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    Default EPAKS Orange Belt Manual 1-31 of 82 pages

    EPAKS Orange Belt Manual 1 - 31 of 82 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.

    __________________________________________________ _____________________________
    ORANGE BELT PLEDGE



    I UNDERSTAND THAT I AM BUT A BEGINNER IN A NEW

    AND FASCINATING ART WHICH WILL DIRECT ME TO GREATER

    OBLIGATIONS AND RESPONSIBILITIES. TO HONOR MY

    OBLIGATIONS AND RESPONSIBILITIES, I PLEDGE MYSELF TO

    SERVE MY INSTRUCTOR, FELLOW STUDENTS, AND FELLOW MEN.



    Ed Parker


    TABLE OF CONTENTS


    TITLE PAGE

    Orange Belt Pledge 1

    Table of Contents 2

    Introduction 3

    Prerequisites 4

    Formalities 5-7

    Sayings 8

    History 9, 10

    Synonyms 11

    Description of the Association Patch 12

    Anatomy 13-15

    Terminology 16-20

    Basics 21

    Techniques
    a. Required Techniques 22
    b. Explained 23-34
    c. Notes 35-56

    Forms (Long Form #1)
    a. Explained 57-60
    b. What it Contains & Teaches 61,62
    c. Notes 63

    Sets (Kicking Set #1)
    a. Explained 64,65
    b. What it Contains & Teaches 66,67
    c. Notes 68

    Leg Exercise 69
    a. Explained 69,70
    b. What it Contains & Purpose of 71,72

    Orange Belt Freestyle Techniques 73
    a. List 74
    b. Explained 75-77
    c. Notes 78

    Written Test 79-82

    Student Notes 83

    INTRODUCTION


    It is sad, but true, that Yellow and Orange Belt students are often like college freshmen, who think they know all the answers. This level of training can be dangerous, and caution is advised when practicing with fellow students, or when forced to use the Art in real combat. This primitive stage of learning requires dedicated time and practice. It is an intangible stage cluttered with knowledge that lacks perspective. We, therefore, urge and encourage you to practice faithfully, to understand what you are learning, and to develop mental and physical control. Only after adhering to, or obtaining these qualities, can you move on to the mechanical stage with certainty.
    While it is important that you learn the contents of this journal, do not neglect studying your Yellow Belt material. Each journal is an important building block. They provide you with basic disciplines that add to the total structure of Kenpo. More importantly, they form the basic foundation of your Kenpo knowledge. Weak basics lead to unsuccessful achievements. Therefore, lengthen your practice sessions, and make each workout productive. View basic disciplines in their embryonic state. As you strive for perfection, increase your awareness of existing details. Learn how these details function. Identify them, dissect them, analyze them, and perfect them. Accomplish this, and you will understand what sophisticated basics are all about.
    Perfect your best side first, then proceed to practice your techniques on your weaker side. There are a number of benefits to this; (1) it forces you to take the time to analyze your stronger side, which in turn, (2) makes you become more aware of the points you may have overlooked, (3) increases the strength of your weak side, (4) expands your vocabulary of motion by increasing your knowledge of variables, and (5) leads to acquiring more ambidextrous qualities.
    It is important that you begin to set personal goals at this learning stage. Develop various aspects of your material, as well as improve self-discipline, self-awareness, self-confidence, will power etc. Prepare yourself inwardly to meet the challenges of daily life. The qualities that help you master the Art can enhance other aspects of your life. In time, you will be able to compatibly apply these facets to your family life, school activities, work contacts, etc. Always be conscious of who you are. Remember that you are steadily taking on greater responsibilities. The effects of your activities will have a direct reflection on your school, your Art, and your Association. With that in mind, conduct yourself in a manner that you can be proud. To state it differently, you are increasingly becoming a miniature showcase of our system. Learn to ask intelligent questions and to explain your Art to others. Do not be overly critical of other styles, or practitioners of other styles. Try to learn about their Arts, and gather adequate information to understand and converse with them intelligently.

    PREREQUISITES FOR ORANGE BELT


    1. You are responsible for knowing and being able to execute all of your YELLOW BELT material.
    2. Recite the Orange Belt Pledge.
    3. Follow the Formalities of the Association and your studio.
    4. Recite the Orange Belt Sayings.
    5. Know some of the History for Orange Belt.
    6. Know the Synonyms used in the names of the techniques.
    7. Be able to give a description of the ASSOCIATION PATCH.
    8. Know your Anatomy for Orange Belt.
    9. Be able to explain the Terminology and give examples to clarify their meaning.
    10. Execute your basics with preciseness and crispness. Be sure of the details of proper execution.
    11. Perform Long Form #1 on both sides.
    12. Be able to explain some of the things that Long #1 Contains & Teaches.
    13. Perform your Kicking Set on the strong side.
    14. Be able to explain some of the things that the Kicking Set Contains & Teaches.
    15. During the time you are a Yellow Belt, be sure to put some long hours into performing the Leg Exercise.
    16. Know your techniques, and begin practicing your Yellow and Orange techniques on both sides.
    17. Increase the level of spontaneity on your techniques.
    18. Know the EQUATION FORMULA.
    19. Know your Orange Belt Freestyle Techniques.
    20. Spar frequently using the basic IDEA of the Orange Freestyle Techniques.
    21. Be able to answer the questions on the Written Test.




    FORMALITIES

    1. PATCHES:
    The UNIVERSAL PATTERN also goes to the left arm and should be centered and placed 1/2 inch below the IKKA CREST. This patch has many patterns. Prior to sewing, it should be precisely positioned so that the shape of the heart is upright.
    Your PERSONAL NAME should be placed 3/4 inch above the big ASSOCIATION PATCH containing the Tiger and the Dragon. Only instructors, Brown, and Black Belts will be allowed to have their last names on this patch. All other belts are to use their first names only.
    The INTERNATIONAL FLAME PATCH should be placed on the right front side of the GI. The patch should be positioned so that the FLAME is horizontally centered on the same level as the Dragon on the ASSOCIATION PATCH. However it will vary with the individual. Additional FLAME PATCHES that are earned are not to be worn on the GI. The INTERNATIONAL FLAME PATCH is to be worn only by those individuals who have earned it by participating at the International Karate Championships as an official or contestant.
    The STUDIO NAME of each school should be placed 1/2 inch below the right seam and centered on the right shoulder. Its position will be identical to, but opposite of, the IKKA CREST.
    No other patches may be worn on the GI of Association members.

