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AMERICAN KENPO

Yellow Belt Manual

Instructor Douglas G. Turner, Jr.

Copyright 2004 by Douglas G. Turner, Jr. No portion of this book, except for review, may be reproduced,

stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying,recording or otherwise, without the written permission of the author.

Written permission must be included in said reproduction.

Doug Turner, [email protected]

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KENPO CREED

"I COME TO YOU WITH ONLY KARATE, EMPTY HANDS. I HAVE NO WEAPONS, BUT SHOULD I

BE FORCED TO DEFEND MYSELF, MY PRINCIPLES, OR MY HONOR; SHOULD IT BE A MATTEROF LIFE OR DEATH, OF RIGHT OR WRONG; THEN HERE ARE MY WEAPONS,

KARATE, MY EMPTY HANDS."

ED PARKER

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INTRODUCTION

The art of American Kenpo is a method of empty hand and foot fighting based on the scientific use ofthe body in self-defense. Instruction is designed to provide you with the ability to coordinate your mind, body

and spirit into a more efficient weapon by implementing the motions that you use in your every day life.

Moreover, you will find that instruction stresses the development of character, integrity, and respect for others.

As you advance, you will realize that American Kenpo is a way of life. You will gain a new way of thinkingand acting which will guide you in all areas of life so that you will be happier, healthier, and wiser.

This manual will hopefully provide guidance to novice and advanced students alike. It will show you the

methods of American Kenpo, but no matter how well this manual is written, remember: only real practice willteach you how to use your hands and feet in such a manner that you will be able to defend yourself against an

armed or unarmed assailant. Hard work is always the true key to success.

NUMBERING SYSTEM

Each technique will be described by the number. When there are multiples of the same numbers, this mean

that all of the moves labeled with that number will be performed at the same time.

PHASE 1 - THE IDEAL PHASE

In this first phase of learning a technique you are given a fixed pattern of movement to defend against a pre-arranged attack. This phase is designed to give the student the basics of how to structure a technique and to let

the student analyze the principles and concepts behind the technique from three points of view: the defender's

point of view, the attacker's point of view, and an observer's point of view.

PHASE 2 - THE WHAT IF PHASEIn this second phase of learning a technique you are ready to take the base technique and apply the equation

formula to a technique in order to improve or tailor it to fit your specific needs. In this phase you ask yourselfquestions such as What if the attack is different?, Can the same sequence of movements work against a

different attack?, and What if the range is different? This is where the equation formula comes into play.

The equation formula allows you to prefix, suffix, insert, delete, rearrange, change or modify the weapons ortargets used in the given base technique in order to react to any given situation.

PHASE 3 - THE FORMULATION PHASE

In this last phase of learning a technique you take what you have learned in the what-if phase and apply it

spontaneously to any situation. In this phase, the base technique becomes less the technique and more just

simple motions that create the technique. The motions used in the base technique are analyzed, and hidden

maneuvers are found to provide greater flexibility in applying the equation formula.

Since it is impossible for me to show you the spontaneous use of a technique in writing I will be using this

section to further the what-if stage by reducing the technique to just simple motions and interpreting it based onthe methods of other martial arts to demonstrate the fact that when you truly break down an art, it is, in essence,

the same as any other.

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TECHNIQUE ANALYSIS: FORMULATION STAGE ......................................................................................................................40

CHECKING THE STORM ............................................................................................................................................................... ...41 NAME ...............................................................................................................................................................................................41

THE LESSON ...................................................................................................................................................................................41

TECHNIQUE RELATIONSHIPS .....................................................................................................................................................41

TECHNIQUE ANALYSIS: IDEAL PHASE ......................................................................................................................................42

TECHNIQUE ANALYSIS: WHAT-IF PHASE ........................................................................................................................... ......43

TECHNIQUE ANALYSIS: FORMULATION PHASE ............................................................................................................... ......44

MACE OF AGGRESSION ...................................................................................................................................................................45 NAME ...............................................................................................................................................................................................45

THE LESSON ...................................................................................................................................................................................45





ATTACKING MACE ...........................................................................................................................................................................49

NAME ...............................................................................................................................................................................................49

THE LESSON ...................................................................................................................................................................................49





SWORD AND HAMMER ....................................................................................................................................................................53

NAME ...............................................................................................................................................................................................53THE LESSON ...................................................................................................................................................................................53





BLOCKING SET #1 .............. .............. .............. .............. .............. ............... .............. .............. .............. .............. .............. ........... ...... ....57

BLOCKING SET #1 .......................................................................................................................................................................... ...58

SHORT FORM #1 .............. .............. .............. ............... .............. .............. .............. .............. .............. ............... .............. ....... ..... ..... ..... .59

SHORT FORM #1 ....................................................................................................................................................................... ...... ...60THE LESSON ...................................................................................................................................................................................60

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YELLOW BELT REQUIREMENTS

DEFENSIVE TECHNIQUES

1. DELAYED SWORD (front - right hand lapel grab)

2. ALTERNATING MACES (front - two-hand push)

3. SWORD OF DESTRUCTION (front - left roundhouse punch)

4. DEFLECTING HAMMER (front - right front thrust kick)

5. CAPTURED TWIGS (rear - bear hug, arms pinned)

6. THE GRASP OF DEATH (left flank - right arm headlock)

7. CHECKING THE STORM (front - right step-through overhead club)

8. MACE OF AGGRESSION (front - two-hand lapel grab, pulling in)

9. ATTACKING MACE (front - right step-through straight punch)

10. SWORD AND HAMMER (right flank -left hand shoulder grab)

FORMS AND SETS

1. BLOCKING SET #1

2. SHORT FORM #1

YELLOW BELT SAYINGS

1. Distance is your best friend.2. Whatever the attitude, so is the response.

3. When blocking on the inside of an opponent's arm, do so below the elbow, never above it.

4. When blocking on the outside of an opponent's arm, do so at or above the elbow, never below it.5. The ankle is the wrist of the foot.

6. A knife-edge kick is a chop with the foot.

7. Deflection; then infliction of pain.

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YELLOW BELT BASICSSTANCES

1. Attention (standard)

Stand straight with your heels together and your toes slightly apart forming a 45 degree angle. You knees

should be slightly flexed, not locked. Arms are at your sides with your elbows lightly flexed, not locked.Your shoulders are back and your chin is slightly tucked. Weight is distributed evenly on both feet.

This stance is used for disciplinary purposes only. Due to the close proximity of the feet to each other thisis considered a single dimensional stance. Force applied at any angle will not result in a complete loss ofbalance due to the ability to redistribute the weight into virtually any stance.

2. Horse (training)Starting in a natural stance, step sideways so that your feet are two shoulder widths apart. Your hips

should dip a little and your back should be lightly flexed to maintain balance. This stance has disciplinary

and transitional purposes. Your weight should be distributed evenly on both feet.

Since the feet are on the same width plane, this stance is considered a two dimensional stance. Force

applied from 12 oclock or 6 oclock will result in the greatest loss of balance. This stance fully exposes

the centerline. As a transitional stance this is mostly designed to move from one stance to another or toattack of defend yourself. For example, this stance would be used for a split second if you need to lower

your body weight to execute a throw. However, you should recover to a fighting stance as quickly as

possible so that your assailant can't take advantage of your vulnerability.

3. Neutral Bow

Stand with your feet a little more than shoulder width apart at a 45 degree angle. Your feet should runparallel to each other, offset so that your rear toe is even with your front heel. Your knees should be

lightly flexed, not locked. Your arms should be up and ready to attack or defend. Your shoulders should

be slightly forward and your chin tucked. Your weight should be distributed evenly over both feet.

This stance is considered the Master Key stance of the American Kenpo system. Most of the stances used

are variations of the neutral bow. The feet are on different width and depth planes so this is considered a

three dimensional stance. Force applied in a circular motion from 1:30 and 7:30 will result in the greatestloss of balance. However, the ease at which you can redistribute your weight to another stance makes it a

great fighting stance. Overall this stance is stable and mobile and offers protection to the centerline.

