Home Introduction History - Kenpo Location Class Format Class Times Tuition School Etiquette School Policies Tribute to My Teacher Michael Billings Biography My Lineage Recent Updates Promotions Events Links:   AKTS Schools   Associations   Other Kenpo Links   Related Arts & Links   Suppliers & Equipment   Other AKTS Patch Suggested Reading Articles Kenpo Terminology Belt Ranks Universal Pattern Salutation Belt Requirements Self-Defense Techniques Kenpo Sets  Forms / Katas Kenpo Pictures Other Arts - Same Location Academy of Martial Arts Combined Class Schedules Site Map

Teaching ED PARKER'S AMERICAN KENPO KARATE BELT REQUIREMENTS Click on Color Below to Find Belt Requirements  Yellow   Orange   Purple   Blue   Green 3rd Brown 2nd Brown 1st Brown 1st Black   Students are encouraged to study all literature pertaining to KENPO, especially Mr. Parker's Infinite Insights into Kenpo series.  Knowledge of history (past and present), philosophy, principles, concepts, theories, etc., in addition to physical ability, are all inclusive in determining whether a student passes a belt exam.     YELLOW BELT 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 matter of life or death, of right or wrong; then here are my weapons - "Karate" - my empty hands. KENPO CREED & SAYINGS DEFINITIONS: "KENPO" Fist Law & "KARATE" Empty Hand CLOCK PRINCIPLE: A directional reference used to aid students in selecting proper direction when attacked, retaliating, or working basics). MATHEMATICAL AND GEOMETRIC SYMBOL CONCEPTS: Mathematical Symbols (3); Geometric Symbols (3).   Utilized in conjunction with the Clock Principle as frames of reference for the execution of motion. COMPONENTS OF POWER: Rotation; Gravitational Marriage; Body Momentum. ECONOMY OF MOTION & POINT OF ORIGIN:  Execution of strike / block directly from where it is at time of attack.  Choosing best available weapon for best available angle, to ensure reaching best available target in least amount of time, while still obtaining desired result:  Avoid WASTED MOTION. THREE PHASE CONCEPT:  Kenpo techniques are taught with a three phase formula where the student is expected to learn the technique as written, then go on to experiment with the possibilities. The Three Phases are, in order, the following: Ideal Phase - In the Ideal Phase the student learns the technique "by the book". This means the attack is specified, the defense is applied and the attackers reaction is known. What-If Phase - In the What-If Phase the student(s) experiment with different possible scenarios for the attack and attackers reactions.  Thoroughly analyze probable variations to the model technique. Formulation Phase - With the Formulation Phase the student tears apart the technique, explores its principles and develops alternate, spontaneous, reactions all with the aid the equation formula. Apply variable solutions to a free and changing environment. DOUBLE FACTOR:  Entails utilizing dual movements to defend yourself.  These moves can incorporate any combination of blocks, parries, and checks.  It also refers to sophisticated moves, which are dually defensive and offensive.  Reverse Motion is an integral part of this concept.

NOTE: All self-defense techniques have been given names to simplify teaching.  Many of the names have symbolic meanings.  All techniques and basics should be done on the right and left sides (opposites) and when applicable, in reverse.

 

a = first variation (punch to face)	b = second variation (punch to ribcage)
1 = in place stance change	2 = push drag
3 = front crossover	4 = front crossover & step through

B = base move - in the Yellow Belt chart, the base move consists of two variations. from a left stance: (a) = left hooking grab, pulling diagonally down and to the left, with a right vertical punch to the opponent's face; and (b) = left hooking grab, pulling diagonally down and to the left with a right uppercut punch to opponent's ribcage.

• Distance is your best friend.
• Whatever the attitude, so the response.
• When blocking on the inside of an opponent's arm, do so below the elbow, never above it.
• When blocking on the outside of an opponent's arm, do so at or above the elbow.
• The ankle is the wrist of the foot.
• A knife-edge kick is a chop with the foot.
• Deflection; then infliction of pain.
Learn your sayings for Yellow Belt.  They are invaluable tools.  Some make comparative analysis for you; others provide practical insights into the way real survival encounters are.  All sayings provide logical and useful insights into Kenpo.  The application of many may be extended into other facets of your daily life.

