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Kenpo Creed


Copyrlght @ 1987 Ed Parker Sr.

Most people ore totolly oblivious to donger. Others disregord donger, convinced thot donger will never be port of their life. However, whotever your ottitude moy be, be reolistic ond ACCEPT the foct thot impending dongers do exist, ond consider them seriously. Once you ACCEPT the existence of these impending dongers, ond reolize thot logicol meosures of prevention con help to ovoid them, you hove inherently ormed yourself with o prime weopon ogoinst ottock. You must then creote the DESIRE to do something obout it, hove the CONVICTION to begin your study of preventive meosures, ond instill the WILL POWER to see your desire to completion, Whotever the ottitude . so is the response, When in or out of closs, treot your fellow students with respect. Belittle no one, encouroge oll, ond become on inspiring exomple. Develop positive otliludes of olllimes. Avoid being odverse to chonging your ottitude. Be willing to leorn, to think, to occept chollenges, to explore, ond to shore the knowledge leorned. As you grosp the elements of the Art, be creotive! Do not just solve problems, but discover whot they ore! Subsequently, do not criticize others unless you hove estoblished solutions. Problems without onswers serve no purpose. Cultivote flexible thoughts. They help to expond your Vocobulory of Motion. Developing flexible thoughts inevitobly leod to increosing your obility to olter ond


Diligently study the terminology for it contoins o weolth of onswers provided by Mr. Porker. Do not procrostinote. Moke every effort to leorn the terminology now. lt will occelerote your understonding of Kenpo, ond increose your enjoyment of the ort. Commence with bosics. Do not be enticed to odvonce your study of the ort premoturely. Commence with fundomentols of importonce. First moster your stonces. They ore the foundotion of your fighting ort, lf you follow this odvice, you will find greoter enjoyment in Kenpo, ond look forword to continued study. This some ort will odditionolly yield self-confidence, self-oworeness, olertness, self-discipline, etc.,. All of which moy be colled upon if needed to defend yourself,

Copyrlght @ 1987 Ed Parker Sr.

Whenever trodition con compliment the present, os well os influence the future, we should not hesitote to odopt it. Formolities ond ceremonies ossocioted with the Mortiol Arts hove ond still serve on importont role. Becouse of their positive quolities, they ore stressed ond emphosized of oll lnternotionol Kenpo Korote Associotion schools. Through odherence to formolities ond ceremonies, discipline ond respect become ingroined in the students. lt must be emphosized, however, thot odherenceto formolities ond ceremonies does not compel onyone to comply with ony sect or religion.


UNIFORMS: Students' uniforms sholl be white ond should be mointoined in

o cleon ond sonitory condition. All brond nome togs should be removed from the uniform.

ploced 1 /2 inch below the

seom ond centered on the left shoulder. The ASSOCIATION PATCH should be ploced on the left front side of the Gl, To find the proper height, the potch should be positioned so thot the dividing lines of the circle in the potch ore centered over the left breost of the nipple or slightly obove it. To olign your potch for sewing, it is recommended thot you first put on your top, cross your left






togs sholl be removed from belts, Be sure you hove received instruction on how to properly tie your belt. Only instructors ore ollowed to tie ond position their belt with the knot to the front ond in the middle. However, when on instructor is tought by someone of higher ronk, he relinquishes this privilege ond ploces the knot to the left to show respect to his inslructor. Disregording this formolity denotes disrespect lo on instructor ond to the Art. The one
Copyrtght @ f 987 Ed Parker Sr.

ond only time o student con position the knot in the middle is when he (or she) competes of o tournoment. All mole students tie their belt with the knot positioned to the left (see illustrotions). This not only shows respect, but it shows the honor given to the instructors ond those of higher knowledge. All femole students tie their belt with the knot positioned to the right. Agoin, this not only shows respect, but thot she is o femole novice not yet privileged to shore the honor held by instructors (mole or femole), ond those of higher knowledge. Mole students weor their knot to the left (the weok side) ond femole students weor their knot to the right (the strong side) becouse femoles ore the stronger of the two sexes in terms of the omount of internol poin thot they con endure (especiolly during childbirth).

4. VERBAT RESPECT: Block Belts ond instructors should be oddresed os "Mr." (Miss or Mrs, if the instructor is femole) ond then by their lost nome. This generotes respect to those of higher ronk, lt helps to ocknowledge their skill, experience, ond time devoted to the Art. Since we oddress older men of the

community os "Mr." os o meons of showing our respect for their obility, wisdom, oge,ond experience, so shouldwe show respecttothosewith rnore experience in the Art.

5. LATE STUDENTS: lf o student is lote for closs, he/she must stond otthe edge of the troining room, be recognized by the instructor with o solute, before being ollowed to join the closs. 6.
CREED & PLEDGES: The CREED hos become on occepted code for mony Mortiol Artists. lt denotes the MortiolArtist's woy of life in todoy's environment.

