Long Form Two

Long Fonn Two is the last of the basics fonns. It

follows the rules and patterns set up in the previous
forn1s. The footwork mll co111plete the ""alls-then
corners pattern set in Short Two. The blocks are the
standard sequence of ilnvard, oun-vard, upward, and

>
do"V11ward. We are still advancing and using two
in-one tilning. Follomng the principle that we
always add ne"" infonnation in every new fonn, we
will find 111uch added to the patterns of the hands
and feet and catego1ies of n1otion.

Footwork
Not only mll we advance mth two-in-one tilning,
,ve will retreat ·with it in the last half of this fonn. The inside do,-vnward paln1-up blocks and inward overhead
elbows are done vvith twist-through n1aneuvers, vvhich
pro1note this type of ti1ning. The twist-through differs
fron1 a step-through. T\vist through 1naneuvers rotate,
then gain or lose distance, or vice versa. Step-through
n1aneuvers gain or lose distance with rotation
siniultaneously not sequentially. In other vvords, a step-
through gives rotation vvith distance, while a tvvist-
through gives rotation then distance or distance then
rotation. Their t,,vo-in-one timing is a reason why the
tvvist-through foot n1aneuvers are saved for use in Long
Two. It 1nakes the then1e of the fonn 1nore cohesive-this
the1ne is advancing and retreating vvith two-in-one
ti1ning, not just advancing as in Sho1tTwo.
The tvvist-through foot 1naneuver never n1ade the
Tvvo "beats" are generally added to the base 1notions
established in Short Two. For exa1nple, the first section
of both Short and Long Two is like the self-defense
technique Five Swords. Sho1t Two starts ,vith two
1noves: block/chop. Long �,vo starts
,¥ith four n1oves: block/chop/poke/spearhand. This
pattern continues in Long Fonn Four. In that forn1,
Five Swords 1s six n1oves:
basics list because of the rush to con1plete the oliginal
1nanuals and requiren1ents lists. It stands out as a
111aneuver in this forn1 and den1onstrates the only way to
utilize both hands fully and efficiently fro111 this
n1aneuver. The twist-through has applications in botl1
directions, forward and back, in this fonn.
Front and rear crossover 111aneuvers are added to our list
of new ite1ns. What is con1n1only called a crossover is
actually a crossover-step out. These are related to the tvvist-
through done in Long Fonn Tvvo. In this fonn vve have
the front, rear, and in place (rotating) twist stances.
Therefore we aug1nent the categories of twist stances and
their con1plen1entary foot 1naneuvers.
Timing
block/chop/poke/spearhand/chop/chop. The
addition of two 1nore counts or beats per version is
obvious. Ed Parker's idea of the inve1ted pyra1nid of
infonnation is now 111ore evident.
Hand and Arm Strikes
The new hand strikes are the vertical punch,
chopping knuckle punch, hanunerfist, claw, vertical
hand systen1, it is unusual in n1ost 111a1tial arts to
1'¥0-finger poke, vertical back-knuckle punch, and
vertical inward foreann strike. Elbow strikes now
included are inward, outward, up,vard, inward
overhead, and outward overhead. Outvvard elbows are
ach1ally introduced in Long One, between the
outvvard and upward block sections. They are sho,¥n
at the end of Long �,vo after a sandwiching heel-
pahn/elbow.
The addition of these strikes and punches e}..})ands
our knowledge of angles of delivery and n1ethods of
execution. We see han1n1e1ing cla,vs, snapping
punches, thrusting eye pokes, looping elbo,vs, and
roundhouse heel-paln1s.
Kicks
No previous fonn has kicks. Although Kenpo is a
wait so long to start kicking in fonns. Mr. Parker
believed that a student should develop a strong base
beneath their blocks, stiikes, and punches before Isolation
sta1ting to kick. Kicking inherently reduces stability.
The isolation in this fonn consists of the last nvo
It therefore 111akes sense to develop the base with
silnultaneous elbow strikes, those being the left
the different hand con1binations throughout the first
upward and right back elbo,,vs. It is co111111only
fonns, then start kicking.
thought that the isolation is all four elbow strikes at
�vo kicks are introduced in Long Forni Two, the
the end. This leads to confusion and sets the student
side and front kicks. Side kicks are done in the
off on a path of thinking that is alrnost guaranteed to
second section of the forn1, front kicks in the fourth.
prevent figuring out ,vhat the isolation actually
The side kicks are snapping kicks. They n1atch the
rneans.
