Green Belt Journal Pledge | PLEDGE A CONTINUED EFFORT TO SHARPEN MY SKILLS, TO INCREASE MY KNOWLEDGE, AND BROADEN MY HORIZONS. | SHALL OBLIGATE MYSELF UNDER THE DIRECTION OF MY INSTRUCTOR TO LEARN THE SKILLS OF A TEACHER, WHICH WILL ENABLE ME TO TEACH MY SKILLS IN THE PRESCRIBED MANNER OUTLINED BY MR. ED PARKER. Ed ParkerGreen Belt Journal Introduction Speed is one of the: Ingredients in r ent toward Green Bolt. Mr. Polar sguale, Te heslotogrnedictes horizontal position.” is on indication of how speed beat action, meet action.” confirms the merits of the use of speed. It is Important, therefore, that speed be stressed in all of the Green Belt material, While the Purple Belt matertalrequired developingcoordination onbothleft andright sides, and the Blue Belt stressed fiuidity and continuity ofmotion; the Green Belt material capitalizes on speed. Following this introduction there is See Contains a wealth of information that you should scrutinize. oe Leaming Kenpo at this stage should be easy for |. It is the proper application of Kenpo thatrecures more dedicated ‘for onyour part You must develop a positive and unconquerable attitude, become more persistent, constantly aware of detail, more flexible, quicker, stronger, more: intense, as well as assert greater conirol of your emotions. You must be realistic in your approach, and be able to apply your art with maximum effectiveness. Pe Yourbasicsshouldrefiect yourbasic understanding ofthe conceptsand principles of technique movement. Mentally, physical. and at Actions should be Directionally Harmon! When executing your ‘o™mMs, yOu should move with speed and clarity of motion. There should be No mumbled motion. Your attitude should be confident and inspiring. When Free Moves with continuity and speed. Intemat- ued wih a pomtwe and uncoreerctie oases eae destroy your opponent's foundation and confidence with intimidatir ase. Periodically re-examine your basics. Do not take them for granted. Review the topics that comprise your Eight Considerations. Analyze, under. stand, and oj ‘them when sparing. Develop solutions to sparing situa- tions against multiple attackers. Similar to your Blue Belt material, He cB Scag be attached toself- defense techniques. Add your Green Belt Techniques into your Web of Knowledge, and Family Groupings. Saaitonaly re-examine ine suffing of Groutechniquesa a poggvoncethemtonew coordinationlevels vat you. Youwillleamto space: Sequential Flow of action, by inserting other Words of Motion. Thsshoc teach to construct more sophisticated Sentences ond Paragraphs of motion. Xopnicction recpres es oe i ie 2Green Belt Journal Introduction review. Aecise thom fern Th working your Orange and Purple Belt tech- cattnuatyalina ter rom Three Points of View. Refine their themes by continually cach IDEAL PHASE, prowice ho .Onceyoufeelthe Shoctvones OF of “AL PHASE, practice the SECOND ond THIRD PHASES of each technique. the spitfotth te Chnigue and encourage our borner to geri resp 3] jetec! e to to ofthe attack. Grasp Re princes associcled with each move, andieam folaiarhsm favour own daincive copabiie As you leam to tailor, Jeam to become innovative. As variables become routine, appropiate become: o secondi chute crcisponteneaus Such responses May be necessary inthe street where a surprise attack may delay your ability 10 examine al of he possble instinctive responses, dev through fe logical training met Ind_ conditioning, the proper Baured ih these sections Logis as apples to Hoe rromecas recutGreen Belt Journal Prerequisites 1. You are responsible for knowing and being able to execute all of your Yellow, Orange, Purple, and Blue Belt material, .. Recite the Green Bett Pledge. Know the Alphabet of the Association Patch. |. Recile the Green Beit Sayings. Read Volume #2 infinite Insights into Kenpo. ._ Know the history of American Kenpo presented in Volume #2. . Know the anatomy for Green Belt. . Be able to explain the terminology and give examples fo clarify the meaning of the terms. 9. Be able fo Ist twenty (20) sources of power that can be used when ‘executing a front snapping ball kick from a neutral bow and arow stance. 10. Be able to execute your basics with speed and accuracy. 11. Perform Short Form #3 on both sides. 12. Be able fo explain some of the things that Short Form #3 contains and leaches, 2PNOASRw&wH 13. Perform Coordination Set #2. 14. Be able to explainsome of the things that Coordination Set #2 contains and teaches, 15. Develop your own form with at least 15 techniques. _ 16. Develop equal speed on both sides of your self-defense techniques. 17. Continue to work with Suffising, Family Groupings, the Web of Know! ‘edge, and oad space wih fhe yee ot Sectional low 18. Filinmore ofthe Dead Space of yourSelf-Defense techniquesby formir Sentences of Motion. 19. Increase your logic of self-defense by thoroughly dissecting each tech- nique ‘hiugh Ihe THREE POINTS. SEER 4Green Belt Journal Prerequisites 20. Know all of your Freestyle Techniques on both sides. 21. When freestyiing, be able to erny Ive Flurtes to keep your Opponent mentoly Gna physealy of tolenes 22. Spar three versus one. 23, Practice your Basics, Self-Defense Techniques,and. jour forrns keepingin mind the TWENTY ONE BASIC CONCEPTS AND PRINCIPLES OF TECHNIQUE MOVEMENT. 24, Add the basic falls into your Vocabulary of Motion — Back Fall, Side Fall, Front Fall, Rolling Falls (font and Back), etc. 25, Be able to answer the questions on the Written Test. THE ALPHABET OF THE IKKA The cole of the Intemational Kenpo Karate Association Patch symbolizes several expects, Arnongy tiem i Ihe base fom which our iphabel slems Re sR oun is dicing ines, form 4 A Develop on ATITUDE that’s wholesome. Have the ABILITY to see your Is to. cn end, Be ALERT when leaming and in action. Be ACTIVE in all studioactivities. Be ACCURATE when delivering ablock or strike. Be quic! to ACTION. ASSIST the lower belts. Be: US, but intelligent as well. B Practice your BASICSconsistentty and dil my BALANCE inal of Yourmovements. Develop a! im BACKGRO\ IND. Be BROAD-MINDED when speaking to others. Be BENEVOLENT toward others. Be BRAVE under adverse conditions. Create a fim feeling of BROTHERHOOD. Be BOLD when defending your honor.Green Belt Journal Prerequisites © COURTESY avoids trouble ond ‘CONFIDENCE a ee ee eee eee cr eee Ee CREATIVE your CONTROL your anger and your moves. Have COURAGE when the: are against you. D_ Have the DESIRE to fulfill ohare Nove Have DETERMINA- Pon wtren seeking righ Dil NCE in ail that you do. ae ahesectthoat Create DIGNITY through honest accomplishment. £ Stands for ETHICAL, a feature necessary in all phases of our lives. EXCELLENCE, a state necessary for the perfection of our movements. ECONOMY a mecessory nor tin the execution ofourmovements. :SSION is needed in bringing out the best in us. F BeFRIENDLY toward others. Formulate astrong and basic FOUNDATION. Berl IDinyowmoverents Maintain FLEXIBILITY at alitimes. Have FAITH inyourinsh ee nace ee feeereaks. Bo quick to FORGIVE G Bea GENTLEMAN at all times. Be GENTLE with your felow students. Be GRACEFUL in yourmiovemnents. Be GENEROUS toward others, Be GRATE- FUL for what others do for you. Be the GUARDIAN of your family. Be GALLANT among your felow men. H Form leamir ee teas HEALTH. Be HONEST with yourself and others. Hi INIOUS movements. HONOR your country and flag, Be ever so HUMBLE. Let HUMILITY become a perma- nent part or your personaly. | Maintain INTEREST in the Art, INTRODUCE our system fo others. IMPROVE with time. Be INDUSTRIOUS when leaming. INFLUENCE others in Boley fe IMPROVISE when needed. Display tect apie fore oth INTEGRITY in all that you do. Cultivate INGENUITY. J JUMP ct every opportunity toleam but use detetion. Be JUST dang with your felow ten. Use good JUDGEMENT when deaing with he ‘enemy. JUSTIFY your every dction’ K_ KENPO the art wepractice. KINDNESS way. KNOWLEDGEis @ treasure. Develop KEEN CAV Inne Of war oF when fucked noe cre death medloement | _ LEARN wheneverthe opportunity presente Maintoh LOYALTY toour Grn on Our NROeOTON, BS os UREABIE pogon: Nske tho AS UFELONG study. Develop LOVE for your Maids Beings Be 0 LEADER mong men. Develop LENIENCY foward the underdoa, 6Lear aieemenpen cs Green Belt Journal Prerequisites Mi reasure your cere in our Organization. MASTER your moves. ‘MULTIPLY You new .. Cultivate fhe MIND. Increase your MENTAL capacity. MAGNIFY your proficiency. MYSTIFY your opponent. BeNICEct Srna Be NOTEWORTHY among men. NUMBER among the greats. Be OBSERVANT at aa fires. C OBEY superion. Have an OPEN MIND when Joc TY conversing with there Tone oe advante that arises. ORGANIZE y OS gical cet sequence. Do not OVERESTIMATE your iyi Keep. cn erect POSTURE, Develop a keen PHILOSOPHY of the, At ICEisthekeyto ion, Leamto obtain maximum POWER. Be PERSONABLE. Have PATIENCE at all times. Develop a POSMIVE attitude. PLEDGE yourself fo do right, PROTECT your jove-ones. Leam and teach that which is PRACTICAL Be POTENT in combat. Never PANIC in a criss. Attain PROFESSIONALISM. Be QUIET and attentive in class, Endeavor for QUAUTY, Have an undying ‘QUEST Sitar Be QUICK in combat. Aton Nk te ood, REACH ther | fey Good ALAM be your ey tos goal your ‘hief objective. Be RECEPTIVE to tease . READ other books and thats and ancyaethem rag REC RCOGNE Ins land throw out the bad. Leam to be RI Se ae ene REPUTATION. Have RESPECT for others. RESPOND urteousy Oyo seniors, Fearno one but RESPECT all, Be gentie among friends but ROUGH when in combot. REACT auicky In ci cts, RISK is advisable when all avenues of caution have failed. Practice SAFETY at all times. SANCTION the practical and the realistic. Oursystem is GSCIENCE, ores eee ee ee Keep SERENE mind. SHUN ots, SELF -DEFEI NSS commonsense. SIDEwithno until hear both stories. Teach SIMPLICITY one i you ‘then SOPHISTICATED ‘SIMPLICI Loreen inyourmovements, somesNAPinyour action, Be SOLID ‘for SPEED — wil fe ti your foundation. I Leam fo STABILIZE your moves, STUDY ail concepts ar iples of the Art. Think bros do. SUPPORT Your dado Gr oysem: onsontiy develop NaOP Your TALENTS Les Less TALK more action. Be THANKFUL for what at you have. THOUGHTFUL to others. Be THOROUGH in your guest (or inowlodge Be TECHNICAL os you become nced. TEACH and leam. Never TELEGRAPH Your ov moves. Let TIME be measurement to skill and experience. Practice TOLERANCE. ISt- TIONS are the: rian ot bnagotochicues TREASURE what you are leaming. Avoid TROUBLE. 7Green Belt Journal Prerequisites U_ Be UNDAUNTED in combat. Do not UNDERESTIMATE your opponent. UNDERSTAND that whichis taught. ' Create UNITY among the Agectation troupe ‘The UNIVERSAI pation contains many truths. Vente truths: rough study. UPHOLD Ins Gonchese se mee V_ Oursystemhas: ‘VALUE. | MOUS ae eo sstS: oe ohistar, Shak ‘creativi enon a WoRO Brocton raw Tove VALI ato VIOLNCE and ice ne hood VOLUNTEER to cid your superiors as well as understudies. W WAGE peace not violence. WALK tall aera me Ce WANT ANT of need, not of greed. Be WARM toward others. WEIGH the: intoaction. oo HL POWER ENS mer that drives action. tain WISDOM in all of your activities.Green Belt JournalGreen Belt Journal Anatomy ° Vital Targets (Front) me W.N:] 400 .y . FACIAL VEIN . TRACHEA, . HEAD OF HUMOROUS TROLS BRACHIAL AV) ea eer) aaa ma ma ges SN aod 11Green Belt Journal Globelia One Finger Thrust, Rupture, Infection, Two Finger Thrust, Temporary or Middle Knuckle Fist, Permanent Loss of ' Thumb Hook Eyesight, Possible a ____|__ loss of Eyeball ] Facial Vein Middle Knucke Fist, Contusion, Possible Backfist, Paralysis, Hammerfst, Unconsciousness and | Handsword, Back Rupture Elbow, Heel of Foot Trachea Finger Thrusts Various pain, Methods, Three Gagging, Nausea } Finger Claw (Using i the Tip of the Middie Finger), Middle | Finger Fist Head of Humorous| Normal Fst, Temporary Paralysis Hammerfist, Elbow | Knee, Heel of Foot | Medion Cubital Middlle Finger Fist, Severe Pain, Brachial Backfist, Elbow, Possible Fracture Heel of Foot | Middle Rib Cage Normal Fist, Middle Pain, Possible ee Between 7th & 8th knuckle Fist, Fracture, Possible | |e ibs) Backfist, Elbow, Death | 12Green Belt Journal Vital Targets (Front) MedMedian Nerve Normal Fist, Temporary Paralysis Hammerfist, Handsword, Middle Knuckle Fist, Backfist, Knee, Bail of Foot, Heel of Foot (Varios Sides) Upper inner Thigh Normal Fist, Pain, Temporary Hammerist, Paralysis Backtist, Middle Knuckle Fist, Elbow Ball of Foot, Heel of Foot (Various Sides) 134 5 & aa rae Fr eo - rs Green Belt Journal Anatomy ° Vital Targets (Back)Green Belt Journal Vital Targets (Back) Epleondyle Backfist.and Thumbpress Pain, and Numbness Uver Nomal Fist, Backfist Severe Poin, [Severe Pain, Temporary Hommerfist, Elbow, Knee, Ball of} Paraiysss, Physical Foot. Cokapse, Possiole Rupture Ebow Joint Harmerst, Hansword, Heel of | Severe Pain, Possble Palm, Outer Forearm, Knee, Foot Possible Fracture Scladic Nerve Normal Fist, Middle Knuckle Fst, Pain, and Temporary Backfst, Elbow, Knee, Bal of Foot, Paralysis 15Te = (erect Ms (mU Lop tiwet-l AGGRESSIVE OFFENSE - (1) The activation of the fist attacking move without your opponent being aware of if. (2) An example of one of the three definitions that can be applied when executing an upward block. ANGLE OF OPPORTUNITY - An angle which, when faking advantage of any and all of the “angle” classifications, results in the success of the effects desired and/or intended. BACK-UP WEAPON - A secondary weapon that Is available and ready to use. BODY MECHANICS - The technical utilization of the body in the science of motion and action, that allows the forces therein to be fully maximized. In short, highly technical knowledge of the proper use of the body in reaching or obtaining maximum results. BROKEN RHYTHM - Erratically timed movements that follow no set beat or pattern, but which can be deliberately used to deceive or interrupt the action of an opponent. A simple orciogy — the pre-meditated use of stuttering motion. This term Is related to DECEPTIVE TIMING. (See DELAYED MOVEMENT, RETARDED MOVEMENT, and STUTTERING MOTION.) COCKING CHECK - The positioning of a check that remains in an appropri- _ oe 80 that It is readily available for an immediate attack or counter fac ee “AWARENESS - In tune with what is or can be expected in a realistic ight. COMPENSATE - To move in such a manner that ROOM FOR ERROR, or adjustment on the part of the deiiverer. is allowed, CONDITIONED RESPONSE - An ingrained response to a given variable. CONTOURING - This concept involves 7 the outline of your or your opponent's body as a homing device or guide to accomplish certain feats. The concept is divided into two basic categories — met that employ ay bed contact, or (2) non-body contact. Under body contact you have LAUNCHING, where the surface of your or your opponent's body is used to ricochet or bounce off of prior to. wee to your primary target. Another method employing body contact is LEVERAGING, where an oR onent's body is used as a fulcrum to enhance your action. A SLIDING CHECK employs constant body contact as it moves from one leverage point to another. The FRICTIONAL PULL is another form of contact that can be employed. Although I is used differently, it resembles a SLIDING CHECK. TRACKING or GUIDELINING involves sliding along the CONTOUR of your or youropponent’sbody which acts asa guide to your target. While bothtems, 16LCryeresr Ms oto) lme lel ttw etel | Terminology could be used pale costae iL re requires specific methods to insure rectsioned accuracy, |weapon tides, racks, and inches its way othe lenge) os Fine iechnieue DANCE OF DARKNESS untisone hand inches its way Up on the arm that remains af its target). GUIDELINING requires that a natural follow a wider surface area, when (asin the technique DANCE OrD DEATH where the enfolows th the pantie sates of the hip and thigh on its way to the groin), THREADING Is another contact means of CONTOURING where the ht of your body Busedtto guide thonatura weapon of yourchoice fo sarge. Ths con only occurifthe two boy parts that form the joint meet each other at specific 80.8 fo warrant ifs use. Unlike TRACKING, {where henaiuzal weapon inchesis way fom onespot fo anather as trae tothe large, THREADING requires that the naturel weapon remain on sie eas concer ck. BE CNA. PUZZLE PRINCIPLE, Other contact methods come in the form of ITATIONAL (CHECKS and PRESSING CHECKS that use the contour of the. Boo) focouse he effect desired. N contact methods can be found under the topics of COMPLIMENTARY ANGLE, ANGLE MATCHING, SILHOUETTING, FRAMING, SYM- METRICAL, and CORRESPONDING ANGLES, CONTROLLED RESPONSE -Theregulation of one’sactionssothathe does notreact Brematurely unnecessary orfcokshy. nssespecialy musifanopponentshould employ DEAD SPACE - (1) The gaps between moves in a technique sequence. Itcan also be thought of as unused points ona circle, orcircles, of motion. The filing of DEAD SPACE is the active use of the ple of CONTINUITY OF MOTION. action is termed SEQUENTIAL FLOW. (2) Areas Es zones of refuge where one can seek SANCTUARY. See ZONES OF SANCTUARY. Dee re rf tre pte ee = oo Bia Rme Toe DEFENSIVE OFFENSE - Execution of a move which is both protective to you and simultaneously injurious fo the opponent, DEFENSIVE PERSUASION - Refers to the forcing of an opponent fo 2 defend a particular area, in order to effectively create an opening elsewhere. DEPTH DECEPTION -Conaitionir fopponentioacceptanestablished depth range, then making a switch Not wi lengthen or shorten that range when he least expects it. 17(Crysis sie) ime Ley ti wets] | Terminology DEPTH PENETRATION - The concept of going beyond the point of contact when striking with a weapon. DETAINING CHECK - Isa momentary block that occurs duting the execution of, ond ce 9 resuof the path ofa sike being delvered to a selected target. A ricochet example of this principle. See OFFENSIVE C! ! : RICOCHETING BLOCKING STRIKE” 1 ie DISTRACTION ntenttonalmovecrmoves sedintteestyie orcombattodivertine | eee aN ge Res See cl ceee EE can allow you favorable access fo 1 & MOVES and ACTON. POUBLECHECK ‘Hs heexecutionofasingle simnuitoneous, delivery hinders, TO NGVONCR OPT Tomtekingoetiontorn rn frommorethan, | one one leveose point. : DOUBLE COVER OUT - A single crossover step through reverse, with an