kiai,” as you rechamber the right hand to Elbow Position.

22. Right foot half moons to a Horse Stance facing 12:00.

K 3

KAT

A

#3

23. Quickly execute an Overhead Cross Block and return to elbow position with a “Kiai.” Right foot meets left assuming Front Position and bow.

148

DEFENSIVE TECHNIQUE #13 (DT 13)CLASSICAL - Execute from a Strong Horse Stance with Fists at Elbow Position.

PRACTICAL - Execute from a Strong Left Half Moon Stance with Hands On Guard.

TACTICAL - Execute from a variety of different Stances and Hand Positions.

Hold the belt in your right and left hand about shoulder width apart.

Avoid the punch by stepping with your left foot towards 10:30 while you simultaneously block the opponent’s arm with the belt held vertically and taut, left hand high and right hand low. From the block, deliver a Left Hammer Strike to the opponent’s radial nerve, immediately followed by a Right Back Two Knuckle Punch to the opponent’s temple. Wrap the belt around opponent’s neck. Step forward, through and behind with your right foot ending in a Horse Stance against the opponent’s back with your hands crossed and belt cinched over your right shoulder. Bend at the waist and flip your opponent over your back throwing them to the ground.

As your opponent attacks:

NOTES:

DT

13

DE

FEN

SIV

E T

EC

HN

IQU

E #

13

149

3

RD

DE

GR

EE

BR

OW

N B

EL

T

3RD DEGREE BROWN BELTM A T E R I A L

DATE LEARNED MATERIAL DESCRIPTION

Phoenix FistTwo Finger StrikeKata #4 (K4)Defensive Technique #19 (DT 19)Defensive Technique #20 (DT 20)

BROWN is the color of earth and solidity. The Brown Belt indicates ones techniques have become competent, the mind is fertile and spirit is formed.

NOTES:

150

NOTES:

KATA #4 (K 4)

K 4

2. Look towards 9:00. With hands closed, hands sweep in a counter clockwise motion into a #5 Block position and the left arm is held vertically to protect the ribs.

1. Assume Front Position and bow. Right foot steps out into a Horse Stance facing 12:00. Quickly execute an Overhead Cross Block and return to elbow position with a “Kiai.”

3. Deliver a Left Tiger’s Claw Strike to the face, then grab opponent’s hair. Left foot pulls in to the right, as you deliver a Right Back Two Knuckle Punch to the solar plexus. Left foot steps out to a Left Side Horse Stance facing 9:00. Deliver a Left Backfist to the opponent’s temple.

4. Look towards 3:00. With hands closed, hands sweep in a clockwise motion into a #6 Block position and the right arm is held vertically to protect the ribs.

KAT

A #

4

151

NOTES:

K 4

6. Bring hands up to an on guard position facing 1:30. Right Side Blade Kick to opponent’s ribs at 1:30, landing in Right Half Moon Stance with hands on guard, facing 1:30.

5. Deliver a Right Tiger’s Claw Strike to the face, then grab opponent’s hair. Right foot pulls in to the left, as you deliver a Left Back Two Knuckle Punch to the solar plexus. Right foot steps out to a Right Side Horse Stance facing 3:00. Deliver a Right Backfist to the opponent’s temple.

7. Left foot half moons forward into a Left Half Moon Stance facing 1:30, hands open in a palm over palm position on the right side of your body. Simultaneously execute a Left Overhead Knife Hand Block and Right Spear Hand Poke to the throat.

9. Right foot half moons into a Right Half Moon Stance facing 12:00, hands open chambered at the left side of your body. Deliver a Left Spear Hand Poke to the throat and a Right Check in front of your heart.

8. Right foot half moons into a Left Half Moon Stance facing 9:00, hands open in a palm over palm position on the right side of your body. Simultaneously execute a Left Overhead Knife Hand Block and Right Spear Hand Poke to the throat.

KAT

A #

4

152

NOTES:

11. Right foot half moons forward landing in a Right Half Moon Stance facing 12:00. Execute a #1 Block as you deliver a Left Front Two Knuckle Punch to the solar plexus.

10. Left foot half moons forward landing in a Left Half Moon Stance facing 12:00. Execute a #2 Block as you deliver a Right Front Two Knuckle Punch to the solar plexus.

12. Pivot 90 degrees counter clockwise facing 9:00. Drop low into a Left Lunge Stance and execute a Right Ridge Hand Block bridged by the left hand under your elbow.

K 4

13. Reach out and grab the opponent’s head, deliver a Right Front Ball Kick to the solar plexus. Quickly rechamber to a Flamingo Stance and pivot 180 degrees counter clockwise on the left foot, landing in a Left Half Moon Stance facing 3:00. Hands sweep in a circular motion into a Right Overhead Knife Hand and a Left Knife Hand guarding the ribs.

KAT

A #

4

153

NOTES:

14. Drop low into a Left Lunge Stance and execute a Right Ridge Hand Block bridged by the left hand under your elbow.

16. Right foot half moons into a Left Half Moon Stance facing 6:00, hands open in a palm over palm position on the right side of your body. Simultaneously execute a Left Overhead Knife Hand Block and Right Spear Hand Poke to the throat.

K 4

17. Right foot half moons forward landing in a Right Half Moon Stance, hands open in a palm over palm position on the left side of your body. Simultaneously execute a Right Overhead Knife Hand Block and Left Spear Hand Poke to the throat.

15. Reach out and grab the opponent’s head, deliver a Right Front Ball Kick to the solar plexus. Quickly rechamber to a Flamingo Stance and pivot 180 degrees counter clockwise on the left foot, landing in a Left Half Moon Stance facing 9:00. Hands sweep in a circular motion into a Right Overhead Knife Hand and a Left Knife Hand guarding the ribs.

KAT

A #

4

154

NOTES:

19. Right foot half moons forward landing in a Right Half Moon Stance, hands open in a palm over palm position on the left side of your body. Simultaneously execute a Right Overhead Knife Hand Block and Left Spear Hand Poke to the throat.

18. Left foot half moons forward landing in a Left Half Moon Stance, hands open in a palm over palm position on the right side of your body. Simultaneously execute a Left Overhead Knife Hand Block and Right Spear Hand Poke to the throat.

20. Pivot 180 degrees counter clockwise on your right foot landing in a Horse Stance facing 12:00. Quickly execute an Overhead Cross Block and return to elbow position with a “Kiai.” Right foot meets left assuming Front Position and bow.

K 4

KAT

A #

4

155

DEFENSIVE TECHNIQUE #19 (DT 19)CLASSICAL - Execute from a Strong Horse Stance with Fists at Elbow Position.

PRACTICAL - Execute from a Strong Left Half Moon Stance with Hands On Guard.

TACTICAL - Execute from a variety of different Stances and Hand Positions.

Step back with your right foot into a Left Half Moon Stance and execute a Left Outward Knife Hand Block to the opponent’s wrist. Immediately deliver a Right Front Ball Kick to the opponent’s bladder, landing forward in a Right Half Moon Stance. Deliver a Left Shuto Strike to the opponent’s neck, and immediately wrap their neck with the left hand. Pull opponent towards you, bending them forward at the waist. Execute a Right Downward Elbow to the opponent’s spine. With your right hand quickly grab their waistline while your left hand grabs the front of their right ankle. Push the opponent’s head down with your elbow and pick up and throw the opponent’s ankle over their head as your right foot steps back into a Horse Stance facing 1:30. As the opponent rolls forward, deliver a Right Shuto Strike to the bridge of their nose. “Kiai.”

As your opponent attacks:

NOTES:

DT

19

DE

FEN

SIV

E T

EC

HN

IQU

E #

1

156

DEFENSIVE TECHNIQUE #20 (DT 20)CLASSICAL - Execute from a Strong Horse Stance with Fists at Elbow Position.

PRACTICAL - Execute from a Strong Left Half Moon Stance with Hands On Guard.

TACTICAL - Execute from a variety of different Stances and Hand Positions.

Avoid the punch by leaning away at a 45 degree angle towards 4:30. As you re-center your weight, quickly step drag forward with your left foot while you simultaneously execute a Left Shuto Strike to the opponent’s right wrist and a Right Driving Shuto Strike to opponent’s left collar bone. Immediately wrap opponent’s right arm above the elbow joint with your left arm and then execute a Right Tiger’s Mouth to opponent’s throat as you Reap their right leg with your right leg, locking out their arm as they fall (holding them slightly off the ground). Quickly deliver a Right Front Two Knuckle Punch to the opponent’s temple and a Right Rolling Shuto Strike to the bridge of their nose. “Kiai.”

