Kenpo Creed “| COME TO YOU WITH ONLY KARATE, EMPTY HANDS. | HAVE NO WEAPONS, BUT SHOULD I BE FORCED TO DEFEND MYSELF, MY PRINCIPLES, OR MY HONOR; SHOULD IT BE A MATTER OF UFE OR DEATH, OF RIGHT OR WRONG: THEN HERE ARE MY WEAPONS KARATE, MY EMPTY HANDS.” ~~ Ed ParkerIntroduction Most people are totally oblivious to danger. Others disregard danger, convinced that danger will never be part of their life. However, whatever your attitude may be, be realistic and ACCEPT the fact that impending dangers do exist, and consider them seriously. Once you ACCEPT the exist- ence of these impending dangers, and realize that logical measures of prevention can help to avoid them, you have inherently armed yourself with ‘a prime weapon against attack. You must then create the DESIRE to do something about it, have the CONVICTION to begin your study of preventive measures, and instill the WILL POWER to see your desire to completion. Whatever the attitude .so isthe response, When in or out of class, treat your fellow students with respect. Belitile no one, encourage all, and become an inspiring example. Develop positive altitudes at alltimes. Avoid being adverse to changing your attitude. Be willing fo learn, to think, to accept challenges, to explore, and to share the knowledge leaned. Asyou grasp the elements of the Art, be creative! Do not just solve problems, but discover what they are! Subsequently, donot criticize others unless youhave established solutions. Problems without answers serve no purpose. Cultivate flexible thoughts. They help to expand your Vocabulary of Motion. Develop- ing flexible thoughts inevitably lead to increasing your abilily to alter and tailor. Diligently study the terminology for it contains a wealth of answers provided by Mr. Parker. Donot procrastinate. Make every effort to leam the terminology now. ft will accelerate your understanding of Kenpo, and increase your enjoyment of the art. Commence with basics. Do not be enticed to advance your study of the art prematurely. Commence with fundamentals of importance. First master your stances. They are the foundation of your fighting art. if you follow this advice, you will find greater enjoyment in Kenpo, and look forward to continued study. This same art will additionally yield self-confidence, self-awareness, aleriness, self-discipline, etc... All of which may be called upon if needed to defend yourself. Copyright © 1987 Ed Parker Sr. 2Formalities Whenever tradition can compliment the present, as welll as influence the future, we should not hesitate to adopt it. Formalities and ceremonies ‘ossociated with the Martial Arts have’ and still serve an important role. Because of their positive qualities, they are stressed and emphasized at all International Kenpo Karate Association schools, Through adherence to formalities and ceremonies, discipline and respect become ingrained in the students. Itmustbe emphasized, however, that adherence to formalities and ceremonies does not compel anyone to comply with any sect or religion. 1. UNIFORMS: Students’ uniforms shall be white and should be maintained in a clean and sanitary condition. All brand name tags should be removed from the uniform, 2. PATCHES: The IKKA SHOULDER PATCH should be placed 1/2 inch below the. seam and centered on the left shoulder. ‘The ASSOCIATION PATCH should be placed on the left front side of the Gl. To find the proper height, the patch should be positioned so that the dividing lines of the circle inthe patch are centered over the left breast at the nipple or slightly above it. To align your patch for sewing, itis recommended that you first put on your top, cross your left ARGE ASSOCIATION CREST PATCH CITY NAME PATCH LK.C. FLAME PATCH 3. Belts: All brhd Name tags shall be removed from bells. Be sure you have received instruction on how to properly tie your belt. Onl instructors are allowed to tie and position their belt with the knot to the front and in the middle. However, when an instructor is taught by someone of higher rank, he relinquishes this privilege and places the knot to ihe left to show respect to his instructor. Disregarding this fermality denotes disrespect to an instructor and to the Art. The onerE Copyright © 1987 Bd Parker Sr. Formalities ‘ondonlytime astudent can position the knot in the middle is when he (orsh competes at a toumanient. ‘All male students tie their belt with the knot positioned fo the left (s« lustrations). This not only shows respect, but it shows the honor given to t instructors and those of higher knowledge. ‘Ail female students tie their belt with the knot positioned to the rig Again, this not only shows respect, but that she is a female novice not y privileged to share the honor held by instructors (male or female), and the of higher knowledge. Male students wear their knot fo the left (the weak side) and fem« sludentsweartheir knot fo the right (the strong side) because femolesaret stronger of the two sexesin terms of the amount of intemal pain that they endure (especially during childbirth), | INSTRUCTOR 4. VERBAL RESPECT: Black Belts and instructors should be addressed as "N (Miss or Mrs. if the instructor is female) and then by their last name. © generates respect fo those of higher rank. It helps to acknowledge theirs experience, and time devotedito the Art. Since we: address older men of community as “Mr.” as a means of showing our respect for their abi wisdom, age, and experience, so should we show | respect to those with m: experience in the Art. 5. LATE STUDENTS: Ifa student is late for class, he/she must stand at the ec of the training room, be recognized by the instructor with a salute, bef being allowed to join the class. 