111ethod of execution of the jab, which is done at the
This isolation acts as a test question. Instructors
saine tirne to sho,¥ the relationship of hand to foot.
give students guidance as to how the isolations
There is a hidden kick in the fifth section. It is a
function. If students understand this, they can
thrusting sweep kick inserted in the front crossover to
decipher their rneaning. If they do not, they will
the uppercut/upward block, which is actually a
continue, as 1nany others have, to grind along just
strike.
doing 1nove1nent without rnuch n1eaning. The
Russian philosopher Gurdjieff said there is a
difference between kno,¥ledge and understanding.
 Pagina98

Knowledge is knowing of infonnation,

understanding is realizing its application. Son1e
Filipino syste111s relate this to a n1onkey playing ball
,vith a coconut. It just uses the coconut for a ball, not
realizing there is son1ething good to eat and drink
inside.
Long Form Two: Detail of
the For111. Sections
This fonn sta1ts like the previous three fonns, ,-vith a
right hanunering inward block. To add use of the front
hand as sho'\>vn in Short Two to that of the back
hand as shown in Long One, you execute a Five Swords-
type of technique. This shows ho,,v you can now use
both the front and rear hands after the inward block.
Ren1e1nber, '\>Ve always add ne,v inforn1ation with
each new fonn.
You start by stepping forward fro111 the horse
salutation into a right neutral bow ,-vith the right
inward block as you set your base. Your rear (left)
hand does not check; it is cha111bered. Now slice
through and diagonally do"vn to the right across the
neck and body with a right slicing chop as you pivot in
place to a 1ight forward bow with a right straight heel-
pahn to the chin (or straight finger thrust to the eyes),
chan1be1ing the open right hand. The tin1ing of the body
shift fro111 the neutral bo,v into the fonvard bow is, again,
two-in-one. The first half of the shift powers the 1ight
hand, and the second half the left hand. This is done
srnoothly, delivering the hvo stlikes in one count. The
right chop should not be done by itself, since there is
nothing po,,vering it when done in that manner.
Ilntnediately shift back into a right neutral bow with a
1ight vertical finger thrust (spearhand) to solar plexus
level, left hand chan1bered. The spearhand is essentially
an undeveloped natural weapon. Very few people use this
in self-defense, since it requires striking generally harder
targets, like the torso, and you are likely to hurt yourself if
it
what the rnaxirnurn power is that you can generate
frorn these positions. You will need, and want, to
is improperly forn1ed. Yes, there are people ,vho use it
to break boards or run their hands through watennelons,
but that is not your average practitioner. It is in the fonn
to preserve it. Most people would use a vertical punch
or uppercut in its place.
Continue to the second side, as in Short Two, by
stepping through forward to a left neutral bow with a
left thrusting inward block. Once again, take care not to
extra-step by turning the front foot out early. Con1plete
the section by slicing out with the left handsword,
st1iking ,,vith the right pahn or finger thrust in a
forward bow, and then pivoting back into the left
neutral bow ,<\Tith the vertical finger thrust. The hands
do not cover like they did in Sho1t Two; they chamber
instead. The n1ain reason for this is that you want full
range of 111otion, like you did in Long One. You want
to be able to feel
condense that travel later, \-vhile retaining the sarne
arnount of power.
 Going into section two, you slide back into a left
45° cat, with the hands stacked at the right hip, just
as in Short Two. Once again, your feet should have
autornatically taken the 45° position if your left
neutral bow \-Vas correct. Step off toward 9:00 into a
left neutral bo,¥ with the left vertical outward block,
right straight punch cornbination. No,,v thro,¥ a left
straight punch frorn the outward block as your right
pulls back just under your right pectoral, at your
chest. This continues the "natural positions"
introduced at the end of Short �¥0. Shoot your right
straight punch horizontally frorn that position as your
left hand cocks like a jab, fist diagonally up and
elbow down by the hip. The left fist is
positioned as a jab and thro\-vn as a vertical snap
punch. Sirnultaneously, you will execute a left
snapping side knife-edge kick.
This should be done ,vithout any leaning of the
body, either forward or backward. The first photo
belo,¥ shows no lean; the second illustrates the
incorrect posture. Just as a jab is thro,¥n without
telegraphing, the kick can be thrown in the san1e
rnanner.
left: Without leaning., light: Too n1uch leaning.
