Blue Belt Journal Pledge !shall never let pride rule my passions, and will defend witha ll my skill | possess: The weak, the helpless, andthe oppressed. Ipledge an unswerving loyalty to the association and my instructor, In addition, | pledge an unending effort to earn the selfsame loyalty from those who look to me for training. Copyright 6 1987 Ed Parker Sr, 1Blue Belt Journal Introduction The Blue Belt level will require exceptional perseverance. To obtain this level you must be wiling to spend time and energy. You must be prepared to sweat, and to sweat often. Above all, you must lear to work intelligently. Working intelligently will teach you that while the ultimate in proficiency comes from simplicity and repetition, the use of logic is what makes leaming functional and practical. ‘The Blue Belt requirements encourage you to pursue avenues of excel- lence, They teach you how to become fluid, to develop flawless stances, fo perform crisp and focused forms, and the value of confining yourrnovements within the framework of your Outer Rim. Further study will broaden your understanding of Transition, Directional Harmony, and how to apply Cont nuity of Motion when sparring. ‘The Blue Belt precepts place major emphasis on self-defense techniques. They teach technique refinement by adding simple Suffixes to your basic moves, and how Compounding the Sequential Flow of your techniques can actually fill in the Dead Space that occurs during each transition. This a procedure (Compounding) helps to reveal Hidden Moves that would have | otherwise gone unnoticed, Needless fo say, the benefits are abundant. You | will be introduced to both the Web of Knowledge and the merits of Family i Groupings. You willbe encouraged to spend numerous hours in these areas bee to further your growth from the mechanical stage lo the spontaneous stage | of the art. Lo Kenpo is a System that Is bult cround three key words: concept, theory, Peg and principle. However, Mr. Parker's Kenpo System teaches youto develop your own style rather that to become a reflection of your instructor. To complete the continuous leaming cycle of Kenpo you are also taught to ae ae : - bee] L 2 temain flexible in your thinking. This, hopefully, willretum youto the concept. bed Each and every self-defense techniques, freestyle technique, and form fee. that you lean in Ed Parker's American Kenpo is an idea, or series of ideas. As io logic commands your reasoning you will be able to understand these Ideas | in allstages (primitive, mechanical, and spontaneous) of development. You will discover that all ideas throughout the system are equally valid, Conse- quenily, an idea leamed as a White Belt is just as valid as an idea leamed as Brown Bell. You do not have to wait until you are a Black Belt to get to the "meat of the art. You canleam any of the ideasin ihe system. However, until your mental, emotional, and physical development profits through the various stages of leaming (primitive, mechanical, and spontaneous), many of the ideas will be only slightly useful or in some cases unuseful until later during yourtraining. Without the proper training you art willremainintangible. With training these ideas wil become tongible and increasingly operative, vl a Copyright © 1987 Ed Parker Sr : z 212, 14, 16. 18, 19, 21 8 25. 26. 27. 28. 29. i 15. 7. 20. 22, 23. 24. Blue Belt Journal Prerequisites You are responsible for knowing and being able to execute all of you Yellow, Orange, and Purple Belt material, Recite the Blue Belt Pledge. Know the Formalities of the Association and you studio. . Recite the Biue Belt Sayings. Read the : ‘History of Kenpo’ in Volume #1 Infinite Insights Into Kenpo. ts I Read all of Infini . Be able to give a detailed description of the Association Patch. . Know the anatomy for the Blue Belt. In you own words be able to give three or four definitions of what American Kenpo Is? Be able to explain the terminology and give example to clarify the meaning of the terms. Be able fo list twenty (20) sources of power that can be used when executing a thrusting horizontal punch from a horse stance. Be able to execute your basics with accuracy, preciseness, and fluidity. Perform Long Form #2. Be able to explain some of the things that Long From #2 Contains ond Teaches. Perform Strike Set #1. Be able to explain some of the things that Strike Set #1 Contains and Teaches. Perform Finger Set #1. Be able to explain some of the things that Finger Set #1 Contains and Teaches. Be able to perform Finger Set #1 on the weak side. Develop your own form selecting yourmoves from at least 10 techniques, Develop equal fluidity on both sides of your self-defense techniques. Add simple suffixes to all of your self-defense techniques. Be able to explain Family Groupings and be able to use the knowledge of Family Groupings to reach new levels of spontaneity. Fill in some of the Dead Space of your self-defense techniques through the application of Sequential Flow. Be able to explain the Web of Knowledge and to apply its concepts to attain greater levels of spontaneity. know your Blue Belt Freestyle techniques on both sides. When