As your opponent attacks:

NOTES:

DT

20

DE

FEN

SIV

E T

EC

HN

IQU

E #

20

157

2N

D D

EG

RE

E B

RO

WN

BE

LT

2ND DEGREE BROWN BELTM A T E R I A L

DATE LEARNED MATERIAL DESCRIPTION

Bear PawRising Back KickKata #5 (K5)Defensive Technique #1 (DT 1)Defensive Technique #21 (DT 21)

SOMETHING

NOTES:

158

NOTES:

KATA #5 (K 5)

K 5

2. Right foot half moons forward into a Right Half Moon Stance. Execute a Right Downward Palm Block (fingers pointing to the left), immediately deliver a Right Backhand Strike to the nose.

1. Assume Front Position and bow. Right foot steps out into a Horse Stance facing 12:00. Quickly execute an Overhead Scissor Block and return to elbow position with a “Kiai.”

3. Left foot half moons forward into a Left Half Moon Stance. Execute a Left Downward Palm Block (fingers pointing to the right, immediately deliver a Left Backhand Strike to the nose.

4. Left foot half moons back into a Right Half Moon Stance. Execute a Right Outward Ridge Hand Block, bring your right hand through Elbow Position and quickly deliver a Right Spear Hand Poke to the throat.

KAT

A #

5

159

NOTES:

K 5

6. Left foot steps back to a Horse Stance facing 9:00. Execute a Downward Cross Hand Palm Block, then execute double Outward Knife Hand Blocks. Open hands return to elbow position. Simultaneously deliver a Right Spear Hand Poke to the throat and a Left Spear Hand Poke to the solar plexus.

5. Right foot half moons back into a Left Half Moon Stance. Execute a Left Outward Ridge Hand Block, bring your left hand through Elbow Position and quickly deliver a Left Spear Hand Poke to the throat.

7. Pivot 180 degrees counter clockwise on your right foot landing in a Side Leaning Stance facing 6:00. Simultaneously execute a #7 and a #6 Block.

9. Right foot meets left landing in a Front Position facing 12:00 with hands held fist over fist on the left side of your body in a cup and saucer position.

8. Shuffle towards 6:00 landing in a Right Side Horse Stance and deliver a Right Backfist to the temple as you rechamber your left hand to Elbow Position.

KAT

A #

5

160

NOTES:

11. Look towards your opponent at 9:00 as you deliver a Left Backfist to the temple as your right fist goes to your chest. Look towards your opponent at 3:00 as you deliver a Right Backfist to the temple as your left fist goes to your chest.

10. Look towards your opponent at 3:00. Deliver a simultaneous Right Side Blade Kick to the ribs and a Right Backfist to the temple. Quickly rechamber your foot to a Flamingo Stance, leaving your right arm extended. Land in a Horse Stance facing 12:00.

12. Look forward towards 12:00 as you bring your hands to an on guard position. Left foot steps forward into a Left Half Moon Stance. Deliver Right Side Blade Kick to the solar plexus.

K 5

13. Land in a Left Crane Stance with your body facing 9:00 and looking towards opponent at 6:00. Right hand is in an Overhead Knife Hand Block position with the left hand in Downward Knife Hand Trap position above the thigh.

14. Left foot steps forward into a Left Half Moon Stance facing 6:00. Deliver a Right Spear Hand Poke to the throat and Check with the left hand over your bicep.

KAT

A #

5

161

NOTES:

15. Left foot draws into a Left Cat Stance facing 6:00. Execute a Left Outward Knife Hand Block and chamber your right hand open to Elbow Position.

18. Pivot 180 degrees counter clockwise drawing into a Left Cat Stance facing 12:00. Execute a #2 Block.

K 5

19. Left foot steps forward into a Left Half Moon Stance. Deliver a Left Back Two Knuckle Punch to the chin.

16. Left foot steps forward into a Left Half Moon Stance facing 6:00. With your right hand deliver a Supported Spear Hand Poke to the throat.

17. Deliver double Outward Raking Tiger’s Claws to the face, bring your hands to an on guard position. Right Front Ball Kick to the solar plexus landing forward in a Right Half Moon Stance facing 6:00.

KAT

A #

5

162

NOTES:

21. Look over your right shoulder and deliver a Right Rising Heel Kick to the opponent’s chin at 4:30.

20. Right foot meets left landing in a front position facing 12:00 with hands held fist over fist on the left side of your body in a cup and saucer position.

22. Right foot steps down into a Right Forward Leaning Stance facing 12:00. Deliver a Right Rising Spear Hand Poke to the opponent’s throat 1:30 with a “Kiai.”

K 5

23. Right foot half moons to a Horse Stance facing 12:00.

24. Quickly execute an Overhead Scissor Block and return to elbow position with a “Kiai.” Right foot meets left assuming Front Position and bow.

KAT

A #

5

163

DEFENSIVE TECHNIQUE #1 (DT 1)CLASSICAL - Execute from a Strong Horse Stance with Fists at Elbow Position.

PRACTICAL - Execute from a Strong Left Half Moon Stance with Hands On Guard.

TACTICAL - Execute from a variety of different Stances and Hand Positions.

Step back with your right foot and draw into a Left Cat Stance while simultaneously executing a Left Downward Parry Block. Immediately step in with your left foot to the outside of the opponent’s right leg, as you tightly wrap the opponent’s right arm above the elbow joint with your left arm. Deliver a Right Raking Tiger’s Claw to the opponent’s face (ending with right hand by your left ear) immediately followed by a Right Chicken Wrist to opponent’s temple. Simultaneously execute Right Tiger’s Mouth to the opponent’s throat as you Reap their right leg with your right leg, locking out their arm as they fall (holding them slightly off the ground). Quickly deliver a Right Front Two Knuckle Punch to the opponent’s temple followed by a Right Rolling Shuto to the bridge of their nose. “Kiai.”

As your opponent attacks:

NOTES:

DT

1D

EFE

NSI

VE

TE

CH

NIQ

UE

#1

164

DEFENSIVE TECHNIQUE #21 (DT 21)CLASSICAL - Execute from a Strong Horse Stance with Fists at Elbow Position.

PRACTICAL - Execute from a Strong Left Half Moon Stance with Hands On Guard.

TACTICAL - Execute from a variety of different Stances and Hand Positions.

Step back with your right foot into a Left Half Moon Stance and execute a Left Outward Knife Hand Block to the opponents wrist. Quickly grab the opponent’s wrist and step forward with your right foot (near opponent’s right foot) into a Horse Stance facing 9:00 as you deliver a Right Inverted Leopard’s Paw to the opponent’s armpit. As you retain hold of the opponent’s wrist, lift up their arm (high enough so you don’t compromise your balance), and turn counterclockwise bringing your left foot behind opponent landing in a Horse Stance facing 3:00, while pulling the retained arm through - locking it out and holding it parallel to the ground. Immediately deliver a Right Downward Elbow Strike to the opponent’s elbow while simultaneously bringing their arm up with your left hand. Execute a Right Cross-Hand Shuto Strike to the back of the opponent’s neck, quickly grab the opponent’s hair or collar with your right hand as you release their arm. Deliver a Right Side Blade Kick to the back of opponent’s right knee bringing them down to the ground in a right kneeling position. Release your grab as you position your right foot and execute a Left Spinning Hook Kick to the opponent’s face. “Kiai,” land in a strong Right Half Moon Stance with hands on guard facing opponent.

As your opponent attacks:

NOTES:

DT

21

DE

FEN

SIV

E T

EC

HN

IQU

E #

21

165

1S

T D

EG

RE

E B

RO

WN

BE

LT

1ST DEGREE BROWN BELTM A T E R I A L

DATE LEARNED MATERIAL DESCRIPTION

Fatal FingerPoison ThumbKata #6 (K6)All Defensive Techniques executed against a left handed attack.

SOMETHING

NOTES:

166

NOTES:

KATA #6 (K 6)

K 6

2. Left foot half moons into a Horse Stance facing 1:30. Execute #9 Block of the Ten Point Blocking System (Right Upholding Hand Block, bridged with left hand. Simultaneous Right Downward Block and Left Upward Block. Simultaneous Outward “U” Tiger’s Claw Strikes while exhaling.)

1. Assume Front Position and bow. Right foot steps out into a strong Horse Stance. Bring your arms together vertically, then Knuckle Roll with Dragon Breathes Fire.

3. Left foot half moons into Horse Stance facing 12:00. Bring your arms together vertically, then Knuckle Roll with Dragon Breathes Fire.

4. Right foot half moons into a Horse S t ance f a c i ng 10 :30 . Execu t e # 9 B l o c k o f t h e Te n Po i n t Blocking System (Left Upholding Hand Block, bridged with left hand. Simultaneous Right Downward Block and Left Upward Block. Simultaneous Outward “U” Tiger’s Claw Strikes while exhaling.)