4. Forward bow

From a natural stance, step forward so that your front knee forms a 90 degree angle and your back leg is

nearly straight, but with your rear knee slightly flexed. Your rear foot should point straight forward andyour front foot should be at a 45 degree angle. Your weight should be distributed evenly on both feet.

Your back should be straight with your chest out and chin in.

This stance is primarily a transitional stance used employ back-up mass or to create a bracing angle. The

feet are on different width and depth planes so this is considered a three dimensional stance. Force applied

in a circular motion from 1:30 and 7:30 will result in the greatest loss of balance. This stance is stable but

not too mobile.

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5. Close Kneel

This stance is primarily a transitional stance used to employ marriage of gravity or to check or bucklelegs. You should distribute your weight evenly on both feet. Your feet are on different width and depth

planes so this is considered a three dimensional stance. Force applied in a circular motion from 1:30 and

7:30 will result in the greatest loss of balance. This stance covers the centerline quite well though it lacksstability and mobility.

6. Cat (45 degree)

Stand with your feet shoulder-width apart at a 45 degree angle so that one foot is forward forming an Lshape. Your knees should be lightly flexed, not locked. Your arms should be up and ready to attack or

defend. You shoulders should be slightly forward and your chin tucked. You should distribute your

weight so that 90 percent is on your back leg and 10 percent is on your front leg.

This stance is primarily a transitional stance used prior to kicking or moving. The feet are on a different

width and depth planes so this is consider a three dimensional stance. Force applied from 9 oclockthough 11:30 will result in the greatest loss of balance. Your front leg has little to no weight on it allowing

you to quickly throw kicks when you want to attack or transition quickly to a fighting stance if under

attack. Because most of your weight is on one leg, an attack against that leg will cause loss of balance andmake it difficult to transition to another stance. Like all transition stances, you should recover to a fighting

stance as soon as possible so that your assailant can't take advantage of your vulnerability.

FOOT MANEUVERS

l. Front Step Through

Move your rear foot forward to the front and pivot on your front foot as it becomes the back foot.

2. Rear Step Through

Move your front foot back past your rear foot so that it becomes the rear foot in the stance.

3. Step-Drag Shuffle

Step forward with front foot then drag rear foot up into the same stance you started with

4. Drag-Step Shuffle

Drag your rear foot forward almost to your front foot then step forward with front foot into the same

stance you started in.

5. Push-Drag Shuffle

Push forward with your rear foot. Your front foot will come slightly off the ground to move forward asyour rear foot slides on the ground forward.

6. Front Crossover

Your front foot steps in front of and past your rear foot into a cross stance, then your rear foot moves outalong the same plane to return back to stance.

7. Rear CrossoverYour front foot steps in behind and past your rear foot into a cross stance, then your rear foot moves along

the same plan to return back to stance.

8. Side Cover

Pivot 90 degrees towards the open portion of your stance to end up with the opposite leg forward.

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10. Rear Cover

Step your rear foot across the line of your lead leg and pivot 180 degrees to the rear.

PUNCHES

1. Snapping Horizontal (corkscrew)From point of origin; punch straight out with your fist. Your knuckles should face upward.

2. Snapping Vertical

From point of origin; punch out and slightly upward with your fist. Your knuckles should face to theoutside of your body.

3. Snapping Inverted VerticalFrom point of origin; punch out and slightly downward with your fist. Your knuckles should face to the

inside of your body.

4. Upward Roundhouse (uppercut)

From a hip chamber; punch up and away from your body stopping at approximately level with your solar

plexus. Your knuckles should face outward.

FOOT AND LEG STRIKES1. Front Snapping Ball Kick

From a crane chamber; extend the ball of the foot or the heel forward into the target then quickly returnyour leg to the crane chamber. Your body does not cross the point of no return.

2. Rear Snapping Heel KickFrom a crane chamber; drive the heel of the foot directly backwards into the target then quickly return

your leg to the crane chamber. Your body does not cross the point of no return.

3. Side Snapping Knife-Edge Kick

From a crane chamber; extend the blade of the foot in an outside to inside circular motion to slice the

target using marriage of gravity and torque. Pivot on the supporting leg so that the toes face perpendicularto or away from the striking leg.

4. Roundhouse Kick

From a crane chamber; point the knee to the inside of your body and extend the shin inward into thetarget. Extend the toes and pivot on the supporting leg so that the toes are 90 degrees or greater to the

outside of the body.

5. All Step-Through Kicks

Perform the kicks above as described. Use more power so that you are carried in the direction of the strike

and can not return to your original position. Instead, step through so that your kicking leg is now the lead

leg of the stance.

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BLOCKS

1. InwardStart with your hand closed and fist facing toward your face in a low chamber at the hips; move at a 45

degree angle across the body diagonally upwards.

2. Vertical Outward

Start with your hand closed and fist facing inward in a cross chamber; move across the body at a 45

degree angle

3. Extended Outward

Start with your hand closed and fist facing inward in a cross chamber; move across the body at a 45

degree angle as you rotate your palm outward

4. Upward

Start with your hand closed and palm facing inward in a cross chamber; move upward to form a 45 degreeangle as you rotate your palm upward.

5. Downward (outward)Start with your hand open and palm facing inward in a high shoulder chamber; move your arm across

your body in a downward arc until its out barely past the leg. Keep your elbow slightly bent.

6. Push-DownStart with your hand closed and fist facing upward, chambered at your hip. As you extend your arm

downward along your centerline, rotate your palm down and open your hand.

7. Rear Elbow

From a hip chamber; drive your elbow backwards into the target with your hand trailing directly behind

your elbow.

FINGER STRIKES

1. Inward Overhead ClawFrom an upward block position, open your hand and use your fingers to attack soft targets as you moveyour arm across and to the outside of your body.

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Concepts, Principles and Theories

In each of your Yellow Belt techniques, be able to utilize the following concepts principles, and theories toachieve maximum effectiveness.

1. CLOCK PRINCIPLE

Throughout your lessons constant reference will be made to the face of a clock. This reference actually relates

to angles used when teaching, to show you the proper positioning of your feet in the performance of your

basics, self-defense techniques, freestyle techniques, forms, etc. For example, when starting a form (set), youshould picture yourself standing in the middle of a large clock that has been placed on the floor. The direction

you face when starting should always be 12 o'clock, to the right of you 3 o'clock, directly behind you 6 o'clock,

and to your left 9 o'clock. The "Clock Principle" is a directional reference used to aid you in selecting the properdirection when attacked, retaliating, or working your basics.

2. ANGLES OF ATTACK

The eight major directions from which you or an assailant can attack or defend. For the purpose of this manual

the angles are as follows:

1. Diagonally downward from upper outside to lower inside.2. Diagonally downward from upper inside to lower outside.

3. Diagonally upward from lower outside to upper inside.

4. Diagonally upward from lower inside to upper outside.5. Upward from low to high.

6. Inward from outside to inside.

7. Outward from inside to outside.8. Downward from high to low.

3. EQUATION FORMULA

To any given base, whether it is a single move or a series of movements, you can:

1. Prefix it: add a move or moves before it.

2. Suffix it: add a move or moves after it.3. Insert: add a move into the already established sequence.

4. Rearrange: change the sequence of the moves.

5. Alter: change the weapon, target, or both weapon and target.6. Adjust: change the range, angle of execution, or both angle of execution and range.

7. Regulate: change the speed, force, speed and force, or intent and speed.

8. Delete: exclude a move or moves from the sequence.

4. CENTERLINE THEORY

The centerline theory is based on the concept that your body is symmetrical. Our most vulnerable points are

near the line of symmetry leading the martial artist to develop stances and body positions which protect that line

of symmetry.

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5. OPPOSITE MOTION

Opposite motion refers to motion as it would appear in rewind. The opposite motion of an inward is outward.

So the opposite motion of an inward hand sword would be an outward hand sword.