freestyling, be able to quickly bridge the gaps between you and you opponents) and flow with Continuity of Motion. Lear to simultaneously spar with two opponents Be able fo answer the questions on ihe Written Test. Copyright 6 1087 Ea Parker Sr. EUUEEa egBlue Belt Journal Foun ow ti oa Fee Relinem [eee t opyright © 2067 toe Peniors, Srerrererereteniteneneninenininnie EEE Eee Eee 4bS)UI Cs To Ca Cette e et) | Formalities RANK DESIGNATION OF BLACK BELTS: ‘The International Kenpo Karate Association is an organization of individu- als who desire tolearn Ed Parker's American Kenpo. Many of these individuals begin their training as White Belts in the system and after many hours of dedicated training are promoted to Black Belt by Mr. Parker. Other individuals begin their training in other styles of Martial Aris and have i also eamed the rank of Black Belt in their style. Ultimately they desire to improve their Martial Arts training and join the Association. ‘The common goal of each individual in the Association is to learn and to share the system founded and expounded by Mr. Parker. To maintain the integrity of the system and to honor the Black Belts in the system, Black Belts in Ed Parker's American Kenpo are entitled fo: ae E E @. Wear the Association Patch. b. Wear a black belt. c. Wear red stripes on their belt corresponding to their degree of rank as awarded by Mr, Parker. d, The use of the initials and/or title that corresponds fo their degree. e. A certificate signed by Mr, Parker indicating their rank. The corresponding filles for each degree of Black Belt are: 1. JI (Junior Instructor) for a first degree Black Belt. 2. Al (Association Instructor) for a second degree Black Belt. 3. Hi (Head Instructon for a third degree Black Belt. 4. $1 Genior Instructor) for a fourth degree Black Belt. 5. AP (Association Professor) for a fifth degree Black Belt. 6. P (Professor) for sixth degree. 7. SP enlor Professor) for a seventh degree Black Belt. 8. AMA (Associate Master of the Arts) for an eighth degree Black Belt. 9. MA (Master of the Arts) for a ninth degree Black Belt, 10. SMA Senior Master of the Arts) for a tenth degree Black Belt. There may be more that one SENIOR MASTER OF THE ARTS in our Associa- tion. The head of the Association is tilled GRANDMASIER. The fitle of SENIOR GRANDMASIER is reserved for only the FOUNDER of our system, MR. ED PARKER. NO one may ever hold that title other than him. Those individuals who eared their Black Belts in other styles and are Presently learning the system of Ed Parker's American Kenpo are entitled to: aker Se BBlue Belt Journal Formalities 2, Wear the Association Patch. b, Wear the corresponding color of the rank they have actually earned in our system, or cc. Wear a Black Belt with a stripe on each tip of the belt corresponding to the rank they have earned in our system. d. A cerlificate indicating their actual rank in our system. e. When they have filled the requirements for Ist Degree Black Belt in our system, they may proudly receive their re stripes, and the fille of Junior Instructor. This method of ranking honors all of the Black Belts in the Association. It Honors those who have endlessly worked to leam Mr. Parker's system. It further distinguishes those who after years of training still maintain their humility and desire fo learn this unique system of the Martial Arts. Copvright © 1087 Ed Parker Sr. en 6What Is Kenpo Karate? ss: a o ae e a a Blue Belt Journal Although the terms KENPO and KARATE are often used synonymously, it isthe Chinese who have been credited with developing these pugilstic forms of self-defense over the centuries. Its' popularity however, did not reach the Wester World until the late forties, early fifties and well into the sixties. ‘Acknowledgment has been given fo the Japanese for its introduction Into the Wester World. AS a result, the Japanese term, Karate, meaning empty hand, is known worldwide. Karate, which strikes with various natural weapons (side of the hand, elbow, heelofthe foot, etc.)isnot tobe confused with Judo, Jiu Jitsu, oF Aikido which are Oriental forms of wrestling. Karate is the Japanese term describing {heir art form which originally stemmed from Chinese Kenpo (law of the fist), their mother art. Today, the American version of Kenpo developed by Ed Parker is rapidly becoming the more acceptable school of thought in the United States. ironically, historical examination of the Martial Arts has made a startling discovery -- there has never been a pure system of Karate. There may be specific styles that adhere to traditional protocol~styles that are specifically outlined to follow a precise format. Styles, however, ate Isolated segments that are extracted from a Martial Art system that encompasses a more fotal picture of what lies within the realm of self-defense. Agood system takesinto account strikes, strike downs, contact manipulation (throws, locks, twists, dislocations, etc.), ground techniques, multiple attacks, use of weapons as extensionsto natural weapons, etc. Consequentiy, itis difficult to establish an accurate family tree for many of the self-defense styles