KAT

A #

6

167

NOTES:

K 6

6. Bring your hands to an on guard position as your right foot steps forward into a Right Half Moon Stance facing 12:00. Execute a Right Stepping Stool Kick to the solar plexus, landing in Right Half Moon Stance with hands on guard.

5. Right foot half moons into Horse Stance facing 12:00 with arms crossed in front of chest in fists. Look towards 9:00, look towards 3:00, look towards 12:00. Drop low in your stance as you deliver simultaneous Hammer Strikes to the solar plexus with a “Kiai.”

7. Pivot 180 degrees counter clockwise into a Left Half Moon Stance as your left fist comes to your right ear and right arm pulls to elbow position. Execute a #8 Block, then a #6 Block. Bring your hands to an on guard position followed by a Right Front Ball Kick to the solar plexus, landing in a Right Half Moon Stance facing 6:00 with hands on guard.

KAT

A #

6

168

8. Pivot 180 degrees counter clockwise on your right foot into a Left Half Moon Stance facing 12:00. Execute Defensive Technique #26 (Execute a Left Outward Knife Hand Block. Right foot steps forward into a Right Side Horse Stance facing 6:00 as you deliver a Right Inverted Leopard’s Paw to the armpit. Pivot 180 degrees counter clockwise on your right foot landing in a Horse Stance facing 9:00. Deliver a Left Glancing Elbow to opponent’s lower ribs, immediately followed by a Right Tiger’s Claw Grab to the groin, as your left arm continues through and sweeps the opponent’s leg with your left hand. While still holding the leg up deliver a Right Shuto Strike to the opponent’s groin, “Kiai.”) Finish in Horse Stance facing 3:00.

NOTES:

10. Pivot 180 degrees counter clockwise into a Left Cat Stance facing 9:00. Left foot steps forward into a Left Half Moon Stance. Execute a Downward Cross Block and grab the opponent’s leg. Lift opponent’s leg until he falls on his back.

9. Jump forward toward 3:00 as you land in a Horse Stance with fist pulled back to elbow position.

K 6

KAT

A #

6

169

NOTES:

14. Execute a Left Outward Knife Hand Block as the right hand rechambers to Elbow Position. Grab opponent’s wrist and step with your right foot into a Right Side Horse Stance facing 6:00 Execute a Right Cross Hand Shuto to the ribs.

15. Simultaneously execute a Right Tiger’s Mouth to the throat as you Reap their right leg with your right leg, Finish in Lef t Hal f Moon Stance fac ing 3:00.

K 6

KAT

A #

6

13. Right foot half moons into Horse Stance facing 9:00. Look towards 6:00 as hands sweep in a circular motion into a Right Overhead Knife Hand and a Left Knife Hand guarding the ribs.

12. Pivot 180 degrees counter clockwise on your right foot and execute a Left Scoop Kick to the groin. Let go of opponent’s leg and continue counter clockwise rotation and land in Left Lunge Stance. Execute a Right Front Two Knuckle Punch to the nose, “Kiai.”

11. Holding on to opponent’s leg deliver a Right Front Heel Kick to the groin, landing in Right modified Twist Stance facing 9:00.

170

17. Bring your hands on guard and execute a Right Front Ball Kick to solar plexus at 3:00. Land in a Left Half Moon Stance facing 12:00. Hands sweep in a circular motion into a Right Overhead Knife Hand and a Left Knife Hand guarding the ribs.

16. Right foot delivers a low Crescent Kick to opponent ’s head as you c ross over in to a Horse S tance facing 3:00. Bring arms together vertically, then Knuckle Roll with Dragon Breathes Fire.

NOTES:

19. Left foot crosses in front of your right foot into a Left Twist Stance facing 1:30. Execute an Upward Cross Block.

K 6

KAT

A #

6

18. Execute Defensive Technique #19 (Execute a Left Outward Knife Hand Block. Right Front Ball Kick to the bladder, land forward in a Right Half Moon Stance. Left Shuto Strike to the neck. Bend opponent over at the waist and deliver a Right Downward Elbow to the spine. Right hand grabs thew waistline and left hand grabs the ankle. Roll the opponent as you step back with your right foot landing in a Horse Stance facing 1:30 and deliver a Right Shuto to the nose, “Kiai.”)

171

NOTES:

K 6

KAT

A #

6 23. While maintaining the Upward Cross Block,

execute a Right Side Blade Kick toward 10:30. Land in Left Half Moon Stance facing 7:30. Execute a #8 Block followed by a Right Front Two Knuckle Punch to the solar plexus.

22. Left foot crosses in front of your right foot into a Left Twist Stance facing 7:30. Execute an Upward Cross Block.

21. Pivot 225 degrees clockwise on your right foot into a Horse Stance facing 9:00. Execute #9 block of the Ten Point Blocking System (Right Upholding Hand Block, bridged with left hand. Simultaneous Right Downward Block and Left Upward Block. Simultaneous Outward “U” Tiger’s Claw Strikes while exhaling.)

20. While maintaining the Upward Cross Block, execute a Right Side Blade Kick toward 4:30. Land in Left Half Moon Stance facing 1:30. Execute a #8 Block followed by a Right Front Two Knuckle Punch to the solar plexus.

172

NOTES:

K 6

KAT

A #

6 26. Execute a Right Knife Hand Block and

grab opponent’s wrist. Left foot steps into a Horse Stance facing 9:00. Execute a Left Downward Shuto to the bicep followed by a Left Cross Hand Shuto to the neck.

25. Execute a Left Knife Hand Block and grab the opponent’s wrist. Right foot steps into Horse Stance facing 3:00. Execute a Right Downward Shuto to the bicep followed by a Right Cross Hand Shuto to the neck.

24. Left foot steps into a Left Half Moon Stance facing 6:00. Execute Defensive Technique #4. (Execute #5 Block. In a circular clockwise motion, clear the opponent’s arm and continue the circular motion as you rake across opponent’s face with a Cross Body Tiger’s Claw. Immediately deliver a Right Roundhouse Ball Kick to the sternum, landing in a Right Over Left Twist Stance. Step out with right foot and jump up and over their body and land in low Horse Stance. Deliver a Right Front Two Knuckle Punch to the face, and then a Left Front Two Knuckle Punch to the face.)

173

NOTES:

K 6

KAT

A #

6

27. Right foot half moons to a Horse Stance facing 12:00. Bring arms together vertically and Knuckle Roll with Dragon Breathes Fire. Right foot meets left foot assuming a Front Position and bow.

174

GLOSSARYCountries, Style and Places of Origin are Abbreviated in Parenthesis ( )

United States (USA)

Shaolin Kenpo (SK)

China (CH)

Japan (JP)

Korea (KOR)

Okinawa (OK)

Greece (GR)

India (IN)

Southeast Asia (SEA)

Hawaii (HW)

G

LO

SS

AR

Y

175

G

LO

SS

AR

Y

Aikido – (JP) also Aiki-Jutsu. “Divine Harmony Way.” A style founded by Morihei Uyeshiba in 1942. A sophisticated form of Goshin-Jutsu based on Japanese Sword techniques that uses mainly circular motions to disrupt and redirect an opponent’s energy. The style we study, Shaolin Kenpo, contains all the throws, locks, twists, and pressure point strikes of Aikido.

Atemi-Waza (JP) “Striking Techniques.” Developed by Chinese Kenpo Master Chin Gempin and assimilated into Aikido, Judo, Jujutsu and Yawara-Jutsu.

Basics – (SK) also Kihon (JP) Martial Arts Fundamentals. The building blocks of stances, maneuvers, blocks, strikes and specialized movement.

Blocking (SK) A variety of methods to defend against an opponent making physical contact with you. Blocks can be hard or soft. Blocks can Check, Redirect or completely Stop offensive motion.

Bo (JP) see Kobudo. A wooden staff about six feet in length that is considered the King of Martial Arts Weapons. A Bo could be camouflaged by a farmer carrying two buckets of water and brought to bear with lightning speed. One of the 5 systemized weapons that comprise Okinawan Kobudo.

Bojutsu (JP) The Art of using the Bo.

Bokken (JP) A wooden sword about 42” long without a hand guard patterned after the steel Katana (long sword). The weapon of choice of Samurai who didn’t want to damage their priceless Katana. It is accepted in Japan that more warriors were killed in duels with Bokken than ever died by Katana.

Boxing (CH,SK) From Chinese Temple Boxing, or Ch’uan Fa (Kenpo) Kung Fu. The generic term Boxing became popular with Westerners after news reports of Ch’uan Fa fighters using bare fists, feet and weapons against firearms during the short Boxer Rebellion of 1900. Shaolin Kenpo is actually a sophisticated form of Chinese Temple Boxing, with Karate moves used to give the student the basics.