 Therefore, it will be low, about shin height. This
con1bination of the kick and punch shows the
relationship of the jabbing foot and hand. It also
illustrates the first one of the punch/kick
combinations in the forn1. If you look hard enough, you
will see this (the front hand/foot con1bination),
the previous section we had a block and a punch. The
then the (opposite) front hand/rear foot
co1nbinations, and finally the rear hand/rear foot
con1binations.
As you thro,v the jab and kick, your rear hand will
be in that natural cha111ber position. You then plant
the left foot, slide into the 1ight 45° cat with the
hands chambered at the left hip, and continue with
the opposite side of the section, ending in a right
neutral bow.
Section three sta1ts "vith you sliding into another
left 45° cat, hands chan1bered, then back toward 5:30
with the left foot so that you can establish a base and
turn counter-clockwise to face 6:oo in a left neutral
bo,,v. As you settle in the neutral bow, execute a
"universal" block, left hand doing a do"vnward block
and the light an inward block, sin1ultaneously. Here
again we have the two-in-one tilning sho,ving, but this
tin1e ·with two blocks. In
section before that, we had two strikes. We now see the
category con1pletion inherent in the fonns, i.e.,
strike/strike, block/strike, block/block. It is one of the
reasons the universal sho,,vs up out of sequence. The
three previous forn1s follo,-ved the basic order of
inward, outward, up,,vard, do,vnward. Now we have
inward, outward, universal, then upward, do"1nward
(and then the inside downward and push-do,vn). It is
another exa1nple of a "stand out" n1ove. It is so
obvious, you have to ask ,vhy it is there. It is there to
show the catego1y and also to sho,v orbital switching,
which beco1nes apparent
,,vith the very nell.1: 1nove.
Shifting in place to a left forward bow, you execute a
left upward block as your right hand si1nultaneously
delivers an underhand hanunerfist to the groin. These
nvo actions are co1npleted as the
Move your right foot in and toward your left foot,
n1aking a V step, and finish the second line of the V by
stance change occurs, so that your front hand is up in
the block position and your rear hand down and out with
the strike. Inunediately return to the left neutral bow as
you drop your left ann and hand into a hanunering
claw, at face height, and deliver a right outward back-
knuckle to the ja,v hinge, using t,,vo-in-one tin1ing.
Your hands are now on a
vertical 12-6 line, right hand on top, elbo,,vs do,vn, at
this point. Continue this section by doing a
double back-knuckle, rolling the left hand into an
ouhvard back-knuckle, right hand checking, followed
by a 1ight outward back-knuckle, left hand checking.
These are done at jaw-hinge height and show the
co1nple111enta1y angles of the jaw line to illustrate
contouring. These h-vo sections could be used against a
kick-punch co1nbination. However, you should
experin1ent with a va1iety of attacks to see the varied
applications.
stepping to a right neutral bo,v facing 12:00. Your anns
,vill make the opposite universal block, left hand on top.
Shift into a right fonvard bow with the
upward/ha1nn1erfist position, and continue by shifting
back into the neutral bow with a right claw, left back-
knuckle position, follo,ved by right then left back-
knuckles.
The fourth section of the fonn is started by stepping
toward 10:30 with your right foot, as your right hand
blocks the lo,v zone with an inside downward palrn-up
block (1ninor). As you settle into a left neutral bow facing
4:30, your 1najor block, the left doWinvard, is co1npleted.
This step is a con1plen1ent to the first step to a doWinvard
block in Short One. It con1pletes the set of forward and
retreating steps with a down,vard block. In Short
right up to the te111ple. Shift inunediately to a left
forward bow ,vith a right straight thrust punch to solar-
pleJn1s height, cha111bering the left hand at your left
libs. Follow with a silnultaneous left straight snapping
punch and 1ight front snap kick. The kick is at groin
height, and the punch at face height. Keep the punch on
your centerline and not too high. Snap the kick; do not
let it hang, which defeats the purpose of this 111ove
and the ne}..1: one, and it just looks sloppy. Plant the
One and Long Two, you step away on the first do,vnward
block. In Sho1t One, it is ,vith a right do,vnward; in Long
Two it is ,vith a left downward. Therefore, both "sides"
(hands) have been used. The idea of stepping in with the
block (advancing) is shown with the first do,vnward in
Long One, using the right hand, and in Short Two, using
the left hand, also on the first down,vard block. Ed Parker
cleverly placed this inforn1ation about how to step forward
and back, using right and left, in 1nis1natched pairs, in
different fonns. Yet now it is obvious when you see it.