that ore now spreading to the West. Because many of these styles were founded by individuals who apparently borrowed, specialized, and contributed ideas of their own, historical accuracy has been difficull to ascertain. Therefore, since the system of American Kenpo, engineered by Ed Parker, Is based on logic rather than tragition it can be sald that it is neither Japanese nor Chinese, Ofiental nor Western. tt is, what It is. Kenpo Karate are dual terms used by Ed Parker to describe his creation of ‘Ametican Kenpo. Since the inception of his system into the United States Mr. Parker has produced a number of first generation students and countless numbers of second, third, fourth, and fifth generation offsprings. Unforlu- nately, some of his third, fourth, and fifth generation offsprings, who have ‘opened schools of their own, have been teaching impractical versions Mr. Parkeris saddened by the lack of wholesome principles and technical know- how void of logic and practicality. He feels that their teachings are perpetuating false confidence among their students. Granted, they are adopting worthwhile principles embraced by Zen, and other like disciplines, but such ‘philosophy’ or ‘way of life" is often fancy trimming used to cover Convrishi 6 1987 Bd Parker Sr. zi 7Blue Belt Journal What Is Kenpo Karate? tocoverup ihe'rinaclequote approach toself defense, Greatersilorethei claims pibeing Masters. They oftenboast of theirhumillyinavoidinga fightandwellthey had better, Ils Mr Patkers wish fo produce students free from brain washing that can get fludentsklled. Hs Kenpo demands that fighting be considered realsticaly a Toplay quick draw with blanks and quite onothertouserealbulets, Anotherlen Offennot akeninto account's physiologicalifferences, The ort mustbemadeto fit he individual, not the individualto fit he art Karate styles are sometimes crliczed fornot making contac! when sparring. tt is true that puting one’s stice(s) is comparable to playing flag football, but he experioncewhenhitlingorbeinghitisnotthe worththelossofpracticesessionsthat Treat rominjries, Workingonaheavy bagisagreatsubstitute. ratfords you the opportunity tomakeactualcontact. ifthislsnot enough there snoadhorect woe oe - See some and therefore, may hamperthe execution of effective technique, Onithe other hand there are styles who only prefer the shadow box Consicleraible controversy exists among the fans of selt-lefense advocates as Jowhich sivleissuperiorinactualcombal. When pitted agains! several ficenes eyes, afferachop tothe after a fist is delivered. RDIUM t lume teste git: T | What Is Kenpo Karate? Animportant question often asked is what siyle offers altile guy the opportunity tosurvive. Certainly tradingpunchesis not the answer. Evenifasmallerindividual can develop equal power he Is certainly not capable of withstanding equal Punishment, AsuggestedstrategyinKenpoisthe use of checking. Checkinghelps prevent retaliation. tt can be accomplished in several ways, (1) stepping onan ‘opponents foot topreventakick, 2)preventingthe shoulder, elbow, hip. efc. from oblainingleverage, (3)becomingskliedin employing offensive movesasameans ofpreventingretaliation. Thismethod of checkingoften forcesanattackerintoan ‘awkward position and/or can effectively minimize his leverage. Flexibility Ishighly stressed in Kenpo. Itpemniis freedom to stike any portionofan attackersanatomy — from hisskulltohistoes. Conversely, the applicationofnatural weoponsmust also be diverse. This includes the fingertips, side of the hand, knees, elbow, heel of the foot, etc. While some of these natural weapons are limited in tems of frequent use they are effective under special condition and situations. Kenpo training does attempt to develop your ability to leam all methods of executing yournatural weapons. If becomesamatteroflogic for example asto when and how to hit with what. Somethingin the way offiexibility can be leamed by walching the handsofthe director of an orchestra. Observe the many thythmie changes and gestures that his batonandhands go through when directing the orchestra. The timing, height. width, and depth of his hand gestures altemate accordingly. When he wants sofinesshe lowershis baton. Whenhe wishes férgreatervolumehe raisesit. When he wants aspecific section torespond, he points. Synchronization isimpeccable asthe directorandhisbatonbecomesonewithhismusicions. Incomparisonafight isharder to anticipate. It cannot be orchestrated, nor can it be comparedtoa sheet ofmusic. You arenot privilegedtoblendwiththe reactionsof youropponent 8 an orchestra can do via practice. tt requires spontaneity. tt is your abilily fo respond extemporaneously withaction andreaction thatisthe key. Therefore,the greater yourknowiedge of offense and defense alongwithyourskiltoapplyit: the greater yourchancesare forsurvival. Fightingcanbe easy oritcanbe difficutt, All elements pertaining thereto are Important. While a good system can ‘offer you effective and practical variables, it allcomes downto you- youare the ‘onlyone who can make lt work. To get the levels of spontaneity considerable practice is given to pre-set sequences. This