6. THE CATEGORICAL BREAKDOWN OF TYPES OF ATTACKS

1. Grabs and Tackles

2. Pushes3. Punches

4. Kicks

5. Holds and Hugs6. Chokes and Locks

7. Weapons

8. Multiple Attacks

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Terminology

The following list of terminology is provided to aid the serious student in his pursuit of Kenpoknowledge. The terminology should not be viewed as mere definitions, but it should be utilized to

increase your knowledge and understanding of Kenpo. By studying these concepts and applying them to

fighting sequences, you will maximize your fighting ability and realize your full potential.

ANGLES OF ATTACK - the eight directions from which you or an opponent can attack.

BASICS - simplified moves which form the base of the Art. They are divided into stances, blocks,punches, strikes, kicks, etc.

BLOCK - a defensive maneuver used to hinder or check an attack.

CHOP - the execution of a cutting blow to an opponent or an object which generally employs the knife-

edge of the hand as the weapon.

CLASSICAL - a term used to describe the so called pure systems of Karate. Many of the movements

associated with these systems are not practical in our present environment, since their methods were

created for the types of defense found prevalent during ancient times.

CLAW - pulling and tearing action utilizing the fingertips which results in scratching and/or ripping.

CLOCK PRINCIPLE - A system, in teaching, which helps the student to visually imagine the direction

which he is to follow. He is generally asked to think of himself as being in the middle of a big clock

facing 12 o'clock with 6 o'clock to the rear, 3 and 9 to his right and left and all other numbers in theirrespective places.

COMBAT - realistic fight which excludes control and rules.

CORKSCREW PUNCH - a torquing, twisting punch, which makes contact at the time the clenched fist is

facing palm down.

DRAG - the sliding of one foot against the other while either moving forward, back, or to the side.

DRAG-STEP - the dragging of one foot against the other while either moving forward, back, or to theside as the other foot steps away from it. This is one of three methods of shuffling.

EMBRYONIC BASICS - simple basic movements which are generally single in action and single in

purpose. Moves that are primitive in nature.

FORMS - offensive and defensive maneuvers incorporated into a dance. It is an index of movements

whereby one can get answers to certain situations. It is a physical expression of form, speed, power,continuity, poise, etc.

FREESTYLE - a term used in Karate for sparring. As in boxing it is a combination of offense and defense- free physical expression.

GUARD - a set or arranged position of the arms and legs in anticipation of an attack.

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HEEL-KNEE - method of determining the proper depth of a neutral bow and arrow stance where the heelof the forward foot is on the same line as the knee of the rear leg when it is smartly and naturally placed

on the ground.

KICK - refers to the methods used when striking with the foot.

LOCK-OUT - refers to a body weapon that is delivered and which remains at the target rather than being

retrieved.

MECHANICAL - refers" to those whose movements are very staccato in appearance. Sequence of

movements which look as if they are being done by the numbers.

MOVE - a command used when teaching to cause a student to react to a particular exercise.

NATURAL WEAPONS - use of body parts as offensive weapons. This includes using parts of the hand,

arm, foot, leg, etc.

OVER-REACH - to over-extend oneself with a blow or kick needlessly- to reach beyond or above a

certain point unnecessarily.

PARRY - to ward off a blow or kick. Riding and re-directing the force of a blow or kick.

PIVOT - is the changing from one stance or position to another while in place. This is done without

moving the foot front the spot it is in.

POKE - refers to the thrusting of the tips or the joints of the fingers to particular target areas on an

opponent's body.

PRACTICAL - realistic and applicable moves that work, especially on the street. Moves that work not

only in theory but in practice as well.

PUNCH - primarily refers to the methods used when striking with the front portion of the fist.

PUSH-DRAG - involves slightly raising the forward or the rear leg as the other leg pushes' the bodyforward or back before catching up to resume the original distance between the feet. This is another of the

three methods.

SET - another term used to describe FORM, a dance routine of offensive and defensive maneuvers

created to have the practitioner to physically express himself.

SHUFFLE - is the shifting of the body forward or back to close or to increase the distance between youropponent and you. In our system, there are three methods that accomplish this: push-drag, drag-step, and

step-drag. These are categorized as FOOT MANEUVERS.

SNAP - a particular method of execution which involves utilizing a whipping type attack or blow but with

greater magnitude than a whip.

SOPHISTICATED BASICS - basic movements which, although singular in movement, produce multiple

results.

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STEP-DRAG - the stepping forward, back or to the side with one foot as the other drags to meet it. This is

another of the three methods of shuffling.

STEP THROUGH - the execution of one full step forward or back, or in the case of a step through kick, it

means kicking with the forward foot and planting that foot back, or kicking with the rear foot and plantingthat foot forward.

STRIKE - the delivery of natural body weapons in hitting human targets, the method of which excludes

punches and kicks.

SWITCH - is the changing form one stance or position to another while in place. This is done while

moving the feet from one spot to another. This involves a lead leg where one of two things can happen, (l)you can step back to forward, (2) step forward to back, or a third possibility (3) jumping in place.

TARGETS - vital areas on an opponent's or your body which when struck can cause injury or damage.

THRUST - a particular method of execution which involves utilizing a propelling push type attack or

blow.

TOE-HEEL - method of determining the proper width of a neutral bow and arrow stance where the toe ofthe forward foot is in line with the heel of the rear foot.

TORQUE - that twisting action used with your offensive or defensive movements which positions your

body and muscles to work at maximum efficiency.

VITAL AREAS - essential body parts which when struck can be injurious or fatal.

WEIGHT DISTRIBUTION - the apportionment of weight related to a particular stance. It may vary, fifty-fifty, sixty-forty, ninety-ten, etc.

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YELLOW BELT SELF DEFENSE TECHNIQUES

DELAYED SWORD

Defense against a grab to your left shoulder

1. Step your left foot back to 6 oclock into a right neutral bow facing 12 oclock.1. Execute a right inward block to assailants right arm.

1. Bring your left hand up to your solar plexus to act as a check.2. Execute a right snap kick to your assailant's groin.

3. Plant your right foot at 11 oclock into a right neutral bow.

3. Execute a right outward hand sword to your assailant's neck.

NAME

American Kenpo uses nicknames for certain basic strikes to aid in remembering the technique by associatingthe name with the movements in the technique. Sword is the nickname for hand sword or knife hand.

Delayed Sword derives its name from the sequence of movements. The hand sword is delayed by the

insertion of a snap kick prior to its use.

THE LESSON

This technique was designed to teach you how to create distance from your attacker while blocking. As yourhands move out of range, you can then follow up with a long range weapon, which in turn brings the target back

in range of your hands.

TECHNIQUE RELATIONSHIPS

Father: Right Inward Block

Mother: Left check at left ribcageSister: Right Snap Kick

Master Key Technique: Five SwordsOpposite Motion Technique: Sword of DestructionReverse Motion Technique: Intellectual Departure

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TECHNIQUE ANALYSIS: IDEAL PHASE

Step back away from the attack to create distance and allow yourself more time to react to any follow-ups that

your assailant may use.

If your assailant maintains the grab on your shoulder, he will lose his balance as you step back. This disruption

of balance is called an angle of disturbance. His right arm will extend, causing his left shoulder to rotate back.This will cancel both arms. His right leg will also be canceled because all of his weight will be shifted onto it.

Your left hand should be ready and in place to check against any follow-ups.

As you perform your inward block, you need to make sure that your arm and body are aligned properly to getthe maximum effect. To do this, hold your right hand out in front of you as if in a defensive posture. Anchor

your elbow to your hip bone and hold your fist out so that your arm forms a 45 degree angle. When you step

back into the neutral bow your arm should automatically swing into position to perform the inside block. Theinside block is a natural part of the step back, so all you need to do is add a little force to make it more effective.

The inward block will cause the extended arm to collapse, pulling your assailant toward you with what is calleda frictional pull. This will place more weight on your assailants right foot making it that much more difficult

for him to counterattack.

At this point in the technique, your assailant is outside of your ability to strike with your hands. With that inmind, use the next weapon available to you. Shift your weight onto your left leg and pull your right leg back a

little into a cat stance facing 12:00. Execute a snap kick to your assailants groin.