6. CREED & PLEDGES: The CREED has become an accepted code form Martial Artists. it denotesthe Martial Artist’s way of lfein today’s environ: Equally as important, the Creed acts as a guide to the Martial Artis developing a keen sense of Justice. The use of the words “right or wrong” leaves no margin for cleme but to defend one’s self. A matter of “life or death” means strict adhere! 4Formalities io survival in profecting loved ones or self even if it means death to the adversary should no altemative be left. “Principles” must be upheld and protected, for without them the very core and soul of man is valueless, “Honor” motivates a Martial Artist fo action because it gives him dignity. “Empty Hands” (as well as other body weapons) are the substitutes that a Marlial Artist uses in place of man-made weapons to sustain his honor. Discipline developed through training without weapons implants justice and discretion when applying the Martial Arts, The PLEDGES are extensions of the: ‘CREED, composed and: designedto: further promulgate spiritual character among the lower ranks. 7. BOW OF RESPECT: Whenever a student enters or leaves the training area, he ls required tobow. Bowing to the training area demonstrates respect for the Art as well as the area where others have trained before him. Bowing is done to inanimate objects only. A salute (hand gesture) is always done to show respect to an instructor or individual. The bow should stem from anattention stance. When you are bowing, bow your head for a period of two seconds before returning to an attention stance. 8. | SALUTE OF RESPECT: Upon entering the school, salutations utilizing pre- scribed hand gestures are made to all Black Belts and instructors along with the proper verbal greeting. The salute is always directed to the senior belt holder first and then in the order of thelr rank (highest fo lowest). Black Bells from other systems are acknowledged affer those of our own system. Even when a class is being conducted (private or otherwise) an instructor is required to call his students to attention, have his studenis face the senior instructor when he arrives, and salute him The same procedure, utilizing the prescribed salute, occurs after meditating and when astudentis about toleave the practice areaorschool. Evenwhile away from the school, students are encouraged tocontinue to show this respect. Like « handshoke it is a sign of respect and friendship Throughsuch practice, studentsleam to humble themselves, to be courleots to others, to develop patience, as wellas appreciate theirinstructor’s efforts Copyright © 1987 Ed Parker Sr. 5Formalities 9. PROPER WAY TO SALUTE _{o) 11. MEDITATION: Before a class actually commences, students are required to meditate in a horse stance, with their backs erect, head bowed, eyes closed, ond their left open hand covering their right clenched fist. This Position is also assumed at the end of the training session. The purpose of this practice is to have the students clear their minds of all outside activities prior tostarting their class. Inthe event they may have had a confrontation onthe street causing negative thoughts, they should clear their minds of such thoughis to prevent them or fellow students from receiving possible injury. With a calm and serene mind, they will be able to absorb new material more readily, become more conscious of their every effort, and crisp in thelr ‘actions. In short, it prepares the mind and body fo receive or reflect on the knowledge obtained. When meditating at the conclusion of class, students are to ponder over the knowledge recelved and make a personal commitment never to misuse the new (or old) knowledge. They are to constantly refiect upon the preciousness of life and the Creed which they are to follow. 12, PERSONAL CONDUCT: At oll times you are fo act with respect toward yourself, others, and your school. Absolutely no smoking, drinking, or abusive language is allowed on any occasion involving you and/or other members of your school, and certainly not while in uniform. Be respectful fo your training center; help to keep it clean at all times for the benefit of all. In addition, be prompt and courteous with the payments for your lessons. opyright © 1987 Ed Parker Sr. ee 6Copy — Ee ae ight © 1987 Bd Parker Sr. 7 war) Senior Grandmaster Ed Parker was known world-wide ‘os the “Father of American Kenpo. He was the founder and president of the International Kenpo Karate Association, and the Ed Parker Karate Studios. Heis the Father of American Karate having originated the first Arnerican version of Karate. He opened the first professional Karate studio in the United States in Pasadena, California in 1956. He hasbeen featuredin National and International Lae magazines: Time, Look, Strength and Health, Show Business llustrated, Iron Man, Action Karate, Block Belt, Karate Mustrated, Official Karate, Inside Kung Fu, American Karate, and Karate/Kung Fu iustrated: in newspapers nation-wide: articles in the World Encyclopedia and many others. He has appeared in dozens of movies and television shows, including Revenge of the Pink Panther and The Curse of the Pink Panther. In addition, he has taught karate to nearly every big name actor and actress in Holly- wood since the late 1950's. He has also been a technical advisor for motion pictures and TV. Throughout the years, Mr. Parkerhas authoredmany books: BasicKarate inKenpo (Volumes 1-5), The Zen of Kenpo, Ins ig and much more. He is a graduate of Kamehameha High Schoo! in (1949), Honolulu, Hawaii where he wasbom andraised. Mr. Parkerreceived a B.S. Degree from Brigham