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

KENPO FORMS
 


Form Index Links 

Salutation
 Short Form 1
 Long Form 1
 Short Form 2
 Long Form 2
Short Form 3 Long Form 3 Long Form 4 Long Form 5 Long Form 6
Long Form 7 Mass Attack Book Set Tiger and Crane .

 
 
I compliled the forms from a variety of sources both on the internet and off.  Some came from my notes and seminars, others reflect the way we execute the Form in my school only.  This is reference material only, and cannot substitute for the feedback, coaching, and teaching of a live instructor.  My thanks to the KenpoZone and others who provided material reproduced here.  Oos!


KENPO SALUTATION
Click here for link to:

Len Broussard's web page & animated Salutation

1. Attention Stance. Have your right arm straight out towards 12:00 as a fist. Bring your left hand to rest on it as a blade.

2. Step your right foot forward into a right front crossover as you pull your hands near your right shoulder.

3. As you step your left foot forward into a cat stance, loop and extend your two hands (still together) towards 12:00.

4. Loop your hands. This starts with the backs of both hands together. They turn into fists and go back into chamber as you first step back with your left foot and pull your right foot to its side into an Attention Stance.

5. Step your left foot to 9:00 into a horse stance with your arms above you, hands open and creating a triangle with your index fingers and thumbs touching, palms of the hands facing outward and fingers together.

6. Hands come down and in towards you slightly, stopping in front of your chin in the "salute" position.

7. Your hands come down  and in toward your chest until they ar palm to palm (fingers up) as if you were praying.  Settle back into a meditative horse stance with your hands in the "salutation" position and prepare to begin your form.

The Formal Salutation has a poem that accompanies it; and there are several variations, but the theme is same.

The warrior and the scholar come together,
fight back to back to pull our country together.
We have no weapons, we hide our treasure: Kenpo,
and pray that we never have to use it.

The triangle symbolizes "Body", "Mind", and "Spirit" - the 3 things we train,
The "salutation" position represents our art of Kenpo,
The hands in the "praying" position are begging forgiveness for what we are about to do.
(This was presented to me as one of the "alternative" variations.

Return to Index


Short Form 1

Theme: Retreating with a Front Hand Block

Salutation:

Start from a meditating horse stance facing 12 :00.

1. Drop your left foot back to 6 :00, into a right neutral bow while simultaneously delivering a right inward block and a left back elbow strike.

2. Drop your right foot back to 6 :00, into a left neutral bow while simultaneously delivering a left inward block and a right back elbow strike.

3. Turn to face your next imaginary opponent at 9 :00. Step with your right foot to 3 :00, into a left neutral bow, while simultaneously delivering a right inward block followed by left outward block and a right back elbow strike.

4. Drop your left foot back to 3 :00 into a right neutral bow while simultaneously delivering a left inward right outward block combination and a left back elbow strike.

5. Turn to face your next imaginary opponent at 3 :00, moving your right foot forward to "cover." Settle into a left neutral bow while simultaneously delivering a right high inward block followed by a left upward block and  right back elbow strike.

6. Drop your left foot back to 9 :00 into a right neutral bow while simultaneously delivering a left high inward block followed by a right upward block and left back elbow strike.

7. Turn to face your next imaginary opponent at 6 :00, drawing your foot up to a transitional cat stance, executing a left inward downward block palm up (active check). Step back with your left foot towards 12 :00, into a right neutral bow, while simultaneously delivering a right outward downward block and left back elbow strike.

8. Drop your right foot back to a 12 :00, into a left neutral bow, while simultaneously delivering a right  inward downward block palm up, followed by a left downward outward block palm down and right back elbow strike.

10. Step clockwise with your left foot to 12 :00, returning to a meditative horse stance, thus returning to point of origin.

Repeat on opposite side.

Back to Index


Long Form 1

Theme: Retreating with a Front Hand Block and a Rear Hand Counter; Blocking with the Rear Hand; Hand Isolations.

Salutation

Start from a meditating horse stance facing 12 :00.

1. Have your left foot drop back toward 6:00 into a right neutral bow, facing 12:00 as you simultaneously execute a right inward block and left back elbow.

2. Pivot into a right forward bow toward 12:00 as you execute a left reverse punch toward 12:00.

3. Have your right foot slide into a right transitional cat stance while executing a right thrusting inward block.  Complete your right step through by having your right foot plant back toward 6:00 into a left neutral bow.  As you settle into your left neutral bow simultaneously execute a left inward block.

4. Pivot into a right forward bow toward 12:00 as you execute a left reverse punch to 12:00.

5. Cover (by moving your right foot toward 3:00) into a left neutral bow facing 9:00, while simultaneously executing a right inward / left vertical outward block combination.

6. Pivot into a left forward bow toward 9:00 as you execute a right straight punch to 9:00.

7. Your left foot drops back toward 3:00 into a right neutral bow facing 9:00, while simultaneously executing a left inward / right vertical outward block combination.

8. Pivot into a right  forward bow toward 9:00 as you execute a left reverse punch to 9:00.

9. Cover (step right foot to 6:00, look towards 3:00) while delivering a left outward elbow. Immediately pivot in-place into a left neutral bow facing 3:00, while simultaneously executing a right inward / left upward block combination.

10. Pivot into a left forward bow toward 3:00 as you execute a right straight punch to 3:00.

11. Your left foot drops back towards 9:00 into a right neutral bow facing 3:00, while simultaneously executing a left inward / right upward block.