Equolly os importont, the Creed octs os o guide to the Mortiol Artist in developing o keen sense of Justice. The use of the words "right or wrong" leoves no morgin for clemency but to defend one's self , A motter of 'life or deoth' meons strict odherence
Copyrlght @ 1987 Ed Parker Sr.

to survivol in protecting loved ones or self even if it meons deoth to the odversory should no olternotive be lett. "Principles' must be upheld ond protected, for without them the very core ond soul of mon is volueles. 'Honor' motivotes o Mortiol Artist to oction becouse it gives him dignity.
'Empty Honds" (os well os other body weopons) ore the substitutes lhot o Mortiol Artist uses in ploce of mon-mode weopons to sustoin his honor. Discipline developed through troining without weopons implonts justice ond discretion when opplying the Mortiol Arts. The PLEDGESoTe extensions of theCREED, composed ond designedto further promulgote spirituol chorocter omong the lower ronks.
required to bow, Bowing to the troining oreo demonstrotes respect for the Art os well os the oreo where others hove troined before him. Bowing is done to inonimote objects only, A solute (hond gesture) is olwoys done to show respect to on instructor or individuol. The bow should stem from on ottention stonce. When you ore bowing, bow your heod for o period of two seconds before returning to on ottention stonce, he


BOW OF RESPECT: Whenever o student enters or leoves the troining oreo,


OF RESPECT: Upon entering the school, solutotions utilizing prescribed hond gestures ore mode to oll Block Belts ond instructors olong with the proper verbol greeting. The solute is olwoys directed to the senior belt holder first ond then in the order of lheir ronk (highest to lowest). Block Belts from other systems ore ocknowledged ofter those of our own system. Even when o closs is being conducted (privote or otherwise) on instructor is required to coll his students to ottention, hove his students foce the senior instructor when he orrives, ond solute him.

The some procedure, utilizing the prescribed solute, occurs ofter meditoting ond when o student is obout to leove the proclice oreo orschool' Even while owoy from lhe school, students ore encouroged to continue to show this respect. Like o hondshoke it is o sign of respect ond friendship. Through such proctice, students leorn to humble themselves, to be courteous to others, to develop potience, os well os oppreciote their instructor's efforts.

Copyrlght @ f 987 Ed Parker Sr.




closed, ond their left open hond covering their right clenched fist. This pogtion is olso ossumed of the end of the troining session. The purpose of this proctice is to hove the students cleor their minds of oll outside octivities prior io slorting their closs. ln the event they moy hove hod o confrontotion on the street cousing negotive thoughts, they should cleor their minds of such thoughts to pievent them or fellow students from receiving possible injury. With a colm ond serene mind, they will be oble to obsorb new moteriol more reodily, become more conscious of their every effort, ond crisp in their octions. ln short, it prepores the mind ond body to receive or reflect on the knowledge obtoined. When meditoting of the conclusion of closs, students ore to ponder over the knowledge releived ond moke o personol commitment never to misuse the new (oiold) knowledge. They ore to constontly reflect upon the preciousness of life ond the Creed which they ore to follow. 12. PERSONAI CONDUCT: At oll times you ore to oct with respect toword yourself , others, ond your school, Absolutely no smoking, drinking, or obusive tonguoge is ollowed on ony occosion involving you ond/or other members of /our-school, ond certoinly not while in uniform. Be respectful to your troining center; help to keep it cleon of oll times for lhe benefit of oll' ln oddition, be prompt ond courteous with the poyments for your lessons.

MEDITATION: Before o closs octuolly commences, students ore required meditote in o horse stonce, with their bocks erect, heod bowed, eyes


@ 1987

Ed Parker Sr.

Ed Parker
os the "Fother of Americon Kenpo, He wos the founder ond president of the lnternotionol Kenpo Korote Associotion, ond the Ed Porker Korote Studios.
He is the Fother of Americon Korote hoving originoted the first Americon version of Korote. He opened the first profesionol Korote studio in the United Stotes in Posodeno, Colifornio in 1956. He hos been feotured in Notionol ond lnternotionol mogozines: Time, Look, Strength ond Heolth, Show Business lllustroted, lron Mon, Action Korote, Block Belt, Korote lllustroted, officiol Korote, lnside Kung Fu, Americon Korote, ond Korote/Kung Fu lllustroted; in newspopers notion-wide; orticles in the World Encyclopedio ond mony others, He hos oppeored in dozens of movies ond television shows, including Revenge of the Pink Ponther ond The Curse of the Pink Ponther. ln oddition, he hos tought korote to neorly every big nome octor ond octres in Holly.l950's. wood since the lote He hos olso been o technicol odvisor for motion pictures ond TV. Throughout the yeors, Mr. Porker hos ouihored mony books: Bosic Korote Book, Kenpo Korote, The Womon's Guide to Self Defense, Secrets of Chinese Korote, A Guide to Low Enforcement, Guide tothe Nunchoku, lnfinite lnsights in Kenpo (Volumes l-5), The Zen of Kenpo, lnside Elvis ond much more. He is o groduote of Komehomeho High School in (1949), Honolulu, Howoiiwhere he wos born ond roised. Mr. Porker received o B,S, Degree from .l956, Brighom Young University in with o Mojor in Sociology ond Psychology, ond o Minor in Politicol Science. Mr. Porker produced the lorgest onnuol mortiol orts tournoment, the lnternotionol Korote Chompionships in Long Beoch, Colifornio. Mr, Porker's uniqueness rests in his continuous efforts to combot lroditionol restrictions binding progressive thinking. He wos truly o creotive genius becouse of his incredible obility to discover the problems within the Mortiol Arts. His contributions ond innovotions ore endless, encompossing logic ond reosoning not yet employed by others. His neorly four decodes of experience, contributions, ond endeovors estoblish him os the Moster ond Founder of our system, ond the outhor of our troining moteriol.