(Return to Top of Page)

ORANGE BELT

Orange Belt Pledge:   I understand that I am but a beginner in a new and fascinating art which will direct me to greater obligations and responsibilities. To honor my obligations and responsibilities, I pledge to myself to serve my instructor, fellow students, and fellow man.

ORANGE PLEDGE & SAYINGS

ORANGE PATCH DESCRIPTIONS

DEFINITIONS:

3 POINTS OF VIEW:  Mine, the Opponent's, an Observer (Witness?)

DIVISIONS OF THE BASICS:  Stances, Maneuvers, Blocks, Strikes, and Specialized Moves & Methods

DIMENSIONAL ZONE THEORY: Height Dimensions (3), Width Dimensions (4), Depth Dimensions (7)

ZONE OF OBSCURITY:  Areas of space outside the boundaries of our (or the opponent's) peripheral vision.  These zones are BLIND SPOTS from which action can originate, and be delivered unchecked.  Usually these involve calculated use of deceptive angles.

EQUATION FORMULA:
The Equation Formula for fighting was designed as a formula to allow fighters to build/design logical and practical fighting techniques. It states that for any base move (i.e. punch/kick) or group of moves (technique - i.e. Delayed Sword) one may modify their intention by:
        1.  Alter the target area, weapon, or both.
        2.  Prefix a strike or block with an off angle body positioning (i.e. step out of the way of the weapon!).
        3.  Suffix your strike with one or several more.
        4.  Rearrange the order of a technique. Instead of block-chop-punch change it to block-punch-chop (don't forget to block however).
        5.  Insert a move, perhaps simultaneously, such as a check of another weapon.
        6.  Delete a move to prevent unwanted injury to yourself, your opponent or to prevent unnecessary time spent engaging and less time
              leaving!
        7.  Adjust the range or angle of the weapon.
        8.  Regulate your weapons speed or force and you may get a very different reaction.

NOTE: Orange Belt Basics require a double crossover cover out.

• Let time be your measurement to skill and experience.
• To hear is to doubt, to see is to be deceived, but to feel is to believe.
• In every offense there is a defense and in every defense is an offense.
• Katas are expressions of basic skills.
• One becomes great when he comes to the realization that what he knows is very little.
• Condition and guts take over where knowledge and skill end.
• Where circular moves end, linear begin; where linear moves end, circular begin.
• Many answers lie in a single move, but many moves do not necessarily give a single answer.
• There are no pure styles of karate.    Purity comes only when pure knuckles meet pure flesh, no matter who delivers or who receives.
• He who hesitates, meditates ... in a horizontal position.

THE SHAPE:  The top of the crest of the patch is curved conversely because like the roof of a chinese home it is to send evil back to where it came from, whenever it tried to descend.  This is also seen in TORI gates in Japan.
THE TIGER:  Represents the earthly strength derived through the early stages of learning.  This is the stage where the individual is more impressed with his own physical prowess.
THE CIRCLE: Is symbolic of several things.  It depicts life itself, as a continuous cycle, where there is no beginning or end.  So is it with the art of Kenpo.  It too is a cycle of unending and perpetual movement or motion.  Techniques follow a cycle, movements are part of a cycle.  Physical prowess, humility, and self-restraint are no more than components of a progressive learning cycle.  The circle is the base from which our alphabet stems.
THE ORIENTAL WRITING: Is a reminder of the origin of our art, the Chinese.   It is in respect to them and not that we serve them.  The lettering to the right means Kenpo Karate, Law of the Fist and the Empty Hand; the art that we practice.
THE "K":  Stands for Kenpo, the art that we practice.
THE COLORS:  The white background is significant of the many beginners who form the base of the art.  The yellow or orange represents the first level of proficiency, the mechanical stage, the dangerous stage of learning when the student is more impressed with the physical, who like a freshman in college, thinks that he knows all the answers.

Purple Belt Pledge: I hold the art of Kenpo sacred and freely take upon myself the obligation and responsibility that I shall never misuse my skill to hurt or make afraid. I shall fight only if forced to defend myself and shall be slow to anger,  loath to take offense, quick to forgive, and to forget personal affront.

PURPLE PLEDGE & SAYINGS

PURPLE PATCH DESCRIPTIONS

DEFINITIONS:

OPPOSITE AND REVERSE MOTION AND RETURNING MOTION:  Opposite Motion - The other side or mirror image of whatever motion was executed.  Reverse Motion - Motion returning on the same path of an initiated move.  Returning Motion – The weapon returns to the same point of origin, but by a different path than originally followed.   Opposite Motion - The other side or mirror image of whatever motion was executed.
Reverse Motion - Motion returning on the same path of an initiated move.