additional . step through reverse, to reassure greater distance peta jou_and proce of | rere This Te epee core bomen bee encompasses two Tdeyes cnclescons bchehe re 30 aes t totels scanning advantage, FAMILY RELATED MOVES - The use of the same move or moves against a number of predicaments that are paslcaly similar in context, but so often overlooked os. similar in principle. For example, th onewer fo a writ grab can (vio sh lant it’s wrist while strikir cecil Re lgnt othe ebow eg Thocnweriog } Se rhug” ams free, can also work if the arms were pinned, orif the hug wos | converted into a “Full Nelson”. [ FLOWERY - General refers fo fancy movements hat look prety, but fll short of | pe practical FULCRUMAING) -Spectic areas of the body that are used as supportinglever | be poinls, and help increase the effectiveness of our octions, See LEVERAGING.” E GAP- The existing distance between, or that separates, you and your opponent. GEOMETRIC LINE - The concept of visualizir line that a weapon (natural or otherwise) or block must travel to reach the desired target. Line, in Kenpo terms, is one-dimensional, ‘ond refers to the course of a single point on a block or strike | Qs it travels toward a target. GEOMETRIC PATH - The concept of visualizing an entire limb being used to block . or strike with, rather than just a of is concept allows a greater margin } “ forerror, sheets he sro pathol the ceton tnaryonens toconeuoleroralee 18(Ci vroorw si lme epi wrt-l Itworks on the “SQUEEGEE PRINCIPLE” where it’s not the outer ends of a limb that are utlized, but the entire area between the ends. The outer boundaries of the ‘action form the geometric lines, while the area between the outer boundarles constitutes the path. instead of following geomettic lines, we should all leam to employ geometric paths. It insures better protection, This principle can ako be paralleled to the concept of UPPER AND LOWER CASE. HIDDEN MOVES - Dormant moves that remain concealed until you activate them within the sequential flow of your self-defense technique. These moves have always existed; however, until the IDEAL phase of your self-defense teghnique, isintermalized you cannot effectively include them aspart of your WHAT IF phase of pocwrecge: It is knowing how to compound the tech- niques that enables you to bring these hidden moves tothe surface. Tostate it differenity, HIDDEN MOVES are sophisticated additions that canbe readily Inserted within the flow of a prescribed technique. Although Reems for these “moves within moves” fs inherent In each technique, they are ex- cluded for beginners, and_will remain hidden until the student is sophisti- cated enough for thelr introduction. Technically, the use of HIDDEN MOVES is the same as COMPOUNDING a technique. IMPACT ADJUSTMENT - The ability to readjust your balance at the time of impact or contact. Consideration must also be given to the proper use of body alignment so as to decrease the possiblity of aU when contact Is made. The term is also related to BALANCE COMPENSATION. LEFTTO RIGHT - A fighting position where your left foot is forward while your opponent leads with his right foot. LOWER CASE MOVEMENT - Moves that employ, among others, the SQUEE- GEE PRINCIPLE, GEOMETRIC PATH, REVERSE MOTION, and ECONOMY OF MOTION. Here, another portion (lower) of the initial blocking or striking arm, orlegis used in a combination, either defensively or offensively, because of otentially superior ANGLE OF ENTRY, ANGLE OF CONTACT, ANGLE OF INCIDENCE, ANGLE OF DISTURBANCE, or closer proximity to the next target ‘or weapon. See UPPER CASE MOVEMENT. MOMENTARY CONDITIONING - The ability to condition 7 appenent to expect one thing, then surprising him by unexpectedly switching your strategy. Changes in bee actions then allow easy access to other vulner- able targets as a result of his conditioned reaction. OBSCURE ZONES - Those areas of space that are outside of the boundaries of our peripheral vision, These zones of space are BLIND SPOTS from which action can originate, and be delivered unchecked. Movements involvi the penetration of OBSCURE ZONES are more offen than not calculate movements ullling deceptive angles, Footwork becomes increasingly im. portant when penetrating these zones, especially when the related DEPTH 19Green Belt Journal Terminology ZONES affect your critical distance. This term is also known as ZONES OF OBSCURITY, baad ‘ADJUSTMENT - A slight degree change when alleting the orbit of your action. PENETRATIONPOINT- Animaginarypointthat ‘extendsaninchortwobeyondyour selected target. Visualizing this point teaches you not fo fense your arm oF leg Prematurely when punching, kicking, strking, el, Following this principle wil no} ‘only enhance your speed, But will proportionately add power as well. PHONETICS OF MOTION - Teaching a move or moves in progressive stages fo get the maximum force from ifs execution. It is a method of teaching students movements BY-THE-NUMBERS. POINT OF CANCELLATION - Neutralizing point or position that nullifies a threat even if it is for a brief moment. PULL DRAG - A type of FOOT MANEUVER that requires the supp ating, legto pull rather than push when executing this particular method of SHUFFLING. SEQUENTIAL FLOW- Thisinvolvesutllizing every conceivable natural weapon Logically available within the movements of a technique sequence. Taking advantage of every natural weapon during the, progress of your technique sequence not only allows your moves fo flow with continuity, it teaches you how fo properly COMPOUND A TECHNIQUE. SETTLING - The gradual sinking of your body weight and height each time you alter the width or depth of ee itis a method of solidifying your base. When you solidify your base you stabilize it. This subtle maneuver adjusts the height, width, and. spin: of yourstance,and helps increase your pantie ons rength. GRAVITATIONAL MARRIAGE occurs with eachheight adjustment, SLIDING CHECK - A specialized PINNING BLOCK that travelsonanopponent’s body by sliding from one leverage poin! to another, During the Course of each slide, constant body contact is maintained (body contouring) to avoid retaliation, This is technically a form of CONTOURING. SOPHISTICATED SIMPLICITY - The ability to compound simple basics into ‘multiple action. Movesthat appear to have only one purpose, buf actually produce a number of results TAILORING - (1) Fitting moves to your body size, makeup, speed, and slrength in order to maximize your physical efforts, (2) Adjusting your mental and émotional alfitudes to fit each given situation 20Green Belt Journal THREE POINTS OF VIEW - Each and every predicament may be understood from three points of view. FIRST POINT OF VIEW - It is what you observe from your point of view, Your understanding orawareness of whatis before you, what actionyouare Initiating, and how your opponent Is responding fo your action. + SECOND POINT OF VIEW- This refers to your opponents point of view. It s what he sees and how he plans to react fo what you are doing to him: 'f his point of view Is considered in terms of what he can do fo encounter you and the openings that can result from such action, your chances of survival will Increase proportionately. sTHIRD POINT OF VIEW - This refers to a bystander's point of view. [tis how he views the encounter. As you develop sequential pattems of defense and offense it is highly recommended that you consider his point of view forit may reveal other existing opening or uses of natural weapons, that you may have otherwise overlooked. This point of view increases your ability to observe additional openings or counters that you may have missed if you were only to consider the FIRST and SECOND POINTS OF VIEW. UNCOMMITIED ACTION - Moves that are not committedto ‘taking a specific course of action. Freedom to take action at any time, to any target, In any manner desired. UNIVERSAL BLOCK - A specific block that simultaneously employs two types of arm blocks to complete the defense. UNIVERSAL PATTERN - A three dimensionalpattemofmovementsconcelvedand developed by Ed Parker as adirectionalkeytomovement. This extensive pattem is c.useful lear tool to enhance students’ knowledge of motion. It is also a design that can aid youn systematically undestanding the interelationship of linear and circular movements and ihe Paths in travel. Once understood itcanbe appliedtoself-defense ues, forms, .Ctc.As ou team to conelate moves within the pattem, al moves become tinctive and spontaneous. You must not, however, caught up in the manner of study, but the reasons involved within the a UNUSEFUL- Movements that may not be useful in one| predicament, butcan be in another. They may be unuseful in one combat situation, but positively effective in another. UPPER CASE MOVEMENT- (1) This term refersto the fact that movements, ike the letters of the alphabet, can have UPPER (CAPITAL LETTERS) and LOWER (small letters) CASES, (2) This concept also closely paraiels the SQUEEGEE PRINCIPLE. For example, if you are blocking a high strike with the hammer Portion of your fist, you are urged not fo use the same parl of your hand to o1(eh VeyeM si) lme Leb iw ately Terminology block a second blow that may be aimed at the stomach. Instead, you are. | urged to use the lower part of your forearm, since It Is closer to the line of } action ofthe second blow. and rors greater ECONOMY OF MOTION. The employment of an UPPER CASE MO’ ENT followed by a LOWER CASE | . MOVEMENT would have your arm following a path of action as opposed to: ees ‘a LA AAARGIG FoR eee Or otewy oy reater MARGIN FOR ERROR. 1H OF ACTION, SQUEEGEE PRINCIPAL Gna LOWER CASE MOVEMENT. | USEFUL - Any logical or practical move that can be effectively used. 4 USELESS This term isnot the same as UNUSEFUL. These ore movesthat arenot | be effective under any condition. 22Green Belt Journal Basic Concepts and Principles of Technique Maximizing a technique requires adherence to several basic con- cepts and principles. In fact adherence to one basic concept or oe willoften lead to the activation of another and thus cause a chain reacti | of positive benefits. Le ‘We admonish you to study the following basle concepts and prin- fee ciples to see how one principle can isgger or enhance the other in f increasing the effectiveness of your BLOCK or STRIKES from the time of ee ‘execution to a position of recovery and readiness. foe lo 1. ERECT POSTURE — there are many positive benefits derived in keeping c a ‘an erect posture: @. ithelps to maintain good balance by dispersing the body weight more evenly; b. it promotes ease of movement; ¢, it allows more options to make directional changes; d. it makes attacl and defending more effective: €. it increases peripheral vision which is especially important when two or more opponents are involved; f. it creates distance — man’s best friend in combat — and ces your forgets out of reach; and g. it instills proper form. 2. GOOD BALANCE — balance is enhanced by erect posture. The body, as well as the Joints. must be relaxed and flexible to insure good balance and It: g. prevents one from leaning: b. prevents one from overextending: c. insures proper weight distribution; and d. Is instrumental in executing maximum power. 3, RELAX — relaxing enhances good balance. When the body is relaxed it becomes supple. When supple it: . allows for quick reaction when attacking or defending; Gids greatly in the acceleration of your strikes: allows for immediate weapon changes: | allows for instant direction changes as if relates to orbit, height, depth, or width; prevents unnecessary mental and physical tension or fatigue; lessens the effectiveness of your opponent's strikes; and conttioutes immeasurably to fexbilfy of Both mind ond ty. Q@-9 aoga 23Green Belt Journal Basic Concepts and Principles of Technique 7. BODY ALIGNMENT — places angles into perspective. It compels body parts to coordinate to move in one direction (or opposite directions). Itisno more than angles in harmony traveling to the same target (or directly opposite targets) in the hope of maximizing your blocks or strikes (or combinations of both). Body alignment: 2. compels natural weapons to be supported properly — make sure that Ihe wet & shaight while you are punching and the ankle s slraight while you are executing a kick: b, follows the principle of back-up-mass; and cc. insures proper angle of incident — your natural weapon gets full benefit upon farget contact. 8. BACK-UP MASS — is a result of proper body alignment, When this occurs, the weight of your body positions itself In line with, and behind of, the action rendered. For example: (1) a punch delivered when the elbow is directly in line with, as well as behind of, the fist, (2) the bracing of one finger directly behind another when delivering a two finger poke, or (3) the forearm and biceps tightly pinched together when striking with the elbow. The following could be said of back-up mass: ©. it allows you to take full advantage of your body weight, when your body parts are in proper alignment; b. it centralizes your body welght so that If adds to the force of your action, when your natural weapons are formed into a compact unit and travel in the same direction; c. it reinforces the delivery of your natural weapon, when all of your body pars simultaneously move from thelr point of origin; ar d. it places your body weight in harmony with your action, especially when the principles of directional harmony and Point of origin are in perfect synchronization with each other. 9. ECONOMY OF MOTION — entails avoiding wasteful angles, and the managementof strength (power) in obtaining the most for youreffortsinthe shortest possible time. Economy of motion: @. makes one aware that time is crucial; b. unquestionably enhances speed: ¢. uses movements that follow direct angles and paths: d. eliminates telegraphing while following direct angles; e. teaches continuity, flow, and motion rhythm; 25Green Belt Journal Basic Concepts and Principles of Technique f. ; forces one to think logically; g. conditions one to employ sophisticated moves — block with a strike, not block and skike; and h, teaches you fo react with your natural weapons from where they are at the time of a surprise attack. NOTE: To understand the terms continuity and economy of motion more thoroughly, let us analyze the elements involved in learning to witte. Here again we find basic. imloritios in the study of the Martial Arts. We have already leamed that speaking language requires knowing the alphabels of that language. Affer you have combined these af abets of that language, you have created words. Phonetic, pronunciation is then neces- sarysothat youcanbeunderstood. Inshort,certainsoundsare giventoalphabe and words so that a conversation can be canied on. While leaming to wilte the English language, two methods of willing, printing and script are t Printing employs circles and straight lines whic! parallel and/orjoin each ofher at various angles and contact: ints, Althous curved lines are also used, they too, sometimes converge, end, or meet shale! it lines. Such writing requires ste ing one action before starting another. his bleu kee starting action ullizes staccato movements that lose time. i the otherhand, seript writing flows from one alphabet fo thenext faking lesstimefowrite. Thisistrue because script writing connectsstraight apd circular lines. Straight lines Joined with circular lines make it possible to write without hesitation. Even though the fines in scrip! willing often retrace their paths, one stroke doesnot have to stop before another begins. The flowis continuous and the speed enhanced. A Rood Martial Art system should contain all of the elements of printand: scriptwiiling. Itis acceptable fora system to commence with print elements Yo execute moves, but a well rounded system should untimely cultivate the ‘elements of script writing fo sophisticate and ut le Its methods. All systems should containlinearaswellascircularpathsforittakesbothto complement and balance asystem. Usingbothinsurescontinuity,economy ofmotion, and fighting, effectiveness. Further sophistication of the Art canbe compared tostil another! method ofwtiting—shorf hand. inshorthand, youhave combinations of printingand script writ ese symbolic charactershave been condensed in| rlengthand space ‘and their meaning increased. A dew strokes or simply characters may have: Jengthy meanings. Likewise inthe Art,onepunch mayhavetwoormore effects. ttmay change a defense into an offense orthe reverse, a double defense with asingle offense or the reversed, or other ike combinations. Hereagain individuality becomesapparent. £achstudentbasicatlyleams identicalprocedures. concepisandrudimentsofwrting yet afer develo his ‘ownstyle, hiswritingbecomes distinguishably different from others, Soitis witht Martial Arts — the same basics, concepts, and iples are taught, but a distinguishable difference is noticed in the application rendered by each individual student. 26Green Belt Journal Basic Concepts and Principles of Technique 10. TIMING -isaconcept thatincomporates the principle of economy ofmotion. Inessence iis he regulation of speed and coordinated effort insynchronization with an opponents movements, Perfecting this thythmatic marriage makes victory more of a certainty. Timing: a. comes with practice and experience: 'b. important during combat; c.aidsinthe development of economy of motion; dd. helps to nullify your opponent's efforts; @. allows youto take advantage of’ your ‘opponent's openings: f. increases your abliity to become illusive; g requires the perfectionof defensive andoffensivesynchronization:and , canineorperatevariousyitmatiopatiemsesamecrsofbomngvou ‘opponent. NOTE: ‘Broken thythm’ isc term that is used by Martial Artists to describe variousthythmaticpotiemsappiiedincomat, tisomethod usedtodisuptyout opponent'stimir jand though pattems lo worktoyouradvantage. Asimplified description w« be to say that "broken rhythm’ is a re-meditated ring motion purposely utllized to Jecjohyouropponentsesabished time pattem. 