Senior Grondmoster Ed Porker wos known world-wide


1987 Ed Parker Sr.


your best friend

rWhotever the ottitude, so is the response. .When blocking on the inside of on opponent's orm, do so below the elbow, never obove it. .When blocking on the ouiside of on opponent's orm, do so of or obove the elbow, never below it.
.The onkle

the wrist of the foot.

.A knife-edge kick is o chop with the foot.

oDeflection: then infliction of poin.

Pleose leorn your soyings, They ore involuoble tools. Some moke comporotive onolysis for you; others provide procticol insights into the woy reol survivol encounters ore. All these soyings provide logicol ond useful insights into Kenpo. The opplicotion of mony moy be extended into other focets of your doily life.

Copyrtght @ 1987 Ed Parker Sr.


Storm....Club Attock


severol reosons. Their usoge moke lhe nomes of lhe self-defense lechnigues more colorful, descriplive, ond inleresting. Secondly, lhe nome often indicoles lhe ottocking weopon, or your response 1o lhe


Copyrlght @ 1987 Ed Parker Sr.

Standardized Markings For Rank

At ED PARKER'S KARATE STUDIOS every beginning student commences their progrom by weoring o WHITE belt, The first belt ronk of ony distinction is the YELLOW belt. The entire belt is yellow with no other ottoched designotion. The second promotion, ADVANCED YELLOW, entitles the student to weor on oronge strip on his YELLOW belt. Eoch color belt thereofter up to GREEN is divided into two stoges -- REGULAR (ploin), ond ADVANCED (designoted by o strip of the nert corresponding color odvoncement); ORANGE -- ORANGE with o purple strip; PURPLE -- PURPLE with o blue strip; BLUE - BLUE with o green strip; GREEN - GREEN with o brown strip, Eoch corresponding color strip sholl be precisely 112 inch wide. There sholl be one ( I ) inch from the end of the belt to the stort of the colored strip, The strips should be mode of "IRON ON TAPE". The brond nome (togs) of the gi compony sholl be removed from both ends of the belt. All odvoncements requiring strips must be put on by the student immediotely ofter their promotion. See the following illustrotion for proper plocement of the strip: (NOTE: odditionol strips moy be odded ond is up to the Heqd lnstructor of the school,)






Copyrlght @ 1987 Ed Parker Sr.

Clock Principle
Throughout your lessons constont reference will be mode to the foce of o clock. This reference ocluolly relotesto ongles used when teoching,to show you the proper positioning of your feet in the performonce of your bosics, selfdefense techniques, freestyle techniques, forms, etc. For exomple, when storting o form set), you should picture yourself stonding in the middle of o lorge clock thot hos been ploced on the floor. The direction you foce when storting should olwoys be l2 o'clock, to the right of you, 3 o'clock, directly behind you 6 o'clock, ond to your left,9 o'clock. Like on Air Force pilot you should imogine the hour hond of the clock holf woy between the mojor clock positions to determine l:30, 4:30, 7:30, ond 10:30. As you move from your storting position, hoving knowledge of where other points on the clock ore will help you perform your moves with o more definite sense of direction. This principle olso opplies when leorning self-defense techniques; l2 o'clock will olwoys be the direction you foce when first storting regordless of where the ottock stems - flonk, reor, or otherwise. Still onother exomple; when you ore leorning, you moy be focing l2 o'clock with your opponent ottocking from 3 o'clock ond being osked to hove your left foot step bock to 9 o'clock os you foce your opponent ottocking from 3 o'clock, Three focets would hove been involved here: the originol direction in which you were focing (12 o'clock), the ongle from which your opponent ottocked you (3 o'clock), ond the correct position of yourfoot (9o'clock)which would hove been necessory

to thwort the ottock.

o directionol reference used to oid you in selecting the proper direction when ottocked, retolioting,orworking your

ln short, the "Clock Principle'


Copyrlght @ 1987 Ed Parker Sr.




AIACK - The eight mojor directions ftom which you or on

opponent con ottock or defend.

- Simplified moves thot comprise the tundomentols of Kenpo. They ore divided into stonces, moneuvers, blocks, strikes, speciolized moves ond

methods, etc.
BLOCK(S) - A defensive moneuver used to hinder or check on ottock; oll defensive moves employing physicol contoct to check, cushion, deflect, redirect, or stop on offensive move.

CHOP - The execution of o cutting blow to on opponent or object which generolly employs the knife-edge of the hond os the weopon.
CLASSICAL- A term used to describe the so-colled pure systems of Korote or Kung Fu. Mony of the movements osocioted with these systems ore not procticol in our present environment, since their methods were creoted for the types of defense found prevolent during their porticulor time of history. CLAWING - Striking oction employing the fingertips to scrotch or rip with. Such oction moy employ two or more fingers. CTOCK PRINCIPIE - A method used to help students visuolize the direction in which they ore to move. Students ore generolly osked to think of themselves os being in the middle of o big clock focing I 2 o'clock, with 6 o'clock to their reor,3 ond 9 to their right ond leff, ond oll other numbers in their respective

COMBAT - Reolistic fight which excludes control ond rules.
CORKSCREW PUNCH - A torquing, twisting

punch thot strikes with the polm

DRAG -The sliding of one foot forword, bockword, ortolhe side before hoving the opposite foot step owoy from it. lt is one of the four cotegoricol methods of SHUFFLING.