    2. TOURNAMENTS: Students may wear BLACK UNIFORMS when they compete in tournaments. Black uniforms prolong the appearance of cleanliness throughout the day's events. When fighting, the possibility of your opponent's dirty foot leaving a tell-tale mark, indicating a point, will be greatly reduced. Remember, Association members are only to wear white or black uniforms at tournaments.
    The PERSONAL CONDUCT of students should always be above reproach. Absolutely no drinking, smoking, or abusive language will be tolerated. Consistently treat officials with politeness and respect. Demonstrate good sportsmanship, and should someone else be the victor that day, be sure to congratulate him (no sour grapes).
    Your ATTITUDE should be positive; persistently carry an air of confidence; be calm; perform with poise; avoid nonsensical action. Remember, "The will to prepare precedes the will to win."
    When performing in FORMS' competition:

    1. Enter and leave the ring with a BOW OF RESPECT.
    2. Approach the judges and come to ATTENTION.
    3. ANNOUNCE your form:

    a. Your name.
    b. The name of your system (Ed Parker's American Kenpo).
    c. The name of your form.
    d. The name of your instructor.

    ** After you gain some experience you may announce your form at different moments of your opening.

    4. BEGIN and END your form with the appropriate opening for that form.
    5. Tournament rules vary. Be aware of the particular rules of each tournament.
    6. Performing variations of the standard forms is permissible, but remember to announce your form as a variation, e.g., "a variation of Long Form #1".

    When performing in FIGHTING competition:

    1. Enter and leave the ring with a BOW OF RESPECT.
    2. Salute the referee.
    3. Salute your opponent.
    4. Protect yourself at all times.
    5. Control your strikes for the safety of your opponent.
    6. Upon completion, salute your opponent first before saluting the referee.

    Be aware of where you are AT ALL TIMES and do not walk through rings where people are competing. KEEP your friends and relatives in the stands. As a courtesy to others, they are not to be invited on the competition floor.


    3. HISTORY AND MEANING OF THE SALUTATION:

    Our SALUTATION is a combination of the "old and the new". The initial part of our SALUTE honors the originators of our art, the Chinese.
    Prior to the establishment of Shao-lin, an open left hand resting on a clenched right fist was used as a salutation just before the commencement of a set or form. There were several meanings to this gesture: (1) Respect to the originator of this particular system, including all who had studied before him, with him, and presently study under him. (2) Respect to the audience. (3) Respect to both scholars and men of the Martial Arts alike, since the left hand (open) of this salutation represented the scholar and the right hand (clenched), the man practicing the Martial Arts.
    During the period of the Shao-lin in the Ch'ing Dynasty, the meaning of the gesture changed when two additional movements were added. The change was that the left hand represented the sun, the right hand the moon. With this change, the combination of sun and moon represented the Chinese character Ming, thus meaning revolutionary defenders for the cause of the Ming restoration. The two additional movements which were added to the sun and the moon were formed by placing the back of the hands together with both palms out. The fingers at this point were in a claw-like-fashion and raised to the chest and heart. This gesture meant, "We are against foreign domination and our hearts are for the real China." The last movement was to clench both hands and draw them to the sides of the waist. This pulling gesture meant, "By pulling and working together we can take our country back." These movements were perpetuated by the Hungs, who were secret triad societies in China. In short, "Scholar and warrior, united together, back to back, pulling together, to defend against the foreign intruders".
    The first part of the salutation was preserved in recognition and respect to the traditions set forth by the Chinese. The concluding portion of the salutation was added to tie in the heritage of the "old" with the logic of the "new" and innovative fighting art. Thus, the second part of the SALUTATION interprets as:

    1. I come to you with empty hands; I am friendly and unarmed -- I
    have no weapons. (Both hands are place together as they form
    the shape of a triangle.)
    2. I now cover my weapon, my fist which is my treasure, for I do
    not wish to use it. (Your left open hand is used to conceal
    your right clenched fist.)
    3. Now that I am being forced to use my weapon, to momentarily
    become an animal, I pray for forgiveness for what I am about
    to do. (Both hands are placed together as if praying.)
    4. The SALUTATION ends by outwardly circling the hands and arms
    and coming to attention.



    SAYINGS FOR ORANGE BELT


    Let time be your measurement to skill and experience.

    To hear is to doubt, to see is to be deceived, but to feel is to believe.

    In every offense there is a defense and in every defense is an offense.

    Katas or forms are expressions of basic skills.

    One becomes great when he comes to the realization that what he knows is very little.

    Condition and guts take over where knowledge and skill end.

    When circular moves end, linear begin; when linear moves end, circular moves reoccur again.

    Many answers lie in a single move, but many moves do not necessarily give a single answer.

    There are no pure styles of karate. Purity comes only when pure knuckles meet pure flesh no matter who delivers or receives.

    He who hesitates, meditates in a horizontal position.


    NOTE: The SAYINGS continue throughout the belt levels through 1st Degree Black Belt.
    For a more complete listing of Mr. Parker's sayings refer to THE ZEN OF KENPO.

    ORANGE BELT HISTORY


    The exact history of Kenpo has been lost in the antiquity of time, and consequently no definite date can be established as to when it actually began. Many of the records that exist today are obscure and incorrect. We cannot tell how many writings have been destroyed or how many developments have never been recorded. Bits of information seem to indicate that Kenpo, as it is known today, may have been practiced in India and China as long as five thousand years ago. Writings on turtle shells tell us that the Chinese did in fact practice the art as far back as 21 B.C.
    Although its true origin is obscure, a popular story that prevails gives credit to the Indian priest, Daruma or Bodhidharma in about 525 A.D. However, other great men such a Hu'a To (190- 265 A.D.), a brilliant doctor, and Yuen Fei, a popular general (who lived during the Sung Dynasty 960-1279 A.D.) are considered the forefathers of modern-day Kenpo. Kenpo means "fist law" (a term used by the Okinawans to describe the Chinese systems). From China it crossed over to Okinawa where, known as "te", it consisted primarily of blows, chops and rips with the hands and fingers. Thus originated the Karate method of Kenpo.
    In 1923 the Okinawans changed the character of Karate, which was then Chinese to that of a Japanese character. Thus the meaning changed from "hands of China" to "empty hand". This change assuredly brought about a deeper meaning in which the spiritual overcame the physical.
    From Okinawa two experts, Kenwa Mabuni and Gichen Funakoshi, lifted the veil of secrecy in 1915 to introduce their techniques to Japan. Their aim was not to promote Karate as a martial art, but as a sport throughout Japan.
    Long before the Art was ever introduced to Okinawa many styles of the Art existed in China. Each style or system was noted for at least one distinct feat such as the development of the tiger claw, butterfly kick, panther punch, etc. In addition, many members of the various systems guarded their secret ways of training. Among the systems of Southern China stemming from the Shaolin or Shorinji Temple the most well known were the following five: Hung, Liu, Ts'ai or Choy in Cantonese, Li, and Mo. There are other Cantonese as well as northern systems. The northern systems placed great emphasis on floor rolling, use of the foot, and jumping movements. Because of this not as much emphasis was placed on strong stances. The southern styles placed great emphasis on stance work as well as hand work.
    There are basically five known styles of karate in Okinawa: Kobayashi-Ryu, Shoreiji-Ryu, Shito-Ryu, Goju-Ryu, and Uechi-Ryu.
    In the last five decades since the Japanese took it up, the techniques have been modified so that they too claim styles of their own such as: Shoto-Kan, Waddo-Ryu, Chito-Ryu, and others.
    The Koreans have also modified their techniques claiming such styles as: Tae-kwon-do, Moo-do-kwon, Tang-soo-do, and others.
    Regardless of national modifications that were developed and suited to their individual environment, we can say that four systems exist in the Orient today -- Chinese, Okinawan, Korean, and Japanese. In comparison, the Chinese styles are graceful, flowing, circular, and are much more flexible than the Japanese styles (which utilize powerful punches and kicks), Okinawan styles (which stress breathing exercises), and Korean (which specialize in high kicks and the breaking of boards and bricks) These other styles are basically rigid.
    Unfortunately, many of the classical Chinese styles along with the Japanese, Okinawan, and Korean styles are impractical as a modern means of self-defense. This stems from the fact that many of these systems were originally designed for exercise. In addition, most of these styles today do not recognize the need for change, especially in our environment. While some offer excellent ideas on unarmed fighting, a number of their methods are outdated theories unfit for present day fighting in the United States or any part of the world for that matter.
    These same arts, influenced by the Chinese, were brought to the Hawaiian Islands. It was here that Mr. Parker, a native of Hawaii, learned these arts under one of the world's leading Black Belt holders and American innovators of the art, the late Professor William K. S. Chow.
    In addition to Professor Chow's modifications, Mr. Parker has also realized the need to revise the old methods to cope with modern day fighting. Thus the system he now teaches is unique, practical, realistic, applicable, and encompasses sound logic, reasoning, and theoretical innovations not yet employed by other systems. Through Mr. Parker's innovations a fifth system has emerged-- the American System- -to be more specific "The Parker System of Kenpo".
    Although we should respect the various styles of Kenpo stemming from the Orient, we must not overlook their need for improvement. While Mr. Parker's system still retains traditional flavor to enhance ethical behavior, it has been designed to fit the needs and ability of the individual concerned.
    We should be grateful for Mr. Parker's unending contributions and proud and privileged that we have his creative knowledge to guide us in keeping abreast with updated developments.