11. TELEGRAPHING - canbe used asa form of deceptive timing to distupt your opponent’sthought pattems. itis also.a form of body language whichcan work ceigainst you, The of course would depend upon your ‘conscious or unconscious involvernent Aspects to be aware of: 2. donot nol your oppanentofyourhentons suchasloo jatthespot youintend cht, cocking ourmovements prematurely, displaying Jelicle facial expressions, body gestures, footwork, etc. and .intemational telegraphing os part of your deception is permissible — deliberate angle deception can workin you favor. 12. COORDINATION — this} rocessinvolvesthesynchronization of body (strength), mind, andbreathso that iheyreactharmoniously andinstinciively. Htoftenentails not one move, but a series of moves in a precise time stot. Insummation coordination entails: a. movements brought into unison to accomplish a set goal: and b. the synchronization of your moves with the moves, tim and direction of your nt fo enhance your defense or offense. 13. FOCUS —istheconcent nof mind, body, breathandstrengthcuiminating 27Green Belt Journal Basic Concepts and Principles of Technique cat the exact same instant when blocking or striking a specific target. The following could be said about focus: 2 while coordination is the synchronkzation of mind, body, breath and strength, focus is concentration of the same force. b. through coordinatedsynchronizaion and fecused concentration powers generated: cc. the greater the concentration of focus, the greater the power; and d. true focus involves concentration of the entire body and not just the point where the natural weapon and target. NOTE:Focusshouldnotbesointense that defenseisminimizedorforgotien. ‘Allavenuesof protectionshould be considered ataltimes during combat. What ishenecessay ingredient curingafocusedstike? Total andcompiciecombal awareness. tory as your goal never execute afocusedstrike without fist being aware of your opponent’s intentional or unintentional moves, nor should yousveriook possible environmentalencumbrances. ‘While focusing, employ the “Black Dot Focus” concept; that is, visualize a black dot on awhile background, Have the black dotrepresentatargetandthe wiilebackaroundawareness Thisconcept encouragesyautoshikeyourtorget whle youare compjetelyawore ofyourentesuroundings. Youare ooniicinate the inevitable and be prepared. However, do not et the reverse occur. Donot earache nrc emulate effort. Martial Artisis who focus ona target with no regard to self-protection are advocates of the "While Dot Focus” concept. All they see is the target. They become oblivious of their opponent's movements and other environmental encumbrances. DO NOT follow this concepI. It would be sure suicide, 14, POWER — is the magnification of force aided by concentrated focus. It’s capacity is proportionate to the physical strength, force, or energy exerled. Interns of power: a. allow speed to accompany the focusing of your strength: b. never prematurely tense forit retards power: c. regulate your power to the situation — never overuse it; ond d,_ use discretion when you are employing power — inthe process of utilzing it, do not allow itto cause injury to you. NOTE: Many hard style schools ofthe Marlial Arts place great emphosisonpower. Their philosophy — nomatierwhatthe circumstance, maximum powerisamust with every strike. Speed and target exposure are minor considerations. Power ules, power conquers — so they believe. ‘Again let us use simple and logical analogies in examining the use of power. Do we have to use a hammer fo pound a thumb tack info the wall? oa oo : 28Green Belt Journal Basic Concepts and Principles of Technique No. a pressure from the thumb will do. Dowe need a sledge hammerto ound a nail and possibly demolish the area surrounding it? No. A normal tap with a hammer will do. When we hunt wild ce for food, do we use a five inch cannon? No, a rifle will do. In fact a rifle had better be used if we intend to have any game left to eat. Likewise, we must use discretion when emt ing power. We should never use it needlessly, never expose our target areas unnecessarily, Nor sacrifice speed for power. In fact, practice will prove that speed is a contributing factor to increasing power, 15. TORQUE — is preliminary stage of focus that adds to power, It is the utlization of rotating force to position the muscles to allow for ease of movement, extension, body flow and increased power. This twisting force aids in the development of in place body momentum by actively engaging various body parts at different levels and time Intervals, For example, while you are puncl , the foot rotates before the hips. then the hips rotate with the shoulders, as the fist rotates simultaneously, but is Slightly ahead of the elbow, Thus, torque comes not only at different levels and time intervals, but at various speeds as well. Torque: 9. Banecessary step contibuting to power: . takes place af several postions on the body to complete the Gores power Roma sales of tating body part o derives series of fo s d, canbe combined wiih other forces: pro create power = gravitational maniage and body momentum; 6 may le he effectiveness ofyourstikes a vatous depin levels: a {. must be executed with vigor and speed. 16. _ BODY MOMENTUM — is a concept that utlizes momentum to increase ower. the uniting of ind breath and strength while suing forwarc orn Teverse with the welght of the body, dropping the weight of the body vertically or diagonally (gravitational mariage), and rotating the body. Bodymomentum: <. priory dervesits power rom horizontal movernent (using the imension of depth); b. uses foot maneuvers (stance transitions) to complete your move; «: canbe derived through Gravitational Manage (using the imersion ; yi d. canbe ob [through Body Rotation (using the dimension of width): e ee ‘all three methods obtained through depth, height, ‘and width: 29Ler TM some (elit wet) | Basic Concepts and Principles of Technique tively initiate or defend against on attack is known as the eritical distance. Working within the realm of your enitical distance requires effective body and foot maneuvers synchronized with the varied methods blocking and striking to insure success. Distance; @. can safely keep you out of reach: b. can be closed to jam or check an opponent's natural weapons; ©. determines the use of long, medium or short range natural weapons; d. can be regulated through the utzation of he concepls of transition, body momentum and gravitational mamlage; and @. is assured when employing the concept of cover. 21 GOVER — this s a form of transition that leads you back to a postion of combat readiness isan evasive transition that checks youropponent'saction and places you in a preparatory position to once again defend or atiack. Other plus factors: 4. assures you a safe distance; b. insures against vulnerability; ¢. 18 a safeguard against injury: 4d, keeps you in readiness for another attack against the same individual or other who might also be involved; and e. isa good habit to develop. ee fee The aforementioned concepts and principles were examples of what lies ahead. They were discussed to demonstrate how one basic concept or Principle can chronologically trigger another. When such a chain reaction of concepts and principles occurs, it not only addsto the continuous flow of uninterrupted action, but residually helps to maximize all efforts. We cannot overemphasize the value of concepls and principles. As yourexperience, knowledge, and understanding of principlosincreases, you wil discover, as we have, that they become technical fools that help retine Your movements. Technical refinement is the key that elevates you from being asalesman of motion, to being a mechanic of motion, and finally fo on engineer of motion. You will also leam that an in depth study of these concepts and principles will also make you aware of the importance of TAILORING concepts and principles fo the needs of each individual 31Green Belt Journal Speed To understand Kenpo techniques and how they function, you must have knowledge of physics. It is the study of our body and how oursenses, through the use of mathematical laws, theories, concepts and principles of mass, speed, body alignment, angles. body’ momentum, gravitational marriage, rotating force (torque), focus, stability, power, penetration, eic., can make our body function Intuitively. An in-depth study of these theories, concepts, and principles of physics will also reveal the sophisticated basics that are contained within embryonic basics. “He who hesitates meditates in a horizontal position”, is a statement luse to imply the need for prompt action. Itis a statement referring to terms related to speed. “Do it now”, “I want it done this instant”, “be prompt". “you'd better be fast”, "be quick about it”, "you must do it rapidly”, “it fepends upon the swifiness of your action”, are terms that imply speed, or act to hasten velocity irrespective of direction or dimension. As we study these terms we learn that they are concepts related to distance and time. By definition speed is equal to the distance divided by the time (s=d/1) it takes to act or move. : Speed, however, goes beyond the definitions described. Like the Eskimo who uses a number of terms to describe the types of snow, we, too, must distinguish and categorize speed to make it meaningful to the Kenpo: enthusiast. There are three categorles of speed — perceptual, mental, and physical (body performance). However, although categorized separately in order to analyze what speod entails, they nevertheless function as one. Perceptual speed is the quickness of the senses to monitor the stimulus that it receives, determine the meaning of the stimulus, and to swiftly convey the perceived information to the brain so that mental speed can parlay the response. To the Kenpoist, it is the fee! or smell of trouble, a sound that detects trouble, a sign or gesture that suggests trouble, seeing the incoming strike, the inviting opening, or the ortunity to attack or counterattack. Speed of this type can be increased by maintaining alert- Ness and by conditioning the senses to harmonize with environmental awareness (see Volume I, Chapter 11). Mental speed is the quickness of the mind to select appropriate movements to effectively deal with the perceived stimulus. Speed of this type, however, can only be increased by practicing the various aspects of Kenpo techniques on a regular basis. This involves learning the techniques to a point of total familiarity and instinctive response (mental speed) in nullifying the threat. As you broaden your knowledge of alternatives and can conceptualize the random answers that exist in your subconscious mind, your instinctive response (mental speed) increases proportionately when it is triggered by the perceived stimulus. Physical speed (body performance) is the promptness of physical movement — the fluency in response to the perceived stimulus. In Kenpo, ilisthe speed of the actual execution of atechnique. Speed of thistypecan be increased through stretching, body conditioning, and other proper methods of training. Stretching exercises help to increase elasticity which ‘automatically develops reach. Body conditioning prevents fatigue and 32a Te Green Belt Journal allows body speed to function for longer periods of time. Knowledge of the principle of economy of mation also conttibutes fo speed. tt avoids erroneous angles, ‘and teaches you how to administer your strength (power) in obiaining the most for your efforts inthe shortest possible time. This principle (1) stressés the Importance of being relaxed when striking — tensing only at the moment of impact, (2) makes one aware that time Is crucial, (3) uses movements that follow direct angles and paths, (4) eliminates telegraphing egy: unless used as a means of deceptive teaches (5) continuity, flow, and motion rhythm (a topic thaf needs further elaboration), (6) to respond from wherever your natural weapons are located at the time of combat (point of origin), no matter what your, or your opponent's, body position may be af the time; (7) target accessibility and the distance, orrange, that @) ween your opponent's Yfargeis and your natural weapons, (8) the time it will take fo get to the target of your choice, and (9) to also consider the speed of your opponent's action or reaction when analyzing economy of motion. A concluding note — while body speed often er ces power, itis without doubt not the root of power. Synchronization of body mass and speed are two of the major ingredients that add to creating power. 33LCi M sis (me eet wery | Power In A Kick fo Whileinaneutralbow andarowstance, facing 120’clock, executea front } bod sroppingballkick with the recr leg, Aa lenui pase bed Henrie j p that should be studied to aid you in the exect of the kick. Itis only a starting list to stimulate your thinking As you can surmise, there are many other principles. Please add to the Ist, as you discover them. 2. Bost fotation 2. Body! 3, Low: Serra: 4. Constant Head Level §. Compact Unit 6. Relaxing & Tensing at Proper Moment 7. Back-Up Mass 8 ‘Contour ee a 13, Proper Widih at Proper Moment | 14, Breathing - Exhale 16 breathing: leattte Breathing Sync | ‘ Breathing -Kenpo Explosion a 19. 2. ae aS SS ae 35Green Belt Journal Theory Of Falling, Diving and Rolling FALLING, DIVING, and ROLLING are essential ingredientsof the Martial Arts. While most people associate falling, diving, and rolling with Jiu-jfsu, Judo, ondiAkido Kenpoako encourageststudy andpractice Sinceihe ground canbeanenemy, knowledge offalling, diving,androlingcanavertinjury. Let us fist examine the terms themselves, to see how they differ, and to highigh!thelrmet's FALLING sa type ofBODY MANEUVER where thebody dropsto the ground: (1) fo avold beinghit (defense), or(2) afterbeinghit or thrown (offense). If basically entails the feet remaining on the same spot, although it is not the case when thrown fo the ground. Analyzi technically, FALLING is an exaggerated method of RIDING an attack. It entails going with the force asyoulandonyourback, side,orstomachand, therefore, canbe categorized as being a Inearmethod ofimpacting the ground. Although RIDING normally occurs while remaining on your feet ft Con be combined with FALL. ROLLING or TURNING can also be applied and coordinated with o FALL Since we donotremainupright while FALLING, impact withthe groundalso dictatesthatweconlemplatemethodsoflandingsofely.isimperativethat weleamto(l) dissipate the forceofthetalltoreduice orimitinjury,(2) contro! ourbreathing to limit ourloss of alr upon impact, and @) make every effort foquicky regain a proper defensive posture and/or position. Another aspect associated with FALLING is the proper use of aKIAI. Since employing the KIAI reduces natural buoyaney, exhang on impact pre- venishilting the ground with airstillin the lungs. Ifthe lungs are even partially : filed with air, the possibilty of obtaining broken tibs stil remains, When the a diaphragm is distended, os itis when air is in the lungs, lightening of the abdominal musclesis limited. Onthe other handltighteningthe abdominal muscles dung a FALL minimizesinjury and lessens damage by helping the body toabsorbshock. Tofurtheraugmentihe body’ sabilty to. shock, itis necessary to TUCK the “hard comers” of the body (head, shoulders, elbows knees, etc, towardthe moremuscularareasofthe torso. Thisallows the body to forty the muscles —tosupport andbrace thejoints ofthebody por fo mpact wih the ground. This ermation of bracing enles nt only decreases injury, but places the body in proper alignment fo defend or attack withincreasedeffectiveness. Disspating yourFALL necessitates clstibuting theimpact (withthe ground) toother surface areas of your body. Itrequires transferring the shock ofthe impac! lobody par'sthalleadaway fom he vill . Ofimportance are body limbs. Body limbs play an integral part in disbursing shock. This is accomy by allowing your relaxed, but extended arms and legs to break the FALL a fraction of asecond prior to the body hitting the ground. This almost simultaneous contact of the torso and limbs acts as d shock ‘absorber tohelp cushion the impact, The limbs ore literally usedito slap the ground, Slapping disburses the body weight over a wider surface — like aa : ae es a eee ae 36Green Belt Journal Theory Of Falling, Diving and Rolling having booktol ft tatherthan hitting its comer. Athough the arms ms and 3s loyedseparately, worktogether. Ifshoesare vm thbvnebtoplaiectine oonsorherenk rouenes sereevenmeee Concept, or principle has reverse and on opposte, the limbs can ational be used aggressively. Instead of breaking your F FALL on the und, you may a todirect lyourl FALL to an opponent already on the geundiinehepe hurling him, Through ine use fpropertinng, Power great eneratoc gravitational marriage dur ‘cour the FALL ercombinononsusedio break the FALL yournust quickly convert youraction intoa Se pesfional check. Dr Drawing yourkness andin a keeping the ams tuct nepstop lect you from an opponent's continued attacks from a standing pos . DIVESare' methodsthater . Themovesare quite exaanerled onda eed oC owen nse) tiack (Bwoincergincion withanattack, or canbe combined defense andoffense. Because He sosascperatoy. Thechiefe icteristic of aDives Seri se Hef characterisisofaDNets of oringhecd oraicer hob DIVE, the head | forward followed by the feet, Atacertain; periog ofthis DIVE, the ‘ofthe feet raises above the levelofthe head. itis thisrelationship of height — the feet beinghigherthan eS — thatseparatesa DIVE from a JUMP. Methods of JUMPING, such as leaping, hoppin: Jumping side kicks, etc. do not have the feet go above rei level of he chest The same logical assumptions that are associated with a FALL, in terms of requeing injury, Oo late fo DIVES. While Qa Jed traerancdl tne oy yourarmsto se ‘your nes bei Beimod BivesarsllouedoyoROU ethemorenh lum of fhe DIVE and hat disburses the weight throughout the body upon impact, thus Rudrg shone andinjury. ROLUNG is basically of two types: ie cna kan sneceway fe compas he avoid an altack whereby a ride and tum is nece to complete maneuver. (ifisakoarevovingricneuverwhich uses ogou from one point to another. itis the continuous, revolving: flow of ‘Of Seton ‘Net helps to cushion the impact of the body when meeting the ground. This revolvingmaneuvermay be usedto. lanattackby creating distance, or used fo strategically move into an attack to close