The snap kick will anatomically position your assailant by bringing head within contact penetration range of

your hands. As your assailants head comes forward you have the opportunity to borrow the force of his

forward momentum to increase the power of your strike as you employ your own forward momentum to meetthe oncoming force. Striking an object coming toward you causes much more damage than striking a still target.

When you execute your snap kick, you are throwing your body forward and then placing most of your weight

on the kicking foot, almost like you do when walking. As gravity pulls your weight down on that foot youshould finish with the hand sword to the neck, using all of that weight to add power to your strike in a marriageof gravity and force.

Your assailant's possible attempt to follow up with a strike using his left arm or leg will be canceled by the

outward hand sword to his neck. The strike will force his weight back on his rear leg making the leg and the

arm ineffective as weapons. Leaving the strike out is known as a lockout check. Because it is resting on aportion of his body it is also considered a gravitational check. The pinning check and the gravitational check

working together effectively cancel your assailant's width and depth zones. His width and depth is canceled

because he can no longer move forward, back and side to side. Your pinning check prevents him from movingback and to your right. Your gravitational check prevents him from moving forward or to your left. It also

prevents him from rising canceling his height dimension. His only course of action is to drop down, which caneasily be countered by another snap kick.

Over the course of this technique you only counter attack with two strikes, the snap kick and the outward hand

sword. Since this technique is in response to a grab, it is probably sufficient However, what if you feel that you

need a stronger response? Without deviating from the primary motions of this technique you can add at leastone more strike.

Kenpo defines each movement as a letter of the alphabet. A self-defense technique is known as a fightingsentence, a set is an index and a form is a dictionary or an encyclopedia of motion. Some of these individual

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movements make use of the uppercase and lowercase portion of the letter. The inward block of Delayed Sword

is one such letter. As you block with your forearm your fist is in position to strike the jaw while en route. Theforearm block is the lowercase and the hammer-fist to the jaw is the uppercase portion of the letter.

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TECHNIQUE ANALYSIS: WHAT-IF PHASE

What if you feel Delayed Sword is not a strong enough response to the attack? Perhaps, you started Delayed

Sword and immediately realize that it wasn't going to be effective in controlling your assailant. Your nextoption is to graft another technique into it.

1. Step your left foot back toward 6 oclock into a right neutral bow facing 12 oclock.1. Execute a right inward block to your assailants right forearm.

1. Bring your left hand up to your solar plexus to act as a positional check.2. Slide your right foot back into a transitional cat stance.

2. Execute a right snap kick to your assailant's groin.3. Execute a right outward hand sword to your assailant's neck.

Graft Five Swords on to the end of the technique:

4. Follow with a left sword hand strike to his eyes and cheekbone.5. Execute a right uppercut to his solar plexus.

5. Chamber your left hand across your body in a positional check.

6. Follow with a left outside sword hand to his neck.7. Finish with a right sword hand to his neck.

If you alter the last right inward hand sword to the neck with a hammer-fist to the jaw you can repeat DelayedSword as if the last technique were the uppercase portion of the inward block.

Part of the what-if phase of Kenpo is tailoring the technique to fit your individual preferences. While I teach

Delayed Sword in its ideal phase, I also teach a slight variation which I feel provides the defender with bettercontrol over the assailant.

1. Step your left foot back toward 6:00 into a right neutral bow facing 12:00.1. Bring your left hand up and pin your assailants right hand to your shoulder.

1. Execute a right inward hammering strike to your assailants right forearm.

2. Slide your right foot back into a transitional cat stance.

2. Cross chamber your right hand across your body in a positional cock.2. Execute a snap kick to your assailants groin.

3. Plant your right foot toward 11:00 into a right neutral bow.

3. Execute a right outward hand sword to your assailants neck.

By using a pinning check with your left hand to control your assailants right hand, I believe that you have

better control over your assailant. As you strike his forearm you can be assured that you cant strike his arm sohard that you put it back into orbit allowing it to become another weapon for you to worry about, nor do you

have to lose the benefits of the angle of disturbance that you create by pulling him with you as you step back.

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TECHNIQUE ANALYSIS: FORUMLATION PHASE

Delayed Sword from a contact manipulation perspective:

Defense against a right to left shoulder grab

1. Step back with your left foot toward 6:00 into a right neutral bow facing 12:00.

1. Grab your assailants hand with your right hand1. Bring your left hand up to your solar plexus to act as a positional check.

2. Execute a shuffling front leg kick to your assailants groin.3. Peel his hand off of your shoulder and bend his arm across his body.

3. Push up on his elbow with your left hand.3. Torque his wrist clockwise with your right hand to apply an S-lock.

This technique uses the same basic motions as Delayed Sword. You step back to gain distance and then grabyour assailants right hand with your right hand. The grab is accomplished by reaching across your body, which

is the same movement as a right inward block. Its the same motion, but with a different intent. You then

execute a snap kick to your assailants groin to distract them long enough to apply the final move. The onlypurpose of the snap kick in both the ideal version and the formulation version of Delayed sword is to set your

assailant up for the final strike. Its a minor move, yet important all the same. In the formulation phase you

torque your assailants wrist backwards as if getting ready to apply a come-along hold/wrist activated arm bar.Indeed you could actually use the arm bar to finish, but because the kick closed your range, I would expect thearm to be bent in a goose-neck or s-lock fashion. This is also known as a reverse wrist lock.

The principles used by American Kenpo are maintained and yet the technique is one that would be more likelyto be found in Hapkido, Shorinji Kempo, or other grappling art. If you look hard enough its found within

American Kenpo too. The major point that I wish to get across in these manuals is that all martial arts are

motion. The only difference between the arts is their strategy and tactics. If you remove all of that and allowyourself to use any strategy or tactic the lines between the arts becomes blurred and you have what American

Kenpo and Jeet Kun do and Dragon Kenpo are meant to be. Use what works for any given situation.

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ALTERNATING MACES

Defense against a two-handed push from 12 oclock

1. Step your left foot back toward 6 oclock into a right neutral bow.

1. Execute a right inward block.

1. Chamber your left hand at your hip.

1. Extend your inward block down on top of your assailants arms.2. Pivot into a right forward bow.

2. Execute a left reverse punch to the solar plexus.2. Maintain your right forearms horizontal position across your assailants arms.

3. Pivot back into a right neutral bow.

3. Execute a right back-fist to your assailants temple.3. Drop your left arm down horizontally across your assailants arms.

NAME

Mace is the nickname for a clenched fist in American Kenpo. In this technique you will be alternating your

strikes and your targets with a clenched fist making the name Alternating Maces very appropriate.

THE LESSON

Like Delayed Sword, this technique teaches you the importance of creating distance. It teaches how to utilize

stance changes to make your strikes more effective. It also teaches how to use your fists alternately, usingspecific weapons for specific targets.



Mother: Left check at left ribcage

Brother: Left reverse punch

Master Key Technique: Five SwordsOpposite Motion Technique: Raining Claw

Family Related Technique: Snaking TalonEvolving Technique: Calming the Storm

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Step back with your left foot to 6:00 into a right neutral bow for the angle of least resistance. The step back

should be extremely explosive. Make it a step drag if necessary to gain a little extra distance from the incomingpush. Yourangle of deflection should be as close to your assailant as possible to deflect the force and

momentum of the push so that you are not affected. Dont try to just ride the push. If you are hit by the push,

this technique will probably not work.

Extend your inward block down so that it is parallel to your body and placed a little bit below your assailantselbow joints so that his arms are pinned to his body in a pinning checkwhilepivoting into a forward bow. This

check only checks his height zone by preventing your assailant from rising. It doesnt prevent him fromcollapsing forward into a head butt, so you will need to explode into the second move. The block will provide a

minor amount offrictional pull that will help him head-butt you, but if you are quick enough you can borrow

that force.

Launch your reverse punch as soon as you start to pivot into a right forward bow. The strike and the stance in

proper alignment acts as a bracing angle that will keep you stable. Meeting your assailants forwardmomentum with your torque cancels his follow-up as well as borrows his force. The action of a pivot into a

forward bow along with a reverse punch brings your whole body into alignment and allows your entire weight

to settle into the strike. Rarely should you just strike out with your arm strength alone. To some soft tissuetargets it can be devastating, but for maximum efficiency, use proper hip rotation to add power to your strike.