    SYNONYMS


    Branch...Leg

    Feathers...Hair

    Gift...Handshake

    Prong...Thumb

    Salute...Heel Palm, Push

    Talon...Wrist Grab

    Wing...Elbow


    ORANGE BELT DESCRIPTION OF THE ASSOCIATION PATCH


    1. THE SHAPE
    : The top of the crest of the patch is like a roof which gives shelter to all who come under it.

    2. THE TIGER: Represents the earthly strength derived through the early stages of learning. This is the stage where the individual is more impressed with his own physical prowess.

    3. THE CIRCLE: Is symbolic of several things. It depicts life itself, as a continuous cycle, where there is no beginning or end. So is it with the art of Kenpo. It too is a cycle of unending and perpetual movement or motion. Techniques follow a cycle, movements are part of a cycle. Physical prowess, humility, and self-restraint are no more than components of a progressive learning cycle. The circle is the base from which our alphabet stems.

    4. THE ORIENTAL WRITING: Is a reminder of the originators of our art, the Chinese. It is in respect to them and not that we serve them. The lettering to the right means Kenpo Karate, Law of the Fist and the Empty Hand; the art that we practice.

    5. THE "K"; stands for Kenpo, the art that we practice.

    6. THE COLORS: The white background is significant of the many beginners who form the base of the art. The yellow or orange represent the first level of proficiency, the mechanical stage, the dangerous stage of learning. It is a time when the student is more impressed with the physical, and, who like a freshman in college, thinks that he knows all of the answers.

    ANATOMY - VITAL TARGETS



    An often neglected aspect of Martial Arts training is having a thorough knowledge of the precise location of TARGET AREAS on an opponent's body and the effect produced when striking these targets. Having a thorough knowledge of these points serves a dual purpose. You will know where to strike to obtain maximum results as well as which areas of your own body to protect.
    VITAL TARGETS are of maximum importance. Your efforts should always be channeled so as to produce immediate and positive results. Logic dictates this. Since some TARGET AREAS only require a minimum of force to cause helplessness, it is only logical that we learn where they are located.


    ILLUSTRATION - FRONT VIEW VITAL TARGETS



    SUGGESTED
    TARGETS NATURAL WEAPONS RESULT/EFFECT __________________________________________________ _______
    Eyeballs Finger Thrusts,Hooks, Rupture,Infection,
    Claws Loss of Eyesight,
    Possible Loss of Eyeball
    __________________________________________________ _______
    Nasal Bone Heel of Palm, Severe Pain,
    (Bridge of Nose) Hammerfist,Handsword Dislocation,Easy
    Normal Fist,Elbow, Fracture,Hampered
    Knee,Ball of Foot, Vision,Possible
    Heel of Foot Death
    __________________________________________________ _______
    Mandible Heel of Palm, Unconsciousness,
    (Chin) Normal Fist,Back Fist, Possible Bone Fracture
    Knee,Foot(Various Parts
    Of Foot)
    __________________________________________________ _______
    1st Thoracic Half Fist Handsword, Severe Pain,
    Vertebra Reverse Handsword, Paralysis,Loss of Speech,
    (Adam's Apple) Two Finger Chop, Physical Collapse,
    Footsword Gagging and Nausea,
    Possible Death
    __________________________________________________ _______
    Temporal Back fist, Pain,Headache,
    (Temple Cavity) Hammerfist, Hemorrhage,Possible
    Heel of Palm, Unconsciousness,
    Handsword,Ball of Foot, Possible Bone
    Heel of Foot Fracture or Death
    __________________________________________________ _______

    SUGGESTED
    TARGETS NATURAL WEAPONS RESULT/EFFECT __________________________________________________ _______
    Facial Vein Middle Knuckle Fist, Contusion,Possible
    Back Fist,Hammerfist, Paralysis, Unconsciousness
    Handsword,Back Elbow, and Rupture
    Heel of Foot
    __________________________________________________ _______
    External Jugular Handsword,Reverse Possible Unconsciousness
    Vein Handsword,Hammerfist, or Death
    Inner Wrist Bone,
    Elbow,Footsword
    __________________________________________________ _______
    Sternum Normal Fist,Back Fist, Pain, Loss of Breath,
    (Upper, Middle, Middle Knuckle Fist, Possible Fracture
    Lower) Heel of Palm,Elbow,
    Knee,Ball of Foot,
    Heel of Foot(Front,
    Back, & Side)
    __________________________________________________ _______
    Solar Plexus Middle Knuckle Fist, Temporary Paralysis,
    Normal Fist,Back Nausea, Physical
    Fist, Elbow,Heel of Collapse,Possible Death
    Foot
    __________________________________________________ _______
    Lymph Gland Middle Knuckle Fist, Pain,Swelling,
    (Lower Arm Pit) Normal Fist,Back Fist, Possible Death
    Elbow,Heel of Foot
    __________________________________________________ _______
    Heart Normal Fist,Hammerfist, Severe Pain,Possible
    Heel of Palm,Elbow, Death
    Knee,Ball of Foot,Heel
    of Foot(Various Sides)
    __________________________________________________ _______
    Metatarsus Hammerfist,Heel of Pain,Unable to Stand
    Foot(Various Sides) or Walk,Possible Fracture
    __________________________________________________ _______
    Testicles Reverse Handsword, Severe Pain, Paralysis,
    Reverse Hammerfist, Rupture of the Bladder,
    Normal Fist,Hammerfist, Possible Death
    Handsword,Elbow,Knee,
    Ball of Foot,Footsword,
    Heel of Foot(Various Sides)
    __________________________________________________ _______
    Tibia Normal Fist,Hammerfist, Pain,Unable to Stand
    Handsword,Elbow, or Walk,Possible Fracture
    Footsword,Ball of Foot,
    Heel of Foot(Various Sides)
    __________________________________________________ _______