EMBRYONIC BASICS - Simple bosic movements thot ore generolly single in oction ond purpose. Although primitive in noture they form the bosic roots in Kenpo.

Copyrtght @ 1987 Ed Parker Sr

o short story of motion. lt consists of bosic movements of offense ond defense incorporoted into o donce-like routine for purposes of exercising, troining without o portner, or troining of home. lt is on index of movementsthot gives specific onswers, os wellosspeculotive interpretotions to combot situotions,
FORM - ls literolly A term used in Korote forsporring. As in boxing, it is o combinotion offensive ond defensive moves used ertemporoneously, To stote it of differently, it is o combotive method of freely expressing yourself physicolly.


- Defensive positioning of the orms ond legs in preporotion for on


ottock. See FIGHTING


Method of determining the proper depth of o neutrol bow ond orrow stonce. Here, if you hove proper depth to your stonce, the heel of the forword foot should just touch the knee of the reor leg if you pivot forword on your toes ond kneel.
KICK(S) - Generolly refers to method(s) used when striking with the foot. lt olso includes striking with the shin, colf, peroneous longus, knee, or other ports of

the leg,
LOCK OUT - lt is o type of check thot is used to briefly detoin the oction of your opponent. lt involves striking o torget with o noturolweopon, ond hoving the weopon remoin on the torget for o time before retrieving it.


- Refers to those whose movements ore very stoccoto in

execution ond oppeoronce. Sequence of movements which look os if it is being done by-the-numbers, Movements ore robot-like in oppeoronce.
during o porticulor exercise. (2) The troveling of ony object from one point to onother,
NATURAI WEAPONS - the use of body ports os offensive includes using ports of the hond, orm, foot, leg, heod, etc. MOVE -

(l) A commond used when teoching to couse o student to reoct



OVER-REACH - To over-extend oneself with o blow or kick needlessly, or to reoch beyond or obove o certoin point unnecessorily, Torget exposure is the result of such oction.

Redireciing o blow or kick by riding or going with the force.

Copyrlght O 1987 Ed Parker Sr.


PIVOT - ls the chonging from one stonce or position to onother while in This is done without moving the foot from the spot it is in. POKE - Refers to the thrusling of the tips of


the joints of the fingers to porticulor torget oreos on on opponent's body. The primory torgets ore the eyes,

thot ore functionol in combot. Moves thot not only work during proctice, but on the streets os well.
PRACTICAL MOVES - Reolistic moves PUNCH - Primorily refers front portion of the fist,

to the methods used when you ore striking with the

PUSH-DRAG - A type of SHUFFLE requiring your forword or reor leg to roise slightly before hoving the supporting leg push forword or bock. The pushing leg must then drog toword the opposite leg so thot the distonce between them returns to its originol depth, Once the originol depth is re-estoblished, you ore reody to resume the next PUSH-DRAG SHUFFLE. This is just one of four

methods of SHUFFLING,

- A term use by Western Chinese to describe o FORM. See definition of FORM. They ore oppendoges to o FORM,

A foot moneuver used to close or increose the distonce between you ond your opponent. ln Kenpo there ore four methods thot occomplish this; push-drog, drog-step, step-drog, ond pull-drog. All four methods ore cotegorized os foot moneuvers.

SNAP(PING) - A method of execution requiring the noturol weopon to strike out ond bock with o greoter mognitude thon the oction of o WHIP, See WHIP.

bosic move thot produces multiple results. the other drogs

to meet it.

STEP-DRAG - The stepping fonarord, or bock, with one foot os This is onother of the methods of shuffling.

IHROUGH - The execution of full steps, by either moving forword or bock. ln the cose of o step through kick, it meons kicking with the fonrrord foot ond plonting it to your teor, or kicking with the reor foot ond plonting it to your

SIRIKE(S) - Methods used to

execute NATURALWEAPONS. VITALTARGETS con be punched, kicked, chopped, poked, hommered, etc.

Copyrlght @ 1987 Ed Parker Sr.



- ln ploce exchonge of leod legs while focing the


direction. This is done by exchonging foot positions from one spot to onother. Three olternotives con be used in moking the exchonge, (l ) you con step bock to front (2) step front to bock, or (3) jump in ploce.

on you or your opponent's body which con be injured or domoged when struck,


Method of determining the proper width of o NEUTRAL

BOW AND ARROW STANCE, where the toe of the forword foot is in line

with the heel of the reor foot.

TORQUE - Twisting

ond rototing oction used to position your body ond muscles to work of moximum efficiency, See ROTATING FORCE.

VITAI AREAS - The mojor weok points of the body.

WEIGHT DISTRIBUTION - The opportionment of weight reloted to o porticulor stonce it moy vory,fifty-fifty, sixty{orty, ninety-ten, etc.