the distance as well increase the force of your counter. neither case ROLLS revolve from a 180 degreeradiustoa3é0degreeradius, Itisacircularmethodofimpa impceingine ground, ROLLS have the same flexibility as other methods and can employedwhile simultaneously counterattacking, oareccyponietour, YOu.Gan rol away from, or into, a situation where the roll uses a vertical forquing actiontoincrease body momentum. Asareminder, ROLLINGCcan be done in place, or when coordinated with FOOT MANEUVERS using the ground fo move you from one point fo another. What has been stated, however, isnot to be confused with ROLLING CHECKS, 37Green Belt Journal Theory Of Falling, Diving and Rolling oe a there are front), and the back head Stocieo othe kon side, rorback using venous porksor ine boty to Falling, divir rolling are ofseveral varieties. There are back. front,and els. nihe cove of head and shoulder ‘and chest dive. Rolls can be andcradie’ ‘action. Close examination willrevealthat rolls arenomore than a continuation of a dive. Qtherfoot and body maneuvers arenecessary inquaranteeing the results offalling androlling. Step —thrc s, shuffles, crossovers,JuMps, fing, etc. may Ise necessory prefiing or suffing a fall dive, oF aie fo achieveitsusefuiness. GreceiOotond maneuversmay! combination deemed necessary to serve the purpose. aes may use wr casach combinationsasafrontdive, comveriitintoatip, eon an whose ak recor .convettitintoaroll, thenconclude' withast Tall he cortbhrctons ou choose seould opproptatey tthe anGreen Belt Journal Required Techniques tn the order they are to be taught) > OpTiowaL 3 1, OBSCURE CLAWS- Right Flank Left Hand Shoulder Grob 83 2, ENCOUNTERWITHDANGER-Front Two-Hand Push 283, CIRCLING DESTRUCTION - Front Left Step Through Punch 8% 4, DETOURFROMDOON- Front Right Roundhouse Kick 4&5. SQUATTING SACRIFICE - Rear Bear Hug—Arms Free 3+ 6. ESCAPE FROM DEATH- Rear Right-Arm Choke “#7. BRUSHING THE STORM- Right Flank Right Overhead Club 4 8, MENACING MWIRL-ReorLeft Hand Belt Grab 83 9. LEAP FROM DANGER -Rear Two-Hand Push FE 10, CIRCLES OF PROTECTION - Front Right Step Through Overhead Punch 83 11. CIRCLE OFDOOM- Front Right Straight Kick 53 12, BROKENGIFT-Handshake 13. HEAVENLY ASCENT-Front Two-Hand Choke—ArmsStraight 3.14, CAPTURING THESTORM - Front Right Overhead Club 3 15, CONQUERING SHIELD - Front Leff Stiff-Aim Lapel Grab 83 16, TAMING THEMACE- Front Right Step Through Punch 83 17, TWIRLING SACRIFICE-FullNelson 83 18. CROSS OF DEATH- Front Two-Hand Cross Choke B® 19. SECURING THESTORM - Front Right Roundhouse Club 99 20, INTERCEPTING THE RAM-FrontTackle 3 21. KNEEL OF COMPULSION Right Flank Right Step Through Punch B? 22. CLIPPING THE STORM - Front Right Thrusting Club ®® 23,GLANCING WING- Front Left Uppercut Punch BY 24, BACK BREAKER - Right Flank Right Step Through Punch 39: —— Se = a mene Eerenae aS Green Belt Journal L.Obscure Claws (right flank left hand shoulder grab) a |. Standing naturally, and with: opponent banrtnd sheet eb lopeaigi ducer tept desbeekthyciig toward o’cloc nent’sleftleg)into geinedtabowtanra to, loci Senuoncousy wih theright your ight hand circles clockwsse. Gee clans Ono ouwerd eeatowamennente youropponent face: Folowup me. diately with a left inward claw fo your opponent's face, (your ‘opponent’sheadshouldsnapback),and continue themetion of Year afl hand fo fin your opponent's let hand fo your right shoulder. . Without hesitation, step forward with your right ae toward 7 9’Clock into o igh neutral bow os you delver aright uppercut forearm stke agaist the elbow oi Styouropponent'sket arm. Your left hand continues to che Jep forward toward 12 o'clock with your left foot into a trans jional att neutral bow, andimmediatay plvol fo yourightino o tight forward bow (facing 4:30), as your right hand reverses its motion, ond circles courterciockwte in in a tight Joophg back knuckle strike fo your opponent's imuttaneously delve a ell Inward hoizonial hee! pain thrust (with fi Ponting cway from you) to your opponent's solar plows. ‘opponent should bend forward at the waist |. After following through with your right hand, reverse its motion, ‘and snap a rd inverted midale-knucke fst fo your opponent's stémum. Execute aright front crossover, and cover outtwice toward 10:30. anGreen Belt Journal 3.Circling Destruction ¢ront left step through punch) 1. While in a right neutral bow (or standing toward Pagecteuts WOtootnnS cet revircibow th With this step, execute a inward pany and left oulward pany combination tothe: ‘of your opponent sleffarm. (Youre and tnishespom up, oowsie connor ray, hookingontop of your opponent sie cim af is elbow, Continue the counter- fockwise circling motion of your right hand, c itintoa fight outward back Trelis ree your opponent's left lower ribcage, as you settle info your stance. (Your opponent should bend forward at the waist.) 2. Shift your left foot toward 4:30 into a tight f forward bow (facing We Be as you execute a left inward horzo! ntal heel pam strike to 's face. COUNTER BALANCE this action by having you nga handsword cock at your right ear, (Your opponent’s ld snap back.) 3. While pivoting into a right neutral bow (facing 10:30), have your lehtrondclowaeresey Sur opp. onentsface. Asyousettiointoyour fneutrcibow, delver right hwordhandsword tothe le sle ‘of your opponent's neck. (The interim use of the claw should ‘obscure your opponent's vision, as well as tum his head toward you. Your tight handsword should stun your opponent.) 4, Deliver a tight front scoop kick fo your opponent's groin (from behind), esto thrust Cleft outwordl heelpalm: strike toward your t's left kidney. The heel palm strike should make contact 1/4 of abeat after the kick makes contact. (This dual action should momentarily immobilize your opponent.) 5. Plant your right foot back foward 4:30 into a left neutral bow (facing 10:30). Follow up with aleft front crossover, and cover out twice foward 4:30, Le = : 42Green Belt Journal 4.Detour from Doom front right roundhouse kick) | Whie in a ight neutral bow. quicky shit your let foot counter clockwise (Up the circle) foward 4:30 into a right 45 degree cat stance. Simultaneously deliveraleft Jockiotheinside ‘of your opponent’stightleg,asyou thrust aright verticalpunchto your sfc. (Thisshould injure youropponent'stightleg aswell, as dive his face back.) 2. From your: ‘45 degree cat stance, deliver a right front snap- pig. ball ideo your opponent's groin. (Your opponent should Nd forward at the waist.) . Plant your right foot toward 10:30 into a right neutral bow, immediately shifting into a right forward bow. With this shift, simultaneously execute cleft vertical punch to your opponent's solar plexus, ond a ight herlzontcl oreatm check to the top of your opponent's arms. (Your opponent should bend forward af the waist.) 4. Deliver aright back knuckle strike to your opponent’sstomach as your left foot begins to shift counterclockwise toward 3 o'clock into aright neutral bow (facing 9 o'clock. (Your opponent bends: further forward.) 5. Uetipbededdlote a Gownwerd jonthe back and Neon cr of your opponent's neck as continue circ! ir am Coun bockase, crddehverargh inwarioverheadnammertst to the back of your opponent's neck at the moment you settle. into your stance. (Your opponent should drop to the ground.) . Execute atigh front crossover, and cover out twice toward 4:30. » > 43Green Belt Journal 5.Squatting Sacrifice (rear bear hug-arms free) 1. Standing naturally, with your opponent applying a rear bearhug Cams fey, Soph your right toward 3 o'clock info a horse stance (facing 12 o’clock), as both of your elbows stiike downto your opponent's forearms. (This should loosen his grasp.) 2. Bending forward, squat on your opponent's right knee as you rab your opponent sigh! ankle withbothhands, ond puling up, Breen onto his back. The pulling and squai o could cause youropponent'sineetobreakbeccuse ofthe counterforce a r 10 the fall. Asyour opponent falls shiff into a concave stance B [Oprevent cn Angi of Eniy io your ron. 3. Immediately twist youropponent' right ankle clockwise (pushing own on your opponent's toes with your left heel palm, and puling up on hs anke with the fingers and pam of your right igi Usit sli Mss rahe ve above action, pee you legcircle clockwise (preferablyraking across youropponent’s face inthe proces), and plant your tigh fool foward 230 nfo a tight reverse close kneel stance. 4. Pivot into arright foward bow (facing 6:00) while completing the {wstingot youropponent sfentarkge. (Thisshould nowforce your opponent onto his stomach) : 5. Whileslifmaintaining the grab on youropponent'srightankle with e yourtight hand, step forward with yourleft foot Goward 4:30) info o Gleficlose kneelstance (paralleling theleftsideof your. Ss ie body), ond have your left hand grab your opponent's lefl wrist. C 6 fuppor your weight on your left leg, as you cock your right leg toe 7. Pulupwithbothof your orms,asyourtight foot stompstothelower fog spine of your opponent. (This could cause a spinal break.) 8. Execute a right front crossover, sweeping your opponent's left ‘arm down, Gnd cover out twice toward 4:30, 44Green Belt Journal 6.Escape from Death jignt reararm choke) 1 » a a With a choke ‘applied from the rear, immediately step Toward 3 6'clock wilh your righ! foot nfo a hace stones (acts T2o’clock). Asyoudrop into yourstance. tumyourheadtotheleff, ‘and fuck your chin against your chest. During this action, have your right hand simultaneously grab and pull down on your gpPONent’s tight wist, ullizing an anchored elbow. Along with these defensivesafeguards, deliveraleftbackelbowstriketo your ‘opponents solar plexus folowed by a left back hammerfistohis groin. (Your opponent should loosen his grip.) . Cicle your leftleg around and back of your opponent's right Ceet rout) Bua 50 cs vou dep his alet cos ined glonge (checking your opponents ight leg with your if knee) ‘Simultaneously with this action, deliver a tight hammerfist strike to your opponent's groin, and a left hammerfist strike to your opponent's left \darey, (Your opponent should begin to fall toward the ground.) . Circle you ell hand over your opponent's ight shoulder, and have the fingers of your le press under your opponent's Nose (or depending on the circumstance, have your left hand yab your opponent's hai) fo FULCRUM his head back, using his iider as the fulcrum point. |. Immediately pivot into a left forward bow (facing 7:30), and taking advantage of your ROTATIONAL FORCE, simultaneous tpeust night hee palm ske fo your opponents chin, with le SLIDING CHECK down your opponent's right am, ending at the ebow. (in either of the above cases, make sure that your epponent’s head is arched ond forced back fo minirize Hs erage ‘Shoot a right knee strike fo the outside of your opponent's tight thigh. (Your opponent should folo he ground Replant your right footto it’s POINT OF ORIGIN, execute aleft front crossover, and cover out twice toward 1:30, 45— ae = aS a — = Green Belt Journal 7 Brushing the Storm right tenisight through oveshead ctb) . While standing naturally, your opponent attacks you from your mgase Hove yourtgh fot ston forward toward Waonioasght Neutral bow, Simultaneously deliver a left inward parry to the outside of rapenents tight arm, while striking to your opponent’sjaw with arightheelpaim thnist. Yourright arm should hd under and inside of your ’s fight am, (his should gigp your opponents forward body momentum, and snap his ok: . Step forward with your left foot into a left close knee! stance toward 1:30, os you strike down to your opponent's solar plexus with yourtightinner elbow (striking vertically), makingsure that you Gentioue 1 checkyour ents right am with Yourleft hand. (his should knock the wind out of your opponent.) While in your left close knee! stance, execute a right underhand heel paim strike to your opponent's groin, and continue to apply aleff hand check to youropponent’sright arm. (This should force. your opponent to bend forward at the waist.) Pivot clockwise, and have your fight foot drop back toward 1:30 info alefi neutralbow (facing 7:30). While moving, have your tight hand pull your opponent's right leg toward you @iding yourhand toapoint hight nee cop). Smuftanecusty have yourleh hand push forward: opponent's ip. (Youropponent’s body is bent over at the por with, Nenght eo inthe ar.) While controling your opponent's ight leg with your right hand, deliver Glef front snop wick (with your sigp) to your opponents gion, (Your opponent should begin fo buckle 10 the ground.) rch emecougs uk i heock ctrour aetenen nen ince a ri ni to of your: Ss lo Buckle him fo the groure eae Execute a tight front crossover, and cover out twice toward 1:30, 4a8.Menacing Twirl vest hand rear belt grab) Green Belt Journal |. While standing naturally, ond with your back to your opponent stepback Syounet ya foottoward 70’ clockinto grightrear twist stance, Immediately pivot clockwee Info aright fowordlbow facing 60'clock Durhg the rarsiionbelween fear fw ancithe fowordlbow.delver aright outs Klecowniwcrd ibck fo the inside of your opponent set (Grabbing) am wiist.Synchronizealeft strike toyouropponent’s chin with the completion of er fei ower bow Teoh heel Barn dike oko provider tho FAN IPLE OF LIMITED RETALIATION, prevents your from deliv your opponent anet night pan .Youropponent'sheadshouldsnapbackasaresultofine palm strike.) 2. Immediately follow up with a left knee kick to your opponent's groin. COUNTER BALANCE this action by’ hand Lats high (across your opponent's chest), as your left hand ‘checkslow onyouropponent’sright am. (Youropponentshould bend forward at the waist.) 3. Plot your foo! oso GAUGING LEG. alowing er the delonce endlecroncenecassayforyouto delver aight fon cio fase she tower 1030 19 your copenens fight ner Thigh During his action shit yourrigat orm down as o SUDING CHECK clerossyourcpponent ssolarplexus. Simultaneously have yourleft transfer to the ideo ofyour ‘opponent's chest Chest (CROSS CHECK). (Your opponent's right leg should bow outward) 4, From the POINT OF CONTACT of your knee strike, have foafstomp onfotherigtrsfopof your oppor Codeuial lo the ground, »._ Execute aright front crossover, and cover out twice toward 1:30. a a7Green Belt Journal 9.Leap from Danger (rear two-hand push) |. Asyouropponent pushesyoutrom there executeaforwordrol (eh choucler oward 120° clock Fnsh the rol by leaping ple foce your opponent (at 0'cloc, ond shuifing Backinto a ne 2. Asyour prggeedstoattackyouwitharghtpunch leon to your | Sorrel 430 wih your cisiver a tight roundhouse kick to you you Spponen ssl pons Whi Sepa, yourleff hand should quer low. ex your ight orm posors high dike an extend 3. Plant your right foot toward 7: ete LEG). Pivot counter- clockwise, and deliver a left spinnt ‘heel Kick to your ‘opponent ‘st ore se ecng tower 70) bul ‘During the kick, check with your right hand over your left shoulder, as your left hand continues to check low behind you. 4, Execute a left front crossover, and cover out twice toward 1:30. 48Green Belt Journal 10.Circles of Protection trront right step through overhead punch) J. Stangingnaturay have your footstep toward 1e’ctockintg left forword bow, and simultaneously deliver a right upward fpamy uncer and oulsile of your opponent sight punch (above bow). (Fist meet the force and then ride i. 2. Shittoyounightinioaleftneuircibow.csyoudelyeraleft upward tpt claw to you opponent “ore tion angers omy O side momentarily checking under and. slightly outside of ag opponent’srightaim. (Youropponent’shead should snap back.) 8. Contruecralpgyouret hand counterclockwise,andforce your own tothe right sie of his Bod. simulta, ebcky confeue Ine doclanso crcl of your ight hend, ond execute aright underhang heel pcim claw fo your cpponent's iA eee cotenstieratitee (Sscreoes forearm, coling to explode into move. (Your opponent should bend forward at the waist.) 4. \Whhout hestotion delver a left outward ack knuetée site to opponent's face, 0s yOu: forwar During ig action, your right hand grabs and pul: your opponent's tbakcles Be dro hed yourloh Ggspostoned property aso chock toprotect your groin, Your opponent’shead should snap back.) 5. Execute a left front crossover, and cover out twice foward 6 o'clock. 49Green Belt Journal /f 1 11.Circle of Doom gront right straight kick) | a 1. Beginin arightneutralbow (facing 120’clock) withyourright arm honging naturally to uur side, and your left hand checking at 2 your solar plexus, Pivot to your left into a reverse bow, as you | deliver a right inside downward (palm ) Block in and up | a kanst your opponent sightkickingleglus! below Iheborkofhs fgntcal . During thisblock yourlefthandactsasaposttionalcheck across your right forearm. Without hesitation circle your right arm clockwise, a5 you execute a right extended outward block forcing your opponent's right leg into a looping clockwise arc. 2. With your W's ight leg stil in the oir, and his back to you, doiver aright rear siff6g kick with ine back of yourheel up and undleryour opponent gran. tecesscry crag yourleftfootinto assistyouin ir distance. (Your opponent should bend under ewods - 3. Plant your right foot (GAUGING LEG), and deliver a left back hooking hee! kick fo your opponent's head. (Your opponent's head id snap back.) 4, Without planting your kicking foot execute a left front crossover, and cover out twice toward 4:30. 50CiareM slime ler ti were Tt 12.Broken Gift (rront Handshake) |. withyeur opponent squeezing yourhond, step forword wth you left foot toward 120" Serena smoot ) YOU | ), FUT YOur OF ‘s acer ater states ribs your oppenents Yyour palm up and under- Realhhewnshwihoulheaatoncxectnen ftupward flapping bow site under he jot of your opponent sgh bow whe your tight arm pulls down to couse an elbow break.’ (Your Epponent shoud iso onto the tps of is toes) 2. Step back with your left foot toward 6 o'clock into a fight neutral bow acing 120'clock),andsimuttaneously twist youropponent’s wis oncom clockwise with both hands, asyou vi sjork his arm diagonally a ea eee: (Such an action can cause a shoulers disloce 3. As your left foot settles into a tight neutral bow, immediately execute a tight outward back knucke strike fo your opponents tighttemple: le. Ths shoud daze your opponert. S Baring fisaction retain yourleft grab onyour opponent sright wrist, whilestil puling your opponents ight am lowcrd you 4. Sideyourtet foot counterclocise foward 430 (UPTHECRCLD info aright neutralbow facing 10:30, 8 youdellver aright inward gow sks to tholef sido of yout opponent wort hand sillcontrols your opponents HEIGI hisright arm diagonely Gown. our opponent should dap fot ground.) 