    ILLUSTRATION - BACK VIEW VITAL TARGETS

    SUGGESTED
    TARGETS NATURAL WEAPONS RESULT/EFFECT
    __________________________________________________ _______
    Mastoid Normal Fist,Back Fist, Pain,Headache,
    Hammerfist,Handsword, Temporary
    Heel of Palm,Elbow, Disability,Possible
    Heel of Foot(All Sides) Unconsciousness and
    Fracture
    __________________________________________________ _______
    Maxillary Hinge Normal Fist,Back Fist, Possible
    Hammerfist,Handsword, Unconsciousness,
    Heel of Palm,Elbow, Dislocation and
    Knee,Ball of Foot,Heel Fracture
    of Foot(Various Sides)
    __________________________________________________ _______
    Floating Rib Normal Fist,Middle Pain, Possible
    Knuckle Fist,Back Fist, Fracture or Death
    __________________________________________________ _______
    Kidneys Elbow,Knee,Heel of Foot Possible Rupture
    Normal Fist,Back Fist, Severe Pain,
    Hammerfist,Elbow,Knee, Temporary Paralysis,
    Ball of Foot,Heel of Physical Collapse,
    Foot(Various Sides)
    __________________________________________________ _______
    Tibia Nerve & Normal Fist,Middle Pain Paralysis to
    Popliteal Knuckle Fist,Hammer- Lower Limb,Unable to
    (Hollow of Knee) fist,Handsword,Elbow, Stand or Walk
    Knee,Footsword,Heel of
    Foot
    __________________________________________________ _______

    ORANGE BELT TERMINOLOGY



    ADD - The inclusion of a move prior to or after a base move has been executed; or the inclusion of one or more moves inserted intermittently or sporadically throughout a technique sequence. See PRE-FIX, SUFFIX, HIDDEN MOVES, INSERT, COMPOUNDING A TECHNIQUE and other related terms.

    AIMING - (1) The pointing of a weapon (natural or man-made) so that it will follow a direct course of action when propelled toward the selected target. Depending on the intended target and the weapon to be used, other parts of the body may be selected as guides in giving proper aim when executing a chosen weapon. As an example, the knee may be directed to an opponent's chin just prior to your executing a front thrust ball kick. The knee, in this case, when properly aligned, can insure the accuracy of the front thrust ball kick. (2) Use of CONTOURING to help improve your accuracy. See CONTOUR GUIDANCE.

    ALTER - To vary a weapon and/or target within a technique sequence.

    ANATOMY - The study of the human body structure which aids in determining the vital striking areas on an opponent, as well as determining those body parts which could be readily used as natural weapons or defenses.

    ANCHOR - To weigh down the elbow or buttocks for better leverage, coverage, or control. For example, the elbow is firmly fixed at a much lower level than the fist when executing an inward block. This principle, when applied, gives better bracing angel, more force, and allows a greater margin for error, in that it gives one greater protection.

    ANGLE OF EXECUTION - Any angle which, when an attack is executed, produces maximum results. Refer to ANGLE OF CONTACT.

    BACK-UP-MASS - The use of body weight that is directly behind the action that is taking place. As example, (1) a punch delivered when the elbow is directly behind of the fist, or (2) the bracing of one finger directly behind the other when delivering a two finger chop to the throat, etc. BACK-UP-MASS is greatly enhanced when proper BODY ALIGNMENT is achieved. BODY ALIGNMENT gets MASS into proper perspective and allows the body to take full advantage of channeling weight and energy while traveling in the same direction (DIRECTIONAL HARMONY).

    BASE LINE(S) - Imaginary line or lines used to visualize the angle on which you are to concentrate your attention. See LINE OF SIGHT.

    BLACK-DOT-FOCUS - Our Kenpo concept of focus. We visualize a black dot on a white background, representing total awareness. Our concern is not only with maximizing power, but protection as well. See WHITE DOT FOCUS.

    BUCKLE - Methods used to force an opponent's leg to bend in or out, forward or back. Properly used, it can unbalance, twist, sprain or even break an opponent's leg.

    CHECK - To restrain, hinder, or prevent an opponent from taking action. This is accomplished by pressing, pinning, or hugging an opponent, usually at the joints, so that it minimizes his leverage and nullifies his action. Positioning your arms and legs in various defensive postures can also keep an opponent from striking you effectively. See POSITIONAL CHECK.

    COMPLEMENTARY ANGLE - A strike or block that follows a path or angle that parallels an attacking weapon, a defensive posture, the contour of your or your opponent's body, or a given line. Following these angular paths allows clear entry to desired targets. Taking advantage of these angular opportunities helps to produce accuracy and damage and thus maximizes results.

    CONTROL - (1) The regulation of force to produce (a) accuracy as well as (b) the degree of injury. For example, a punch that strikes a specific target without injuring it requires control. Control may or may not involve touching your target. It takes even greater CONTROL to avoid injuring a person who is constantly moving. (2) The ability (a) to prevent or curtail your opponent's actions, or (b) to guide your opponent wherever, however, and whenever. Checks are types of controls. They are good examples of how one can temporarily prevent or curtail an opponent from taking action.

    COORDINATION - Refers to (1) the synchronization of all body parts so that they function with continuity, timing, and dexterity, (2) the synchronization of your moves with the moves, timing, and direction of your opponent in order to take best advantage of them and attack him more effectively.

    DEFENSE - Protective moves designed to safeguard against injury.

    DELETE - The elimination of a weapon and/or target within a technique sequence.

    DIVERSIFIED TARGETS - Striking various targets to insure multiple effects.

    ECONOMY OF MOTION - Entails choosing the best available weapon for the best available angle, to insure reaching the best available target in the least amount of time, while still obtaining the desired result. Any movement that takes less time to execute, but still causes the effect intended. Any movement that inhibits or does not actively enhance the effect intended is categorized as WASTED MOTION.

    FEEL - A word used to describe the foot or hand as it slides from one point to another. In the case of the foot the concept teaches you to move your foot back very lightly so that you literally feels the ground, when sliding in the hope of overcoming possible obstacles.

    FIGHTING POSITION - A defensive posture used prior to or during combat, as well as in tournament sparring. It may be coupled with an assumed stance, or formed when protecting yourself while on the ground, on the beach, in bed, seated in a chair, etc.