@ 1987

Ed Parker sr.


Prerequisite Basics For Yellow BeIt

Copyrlght @ 1987 Ed Parker Sr.

Required Techniques
l. 2. 3. 4. 5. 6. 7. 8. 9. 10.
DELAYED SWORD (front - right

hond lopel grob) two-hond push)



DEFTECTING HAMMER (front - right front thrust kick) CAPTURED TWIGS (reor THE GRASP OF DEATH

beor-hug, orms pinned)

(left flonk - right orm heodlock)

CHECKING THE STORM (ftont - r'ght stepthroueh oretheod club)

MACE OF AGGRESSION (front - twohond lopelgrob, pulling in)

AIIACKING MACE (front - right step through stroight punch)

SWORD AND HAMMER (right flonk - left

hond shoulder grob)



1987 Ed Parker Sr.

Delayed SWOfd

FTont-right hand tapet gr&)

l. Stonding noturolly, step bock with your left foot toword 6:00 into o
right neutrol bow stonce focing l2:00, while simultoneously executing o right inword block to the right inner wrist of your opponent, At the some time, position your left hond of solor-plexus level os o precoutionory check, ogoinst further oction. (Your block should cleor your opponent's right crrm, ond expose the width of his body.)

2. lmmediotely

slide your right foot bock into o cot stonce.


Without hesitotion, deliver o right front snop boll kick to your opponent's groin, (Your opponent's reoction should couse him to bend forword of the woist.)

Plont your right foot forword into o right neutrol bow (focing l2:S) to check your opponent's right knee, os you deliver o right outword hondsword strike to the right side of your opponent's neck. Remember to mointoin the position of your left hond os o precoutionory check. lmmediotely slide your right hond (ofter the strike), to the right wrist of your opponent os o precoutionory check, (Youropponent's response should couse him to foll to the ground.)

Copyrtght @ 1987 Ed Parker Sr.

Alternating Maces (nont-ttuo-hand push)

Stonding noturolly, ond os your opponent otfempts to push you, step bock with your left foot toword 6:00 into o right neutrol bow sionce (focing l2:00). Simultoneously execute o right inword block to the outside of your opponent's left orm, while your left hond checks otyour solor plexus. Ohis oction should turn the width of your opponent's body ond redirect his forword momentum off center.)


2. lmmediotely collopse your right orm ocross the top of both of your
opponent's orms (to oct os o check), osyou deliver o leftverticolthrust punch (trocking over your right orm) to your opponent's sternum or solor-plexus. This is done while pivoting into o right forword bow stonce. Remember both the stonce chonge ond punch must work in synchronizotion with eoch other in order to moximize the force of your left verticol thrust punch. ( your opponent's reoction should couse his body to bend forword of the woist.)

3. lmmediotely convert your left punch into o check by hoving it shift, polm open ond down, on the top of both of your opponent's orms.

Simultoneously hove your right hond ropidly trovel inside ond over your left orm os you deliver o right outword bock knuckle strike to your opponent's right temple, This tronsition is done while pivoting bock into o right neutrol bow stonce. Ohe torque stemming from your stonce chonge helps to increose the whipping oction of your right hond.) (Properly executed, this should couse your opponent's heod to be driven up ond bock, with perhops his orms floiling upword.)

4. lmmediotely hove your right hond snop bock,

positionol check.

os it then octs os o


@ 1987 Ed

Parker Sr.

SwOrd Of DeStnrCtiOn



r rwndtwu* ptndf

right neutrol bow stonce (focing I 2 :00), os you simultoneously execute o right extended outword block tothe innerforeorm of your opponent's left punch, Your left hond should be in o positionol check, covering your solor-plexus.

l. Stonding noturolly, sfep bock with your left foot toword 6:00 into o

2. lmmediotely

slide your right foot bock into o

cot stonce.

3. Without hesitotion, deliver o right ftont snop boll kick to your opponent's groin. (Your kick should couse your opponent to bend
forword of the woist.)


Plont your right foot forword inside of your opponent's left leg into

o right neutrol bow (focing l2:00) ond while employing Monioge of

Grovity, execute o right inword hondsword strike to the left side of your opponent's neck. (Such oction should couse your opponent to follto the ground.)

5. lmmediotely snop your right hond bock to the left shoulder of your opponent to oct os o check.


@ 1987 Ed

Parker sr.

DefleCting Hammef

Fvont-right Jrontthrust kick)

right neutrol bow stonce (to move out of your opponent's Line of Attock), os you simultoneously execute o right downword diogonol block ogoinstthe outside of youropponent's right kicking leg. Be sure to hove your left hond check of your solor plexus during your block. (Your opponent's body should turn slightly to his left when your block is properly executed. Your block should odditionolly turn your opponent's width ond couse injury to his leg.)

l. Stonding noturolly, step bock with your left foot toword 7:30 into o

2. Without hesitotion ond while still in your right neutrol bow, shuffle forword os your left hond checks inword, toword ond between your
opponent's right shoulder ond biceps. Your right hond continues to
circle ond it will re-orbit into on inword elbow strike. (Moke sure your left hond checks your opponent's forword momentum os well os the width of his upper body.)