Breakfall (SK,JP) A Judo move perfected by “Slapping Out” to lessen the shock of a fall.

Bridging the Gap (SK) Common term for the distance most comfortable for you to close and start an effective counterattack.

Broken Rhythm (SK) The use of upper body feints and irregular timed footwork to throw off an opponent’s timing and striking pattern.

Budo (JP) “The Warrior Way.” The way a Martial Artist uses Martial Arts’ principles in his daily life.

Bushi – (JP) The Warrior Spirit of the Samurai. From the term to stop or break a spear or “Stopping the Spear.”

Bushido (JP) “The Warrior’s Code.” How warriors should conduct themselves in society and wartime. The philosophy behind many Japanese Martial Arts.

176

G

LO

SS

AR

Y

Catching (SK) Immobilizing an opponent by grasping his offensive weapons in flight.

Chi (CH) Total Unity of Mind, Body and Inner Strength to achieve super-normal performance. This is achieved by total focus and proper synchronization of breathing. The general definition of Chi is how the body processes energies such as heat, light and electricity as the electromagnetic energy present in all living things. Also known as Ki (JP), Prana (IN) and Mana (HW).

Chi Kung (CH) The study, research and practice of harnessing and increasing Chi.

Changing Muscle/Tendon Classic (CH) Also known as The Muscle Changing Classic (Yi Gin Ching) and Lohan 18 Hands. Credited to Ta Mo, founder of the Shaolin Temple at Fukien around 550 A.D. This work discussed Wai Dan Chi Kung training for good health, and contains the basis of Chinese Temple Boxing and Shaolin Kenpo.

Checks (SK) Related to Holding Without Grabbing. The Art of Pressing, Pinning and Hugging to set an opponent up for a counterattack. Pinning Checks are mostly used against weapons to immobilize or trap them. Rolling Checks apply constant pressure of a weapon in motion, such as a stick against a sword blade, to prevent the sword from being swung at you. Tapping Hand or Foot Checks (such as tapping an opponent’s shoulder to stop a punch) are more effective than stiff blocks, giving you a full range of speed and momentum on offense. Sliding Checks are best used on large areas of the body. For example, running your hand along an opponent’s outstretched kicking leg to control the kick and move the opponent past you so you can effect a Takedown or apply a rear choke hold.

Chi Hsuan Men (CH) “Unusual Style.” From records dating back to 5 B.C. Founded by an Indian named Han Lo-Ming. Uses defensive scissor techniques of the White Jade Fan to trap swords and spears and pressure point strikes with the fan’s tip.

China’s Three Major Styles (CH): Hung Gar, Cho Li Fut and Wing Chun are Shaolin-inspired and distant cousins of Shaolin Kenpo.

Chin na (CH) also known as “Devil’s Hand” or “Muscle Splitting Skill.” Finger jabs and palm strikes specializing in attacking the body’s acupuncture cavities to kill or injure.

Chi Sow (CH) “Sticky Hands.” This Kung-Fu technique is derived from Shaolin Chin na, known in Shaolin Kenpo as “Holding Without Grabbing.”

Chow, William Kwai Sun (CH,SK,HW) “The Father of Modern Kenpo.” Son of Hoon Chow, a Buddhist monk and Shaolin Ch’uan Fa Master from Shanghai. Nicknamed “Thunderbolt” for his speed and ability to counter blocking. Studied Hung Gar Gung-Fu and Shaolin Arts, including Kosho-Ryu Kenpo. Seeing limitations in these arts, he blended “The Circle & The Line” to create Chinese Kenpo. A demanding teacher, Chow stressed full-contact training and never kept students for long – only a handful lasted with Chow for more than five years. Master of The 7 Death Arts, including the Scorpion and Snake techniques. Chow taught these arts to four people with the stipulation that they be used only in a life or death situation, or to preserve the honor of the system. With Chow’s death in 1987, he took 5 of the Death Arts to the grave.

177

G

LO

SS

AR

Y

Choy Li Fut (SK,CH) also known as Choy Lee Fut or “Rocket Punching Style.” A fighting style marked by lightning fist and foot attacks mixed with Chin na grappling until an opponent is conquered. Created by Choy Fook, a Shaolin survivor greatly influenced by Shaolin Kenpo who created Mook Jong (Wooden Dummy Training), Choy Li Fut resembles Shaolin Kenpo in its powerful, western-style punching techniques. (See Kuen-Po).

Ch’uan-Shu (CH,SK) also Ch’uan Fa. “The Artful Use of One’s Fists.” Chinese terms to describe Kenpo Martial Arts.

Chugo-Yu Kenpo (OK,CH) Founded in 1953 by Shigeru Nakamura, one of Okinawa’s leading Masters of Karate Kenpo. Chugo-Yu Kenpo is a hard sparring art where fighters wear heavy protective equipment. Nakamura introduced the Karate Side Kick as we know it today.

Chung Kuo Ch’uan (CH) “Chinese Fist Art.” The more specific term to describe Chinese Kenpo Arts.

Circular Motion (SK) Traditional methods and movements. Many systems, like Shotokan and Tae Kwon Do are purely traditional and follow rigid teaching methods that may not suit a particular person’s body type and personal needs. In contrast, Shaolin Kenpo blends traditional methods with “Street Reality” to suit modern self-defense needs.

Come-Along Hold (SK) a joint lock that allows you to move an opponent anywhere you want them to go without chance of retaliation.

Controlling (SK) the ability of a skilled Kenpo fighter to nullify an opponent’s aggression without harming the person.

Dai-Sho (JP) The pair of long and short swords that marked the Samurai. Long or “big” swords are termed O-Tachi (Katana and Daito); short or “little” swords are Ko-Tachi (Wakizashi or Shoto).

Daito (JP) Extra Long Japanese Katana. Also known as O-Tachi and Jin Tachi. Some Daito ran as long as 5 feet in length.

Dan (JP,OK) Rank or degree. Usually refers to Black Belt levels 1-10.

Dao (CH,SK) A heavy, single edged curved Chinese Broadsword decorated with tassels on the hilt. The aluminum-bladed version is very popular among Z-Ultimate students and tournament competitors.

Defensive Technique (SK) also DTs. Key Self-Defense movements of Shaolin Kenpo against punches, kicks and attacks by knife and clubs that rely on your ability to adapt to any attack or situation. Defensive moves one learns to react instinctively to attacks.

Dim Mak (CH) “Death Touch” or “Poison Hand.” The ability to send damaging waves of Chi to gradually destroy internal organs within a specific period of time. While some Dim Mak Masters do exist, most rely on coating their hands with poisons that seep through the victim’s skin to fortify their “legendary” ability.

178

G

LO

SS

AR

Y

Dojo (JP) “Training Hall” of a Martial Arts studio or school.

Ermei Mountain (CH) A mountainous region in Szechuan Province that originated many Martial Arts styles. A stronghold of Kenpo Masters.

Feint (SK) a false move or motion of the eyes to trick your opponent to strike or block so you can pierce their defenses.

Five Shaolin Ancestors (CH) also The Hung Family League or five Elders. The five survivors of the Shaolin Temple burned by the Manchus. Wu Mei, Chi Shan, Bok Mei, Feng Daode and Miao Chian gained prominence as Masters of the Martial Arts. Shaolin Martial Arts became known as Sil Lum in Cantonese, or Shorinji in Japanese. Study centered on the moves and attributes of the Tiger, Dragon, Snake, Leopard, and Crane.

Focus (SK) using the mind and body as a single unit for the ultimate in accuracy, power and concentration. Focus is essential to increasing body momentum, timing, speed, and penetration.

Fluidity (SK) Relaxed, flowing motion on offense and defense. The mark of a Master Martial Artist.

Forms (SK) Diagrams in motion. The combined Offensive and Defensive Motions arranged into dance-like sets required to acquire coloredbelts in the Shaolin Kenpo system that blend the Line and the Circle for the maximum effectiveness. Many Forms incorporated Weapons and Self-Defense movements. Also known as Kata or Keiho (JP).

Freestyle Sparring (SK) Non-contact sparring under controlled conditions in Z-Ultimate Dojos, Tournaments and Clinics. The first person to score the most effective kicks or punches and receives the most points (3 maximum in under 2 minutes) usually wins.

Gee Sim (CH) Shaolin Monk and Master of the Tiger Fist who taught his art in the seaport of Canton, China after the destruction of the Temple at Fukien Province, Gee Sim’s innovations helped the development of Shaolin Kenpo.