The two-in-one tin1ing concept co1nes into use again as
your left do,vi1ward block flows directly into an inverted
roundhouse back-knuckle at head height. Typically tl1is
sequence is den1onstrated against a right front kick
con1ing fron1 4:30. The block ,vould hit the inside of tl1e
leg and continue
kicking leg to 4:30, toes pointing straight to the san1e
angle. Now turn it hard into a right side horse. You will
be in the side horse to 4:30, but your centerline will face
1:30. Ren1en1ber once again that, just like Shott Two,
your toes ,-vill face the walls when using neutral bows
on the diagonal lines, and toes , vill face corners ,,vhen
using the cross lines, as they did in the One forn1s and
at the beginning of the �,vo
fonns. In this instance, your toes v,rill be facing the
1:30 corner because we are using a side horse. The
purpose here is to use the rotation of the right knee
with the stance change off the kick to buckle the
inside of the opponent's 1ight leg. Silnultaneously, you
are punching the solar plell.'US with your 1ight hand,
left hand chan1bered at the left 1ibs. This whole
section is loaded "'rith two-in-one ti1ning frorn
beginning to end.
Paglna 103
left vertical punch, ending toward 7:30. This is the
halfway point of the form.
Section five follows the san1e line as in Short Two.
You will now go back up the line you created in the
previous section, heading fron1 T30 to 1:30.
From your left side horse, execute a left front
crossover n1aneuver by crossing your left foot in
front of your right in a transitional twist stance and
The opposite side of the section is done by stepping
fonvard to,vard T30 ,-vith your right, just like in Sho1t
T'\<vo. Don't forget to keep the left inside downward
block as a 111inor during the transition step, which
is done by pulling the right leg in and through the
1ight cat stance, and ending with the right
downward block. Continue with the right inverted
roundhouse back-knuckle, the left straight punch,
kick-punch, and side horse with a
step out with your right, planting to 1:30 in a right
neutral bow. As your left foot crosses, your left hand
strikes the bridge of the nose with the fore-knuckles
of the hand. Your right hand should be cha1nbered at
your right ribs to prevent its being checked in real
application, and for proper line-of-sight alignn1ent
for the next n1ove. The left crossover is a thrusting
sweep kick in application, done as the left hand
strikes. This section has always been considered an
offensive technique, and it works
The crossover/punch con1bination can be done
well as such. It is the only aggressive n1ove in the
forms, providing a little food for thought and a clue
to the offensive techniques that 1nay derive fron1 the
forn1s. vVith the step-out, your right hand strikes in
uppercut fashion under the chin and continues to
forn1 the upward-block position, typically striking
under the chin with your forearn1 to open the throat
line and brace the opponent for the subsequent eye
pokes, as you settle in the right neutral bow. Poke
the right eye ,-vith your left vertical t\vo-finger
poke, leaving the right ann in place as you do,
crossing over your ann at the Wiist. Follow with a
right then left poke of the san1e type. When
executing the right poke, line it up next to but not
crossing behind your left. With your paln1s no,v
facing each other, fire the pokes "pon1-po1n gun"
fashion. You will end ,vith your left poke slightly
ahead of your right, by about a hand length.
with or without an accent on the crossover sweep.
This section is an introduction to the front hvist and Section six is done by dropping back along the
crossover 1naneuver, as it has not been previously sa111e line you just ca111e up. Slide your left foot back
included in a fonn. The strike itself will be seen as into a rear nvist stance as your left hand executes an
either a full-fist fore-knuckle strike, like knocking on inside downward block, pahn up. Your 1ight hand
a door, or like an overhand half-fist. The cha1nbers.
uppercut/step-out sho,vs how to use an uppercut Re1nind yourself to keep the spine straight and
stepping fonvard, con1pared to stepping back, as it is vertical so there is no "jet lag," lagging the head
used hvo sections later. The two-in-one tin1ing is behind the lo,,ver body.
again obvious, as is the footwork line direction and
final position in its silnilarity to Short Two.
Fron1 the final position on the right side, crossover
toward 10:30 ,vith your 1ight leg and do the sa1ne
con1bination, using the 1ight hand to strike with as
you crossover and finish ,vith a left neutral
bow/upward block. Start and end the poke series
with the right hand.

left: The body is ve1tical., right: The body is
"lagging."