Immediately upon making contact with the reverse punch, unwind back into a neutral bow and use the counter

rotation to aid the power of the back-fist to your assailants temple. Use your retreating reverse punch as a guideto contour along and aim your back-fist. Snap the reverse punch back fast enough so that the movement will

help pull your left hip back and push your right hip forward adding more speed and power to the back-fist. End

the technique with your left hand checking your assailants hands and your right hand controlling his threedimensional zones with a lock-out check.

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TECHNIQUE ANALYSIS: WHAT IF PHASE

The potential for our technique not to be sufficient to disable an assailant is always going to be the first what-if

covered in this series. The concept of grafting is very important for the student who hasnt developed theknowledge to be completely spontaneous in dealing with the possibilities that an assailant might present.

Grafting provides a tool in which a student can use the framework of the techniques given to react to the less

than ideal attacks and responses in the course of combat.

Defense against a two-handed push

1. Step back with your left foot toward 6 oclock into a right neutral bow.1. Execute a right inward block.

1. Bring your left hand up to your solar plexus to check.

Graft in Mace of Aggression2. Execute a right inward elbow strike.

2. Slice his left knee with your right foot.

3. Plant your foot down to a right neutral bow.3. Execute a right outward elbow.

3. Drop your right arm down horizontal across your assailants arms to check

4. Pivot to a right forward bow.4. Execute a left reverse punch to your assailants solar plexus.5. Unwind back into a neutral bow.

5. Finish with a right outward hammer to your assailants temple.

The inclusion of part of Mace of Aggression will angle the assailants momentum further off to the side and

may cause him to partially turn making his solar plexus unavailable as a target for your reverse punch. If this is

the case, use the target that now presents itself; the ribcage. The strike to the ribcage has the potential ofbreaking a few ribs and will cause the assailant to arch his head forward and turn toward you allowing your

outward hammer to fit perfectly.

What if you moved too far away from your assailant with a step drag in order to get away from the force of thepush?

1. Step back with your left foot toward 6 oclock into a right neutral bow.1. Execute a right inward block.

Use the equation formula and insert a move.

2. Shuffle up into a cat stance2. Execute a right snap kick to your assailants groin.

3. Drop your right foot closer to you assailant into a right neutral bow.

4. Pivot to a right forward bow.4. Execute a left reverse punch to the solar plexus.

5. Unwind back into a neutral bow.5. Finish with a right outward hammer to your assailants temple.

Adding the snap kick changes the entire dynamics of the technique, yet it still works. You borrow the assailants

forward momentum and stop it using the forward momentum from your snap kick. If your assailant was already

starting to bend forward from the inward block forcing him to turn and drop, the snap kick might cause the headto whip down, making it difficult to effectively use your reverse punch. If this is the case, change to Delayed

Sword and strike with an outward hand sword.

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TECHNIQUE ANALYSIS: FORMULATION PHASE

Alternating Maces from a contact manipulation perspective:

You assailant is in your guard with his hands planted on your chest.

1. Snake your left leg back and place your right knee across his hips.1. Reach across your body with your right hand and grab his right lapel, pinning his hands to your chest and

pulling him closer to you.2. Push with your right knee.

2. Push with your right hand and roll over into a mount.3. Grab his left lapel with your left hand.

4. Roll your body weight higher onto your assailants chest as you apply a scissor choke.

In this technique Im equating turning your left hip down with stepping your left foot back into the right neutral

bow. In this case your right knee is being placed across your assailants hips to scissor you to the mount. Your

right hand does virtually the same as it does in the ideal version. It reaches across your body and drops down tocheck your assailants hands while pulling him closer to you to deny him space to maneuver.

Roll over and firmly obtain a good mounted position, dropping your hips as low as possible to stabilize yourbase. Because both of your hands are going to be working on his body you dont have a three point base and area little easier to be rolled. Drop your leg out to the side for extra stability if your assailant attempts to roll you.

Beware that the attempt to roll you might be used just to create that space between his body and your leg. Your

assailant might strive to thread his leg between the two, so as soon as he stops trying to roll you, bring your legback tightly against his body.

Lift your right elbow up just enough to create space for you to slip your left hand under to grab his right lapel.This move is relative to the left reverse punch. Apply the scissor choke by pulling your hands to their respective

sides; left to left, right to right. This action is relative to you re-chambering or re-checking your assailants

hands with your left and executing the whipping back-fist to your assailants head in the ideal version.

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SWORD OF DESTRUCTION

Defense against a left hook punch to your head

1. Step back with your left foot toward 6 oclock into a right neutral bow.

1. Execute a right outward block to your assailants left forearm.

1. Bring your left hand up to your solar plexus as a check.

2. Execute a snap kick to the assailants groin.3. Plant your right foot down toward 1 oclock into a right neutral bow.

3. Finish with a right inward hand sword to your assailants neck.

NAME

Sword of Destruction describes the basic moves of the technique by alerting you to the weapon that is being

used; the hand sword. The use of the term destruction implies the powerful nature and the potential danger of

the hand sword.

THE LESSON

This technique teaches the same lesson as Delayed Sword using reverse motion. Delayed Swords motion wasinward followed by an outward motion. Sword of Destruction uses an outward motion followed by an inwardmotion. These two motions are the Master Keys to many of the following techniques.


Father: Right Extended Outward Block

Mother: Left mid-level checkSister: Right Snap Kick

Master Key Technique: Shielding Hammer

Opposite Motion Technique: Delayed Sword

Family Related Technique: Shielding Hammer

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Step back toward 6:00 with your left foot into a right neutral bow to gain distance to allow you more reaction

time. Solidify your base as you execute your right outward block. Your right arm should be locked into a framejust barely outside the peripheral of your body so that you dont create too much dead space by blocking strikes

that will never hit you.

Block the hook punch between your assailants fist and elbow. If your block lands on the bicep, your assailant

has the ability to collapse his fist inward to strike you. Your block should be locked in with the rest of yourbody so that in order for your assailant to move beyond the block he would have to move your whole body.

At this point you havent fully checked your assailants ability to attack. Quickly fire the snap kick to the groin

to cancel his height, width and depth zones to prevent him from striking with his right side. The snap kick

should bring your assailants head forward into your hands contact penetration zone.

The snap kick to the groin should start a fraction of a second before your inward hand sword to the neck. Like

Delayed Sword, the hand sword should connect at the same time as the foot plants on the ground to make fulluse ofmarriage of gravity.

The inward hand sword should contour along your assailants hook punch as much as possible to make yourattack more accurate. After the strike, leave your hand in place to act as a lock-out check, checking his height,width and depth zones.

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Technique Grafting:



Graft in the end of Entwined Maces2. Execute a right inward hand sword to your assailants neck.

3. Step your left foot toward 1:30 into a left rear crossover.3. Execute a right outward elbow to your assailants solar plexus.

4. Step your right foot toward 1:30 into a right reverse bow facing 1:30.4. Execute a right back hammer fist to your assailant groin.

4. Bring your left up to check over your right shoulder.

5. Pivot clockwise into a right front twist stance.5. Execute a right upward block.

5. Execute a left palm strike to your assailants sternum.

6. Execute a right knee.7. Plant your right foot back to 6:00 into a right neutral bow.

7. Execute a right inward hammer fist to your assailants left collar bone.

8. Step your left foot behind your right into a rear cross over.8. Execute a right rear kick to your assailants solar plexus.9. Cross out to 6:00 to finish.

What if your assailant immediately follows up with a right punch after his left hook punch is blocked?

Defense against a left hook punch to your head followed by a straight right punch to your head



1. Bring your left hand up to your solar plexus as a check.

2. Execute a right inward block to your assailants right forearm.3. Slide your right foot back into a transitional cat stance.