    FOCUS - Is the result of the entire body working as a unit at the very instant a target is struck. The concentration of mind (knowledge), breath, strength, and methods of execution must unite as one in conjunction with body momentum, torque, gravitational marriage, timing, speed, penetration, etc. It must be remembered that it is not just the concentration of weapon meeting target, but the entire body meeting the target as one unit that fully defines the term FOCUS.

    GAUGING OF DISTANCE - The ability to systematically regulate the distance between opponent and self for purposes of defense or attack.

    GRAVITATIONAL MARRIAGE - The uniting of mind, breath and strength while simultaneously dropping your body weight along with the execution of your natural weapon(s). Timing all of these factors with the dropping of your body weight greatly adds to the force of your strikes. This combined action literally causes a marriage with gravity, and makes vertical use of BODY MOMENTUM while employing the dimension of height.

    HARD - Generally refers to moves that are executed with total power. It is also another term used to describe major moves; hard hitting moves; moves that cause devastation.

    INTENTIONAL MOVES - The execution of planned moves.

    LEFT TO LEFT - A fighting position where both combatants face each other with their left foot forward.

    LINEAR MOVES - Movements that are direct in nature. Moves that specifically follow a straight line or path. Although these moves are primarily offensive, they can be used defensively. They are useful follow ups that often trail circular moves that meet resistance.

    OFFENSE - Offensive moves employed against an opponent to score points (tournament), or to injure or defeat (self-defense).

    OUTER RIM THEORY - An imaginary egg-shaped circle that is used as a visual aid. This egg-shaped pattern starts at eyebrow level, and ends slightly below the region of the groin. The larger portion of the egg is positioned at the top. This concept teaches you to confine defensive and offensive movements of your arms and hands, to those areas within the imaginary circle. You learn never to over-extend nor over-commit beyond the circle with your arms and hands. To do so not only exposes your vital areas, but limits your ability to counter quickly. Employing this concept reduces the number of openings in your defense, and with them, the odds of getting hit. It is a supplemental aid in the study of the ZONE THEORY.

    POSITION - (1) A command used while teaching which has a student assume his original starting position. (2) A set or arranged posture used in class for training purposes other than mentioned, or when fighting. (3) How your or your opponent's body is angled.

    PRACTITIONER - One who learns, teaches, and practices the Martial Arts.

    PRIMITIVE - Embryonic state of movements. Moves that are singular in purpose. See EMBRYONIC BASICS.

    PRONOUNCE A MOVE - An analogy used so that a student realizes that basic moves are to be learned in stages, like the phonetic pronunciation of a word. This process is used only during training. After getting acquainted with the power derived from the ideal positions, one should then learn to use the basic moves realistically, without exaggeration or hesitation, and from their POINT OF ORIGIN.

    RANGE - The distance which exists between you and your opponent.

    RECOIL - To spring back after a blow or kick has been delivered. Fast retrieve after delivery.

    REDIRECT - To alter the direction of an attacking weapon.

    SLOW MOVES - Moves that are taught slowly to beginners who need to learn precision and proper synchronization of the body. Learning moves slowly helps to eliminate bad habits.

    SOFT - Refers to moves that are applied with little force. They are flexible moves that generally sting, but do not injure. These are MINOR MOVES that are useful set ups for moves that strike with greater magnitude.

    SOLIDIFY YOUR BASE - Means to strengthen your stance so that it is both firm and strong.

    STEP - The moving of the front foot forward, or the rear foot back, to increase the depth or width of a stance. It may also involve moving the right foot to the right, or the left foot to the left, depending on one's purpose(s).

    WASTED MOTION - Motion which has no appreciable effect.

    WHITE-DOT-FOCUS - In this concept of focus one visualizes a white dot on a black background representing unawareness. All styles and systems that primarily stress linear motion conform to this concept. Their concern is with the target, and with maximizing power--not protection.

    WITH - A very useful word in the Kenpo vocabulary, which is reserved for the more adept. It involves dual movements and eliminates the word "and". One doesn't block "and" then strike. He blocks "with" a strike. Employing this principle eliminates wasted motion and economizes on time.



    PREREQUISITE BASICS FOR ORANGE BELT



    STANCES
    Reverse Bow
    Wide Kneel
    Close Kneel

    FINGER TECHNIQUES
    Horizontal Finger Thrust
    Outward Whip

    BLOCKS
    Inside Downward Palm Down
    Inside Downward Palm Up

    KICKS
    Front Knee
    Front Stomp
    Back Stomp
    Side Stomp
    Shuffle Kicks
    (Drag-Kicks)

    PARRIES
    Inward Parry
    Outward Parry

    FOOT MANEUVERS
    Switch
    Cover

    PUNCHES
    Step Through Block-Punch

    STRIKES
    Thrusting Heel Palm
    Upward Elbow
    Back Elbow
    Obscure Elbow
    Underhand Reverse Hammerfist
    Outward Back Knuckle

    FORMS & SETS
    Long Form #1
    Kicking Set #1


    REQUIRED TECHNIQUES FOR ORANGE BELT
    (In the order they are to be taught)

    1. CLUTCHING FEATHERS - Front Left Hand Hair Grab

    2. TRIGGERED SALUTE - Front Right Hand Direct Push

    3. DANCE OF DEATH - Front Right Straight Punch

    4. THRUSTING SALUTE - Front Right Step Through Kick

    5. GIFT OF DESTRUCTION - Handshake

    6. LOCKING HORNS - Front Headlock

    7. LONE KIMONO - Front Left Hand Lapel Grab

    8. GLANCING SALUTE - Front Right Hand Cross Push

    9. FIVE SWORDS - Front Right Step Through Roundhouse Punch

    10. BUCKLING BRANCH - Front Left Step Through Kick

    11. SCRAPING HOOF - Full Nelson

    12. GRIP OF DEATH - Left Flank Right Arm Headlock

    13. CROSSING TALON - Front Right Cross Wrist Grab

    14. REPEATING MACE - Front Left Hand Push

    15. SHIELDING HAMMER - Front Left Step Through Hooking Punch

    16. STRIKING SERPENT'S HEAD - Front Bear Hug, Arms Free

    17. LOCKED WING - Hammerlock

    18. OBSCURE WING - Right Flank Left Hand Shoulder Grab

    19. REVERSING MACE - Front Left Step Through Straight Punch

    20. THRUSTING PRONGS - Front Bear Hug , Arms Pinned

    21. TWISTED TWIG - Front Wrist Lock

    22. OBSCURE SWORD - Right Flank Left Hand Shoulder Grab

    23. RAINING CLAW - Front Right Uppercut Punch

    24. CRASHING WINGS - Rear Bear Hug, Arms Free


    -----------
    Disclaimer: 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. Please do something with this material besides downloading it,
    and collecting it. Work it!
    Cheers,
    Ed Parker Jr.
    -----------

    TECHNIQUES FOR ORANGE BELT


    1. CLUTCHING FEATHERS (Front left hand hair grab)


    1. Standing naturally, step back toward 6 o'clock with your left foot into a right neutral bow (facing 12 o'clock). Simultaneously pin your opponent's left hand to your head with your left hand as you thrust a right vertical middle-knuckle fist to your opponent's left armpit. (This action should cause your opponent to bend forward.)
    2. As your opponent begins to bend over and toward you, pivot into a right forward bow (facing 12:00) as you deliver a left thrusting heel palm strike to your opponent's jaw, simultaneous "with" a right extended outward block to the inside of your opponent's left forearm. (Your opponent's head should snap back.)
    3. Immediately pivot back into a right neutral bow (facing 12:00) while delivering a right inward raking back knuckle strike diagonally across the bridge of your opponent's nose (to cause a corrugated effect).
    4. Right front crossover, and cover out toward 7:30.


