EPAKS Yellow Belt Manual (33-34 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.

__________________________________________________ _____________________________

8. MACE OF AGGRESSION

1. NAME: The name of this technique stems from your response to your opponent's attack. Your mace, the symbolic term for fist, is aggressively triggered by your opponent's pull.

2. THEME: The theme of this technique is to convert what once was a defensive motion (when retreating) into an offensive motion (when advancing) due to the depth factors.

3. THE ATTACK:
The IDEAL PHASE of this technique starts with your opponent attacking you from the front. He begins his attack by grabbing your lapel with both his hands and then pulls you toward him. Study these additional "WHAT IF" factors:

a. As your opponent pulls you, he keeps his arms stiff vs. bent.
b. Visualize your opponent's pull to be down on a diagonal.
c. Your opponent is a great deal taller than you.
d. Your opponent is a great deal shorter than you.

4.
Concentrate on your raking back knuckle traveling through the bridge of your opponent's nose to 10:30 so that the depth of your action is increased.

5.
Your initial pinning check is a "vice-like" pin. Therefore, pin your opponent's hands to your chest. Remember, the pinning action is not downward, but toward you. Please take the time to investigate how a vice works.

6. By stepping forward with your opponent's pull you not only borrow your opponent's force, but learn to STABILIZE YOUR BASE.

7. Please take notice of the similarities between Mace of Aggression and Deflecting Hammer.


9. ATTACKING MACE


1. NAME:
As described above "mace" is symbolic for fist. In this case the technique's name stems from the action of your opponent's attacking fist.

2. THEME: This technique favors grabbing checks to control your opponent. It uses reverse motion twice. In viewing this reverse combination sequence the following can be observed: a) left block then right punch, b) right block then left punch.

3. THE ATTACK:
The IDEAL PHASE of this technique begins from the front. Your opponent commences from a left fighting stance. As he steps forward, he executes a right straight punch toward your face. Study these additional "WHAT IF" factors:

a. Your opponent does not step through.
b. His punch is directed toward your midsection.
c. Your opponent attacks you with full body momentum.
d. Your back is to the wall.
e. Your opponent precedes his punch with a right step through kick.
f. Your opponent is thrusting a club.

4. During your right punch to his ribs your left inward block remains checking at your opponent's right elbow. This will prevent intentional as well as unintentional moves on his part.

5. As you complete the grab of his right arm, be sure to position your left fist at your left ribcage (point of origin). This ANGLE OF DELIVERY will promote the accuracy of your next strike.


10. SWORD AND HAMMER

1. NAME:
The name of this technique originates from two sources, (1) the natural weapons employed, and (2) the order of their employment. The technique requires that you first strike with a "sword" (knife- edge of your hand) and then follow-up with a "hammer" (your fist).

2. THEME: "WITH" is the theme of this technique. You are pinning with your left hand as you simultaneously strike with your right outward handsword. One move does not follow the other. To repeat, they are both executed simultaneously. The technique also teaches you to move into the semi-unknown with confidence. Internalize this technique and you will prevent your opponent from activating other weapons.

3. THE ATTACK:
The IDEAL PHASE of this technique begins with your opponent attacking you from your right flank (3:00). When grabbing your right shoulder your opponent's left arm is bent at the elbow. Study these additional "WHAT IF" factors to increase your mastery of this technique:

a. Your opponent is pulling you toward him.
b. Your opponent is pushing you away from him.
c. Your opponent is slightly located to the rear of you.
d. Your opponent is much taller than you are.

4.
Be sure to look at your opponent when stepping in with your right handsword strike to his throat. Your awareness of all activities is encouraged.

5. Practice should include having your partner, who is acting as your opponent, vary the directions of his attack (between 4:30 and 1:30). This in turn will alter your lines of attack and increase your knowledge of how to cope with each changing situation. Don't forget, practice with your partner attacking you from any one of the directions stemming from 4:30 to 1:30. Your awareness of variables is encouraged.

6. It is a sound concept to pin your opponent's grabbing hand to you to prevent a planned or unplanned counter. Please make a list of some of his possible planned and unplanned moves.

7. "For every action there is an opposite and equal reaction."
As your handsword drives your opponent's head back, his groin may jut forward. Quickly strike your opponent's groin with your hammerfist to borrow this force as well as include marriage of gravity obtained when bending your knees at the precise moment of your hammerfist strike.


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.