BLACK DOT / WHITE DOT FOCUS: Method of perception used in assessing opponents and the environment.unawareness.  To start, these diagrams below represent the ideas of both Black Dot Focus and also White Dot Focus.  Black Dot Focus is represented with the white background and the black dot in the center.  White Dot Focus, then is represented by the black background and the white dot in the center.

The color white represents awareness, while the color black  represents the opposite, In Kenpo, one wants to be completely aware of the environment around them, while also trying to maximizes one's power.   Since the white represents awareness the Black Dot diagram shows that awareness surrounds the focal point, but there is still a point at which we are trying to stirke and harness our power.

The White Dot diagram stresses that one is only concerned with the focal point and everything else that surrounds this focal point is not concidered.   Many hard, linear styles in the martial arts interpet this focus in their practice, but what they are forgetting about is the fact that the one they are hitting has the potential to also do harm onto them.

Mr. Parker explains Black Dot Focus as, "Our concern is not only with maximizing power, but protection as well."
(Encyclopedia of Kenpo by Ed Parker)

QUADRANT ZONE THEORY:  Concept designed as a referent for defense and specific areas of the body that need to be protected rather than with those areas to be attacked.  Divides each of the zones of height, width, and depth into two areas.  A vertical imaginary rectangle is then superimposed over the height and width zones to create four quadrants (often referred to as gates.)  The quadrant is shoulder width and extends from the top of the eyes to just below the groin.  Then extend the rectangle away from you in space for an imaginary cubical shape with two intersecting planes forming a cross inside the 3-dimensional cube.

ZONES OF SANCTUARY:  Dead areas of space where you can position yourself for protection.  Reference a circle within a square; the corners of the square are out-of-range from the middle of the circle.  Maneuvering to these areas limits the ability of an opponent to retaliate.

VITAL TARGETS:  To include, but not limited to: Temple, eyes, throat, cervical vertebrae, side of neck, hyoid, clavicle, sternum, solar plexus, kidneys, spleen, liver, groin, & knees.
 
 

BASICS:

NOTE: Purple Belt techniques require a double crossover and cover out.

• To beat action, meet it.
• Fair play is when your opponent's definition of fair play is equally matched with yours.
• It is not the size of the man, but the size of the fear that has been the cause of many a defeat.
• Slow to learn, slow to forget.
• Anger can often constipate your retaliatory efforts.
• While there is a difference between the terms "opposite" and "reverse", both provide answers to thoroughly understanding the effects of motion.
• Always strike from where the natural weapons are found at the time of an attack.
• Wasted inches are wasted time.
• Knowledge is BOUND when one is compelled to tradition.  Knowledge is ENDLESS when tradition is bound.

THE SHAPE:  The sides are curved conversely )  (  because like the roof of a chinese home it is to send evil back to where it came from, whenever it tried to descend.
THE CIRCLE:  All moves evolve from a circle whether they are defensive or offensive.  The circle also represents the bond of friendship that should continuously exist among Association members.
THE ORIENTAL WRITING: The lettering to the left means Spirit of the Dragon and the Tiger -- a constant reminder that we want to attain the spiritual level and that the physical level is only a stepping stone, or a vehicle, that we use to reach the higher or spiritual level.
THE COLORS:  The circle is Gray because it is symbolic of the brain -- the brain of the Association, since the brain has always been referred to as gray matter.

(Return to Top of Page)

BLUE BELT

Blue Belt Pledge: I shall never let pride rule my passions and will defend, with all the skill I possess, the weak, the  helpless, and the oppressed. I pledge an unswerving loyalty to my art, my fellow students, and my instructor. In addition, I  pledge an unending effort to earn the self-same loyalty from those who look to me for training.

BLUE PLEDGE & SAYINGS

BLUE PATCH DESCRIPTIONS

DEFINITIONS:

3 TYPES OF SPEED: Perceptual, Mental, and Physical

BASICS (In order of importance):

Stances - The legs form the foundation of all self-defense moves.  They are your first aid in creating distance -- man's first ally.

Blocks - Student's should first learn defense before learning offense.

Parries - Although they considered a method of blocking, they require a higher degree of timing.