5. Execute aright front crossover, and cover out twice toward 4:30. 51Green Belt Journal 2 oo oS 13.Heavenly Ascent (rront two-hand choke - arms straight) . Standing naturally and with your opponent applying a wo-hand Choke from the font, step forward wath your font fool foward 12 O'clock (inside your opponents right knee), as you clasp both of your hands together, and execule hwo upward forearm strikes (hich actos owedgie) fotneinsde of your opponents to break the choke. 2. Pivot slightly to your left (into a right fi horse), and execute a right upward elbow strik Wis fo Your Speen nt’s chin (hands still clasped). (Your opponent's head should snap back.) 3. As you commence to pivot clockwise into a right Lert bow release your clasp, and deliver a right downward back kn strke to your opponent's nose and face. Instantly followwith aleft heel palm clawstike toyouropponent’s Nose and face at the precise moment you settie into a right forward bow stance. (This should daze your opponent.) 5. Asyoupivot backinto a right neutral bow, deliver a right haif-fist uppercut ske to your opponent's throat While sirking, sruta- eaux have yourfefthandsicle downyouropponent sight arm, grab your opponent ‘and pul ‘yourlet wo foreach oino = Your pul and sirke working in opposition enhance the effectiveness of your she. (Your opponent shoud feel OUSeOUS) 6. Execute aright front crossover, and cover out twice foward 7:30. 52Green Belt Journal 14.Capturing the Storm crront rghit step through overhead club) 14, CAPTURING THE STORM (Front right step through overhead club) 1. Standing naturaly, step forword with your left foot toward 11 O'clock into a horse stance facing 12 o'clock. Simultaneously deliver a cross block (with your ight wrist crossed over and on top of your lef! wis) thal wedges agar! the Tight wil of your opponent sattackngam, A thipan your crosiplockshoulbe angledoveryourtighfshoulder above thelevelofyourhead,and toward 1:30 so that your head and body ore outside of your opponent's line of attack. NV Immediately grab your .ent's right wrist with both of your Randk (wth yourletf hand facing you and your ight hand! tuned away from you). 3. While stil holding onto your opponent's right wrist, guide your opponent’ ‘arm down in a clockwise motion, so that your opponent's club sttikes against his right knee, Continue to circle your opponent's tight arm clockwise (while stil holding onto your opponent's right wrist), as you step toward 10:30 with your right fe0t, Tig motion & cone while guiding your OP ’stight am oe up and over your leff shoulder (above the level of your ad). 4. Retain the grab with your left hand, as your ight hand grabs the freeendof your opponent’sclub (pam downand thumb toward you). 5. Immediat ircle your left foot Counterclockwigo, Planting it toward info aright neutral bow facing 4:30, Allof thisis done ‘as yourright hand forcesthe club out of youropponent’sgrasp fulcruming the action against your ens Thum, ek accomplished by isting your ‘end of the club (now in your fight hand ond above the end held by your opponent) down and forward (clockwise from your point of view), using the end that pone isholding as a fulcrum against his thumb, Without reaking the flow of your action, have your right am loop counterclockwise withthe club that younew control, andstrke to the back of your opponent's right / 6. Execute a right front crossover, and cover out twice toward 12 o'clock. 5315.Conquering Shield gront ten stittarm lapel grab) 1 Green Belt Journal Pin’ ‘opponent's left grabbing handto your chest with yourleft handsosye execute: 7 fikstarivertedrsomsie ons your ent’s bow to break if. Simultaneously wi is Echonsthrstanghi font ooldceioiperat ie cee 8 ‘opponent. (This should buckle your opponent's right knee, and nullify his Height, Width and Depth Zones.) Following through with your kick, have your ight orm extend up fromthe Jenodlabou sob and over your opponent’ sleft arm. Then, as yuped your right foot forward toward 12 o’clock into. aright neutralbow, execute arightdownward elbowstrike to your opponent's left foream, forcing your opponent's head down, forward, and toward you, . With your feet fimly planted, deliver a right upward elbow strike underyour opponent's chin asyourlefi hand postiionally checks Ws should snap your opponent's head back) Folow up witha ight downwardheelpaim claw. fisttothe bridge ofthenose, and thento the eyes and face of your opponent. (Iris should drive your opponent foward the ground) Execute a right front crossover, and cover out twice ‘toward 4:30. a416.Taming the Mace (Front right step through punch with a wall behind you) a .. While standingnaturally, step toward 11 o’clockwith yourleft foot into alleft neutral bow as you execute a left inward pany on the utsile of de of your opponent's right punch, As you pany. deliver o Ks handsword to the inside of your opponent's right feos mediatelyhave yourlefthandcheckandgrab\ . youropponent’s ae andthe wtst,csyoudelvera igh cutwordbockmnchis 40 your opponents ght temple. (This shoud dive your . Have your tight hand nd gic your opponent's ight shoulder, An. chor your el ing your opponent down to cancel his Height Zones, as you Eemaisncosy one him forward, hugging him up close to your body to nullify his Depth Zones. | with both of your hands grosping your o nent, Keeping your ent aimsinclosetoyou,and withyourel have your step back toward 4:30 into a right neutral bow (facing 10:30.) Immediately pivot counterclockwise. During this action bend yourkness. Janeswhile graduaty descencing,$ slam youropponent against the wall fs your opponent's back sams agains! the wal, defver a kneekicktoyouropponent'sgroin, Smuitaneously withthiscction execute aright hward hotwortol bow ste fo Your opponents throat, sandwichir yourepeerentagalnt ne wal You oppo- nent should fal fo f Replant yourright footback toward 120'clock. Execute aleftfront crossover, cover out twice toward 10:30, 5517. Twirling Sacrifice (run netson) es o ae se ee — iS Green Belt Journal -_ With your opponent stronaly applying a Ful Nelson stiffen your body, and force your TN ek tind Sgainst your opponent's hands. This is done to force your opponent to concentrate his efforts on pushing your head forward. Take advantage of his forward force, and unsettle his base by immediately stepping to yourright loward3 o'clock into ahorse stance facing 120’clock. Immediately side your ef foot fo yourtigh footinto a tronstional left close cat stance. Without hesitation, have yourleft foot move croundandbackof your #’srightiegtoward7:30.Asyou bend over (borrowing the force of your op ),havebothof yourarms grab the back of your opponent’sknees. (Yourleft arm passes outside and behind your opponent's left leg, while your fight arm reaches outside and behind his right leg.) . Lift your opponent's legs off the ground. Twit counterclockwise 360 degrees by fist having your left foot step back toward 4:30, followed by your right foot steppin forward toward 6 o'clock, and then back with your toward 7:30 to smash your opponent against a wall, pole, etc. IF yeuropponentstoobigand heavy ‘drop your opponent on. is back with the possbilty of having his head smash to the ground. . Execute a left front crossover, and cover out twice toward 1:30.Green Belt Journal 18.Cross of Death ¢rront two-hand cross choke) 1. With your opponent cross choking you (with his left hand over his right), have your right foo! step forward info a right neural bow (facing 12 o'clock), buckling the inside of your opponent’ right knee with your right knee. In the process have your left hand pin your opponent's hands fo your chest (making sure that greater essure onhisleft hand), Smultaneously deliveraright glancing Riward vertical forearm stike ‘against your opponent left elbow tobreakit. Continue this action by extending your ight arm, and end with right vertical punch fo your opponent’s face. (Your opponent's head should snap back.) 2. Immediately pivot into a right forward bow, as you deliver a left uppercu punchtoyouropponen’sslomachwhleyourrehtom hotzontally checks both arms of your opponent. (Youropponent should bend forward at the waist.) As your left foot sides toward 4:30, execute a left extended outward hooking parry to the outside of your opponent's left elbow. Followup with atight chopping punchto your opponent's lofflchey asyouretfogtplants.ondyou body seliesivoaright neutral bow (facing 10:30). 4, Adjust the orbit of your right arm fo deliver a right vertical back kewette thrust to your opponent sie temple, os your rand continuestoct ‘sarms. (A¢ rr 's oad shoutdsnop back) ae Execute a right front crossover, and cover out twice toward 4:30. » o ] L a ue ae a E f= 5719.Securing the Storm pont sight step through roundhouse club) Green Belt J ee |. Standing naturatty, step to 12.0’clock with your left foot into alleft neutral Bow (finishing inside of your opponent's right feg). as you deliver a left extencled oulward block jo the inside of your ‘opponent's right wist. Simultaneously deliver a tight verti punch fo your epponent’s face. (Your opponent's head should snap back.) Slide your right foot back (clockwise) toward 10:30 into a left neutral bow facing 4:30, as you deliver a left uppercut forearm strike overandunderyour opponent sleftarmtobreakthe elbow. his should thrust your opponent's torso forward.) 3. Shift yourleft foot back toward 11 o'clock, while still pinning your 350 opponent ’sleftarm,and quickly circle your right foot clockwis thatittravels aroundandl /ouropponent’srightleg. Asyou continue to circle your right foot, immediately thrust it toward 6 o'clock into a left forward bow, simultaneously thr a tot heelpaim: sifke fo our opponent slow and} bucl his right ess. inthe| forces the buckle andthe! imstrike work fogelherinforchngyouroppanentfo the: {During this ‘ction yourleft hand grabs andsidesalong youtopponent’sright ‘mn, ending at the wrist, os your opponent hits the ground. 4, Step back with your tight foot toward 7:30, execute a left front crossover, and cover out twice toward 7:30. 58Green Belt Journal 20.Intercepting the Ram ¢ront tackle) . Standingnaturally, hop onto yourlefl foot toward 11 o’clock,and liver Grright knee kick to your opponent's solar plexus. Simulta- neously deliver a tight inward overhead hammerfist to your ‘opponentsrightkidney,os yourleft handchecksyouropponent’s tight shoulder. (This should stun your opponent.) 2. With your opponent's momentum forcing you back, drop back with yourtigh fool toward6o'clockinioaleftneutralbow racing 12 o'clock’), as you deliver aleft inward overhead elbow strike 10 the upper sping of your opponent. During thi action your jactsas aSUIDING CHECK along yourepponent’'sbackto! shoulders to keep his Height Zonesin check. (Ths should begin to force your opponent to the ground.) 3. Immediately side your left foot counterclockwise fo 4:30 into a tight neutrallbow, as you deliver a right inward downward diago- nal punchwhich converts info a forearm elbow smash to the side of your ents jaw. Simultaneously have your left cm ‘act as d SLIDING CHECK on your opponent's right shoulder. (This should diive your opponent’s head toward the ground.) 4. Aftersttking your opponent'sjaw, continue to pivot fo yourleft, as you delver a right back scooping heel kick to the right side of his Jow. (Your opponent should fall fo the ground.) 5. Without planting your right foot, execute a tight front crossover, and cover out twice toward 4:30. 59Green Belt Journal 21.Kneel of Compulsion gigtt tanksight step through punct) 1. Standing naturaly facing 12 o'clock, step forward toward 1:30 with your tight foot, as you execute a double pany deff Inward ‘to the outside of W's “wrist, followed by a Be ochweSpenyts NoouReoctyouceponert sigrtebon), ‘Step toword 1:30 with your left foot, as your ight hand grabs your ‘opponent's ianoulder hae ermployngarolingeseck ihe process). Plvol clockwise, ond have yourleftthand grab the back of your opponent’ left shoulder. 3. Without hesitation step back toward 1:30 with your ight foot into @ left neutral bow, os both of your arms pull your opponent's shoulders back, disturbing his balance. 4, Follow upwith aright step through knife-edge kick to the back of jour opponent's fet knee, compsling him to kneel on his left nee. 5. Asyouplantyourright foot forward toward 7:30 nto aright neutral your spronent’s legs, execute a fight inward horizontal elbow strike fo the: ton side, of your. 'shead. ‘Simultaneously strike with a left! rd horizontal heel palm tothe: left side of his head to achieve a sandwiching effect. (Your opponent should fall to the ground.) 6. Execute a tight front crossover, and cover out twice toward 3 o'clock. ny 60Green Belt Journal 22.Clipping the Storm gront sigst thrusting club) 1. White in aleft neutral bow, step forward wilh your eff foot toward o'clock into a horse stance (facing 1:30), as you deliver a left inward downward handswordto the outside of youropponent’s fight forearm. Smutlaneousy cock your right handsword near your tight ear, Grour opponent should drop his chub) 2. shift (rplace) to a left netital bow, os you ceiver a ight downward handsword strike to the outside of your opponent's “ight wrt ‘andes yourell hand cocks acm in) fo your ight ear, wil help force your opponent fo drop his club ifhe has not diready done so.) . Haveyourright footstep forwardtothe outside ofyour en's tight leg into a ae 45 degree cat stance, as you a left ‘outward handsword (paim down) to your opponent's throat. During this action your right hand slides down your opponent's tight Gm, checking (palm up lke a waiter carying a rey) ontop of his right am. (neshould stun your opponent.) 4. Step forward andbackof youropponent’stight leg withyourright foot into a right neutral bow (facing 12 o'clock), ds you deliver a Tight thrusting heel palm stike under your opponent's chin. Your left hand should be checking your opponent's upper right arm. his should dhive your opponent's head back.) 5. Execute aright front crossover, and cover out twice toward 7:30. e aqa Green Belt Journal 23.Glancing Wing tront tet uppercut punch) While in aright neutral bow, simultaneously deliver a right inward block fo the outside of your opponent's left cut while delverng 9 left vertical punch fo your ¢ face. (ihis should dive your opponent's head back.) oe aes four opponent's left arm, as you: Fa right chopping se wba (hisshould! your opponent forward at the waist.) . Slide your left foot counterclockwise toward 4:30 Into a right neutral bow (facing 10:30), as yourleft hand hooks to the back of your opponent's neck, forcing your opponent to bend forward, Simultaneous have your ight hand check your opponent's left am to his body. \With your opponent bent over, execute a right inward diagonal punch, which converts into a forearm elbow strike tothe left se Gf your opponent's jaw. (Your left hand's in a positional check near your tight rlbeage.) Execute a tight front crossover, and over out twice toward 4:30. a2Green Belt Journal 2) ea Bs Ta i 24.The Back Breaker (right fiank-right step through punch) = = 1. Standingnaturalty, jeg cabeooy (trwces :30with yourtight a Ralavororsaioas By oineBeacpanore Lo sieitcrpergrtaig ne enna 2. Stet fowerd Lap wan, nef ool, os it hand grabs 2 you lel fo gobs your shoulder (whi na toling ees Py Fae ccc Your a Seo backot your opponent's feft shoulder, 3 pala baste aecmapentne 30 with yourtightfoptinioatett bow, os both of your arms pul Be erect shoulders Seater jouer ower see Jowerspine while Fy ON a pulkavih youn, fetyou sbowsres ogahst you 4 Dep yar bok our soho sow ce pase yourtwo-handpultofore your opponent backon down Gith you hones ening at lailof yourhps. ond coun rs (etc ped Sayourietinee 5. Grab your opponent's crn wih your ent hand! os your fel and hood (he. Cae iene seated tarombe Ts ri snood ise (breaking youropponent’s 6 Revere the motiqnat yourrighthend. Bie ecg ene rcige of your oppanent’s (CONE UARCE Soko vour Ma tang Yo check ee eet! tothe eueea oS a aia . ee 8. scare Gnd Broan cos +H, ye ~ — a eke ROLES ee vo 9. Pivot (counte ise) nto © ght severe close neat, Ulize this momentum in: NG iow nos wath moments your eppgrent sight aw ight 1 foo hg k heel st to the nerve. of your itatronncgcuci eet etter 11. From your reverse bow execute a front crossover, and Serer ou Nike toward 130. ot ae . jo z f- 42(Oj yse Msi (mE (ey hi weet Web of Knowledge The idea for the WEB OF KNOWLEDGE came to Mr. Parker in 1961 in Hawaii as he observed a at construc a web. As he watched the gpidermefc lousy buldthisingenioustrop forhissuviva ir. Parker attempted toparallel the principles of this construction with the leaming of the Martial Arts, From the created by our Supreme, sgh: Parker pondered about how it could be used a sa beneficial trap: a trap that would be an aid in staining Martial Aris ». Surely, if a web is primarily a trap fo ensnare: victims, why: i re be used to ensnare . Surely, if webis a trap to ensnare victims, why couldn't a similar structure be used to ensnare knowledge? As Mr. Parker Degen to develop the concept, he [pba chase ae pedo ce i, What knowledge was the web to. contain and what order of | ‘wouldit folow? Would the topics of study vary from one belt to another? Ifso, what! }where? Such unanswered questions did not make it to create organize a essive plan “| utilizing a WEB OF KNOWLEDGE, Through trialand error, lanived at thought || tobe an effective solution, Mr. Parker categorized the web into prime targets. of concem and arranged the course inmanner that I considered progressive. The following illustration should be an aid in understanding the basic structure of the WEB. When Mr. Parker designed the WEB, he placed the topics ofconcem inthe spacesindicated by the arrows, These topics were arr . Categorical accorcing fo the degree of clfficuty required in hancelng an a attack. To enhance student or, he pl specific techniques cated by the numbers) under each of the topics. He then selected the most elementary technique from each of the topics (proceeded in a clockwise manner) and arranged them according. This not only allowed the student toleam‘a technique from each of the categories, but as the procedure of selection continued, more sophisticated techniques were introduced. For detailed Information on the Web ofknowledge. refer to infinite insights. Info Kenpo Volume 5 pages 68-68. 