Just os you conclude your forword shuffle, execute o right inword horizontol elbow strike to your opponent's foce. This is done simultoneously "with" o left sliding check down ond onto your opponent's right elbow, (Your oction should couse your opponent's heod to snop bock ond couse your opponent to drop to the ground.)


@ 1987

Ed Parker sr.

Captured T\rrigS (Rear-beor rlug utitr. crrms pinned)

Stonding noturolly with your opponent's orms oround your orms, step off ond to your left toword 9 o'clock with your left foot into o horse stonce (while looking over your right shoulder), os you simultoneously pin your opponent's honds to your body with your left hond, Just os your weight settles inio your horse stonce, execute o right bock hommerfist strike to your opponent's groin, Ohis oction should couse your opponent to bend forword of the woist ond possibly releose his grosp.)


2. lmmediotely slide your right foot into o right cot stonce (turning 90 degrees while focing 3 o'clock) os your left hond releoses lhe pin,
cleors your opponent's right ctrm, ond covers in front of your foce os o positionol check. Simultoneous with the oction of your left orm, hove your right hond coveryour groin ond proceed to cleoryour opponent's left orm.

3. Execute o right heel stomp to your opponent's left instep, cousing

your opponent to bend forword even further.

4. Slide your right foot bock toword 3:00 into o horse stonce. lmmedF otely hove your right foreorm CONTOUR up the middle of your opponent's body os you execute o right verticol obscure elbow strike to the underside of your opponent's chin, Hove your right orm snop bock ofter the strike ond cover your groin, CVour opponent's heod should hove been popped up ond bock ond his body moy olso spirol owoy from you if done properly.)

Copyrlght @ 1987 Ed Parker Sr.

GraSp Of Death

(rnJtflank-risht orm headtock)

With your heod forced to bend forword ond your opponent to your left flonk (opplying o heodlock with his right orm), initiote your oction bytucking yourchin tothe left ond ogoinstyour chest, osyou grobyour opponent's right wrist with your right hond. All of this is done os your right foot steps forword toword l2 o'clock into o right close kneel stonce while simultoneously grobbing your opponent's right inner thigh with your left hond ond pinching the flesh of thot leg with os much strength os possible. Your opponent will experience o horse-bite effect if it is done correctly. Be sure you continue checking the outside of your opponent's right leg with your left knee. (Your opponent's right knee moy bend ond double up or his leg moy pop forword ond up off the ground. ln oddition, your efforts should couseyouropponentto loosen his grip.)

As your opponent reocts to your pinch ond portiolly or totolly releoses his grip, hove yourright hond bring hisright orm overyourheod ond down to your chest, moking sure thot your right elbow is onchored to oid you in controlling your opponent's height. 3. lmmediotely releosethe grip of yourleft hond ond hoveyourleftfoot step forword toword 10:30 into o left neutrol bow stonce os you simultoneously strike the bock of your opponent's right elbow with your left foreorm while pulling in ond toword you with your right hond. Ohis oction should couse your opponent to step forword with his left foot prior to bending over of the woist.)


foreorm on the bock of your opponent's right elbow until your left foreorm is porollel to the ground. Now slide your left hond to your opponent's right elbow. While controlling your opponent's right elbow with your left hond, pivot into o left forword bow, focing l0:30. lmmediotely execute o right snopping verticol punch to the bose of your opponent's skull, behind his right mostoid bone. Ohis oction should couse your opponent's heod to move owoy, ond possibly be followed by his body folling to the ground.)


ROLL your left

Copyright @ 1987 Ed Parker Sr.

CheCking tffe StOfm


@ontnght stepthlnsh u,erheail


Stonding noturolly, os your opponent swings his club in on overheod foshion, quickly step off to your right with your right foot toword 3 o'clock. Simultoneously drog your left foot toword your right foot os your form o left 45 degree cot stonce focing l0:30. Without o breok in the flow of your oction, execute o left extended outword hondsword block to the inner wrist of your opponent's right orm. During the noturol flow of your motion, hove your right hond precede your left hond os o right porry (executed in the monner of o right inword block) thot stops, hond open, to oct os o check in front of your solor-plexus'

2. lmmediotely execute o left ftont snop boll kick to your opponent's


should couse your opponent to bend forword of the woist.)

3. Plont your left foot (toword 10:00),

Be sure to properly gouge the your opponent, os you deliver o right distonce between you ond snopping knife-edge kick to the inside of your opponent's right knee' (Your oction should couse your opponent's right knee to bend out ond owoy from you, but couse his heod to move closer to you.)

4. Plont your right foot toword l0:00 into o right neutrol bow, ond while employing MARRIAGE OF GRAVITY, execute o right outword bock knuckle strike to your opponent's left temple, os your left hond remoins checking otyoursolorplexus. Ohis oction should driveyouropponent's heod owoy from you ond possibly couse his body to drop to the ground.)

Copyright @ 1987 Ed Parker Sr.

