"Kenpo in the Streets" Chapter 2 e (notes)
written by Ed Parker Sr.


¯ NATURAL DEFENSES comprise the ¯eighth ¯preparatory consideration.
They are the utilization of those parts of your body that can be used
to defend yourself. Many of these NATURAL DEFENSES are the same parts f
of the anatomy used as NATURAL WEAPONS. However, what determines their
use as either a defense or an offense is often the magnitude of force
rendered and/or how you check or control your opponent from
retaliating. The application of a great deal of force is not necessary
when you are executing a block, nor does it require the use of wide or
exaggerated movement to be effective. Conserving energy and space in
redirecting rather than stopping an attack is generally all that is
necessary when you are employing your NATURAL DEFENSES. Then too,
simple knowledge of how to position your arms or legs rather than
synchronizing them with a blow or kick can be an accomplishment in

NATURAL DEFENSES are blocks which are primarily defensive moves
employing physical contact to check, cushion, deflect, redirect, or
stop an offensive move. On other occasions, it can be an anticipated
defensive position, which, if correctly planned, can trigger a block.
When you are executing a block, physical contact can occur: (1) when
force meets force, (2) when force goes with force, (3) when force
meets a neutral force, or (4) when a neutral force meets a neutral
force. Please refer to ”Infinite Insights into Kenpo•, Volume III,
Chapter 3, for further elaboration.


Use of cross -body block, tackling, slamming, ramming, jamming,
smashing against wall, etc.
Tri -level smashing - head to bar, to stool, to floor
Hit wall and deck (double - like in the Coast Guard)

Write on guiding and yanking

Contact manipulation (elaborate on this topic) Kenpo wrist break,
twists, locks, chokes, chokes using opponent's clothing (elaborate on
how other opponent's wearing apparel can be used against him), etc.
Use of retarded ball kicks to knees, knife -edge kicks to shins
(elaborate regarding wider weapon, angle of execution to insure strike
to target, etc.) Explain and illustrate in detail.

Back scoop kick to head while using your hands to sandwich your
opponent's head. Elaborate and illustrates other examples of

Complementary angle using kicks and arm strikes.
Squeeze both clothing and skin when controlling opponent.
Re -directing opponent's body over cliff, embankment, window, top of
building, etc. Poking, gauging, ripping, tearing, dislocating, snapping, fracturing, etc.
Why I hold my hand the way I do when chopping - - eye slice, small
finger hook, thumb poke using opponent's face as guide
Value of returning motion over reverse motion at specific times.
Angle matching is good to close the gap and jam your opponent. If he
steps to his right match it with a mirror image maneuver.

Kicking - -

We kick from stances that not only gives us quickness, but protection
as well.

When kicking with the forward leg (from a neutral bow) the transition
is first to a cat stance and then the execution of the kick.
When kicking with the rear foot (preferably from a neutral bow) a
transitional rear cat stance is basically inevitable.

Time deterrent - better to strike to chest rather than head - explain.
Feinting, deception (height, width, depth).

How stuttering motion can be useful in combat.

Action out of action is often hard to detect. Therefore, being mobile
when fighting increases your ability to attack or defend effectively.

Ed Parker Sr. Memories
Archived with the permission of Ed Parker Jr.
Ed Parker Sr. was the founder of the art known today as American Kenpo.
In these files, Ed Parker Jr. shares his fathers unpublished notes and other memories with us.