Punches - Offense utilizing the arms first while maintaining support and balance with both feet on the ground.

Strikes - Teach a multitude of methods in which one can  render offensive techniques.  At this level the student also becomes familiar with the angles of execution.

Finger Techniques - Specialized offensive weapons requiring a high degree of accuracy.

Kicks - The balance factor makes execution more difficult.  It requires more patience and conscientious effort to kick with one leg and balance on the other to obtain maximum power.

Foot Maneuvers - Require synchronized complete coordination of the lower and upper body.

OUTER RIM THEORY:  An imaginary egg-shaped circle that is utilized as a visual aid.  The height is the same as the Quadrant Zone - eyebrow to slightly below the groin, and the width is approximately shoulder-wide.  The egg is visualized with the large end on top, and is 3-dimensional in that the ovoid shape extends out from the body.  This concept teaches you to confine defensive and offensive movements of your arms and hands to those areas within the imaginary circle.  This limits exposure of vital areas, teaches you not to over-extend or over-commit, and increases your ability to counter quickly.

RANGES: Out of Range, Contact Range, Contact Penetration Range, Control Manipulation Range.  Each range can be divided into further sub-ranges contingent upon weapons and relative sizes.

BASICS:

• Reaction can beat action if the target to be reached last is the first object to move out of the way.
• To aid your action, feed it with your opponent's reaction.
• Flow first, power later.
• Guts are the anesthesia that deaden the pain of fear.
• The aim of Kenpo is to elongate circles and round off corners.
• Low kicks are excellent weapons to neutralize your opponent's aggression.  Knock out his support and you weaken his aggressive abilities and desires.
• An ounce of logic can be worth more than a ton of tradition that has become obsolete through the weathering of time.
• Refinement -- too much time and often too little progress.
• Devote time to a particular move before deciding whether it does or does not work for you.

THE SHAPE:  The bottom forms the shape of an ax - it represents the executioner - in the event a member shames the Association, he is cut off, never to co-exist with us again.
THE DRAGON:  Represents spiritual strength which comes with seasoning.  The mental attitude is attained during the individual's later years of training.  It is placed above earthly strength (as indicated and observed on the patch) since the individual at this stage has learned to develop humility and self-restraint.
THE CIRCLE:  Is the base from which our alphabet (and alphabet of motion) stems.
THE DIVIDING LINES:  In the circle represents (1) the original eighteen hand movements - directions in which the hand can travel; (2) they are the angles from which an opponent, or you, can attack or defend; (3) it forms the pattern in which the feet too can travel - explanation of the Universal Pattern will clarify this.
THE COLORS:  Represents proficiency, achievement and authority.  BROWN, the color of the Tiger's eyes, represents the advanced students though not great in number.  Also at this level the student becomes more observant.  His eyes, like that of the Tiger, are keen, ever so watchful and critical, always looking up to the higher levels of proficiency, striving for perfection, preparing for the day he bares the label of an expert.  This level of expert proficiency is represented by the color BLACK.  RED is that of professorship over and above the black, but yes, as indicated by the colors of the dragon, there are still traces of WHITE in the Dragon's eye, YELLOW or ORANGE on the Dragon's fins, BROWN in the iris of the eye, and BLACK in the pupil's of the eye.

(Return to Top of Page)

GREEN BELT

Green Belt Pledge: I pledge a continued effort to sharpen my skills, to increase my knowledge, and to broaden my  horizons. I shall obligate myself under the direction of my instructor to learn the skills of a teacher, which will enable me to  teach my skills in the prescribed manner outlined by Mr. Parker.

GREEN PLEDGE & SAYINGS

GREEN PATCH DESCRIPTIONS

DEFINITIONS:

CONTOURING: Two categories - Methods that (1) employ body contact, or (2) non-body contact.  Contact examples include: Launching, Leveraging (Frictional Pull or Siding Checks from one leverage point to the next), Tracking, Guide lining, Threading, Needling, Pivoting, Fitting, Gravitational Checks, and Pressing Checks.  Non-body contact methods include utilizing Complementary Angles, Angle Matching, Silhouetting, Framing, Symmetrical and Corresponding Angles.