12. Pivot into a right forward bow toward 3:00 as you execute a left straight punch to 3:00.

13. Cover (Cover- slide back into a side cat stance as you execute a left inward downward block palm up) step into a right neutral bow facing 6:00, while simultaneously executing a right outward downward block.

14. Pivot into a right forward bow toward 6:00 as you execute a left straight punch to 6:00.

15. Your right foot drops back toward 12:00 into a left neutral bow facing 6:00 while simultaneously executing a right inward downward block palm up, followed by a left downward outward block.

16. Pivot into a left neutral bow toward 6:00 as you execute a right straight punch to 6:00.

17.   (a): Pivot back to a left neutral bow facing 6:00 while simultaneously executing a left thrusting inward block.
       (b): Execute a right inward block.
       (c): Execute a left inward block.

18.  (a): Your left foot steps back toward 12:00 into a right neutral bow, facing 6:00 while simultaneously executing a right inward block.
       (b): Execute a left inward block.
       (c): Execute a right inward block.

19.  (a): Cover (by moving your left foot toward 3:00) into a right neutral bow facing 9:00, while simultaneously executing a right outward block.
       (b): Execute a left outward block.
       (c): Execute a right outward block.

20.   (a): Your right foot drops back toward 3:00 into a left neutral bow facing 9:00 while simultaneously executing a left outward block.
       (b): Execute a right outward block.
       (c): Execute a left outward block.

21.  (a): Cover (by moving your left foot toward 9:00) into a right neutral bow facing 3:00, while simultaneously executing a right upward block.
       (b): Execute a left upward block.
       (c): Execute a right upward block.

22.   (a): Your right foots drops back to 9:00 into a left neutral bow facing 3:00, while simultaneously executing a left upward block.
       (b): Execute a right upward block.
       (c): Execute a left upward block.

23.   (a): Cover (by moving your right foot to a side cat stance, then toward 6:00) into a left neutral bow facing 12:00, while simultaneously executing a left downward block.
       (b): Execute a right downward block.
       (c): Execute a left downward block.

24.  (a): Your left foot drops back toward 6:00 into a right neutral bow facing 12:00, while simultaneously
executing a right downward block.
       (b): Execute a left downward block.
       (c): Execute a right downward block.

25.  (a): Recover by first dragging your left foot your right foot and then moving it out toward 9:00 into a horse stance, facing 12:00. This maneuver is simultaneously done it while executing a left inside downward block palm down- bottom fist.
       (b): Execute a right inside downward block (palm down).
       (c): Execute a left inside downward block (palm dow).

NOTE: The remainder of this form constitutes moves that are isolated. They are not linked to produce logical working sequences, but are to be studied as hand isolations for their individual value.

26.  (a): Execute a right inside downward block palm up -hammer fist -simultaneously with a left back elbow strike.
       (b): Execute a left inside downward block palm up simultaneously with a right back elbow strike
       (c): Execute a right inside downward block palm up simultaneously with a left back elbow strike.

27.  (a): Execute a left push-down block simultaneously with a right back elbow strike.
       (b): Execute a right push-down block simultaneously with a left back elbow strike.
       (c): Execute a left push-down block simultaneously with a right back elbow strike.

28.  (a): Execute a right straight punch to 12:00 simultaneously with a left back elbow strike.
       (b): Execute a left straight punch to 12:00 simultaneously with a right back elbow strike.
       (c): Execute a right inward diagonal punch simultaneously with a left back elbow strike.
       (d): Execute a left inward diagonal punch simultaneously with a right back elbow strike.
       (e): Execute a right hook punch to 9:00 simultaneously with a left back elbow strike.
       (f ): Execute a left hook punch to 3:00 simultaneously with a right back elbow strike.
       (g): Execute a right upper cut punch to 12:00 simultaneously with a right back elbow strike.
       (h): Execute a left upper cut punch to 12:00 simultaneously with a left back elbow strike.

29. Close with meditative horse stance.

Repeat on opposite side.
 

NOTES and SUGGESTIONS

1. Practice the form with your eyes closed to gain a better feel for your stances.

2. Perfect the first two inward block punch sequences for they contain the basic coordination levels of the form.

3. Be sure to keep the heel of your back foot on the ground when pivoting into a forward bow. It adds to the push in support of your bracing angle, and stabilizes your stance.

4. Economize on the time expended by not raising your back heel when executing a step through reverse.

5. What practical application can you affix to the left outward elbow that you use just prior to converting it to your first left upward block.

6. When analyzing Long Form I, please note that the second part of the form- is actually the left side of Short Form 1. [The only change is you are at 6:00 and execute three blocks instead of just one.]

7. Be sure to have your near blocking arm cover your entire body when employing your series of three blocks.

8. What reason(s) would you attach to the blocks and punches that stem out of your horse stance at the end of Long Form I? Is this similar to the outward elbow discussed in number 5 of the notes?

9. The value of the transition from a neutral bow into a forward bow can be paralleled to having your foot placed on the wall, then using the foot to help you lunge forward with your punch. As stated above, it adds to the push in support of your bracing angle.

10. The cat stance that is seen in the beginning sequence of inward blocks is the desired motion used during all step through reverse actions. This helps solidify what number four talks about.

11. Practice your punches and gain power through the use of contouring both in forward and reverse motion.

Return to Index




(Return to Home Page)
Updated 8/27/2001