64Green Belt Journal Grabs & Ai 65Green Belt Journal Techniques by Attacks cretow tur creen)Green Belt Journal PaO (8 51) E 67Green Belt Journal - 2 LOCKS & CHOKESene Boe oe ees Green Belt Journal DEAD SPACE - - The gap between moves of a technique sequence. tt be thought of i cupdochscnacteea cicesclmalon The ing 3B DEAD SPACE includes the active use of the principle of CONTINUITY MOTION. This is termed SEQUENTIAL FLOW. Asari ge OF MOTION - Refers to having an extensive knowledge of Martial Art movements. nae meee is offensive or defensive is considered as alphabet of motion. Comblnotions psing thesamearm or fon We ROSOPMOTION, Combinations: sem ing Both hands and/or Combined SENTENCES OF MONON for PARAGRAPLS OF MOTION. Com: create alfematives. A reservoir of altematives offer you countless that con be tailored to suit whatever the stuation calls for. The filing of Dead Space throt Uisbenibaonaed uential How in your Biue material was a preamble to compot Bett teaches jouto e) you VOCABULARY OF NOMEN ING other WORDS F MOTION Info your technique sequences fo form more sophisticated SENTENCES OF M‘ Aspreviousl stated, develop good basi ly yourstances), under- sland the idea of each technique fon wintery ond devel jevelop an Uuneonquerableatiude. Folowthesereques!sandyoualgainihel ofthe use of more complete SENTENCES OF MOTION, some of which are: Keeps your opponent mentally, and, ly off balance. Reduces your opponent's opportunities to retaliate. The adaltional dverstication of targets ond weopors to sure mutipte fer rerease of your flexibility of thought according to the prevalling edicament. ayprntdeingnccs SN ton dod when: fronted with neck form cont pateucr What stoctone tn very offerse there & a defense and in every defense there is on offense.” The insertion of sequentially flowing moves may provide simul taneous built-in offense as well as defense. 8. May provide abalance between theuse of MNORMoves ond MAJOR Noo B opm frerecsed Vocabulary of Motion t ‘the use of REVERSE MOTION. ‘a Hap Vocabulary of Motion to call upon as you need to tailor for ific combot situ un Adstiond vocabulary fo feed your opponent's reactions with your “action, 12, Teaches you how to employ your action to cause a reaction that will feed yournext action. 13, May increase efficiency by getting mote stikes na shorter amount of 69Green Belt Journal Filling Deadspace rat 5 time. 14. Increases efficiency by Increasing your opponent's body reaction 15 Supples you with Vocabulary that may be needed in the event of unanticipated reactions or eRe oes eet ECRRE EE ponecnon 7. Acheres 10 the Concent of CROSSFIRING fo GWve you menimumn cover. ‘age in nullifying your 18. Leads you toward the ASEOUS state Stow EXAMPLE Tho lng of Dead Space can be used as an answer to a ines I situation, orcan be .an “ideal technique’ te'seen in hs tochrloue LONE KIVONG. alter Brealdng yor nt’s arm, you May fil the dead space of the se wha aright outwerd! Backkniscke stke fo your opponent 'ssolar plousbetere clearnghis am, You could adtionalyrake ocress bridge of his nose before clearing his arm. These two right handed stikes ore excmpes of Sequential ow You moh choose to flow the Geghaotyou spponent let! am wiha left two- yet, poo ra to finishing with a outward hencteword 8 tet throat. This manner of Soper ur technique is an. Srcrople of egerting ciher Worcs of Mofion Tomato amore sophfock ated Sentence of Motion. 70Green Belt Journal Three Points of View and the Three Phases ‘THREE POINTS OF VIEW AND THE THREE PHASES: Famiiarizing yourself with the Of self-defense, the types of attacks youcanencounter, and what motion entails, we cagclon on aoe analyze and dissect a technique. T [aecpeeiting Siete Asyou anatyze a specific technique, egun by dividing your efforts into Phase | hs craved Process requires that you commence with an ideal or fixed situation, This means that gre to select a combat suction that has been structured with a prescr of movements, and use this ideal technique as ‘bosis 10 work forn, , the term ideal implies that the situation is fixed and that the "wt questions required in Phase Il are not to be es lhe de paneer nohoompletse idealtechrig esctbbed reactionsof your com ue. Feces Ideal techniques are bull around seemingly inflexble and one chnerwondl cosmiphoe fore a good purpose; provide us with a basis from which we may begin our: cur ec proc 886, (ike acontrol model in any reliable scientific experiment). nates applied to Se ique Ideat or stem from them. in deciding the predetermined moves and reactions, you should ask yourself the following questions: 1. What should I select in tems of the type of attack? Wilt be for a grab, punch, kick, choke, efc.? 2. Wichogse a punch: > : direction is my opponent from? Is he approact fom 11,015 Foceee alee ne hhandishe usn to Bunch wth — ight orl? Is the hand he b striking with the | rear hand? roar Ineael ddhesteoinulinh thatisckdhestep in with his fight foot as he punched with his right hand’ e. \ihotmethogtte tang whahek erecuing tre puch? 1) the punch linear (straight)? a) Isiisnappi ‘of whipping? 2 & it circular (curved)? a) 'siahammering type of punch, aroundhouse, hook, sice, rake, f. het Paths the punch following? bs it following a horizontal, Qeg 71Green Belt Journal vertical, or diagonal path’ ) ie the punch fevohraton fon ‘outside/in or inside/out? 2) the punch travelin ee % Waters ine vies ne carenaece of travel? ) : adeaalilina width ond depth of he Incl h is the punch coming from? » ie nique mean to work on the nse or outside ofthe ine of defense’ 2 seceded heb lea ed pete aaa NOTE: These: as others, should be asked about a push, kick, etc. neo he men ieeaclotserinsssructied ie the peceenined Pattem and avoid "what lf” questions at The structuring of an ideal technique should further include three points of view — Yours youtopponents, and the bystander who observes both ‘and your opponent. The need to analyze techniques from three points of view cannot be overemphosied. WBoareng concept nnppor of Phase 4 and adds flavor to the main idea of an ideal technique. tt fo understand other responses that can be triagered from tpn yeutocton you are avoiciir stopping or immobilizir A gelersenctreodler bre neste Mheanavisclpreces youshoudeskyouret 1@ following quest! 1. Am | really closing or exposing my zones? The answer becomés ‘opparent when you take Your opponents re. Ihe hadequactes of your defense canbe determined when his point of view s considered. 2. Ifexposure does exist, Monet ico nf Counter you ong that specific period? ‘al the px Robie ways in which you con be afasted or countered. you now have a deeper ofeach of the ‘discovered variables. Herelswhere fhe: third point of view (that of a bystander) is valuable, since further Gnowos Constom on tolang ths viewpoint. 3. Royounave.adetenseforyou ponent’s counters? Itis concelvable ‘think of more counters than your opponent would when you dsume the hid porl of tows 4. If's0, how many ny paver ore there ond what ae they? Once they are determined, famifarize yourself with them and practice them. 5. Isthere one counter that can nullify the remaining possibiities?_ Leaming these types of counters should take fop Sony.Green Belt Journal Three Points of View and the Three Phases Referring andielating to each of the three points of view is amustifyouplon toworkyourbasic technique towardan accurate application. Asyouleam fo dissect each presctibed technique, you will ako leam to automatically atterit according to yourneeds. When this occurs, you are now well into Phase Il, The above analytical process can become even more lengthy when “what if” Sesion oe ae added. The tone of uestioning inthis helonoe sighily afters from. “what are they” to “what if”. ™ Lert Sogo or Lael variables, how would your opponent re hase Il you are prograr to thoroughly analyze probable va Yo the model technique. Ex- pected as well as opponent ponent reactions are Gorsecuonce oe evaluated. ieecpebes sit ‘every movement has a consequ Thus, Se ee ae ee erin cd Conens holt in Hie see's. uN el fal nomen: ted, evaluated and Bane Todo soe loncicose peter seat ore ivey archenomy terre basic technique and thus: you the opportunity to determine your chaice of action. Phase Ill involves the actual application of your! ‘found aitemativesto ‘the original Ideal or fixed technique. can additionally within the framework of the fixed tect ee your vartable answers fo free and changing environment. This appl ullimate process of combat training can be leamed by using the “formula/ equation for combat". The following formula/equation should allowyouamore conclusive bosisfor aitemate actions. The basic criteria a ‘any given base nego! your: whetherit ls asingle move, ord series of movernerts, following can be J. Youcon prefix it ~ odd amove or moves before Ht. 2. Youcan suffix i! — add a move or moves aff 5, Youecninser ~ addosmutenccusmove uth he ckeady esiabished sequence whereby this move canbe used cs a Achec » Pinning Check — whore you use pressure agains! your ponent’ Sweaporsto rat ortipoted never ese WeO} 2) Postioned heck — where you place the hand or! ‘defense position or angle fo minimize entry to your ‘reas. 7 A felraleleg wegpon. ral fie fou can re-arrange it — change the sequence of the moves. You can alter it by changing the base move or moves as you: a. Alter the weapon. b. Alter the target. osGreen Belt Journal Three Points of View and the Three Phases c oo 6 Youcen eds! your movst Soy Breduct of aterng by: ne ane Orin effects Spi. 6 Achstnathe cn of execution (which effects width and c. Piling both fe of execution and range. 7. You ons ing rmmovee) by: a. ie speed of the action. b, Regulating the force of the action. ie Re egulating the force and speed of the ot action. d Regulating the intent and speed of the action (fake the move or use it as an offense). 8. Youcan delete — exclude a move or moves from the sequence. NOTE: Altering, adjusting, ar Pet could be appiied to’single, or Combination owes ofa prohe Y insort ee nS De eee na inoue ine ics CUled Ove oe youn exploring newideas and creatingnew movement pattems. Answers anticipated and unexpected reactions could conceivably cause youto create variables not yet envisioned. Once this occurs, creative dimensions aside from your original premise would then be developed. This can caer monumentcl task! kleacing to Perpetual questioning. The extent of your ex, naturally rests with you. THREE PH) 55 OFC CHECKING THE STORM The self-defense technique, Checking the Storm hos been selected to acquaint you with a variety of methods and principles that American, Kenpo offers, When studying th lechrique, please excmnine the meaning diated keetaes ga gy meaner et OU jelop these pi work them so Beers Ypontaneous IRS tectrigue Fes Baan checcled to of tee phases. includes: J. The IDEAL attack. 2. The IDEAL moves of the sequence. . The principles needed to maximize your efforts on each IDEAL move. I. Several possible WHAT IFS. Pree FORMULATIONS that are still closely associated with the IDEAL PRON. techniques through this process wil not only enhance your abilty to use these techniques, but olso wil facilitate your understanding and mastery of more sophisticated sequences. 74Green Belt Journal Three Phases of Checking the Storm ‘CHECKING THE STORM 1. THE IDEAL ATTACK: The IDEAL PHASE ofthis ue teaches that the attacl Keon the clock connec wih you opener Glatfchiing stones, Your’ nt then steps forward and executes right Overhead club attack toward your head. 1 tggeing natura, os your opponent swings his ib on over head fashion .cLichy step of fo you Tight wiih your ight foot foward 3 o'clock. Simultaneously’ Saya fat ovatd yas ap oct nye fomalet 4Sdegree col stance facing 10:30, Wihout abreak nthe cofyouraction execute aleft exter handswordbblock tothe inner wist of your opponent sight ar. Duin the nota gw of your motion have your tight hand precede your left hand as a right parry (executedinthe manner of aright Inward block) that stops,hand open, fo.act as a checkin front of your solar plexus. J. Polntof Ofgin 2 Angle of Deviation ©. Get out of the Line of Attack & Shosmoge” c. d Secure the angle & car NR YoUseH 0" a culek counter cttock 3. 4 ra ot ecu eft Hand 5. Sight A role of Deflection 6 Positional Hand Check 2. Immediate! execute alefifrontsnepballickto youroppenent’s loin. (This should cause your opponent fo bend forward at the woist.) 1” Aiming a. eect 2. Angle of Executic 3. 4 Postona end Checks 3, Plant yourleft foot (toward 1000) Be sx Be sure to property: distance between you and your your opponent t, GS YOU aaa a fi snapping knife-ed: Sek to the ins fe of your Sodlea: Ardea (Your action should cause your opponent's ight knee to bend out and ie but cause his head to move closer to you.) 2 ge ch Exeeution 75Green Belt Journal Three Phases of Checking the Storm 3. WHATIF YOUR OPPONENT DOES NOT STEP THROUGH ? 1, Your IDEAL fist move wil stil work, but you should ADJUST the tiie of yourevesvernenstobeteresure You A ie of Deviation, ise your opponent isless committed with the rot momentum of he Booy he hos G So ot versal with hs weapon. Therefore, yourhandsmusf folow the path ofhisattacking orm inoeser eee 2. your opponen’s left leg forward, you wil need to FORMU- Care your secon toys You may @) JUST the ANGLE OF EXECUTION of your kick and tum it info a roundhouse kick to his groin. f successful you may follow up with the remainder of the IDEAL sequence. (©) _ ALTERthe target and your weapon. Change yourkickinto aleftnife Kick fo the outside of your opponent'sleft ine itanccen your thir move mr Q) Be DE simply stop fep through vith youright Peer trusceo seke To islet lomo cr other ove @ ALTER the tor knife-edge kick ond again ie trae of cunts offs inee. Your back krvictistikemey,forexampe,henbeformuated info astrke to hs You may then be abl 4o SUFFIX with the ASSOCIATED MOVES Tomiie technique sequence, Crane. (3) Be DELETED and execute aleff front crossover and co DeLee mau ne cecton of Ee tine (C) yoursecond move: tepthrour IDEAL sequence of your thidl Sond tari eo 4, YOUR OPPONENT PRECEDES HIS CLUB ATTACK WITH A RIGHT STEP THROUGH KICK 7 1 You may FORMULATE your first move by PREFIXING it with a left downward block to the inside of his right kicking leg. You would then reverse the motion of yourleft am to become aleft extended outward block to deflect his club attack. This would retum you to your original IDEALPOINT OF REFERENCE to continue with your|DEAL sequence orany necessary FORMULATIONS. 5. YOUR OPPONENT SNAPS HIS CLUB BACK ? 1. The IDEAL first move will stil work.y Green Belt Journal a. Cross Checking Kick 4 ec tant YOUN at foo! lower 10.0 into a ight neutral bow, and while employing MARRIAGE OF GRAVITY execute aright outward back kxzuce site to your opponent ‘lef eripke, cs your Te hand remains checking at your solar plexus. (This action should chive your opponent's headway from youand possibly cause hisbody to. crop tothe ground.) = g 5 g oe beet . lamtiage of Gravity Borrowed, Fore Angle of Entry Q. Positional Knee Angle of Execution Angle of incidence Positional Hand Ct Check ONO aE . WHAT IF YOUR OPPONENT DOES NOT STEP THROUGH VERY FAR ? 1 Your IDEAL first move wil stil work, but you should ADJUST the distance of your evasive move to better secure your Angle of Deviation. 2. Your IDEAL second move should sfil work, but you may have to. ‘ADJUST your range by shuffing info your kick. 3. You may have to FORMULATE ‘third move by ALTERING the target from the inside of youropponent sright knee to the inside ofhisleft 4. Ifthe above #3)isthe case thenyournay very ikelyhaveto ALTER the target of your nal move. Yourback knuckle may strike the right side ‘of your opponent's face rather than the left. 78CC ry TyeW sto (meLelpiyets Tt Three Phases of Checking the Storm 2 POR Rohe TevPE may jwork In the IDEAL PHASE or os ible FORMULAT that have been discussed. The Important to temember's that forsome reason your opponent did not fuly commit hs body into the attack. It may be that: (a) He has a weak fighting spirtt. (bo) He wos urea offimest? (©) Youtelegraphed your inientions. (© Hohos bec transchwah ths Conol of his mental, physical, ond om Snstorel ostons He is a formidable opponent. Whateverthecasemaybe. .ourustremain calm white acting with greater Spesd fo nulty poteriic from your opponent’s man-made as well as natural weapons. 6. YOUROPPONENT IMMEDIATELY DROPS TO THE GROUND BECAUSE OF THE EFFECTS OF YOUR KICK TO HIS GROIN ? "Mote wotied sowellfed yrs epponen glorpod oheierek move jsO ponent tO and ines, Youmay OMNIA yarns re more by (@)__ ALTERING the target on your our right cefoan, yevalcblocbowion With your 9 shands on the groundhis ams are now port of cxound Ree rag tp p on ents 's he may have weight on Been Kick’ 0 his elbow should Seon efecto, cfiiyou acon you may still beetists to tolow frou our tight Outward book knuckle strike, or simy HLETE (©) ALTERING the target on ‘third move. Have you ka kick strike to the left side ee " tbe may: ‘opponent's body away from © ou, ae fou ney OEE your eat athe (©) As in the predicament Beened! in CHECKING THE STORM, the possible WHAT IFS that may occur in are seemingly unlimited. eae your RESPOI need tobe investi ted. ig. Increase Your gthow draormen effec your EAP Remember that ‘the WHAT IFS are not simply your Rosie eal} ond reactions. There are many WHATS that ore telatse: a (What if you sip, What if you are ill, What if you are: ithe ), You must examine all the Possibifies from the THREE POINTS VIEW. Your efforts willrequire hundreds ‘of hours of intelligent practice, until you reach a level of intuilive response. 