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Thread: EPAKS Yellow Belt Manual (26-28 of 48 pages)

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    Default EPAKS Yellow Belt Manual (26-28 of 48 pages)

    EPAKS Yellow Belt Manual (26-28 of 48 pages)



    Disclaimer:

    I appreciate everyone's response to the information being released
    (specifically the belt manual). Although the information contained is
    invaluable to the study of American Kenpo, please understand that this, like
    most all writings, are subject to typographical errors.

    This material was in the final editing stages at the time of my fathers passing.
    It is possible to find typos in reference to such things as directions of
    movement, weapons used or selected targets. This material should be used as
    a resource, not your primary means of study in the Art. Seek out
    knowledgeable instruction to ensure proper understanding of the material.
    This material is for personal reference and historical purposes only, and not
    intended for resale.

    Enjoy,

    Ed Parker Jr.

    P.S. Although I am offering this material at no cost. I am encouraging for those
    who are not a member here in this forum to please sign up, as it helps me to feel some
    effort is being made on your behalf as well. It is greatly appreciated when you either
    show your support to me and my efforts by ordering a custom avatar or purchase a
    piece of artwork from me as that is my MAIN source of income.
    __________________________________________________ _____________________________
    NOTES ON THE YELLOW BELT TECHNIQUES

    1. DELAYED SWORD


    1. NAME: This technique derives its name from its basic sequence of movements. The chop (handsword) is delayed by the insertion of a kick prior to its use. Thus the name DELAYED SWORD.

    2. THEME: This technique was designed to teach you how to create distance while blocking your opponent's extended arm with your forward arm. You then can follow up with a longer range weapon (in this case a kick using the forward or lead leg) to a target that is farther removed from you. It also teaches you how to gauge distance with your kicking leg, which in turn enables you to properly gauge the distance of your extended hand weapon.

    3. THE ATTACK: In the IDEAL PHASE of the technique the attack is from the front. As your opponent grabs your lapel with his right hand, some of the WHAT IF factors that can occur are:

    a. His attacking arm may be bent when pulling you forward.
    b. His attacking arm may be straight and locked out.
    c. His attacking arm may be initially bent and then pushes you out.
    d. His right foot may be forward when grabbing.
    e. His left foot may be forward when grabbing.
    f. He may be leaning forward when grabbing.

    In addition, visualize the attack to be:

    g. a right push instead of a grab.
    h. a right punch instead of a grab.
    i. a two-hand grab.
    j. a two-hand push instead of a grab.
    k. a right kick followed by a right punch.
    l. others...........

    4. In your early stages of learning it is a good idea to utilize your more coordinated hand to the front when defending yourself.

    5. The transitory cat stance of your second move assures proper alignment, which in turn promotes accuracy. It also enhances the speed of your action in addition to allowing you to FORMULATE according to the prevailing circumstances.

    6. Learn to fully take advantage of body momentum via MARRIAGE OF GRAVITY (height) as well as forward momentum (depth) when executing your last move (right outward handsword).

    7. During the execution of your last handsword, angle your strike so that you diagonally cut down, through, and across your opponent's body to check his height, width, and depth zones.

    8. It is highly suggested that you also experiment with various methods of execution (thrusting vs snapping your right handsword on the last move).

    9. Familiarize yourself with the basic coordination levels of movement. Learn to increase the efficiency of your movements by adhering to the following:

    a. When moving back, utilize the opposite hand of the foot that steps back (opposite hand/opposite foot).
    b. When moving forward, utilize the same hand as the foot that moves forward (like hand/like foot).

    10. During the course of your last move, be sure that your left hand supports your second line of defense with a positional check.

    2. ALTERNATING MACES

    1. NAME: This technique was so named because of the rythmatic changes of action. Your hands alternate: front, then rear, and then front.

    2. THEME: This technique also familiarizes you with the importance of creating distance. As the name of the technique implies, you are to learn to alternate your hands: front, then rear, and then front. Likewise you are to learn how to alternate your selected targets. The technique introduces you to the study of how to use specific weapons to specific targets in a specific sequence of movements to calculate the reactions of your opponent.