3. Execute a right snap kick to your assailant's groin.

4. Execute a right outward hand sword to your assailant's neck.

The response to the attack was simple; I switched techniques and went to Delayed Sword instead of Sword of

Destruction.

TIP: A drill that can often be used with your students is to alternate attacks from left to right and hope that the

student will continue to block until he reaches a point where he can solidify his base and immediately counterwith either the technique he is currently working on with the same hand that the technique requires, or counter

with the technique he is currently working on with the opposite hand the technique requires, or switch to adifferent technique.

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Sword of Destruction from a contact manipulation perspective:

Defense against a straight right punch

1. Push-drag your left foot toward 7:30 into a right neutral bow.1. Execute a right outward hooking block trapping your assailants right wrist.

2. Step your right foot toward 12:00 into a right neutral bow.2. Apply a wrist lock.

In this technique the motions are more passive than in the ideal phase. Like step one of the ideal phase, drop

back and solidify your base while blocking outward. You then move in with an inward motion. To get the wrist

lock to work at its peak efficiency, hook grab your assailants hand at the thumb. Shuffle in and torque his handinward and use your left hand to check his hand or his elbow to get as much torque as possible. If you find it

difficult to get your assailant to comply, move your left foot up the circle toward 4:30 in a right neutral bow

facing 10:30 to get more torque and to bring him off balance.

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DEFLECTING HAMMER

Defense against a right step through front kick

1. Step your left leg back to 7:30 into a right neutral bow.

1. Execute a right downward block.

1. Bring your left arm up to about chin height to check.

2. Shuffle toward 1:30 maintaining your right neutral bow.2. Check your assailants right shoulder with your left hand.

2. Finish with a right horizontal elbow strike to your assailants face.

NAME

This techniques name is derived from the angle of deflection the blocking arm establishes. The word hammer

is symbolic of the downward hammering action of the block.

THE LESSON

Deflecting Hammer teaches you how to employ footwork to open and close the gap between you and your

assailant. It also teaches you how to move out of the line of attack by changing angles.


Father: Right Downward Outward BlockMother: Left midlevel check

Sister: Right Inward Elbow Strike

Master Key Technique: Five SwordsFamily Related Technique: Thrusting Salute

Family Related Technique: Buckling Branch

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Your first priority is to avoid getting hit with the initial strike. You do this by stepping back and out of line with

your attacker so that you create distance as well as off-setting yourself from the attack in the case that maybethe assailant is prepared to close the gap efficiently. By stepping up the circle you keep your weapons within

contact but youll force your assailant to have to adjust in order to move from out of range to withincontact.

Your block serves a dual purpose. It deflects the attack and covers a portion of the second priority, which is to

prevent a secondary attack. The block forces your assailant to overstep which cancels his width and creates anangle of disturbance. Take care to control your block so that it doesnt extend beyond yourouterrim and

create dead space that might allow your assailant an opening.

Your shuffle in also serves two purposes. It acts as an alternative method of checking your assailants width by

placing your knee right at his tailbone. If your assailant attempts to step his right foot toward you, your kneeprevents the movement. If he attempts to step away, you can bump his tailbone creating an angle of

disturbance which will require him to focus on regaining his balance rather than completing his attack. Your

shuffle also gathers momentum that you can utilize to increase the power of your final strike. However, first youneed to be sure that your assailant is completely neutralized before you counter attack. Your left hand does this

by checking your assailants right shoulder. This pins his arm to his side to check against any intentional or

unintentionalstrike. It also checks his height and depth so that he cant follow-up with any other weapon.

Your right arm has remained in motion through this whole process. Moving from a lower hammering block

around and up, being catapulted forward by your forward momentum and marriage of gravity from the

shuffle forward and rotational force developed from turning your upper body to face 12:00 as your armcollapses into a horizontal elbow strike to your assailants head.

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Technique Grafting:

1. Step your left leg back toward 7:30 into a right neutral bow.

1. Execute a right downward block.1. Bring your left arm up to about chin height to check.

2. Shuffle toward 1:30 maintaining your right neutral bow.2. Check your assailants right shoulder with your left hand.

2. Finish with a right horizontal elbow strike to your assailants face.Graft in Circling Destruction

3. Execute a right front scoop kick to your assailants groin.

3. Execute a left palm strike to your assailants left kidney.3. Execute a right two finger rake to your attackers eyes.

4. Plant your right foot back toward 7:30 and cross out.

What if your assailant follows up the right step through kick with a lunge punch?

1. Step your left leg back toward 7:30 into a right neutral bow.1. Execute a right downward block.1. Bring your left arm up to about chin height to check.

2. Shuffle toward 1:30 maintaining your right neutral bow.

2. Check your assailants right shoulder with your left hand.2. Finish with a right horizontal elbow strike to your assailants ribcage.

Due to the punchs angle of execution, it becomes necessary to adjust your counter-attack to fit the situation.Your path to strike the head is blocked by the outstretched arm. So instead of trying to go over it, go under it

and attack the ribs.

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Deflecting Hammer from a contact manipulation perspective

Counter to an O-Soto-Gari (Outer Major Reap).

Your assailant grabs your shoulders and pushes backwards to take you off balance, then steps through

1. From a natural stance, step your right leg back toward 6:00 into a left neutral bow facing 12:00 to catch yourassailants leg on yours.

2. Drop your right arm down and hook your assailants leg with your arm and lift.3. Step forward into a right neutral bow to dump your assailant onto his back.

In order to make Deflecting Hammer work against an inner major reap, it was necessary to adjust the techniqueso that you drop back your right foot to catch your assailants leg instead of dropping back with your left leg in

the Ideal Phase of Deflecting Hammer.

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Approached unawares from behind, you are grabbed in a bear hug with your arms pinned. As soon as you feel

the arms reach around you, start to act. If your assailant has a chance to lift you off the floor, there isnt muchthat you can do. Immediately step your left leg out toward 9 oclock into a horse stance and sink your hips a

little to anchor yourself to the ground. Getting below his center of gravity will make it next to impossible for

your assailant to lift you up.

Bring your left hand up to pin his hands. Drop a little bit in your horse stance and use marriage of gravity tohammer strike your assailants groin. His natural reaction will be to drop his hips back away from the strike and

possibly bring his hands down to protect his groin from being attacked again. By striking his groin you are

anatomically positioning your assailant to set up the next target that you wish to attack. Never go looking for a

target; hit whats available.

Pivot 90 degrees to your right into a cat stance with your left hand checking, and use your assailants natural

reaction to being struck in the groin. Contour your assailants body up to the chin that is now exposed. Because

this elbow is coming up while his head is coming down you will be borrowing his force while attacking in oneof your assailants zones of obscurity. Hell neither see nor expect the elbow to strike allowing it to cause a

great deal more damage.

Hidden Moves

As you begin to step down into horse stance feel free to throw your head back and attempt to head-butt your

assailant in the face. If nothing else, this move will cause him to be more wary of your head and lean back a

little better exposing his groin for your next attack. To add an extra move to the hammer to the groin, slightlybend your wrist and poke with your fingers while also shoving your elbow into his solar plexus. You can also

add more power to the hammer strike by stomping his foot; this will allow more marriage of gravity and dual

motion to be employed making the technique more effective. Grab and rip his groin with your right hand as youpivot into a cat stance, spiking his thigh with your knee and poking his eyes with your left hand. Be careful with

the eye poke because it might cause your assailant to reel back making it impossible for the elbow to make

contact.

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TECHNIQUE ANALYSIS: WHAT-IF PHASETechnique Grafting:

1. Step with your left leg to 9:00 into a horse stance.

1. Pin your assailants hands to your body with your left hand.1. Execute a right hammer fist to your assailants groin.

Graft in Crushing Hammer

2. Pull your right foot to your left into a transitional cat stance.

2. Bring your right hand up as a finger whip to your assailants face.Graft in Spreading the Branch (Yellow Belt Extra Technique)

3. Step your right foot toward 7:30.3. Execute a right back hammer fist to your assailants groin.

4. Slap the right side of your assailants head.

4. Grab the left side of your assailants head with your left hand.

5. Execute a right knee strike as you pull your assailants head down to your knee.5. Plant your right foot toward 1:30 into a right forward bow.