Young University in 1956, with a Major in Sociology and Psychology, and a Minor in Political Science. Mr, Parker produced the largest annual martial arls tournament, the Intemational Karate Championships in Long Beach, Californio. Mr, Parker's uniqueness rests in his continuous efforts to combat tra- ditional restrictions binding progressive thinking. He was truly a creative genius because of his incredible ability to discover the problems within the Martial Aris. His contributions and innovations are endless, encompassing logic and reasoning not yet employed by others. Hisnearly four decades of experience, contributions, and endeavors establish him as the Master and Founder of our system, and the author of our training material.os Sayings istance is your best friend J *When blocking on the inside of an opponent's arm, do so below the elbow, never above it. ‘When blocking on the outside of an opponent’s arm, do so at or above the elbow, never below it. eThe ankle is the wrist of the foot. J A knife-edge kick is a chop with the foot. ] flection: then ion of pal ] Please learn your sayings. They are invaluable tools. Some make compara- tive analysis for you; others provide practical insights into the way real survival encounters are. All these sayings provide logical and useful insights into Kenpo. The application of many may be extended into other facets of your daily life. Copyright © 1987 Ed Parker Sr. 82 she = ‘The synonyms used in the self-defense techniques were developed for several reasons. Their usage make the names of the self-defense techniques more colorful, descriptive, and interesting. Secondly, the name offen indicates the attacking weapon, or your response to the attack, ce fu Copyright © 1987 Ed Parker Sr.Standardized Markings For Rank ATED PARKER'S KARATE STUDIOS every beginning student commences their program by wearing a WHITE belt. The first belt rank of any distinction Is the YELLOW belt. The entire belt is yellow with no other attached designation. The second promotion, ADVANCED YELLOW. entities the student to wear an. ‘range strip on his YELLOW belt. Each color belt thereafter up to GREEN is divided into two stages ~ REGULAR (plain), and ADVANCED (designated by @ strip of the next corresponding color advancement); ORANGE -- ORANGE with a purple strip; PURPLE -- PURPLE with a blue strip; BLUE -- BLUE with a green sttip; GREEN — GREEN with a brown strip. Each corresponding color strip shall be precisely 1/2 inch wide. There shall be one (1) Inch from the end of the beft to the start of the colored strip. The strips should be made of "IRON ON TAPE”. The brand name (tags) of the gi company shall be removed from both ends of the belt. All advancements requiring strips must be put on by the student immediately after their promotion. See the following illustration for proper placement of the strip: (NOTE: additional strips may be added andis up tothe Head Instructor of the school.) REGULAR ADVANCED NO STRIPS (PLAIN) —Terminology ANGLE(S) OF ATTACK - The eight major directions from which you or an ‘opponent can attack or defend: BASICS - Simplified moves that comprise the fundamentals of Kenpo. They are divided into stances, maneuvers, blocks, sirikes, specialized moves and methods, etc. BLOCK(S) - A defensive maneuver used to hinder or check an attack; all defensive moves employing physical contact to check, cushion, deflect, redirect, or stop an offensive move. CHOP - The execution of a culting blow fo an opponent or object which generally employs the knife-edge of the hand as the weapon. CLASSICAL- A term used to describe the so-called pure systems of Karate or Kung Fu. Many of the movements associated with these systems are not practical in our present environment, since their methods were created for the types of defense found prevatent during their parlicular time of history. CLAWING - Striking action employing the fingertips to scratch orrip with, Such action may employ two or more fingers. CLOCK PRINCIPLE - A method used to help students visualize the direction in which they are fo move. Students are generally asked fo think of themselves as beingin the middle of a big clock facing 12 o'clock, with $0’clock to their rear, 3 and 9 to their right and left, and all other numbers in their respective locations, COMBAT - Realistic fight which excludes control and rules. ‘CORKSCREW PUNCH - A forquing, twisting punch that strikes with the palm down. DRAG- Thesliding of one foot forward, backward, ortothe side before having the opposite foot step away from it. It is one of the four categorical methods of SHUFFLING. EMBRYONIC BASICS - Simple basic movements that are generally single in action and purpose. Although primitive in nature they form the basic rools in Kenpo.Clock Principle Throughout your lessons constant reference will be made to the face of a clock. This reference actually relates to angles used when teaching, toshow you the proper positioning of your feet inthe performance of your basics, sel defense techniques, freestyle techniques, forms, elc. For example, when starting a form set), you should picture yourself standing in the middle of a large clock that has been placed on the floor. The direction you face when starting should always be 12 o'clock, to the right of you, 3 o’clock, directly behind you 6 o'clock, and to your left, 9 o'clock. Like an Air Force pilot you shouldimagine the hourhand of the clock half way between themajor clock positions to determine 1:30, 4:30, 7:30, and 10:30. As you move from your starting position, having knowledge of where other points on the clock are will help you perform yourmoves with a more