Gempin, Chin (JP,SK,CH) See Kumiai-Jutsu. A Chinese mystic and wandering Yamabushi monk, Chin Gen Pinh became a Japanese citizen and changed his name to Gempin. A Master of Chinese Kenpo, Gempin taught his grappling art of Kumiai Jutsu and Atemi-Waza (striking techniques) to Ronin (Masterless Samurai). Teacher of Takenouchi, the founder of the first Jujutsu school in Japan. Ronin later founded schools of Jujutsu throughout Japan. Gempin also founded the art of Yawara-Jutsu, a short rod self-defense system on which the Kubaton is based.

Goshin-Jutsu (CH,JP) According to legend, a total self-defense art of kicks, hand techniques, staff and spear created by Daruma (also known as Ta Mo, 28th Patriarch of the Buddhist Faith and founder of the Shaolin Temple) to rapidly prepare monks for battle. Goshin-Jutsu was practiced by Yamabushi, Japanese warrior monks who often traveled between Shaolin Temples in China, Formosa, Japan and India. Possibly the basis of Aikido, Ninjustsu and Jujutsu.

179

G

LO

SS

AR

Y

Goju-Ryu (OK) “Hard, Soft Style.” Founded by Chojun Miyagi, who traveled to China’s Fukien Provience to study with the Masters of Shaolin-inspired arts such as Shaolin Ch’uan Fa, Wing Chun and Pakua Chang Gung-Fu. Miyagi considered Goju-ryu to be synonymous with Chinese Kenpo; however, Japanese successors who later modernized Goju-ryu have made the art more linear. He is the first Master to formally introduce Kenpo to the mainland United States (see Chojun Miyagi).

Hanshi (JP) The senior living Master of a sword school or system.

Hocking (SK) A Shaolin Kenpo infighting Take down technique using a simultaneous sweep of the arm and leg.

Hung Family League (CH) Also The Five Shaolin Ancestors. The chief resistance movement against the Manchus, founded by the 5 Shaolin Masters who escaped the destruction of the Songshan Shaolin Temple in Hunan (Northern China) in 1736. They set up a new monastery containing 36 chambers or levels of Martial Arts instruction at the village of Chuan Chow in Fukien Province (Southern China) to keep Shaolin Kung-Fu traditions alive and continue political pressure on the Manchus.

Hun Gar Gung-Fu (CH) The power of the Tiger and the Crane. Developed by Hung Hei Gune, student of Shaolin Priest Gee Sim, Master of the Tiger Fist, and Fong Youngchun.

Hook (SK) Kicks and hand techniques that follow curving, arcing paths.

Hwarang-Do (SK) A Korean Martial Art that relies heavily on finger pokes, mind control, spirit trancing and gouging. Outlawed in Korean tournament competitions.

Iai (JP) “Swordsmanship.” Also Iai-do, “The Sword Way.” the art of drawing and cutting quickly with the sword. Also Iai-jutsu, fast-draw sword techniques.

Iron Shirt (CH) Also known as Ti Bu Shan, Iron Cloth or Golden Bell Cover. Chi Kung (Internal Power) training that toughens the body and makes the internal organs impervious to blows.

Iron Palm (CH) Also known as Red Sand Palm or Iron Sand Palm. The ability of Chinese Masters to break bricks, planks and boulders with a slap. Hand conditioning consists of linaments and herbs in the early stages, and later forging one’s hands in a heated urn of iron filings and red sand.

Jamming (SK) Crowding your opponent and nullifying their offense. Also pushing an opponent in such a way as to upset their balance.

Jo (JP) “Stick Way.” Three-, four- and five-foot walking sticks used for close combat, and the main weapon of Jojutsu, stickfighting.

Jujutsu (JP) also Jiu-Jutsu, “The Gentle Art.” A crude grappling art very similar to Japanese Sumo developed in 230 B.C. from the art of Chikura Kurabe (JP) and Ch’ih Yu-Hsi (CH), where two opponents in a circle engage in head butting with horned helmets. In the 16th century, Jujutsu evolved into an effective art composed of kicks, punches, throws, joint locks, breaks,

180

G

LO

SS

AR

Y

holds and chokes after exposure to Chinese Masters of Ch’uan Fa (Kenpo). See Chin Gempin.

Jing (CH) A Chinese Martial Artist with powerful muscles and ligaments developed by energizing his or her body with Chi to its highest potential.

Kajukenbo (JP,OK) An offshoot of William Chow’s original Kenpo system created by Adriano and Joe Emperado in Hawaii. This is a mostly linear style that relies on brute strength and hand conditioning. According to Adriano Emperado, Kajukenbo is not practiced properly “until there’s blood on the floor.”

Kalarippayat (IN) The empty-hand art of the Kshatriya warrior caste developed to its highest potential in 4 A.D. Many believe it is the forerunner of Shaolin Kenpo as introduced by Ta Mo. Students practiced in Kalaris, formal training halls, bowing before entering. Study included 12 Kata-like fighting sequence dances, kicks, hand strikes and grappling. Masters could send damaging Prana, or internal energy, into 108 pressure points on the human body.

Kama (OK) A razor-sharp sickle used to cut grain and defend against Samurai in close combat situations. Especially deadly when used in pairs and twirled by strings attached to the handles.

Kamasugari (OK) Essentially a Kama with a weighted Cord/Chain used by Okinawan farmers to disarm Samurai swordsmen at long range.

Karate (JP,OK) also Kara-te. “China hand” or “Empty Hand.” Karate is based on Linear/Circular Kenpo techniques that Chinese Masters from Taiwan brought to Okinawa around 1393. Oral history points to “36 Chinese families” spreading Ch’uan Fa (Kenpo) throughout the Okinawan Islands. At that time Kara-te meant “China Hand.” The Japanese wanted to erase the allegiance Okinawan Masters gave to Chinese Kenpo Masters, so they changed the Kanji ideograph “Kara” from “China” to “Empty.”

Karate Kenpo (OK) The term Okinawans use to describe their full-contact style of Kenpo. One of the foremost exponents of Karate Kenpo was Choki Motobu, Okinawa’s fiercest fighter. Motobu influenced many Kenpo instructors who, in turn, influenced our art of Shaolin Kenpo. A non-traditionalist, Motobu practiced only one Kata. Motobu once toured America for a year, challenging more than 100 wrestlers and boxers to prove the effectiveness of his art – none lasted three minutes. American boxing officials were so enraged they arranged to permanently deny Motobu a visa so he could never return to America. In 1924, he stunned the world by defeating the Russian heavyweight boxing champion, returning to Okinawa undefeated.

Karma (CH,JP,IN) The Buddhist/Hindu law of Cause and Effect.

Kata (JP) The Karate style of Forms practiced. All motions are linear, following diagrams resembling the letters T, X and H. Based on layouts of Japanese gardens to conform with the laws of nature.

Keibo (JP) A black metal telescopic or fixed baton developed by Japanese Police, able to spring out, stun an attacker or whip like a night stick. Illegal in many U.S. States.

181

G

LO

SS

AR

Y

Kempo or Kenpo (CH,OK,JP,SK) “Law of the Fist” or “Fist Law.” Also Ken-to and Kem-po. The base style we practice at Z-Ultimate Self Defense Studios. Kempo or Kenpo are both correct spellings. These terms were confused when James Mitose, a Hawaiian Kenpo practitioner in the mid-1940’s, began calling his style of Kosho-Ryu Kenpo “Kenpo-Jui-Jutsu.” and press reports later compounded the error. He later tried to correct his mistake by writing Kempo/Kenpo in later years, but styles bearing the Kenpo name arose anyway.

Kento (JP,OK) “Fist Fighting.” An ancient term Okinawans used to describe Chinese Ch’uan Shu (Shaolin) Kenpo from Taiwan.

Ki (JP) “Air, Breath, Spirit.” Japanese definition of Internal Energy, as in Chinese Chi. While the Chinese believe that Chi should be stored in the joints and muscles in a relaxed manner to be used in emergencies, the Japanese believe Ki to result from deep breathing and sharp expulsion of air from the diaphragm to propel force.

Kiai (JP) “Spirit Meeting.” A loud shout that uses breath and focus to increase Inner Strength, Japanese style. (See Ki).

Kick Boxing (USA) Full-contact sport Karate that combines Western boxing with Karate kicks. Developed from Thai Boxing (Muay Thai), but does not allow elbow techniques, head butts or kicks below the waist. The popularity of Kick Boxing in America has declined these past few years due to public disinterest, lack of organization and meager prize money or “purses” offered to fighters.