TAILORING: One of the key principles of Kenpo.  It entails two major aspects, (1) adjusting your physical as well as mental and emotional attitudes to fit each given situation; and (2) fitting moves to your body size, makeup, speed, and strength in order to maximize your physical efforts.
UNIVERSAL PATTERN: Click on Image at left for more information on this concept.
A three dimensional pattern of movements conceived and developed by Ed Parker as a directional key to movement.  This extensive pattern is a useful learning tool to enhance students’ knowledge of motion.  It also is a design that can aid you in systematically understanding the interrelationship of linear and circular movements and the paths in which they travel.  Once understood it can be applied to self-defense techniques, forms, freestyle, etc.  As you learn to correlate moves within the pattern, alternative moves become instinctive and spontaneous.  You must not, however, get caught up in the manner of study, but the reasons involved within the study.  Study these possible paths of movement from a three dimensional perspective, movements available to you and your opponent, as this applies to individual weapons, combinations of weapons, maneuvers, or body mechanics.

ANGLES OF: Alignment; Attack; Cancellation; Complimentary; Contact; Deflection; Delivery; Departure; Desired Positioning; Deviation; Disturbance; Efficiency; Entry; Execution; Incidence; Interception; Greatest Movement; Matching; Mobility; No Return; Obscurity; Opportunity; Protection; Return.  Diversified Angles refer to changing angles without disturbing the flow of motion.  This can include Diversified Angles of Attack, of Cover, or Retreat.

DIRECTIONAL HARMONY:  Having all of your action moving in the same direction.  This principle aids in obtaining maximum results.  It is a requirement when executing Body Momentum that residually triggers Back-Up Mass.

BODY FUSION:  Concept in which body parts move as a unit prior to relaying action to other parts of the body.  These body parts are literally fused together in order to function as a single unit.  Can occur any time during the course of a sequential flow of action.  (e.g. the wrist and elbow are fused so that only the shoulder joint is allowed to move.)

BASICS:

• Action with effect keeps an opponent in check.
• Accuracy must accompany speed, for it takes both to secure victory.
• Although belt color show, it is no proof that you know.
• To desire something does not mean to accomplish it.  To perspire for it makes accomplishment a reality.
• The man who knows how will always be a student, but the man who knows why will continue to be the instructor.
• When a mans mind is occupied with his own injury, he is not apt to think of retaliation.
• Principles of motion take precedent over the sequence of motion.
• Whether it is a big ship or a little ship, the same size hole placed correctly in the hull can sink it.
• Sophistication is no more than simplicity compounded.
• Will power is the hammer that drives action.

(Return to Top of Page)

3rd BROWN BELT

Third Class Brown Belt Pledge: I pledge that as my skill as a teacher progresses I will never condemn, ridicule,  embarrass, or shame any student or fellow instructor in the presence of a class or group. All grievances or disputes shall be conducted in a private away from group observation. 3rd BROWN PLEDGE & SAYINGS

3rd BROWN PATCH DESCRIPTIONS

DEFINITIONS:

3 STAGES OF LEARNING: Primitive, Mechanical, Spontaneous

PREPARATORY CONSIDERATIONS: Acceptance, Environmental Awareness, Range, Position, Maneuvers, Targets, Natural Weapons,
and Natural Defenses.

CHECKING:  An instant method to delay an opponent.  It is to restrain, hinder, or prevent an opponent from taking action.  Pressing, pinning, or hugging an opponent, usually at the joints, accomplishes this so that it minimizes leverage and nullifies his action.  Positioning your arms and legs in various defensive postures can also keep an opponent from striking you effectively (Positional Checks).  Closely related to SPECIALIZED BLOCKS are Active Checks, including: Patting, parrying, pinning, catching, trapping, jamming, lockout, ricocheting, and sliding checks.
CONTROLLING:  Affords you more time than Checking to counter your opponent.  Techniques include more grabbing or hugging to guide your opponent in a desired direction.  The delays are of longer duration.  Neither Checks nor are strictly in the vertical or horizontal planes, but rather diagonal to check multiple dimensions.

CONTACT MANIPULATION:  The fourth stage of the Four Stages of Range.  It entails the orchestration of control, once contact is made, to contour, leverage, takedown, restrain, twist, sprain, lock, dislocate, chock, etc. in order to increase the effectiveness of your action.  These same techniques could be used to cause greater damage or injury to you as well, therefore, make every effort to be the victor.  It occurs when DEPTH or RANGE comes to a temporary standstill.  The next order is CONTROL MANIPULATION.  Both require a careful study of anatomy and the DIMENSIONAL ZONE CONCEPT.