definite sense of direction. This, principle also applies when leaming self-defense techniques; 12 0’clock will always be the direction you face when first starting regardless of where the attack stems — flank, rear, or otherwise. Still another example; when you ore learning, you may be facing 12 o’clock with your opponent attacking from 3o'clock and beingasked tohave yourleft foot step back 109 0’clock as you face your opponent attacking from 3 o'clock. Three facets would have been involved here: the original direction in which you were facing (12 o'clock), the angle from which your opponent attacked you o'clock), and the correct posttion of yourfoot (9 o’clock) which wouldhave beennecessary to thwart the attack Inshort, the “Clock Principle” isa directional reference used to aid you inselecting the proper direction when attacked, retaliating, or working your basics. a ce _ ~—Terminology FORM - |s literally a short story of motion. It consists of basic movements of offense and defense incorporated into a dance-ike routine for purposes of exercising, training without a partner, or training at home. It is an index of movements that gives specific answers, as well as speculative interpretations to combat situations. FREESTYLE - A term used in Karate for sparring. Asin boxing, it isa combination of offensive ond defensive moves used extemporaneously. To state it differently, it is o combative method of freely expressing yourself physically. GUARD - Defensive positioning of the arms and legs in preparation for an attack. See FIGHTING POSITION, HEEL/KNEE LINE - Method of determining the proper depth of a neutral bow and arrow stance. Here, if you have proper depth to your stance, the heel of the forward foot should just touch the knee of the rear leg if you pivot forward on your toes and kneel. KICK(S)- Generally refers to method(s) used when striking with the foot. Italo includes striking with the shin, calf, peroneous longus, knee, or other parts of the teg. LOCK OUT- itis a type of check that is used to briefly detain the action of your opponent. Itinvolves striking a target with a natural weapon, ond having the weapon remain on the target for a time before retrieving It. MECHANICAL - Refers to those whose movements are very staccato in execution and appearance. Sequence of movements which look as if itis being done by-the-numbers. Movements are robot-like in appearance. MOVE - (1) A command used when teaching to cause a student to react during a particular exercise. (2) The traveling of any object from one point to another. NATURAL WEAPONS - the use of body parts as offensive weapons. This includes using parls of the hand, arm, foot, leg, head, etc. OVER-REACH - To over-extend oneself with a blow or kick needlessly, or to reach beyond or above acertain point unnecessarily. Target exposure is the result of such action. PARRY - Redirecting a blow or kick by riding or going with the force.Terminology PIVOT- Is the changing from one stance or position to another while in place. This is done without moving the foot from the spot itis in. POKE - Refers to the thrusting of the tips of the joints of the fingers to particular target areas on an opponent's body. The primary targets are the eyes. PRACTICAL MOVES - Realistic moves that are functional in combat. Moves that not only work during practice, but on the streets as well. PUNCH - Primarily refers to the methods used when you are striking with the front portion of the fist. PUSH-DRAG - A type of SHUFFLE requiting your forward or rear leg to raise slightly before having the supporting leg push forward or back. The pushing Jeg must then drag toward the opposite leg so that the distance between them retums to its original depth. Once the original depth Is re-established, you are ready to resume the next PUSH-DRAG SHUFFLE. This is just one of four methods of SHUFFLING, SET- A term use by Westem Chinese to describe a FORM. See definition of FORM. They are appendages to a FORM. SHUFFLE - A foot maneuver used fo close or increase the distance between you and your opponent. in Kenpo there are four methods that accomplish this: push-drag, drag-step, step-drag, and pull-drag. All four methods are categorized as foot maneuvers. SNAP(PING) - A method of execution requiring the natural weapon to strike out and back witha greater magnitude than the action of a WHIP. See WHIP. SOPHISTICATED BASICS - A single basic move that produces multiple resutts. STEP-DRAG - The stepping forward, or back, wilh one foot as the other drags to meet it. This is another of the methods of shuffling. STEP THROUGH - The execution of full steps, by either moving forward or back. In the case of a step through kick, it means kicking with the forward foot and planting it fo your rear, or kicking with the rear foot and planting it fo your front, STRIKE(S) - Methods used to execute NATURAL WEAPONS. VITALTARGEIScan be punched, kicked, chopped, poked, hammered, efc. Copyright © 1987 Ed Parker Sr. aie TTerminology SWITCH - in place exchange of lead legs while facing the same direction. This is done by exchanging foot positions from one spot to another. Three alternatives can be used in making the exchange, (1) you can step back to front (2) step front to back, or (3) jump in place. TARGETS - VITAL AREAS on you or your opponent's body which canbe injured or damaged when struck. TOE/HEEL LINE - Method of determining the proper width of a NEUTRAL BOW AND ARROW STANCE. where the toe of the forward foot is inline with the heel of the rear foot. TORQUE - Twisting and rotating action used to position your body and. muscles to work at maximum efficiency. See ROTATING