Kobudo (OK) The weapons arts of the Bo, Kama, Sai, Nunchaku and Tonfa developed by Okinawan farmers from simple farm tools (to better disguise them in the field) to battle the oppression of the Satsuma Clan Samurai and a ban on all weapons. The Okinawans kept Kobudo from the Japanese for more than 300 years, introducing these weapons to Japan in the late 1940s.

Kosho-Ryu Kenpo (SK,JP) “Old Pine Tree Style.” A very linear Japanese fighting art developed by Shaolin-inspired Shinto Priest Kosho in 1560, who received his knowledge from a Japanese Master of Shorinji (Shaolin) Kenpo. One of the many foundations of the art of Shaolin Kenpo as we practice it today.

Kosokun (CH) A Chinese monk who brought Shaolin Kenpo to Japan in the late 1800s. The Japanese deported him because his Kenpo was so successful and superior to existing Japanese Martial Arts. Kosokun decided to fragment his Kenpo style to prevent the Japanese from copying it. In Okinawa, Kosokun taught only fist techniques. In Taiwan, only thrusting with the fingers. In China and the Southern Islands beyond Taiwan, he taught only hand and foot fighting.

Kozuka (JP) A slim stiletto throwing knife that fits into a sheath on a Katana (long sword) scabbard near the hand guard.

Kubaton (JP) A plastic, wood or metal rod about 5” in length used to strike pressure points. Developed by Tak Kubota, the Kubaton is derived from the ancient art of Yawara-Jutsu it was

182

G

LO

SS

AR

Y

developed by Chinese Kenpo Master Chin Gempin.

Kimiai Jutsu (JP) see Chin Gempin. “The Tackling Art.” The personal grappling, kicking and open-hand striking style of 16th century Chinese Kenpo Master Chin Gempin. Many Japanese today credit Master Gempin with spurring the progress of Jujutsu, Aiki-Jutsu, Judo and Yawara-Jutsu.

Kumite (JP) Sparring with or without protective equipment. Also Kumite-Sutemi, an empty-hand duel or fight of death.

Kung-Fu (CH) “Skill, Time, Task.” Not a fighting style or system, but a measure of individual skill in any endeavor. Also, how a person devotes themselves to a specific task. “He’s a Kung-Fu teacher, a Kung-Fu salesman,” etc. Pronounced Kung-Fu (Mandarin in the North) and Gung-Fu (Cantonese in the South).

Kun-Tao (CH,SEA) also Kun-Tow. “The Head of the Fist Way.” An offshoot of Chinese Kenpo popular in Southeast Asia. A circular, “hard/soft” fighting art, classes consist of drilling in punches and kicks for hours in low horse stances. Many Kun-Tao adepts train in Karate and Judo to make Kun-Tao more effective.

Kshatriya (IN) A royal caste of East Indian Brahman warriors known for their skill with the sword, spear, staff and empty-hand combat. Ta Mo, who introduced the Martial Arts to the Shaolin Temple, was a Prince of this royal line.

Kuen-Po (SK,CH) Around 1100 A.D., Chinese historian Chan Heung recorded Choy Li Fut’s 138 forms in the ‘Kuen Po,’ or Manual of Fist Work. This is the first recorded mention of the term Kenpo (‘Fist Law’) in connection with the Shaolin arts.

Kwoon (CH) Chinese Martial Arts training hall.

Kyu (JP) “Grade” or “Position.” Z-Ultimate recognizes 3 Kyus or grades at Brown Belt level. 1 Kyu is the highest rank before earning a 1st degree Black Belt. At 3rd Kyu, the Brown Belt receives 1 stripe; at 2nd Kyu, 2 stripes; at 1st Kyu, 3 stripes.

Lima Lama (SK, CH) “Hand Wisdom.” A Kenpo style highly influenced by the indigenous Martial Arts of Hawaii and Polynesia. Leans heavily on animal styles, bladed weapons and clawing techniques. Has a small following in Hawaii and Mexico.

Linear (JP) or Line Systems. Purely physical strength moves that follow a straight line. Linear Systems such as Korean Tae Kwon Do and Japanese Shotokan depend more on impractical “one punch, one kick” solutions in self-defense situations. They will stand in the way of blows and take punishment “to give as well as they get.” In Shaolin Kenpo, we blend the line and the circle to give us limitless combinations on offense and defense, avoid getting hit, yet hit with maximum power.

Lines of Attack (SK) Based on Air Warfare. How you angle against and opponent during attacks and counter-attacks. Most lines of attack take place as the numbers on a clock – 3, 6, 9 and 12 o’clock are the most common lines of attack.

183

G

LO

SS

AR

Y

Locks (SK) Joint immobilizations leading to joint breaks or joint dislocations.

Lohan Hall (CH) Also known as Priest-Scholar Hall and Den of Wooden Men. Located at the Monastery at the Fukien Province. The supreme test of a Shaolin priest’s fighting ability. A phalanx of 108 mechanical wooden dummies armed with knives, spears and clubs triggered by the priest’s movements. If the priest survived, he had to make his way through an opening blocked by a large copper urn containing red-hot incense. Gripping the urn in his forearms, the student had to slide the urn to his right to create an exit. In the process, he branded his forearms with the badges of the Shaolin Master, the Dragon and Tiger.

Ma Linger (CH) The traitor monk and Manchu spy responsible for burning and destroying the Songshan Shaolin Temple in 1736. Ranked 7th among the Temple’s 128 warrior monks. Only 5 elders survived the destruction.

Mitose, James Masayoshi (JP,USA) Japanese name Kenpo Sai Kosho. Hawaiian of Japanese ancestry who established the first public school of Kenpo JuJutsu, The Official Self-Defense Club of Honolulu, in 1942. A direct descendent of the family who inherited the pure Kosho-Ryu Kenpo art developed in 1560 by the Buddhist priest Kosho, and secret student of Okinawan Master Choki Motobu. Created eternal confusion by interchanging the terms Kenpo/Kempo, a mistake he regretted until his death in 1981. In later years, Mitose discarded the heavy Shaolin Ch’uan Fa influence on his art for more linear motions almost devoid of circular movement to pay homage to his Japanese ancestry. By today’s standards of modern Shaolin Kenpo, Mitose’s art is stiff and robotic.

Miyagi, Chojun (OK) The founder of Okinawan Goju-Ryu Karate and student of Chinese Kenpo Grandmaster Kanju Toonda, Miyagi was the first to formally introduce Kenpo Karate to the Continental United States. In 1934, Miyagi came to Hawaii and taught pure Kenpo (Ch’uan Fa) Karate to more than 100 students for an eight-month period on the island of Kauai. He used the term Kenpo Karate because he didn’t want to encounter resistance from Hawaii’s large Chinese population, who kept Ch’uan Fa (Kenpo) secret. He also wanted to blend more Chinese Kenpo into his Okinawan Karate system, “to use the more profound Chinese knowledge to improve and unify Karate.” Chojun Miyagi is the root ancestor of the fictional Mr. Miyagi of the “Karate Kid” film series.

Nei Kung (CH) Using Chi, or Internal Power, for fighting purposes.

Nei Juang (CH) Internal Strength developed by harnessing and directing Chi, the electromagnetic energy that powers your bodily function.

Ninja (CH,JP) See Ninjutsu and Yamabushi. The first Ninja were actually Shaolin priests known as Seng Bing, or ones possessed of “Perseverance Beyond Belief.” Many Shaolin priests excelled in guerrilla warfare tactics. They were the first to use blinding powders, smoke bombs, booby traps and hidden weapons. Today, many Chinese still believe Shaolin priests can walk through walls. Shaolin traditions stressed Invisibility and Psychological warfare, whereas Japanese Ninja were recruited from the lowest levels of society to become synonymous with bloodshed and assassination without honor.

184

G

LO

SS

AR

Y

Ninjutsu (CH,JP,SK) “The Art of Stealing In.” An art of infiltration and assassination influenced by Chinese military science and Shaolin-trained Yamabushi who practiced Tibetan Mikkyo Buddhism, a mind control system used to achieve supernatural powers. Ninja comprised the lowest stratum of Japanese society. They were often maimed and tortured when captured.

Noi Cun (CH) Breaking or moving objects at a distance with Chi, or Internal Power alone.

Northern Kung-Fu Styles (CH) Styles developed in China’s Northern Provinces that place a strong emphasis on high, spinning “Tornado” kicks, ground-fighting, and development of Inner Strength. In particular, the Dragon and Shantung Black Tiger systems developed due to the superior leg and hip strength possessed by taller, larger Northern Chinese who live and work in rugged mountain regions.

Nunchaku (OK) The traditional weapon is two sticks 14” in length each connected by horse hair cord, nylon cord or chain used to thresh grain. Can deliver 1,600 pounds of pressure at point of impact. Illegal in many states.