78Green Belt Journal Three Phases of Checking the Storm through this ‘with all of your tect 1es you will discover Pe aS aa aera ae concepts as POINTS © OF REFERENCE, ASSOCIATED MOVES, DIMENSIONAL STAGES OF ACTION, THE EIGHT CONSIDERATIONS, GASEOUS MOVEMENT. etc... REFINEMENT OF THE ORANGE AND PURPLE BELT TECHNIQUES Leaming variations of a particular type of an attack, teaches you to build spontanel "he lun fobs fobntematze concepts Intemalizedconcepts causenewly acquired moves to also become instinctive. Consequently, 0s your taneous reactions increase with each new move, you become: eapabie ofrandomiy creatinglogicaltecnnique combinations yourown. of response. Through pra thonomalfow Stone fechnieue minin het of nother par, inatig becomes the automatic by product of spontanety. Your spontaneous tedclorsreadiy adsttachangingcrcur theseinherent qualities and you will discover instinct to be routine. ing are the ‘ecichmove ofeach Sel Defense Technicrictiom Orangsond Purple Belt. Use these to mexinke your efforts fo master the 3 PHASE 79Green Belt Journal Short Form 3 NOTE: This and future forms will be described and referred to by technique. In addition, the type of attack for each technique will be given. OPENING: ATTENTION STANCE. BOW. DROP TO A MEDITATING HORSE STANCE, COME UP TO AN ATTENTION STANCE. SIGNIFY. EXECUTE THE ‘COMPLETE SALUTATION. ‘SET 1: DESTRUCTIVE TWINS - Front two-hand choke. 1. Starting with feet together (attention stance, facing 12 o'clock), st forward andito your ah! wih your igh foot foward 1200 cs you info a tight neutral taneously deliver ai left overhead punch (pain Gown) to your oppenonte tase swith ht uppercut punch Cpamupy toy out opponent ser roinor stomach. agg apeael eh dope ota Stn iooksosifl eon fy side. (Keep your back erect Gnd up) 2. Hove yourigh!footside sightly fo ourigh foward |o’clockinto aright tral bow, Simuttar Roolisargtinwardbbcktolnecusele Of Your opponent's laf om, ond ails nade Gownward block (oon clown) tofhetop ofisight rm, andcorwertinioalet vericalouwerd outs Gf your Spponent lef am. ihe spy cle Salword Doel net ales ploper use of ne DOUBLE FACTORPRNCPAE against two arms, Atthe completion of yourlefi vertical outward block, youshouldhave droppedinto aright fowardbow.recocking yourtight Clenched fist fo your right hip, palm up. . Immediately thrust aleft horizontal finger strike to your opponent's eyes. |. Follow up by pivoting (in-place) to your left and dropping into a horse. stance facing 10:30 as you deliver a straight thrust punch to your ‘opponent's left ribcage. Simuttar have your left hand grab your opponent's left am, .Puling i clagonaly down, 1, aNd past yourleft hip to. cancel both width and height zones of your opponent. (Note: When actually the Form your left hand appears os though it is simply ooehgon on the left Tip with the fist clenched, paim up.) 5. Dropyourtight foot backinfocaright 45 degree cat stones, facing 1200 ransitory cat stance) as the of both hands flick to the eyes, continuing with both of your thumbs hooking fo the bottom of the eyes (left thumb to right eye and right thumb: fore left eye). Re SET 2: CRASHING WINGS - Rear bear hug with arms free. J. Step to your tight (3 o'clock) with your right foot and drop into a horse 80Green Belt Journal Short Form 3 stance: fers 12 o'clock). With es arms pet) from their Point of Ofigin. sin eously strike down: inst YOuropPOns opponent's forearms Don otvon eas Girl Olsow io ieht tore m and left elbow to. left forearm). 2. Have your left foot meet your right foot (close cat) as your left and gms cock to the right side of your wast (ight pom Up ard lef! facing you 3. Haveyourleft footthen go aroundand behindyouropponent’srightleg Goward 730) Gnd info left reverse bow. ie 4. Piotintoalet foward bowloword7:20,whie dking with clef oulword elbow to your opponent's 5. Continue Jo plo! counterclockwise inlo a fol forward bow cs you execute a right Inward downward ha to your opponent's biodder Your! lttemncongaeets cust ah Toe eS TO a ‘s ister to the left side of your body (between arm and your i). SET 3: TWIRLING WINGS - Rear stiff fwo-hand grab or choke. 1. Have your tight foot site to your left foot into a tight close cat stance Ganson ont stance) os you loll andighl cme Cock To th ioh aco ot your waist (eft palm up and right paim down). 2. Immediately have your tight foot step toward 34 00 nto.0 tht foward bow. Asyousettieinto yourstance, deliver ar vertical block to the outside of your opponent's right arm rably at the elbow), sirulonectsuiincltinwcrdhoizortalebowemeroyou opponent 's ‘SET 4: CIRCLING WING - Rear two-hand choke with arms bent. 1. Fromyourtight fonwarcbow postionhave yourleft footslide forwardand toyourrigh on a 45 degree angle toward 1:30 into aleft neutral bow os yourtigharm cackshorzontaly across your waisacim clown and your clenched fist cocks on your leff hip (paim up). 2. Pivot cloclawise (tuming toward 7:30) as you circle your ight elbow over end down (igh! outword overhead bow) onto the t ‘opponent to hurt and pin that arm to your right se. C fethe pivot By poling no a cht foward bow dochg 730) while lolvering alctt four-finger thrust 1o your opponent's eyes at RTGreen Belt Journal Short Form 3 3. Pivot (in-place) into a right neutral bow, as you you deliver aight upward upward elbow strike to your g Sobiibee te ‘Your left hand: ‘slide Youropporent ight Shdlendov aproaang creckot heer 4. Pivot again to ef into a righ reverse bow as you execute a right Yourttnondcros- checkout i’stight arm ond thenswitch your cross-cl ‘pponent'sight arn lo Ghigh check over your ight shou ‘SET 5: CROSSING TALON - Front right cross wrist grab. L ‘opponent's tight hand gr. > ova arereccr pra memee "your left hand clasped over the top of your opponent's Fg ducet when core the Form, grab your own fight wrist) step forward ‘and to your right with your left foot (toward 7:30) info aleft neutral bow, During this action strike your: 5 ight elbow with a left inward vericlforearn. whe youright hand pus toword.oncipas Yourrght 2. Continue to pull your opponent's aim fo your your left forearm fo fice Your opponent’shoc Ki down Ihopostbhyotyou opponent sheadistling yourleft knee 3. Immediately deliver a left outward elbow strike (palm up or down gepenci ling on circumstance) to your opponent's right jaw hinge or lemple. 4, Whileusingyour opponent’ sshoulder andbackasafulcrumtoleverage Sys eaten stave, Cok yourleh am coceiko ond fo your opponent's face. ‘your left arm. Sitke to the upper spine of your opponent with cet inward overhead ‘SET 6: SCRAPING HOOF - Full Nelson from behind. 1. Whe no Ful Nokon nese ecg 1090, trust both of yours towcra the ground (to help free you from s grasp and to pinhis cams fo your body), Smeltaneous with tne acon, cheat your kel foot toward yourrighi foot asyoustraighten yourknees, back,andneckinto full upright postion. 2. Immediately bend your left knee, as you deliver a right back side 82Green Belt Journal Short Form 3 opponent'slftinner nee. Thenwiththeknife- your opponent sont sin ene scraps the edabclicon tid ce Oy ats) ‘way down St you th foo ae 3. foot concludes the stomp, Info a horse eee at 130). Boh tye erta eye hoon oxenaad down ai from your body (fists SET 7: FATAL CROSS - Front two-hand push. 1. AS joted two-hand grab (or i septoy ‘Geechee i footinfo.a bow {oat Suing mele rio ayprnealece loves Jane cress convert hom inte into inward do downward Patiesovethilopand inside of youropponent’sams. Immediately jer Our Op} ‘toward’ forcing your refbowsbackand dong se of your: frustictonal pure your Opponent sghily ward tems of his point of view. 2. In yy ta sear Jee ti ches Saekeyoropbonen MWe nuch eS Celi uppercut fo hisright riscage and SASH Nope ENO RR ettDCOG. 3. Rggauyournandss back and toward you. Without hesitation hove your Gros over yourefifet andisirketo yourqpponent sface wih Ciward back knuct fiBoskinucke orsign cheekbone and left back knuckle to his | heek bone). 4 Recell your hands bork wiih both of your arms stil crossed, then thrust ‘opponent's: tpoketohisri Gye Oncor poKe to Hote Ove). dee ‘SET 8; GRIP OF DEATH - Right flank headiock. 1. With nent ay ree fonwctd Srourig ta att ok Go foot Goward Ssoaget left ee kneel, while senatercoun gs i ; tang fucking your chin against ultaneously deliver a immerfist 10 = ‘and aight hormmevisifo your opponen’s ight kidney.” fight arm over your onent's left shoulder and have the youth hand} press Union your W's — (ordepend- ‘circumstances, have’ ropponent’s ee Shbad Bock venaiis doulcer Ondine of his shoulder as the fulcrum. R2Green Belt Journal Short Form 3 3 Immediately pivot nog it forward bow toward 4:30 to take advan- tage of ROTATIONAL , In the process thrust a left heel palm strike toyour opponent's chin, Smuttaneously execute a right SUDING CHECK downyouroy sleftarm,endingat theelbow. cesure thatthe headofyouropponentineitherofthe above casesisarchedandforced back and down fo minimize your opponent's leverage.) 4. Yourrightamnowcirclesbehind yourback indicating hatahammerock is being applied back of you. ‘SET 9: LOCKED WING - Hammerlock, 1. With your loc 1 ight crm, step back and fo your ight Goward: rich ano orgit ne bow Gath yout heed siloking forward toured 0) ca your eh counties grabs your opponent's tight wrist. (Iry to place your inside as well as agai youropponeestight leg) 2. Continuing the flow of initial move, pivot your entire body counter clockwise into a left neutral bow (facin 430 while delivering a left outward elbow stike to your opponent's jaw. Circle your left arm over and under your: it’s right elbow as BoliSyounighi Goward [ad nioorgh icra bow reactor iors as you are executing on uppercut punch, purpose Of breckng your opponent sig ¥ coow. While stil app Wing fessure On your opponent's right elbow, drop back with your right foot (toward 4:30) and into a: eh were bow. Immed- ately release your right hand as you deliver a right knee strike to your opponent's cl simultaneous “with” a tight inward overhead heel of pal sitke to the back of your opponent = neck thus causing a sand- wiching effect. 5. Follow through by planting foward with yourright foot toward 10:30into aright neutral bow while pushing your: off of your knee. Your as then move fo the rearincicating a reor tworhond grab to both ot your wrists. eo a SET 10: CROSSED TWIGS - Rear two-hand grab to wrists. 1. From a tight neutral bow and with your ing your wrists from the fear countergrab both of erent wre ONTO ron and left to left) os you step toward 10:30 with your left foof into a left neutral bow. This should help disturb your opponent's balance, espe- cially f you pull forward and down with your left arm.CCryseM si) ime Le tie et-T Short Form 3 2. Pivot clockwise. facing 4:30, (stil maintaining the wrist grabs) as you cross your opponent's arms oan over oe process have your foht elbowsirike diagonally and Gontructne ow ofyountg down. Have yourleff! 3. Release your and loop your right arm counterclockwise, asit Row becometotght aurcrd ovoriocd goowsiiee dounio he Gopal spine of your opponent. 4, Release Redbiichaln tice Hi Nate bel SES haa execute’ lownwardheel palm: stkes to your W'sloftkidney andleft “bcoge teh nenclto ft kidney and right | toleft ribcage). 5, As you grab and pinch your 's kidney and ribs deliver a left knee kicl Jo your Gpponerts Wa it ribcage. 6. Replant yourleft foot toward 10:30 into a horse stance, facing 1:30. Both of your fists are on your hips (clenched and palm up). SET 11: WINGS OF SILK - Rear two-am lock. |. While it in chore stance, facing 1:30. and your ams locked fom the fear, stomp your opponent'sleftinstep with yourleft foot foward 10:30), Smuitoneocsy hove youtlethand pnchihe nervelocatod.on he crea ‘of your opponents left hip. 2. Asyourright om stars to sp out of your opponent's ight rm, execute ‘aright back to the unclrsce of your opponent's chin Simultaneous "wilh0 fight back heel scoop Wek to your opponent groin, 3. Tumand step counterclockwise with your ight foot (toward 10:30 witha shortright step) as yourright arm slips comy cnnpeetneond oh nig your op Wslol arnwthyoureh herd and am, os you begin To ha 4. Complete the twit 360 Seg yee tum) by cir your left foot counter- Hormdehvorot npeseu forcem nati Sie tobrock ropponent’sleft Show! int. tue eemiietuesycoerat eh in the form itis at your left hip, fst ck palm up.. 85(Ci vercseW oie) (mv LeLetwereT Short Form 3 ‘SET 12: CONQUERING SHIELD - Front left stiff arm grab to your right lapel. 1 pi ae etbaepaecatcatm a 1:30, satel vet and pin your opponent se to your right lapel, os you strike a right inward vertical forearm ni’s left elbow Jobreakt, srmutenoous wilt ihe Gbove two actors erccute g fortipns ing ball kick to the inner knee cap of your opponent's right 2. Asyouproceed fo plant vourright foot forward fowerd 130 nto aright neutral bow, have your right arm glance up and then stiike down with righ! dowriward elbow fo the top of your opponent's le forearm, Tis ownword sike sed atthe exact moment your igh foo! planis to the ground: his action wil force your opponent's head down cs you maintain a left pinning check on his left hand. 3. With your feet firmly planted, deliver aright rd elbow strike under 1 ‘opponents 's chin, as your left hand pest checks under your ight armpit. 4, Follow-up with a fight downward heel pam claw to the bridge of the nose, and eyes of your opponent. ‘SET 13: STRIKING SERPENTS HEAD - Front bear hug with arms free. 1. Dopbacteutthyourighttect toverd7: S0)hloclefineurctbow (acing Simultaneously hook your left hand around and back of opponent sheadso thot yourTeftinner knuclsestikestoyour opponents left temple or mastoid while your right hand simultaneously cocks into a aff fist at chest level (palm up above your opponent's arms). 2. Continue the action by having your elas Snare ‘opponent’shairback. (Grab above the forehead). vol iicaleft rworcleow toward |:.ond execute aright sopping (am down) to your opponent's throat toward 1:30). madre relumtoyourlet reuttci Bower eal fs gris, wih your igh hare recocking back to chest level (palm up). ae cc CLOSING: SLIDE YOUR RIGHT FOOT UP AND IN LINE WITH YOUR LEFT FOOT INTO A MEDITATING HORSE, FACING 12:00. COME TO ATTENTION. EXECUTE. THE FULL SALUTATION. BOW. 86Short Form 3 Contains re ee ae Green Belt Journal Destructive Twins Glass Flicks with thumb hooks Crashing Wings Twirling Wings Circling Wings Crossing Talons Scraping Hoof Fattal Cross Grip of Death . Locked Wing . Crossed Twigs .. Wings of Silk . Conquering Shield Striking Serpent's Head 87Green Belt Journal Short Form 3 Teaches . Related methods of poking. Various attacks of the Web of Knowledge: a. Grabs: abe st ny b, c d. fer e. Chokes: two eo . Various principles contained within the individual techniques. |. How to defend oneself Fauring oe a. Angle Changes dur ing. mass atta! b. Continuity Motion ot of hands and feet during transition. c. The value of moving from Point of Origin, Utilzation of various stances during transition, . ae of transition with the feet: B aie 8. Cova forward and rear foot ¢ d. ‘Ste Throu: Forward and back . Sega igh- f Tating ~ . Angles of Deviation during transition. . Hew lo defend oneself against one opponent at citime during a mass 2 9. Economy of Motion by flowing from one alphabet of motion toanother ‘script movement. 10, The use of Completed Paths of Travel. 11. The Rotational Cocking of the body.aE re = Green Belt Journal Short Form 3 Teaches 12. Intonation of Motion. 13. The usefulness of the Cup and Saucer. 14, The value of Settling. 15. The value of Confour Confinement. 16. The Confluence of Forces. 17, Combat Effectiveness, 18. An introduction to Gaseous Movements. 19. The importance of Perceptual Speed. 20. The importance of Intuitive Awareness. 21. Various Points of Reference for multiple attack situations. 22. An introduction to Paragraphs of Motion. 89Green Belt Journal Coordination Set #2 ae OPENING: ATTENTION STANCE. BOW. DROP TO A MEDITATING HORSE STANCE. NOTE: The footworkin this set is the same os the footwork in Coordinattion Set #1. SET 1: 1, Have your tight foot drop back toward 6 o'clock into a left neutral bow, facing 12 o'clock. As step back, execute a right inward block, followed by ¢, left rd block which 's executed simulta “with” a right outside downward block. (This is all one flow, a ont inward block just continues fo become the right downward 2. Now simultaneously execute a right outward block and a left outside downward block. Be sure to utilize the DOUBLE FACTOR as above instep 3. From Point of Origin, bring your left arm in, up, and out info a left upward. block, as you simultaneously execute a right hammerfist inward, di nally and down, os if shiking your opponent's left ribcage. While simi neously blocking and striki Oper rIOg left forward stance, 4. Perform the above step just “opposite” while pivoting into a left neutral bow stance. 5. Pivot into a left forward bow star you execute a right inward block, while cocking your left: hand be back foye ‘your left hip (fist clenched, palm up, as a left yee elbow strike). 6. Simultaneously execute a left strai ight thrust punch to stemum level “with” a right front snapping ball kick to groin level. Without our foot down, continue the action into a ght Sreighe trust ra saa ge to £9,9r01 level simultaneous “with” a cat stemum level, 7, As you plant your right foot down into a left forward bow stance, execute a leff upward pany over your head smuilaneous “wilh” o Tight outward heel paim thrust af sfemum level. SET2: |. Step through forward toward 12 o'clock with your fight a0! into oh neutral bow stance. As you step forward, execute a left inward block, followed by a tight outward block which is executed simultaneously 90Green Belt Journal Coordination Set #2 “with” cleft outside downward block. (Thisis all one flow. Yourleftinward block just continues to become the left downward block), 7 Now simultar execute a left outward block and a tight outside cee aa block, Be sure to utilize the DOUBLE FACTOR os above in rep #1. . FromPointof Origin, bringyourright armin,up andoutinfo aright upward Block, os ouatnu . Secure ci hegre Ewe ane mn, OS Ir 's age. simuitaneousty blocking ‘and sheng, Phot Info ci Tight fonword bow tance. x [se ‘ S es s |. Perform the above step just “opposite” while pivotinginto arightneutral bowstance. ._ Pivot into aright forward bowstance as you execute aleft inward block, While cocking your fight hand back to your right hip ist clenched, paim up, as a right back el strike). a >. Simultaneously execute a tight stoight thrust punch to stemum level “with” Re UACAiE ie eb pettas logron evel. Without pulling your foot down, continue the actioninto aleff back thrusting heelkick to groin a fate “with” a left straight thrust put to the front at lemum level. 