Ilfiace of Aggression

Ftur*am'hanirrryr;t strr-.wtrrrrg

Stonding noturolly with your opponent grobbing your lopel with both of his honds, while pulling you in ond toword him, execute o right stomp on the orch of your opponent's right foot, Simultoneously strike diogonolly through the bridge of your opponent's nose (toword l0:30) with o right inword downword roking bock knuckle strike. Hove your left hond pin ond check both of your opponent's honds to your chest of the some time the stomp ond strike ore toking ploce. CVour opponent's knees should buckle from the stomp os your bock knuckle strike breoks his nose ond momentorily drives his heod owoy.)

2. Continue the motion of your right orm so thot it trovels horizontolly

ond down, striking both of your opponent's foreorms which in turn will force your opponent to bend forword.
3. lmmediotely execute o right inword horizontol elbow strike to the left side of your opponent's jow moking sure thot you follow through with your oction, Ohis will turn your opponent's heod to his right.) 4. Without hesitotion, return with o right outword horizontol elbow strike to the right side of your opponent's jow, Ohis will force your opponent owoy from you,)

Copyrtght @ 1987 Ed Parker Sr.



Fbnt-rig ht stq thtoushstraisht ptntcttl

With your feet together, drop bock with your right foot toword 6:00 into o left neutrol bow stonce (focing l2:00), os you execute o left inword blockto the outside of your opponent's right punch. During this oction your right hond cocks forword ond slightly to the right of your solor plexus (fist clenched ond polm uP). CVou ore turning the width of your opponent's body,)

2. lmmediotely pivot into o left fonvord bow stonce os you execute o right stroight thrust punch to the right lower ribcoge of your opponent. Moke sure thot your left hond is open os it checks your opponent's right elbow. (Your oction should couse your opponent to bend forword ot the woist ond to be forced bock slightly.)
3. Circle your right hond down, out, over, ond oround your opponent's right orm os you cou ntergrob the outside of your opponent's right wrist. lmmediotely pullyour opponent's orm diogonolly down post your right hipwhile simultoneously delivering o right roundhouse kickto his groin. During this oction, cock your left hond slightly obove your left ribcoge (fist clenched ond polm up). (Your kick ond pull should couse your opponentto bend forword even further,thusexposing his right kidney.)

4. Drop forword into o right forword bow toword

12:@, while simulto-

neously executing o left snopping verticol punch to your opponent's right kidney, 'with' your right leg ON AND OVER THE LINE OF ENTRY. (Moke sure your right knee is inside of your opponent's right knee ond pressing up ogoinst it.) (Your punch combined with your buckle will drop your opponent to the ground os well os move him owoy from you.)

Copyrrght @ 1987 Ed Parker Sr.

SurOfd arfd HammGf




Jtar*-tefi, hand, stwtirder


While you ore stonding noturolly, your opponent (stonding between 3 ond 4 o'clock) grobs your right shoulder with his left hond. Step otf ond to your right with your right foot toword 3 o'clock into o horse stonce (focing your opponent) while striking your opponent's throot with o right outword hondsword. Simultoneous with this oction, pin your opponent's left hond to your right shoulder with your left hond. Ohis oction should couse your opponent's heod to move owoy from



As your opponent reocts to your hondsword strike ond bends bockword, execute o right bock hommerfist strike to your opponent's groin. (Your opponent should then bend forword of the woist.)

Copyrlght @ f 987 Ed Parker Sr.

Short Form


focing 12:00, o left bock elbow while executing o right inword block simultoneous'with'
Your left foot drops bock toword 6:00 into o right neutrol bow strike.


2. Your right foot drops bock toword 6:00 into o left neutrol bow focing I2:@, while executing o left inword block simultoneous "with" o right bock elbow

3. Cover (by moving your right foot toword 3:@) into o left neutrol bow focing 9:00, while executing left verticol outword block simultoneous'with'o right

bock elbow strike. 4. Your left foot drops bock toword 3:00 into o right neutrol bow focing 9:00, while executing o right verticol outwo rd block sim ultoneous " with' o left bock elbow strike.
5. Cover (by moving your right foot toword 9:00) into o left neutrolbow focing 3:00, while executing o left upword block simultoneous 'with' o right bock

elbow strike.
5. Your left drops bock toword 9:00 into o right neutrol bow focing 3:00, while executing o right upword block simultoneous 'with" o left bock elbow strike.
12:00) into o right neuirol bow right downword block simultoneous 'with' o focing 6:00, while executing o left bock elbow strike.

7. Cover (by moving your left foot toword

8. Your right foot drops bock toword l2:00 into o left neutrol bow focing 6:00, while executing o left downword block simultoneous 'with" o right bock

elbow strike.

CLOSING: Cover (by hoving your left foot drog to your right foot ond out to 9:@) into o MEDITATING HORSE STANCE, focing l2:00. COME TO ATTENTION. EXECUTE THE FULL SALUTATION. BOW.