This gives you an exan1ple of frictional pull used
on a block that is being done like a pariy, and
directional harn1ony. Pivot ilnn1ediately into a right
type of thinking to uncover n1ore reasons for
neutral bow to 10:30 with a right vertical snap punch
at ,,vaist height, left hand cha1nbered. This sequence
would be used against a right front kick, so that the
punch would hit the short ribs or kidney, as you
would be ,vorking the opponent fron1 behind. This
section introduces the rear twist, so ,,ve now have both
front and rear twist added to our catego1y of stances.
Vve also now have the front crossover and rear
twist-through added to the foot 1naneuvers
catego1y. A further note about this section is that we
break sequence here in the downward blocks. In Long
One, "vhen ,,ve sho, v the three additional blocks in the
isolation, we do pal1n down, then pahn-up and push-
do"vn. In Long Two, we do paln1-up, then pahn-down
and push-down. This is because ,vhen we con1e out
of the eye pokes, our hands and arms are not in the
appropriate point of origin to do a paln1-do,,vn
block. Use this
sequencing in all your fonns.
 The opposite side is done by staying on the sarne
line and retreating to 4:30 with your light foot and
blocking ,vith the right hand. Pivot out and deliver a
left vertical snap punch fron1 a left neutral facing
10:30, right hand cha1nbered. This particular
"technique" shows ho,v to block and strike using
both hands while changing your stance fro1n one
side to the other. The ne"-1: sequence sho,,vs how to use
one hand to do the same job, utilizing a necessary
tin1ing change.
Section seven requires that you change angles by
90° . You con1pleted the footwork angle sequence as in
Short Two when you did the last of the finger pokes.
Then you start reversing the lines. Ed Parker said
there is an opposite and a reverse for everything.
Section eight now works forward, up the sa111e line
you just established facing 1:30. It has three identical
sections that use the push-down block, our final block
Fro1n your left neutral bow, step back to J:30 with
your right foot, as your left punching hand beco1nes
an inside downward pahu-down block. Settle into a
left neutral facing 1:30 as your left hand continues its
n1otion, using two-in-one tiluing, to strike under the
chin in snapping vertical back-knuckle fashion. It's
like the uppercut in section five, but n1oving and
settling back. Your right hand chambers. This could
also be an ouhvard back-knuckle instead of vertical,
but I like the vertical to keep tl1e uppercut
forward/uppercut back set of n1oves.
Continue back do,.,vn that line, the 1:30-7'.30, with
a left step-through reverse and a right inside
do,"7nward pahn-down block. Flo,"' ,>\Tith the block into
the right vertical back-knuckle as you settle in the
right neutral bo,v facing 1:30, left hand cha1nbered.
in Long One, and the rotating hvist stance, the third
type of nvist.
Fron1 the right neutral bow, pivot hard into a
forward bow ,vith a left push-down block, light hand
cha1nbered. Transition into a 1ight front rotating
hvist stance to bring your left shoulder into align1nent
for the next 1nove. Do not bounce dtuing the
transition. Step-through forward, out of the twist,
,ith your left foot to 1:30 as your left ann does a
left ounvard overhead elbo,v and ha1nn1ering claw,
ending in a left neutral bo,v. Repeat on the opposite
side by pivoting to a left forward bow Mth a 1ight
push-down block, right step-through to 1:30, and right
overhead elbow and claw. Repeat the first side once
1nore to end facing 1:30 in a left neutral
left inside vertical foreann st1ike, which should look
bo,.v with the left cla,v.
This section points out the tinting change fro1n the
step-through 1naneuver to the twist-through
n1aneuver. To repeat, a step-through gives rotation
with distance, while a h.vist-through gives rotation
then distance or distance then rotation. This and the
next section show the hvist-through forward and
reverse. The ouhvard overhead elbows use double
factoring (two-in-one tilning), since they elbo,v and
claw. They also show the ouhvard overhead path of
travel, while the inward overheads will be shown
shortly afte1ward. In addition, your foot,vork has
traveled a "long line," son1ething that will be
significant in fonus to corne.
No,.v in a left neutral bow ,vith your left claw up,
shift in place to a left fonvard bow with a right
straight thrust punch, left hand cha1nbered.
lln1nediately shift back into the neutral bo,v Mth a
like an inward block. This shows the reverse
sequence of the block and punch used in Long One.