5. Execute a right inward overhead elbow strike down onto your assailants spine to finish.

What if your assailant is able to lift you off the ground before you have a chance to respond? The problem with

this what-if situation is that as soon as you are lifted off the ground your assailant may be able to cause youdamage. When the proper force is applied your back will be instantly out of action. Take bear hugs seriously,they are considered more dangerous than a kick for a reason.

1. Kick your assailant in the shins.1. Execute a lower hammer strike to the groin.

2. As soon as your feet hit the ground, execute a rising elbow to your assailants chin.

The most common reaction to a bear hug where you are lifted off the ground is to attempt to either head buttyour assailant or poke him in the eyes over your shoulders. Unfortunately, this throws your weight higher when,

instead, you want to be dropping your weight and trying to get your feet on the ground again. Bend over and

strike your assailant low in order to distract him and get him to loosen his grip so that you can escape.

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Just as Captured Twigs is simply effective in its ideal stage, its equally effective in its simplicity when looked

at from a contact manipulation perspective.

Captured Twigs self defense technique against a tackle where your assailant remains standing in your guard.

1. As soon as you hit the ground, place your feet on your assailants hips or upper thigh.

1. Drop your right hand down to grab your assailants left foot.2. Push with your feet.

2. Pull with your hand to take your assailant to the ground on his back.3. Immediately move to a mount and take control of your assailant.

As your assailant takes you to the ground, immediately establish your base by placing your feet in the hollowsof your assailants hips. Grab the nearest leg with the hand on the same side. Use a push pull motion to take him

to the ground. Quickly move to establish a mount.

If your assailants legs are too far away to grab with your hand, place one of your feet behind his knee and pull

with your foot as you push with the other foot to take him down.

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GRASP OF DEATH

Defense against a left flanking headlock

1. Step your right foot toward 12:00 into a right neutral bow.

1. Grab your assailants right hand with your right hand.

2. Shuffle in with a left ridge-hand strike to the groin.

2. Execute a left knee strike to your assailants right leg.3. Step with your left foot toward 12:00 into a left neutral bow.

3. Bring your left arm up and around to apply pressure to the back of your assailants right arm.4. Pivot into a left neutral bow.

4. Finish with a right reverse punch to the face.

NAME

The name Grip of Death refers to the potentially life-threatening nature of the headlock.

THE LESSON

This technique is designed to teach the beginner how to prioritize and deal with a potentially life-threateningsituation, using the weapons that are available.


Father: Left Ridgehand Strike/Left Thigh Pinch

Mother: Right High Check/Wrist Grab

Sister: Left Knee StrikeMaster Key Technique: Thundering Hammers

Family Related Technique: Grip of Death

Related Technique: Crossing Talon

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Your first priority in a defense against a hold that cuts off the air supply is to regain control of your air supply.

Immediately as you feel the arm go around your neck, grab the arm and anchor your elbow to your body so thatyour assailant will be unable to completely close off your windpipe. If you apply the anchor soon enough and

lock it into place, as your assailant attempts to squeeze his arm together hell be more likely to lift you up off

the ground rather than it closing around your neck. Simultaneously, turn your head toward your assailant andthe opening rather than keeping your throat facing the arm or his elbow. This will help you to keep breathing.

Only after you have regained control of your air passage should you begin to counter. Yet in real-time the

previous two moves and the next move should happen within a fraction of a second of each other. As he pullsyour head down, shuffle forward into a right neutral bow to get into a more stable stance so that your assailant

cant take you to the ground or bend you over too far. Spike the back of his knee with your left leg to buckle his

leg and create an angle of disturbance and a gravitational check. Horse pinch his right inner thigh with yourleft hand. This should throw your assailant off balance enough and hurt enough so that he loosens up on the

hold around your neck.

Once you feel him relaxing, twist his hand that you grabbed outward as you step your left foot forward into a

left neutral bow while placing your left hand on your assailants triceps to break or control with an arm bar.

This also acts as a pressing checkto ensure your assailant cant counter attack. The act of locking out his elbowand stepping forward while maintaining hold with your right hand will bend your assailant over forward andspin him around to face 3 oclock. Execute a right reverse punch to his face utilizing upper body rotation to add

torque to your punch.

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Technique Grafting:

1. With your right hand, grab your assailants right hand.

1. Turn your head toward the left to keep your airway open.

1. Step with your right foot toward 12:00 into a right neutral bow.2. Push-drag forward remaining in a right neutral bow.

2. Horse pinch your assailants inner thigh with your left hand.Graft in Grip of Death

3. Pivot toward 9:00 into a horse stance.3. Execute a right hammer strike to your assailants groin.

4. Step with your left foot toward 12:00 into a left neutral bow facing 12:00.

4. Apply pressure on your assailants right arm with your left arm.5. Pivot into a left forward bow.

5. Finish with a right reverse punch to your assailants face.

What if your assailant attempts to run your head into a wall?

1. With your right hand, grab your assailants right hand.1. Turn your head toward your left to keep your airway open.1. Step with your right leg toward 12:00 into a horse stance facing 9:00.

2. With your left hand grab your assailants right leg.

2. Side step toward 12:00 while remaining in a horse stance.2. Drop your right leg on the back of your assailants right leg.

3. Step with your right leg toward 12:00 into a right neutral bow.

3. Bring your right arm up and apply pressure to the back of your assailants left triceps.3. Twist your assailants right hand out with your right hand.

4. Rotate your upper body and execute a reverse punch to your assailants head.

When being dragged by your assailant toward an object that can cause you harm, you are given an additionalpriority of stopping him. However, for this technique your first priority remains: Protect your airway! If you

cant breathe then you may never realize you hit the object your assailant is running you toward. Once your

airway is safe and you can breath, attempt to establish a base. Drop into a horse stance and grab your assailantsnearest leg and then drop your leg onto the back of his leg in an attempt to cancel his height and depth zones.

Once your assailant is stopped you can continue on with the escape and counter.

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TECHNIQUE ANALYSIS: FORMULATION STAGE

Grasp of Death from a contact manipulation perspective:

Your assailant has you in his guard with his feet planted firmly on the ground.

1. With your right hand, grab your assailants belt and hold tightly.1. Drive your right knee into his groin or his tail bone.

2. Reach underneath his leg with your left arm and attempt to lift.2. Rise up onto your right knee placing your left foot flat on the floor.

3. Grab your assailants left lapel with your left hand.3. Step forward with your left foot beside your assailants hip.

4. Drive forward and press your assailants leg to his chest, pinning it between your shoulder and his body.

5. Allow his leg to pass under your body to be caught in the crook of your right arm, which should still begrabbing his belt.

6. Drop to your knees beside his body in a side mount.

Trapped in your assailants guard you attempt to pass his legs to find that he has planted them firmly to the

ground so that you are unable to lift them up with just the strength of your arm. You get up on your knee and

use your entire body mass to drive forward, lifting his leg onto your shoulder and pinning it between your chestand his chest. Walk around to obtain the side mount.

This is similar to Grasp of Death in that you are trapped in a somewhat precarious position and need to escape.

You drive your right knee forward to distract your assailant. This move equates your step forward into yourright neutral bow. The difference is that it is your right knee that will be checking or bumping your assailant

rather than your left knee.

Rise to your right knee and step through with your left to simulate the move from a right neutral bow to the left

neutral bow. Your right hand continues to check while your left hand drives forward to trap your assailants

limb. You then rotate your whole body instead of just your upper body as you move to a side mount.

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CHECKING THE STORM

Defense against an overhead club attack (angle 8)

1. Step your right foot toward 3:00 into a horse stance.

1. Execute a right inward parry to your assailants right hand.

2. Drag your left foot toward 3:00 into a cat stance facing 10:30.

2. Execute a left outward parry to your assailants forearm.2. Bring your right hand down to your solar plexus to act as a check.

3. Keep your left arm extended to check your assailants right arm.3. Execute a left snapping ball kick to your assailants groin.