    2. TRIGGERED SALUTE (Front right hand direct push)


    1. While standing naturally your opponent pushes your left shoulder with his right hand. Immediately and simultaneously (1) turn your left shoulder counterclockwise and ride your opponent's right push as you (2) step forward with your right foot into a right neutral bow (between ll:00 and 12:00), (3) buckle the inside of your opponent's right knee with your right knee, (4) thrust a right heel palm strike to your opponent's chin, as you (5) have your left hand pin and check your opponent's right hand to your chest. (Your opponent's head should snap back and away from you.)
    2. Forecasting the response of your opponent's upper body, (1) frictionally slide your right hand down your opponent's right arm while forming the shape of a crane (making sure to anchor your elbow), (2) hook your opponent's right arm down and toward 5:30; (3) ROUND THE CORNER with your right arm as (4) you unhesitatingly deliver a right inward horizontal elbow strike to your opponent's solar plexus. (The frictional pull will bring your opponent's upper body forward and diagonally to his right. The force of your elbow strike should make him bend forward at the waist.)
    3. After following through with your right inward elbow strike, deliver a right outward horizontal elbow strike to your opponent's right floating ribs. (This should cause your opponent to bend even further.)
    4. Using RESIDUAL TORQUE, follow-up with a right outward horizontal back knuckle strike to your opponent's right floating ribs or kidney, and immediately cock your right fist to your right hip. (Your repeated follow-ups should magnify the damage to his ribs).
    5. Without any loss of motion, thrust a right vertical back knuckle strike (right fist is inverted and horizontal) up and under your opponent's chin while your left hand continues to pin your opponent's right hand against your left shoulder. (This Contouring Fit should drive your opponent's head back.)
    6. Right front crossover, and cover out toward 7:30.


    3. DANCE OF DEATH (Front straight right punch, with left leg forward)

    1. Standing naturally, step forward toward 10:30 with your left foot into a left neutral bow (facing 12:00) as you get out of the Line of Attack. Simultaneously deliver a left inward block to the outside of your opponent's right punch (ending at or above the elbow) as your right arm hangs naturally to the right side of your body. (Your inward block will nullify the width of your opponent's body.)
    2. Immediately pivot into a left forward bow (facing 12:00). While still maintaining a left BRACING ANGLE CHECK to your opponent's right arm with your left hand, strike to your opponent's groin with a right underhand reverse handsword. (This strike should cause your opponent to bend forward at the waist, and possibly move back.)
    3. Immediately step through with your right foot into a right neutral bow (facing 12:00) "with" a right inward horizontal elbow strike to your opponent's right lower ribcage. During this action, your left hand (1) CONTOURS down the right side of your opponent's body, (2) slides along his right leg (which is not the lead leg), (3) grabs the back of your opponent's right knee, and then (4) pulls toward you, so that your left hand grab concludes at your opponent's right ankle. Be sure to have his right foot pass to the left and outside of your left thigh, and pin his left foot to your left hip with your left hand. The pull and strike must counteract each other to be effective. (Please refer to the NOTES to study the WHAT IF factors that can alter your plans.)
    4. Use of precise synchronization of BODY MOMENTUM should help you to drop your opponent onto his back. In anticipation or your opponent's left leg popping up (Unintentional Move), execute a right outward back knuckle strike to the inside of your opponent's left knee. Immediately (1) have your right hand continue in a "figure 8 pattern", (2) drop into a right wide kneel stance, and (3) while taking advantage of marriage of gravity execute a right inward downward handsword to your opponent's groin. (Be conscious of the possibility of your opponent's legs drawing together.)
    5. Right front crossover, and cover out toward 7:30.

    4. THRUSTING SALUTE (Front right step through kick)


    1. Standing naturally, step back with your right foot to 4:30 (to get you out of the Line of Attack) into a left neutral bow, as you deliver a left downward block to the inside of your opponent's right kicking leg. Instantly recoil your left hand counterclockwise into a vertical position, to act as a positional check (hand open). (Your downward block should deflect your opponent's right kicking leg out and away from you.) During this action, your right hand cocks near your right hip (palm up and fist clenched).
    2. Immediately execute a right front snap ball kick to your opponent's groin. (Do not be surprised you if your opponent violently bends forward at the waist.)
    3. Plant your right foot forward, toward 10:30, and into a right neutral bow (inside of your opponent's right knee so that your right knee can check or buckle his right knee). Simultaneous with the plant (while capitalizing on your forward momentum and gravitational marriage), execute a right torquing heel palm strike to your opponent's jaw, as your left positional check relocates near your right ribcage. (This action should cause your opponent's head to snap back, and possibly cause his entire body to move away from you.)
    4. Right front crossover, and cover out toward 4:30.


    5. GIFT OF DESTRUCTION (handshake)


    1. With your right hand shaking your opponent's right hand, hop forward to 11 o'clock with your left foot, as your right hand JERKS (taking advantage of your opponent's dead weight to launch you forward) your opponent's right hand toward you diagonally and down past your right hip. This action is aided by rotating your right arm clockwise, so that the palm of your right hand faces up. This should aid you in properly exposing the joint of your opponent's right arm.
    2. With the above action, simultaneously strike in and against the joint of your opponent's right elbow with your left heel palm, as you deliver a right knee kick to your opponent's groin. (This dual action should check your opponent's Height and Width Zones, as well as force him to bend forward at the waist.)
    3. Plant your right foot forward into a right neutral bow while you simultaneously (1) buckle the inside of your opponent's right knee with your right knee, (2) deliver a right inward elbow strike to the left side of your opponent's jaw, as (3) your left hand checks down and on top of your opponent's right arm. (This action should cause your opponent's head to move back and away from you.)
    4. Right front crossover, and cover out toward 7:30.