Long One blocks, then punches; Long Two punches,
then blocks. The idea here is that you punch and the
opponent blocks it and conies in, so you use the
block-type action after the punch to either block or
strike.
This last section of the fonn travels back do,vn the
long line and into an isolation horse. Fro111 the left
inward block, hvist-through reverse "vith your left foot
back to 7:30. Unwind into a 1ight neutral bo,v facing
1:30 with a right inward overhead elbo"v. Your left
hand can do one of two actions at this tin1e. It can
chamber or it may be used to show a grab or hook to
the opponent's inco111ing head during an
atte111pted tackle frorn which you pull hiln into the
elbow.
well in application.
Duplicate the action on the opposite side by doing
a right hvist-through reverse and a left inward
overhead elbow, tight hand cha1nbering or grabbing.
Show the gravitational n1arriage in this technique by
dropping your ,veight with the elbows. You should be
facing 1:30 in a left neutral bow.
You now step back with your left foot into a
square horse, facing 12:00. As your left foot stops and
you settle into your stance, your right inward elbo"v
and left heel-paln1 execute an elbo"v sandwich. The
heel of your left hand should 111ake contact with your
right elbow, not your fingers. This is in1portant to
sho,v the proper fonnation of the elbo"v sandmch, a
weapon not previously shown. Ideally your left hand
should be a handsword fonnation, for a clean n1ove,
both in execution and in looks. Letting the fingers be
limp and unfonned pro111otes sloppy-looking forn1
and does not work
Slide the left over, to the right and on top of the
right ann, as your right ann draws under and to the
left. This action cocks both anus for the next n1ove,
as well as provides follo,v-through for the elbow
sandwich. Drive both anns out into twin ouhvard
elbo,vs, fists closed, pahns down. The actual
isolation occurs now, as you deliver a right back
elbo,v ,vith a left up,vard elbo,v.
Your hands should be closed, although relaxed until
the ti111e of in1pact. Be aware of "false travel." It is
easy to create an ilnpression of travel ,vith the weapon,
even when it is not really 111oving 111uch. To prevent it,
keep your co1npact unit (which is the elbow· pinched to
the biceps, created ,v, hen you did the ouhvard elbow)
and throw fro111 there. Do not let the hands lead.
Ending isolation.

Bring your right hand up and your left hand down

into the hand-over-fist salutation in the
horse. Close by bringing your left foot to the right, as you did in each form so far. Bow. This co1npletes
Long Fann Two. You will see that you have ended in
a position back and to the left of where you started.
It is not necessary to end in the same spot, as so1ne
people think You should not, in this forn1, because
of the footwork lines.
There are comn1011 attacks utilized to get the student to
In Closing
You will notice that we did not prescribe a particular
attack for 1nost of the fonn "techniques." Son1e have
an attack to help de111onstrate application of a
sequence. Most do not because they are basics and
exercise, which accurately describes what they do.
An e1nbryonic basic such as an inward block could
be used to block, strike as a hainn1er or rake, or be an
in,vard foreann strike. I think that ,vould be 1nore
accurately desc1ibed as an inward 1notio11, thus
re1noving a prejudice as to what the 1noven1ent is.
In this n1anner, one sees that the first blocks in Short
One could easily be against a punch, a kick, a grab,
or a push atte1npt. It is the method and angle of
execution that are i1npo1tant. The 1nultiple
applications are up to you.
use the appropriate tilning and power, so you ,-vill see the
first block used against a right and so on. Many of us
saw Ed Parker do Short One grabbing "vith his rear hand 12 I do not agree with the tenn "reverse gravitational
and using the blocking hand to break the arn1. He was 1narriage." It fits the definition of back-up n1ass. That
showing us son1e of the 111any possibilities of definition states that when body "veight 1noves in line
application. with a strike, back-up mass is being used. If your body
It is your responsibility to research these possibilities, weight is 1noving up,-vard with your strike, I call it
regardless of your rank and tin1e in grade. Do not wait back-up 111ass, not reverse gravitational 111aniage. (Is
for son1eone to spoon-feed you the ans"vers, or it 1nay it safe to say that would be "gravitational divorce"?)
never happen. After more than forty years in Kenpo, I
still find 1nore inforn1ation in the fonns. You ,-vill not
figure out the whole picture without kno"ving the forn1s
co1npletely and correctly, and by having the guidance of
knowledgeable instructors. I , vas fortunate to have those
people available in the persons of Ed Parker and Huk
Planas.