Obi (JP) “Belt.” The traditional 1 ¾” cotton belt wrapped twice around the body and tied in a double square knot. Only Masters or Grandmasters (above 7th Degree Black Belt) may wear 2” wide belts.

Okinawa-Te (OK) Hard, Linear Karate Style also known as “Okinawan Hand.” At advanced levels, students learned more circular Shaolin animal forms, specifically the Tiger, Crane, Butterfly, Eagle, Bear and Snake.

Pankration (GR,IN) A brutal, 3,000 year-old form of boxing, kicking and grappling brought to India by Alexander the Great in 4 B.C. Actually Asian Martial Arts developed in Greece more than 3,500 years ago and filtered into India to create the Karate-like art of Vajramushti Yudda. In both arts fighters wore Cestus, leaded hand thongs loaded with lead and iron. Greek legends speak highly of Pankration boxer Hippomarchos of Eleia. He used spiked Cestus to kill more than 1,000 worthy opponents in his lifetime. More remarkable, no opponent ever succeeded in hitting him.

Pao Jaco (CH) “The First Buddha.” or first teacher of Buddhism recognized by the Chinese who reputedly lived to the age of 150. In 377 A.D. , Emperor Wei built the Shaolin Temple on Shao Shih Mountain of Teng Fon Hsien, Hunan Province for Pao Jaco solely for preaching and worship. No Martial Arts training occurred here until Ta Mo arrived sometime between 479-520 A.D.

Parries (SK) Closely related to Chi So, “Holding Without Grabbing.” Making light contact with an opponent’s arms and legs to redirect them. Riding the force of your opponent’s strike.

Penetration (SK) How you control or blast through an opponent’s defenses. Also, how hard you strike an opponent’s vital points to create the proper effect or reaction.

Pinan (SK,JP) “Peaceful Mind.” One of the five numbered Pinan forms of Shaolin Kenpo, all defending against multiple attackers. In Japan, Pinans are short, linear forms used for building strength.

185

G

LO

SS

AR

Y

Pinch (SK) Painful twists of joints and nerve centers in the arms, thighs and torso. Useful in breaking holds and grabs.

Praying Mantis (CH) Also known as 7-Star Praying Mantis. Developed by Shaolin Kung-Fu stylist Wong Long, it merges the clawing, trapping techniques of the Praying Mantis and the footwork of the Monkey.

Pressure Point (SK) also Cavities. The 108 points on the human body that correspond to Acupuncture Points and Meridians where bone, nerve and veins/arteries cross. 36 are lethal, 72 are painful.

Principles (SK) The philosophy and mechanics of proven techniques. Techniques cannot work unless they have underlying rational Principles. Otherwise, you have ineffective techniques that are more theory than action.

Pulling (SK) Holding to bring an opponent into proper striking range. Also, your ability to control punches, strikes and throws so as not to harm a training partner.

Range (SK) The most effective hitting and closing distance.

Rank (SK,JP) Black Belt ranks traditionally progress from 1 to 10. They are Shodan, Nidan, Sandan, Yodan (or Yondan), Godan, Rokudan, Shichidan, Hachidan, Kudan and Judan. In the Z-Ultimate system, students achieve rank at Yellow through Black Belt; White, Yellow, Orange, Purple, Blue, Blue Stripe, Green, Green Stripe, Brown (see Kyu) and Black.

Ryu (JP) “The School of . . .” Also Hombu, “Headquarters.” Mostly used in relation to Japanese Schools of the Sword.

Sai (OK) “Trident.” Also Nunte. A pronged short sword with a sharpened tip about 21” in length. Once used to trap and break swords, or thrown to pin a swordsman’s foot to the ground. Strikes went to the eyes, throat and neck. Okinawan farmers usually carried three Sai, two in the front belt and one at the small of the back for surprise attacks. Most Sai today are blunted for use in Martial Arts practice. Nunte are Sai with prongs facing in opposite directions so it can be attached to a Bo staff to create an emergency spear.

Sakugawa (CH,SK,OK) An Okinawan who left to study with Chinese Kenpo Masters in 1724. Reappeared in Shuri, Okinawa years later, demonstrating advanced Shaolin Kenpo techniques that attracted hundreds of pupils. Sakugawa’s success and influence inspired the Okinawans to stylize their arts under the “Karate” banner (although he taught pure Chinese Kenpo or Ch’uan Fa) the Japanese later copied.

Salutation (CH,SK,OK) Secret hand signals used by ancient Chinese Masters to recognize fellow “brothers” or students of the Martial Arts. At Z-Ultimate we use the left open palm over right closed fist (covering the knuckles conceals any aggression) salutation performed with a simultaneous leg crossover. The Salutation is required when entering a Z-Ultimate Dojo or when first addressing a Senior or Instructor. The closed right fist signifies Yang, or hard style, while the open left hand signifies Yin, or soft style. Many Chinese styles use open palm Salutations.

186

G

LO

SS

AR

Y

The Z-Ultimate Salutation has much in common with those used by Okinawan Kenpo Masters to initiate self-defense combat.

Samurai (JP) A military man. Derived from the term Saburai, or “those who serve in close attendance to nobility.”

Sampai (CH,SK) “Second in Command.” Senior student or Instructor who serves a Chief Instructor as a model or illustrator of technique.

Sanchin (JP,SK) “Forceful Breathing.” The Japanese method of deep breathing that tenses the muscles and makes them able to absorb blows without harm.

Sanfeng, Chang (CH) A Sung Dynasty scholar and the most impressive Master ever produced by a Shaolin Temple. His superior physical and mental abilities allowed him to graduate from the Temple a full-fledged Master in less than two years. Chang Sanfeng started a monastery in Hubei’s Wu Tang Mountains. Here he created Wu Tang Martial Arts, merging the hard Shaolin Arts with the mystical Chi Kung Arts. This led to the creation of Tai Chi Ch’uan, “The Grand Ultimate Art,” of which Chang Sanfeng is the acknowledged founder.

Sensei (JP) “Teacher.” An instructor of Martial Arts. The proper way to address a Chief Instructor of a Z-Ultimate Self Defense Studios dojo.

Seppuku (JP) Ritual suicide of the Samurai or person dishonored beyond reparation. Those who use the common term Hari-Kari are considered rude. Women would commit Jigai, the severing of the artery with a small Kozuka knife.

Shantung Black Tiger (SK,CH) A Shaolin Kenpo-inspired fighting art developed to defend against multiple opponents on rocky terrain. Created in China’s Northern Hunan Province, it is the basis of Kun-Tao, another Kenpo-inspired fighting art of Southeast Asia. A mainly soft, Internal Style that relies on acrobatic movement with rapid-fire punches and high wheel kicks.

Shaolin (CH) also Shao Lin or Shao Lum, meaning “Young (Pine Tree) Forest.” Actually referring to resilience, as a young forest of saplings resists high winds and rebounds with force. This is the essence of Shaolin Kenpo – not to meet an opponent’s force with force, but to bend slightly and spring back even stronger.

Shaolin Ch’uan Fa (CH) The Shaolin five Animal Style as practiced by the Monks of the Temple in Fukien Province, later spread through China by the five Shaolin Elders. Also known as Sil Lum Kung Fu, Chinese Kenpo and Shaolin Kenpo in China. In Japan it is Shorinji Kenpo.

Shaolin Monastery (CH,SK) The Shaolin Temple of Songshan in Hunan Province (420-520 A.D.) was the most famous and powerful Martial Arts teaching center of its time. Here lived The Glorious 108 Fighting Monks known as Seng Bing, or Priest Soldiers. In the Tang Dynasty, only Shaolin Temples and the Chinese Emperor were permitted to have their own complete Martial Arts System.

187

G

LO

SS

AR

Y

Shihan (JP) “A model for all the rest.” The highest honor a Martial Arts Master can receive in a lifetime. Shinai (JP) Flexible bamboo swords used by Kendo (Japanese Fencing) practitioners.

Shorinji (JP) The Japanese term for Shaolin.

Shuriken (JP) also Shaken. “Throwing Stars.” Metal darts and knives developed by Chinese Vagabonds, the forerunners of the Ninja, to harass and slow an enemy in pursuit. An ineffective weapon unless coated with poison, possession of Shuriken is illegal in many states.

Sifu (CH) A Chinese word for a skilled Kung-Fu teacher. Sifu has three meanings: Master, teacher, father. Also, Simu, a female Kung-Fu teacher.

Sil Lum Kung Fu (CH) Also Shaolin five Animal Kung Fu. Shaolin monks Gok Yuen, Lee Sau and Bak Juk Fung enlarged the ‘Lohan 18 Hands’ to 170 movements to make Sil Lum (Shaolin) Kung Fu, which demands a Mastery of one of the five animal styles and 108 weapons.