    6. LOCKING HORNS (Front headlock)


    1. With your feet in line with each other and your body bent forward (caused by your opponent applying a front headlock using his left arm to lock you with) simultaneously (1) step forward with your right foot toward 11 o'clock into a right wide kneel stance between your opponent's legs, (2) deliver a right underhand reverse handsword to your opponent's groin, (3) have your left hand check just above your opponent's right knee while (4) turning your chin to the left, and tucking it against your chest to prevent your opponent from cutting off your air supply. (Your opponent should loosen his grip and bend forward at the waist. Depending on the effectiveness of your strike, your opponent's legs can conceivably move back and away from you.)
    2. Immediately follow-up with a right vertical obscure elbow strike to the underside of your opponent's jaw, "with" your left hand still checking the knee, and while keeping low in a right neutral bow. (This elbow strike should force your opponent's head up in preparation for the next strike.)
    3. After snapping your opponent's jaw upward with your right obscure elbow, simultaneously (1) shuffle forward, (2) deliver a right inward horizontal elbow strike to the left side of your opponent's jaw, along with (3) a left heel palm strike that hooks in and to the right side of your opponent's jaw. (The force of this sandwiching effect may cause your opponent to pass out and fall to the ground.)
    4. Right front crossover, and cover out toward 7:30.


    7. LONE KIMONO (Front left hand lapel grab)


    1. Standing naturally, step back toward 6 o'clock with your left foot into a right neutral bow (facing 12:00). Simultaneously (1) pin your opponent's left hand to your chest, as you (2) rotate your left hand clockwise to expose and properly position his left elbow, while (3) delivering a right upward forearm strike against his left elbow just above the joint to cause the elbow to break. (This action may cause your opponent to rise up on the tips of his toes.)
    2. Immediately circle your right arm counterclockwise (over and down) and convert it into an inward-downward strike to your opponent's left forearm. Complete this strike with your right palm up, and your left hand checking high. Make sure that your opponent's left arm is driven diagonally and down to your left. (This move should now cancel your opponent's Width and Height Zones.)
    3. With your action forcing your opponent's head and body down and toward 7:30, ROUND OFF THE CORNER with your right hand and immediately execute a right snapping outward handsword strike to the right side of your opponent's neck. Be sure to maintain a left hand check in the NEUTRAL ZONE.
    4. Right front crossover, covering out toward 7:30.


    8. GLANCING SALUTE (Front right hand cross push)


    1. Standing naturally, while your opponent pushes your right shoulder with his right hand, (1) step forward and slightly to your left (11:00) with your left foot into a left neutral bow (facing 12:00), (2) pivot to your right into a right forward bow toward 3:00 (to ride the force of your opponent's push) as (3) your right arm pins your opponent's right wrist to the right side of your chest along with (4) the execution of a left inward vertical forearm strike against the joint of your opponent's right elbow to cause a break. (This action should cause your opponent to turn counterclockwise, as well as cancel his Width Zones.)
    2. Pivot to your left (toward 12 o'clock) into a left forward bow as your left hand pins your opponent's right arm to his body, and simultaneously execute a right thrusting heel palm strike to his jaw. (The action of the left pinning hand should bring your opponent's head down and forward into your right heel palm strike. This strike should force his head up and back.)
    3. Have your right hand (1) circle to the right of your opponent's face as it then hooks around and back of his neck (forming the shape of a crane), (2) pulls your opponent's head down and toward the ground (ANCHORING your right elbow in the process) while (3) executing a right knee strike to your opponent's stomach. (Your opponent's strength should wane, with his feet moving back and away from you.)
    4. Plant your right foot forward into a right neutral bow, as your right knee checks (and possibly buckles) the inside of your opponent's right knee. Simultaneous with the plant (while capitalizing on your forward momentum and gravitational marriage), execute a right inward elbow strike to your opponent's face, as your left hand pins your opponent's right arm to his body. (This should cause your opponent's head to move up and back.)
    5. Right front crossover, covering out toward 7:30.

    9. FIVE SWORDS (Front right step through roundhouse punch)


    1. While standing naturally, step forward with your right foot into a right neutral bow (facing 12 o'clock), and check the inside of your opponent's right knee with your right knee. Simultaneously with your right neutral bow, execute a right inward block to the inside of your opponent's right forearm, while your left hand checks high at your opponent's wrist. (The effect of both actions is to expose the width of his body.)
    2. Immediately strike to the right side of your opponent's neck with a right outward handsword. (This action should help to nullify the Height, Width, and Depth Zones of your opponent.)
    3. Pivot into a right forward bow (facing 12:00), as you execute a left five-finger thrust (palm down) to your opponent's eyes, and your right hand cocks at your right hip (fist clenched and palm up). (The effect of this poke should snap your opponent's head back and away from you.)
    4. Having your opponent's head to move away from you, and his midsection to jut forward, take advantage of this anticipated response by (1) pivoting into a right neutral bow, (2) executing a right uppercut punch to your opponent's stomach, as (3) your left hand becomes a COCKING CHECK (guarding horizontally and palm down) near your right biceps. (This action should result in your opponent bending over at the waist.)
    5. With your opponent now bending over, immediately slide your left foot counterclockwise toward 4:30, and into a right forward bow (facing 10:30), as you execute a left outward handsword strike to the left side of your opponent's neck. (Your right hand acts as a positional check against any potential danger from your opponent's left arm.) have your left hand (during the interim) hook to the left side of, as well as on top of, your opponent's neck, to aid you in pulling his head down if necessary.
    6. Without hesitation, and while pivoting into a right neutral bow,have your left hand hook around the back of your opponent's neck (to force his head down), followed by a right inward handsword to the back of his neck. At the time your right handsword strikes, your left hand should be checking low.
    7. Right front crossover, and cover out toward 4:30.


    10. BUCKLING BRANCH (Front left step through straight kick)


    1. While standing naturally with both feet together, step back with your right foot toward 4:30 into a left neutral bow. Simultaneously block your opponent's left kick (from the outside) with a left downward block as your right hand (clenched and palm up) cocks to your right hip. Instantly recoil your left hand counterclockwise into a vertical position as a positional check. (Your intent is to generate pain to your opponent's left leg, as well as to increase the width of your deflection.)
    2. With your opponent's back turning toward you, deliver a right front snap ball kick to your opponent's groin (entering from the rear). (This should make your opponent bend over at the waist. Both you and your opponent should be facing 10:30.)
    3. Plant your right foot forward (again toward 10:30) into a right front twist stance (modifying it if necessary), and deliver a left knife-edge kick to the inside and back of your opponent's right knee (keeping both of your hands open and in a defensive position). (This kick should buckle your opponent to his knees.)
    4. Have your left kick flow into a left front crossover, covering out toward 4:30.)


    11. SCRAPING HOOF
    (Full Nelson)


    1. While in a Full Nelson, thrust both of your fists toward the ground (to help free you from your opponent's grasp, and to pin his arms to your body). Simultaneously with this action cheat your left foot toward your right foot, as you straighten your knees, back, and neck into a full upright position. (Here, the intent is to have your opponent focus his attention on your arms and the pressure applied to your neck.)
    2. Immediately have your left knee bend (REVERSE MARRIAGE OF GRAVITY) as you deliver a right back side scooping heel kick to your opponent's left inner knee. Then, execute a right knife-edge kick to your opponent's right shin and follow through with a scraping stomp to his right shin, and instep. (This sequence of action should buckle your opponent's legs as well as move his legs outward.)
    3. Repeat movement number two to the left side.
    4. Step with your right foot to 11:00 and left front crossover, covering out toward 10:30.