FORCE. VITAL AREAS - The major weak points of the body. WEIGHT DISTRIBUTION - The apportionment of weight related to a particular stance -- it may vary, fity-fifty, sixty-forty, ninety-ten, etc. 15FINGER TECHNIQUES) FOOT MANEUVERS L d Sia z a Copyright © 1987 Ed Parker Sr. 16Required Techniques 1 DELAYED SWORD (front - tight hand lapel grab) ALTERNATING MACES (front - two-hand push) SWORD OF DESTRUCTION (front -leff siraight or roundhouse punch) DEFLECTING HAMMER (front - right front thrust kick) CAPTURED TWIGS (rear - bear-hug, arms pinned) THE GRASP OF DEATH (left flank - right arm headlock) CHECKING THE STORM (front - ight step-through overhead club) MACE OF AGGRESSION (front - two-hand lapel grab, pulling in) ATTACKING MACE (front - right step through straight punch) SWORD AND HAMMER (tight flank - left hand shoulder grab) (CATEGORICAL BREAKDOWN) PP NORA wD s GRABS & TACKLES Copyright © 1987 Ed Parker Sr. ; 171.Delayed Sword ¢ront-right nana tapel grab) Copyright © 1987 1. Standing naturally, step back with your left foot toward 6:00 into a right neutral bow stance facing 12:00, while simultaneously executing tight inward block to the right inner wilst of your opponent. At the same time, position yourlefthand at solar-plexuslevel asa precaution- ary check, against further action. (Your block should clear your opponent's right arm, and expose the width of his body.) 2. Immediately slide your right foot back into a cat stance. 3. Without hesiiation, deliver a right front snap ball kick to your opponent's groin. (Your opponent's reaction should cause him to bend forward at the waist.) 4, Plant your right foot forward into a right neutral bow (facing 12:00) to check your opponent's right knee, as you deliver a right outward handswordstrike to the right side of youropponent’sneck. Remember to maintain the position of your left hand as a precautionary check. Immediately slide your right hand (after the strike), to the right wrist of your opponent as a precautionary check. (Your opponent's response should cause him to fall to the ground.) ‘Bd Parker Sr. 182.Alternating Maces ¢ront-two-hand push) 1. Standing naturally, and as your opponent attempts fo push you. siep backwith your left foot toward 6:00 into aright neutral bow stance (foeing 12:00), Simultaneously execute a right inward block to the outside of your opponent’sleft arm, while yourleft hand checks at your solar plexus. (hisaction: should tum the width of your ‘opponent's body ‘and redirect his forward momentum off center.) 2. Immediately collapse your right arm across the top of both of your ‘opponent’sarms (to act asa check),asyou: deliver aleft verticalthrust punch (tracking over your right am) to your opponent's stemum oF Solar plexus. Thisis done while pivotinginto a right forward bowstance. Remember both the stance change and | punch must workinsynchro- nization with each other in order to maximize the force of your left Vertical thrust punch. (your opponent's reaction should cause his body to bend forward at the waist.) 3, Immediately convert yourleft punch into a check by having It shift, palm open and down, on the top of both of your opponent's arms. Simultaneously have yourrighthand rapidly travel inside and over your left arm os you deliver a right outward back knuckle strike to your opponent’sright temple. Thistransitionis done while pivoting backinfo aright neutral bow stance. The torque stemming from your stance change helps to increase the whipping action of your tight hand.) (Properly executed, this should cause your opponent's head to be driven up and back, with perhaps his arms flailing upward.), 4. immediately have your right hand snap back, as it then acts as a positional check.3.Sword of Destruction frontigt straight or roundhouse punch) 1. Standing naturally, step back with your left foot toward 6:00 intoa right neutral bow stance (facing 12:00), as you simultaneously execute aright extended outward block to the inner forearm of your opponent's left punch. Your left hand should be in a positional check. covering your solar-plexus. 2. Immediately slide your right foot back into a cat stance. 3. Without hesitation, deliver a right front snap ball kick to your opponent's groin. (Your kick should cause your opponent to bend forward at the waist.) 4. Plant your tight foot forward inside of your opponent's left fe into a right neutral bow (facing 12:00) and white employing Mariage of Gravity, execute a right Inward handsword strike to the leff side of your opponent’sneck. (Such action should cause your opponent to fall to the ground.) 5. Immediately snap your right hand back to the left shoulder of your opponent to act as a check, Copyright © 1987 Ed Parker Sr. 20eHow Belt Journal 4.Deflecting Hammer eront-right front thrust kick) 1. Standing naturally, step back with your left foot toward 7:30 into a tight neutral bow stance (to move out of your opponent's Line of Attack), as you simultaneously execute a right downward diagonal block against the outside of your opponent's right kicking leg. Be sure to have your left hand check at your solar plexus during your block. (Your opponent's body should turn slightly to his left when your block is properly executed. Your block should additionally turn your ‘opponent's width and cause injury to his leg.) 2. Without hesitation and white stil in your right neutral bow, shuffle forward as your left hand checks inward, toward and between your opponent's tight shoulder and biceps. Your right hand continues to Circle andit willre-orbitinto an inward elbow slike. (Makesure yourleft hand checks your opponent's forward momentum aswellasthe width of