CONTROL ASSISTANCE:  The use of additional body parts to assist you in securing control of your opponent.

CONTROL MANIPULATION:  To sustain control of your opponent’s actions while steering or maneuvering your opponent to more suitable and strategic positions.  Setting up these positions not only helps to prevent further retaliation, but allows you clear access to your opponent’s targets as well.

CONTROL MAINTENANCE:  To sustain control during the course of an encounter by continuing a particular grab, hold, lock, etc.  Such action of stationary dominance deters further retaliation.

CONTROL RELEASE:  The ability to set your opponent free after employing control maintenance and control manipulation whereby such freedom continues to disallow an opponent from further retaliation.

SKELETAL STRUCTURE:  Reference Ed Parker's Infinite Insights Into Kenpo, Volume 4, Mental and Physical Constituents.

BASICS:

STAR BLOCK EXERCISE

1.    right - descending
2.    left descending
3.    right ascending
4.    left ascending
5.    right & left descending
6.    right & left ascending
7.    right descending & left ascending
8.    left descending & right ascending
9.    right descending & right descending 1 beat
10.  right descending & right descending 2 beats
11.  right descending & right descending 3 beats
12.  right descending & right descending 4 beats
13.  right descending & right descending 5 beats
14.  add footwork / other forward/reverse series
15.  innovate

SAYINGS

• Immobility can cause vulnerability if strategy to avoid it is not planned.
• Control of your emotions is necessary to enable you to handle a threatening situation with confidence and sound judgment.
• Prolonged target exposure invites unwarranted dangers.
• While in combat, the position of your body is not only important in terms of defense, but essential to offense as well.
• Strategy should be used so that specific conditions in a conflict are made to happen.
• Although one can learn from his own mistakes, to capitalize on another’s mistakes is much wiser.
• Mastery of the Art comes when the tiger is seen, but the dragon prevails.
• To get the most from mass, combine it with directional harmony.
• Speed increases the impact of mass.
• The origin of committed action is hard to detect when the body is in constant motion.

(Return to Top of Page)

2nd BROWN BELT

Second Degree Brown Belt Pledge:  I understand that like a doctor, the private affairs of students and fellow  instructors that come to my attention during the exercising of my responsibilities are privileged communications and must   never be discussed with any living soul. I vow that I will never violate this pledge nor any other for the sake of personal benefit.

2nd BROWN BELT PLEDGE &  SAYINGS

2nd BROWN BELT PATCH DESCRIPTIONS

DEFINITIONS

STATES OF MOTION:  Solid, Liquid, and Gaseous.  Movements that are rigid and powerful can be compared to ice.  They are solid in their execution.  Those moves that flow like script writing can be compared to liquid, which not only flows, but seeks its own level.  Moves that are simultaneously executed in several directions can be compared to the gaseous state of water (steam.)  Water in its gaseous state seeks its volume.  Likewise, moves that simultaneously seek their range in several directions can be considered to be the gaseous state of motion.

GRAFTED TECHNIQUE:  The blending of one technique, completed or not, into that of another, without disrupting the continuation of your action.  The transition occurs without disruption to the flow of either technique, or series of techniques.

FEINTS: Use of deceptive gestures or Maneuvers to lure, or cause your opponent to react. When an opponent reacts in accordance to your desired plan, it becomes a set-up which allows you the opportunity to follow-up with an effective response.  The head, shoulders, arms, or legs all play and important role.  Leading, feeding, staggered timing, body feint, head, hip, kick, etc. are the physical pronounced action.  Feinting can also employ a number of gestures (including facial gestures) that when used consecutively in a variety of time periods, can produce a desired reaction in your opponent.  Do not overlook the fact that committed action is what insures the usefulness of a Feint.

STAGES OF KNOWLEDGE:  (1) Embryonic basics; (2) Complexity; (3) Sophisticated simplicity.

MUSCULAR SYSTEM:  Reference Ed Parker's Infinite Insights Into Kenpo, Volume 4, Mental and Physical Constituents.

ANGLES OF:  Alignment; Attack; Cancellation; Contact; Deflection; Delivery; Departure; Desired Positioning; Deviation; Disturbance;
Efficiency; Entry; Execution; Interception; Greatest Movement; Incidence; Matching; Mobility; No Return; Return; Obscurity; Opportunity; Protection.