4. Plant your left foot down toward 10:30 into a left front twist stance.

4. Execute a right slice kick to the inside of your assailants right knee.5. Plant your right foot down into a right neutral bow facing 10:30

5. Finish with a right outward whipping back fist to your assailants temple.

NAME

In Ed Parkers American Kenpo, the term Storm refers to the use of a club. In this technique you will be

attacked with a club and will be required to check it and keep it checked while you counter.

THE LESSON

When faced with a deadly weapon, this technique teaches you how to move to one of the safest points (thesafest point in a tornado is inside the eye) while remaining in range keeping the weapon in check while you

counter and attempt to disable the assailant.


Father: Left Outward Block

Mother: Right Midlevel check

Sister: Left Snap KickMaster Key Technique: Repeating Mace

Related Technique: Sword of DestructionFamily Related Technique: Evading the Storm

Family Related Technique: Brushing the Storm

Family Related Technique: Escape from the Storm

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From a natural stance, step toward 3 oclock into a horse stance as you perform an inside outside block. This

moves you out of the line of attack. When dealing with a club attack you want to be sure to check the hand thatis holding the stick as well as the stick itself. Some martial arts teach you to block the hand, but your assailant

can easily clip the club down on your head. Check his hand with your left as you block approximately midway

along the club with your right. If you so desire, as your right hand is moving to check his hand, add in an eyerake to further distract him while you perform your counter. With this block you want to step directly into the

attack with yourangle of deflection as soon as possible to ensure there is very little momentum built up in thestrike. If you were to block the club just prior to its hitting you, the momentum that had been build up would

probably break your arm or, at the very least, disable it.

Shift your left foot back into a left cat stance and then execute a kick to your assailants groin. This cancels your

assailants height zone and forces the club to drop beyond your body.Land in an outward twist stance and create an angle of alignment. Pivot toward 10:30 as you execute a right

slicing kick to buckle your assailants knee using the torque of the pivot to generate power. Plant into a right

neutral bow and use the marriage of gravity to strike with a right outward back fist to your assailants temple.

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Technique Grafting:


1. Execute a right inward parry to your assailants right hand.

2. Drag your left foot toward 3:00 into a cat stance facing 10:30.2. Execute a left outward parry to your assailants forearm.

2. Bring your right hand down to your solar plexus to act as a check.3. Keep your left arm extended to check your assailants right arm.

3. Execute a left snapping ball kick to your assailants groin.4. Plant your left foot down toward 10:30 into a left front twist stance.

4. Execute a right slice kick to the inside of your assailants right knee.

Graft Mace of Aggression in simultaneously4. With a right inward hammer strike to the face.

5. Plant back out toward 1:00 into a right neutral bow.

5. Execute a right elbow to the face.6. Flow into a right back fist to the temple.

What if your assailant attacks with an overhead club strike then retracts the club one you begin to block andfollows up with a horizontal strike to the ribs:


1. Execute a right inward parry to your assailants right hand.2. Drag your left foot toward 3:00 into a cat stance facing 10:30.

2. Execute a left outward parry to your assailants forearm.

2. Bring your right hand down to your solar plexus to act as a check.

Your assailant takes advantage of the new opening to your ribs when you block high and rotates his wrist

around to attack them.

3. Drop your left foot back to 6:00 into a right neutral bow.

3. Execute a horizontal palm block across your body with your checking hand.

3. Grab the club with your right hand.3. Execute a left lower block to your assailants wrist to take control of his club.

4. Use the butt end of the club to attack your assailants temple.

5. Re-chamber your right hand across your body.5. Pivot into a right forward bow with a reverse punch to the solar plexus.

6. Pivot back into a right neutral bow with an angle 2 attack to your assailants collar bone.

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Checking The Storm from a contact manipulation perspective:

Your assailant is underneath you in your mount with his arms up protecting his face.

1. Grab your assailants left wrist with your left hand.2. Step your left leg up under your assailants right armpit.

3. Step your right leg up to the left side of your assailants head.4. Grab your left wrist with your right hand.

5. Fall backward and apply an arm lock.

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MACE OF AGGRESSION

Defense against a two hand lapel grab.

1. Reach over your assailants arms with your left arm and grab your assailants left wrist.

1. Step forward with your right foot and stomp the top of your assailants right foot.

1. Execute a right inward rake to your assailants nose.

1. Strike your assailants left elbow with your right forearm.2. Hammer your right arm down across your assailants arm.

3. Execute a right inward horizontal elbow strike to your assailants jaw.4. Finish with a right outward elbow strike to your assailants jaw.

NAME

Mace of Aggression is in reference to the forward step along with raking fist. The Kenpo alias for a fist is mace,

hence the name.

THE LESSON

Unlike the majority of the Yellow Belt techniques, Aggressive Mace teaches you how to advance on yourassailant while using dual motion to both block and attack at the same time.



Mother: Left Midlevel Horizontal Check

Sister: Right Inward Elbow StrikeMaster Key Technique: Five Swords

Family Related Technique: Twin Kimono

Family Related Technique: Raking Mace

Family Related Technique: Blinding Sacrifice

Similar Action Technique: Triggered Salute

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Place your left hand horizontally across your body and use a hugging checkto pin both of your assailants

hands to your chest. Anchor your elbow to your ribs to prevent your assailant from gaining enough leverage toescape. This also will pull him forward and bend him over giving you control of his depth and height zones.

Execute a right inward strike to the side of your assailants head using dual motion as you slice kick his legswith your right foot to plant in a horse stance. The circular motion of this strike adds power to the strikes and

the dual motion makes it difficult for either of the attacks to be countered. With his hands on your shoulders hisonly means of attack is with his head or with his lower body. The strike to the head and the legs cancels those

possibilities out while leaving you free to follow up on your counter strike. Continue your rotation and flow intoa right inside elbow to the head to continue to check his height, width, and depth.

Step your right foot toward 3 oclock into a right neutral bow as you reserve yourrotational motion with areverse elbow to the head to finish. With this last move youll borrow a small amount of force by knocking his

head one way and then while it is still in motion, knocking it back the other way. This last strike also has the

capability of checking his depth zones, but at that point its not really necessary since youve knocked him allover the place and taken away his ability to respond.

Upper Case and Lower Case: This is seen with the initial hammer to the head. The fist portion of your hand actsas a strike while the elbow portion acts to block the arms away from your body if you so desire.

Major and Minor Moves: After the completion of your outward elbow strike your hand is perfectly positioned

to follow up with a rake to the face or poke to the eyes.

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Technique Grafting:

1. Reach over your assailants arms with your left arm and grab your assailants left wrist.

1. Step forward with your right foot and stomp the top of your assailants right foot.

1. Execute a right inward rake to your assailants nose.1. Strike your assailants left elbow with your right forearm.

2. Hammer your right arm down across your assailants arm.3. Execute a right inward horizontal elbow strike to your assailants jaw.

4. Finish with a right outward elbow strike to your assailants jaw.Graft in Five Swords

5. Follow with a left sword hand strike to his eyes and cheekbone.

6. Execute a right uppercut to his solar plexus.6. Chamber your left hand across your body in a positional check.

7. Follow with a left outside sword hand to his neck.

8. Finish with a right sword hand to his neck.

What if your assailant grabs you and begins pulling you with a stiff armed grab rather than a bent arm grab?

1. Immediately pin your assailants hands to your chest with your left hand. Your left hand should behorizontally across your assailants arms grabbing his left wrist.

1. Step your right foot forward into a right neutral bow.

1. Execute an inward hammer strike to your assailants jaw with your fist and an inside vertical block with yourforearm.

2. Execute a right slicing kick to your assailants knee.

2. Execute a right inward elbow strike to his temple.2. Plant your right foot down on top of your assailants right foot in a modified horse stance.

3. Execute a right outward elbow strike to your assailants temple.

As soon as your assailant pulls you forward your first priority is to attempt to stop him. Whenever a personattempts to take you someplace else, its a sure sign that hes uncomfortable doing what he plans on doing in

your current location. You want to do your be

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