his upper body.) 3. Just as you conclude your forward shuffle, execute a tight inward horizontal elbow strike to your opponent's face. This is done simulta neously “with” a left sliding check down and onto your opponent's Tight elbow. (Your action should cause your opponent's head fo snop back and cause your opponent to drop to the ground.) Copyright © 1987 Bd Parker ; 21RCM a sr tam Ceyttes ts | 5.Captured Twigs @earbear hug with arms pinned) 1. Standing naturally with your opponent's arms around your ams, step offand to yourleft toward 9 o'clock with yourleff foot into a horse stance (while looking over your tight shoulder), as you simultaneously pin your opponent's hands fo your body with your left hand. Just as your weight settles into your horse stance, execute a tight back hammertist strike fo your opponent's groin. (This action should cause Your opponent to bend forward at the waist and possibly release his grasp.) 2, immediately slide your ight foot into a right cat stance (turning 90 degrees while facing 3 o'clock) as your left hand releases the pin, Clears your opponent's right arm, and coversin front of your face asa _ Positional check. Simultaneous with the action of your left arm, have yourtight hand coveryour groin and proceed to clearyour opponent's left arm. 3. Execute a right heel stomp to your opponent's left instep, causing your opponent to bend forward even further. 4, Slide your right foot ges toward 3:00 into a horse stance. Immedi- ately have your right forearm CONTOUR up the middle of your opponent’s body as you execute a tight vertical obscure elbow strike fo the underside of your opponent's chin. Have your right arm snap back after the strike and cover your groin. (Your opponent's head should have been popped up and back and his body may also spiral ‘away from you if done properly.) Copyright © 1987 Ed Parker Sr. - 226.Grasp of Death (eft flant-right arm headlock) 1. With your head forced to bend forward and |your opponent to your left flank (applying a headlock with his right arr), initiate your action by tucking your chinto the left and against yourchest,as you grab your opponent's right wrist with your right hand. Alll of this is done as your right foot steps forward toward 12 o'clock into a right close kneel stance while simultaneously grabbing your opponent's right inner thigh with yourleff hand and pinching the flesh of that leg withasmuch strength as possible. Your opponent will experience ahorse-bite effect ifitisdone correctly, Be sure you continue checking the outside of your opponent's right leg with your left knee. (Your opponent's right knee. may bend and double up or his leg may pop forward and up off the ground. In addition, your efforts should cause youropponentto loosen his grip.) 2. As your opponent reacts to. your pinch and partially or totally releases his grip, have your right hand bringhis right arm over yourhead ‘and downto your chest, making sure that your ight elbow is anchored to ald you in controlling your opponent's height. 3. Immediately release the grip of yourlefthand andhave yourleft foot step forward toward 10:30 into a left neutral bow stance as you simultaneously strike the back of your opponent's right elbow with your left forearm while pulling in and toward you with your right hand. (This Action should cause your opponent to step forward with his left foot prior to bending over at the waist.) 4. ROLL your left forearm on the back of your opponent's right elbow until your left forearm is parallel to the ground. Nowslide your left hand toyour opponent’sright eloow. While controlling your opponent’sright elbow with your left hand, pivot into a left forward bow, facing 10:30 Immediately execute a right snapping vertical punch to the base of your opponent's skull, behind his right mastoid bone. This action should cause your opponent’s head to move away, and possibly be followed by his body falling to the ground.) pyright © 1987 Bd Parker Se : 23PCI aslo Ua athe ttal| 7.Checking the Storm ¢rrontright stepthrough overhead club) 1. Standing naturally as your opponent swings his club in an overhead fashion, quickly step off to your right with your right foot toward 3 o'clock. Simultaneously drag your left foot toward your right foot as your form a left 45 degree cat stance facing 10:30. Without a break in the flow of your action, execute a left extended outward handsword block to the inner wiist of your opponent's right arm. During the natural flow of your motion, have your right hand precede your left hand as a right parry (executed inthe manner of aright inward block) that stops, hand open, to act as @ check in front of your solar-plexus, 2. immediately execute a left front snap ball kick fo your opponent's groin. This should cause your opponent to bend forward atthe waist) _ 3. Plant your left foot (toward 10:00). Be sure to properly gauge the distance between you and your opponent, as you deliver a tight snapping knife-edge kick to the inside of your opponent's right knee. (Youraction should cause your opponent’stight knee to bend out and away from you. but cause his head fo move closer to you.) 4. Plant your tight foot toward 10:00 into a right neutral bow, and while employing MARRIAGE OF GRAVITY, execute a right outward back knuckle strike to your opponent's left ternple, as yourleft hand remains checking ct yoursolar plexus. (This action should drive your opponent's head away from you and possibly cause his body to drop to the ground.)Yellow Belt Journal 8.Mace of Aggression. grront-twohand lapel grab-pulling in) 1. Standing naturally with your opponent grabbing your lapel with both of his hands, while pulling you in and toward him, execute aright stomp on the arch of your opponent's right fool. Simultaneously strike diagonally through the bridge of your opponent's nose (toward 10:30) with a right inward downward raking back knuckle strike. Have your left hand pin and check both of your opponent's hands to your chest at the same time the stomp and strike are taking place. (Your opponent's knees should buckle from the stomp as your back knuckle strike breaks his nose and momentarily drives his head away.) 2. Continue the motion of your tight arm so that it travels horizontally and down, striking both of your opponent's forearms which in turn will force your opponent to bend forward. 