    3. THE ATTACK: In the IDEAL attack your opponent pushes from the front. He attempts this by stepping through with a two-hand push to the chest. Some additional "what if" factors that can be contemplated are:

    a. The attack may be a low two-hand push.
    b. The attack may be a left push.
    c. It may be a left straight punch.
    d. It is possible that it can be a left cross wrist grab.
    e. It may commence as an attempted two-hand grab.

    4. Practice varying the timing and rhythm of your basic sequence.

    5. Vary the path of your final back knuckle strike by having it travel under your left arm, or over it. Study the benefits of each.

    6. Take special notice of how the height of your opponent's attacking hands influences your response.

    7. Explore the most effective way to pivot into a forward bow.
    8. Also learn to defend yourself against this attack without the use of a block.

    9. Build spontaneity by having your partner vary his attacks: right grab, right push, right punch, left push, left straight punch, two- hand push. Respond to these variables with a right inward block simultaneous with a left positional check. This method of practice will help you to internalize the concept that the same defense may be used on the inside of your opponent's right arm, as well as the outside of his left arm.
    When practicing with the same defense on the inside or outside of your opponent's arms, follow-up with sequences from either Delayed Sword or Alternating Maces as the situation dictates. The practice of blending these two techniques in the manner described will help you to internalize effective responses to diverse situations.

    10. Always seek knowledge that will help you cultivate useful variables. Consequently, to assist you in this undertaking, further expand your knowledge by having your partner vary the height of the following attacks: left pushes, left grabs, left straight punches, and two-hand pushes. Respond to these variables with a right inward block on the outside of your opponent's left arm simultaneous with a left positional check. This will teach you that the same defense may be used even though the height of the attack may vary.
    Follow-up your block with sequential movements from either Alternating Maces or the left side of Attacking Mace. Remember to consider all practical alternatives. Therefore, do not only select exposed target areas of significance, but consider your opponent's reactions. Failing to make the latter choice can produce adverse results. Hence, practice with foresight. Foresight is a major key in helping you make the right choice. Please observe that the above technique teaches you how to attack various height zones on your opponent.


    3. SWORD OF DESTRUCTION

    1. NAME: This technique gains its name, in part, from the powerful action of your last strike. The shape of the hand (natural weapon) resembles that of a sword.

    2. THEME: This technique teaches you to apply the theme of Delayed Sword on the inside of either arm.

    3. THE ATTACK:
    In the IDEAL PHASE of this technique, the attack is again from the front. Your opponent starts from a right fighting stance, and proceeds to step forward with his left leg while delivering a left roundhouse punch to your head. Study and learn to counter additional possibilities by visualizing:

    a. the punch as being a hooking punch.
    b. a straight punch.
    c. a punch that travels on a different path.
    d. a punch that seeks a different target.
    e. the attack to be an attempted bear hug from the front.
    f. a high left roundhouse kick.
    g. a low left roundhouse kick.

    4. This technique is almost the mirror image of Delayed Sword. Please take special note of the footwork.

    5. Be aware of the possibility that your opponent's groin may not be open. Formulate other significant alternatives to this situation.

    6. Observe how the attitude of your attacking partner effects your response. Remedy each response accordingly. Learn to do this and you are well on your way to uncovering the merits of TAILORING.

    7. Build spontaneity by having your partner vary his attacks:

    a. Right hand (grab, push, or punch) and then left hand (straight or roundhouse
    punch). Respond to these variables with a right inward block followed by a right
    extended outward block. With each block utilize a left positional check.
    b. Left hand (straight or roundhouse punch) and then right hand (attempted grab,
    push, or punch). Respond to these variables with a right extended outward block
    followed by a right inward block. With each block utilize a left positional check.

    This method of practice will help you internalize the concept that the same hand may easily be used to defend on the inside of alternating punches, etc..

    When practicing defense with the same hand on the inside of your opponent's arms, follow up with sequences from either Delayed Sword or Sword of Destruction. The practice of blending these two techniques in the manner described will help you to internalize rapid responses to rapidly changing situations.





    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.

  2. The Following User Says Thank You to Bob Hubbard For This Useful Post:

    MARSHALLS KENPO (07-23-2007)

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