    12. GRIP OF DEATH (Left flank right arm headlock)


    1. With your opponent applying a headlock from your left side, step forward and to your left (toward 10:30) with your right foot into a right close kneel stance, while turning your head to the left, and tucking your chin against your chest. Simultaneously deliver a right hammerfist to your opponent's groin and a left hammerfist to your opponent's left kidney. (This action should buckle your opponent.)
    2. Circle your left arm over your opponent's right shoulder, and have the fingers of your left hand press under your opponent's nose (or depending upon the circumstances, have your left hand grab your opponent's hair) FULCRUMING with your forearm and elbow against your opponent's back and shoulder to increase the LEVERAGE down and back against his head and neck. (This should cause sharp pain to his philtrum, and also cancel his Height Zones.)
    3. Immediately (1) pivot into a left forward bow toward 6 o'clock, and (2) while taking advantage of your ROTATIONAL FORCE deliver a right heel palm strike to your opponent's chin, as you simultaneously (3) execute a left SLIDING CHECK down your opponent's right arm, ending at the elbow. (Make sure that the head of your opponent, in either of the above methods of FULCRUMING, is arched and forced back and down to minimize your opponent's leverage. The force of your strike should cause your opponent to fall to the ground.)
    4. Pivot back to a left neutral bow. Left front crossover, covering out toward 10:30.


    13. CROSSING TALON (Front right cross wrist grab)


    1. With your opponent's right hand grabbing your right wrist, (1) countergrab his right wrist with your right hand as (2) your left foot steps toward 1:30 (traveling in front of your opponent) into a left neutral bow, as (3) you strike your opponent's right elbow with a left inward vertical forearm, while (4) your right hand pulls in, toward, and past your right hip. (The effect of this action is to sprain or break your opponent's right elbow, and force him to bend over, which automatically checks his Height Zones.)
    2. Continue to pull your opponent's arm to your right while using your left forearm to force your opponent's head down and possibly striking your left knee.
    3. Immediately deliver a left outward elbow strike (palm up or down depending on circumstance) to your opponent's right jaw hinge or temple. (This action may cause your opponent to pass out and drop toward the ground.)
    4. Immediately follow-up with a left heel palm strike and five-finger rip to your opponent's face while using your opponent's shoulder and back as a fulcrum to leverage, contour, check, and enhance your action. Continue your left arm clockwise circle and execute a left inward overhead downward elbow strike to your opponent's upper spine. (This action should cause your opponent's body to bow toward the ground.)
    5. Follow up with a left downward heel palm strike to the back of your opponent's left mastoid. As your left hand continues to push your opponent's head down, simultaneously deliver a right knee strike to your opponent's face, thus causing a sandwiching effect. (Your opponent should fall to the ground.)
    6. Replant your right foot to its POINT OF ORIGIN. Left front crossover, covering out toward 4:30.


    14. REPEATING MACE (Front step through lunging left hand push)


    1. Standing naturally, Simultaneously have (1) your left foot slide back toward 4:30 into a right neutral bow (facing 12:00), (2) your left hand hook (left palm is up like a waiter carrying a tray) on top and to the outside of your opponent's left elbow, and (3) deliver a right inward raking hammerfist to your opponent's left kidney.
    2. Without stopping the flow of your action loop a right outward back knuckle strike to your opponent's left ribcage (as you settle into your right neutral bow stance). (The effect of these two strikes is to first have your opponent's midsection move forward and turn clockwise to his right. The second strike should turn him counterclockwise and force him to bend over at the waist.)
    3. Immediately shift your weight onto your left leg and deliver a right downward looping roundhouse kick (utilizing your right instep) to complement the angle of your opponent's left thigh and strike the top of his left calf from the back of his knee. (This action should buckle his left knee, and force him on his knees.)
    4. From the Point of Contact of your right kick, execute a right front crossover, covering out toward 4:30.


    15. SHIELDING HAMMER
    (Front step through hooking left punch)


    1. Standing naturally, step back with your left foot toward 6 o'clock into a right neutral bow (facing 12 o'clock) as you deliver a right extended outward block to the inside of your opponent's left forearm. Your left hand should be in a POSITIONAL CHECK off near your right ribcage.
    2. Immediately deliver a right inward raking back knuckle strike diagonally in and down across the bridge of your opponent's nose (striking toward 10:30 to insure depth of penetration). (This action should turn your opponent's head clockwise to his right.)
    3. Shuffle forward while continuing the counterclockwise motion with your right hand and follow-up with a right horizontal dipping outward elbow strike to your opponent's solar plexus. Your left hand should be checking high. (This should cause your opponent to lose his wind and bend forward at the waist.)
    4. Execute a right front crossover, and cover out toward 7:30.



    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.
    Last edited by Bob Hubbard; 10-11-2007 at 10:01 PM. Reason: Updated

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    Default Re: EPAKS Orange Belt Manual 1-21 of 82 pages

    These are the first 21 pages. As more are released, I'll be adding them to this thread so that they are all in one place for easy reference.
    For ANY and ALL KenpoTalk issues, please use theContact Us link here or at page bottom right. Do NOT PM me for site support.

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    Default Re: EPAKS Orange Belt Manual 1-21 of 82 pages

    Updated through page 31
    For ANY and ALL KenpoTalk issues, please use theContact Us link here or at page bottom right. Do NOT PM me for site support.

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    Default Re: EPAKS Orange Belt Manual 1-21 of 82 pages

    Any updates on these by chance? I see that it's been many months since the last posting on this manual. Just curious to know if there were going to be any additions?
    You are not here to win friends. You are not here to look pretty. You are not here to stare at some chick's @ss. You know why you're here. And if you don't, then get the **** out because you're just taking up space......So SHUT up and TRAIN - Flex Mag.


    `If you wish to get ahold of me please contact me at jhfarnsworth@yahoo.com.

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    Default Re: EPAKS Orange Belt Manual 1-21 of 82 pages

    Quote Originally Posted by jfarnsworth View Post
    Any updates on these by chance? I see that it's been many months since the last posting on this manual. Just curious to know if there were going to be any additions?
    I second that

    "To hear is to doubt. To see is to be deceived. But to feel is to believe." -- SGM Ed Parker

    "Sic vis pacem parabellum - If you want peace, prepare for war." -- "The Punisher"


    "Praying Mantis, very good. . . For catching bugs." --Jackie Chan

    "A horse stance is great for taking a dump" --Jet Li

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    Default Re: EPAKS Orange Belt Manual 1-21 of 82 pages

    My understanding is that we've got everything that was released. If anything new has come out, I'm unaware of it.
    For ANY and ALL KenpoTalk issues, please use theContact Us link here or at page bottom right. Do NOT PM me for site support.

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    Default Re: EPAKS Orange Belt Manual 1-21 of 82 pages

    These are the first 21 pages. As more are released, I'll be adding them to this thread so that they are all in one place for easy reference.



    like twin spin slot only here

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