3. Immediately execute aright inward horizontal elbow strike to the left side of your opponent's jaw making sure that you follow through with your action. (This will turn your opponent's head to his right.) 4, Without hesitation, retum with a right outward horizontal elbow strike to the right side of your opponent's jaw. (This will force your opponent away from you.) . a oe oe ee J Copyright © 1987 ted Parker Sr. é 5 25,Yellow Belt Journal 9.Attacking Mace erontright step through straight punch) 1. With your feet together, drop back with your tight foot toward 6:00 10 0 left neutral bow stance (facing 12:00), as you execute a left inward blockto the outside of your opponents right punch. During this action your right hand cocks forward and slightly to the right of your solor plexus (fist clenched and palm up). (You are tuming the width of your opponent's body.) 2. Immediately pivot into a left forward bow stance as you execute a tight straight thrust punch to the right lower ribcage of your opponent. Make sure that yourlefthandis open asit checks your opponent’ stight elbow. (Your action should cause your opponent to bend forward at the waist and to be forced back slightly.) 3. Circle yourright hand down, out, over, and around your opponent's right arm as you countergrab the outside of your opponent's right wrist. Immediately pull youropponent’s arm diagonally down past yourright hip while simultaneously delivering a right roundhouse kick to his groin. During this action, cock your left hand slightly above your left ribcage ist clenched and palm up). (Your kick and pull should cause your opponentto bend forward even further, thus exposing his right kidney.) 4, Drop forward into a right forward bow toward 12:00, while simulla- neously executing a left snapping vertical punch to your opponent’s right kidney, “with” your right leg ON AND OVER THE LINE OF ENTRY. (Make sure your right knee Is inside of your opponent's tight knee and pressing up against it.) CYour punch combined with your buckle will drop your opponent to the ground as well as move him away from you)DiC cry cme Cette stv 10.Sword and Hammer sight lanteft hand shoulder grab) 1. While you are standingnaturally, your opponent (standingbetween 3.and 4 o'clock) grabs your right shoulder with his left hand, Step off and to your right with your right foot toward 3 o'clock into a horse stance (facing your opponent) while striking your opponent's throat with a right outward handsword. Simultaneous with this action, pin your opponent's left hand to your right shoulder with your left hand. his action should cause your opponent's head to move away from you.) 2. As your opponent reacts to your handsword strike and bends backward, execute a right back hammerfist strike to your opponent's: groin, (Your opponent should then bend forward at the Waist.)PCa solar tber tet Short Form 1 OPENING: ATTENTIONSTANCE. BOW. DROP TO AMEDITATING HORSE STANCE. ‘COME UP TO AN ATTENTION STANCE. SIGNIFY. EXECUTE THE SALUTATION: 1) SALUTE, 2) SYMBOL OF FRIENDLY AND UNARMED, 3) MEDITATING HORSE, 4) PRAYER OF FORGIVENESS. THEN RETURN TO A MEDITATING HORSE AND. ‘CONCLUDE WITH THE HEAD UP AND EYES OPEN. 1. Your left foot drops back toward 6:00 into a right neutral bow facing 12:00, while executing a right inward block simultaneous “with” a left back elbow strike. 2. Yourright foot drops back toward 6:00 into a left neutral bow facing 12:00, while executing a left inward block simultaneous “with” a right back elbow strike. 3. Cover (by moving yourright foot toward 3:00) into aleft neutral bow facing 9:00, while executing left vertical outward block simultaneous “with” a right back elbow strike. 4, Your left foot drops back toward 3:00 into a right neutral bow facing 9:00, while executing aright vertical outward block simultaneous “with” aleftback elbow strike. 5. Cover (by moving yourright foot toward 9:00) into aleft neutral bow facing 3:00, while executing a left upward block simultaneous “with” a right back elbow strike. 6. Your left drops back toward 9:00 into a right neutral bow facing 3:00, while executing a right upward block simultaneous “with” a left back elbow strike. 7. Cover (by moving your left foot toward 12:00) into a tight neutral bow facing 6:00, while executing a right downward block simuttaneous “with” a lefl back elbow strike. 8. Your tight foot drops back toward 12:00 into a left neutral bow facing 6:00, while executing a left downward block simultaneous “with” a tight back elbow strike. CLOSING: Cover (by having your left foot drag to your right foot and out to 9:00) into a MEDITATING HORSE STANCE, facing 12:00. COME TO ATTENTION. EXECUTE THE FULL SALUTATION. BOW.Yellow Belt Journal Short Form 1 CONTAINS: 1, Moves that are strictly defensive. 2. Stances: a. Attention b. Horse. c Neutral 3. Basic blocks: a. Inward b. Outward c. Upward d. Downward 4. Double blocks (Double Factor): a. High b. Low 5. Four basic angles of attack. 