7. Asyouplantyourleft foot down into aright forward bow stance, execute ‘right Upward pay over your head simultaneous ‘with’ cleft outward heel palm thrust at stemum level. ‘SET3: 1. Cover toward 9 o'clock, by having your ight foot drop back toward 3 Seisck lo a 1st neukal bow lading Sooee A you top hock execute a right inward block, fc ‘aleft outward block whichis executed simultaneously “with” aright outside downward block. (Thisis all one flow. Your right inward block just continues to become the right downward block), 2. Now simuttor execute a right outward block and a left outside Gee bece ‘sure to utlize the DOUBLE FACTOR as above instep 3. From Point of Origin, bring yourleft crm in, up and outinto aleft upward block, asyou Srchhanecsy ‘execute aight hommertstinwer ci nally Gnd down, as f stiking your opponent'sleft lbcage. While simulta ‘neously blocking and string, pivot info a left forward bow stance. 4, Perform the above step just “opposite” while pivoting info allefi neutral g1N Green Belt Journal Coordination Set #2 bow stance. Photinto alleft forward bow stance as you execute aright inwardbiock, while cocking yourleft handiback to yourleft hip (fist clenched, palm up, as aleft back elbow strike). Sinuttaneously execute alef{ straight thrustpunchtostemum level “with” aright front, jing ball kick to level. Without puting your foot down, continue the action into a fight back thrusting heel kick to groin ee ee ees raight thrust punch to the front at femum . Asyouplantyourri footdownintoaleftfowardbowstance, execute YON tyourright cleft upward pamy over your head simultaneous with aright heel palm thrust at stemum level. 7 ‘SET 4: . Step through forward toward 9 o'clock with your right foot into a {iott Neutral bow stance. As you step forward, execute a left inward block, followed by a ri ht outward block which is executed simultaneously “with” clleff outside downward block. (Thsis al one flow. Yourleftinward block just continues to become the left downward block). . Now simultaneously execute a left outward block and a right outside Sree block. Be sure to utilize the DOUBLE FACTOR as above instep . FromPointof Origin bringyourightormin up andoutinto aright upward taneous! ut block, os you srnutione ay ex00 lea hopes were. Ape: nally and down, os if striking your opponent's cage. semuttaneousy blocking and stiking, pivot into a tight forward bow stance. Perform the above step just "opposite" while pivoting into arightneutral bow stance. . Pivotinto aright forward bow stance as you execute alleffinward block, we cocking your {hand back to yourright hip (ist clenched, palm up, asa tight back elbow strike). Simuttaneouslyexecute a! tight straight thrust punch to stemum level with a left front snapping balll kick tegen level. without putting your foot down,continue the actionintoaleftbackthrusting kick togroinievel simultaneous with aleftst iHthrust punch to the front at stemum level. AS you plant your left foof down info a right forward bow stance, ‘execute a right upward parry over your head simultaneous with a left a0Green Belt Journal Coordination Set #2 Serge Ta Neel pam thrust at stemum level 1. Covertoward 60'clock, Ast hand foot drop back toward 12 O'clock into a left noah bow, fact Eo cock ek AS YOU step poste ean ae eee ‘which ‘executed simuttaneously with: SSocnnerd eck eel ne flow. Your ight werd bloc Tus Confinues 10 become te Hoh downward block), 2. Now simultaneously execute a right outward block and a left outside Pmccnee Be sure to.utiize the DOUBLE FACTOR as above instep 3. From Point of Origin, bring yourleft arm in, up, and out into a left usward block, as you Smunoreousy excoute ona hammerfist inward, and down, as if strikir eerste ioe Je. While simutta- re en and stikeey ple to aleft forward bow stance. 4. Perform the above step just “opposite” while pivoting into a left neutral bow stance, 5. Pivotinto aleft forward bow stance as you execute a right inward block, while cocki ng youretthandbackloyourlefthip fstclenched, |. paim up, as aleft back elbow strike). 6 Smultaneously execute alleft straight thrust punch to stemum level with A @.tGhY front snapping Bal Kick to groin level Without puting your foot nee | down, contr ‘action into a fight back thrust Kick to groin | tevelsimuttoneouswitharightshaightthtuslpunch othe front atstemum | vel. a a 7. Asyouplontyourrighl foot downinto alefi fowardbowstance,execute lef upward pany over your head simultaneous with a ight outward heel palm thrust af stemum level SET 6: 1. Step through forword Sart eee If fight foot into a tight neutral bow stance. As you ster exdcute cleft nworl Dock, followed by ai righ ounweradbioccanich wexcccteciomeltones with aleft outside downward black. pb eerdetene er aaidaale Just continues to become the left downward 2. Now Meaticon eae left outward block and a tight outside downward block. Be sure to utilize the DOUBLE FACTOR as above in 93Green Belt Journal Coordination Set #2 2 step #1 ._ FromPointof Origin, bingyourtight amin, up ,andoutinto ari reas Block, Seyou dRuioneokeh eocute oh hammers! ‘swardl, ly and down, as if stril r iocage. Seeionsousy blociang anc shang, Phot ito > ght Toners Cow stance. 4. Perform the above step just “opposite” while pivotinginto aright neutral bow stance. 5. Pivotinfoaright forward bow stance as you execute aleft inward block, whiecockig your hand backtoyourrghthip is clenched, palm up, asa 6. Smuttoneously execute at toight trea pune tostoram lovely ef fron snapping bal ck ie grin level. Wihoul puting down, continue the actionintoaleftbackthrusting! crooner ri Unkle re peg cd footdownintoaright forwardbowstance, execute ord pan cee oh outward fe ‘ook th ~ ‘at stemum level. ‘SET 7: 1, Cover toward 3 o’clock, by having your right foot drop back toward 9 o'clock into a left neutral chal ove i PCR, As you step back, execute a tight inward block, Lesa left outward block whichis executed simultaneously with downward block. (Thisis all ‘one flow. Your right inward bloc just continues to become the right downward block). 2. Now simultaneously execute a right outward block and a left outside ps ulaceleaeca Be sure toutilze the DOUBLE FACTOR as above instep 3. From Pont of Qin. bring ourleft am in, up. andl out info clef upward block os you smuttanecusy execute aright hammertsh nally Gnd Gown, as Ifstiking your opponent’ left cage. While s eousl locking ond slip, phot nfo lef forward Bow stance. 4. Perform the above step just “opposite” while pivoting into a lefi neutral bowstance. 5. Pivot into a left forward bow stance as you execute a tight inward block, while cocking your left hand back fo your left hip (fist clenched, 94Green Belt Journal ie Gee up, as a left back elbow stri Poousyexsouts alatarongy ead punch to stemuntovl wh arent font sre rapping Bal kick Toure L Without puting your doen, conte he Seton into o ight bak rush Foaietiogen levelsinuttoneouswith aright stoight thrustpunchtothefrontatstemum . Asyouplantyourright foot downinto aleft foward bowstance, execute aleft upward over head simultaneous with a right outward Feel paim thrust af semun level, ‘SET 8: a “ - Step through foward foward 3 o'clock with your ght foot nto ht neutral bow stonce. As you step forward, execute left rwvard Block, followed by aright outward block which ks executed simultaneously wil Gl cule Conewerbloce (nee ol one few vour lo nwcra lock just continues fo become the left downward block). . nee simultaneously execute a left outward block and a right outside downw< ard block. Be sure to utilize the DOUBLE FACTOR as above instep From Polntof Origin bxingyouright amin up andoutinfoaright upward Block. as you sn simutcnenssy erecte of oramertt rweac, diac srr ng ond ig 2 ght fon Gmeltongousy bi Blocking king, het pivot no a fight Toward bow stance, Perform the cbovesteph.st “opposite” while pivolinginio aright neural bow stance 3, Pivot into. aright forward bow stance as you execute aleft inward block, while coc! Our! hand back to your right Nip (fist clenched, palm tpiosarontbockebow ake). nent Smuttenectsty execute aight straight ns punch tostemumiovel lh @ left front snapping ball kick to without puting your foo} Gouniconinue heosioniiockebackinusirghociiceegorn level smuttaneous with aleftsraigh! ust punch othe front af stemimiovel. As you plant your let down info a tight forward bow stance, execute a fh u pony over your heod! smuttaneos with a lft outward heel paim thrust af stemum level. 95Green Belt Journal Coordination Set #2 ‘SET 9: 1. Coyer toward 12 o'clock, by having your tight foot drop back toward 60'clock into aleft neutral bow, facing 12 o'clock. As you siep back, execute a right inward Boe: folowed by a ef oulward ard block which B executed smutonecusy wih outside downward block. (This & oll one flow. Your a Inweres BIGck kt continues 19 Become the 2. Now Simuitonecsy outward block and a left outside coum bed SiS louieehe DOUBLE FACTOR as above instep 3. From Point of Origin, bring yourleftam in, Rees Brock, anyou smh payor aright nally Gnd down, os if Your opeoneet sla . While si neous biockng and sig. puch loc lel forwerd Bow sence, 4. Perform the above step just “opposite” while pivoting info cleft neutral a -_Prvotinto def forwarclbow stance as you execute aright inwerdblock, whi cor ling yauretihandback oyourietthp fstclenched, pam up, asa & Sm uterecesy cuneate cet staid hut punch iosonun lava wilh fight front sry level Without puting your foot oun Continue fhe Seton into o Spr back Kok fo groin Beier een iRaM caren frontatstemum “ Asyou uplantyourtightfootdownintog| left forward bow stance, execute pony over your head simuttaneous with a right outward feat Snea rust ‘femurs io level. ‘SET 10: 1, Step through forward toward 12 0’ en your foot into a righ Ural Be sane AS You hep Re eS ge tg Beet followed! Yang outwarabioscwnichs is executed simuttanes with aleft downward block, «Gn lone flow. Yourleft inward | just ee ie to become the left downward block). 2. Now simultaneously execute a left outward block and a tight outside downward block, Be sure toutiize the DOUBLE FACTOR as above instep aRGreen Belt Journal Coordination Set #2 3. FromPointof Origin bring yourrightarmin,up.and outintoarightupward Gece Sr you seuloneatey execute o igh hammer teres nally and down, os if striking your ’s tight bcage. | smuttaneously blocking and string, ot into a fight forward bow ‘once. 4, Perform the above step just “opposite” while pivoting into aright neutral bow stance. 5. Pivotintoaright forward bowstance asyou execute aleft inward block, | & vwhie cocking yourrighthand backto your ght hip (is clenched, palm : tighF back sitke). up, asa j 6. Simuttaneously execute aright straight thrust punch tostemum level with ! left front snapping ball kick fo groin level. Without ing your foot down,continuethe actionintoalet Cock iustrgpocickisgrollevel simuttaneous with aleft straight thrust punch to the front at stemum level. ry 7. Asyouplantyourlef! footdowninto aright fowardbowstance, execute a light uoward pay over your head smuttaneous with left outward of stemum level. | heel palm } SETH: | 1. Drop your ight foot back into a horse stance, facing 120’clock, as you Oeeele CIE outers Docks 2. Execute double outside downward blocks. 3. Loop your hands over your head and into double hammerfists inward diagonally and down. (Keep your elbows in close.) 4, Now execute double straight thrust punches fo the front. , : 5._iftyour hands up and in as you open them, and let them pass down in front of your face, as you execute double outward heel poim thrusts.Green Belt Journal CLOSING: BRING YOUR HANDSINTO A MEDITATING HORSE STANCE. COME TO ATTENTION STANCE. BOW. 1. Basic stances: a. Attention A straight thrust punch with a front snapping ball kick. A straight thrust punch with a back snapping heel kick. ‘An upward pary with an outward heel palm. Smmstoneous usage of the same sfke or block Blocks LONODRS z g i i Double Outward Hee! Palms 98Cer yye Msi (MU Loti wert Coordination Set #2 Teaches 1. How to use the Double Factor and flow from one block to another. The Double Factor as you smuttaneously block while striking. Simuttaneous blocks. |. Simuttaneous blocks with strikes. Simullaneous pany with a stike. Simultaneous punch with a kick. . Simultaneous use of “opposite” and “reverse” motion. Opposite am and leg usage in the same direction, Same am and leg usage in opposite directions. 10. How to strike simuttaneously to more than one Depth Zone. 11. How to Counter Balance: 3. Am with an am b. Am with an am with a leg 12. The use of Bracing Angles. 13.An introduction to “gaseous” movement. 14. How to use the concept of Center of Mass in a Gaseous State of Motion SP PNK YD — 99Green Belt Journal Freestyle Techniques For the Green Bell level execute each of the previous freestyle techniques from their opposite positions, The Orange Bell Freestyle Techniques should now be done Right to Right; the Purple Bell Freestyle Techniques should be done Right to Right; and the Blue Belt Freestyle Techniques should be done Left to Right. 100Green Belt Journal Written Test Section I Insection one of this est you are to read astatement, andifthatstatement iscorect,,thencicle"T” forttue. ronypartofthatstatementisincorect. then Circle *F" for false. TF 1. _Thectcle of the Intemational Kenpo Karate Association Patchis symbolic ofseveralihings. Among them itisthe base from which . our alphabet stems. | TF 2. ADouble Check is a momentary block that occurs during the eal execution of a strike. | TF 3, The 3 tips of the International ame represent the 3 stages of ae leaming — the primitive, mechanical, and spontaneous. : TF 4. Astrke fo the head of your opponent's humerus could cause temporary paralysis. TF 5. An “unuseful” move is one that does not work in any circum- stonce. TF 6. TheldealPhase of Brushing the Storm is against c front right step through overhead club alfack TF 7. _ Cicling Destruction s Family Related to Reversing Mace. TF 8. The concept of Contouring is divided into two basic categories: body contact and non-body contact. TF 9. A forward rollis both a body maneuver and a foot maneuver. TF 10. _Twiststanceisreallyashortname foratwistedhorsestance which may be formed from a horse stance by twisting the waist and allowing the feet to plvot freely. | END OF SECTION! a | 101(Cryo MUM Leb iwteT Written Test Section II In this section, a sentence or question will be presented. You are to choose the most correct and the most complete answer from the four possible answers given. Wiile the corresponding letter in the space provided. 1. Which of the following is a benefit of exercising the muscles? tt makes better use of your food supply. Iincreoses your capaciy to store food fue. It helps you to use a greater supply of oxygen. Allof the above. 2. Which of the following is not a type of “jump” 7 Leaping Covering Switching. Which of the following is not one of the major benefits derived in keeping an erect posture: ‘ ©. __Ithelpsfomaintain good balance by dispersing the body weight more evenly. b. Il promotes ease of movement. ¢, __Itincreases all sensory awareness. d.__Itincreases peripheral vision which is especialy important when two or more opponenis are involved. __4. Which of the following best describes Short Form #3. Mis a dictionary of motion. itis. an encyclopedia of motion. Itis an appendix of motion. None of the above. All of the above. 5. Which ofthe followingisnot a benefit of Gravitational Marriage ? Hteachesyouto get hemes! rom yourbody weight using gravity san Gi ©, It greatly enhances horizontal momentum. c employs the pr ‘ple of “back-up-mass” where the force of the drop is backed by the weight of the mass. 9. Ithelpstoincreasevertical anddiagonaldownwardspeed which in tum contiibules fo power. ao ai aora @a0ca END OF SECTION It 102Green Belt Journal Written Test Section II | In the following section, an incomplete statement is Given. You are to 4 provide aWordor words inorderto conectly complete it. Write youranswer 4 ‘onthe line given below each statement. |. While coordination s the synchronization of mind, body, breath and strength, focus ’s (what) of the same force. 2. “Action with effect keeps an opponent in (what). 3. “Accuracy must be coupled with (what) to insure victory.” 4. "Principles of motion take precedent over the (what).” 5, Filling moves to yourbody size, makeup, speed, andstrengthin orderto rename your offs kNown Os (whe = 6. (Whalt is the forcing of your opponent to defend a parlicular area in order fo effective sradio an Spenng ebswhere. Po 7. “Dead Space’ is the (whal) belween moves of atechnique sequence. | | || 8. hea Gctions of one arm orlegin atechnique sequence isreferred to as || (what). | al 9. "When aman’smindis occupied wilh his own injury, he isnot aptto think of (what.” END OF SECTION Itt 1n2Green Belt Journal Written Test Section IV Thislost sectionis dividediinto two parts. Inpart A you are required to provide a series of words, a phrase, or a paragraph in order fo answer the question or execute the command given, In part B two topics are presented ond you ore fo analyze them in the jowing way: 1. give.adetnition of each. 2. exploin their similarities, i there are any. 3. exploin thet differences, i there are any. 4. give examples, tkistrations, analogies or any other helpful aid to asistin distinguishing belween the two topics. Wille your answers onthe supplementary paper ven. Concise, but precse answers are pre- PART A: 1. Write out the Green Bett Pledge. What ate the 3 Phases of a technique ? Explain in detail the Equation Formula. Explain the analogy of “Alphabet of Motion”. Explain the 3 aspects of Speed. Ust things that Short Form #3 teaches. list 5 things that Coordination Set #2 teaches, Nomen on PARTB: 1, “Upper Case movements” vs "Lower Case movements” 2. “Useful” vs "Unuseful” vs “Useless” 3. “Aggressive Offense” vs “Defensive Offense” 4, “Committed Action” vs “Uncommitted Action” ma