1987 Ed Parker Sr.


Short Form

o. Attention b. Horse c. Neutrol 3. Bosic blocks: o. lnword b. Outword c. Upword d. Downword 4. Double blocks (Double Foctor): o. High b. Low

l. Moves thot ore strictly defensive. 2. Stonces:

5. Four bosic ongles of ottock. 6. Bock elbow strike while blocking, 7. Nineteen moves including both sides ond close.


2. Erect posture, 3. lncreosed peripherol vision. 4. Alwoys look of your opponent, 5. Never expose your bock unnecesorily, 6. How to cover into o neutrol bow. 7. Constont heod level while chonging stonces. 8. How to retreot from on opponent when turning to foce
the unknown, 10. How to block while retreoting. (Qposite l'pM, oppoite foot) I l. Relox ond tense of the proper moment. 12. Angle chonges in preporotion for o moss ottock. I3. How to use the opposite orm os o hidden weopon. 14. Howto move up ond down in on'L'shope pottern. 15. Repetition of the four bosic blocks while retreoting. 16. To hsrrc yorrr Hrck moke contoct qt o distonce fiorrt
you so thot your opeonent's punch will be grecrw cf'/erted. 17. Crisp moves with snop ond torque,


Stoy down while in stonce.

9. Bosic timing of honds ond feet.

Conwlght @ f 987 Ed Parker Sr.

Chronolo$cal order in Short Form

Two (2) inword blocks, two (2) outword blocks, two (2) upword blocks, ond two (2) downword blocks while utilizing the 'clock principle" to simplify foot movements.

t. 2. 3. 4. 5. 6. 7. 8. 9.

LT-6 RT-6


- 9 (Cover

to 3)

LT- t2
RT- 12

- HORSE (Focing l2)

I. 2. 3. 4, 5. 6. 7. 8. 9.







Close ( bring both feet together hove your left foot close to the right ond ploce both of your honds smortly to the sides of your thighs).

the "CLOCK PRINCIPLE " when doing oll forms, using l2 o'clock os your initiol point of reference.
NOTE: Employ

**'Both sides of short form one ore required for Yellow belt. First, execute the right side of short form one. When you finish, you should end up in o meditoting horse stonce. From thot position, execute the left side of short form one. When you ore finished, you should end up in o meditoting horse stonce. From thot position, close with o full solutotion.

Copyrlght @ 1987 Ed Parker Sr.

Blocking Set 1- Star Block


(Borh sides)

Sequence of blocks thot ore os follows: (upword, inword, extended outword, downword, re-cock, pushdown)

3. 4.

Right upword block for o left overheod club ottock or chop.

2. Right inword block for o right punch to the body.

Right extended outword block for o left punch to ihe foce. Right outside downword block for o left kick to the groin.

5. Right hond re-cocks (o right bock elbow block) to your right hip for o left roundhouse kick to your right kidney.


Right push-down block for o right knee kick to the groin.



Five (5) mojor blocks in oddition to one

(l) hidden block.

2. Sequence of blocks thot promote Continuity of Motion ond

preserve Economy of Motion.

3. Correct monner

in which to use your mojor blocks.



thot protect ollthree (3) "Zones of Protection".

The execution of these mojor blocks while in o stotionory


6. Moximum cover of heod ond upper body oreos.


Copyrtght @ f 987 Ed Parker Sr.


Freestyle Techniques
B"This olphobet represents the BASE MOVE. lt consists of two voriotions. Both voriotions commence from o 'Left to Left' fighting position.


Your left leg (which is forword is focing your opponent's left leg (which is forword). The first letter (in this cose L) olwoys refers to your leod leg (leg thot's forword). The second letter (olso L in this cose) refers to your opponent's leg.

(o) The first voriotion is o left hooking grob to your opponent's left orm, while pulling it down, ond diogonolly lo your left: This is simultoneously executed with o right uppercut punch to his left lower ribcoge. This punch is diogonol ond porollel with your opponent's left ribcoge.
The second voriotion is o left hooking grob to your opponent's left orm, then pulling down, ond diogonolly to your left: This is simultoneously executed


with o right uppercut punch to his left lower ribcoge. This punch ond porollel with your opponent's left ribcoge.



Both voriotions require thot your forword leg check your opponent's fonrord leg, This moneuver re-enforces on ANGLE OF DISTURBANCE ond on ANGLE OF CANCELLATION. The numbers represent body ond foot moneuvers, ond ore os follows:

(l) ln ploce body moneuvers (pivot to o forword bow)

(2) Push-Drog (3) Front Crossover, Step Out (4) Front Crosover, Step Out, Step Through

l. Blo
2. Btb



6. B3b
7. B4o

3. B2o 4.

8. Mb

Copyrlght O 1987 Ed Parker Sr.


Explanation of Freestyle Techniques

- is the first voriotion, while pivoting into o left forword bow. Blb - is the second voriotion, while pivoting into o left forword bow. B2a - '2' indicotes thot the movement to be used ls o push-drog, needed in

the event thot your opponent is o little out of ronge or when your opponent is in the process of moving bock slightly, while executing the first voriotion of the bose move. indicotes the push-drog is ogoin used, but you ore not to execute the second voriotion of the bose move.

executed while executing the grob, followed immediotely by o step out while executing the first voriotion.


'3' indicotes thot o front crossover


the second voriotion.

- is the some opplicotion of the front crossover, step out, while executing

B4o - '4' indicotes thot o front crossover is executed while executing the grob, followed by o step out, then o step through while executing the first voriotion. Atthislevelyourrightstepthroughshouldpositionyouinsideofyour opponent's left leg. (This is referred to os being inside of the Angle of Entry).

the some opplicotion of the front crossover, step through while executing the second voriotion.

Copyrtght @ f 987 Ed Parker Sr.