6. Back elbow sitike while blocking. 7, Nineteen moves including both sides and close. TEACHES: 1. Stay down while in stance. 2. Erect posture, 3. Increased peripheral vision. 4. Always look at your opponent. 5. Never expose your back unnecessarily. & How fo cover into a neutral bow. 7. Constant head level while changing stances, 8. How to retreat from an opponent when tuming to face the unknown. 9. Basic timing of hands and feet. 10. How to block while retreating. (Opposite hand, opposite foot) 11. Relax and tense at the proper moment. 12. Angle changes in preparation for a mass attack. 13. How to use the opposite arm as a hidden weapon. 14. How to move up and down in an *L" shape pattem. 15. Repetition of the four basic blocks while retreating. 16. Tohave yourblock make contact at a distance from You so that your opponent's punch willbe greatly diverted, 17. Crisp moves with snap and torque, a a Copyright © 1987 Ed Parker Sr.Yellow Belt Journal Chronological order in Short Form 1 Two (2) inward blocks, two (2) outward blocks, Iwo (2) upward blocks, and two (2) downward blocks while utilizing the "clock principle” to sim- plify foot movements. be gM ORONT u-6 1 RT-IN 2 RT-6 2 T-IN 3. RT-3 3. LT - Our 4. u-3 4 RT- OUT 5. RT-9(Coverto 3) 8. UT-uP 6& U9 6 -RT-UP Z | Tine 7. RT-DOWN | | 8 RI-12 8 LT-DOWN a 9. LT- HORSE (Facing 12) 9. SALUTATION 10. Close ( bring both feet together have your left foot close fo the tight and place both of your hands smartly fo the sides of your thighs), NOTE: Employ the “CLOCK PRINCIPLE * when: ‘doing alll forms, using 120’clock as your initial point of reference. "Both sides of short form one are required for Yellow belt. Fist, execute ihe right side of short form one. When you finish, you should end up in a Meditating horse stance. From that position, execute the left side of short form one. When you are finished, you should end up in a meditating hose stance. From that position, close with a full salutation, Copyright © 1987 Ba Parker Sr. Z 30Yellow Belt Journal Blocking Set 1- Star Block (Both Sides) ‘CONTAINS: Sequence of blocks that are as follows: (upward, inward, extended outward, downward, re-cock, pushdown) 1. Right upward block for a left overhead club attack or chop. 2. Right inward block for a right punch to the body. 3. Right extended outward block for a left punch to the face. 4, Right outside downward block for a left kick to the groin. 5. Right hand re-cocks (a right back elbow block) to your tight hip for aileft roundhouse kick fo your right kidney. 6, Right push-down block for a right knee kick to the groin. TEACHES: |. Five (5) major blocks in addition to one (1) hidden block. x Sequence of blocks that promote Continuity of Motion and. Preserve Economy of Motion. 3. Correct manner in which to use your major blocks. 4. Blocks that protect all three (3) "Zones of Protection’. s The execution of these major blocks while in a stationary Position, 2 . Maximum cover of head and upper body areas.Yellow Belt Journal fs Copyright © 1987 Ed Parker Sr. ~ a Freestyle Techniques B--This alphabet represents the BASE MOVE. It consists of two variations, Both variations commence from a ‘Left to Left" fighting position. LL--LEFT TO LEFT: Your left leg (which is forward is facing your opponent's left leg (which is forward). The fist letter (in this case L) always refers to your lead leg (leg that's forward). The second letter (aso L in this case) refers fo your opponent's leg. (a) The first variation is a left hooking grab to your opponent's left arm, while Pulling it down, and diagonally to your left: This is simultaneously executed with a rightyy ts t iooage. Trirpeactidiegens! Vewucol Pat To De Pies ‘i (b) The second variation is a left hooking grab to your opponent's left arm, then pulling down, and diagonally to yourleft: Thisissimuttaneously executed with a right uppercut punch to his left lower rlbcage. This punch is diagonal ‘and parallel with your opponent's left ribcage. Both variations require that your forward leg check your opponent's forward leg. This maneuver re-enforces an ANGLE OF DISTURBANCE and an ANGLE OF CANCELLATION. The numbers represent body and foot maneuvers, and are as follows: (1) In place body maneuvers (pivot to a forward bow) @) Push-Drag (3) Front Crossover, Step Out (4) Front Crossover, Step Out, Slep Through 1. Bla 5. B3a 2 Bib 6. B3b 3. B2a 7. Bada 4. Bab 8. BabYellow Belt Journal Explanation of Freestyle Techniques Bla ~ is the first variation, while pivoting into a left forward bow. BIb - is the second variation, while pivoting into a left forward bow. 82a ~ 2" indicates that the movement to be used Is a push-drag. needed in the event that your opponent is a little out of range or when your opponent \sin the process of moving back slightly, while executing the first variation of the base move. B2b — indicates the push-drag is again used, but you areas#tto execute the second variation of the base move. B3a — ‘3" indicates that a front crossover Is executed while executing the grab, followed immediately by a step out while executing the first variation, B3b~ isthe same application of the front crossover, step out, while executing the second variation. 84a — "4" indicates that a front crossover Is executed while executing the grab, followed by a step out, then a step through while executing the first variation. Atthistevel your right step through should position you inside: of your Opponent's left leg. (This is referred to as being inside of the Angle of Entry). B4b — is the same application of the front crossover, step through while executing the second variation. ‘Copyright © 1987 Ed Parker SF. 33