Shionja (OK) An Okinawan Ch’uan Fa (Kenpo) Master who, along with his Chinese friend Kushanku, returned to Okinawa from China in 1784 to spread their new style of Chinese Kenpo. They succeeded in creating so many Kenpo students that Japanese authorities could not stop the spread of the art. Also connected with the mysterious “36 Chinese Families” who settled in Okinawa and made Kenpo Okinawa’s leading Martial Art.

Soke (JP,CH,KOR) “Founder of a Martial System.” The highest ranking status a Master can attain in a lifetime. Usually reserved for those who create an internationally renowned Martial Arts system. At present, only 22 certified Soke exist, many belonging to The World Council of Sokes, a governing body comprised of Soke of many Asian-based systems. Soke is derived from the Japanese phrase for “is that so?”, a play on words to denote skepticism when people claim to be Soke.

Stance (SK) The many ways to stand and maintain your balance during Martial Arts practice. The Horse Stance is the King of all Martial Arts stances.

Standing or Ground Submission (SK) Causing an opponent to “cry uncle!” and give up the fight whether they are standing or they are on the ground. Usually accomplished by locking a bone joint and applying painful pressure as if to threaten a break.

Style (SK) A term used loosely to describe a variety of Martial Arts systems. In Shaolin Kenpo, Style refers to a student’s expression of requirements of the system used by Z-Ultimate Self Defense Studios. Since no one moves or fights alike, each creates his or her own style within Shaolin Kenpo, without changing the art’s time- proven methods.

Ta Mo (CH) Also known as Da Mo (CH), Sardilli (IN),

188

G

LO

SS

AR

Y

Bodhidharma (IN) and Daruma Daishi (JP). Prince of a small tribe in Southern India who became a warrior priest and 28th Patriarch of the Buddhist faith. Ta Mo systemized the teaching and practice of Asian Martial Arts, setting the groundwork for the development of Shaolin Kenpo. Founder of the Shaolin Temple in China’s Fukien Province. Ta Mo died in 539 A.D.

Tae Kwon Do (KOR) A hybrid karate system developed in the late 1940s. Mainly a high kicking tournament style that is more flash than power and focus. Because no emphasis is placed on hand techniques and teaching is based on high, flying kicks, many Americans find it unsuitable for realistic self-defense, since no emphasis is placed on hand or grappling techniques. Tae Kwon Do was refused full medal status at the 1990 Seoul Olympic Games.

Tai Chi Ch’uan (CH) Chinese Calisthenics, “The Grand Ultimate Art.” Created by Shaolin monk Chang Sanfeng as a combat art after seeing a snake defeat a hawk. This internal Martial Art was hidden from American view until 1957, when T.C. Lee, a naturalized citizen from China, gave the first public demonstration of Tai Chi Ch’uan in San Francisco. It is now practiced to improve health, circulation and flexibility. Z-Ultimate offers rank programs in Tai Chi Ch’uan.

Takenouchi (JP) Founder of the first Ryu, or school of Jujutsu, around 1532. The Style more resembled Combat Sumo until Takenouchi met a Yamabushi (“Ascetic Hermit”), possibly Chinese Kenpo Master Chin Gempin, who taught him 5 “arresting techniques” and a short rod method, possibly Yawara-Jutsu.

Takedown (SK) Bringing an opponent down without actually throwing them. A finesse move performed without lifting or pushing. If you apply a wrist hold to bring an opponent to his knees, it’s a takedown.

Tang Soo Do (KOR) “The Way of China Hands.” A Shaolin-based self-defense art style that is the basis of Tae Kwon Do. Tae Kwon Do and Tang Soo Do stylists in Korea often engage in bloody battles to decide which is the “National Art” of Korea. At present, Tang Soo Do as a style is being hounded out of existence by Tae Kwon Do powers because Tang Soo Do owes its allegiance to Chinese Kenpo, thus the Tang (China Hands).

Tanto (JP) Japanese dagger with a special tip designed to pierce steel armor.

Tatami (JP) A bamboo or vinyl mat used as flooring or for sleeping outdoors. In Japan, any mat four feet wide and six feet long used as a method of measurement; i.e., a 10 Tatami apartment.

Te (CH,OK) An Okinawan term for “Hand.” Before the Japanese created the term Karate to destroy the Chinese influence on Martial Arts, the art was referred to as Okinawa-te, an art greatly influenced by Chinese Kenpo Masters.

Throw (SK) A throw is a lifting Takedown where one or both of the opponent’s legs leave the ground.

Tonfa (OK) also Tui-Fa (CH). The oak handle of a millstone grinder used by Okinawan

189

G

LO

SS

AR

Y

farmers to shield the forearms against sword and spear strikes. The model for the modern police baton, the PR-24.

Tode (OK) A crude form of Okinawan combat taught to farmers for use in their fight against tyrants and invaders. A mixed bag of Asian arts based on conditioning the body’s natural weapons and linear power strikes to penetrate Samurai armor via “One Punch, One Kill.” Later refined into the art of Okinawa-te and Karate Kenpo.

Transition (SK) Steps between movements, or flowing from one art or animal style to another.

Trapping (SK) Similar to Catching or Grabbing. The highest level of this art is the ability to immobilize two targets (Arm & Hair Grab) simultaneously as the opponent is still moving.

Uechi-Ryu (JP,CH) A fluid Karate style named for founder Kanbum Uechi, who traveled to China in 1901 to study Ch’uan Fa (kenpo) and returned many years later to establish his art in Okinawa.

Ukemi (JP) Art of falling properly.

Vital Points (SK) Nerve clusters of the human body closest to the surface and most susceptible to blows. This allows smaller people to defeat larger ones.

Wai Juang (CH) External, Muscular Strength.

White Hair, White Eyebrow Kung-Fu (CH) also Bok Mei Pai. One of the 5 Shaolin ancestors. A Master of the Poison Hand, or Dim Mak, death touch. Bok Mei killed or injured many Shaolin students. His art was banned by the Shaolin Elders. He left the Temple in Fukien Province and joined forces with Shaolin Master Chang Sanfeng.

Wing Chun (CH) “Beautiful Spring Time.” Buddhist nun Ng Mei created the infighting art of Wing Chun after seeing Shaolin monks practicing hard style Kung-Fu. Unable to match male strength, she borrowed techniques from a Tiger-Crane set of Hung Gar Gung-Fu, low kicks and straight “blast” punches. Ng Mei later witnessed a battle between a crane and a fox and refined the art even further. Bruce Lee’s base style.

World Council of Sokes (JP,CH,KOR) The governing body of world-renowned Grandmasters who hold the title of Soke, or founder of a major Martial Arts system. Only 22 legitimate Soke exist today.

Wu Shu (CH) Also Wu Su. The Mandarin expression of Kuo-Shu, “National Martial Arts.” The sum total of all Chinese Martial Arts since the first mention of the term Wu Shu by Huang-Di in 267 B.C.

Yamabushi (CH,SK,JP) Shaolin renegades known by the term “vagabonds” who developed mystical powers through the practice of Tibetan-inspired Mikkyo Buddhism at a monastery on China’s Mt. T’ien T’ai. These Japanese Buddhist monks honored Ta Mo, or Daruma Daishi, as their spiritual father. Many Chinese Kenpo Masters lived in Japan’s Shorinji (Shaolin) Temple on the slopes of Mt. Hiei near Kyoto. Some became wandering “Ascetic Hermits” or Yamabushi who formed the basis of Jujutsu or Ninjustsu in Japan.

190

G

LO

SS

AR

Y

Yang (CH) In Chinese philosophy, the active, positive, masculine polarity. In Chinese medicine Yang refers to overheated, overactive and excessive. Cannot work unless in a balanced relationship with Yin (see below).

Yari (JP) The Spear. Also Yari-Jutsu, “Art of the Spear.” The King of Japanese battlefield weapons. A Japanese Spear soldier would receive three times the pay of a Japanese swordsman.

Yawara-Jutsu (JP) The short rod nerve-striking system on which the modern Kubaton is based. Originated by Chinese Kenpo Master Chin Gempin and adapted by many Jujutsu stylists for street self-defense.

Yin (CH) The passive, negative, feminine polarity. In Chinese medicine Yin means deficient. Yin energies control the heart, lungs, spleen, liver and kidneys.

Yubi (JP) Thumb blows and pokes to pressure points to escape holds and grabs.

Zen (JP) Also known as Charn in China. Chinese form of Mahayana Buddhism, which states that wisdom can be achieved through meditation, self-contemplation and intuition. Adepts learn to create a mental state of Mu, nothingness, to achieve Nirvana, perfect enlightenment.