BASICS:

• When you criticize, make sure you suggest options to remedy the problem.
• Logic can lead to truth.
• Scrutinize, analyze, realize, revise, devise; then
• Desire, perspire, acquire; then
• Reform, conform, and perform.
• Kenpo never changes it is perpetually refined.
• When you are analyzing Kenpo, do not view it only from outside in, but from inside out.
• Practice does not make perfect; perfect practice makes perfect.
• Neophytes often teach the more skilled the existence of undiscovered variables.
• The mind leads, the body follows.

(Return to Top of Page)

1st BROWN BELT

First Degree Brown Belt Pledge:I honor and hold sacred the right of all men to protect themselves. I further hold that as a trained Martial Artist in Kenpo, I will take upon myself all obligations and responsibilities deemed sacred to my personal beliefs, my family, my country, and my art.

1st BROWN BELT PLEDGE &  SAYINGS

1st BROWN BELT PATCH DESCRIPTION

MASTER KEY MOVEMENTS:  A move or series of moves that can be used in more than one predicament with equal effect.  For example a rear heel kick, shin scrape and instep stomp can be used for a Full Nelson, Bear Hug (arms free or pinned), or for a Rear Arm-Lock, etc.  Another example would be an arm break applied to a Cross Wrist Grab, a Lapel Grab, or a Hair Grab -- application of the arm break would remain constant, but the methods of controlling the wrist would vary.

INTERNAL ORGANS:  Reference Ed Parker's Infinite Insights Into Kenpo, Volume 4, Mental and Physical Constituents.

• Defense against weapons entails diverting, seizing, controlling, and disarming.
• First control use of the weapon, then take control of the weapon.
• Specifics of a technique are for students; variables are for instructors who wish to experiment.
• If you plan to make modern students, you must plan to use modern means.
• Disagreement can be good, for it often leads to other avenues of insight beyond the two ideas disagreed upon.
• The trouble for many when learning is not with hearing, but with listening.
• Learning requires listening as well as talking.
• A loss can be worth the experience if you gain something more valuable from it.
• No matter what the move, it can have a consequence.
• The Martial Arts are not an exact science.  It is a selection of variables that can be assembled at anytime to suit the individual and/or the situation.

Black Belt Pledge:   I hold that my time and my skill are the assets of my profession, assets which will grow in value as I progress in the Art until I stand as a fully qualified instructor. It shall also be my responsibility to protect any student from ravenous individuals who would try to take advantage of personal weaknesses, to divest the gullible into unprofitable gains, to preserve the sacred things, personal beliefs, family, and the art of Kenpo, I pledge my all.

1st BLACK BELT PLEDGE & SAYINGS

1st BLACK BELT PATCH DESCRIPTION

MASTER KEY TECHNIQUES: Sequential arrangements of movements of movements that can be applied to a number of predicaments.  A single technique that may be used as a BASE MOVE, other similar techniques may then be perceived as formulations of it.  In many ways they are like the FAMILY GROUPINGS and ASSOCIATED MOVES.  They are the next logical step in the search for extemporaneous use of techniques.

ANGULAR VERSATILITY:  The available number of angles from which a weapon, natural or otherwise, can be effective at close range.  The usefulness of any weapon, natural or otherwise, rests with the number of angles from which it can be effectively used, and it’s distance from the target.  An excellent example is the effective use of a knife at close range compared to the use of a gun.  To grab a knife at close range would be illogical, since it could cut in any direction from which you might attempt to grab it.  Given a close proximity, you would have a better chance to control a gun.  This is true because you could more safely grab thee gun, and keep the line of fire away from you at all times.  It’s not the gun, but the bullet that you should be concerned with.

NEURO-MUSCULAR SYSTEM:

BASICS:

• A true martial artist is not one who fears change, but one who causes it to happen.
• As one gets older he learns to become a magician with motion; therein lies the secret of wisdom over youth.
• Creativity should be bound within the realm of true principles.
• There are no degrees of death, for it comes but once.
• Fear no man, but respect all.
• A true measure of humility is when you remain being what you are regardless of the success that you have become.
• Kenpo is for the man who has everything and wants to protect it.
•  When one willingly and continuously boasts of his loyalty, anticipate toasting his departure.
• In motion, is motion that is often overlooked.
• It is not important how long you have been IN the arts, but how long you have been AT it.