helps a beginning student to develop coordination before advancing to higher levels of conditioned response. The more he practices the better he is able to express himself extemporaneously. As his levels of spontaneity increases he leams to alterhis moves without hesitation. He soon Tears that the Kenpo system that Ed Parker teaches Is not based on untried theories, but proven theories that come with practice. In the words of Ed Parker, ‘an opponent can be struck four or five times within a second so that he will be unable to "hold” all of the targets that hurt. pyright © 1987 Ed Parker Sr. : 9Blue Belt Journal Blue Belt History. For Blue Belt please read Chapter Two, ‘History of Kenpo’ in Volumé #1 Infinite Insights Into Kenpo, Prepare alist of questions about Kenpo History for your instructor to answer. (Copyright © 1887 Bd Parker Sr ae i0Blue Belt Journal Terminology ACCELERATED MOVES - (1) Moves that are advanced in context. These Moves are taught fo the more adept who soon leam to apply them with Precision and sophistication, (2) Rapid moves that pick up momentum with each additional move. ALPHABET OF MOTION - Each move leamed, whether used defensively, offensively, or for both purposes, constitutes an ALPHABET OF MOTION. ANGLE OF DESIRED POSITIONING - Another phrase to best describe ANGLE OF EFFICIENCY, ANGLE OF DEVIATION - Securing the most desired angle when getting out of the line of attack, but allowing that same angle to enhance your own angle of attack or execution, ANGLE OF DISTURBANCE - That angle which, when a move is executed, does not necessarily injure, but rather upsets an opponent's balance. ANGLE OF EFFICIENCY - The Positioning of one’s body to make a particu- lar attack more operative or effective, : a ANGLE OF ENTRY - Any degree, line, or angle of approach that allows you or your opponent access fo specific targets. ee ANGLE OF NO RETURN - Refers to the position and angle of the upper body (and hips) while delivering a front step through kick. punch, or other striking methods (utilizing forward motion), that makes it awkward, difficult ‘and illogical to return to your starting position. Because of the awkward- Ness and the time needed to return to your original position, exposure of Your vital areas would work in your opponents favor — not to mention your inability, under certain conditions, to render an immediate counter. ASSOCIATED MOVES - Moves that are identical in principle, but multiple in definition. The term, to some degree, is related to FAMILY GROUPINGS. and FAMILY RELATED MOVES. BODY ALIGNMENT - This involves the placing of angles into perspective. It is the coordination of body paris in order to harmonize thelr angles of travel so that all parts of the body are in line to travel in one direction. This principle, when followed, automatically triggers the principle of BACK-UP- MASS where body weight enhances your action. Copyright © 1987 Bid Parker Sr, : 11= Copyri Blue Belt Journal Terminology BRIDGE - To close and ink the gap between you and your opponent. CATAPULTNG) - In Kenpo terms, this refers to methods that are used to help launch orspring forward with youraction. Forexample,a “push-dragshuffle” con be used fo simultaneously spring forward with a punch. Thus, the launching (catapulling) of the lower half of the body, simultaneous with the execution of the punch, greatly enhances your power. CATAPULTING activates BODY MOMENTUM. Refer fo PLANE THEORY. CHEAT - (1) Refers to the execution of a deceptive move prior fo the one intended. This includes utilizing both hands and fest. (2) Also refers to using an additional move when doing a KATA or FORM in order fo place you in proper position or alignment. COMMITTED ACTION - To move in such a manner as fo bind oneself fo a certain line of action. COUNTER BALANCE - (1) Opposing forces which enhance the effectiveness of aparticular blow, maneuver or movement, (2) The continuous relocation ofbody partsto help equalize your body weight while in motion as wellas give you better protection. See CHANGING OF THE GUARD and BALANCE COMPENSATION. COUNTER MANIPULATION - That stage of motion that is utilized just prior to employing the principle of opposing forces to Its maximum, COVER OUT - A single crossover and stepthrough reverse to increase the distance belween you and your opponent thus enabling you to conclude: your maneuver in a safe position of cover. DIRECTIONAL HARMONY - Having all of your action moving in the same direction. This principle aids in obfaining maximum results. A requirement when executing BODY MOMENTUM that residually triggers BACK-UP-MASS. DISTRACTION - Intentional move or moves used in freestyle or combat to divert the attention and concentration of an opponent. Such moves can. create openings that can favorably allow you access to vital targets. DOUBLEFACTOR - Itentailsutiizing dualmovementsto defend yourself. These moves can incorporate any combination of blocks, parties, and checks. tt also refers to sophisticated moves which are dually defensive and offensive. REVERSE MOTION Is an integral part of this concept. md eee ight © 1987 Ed Parker Sr, 12Blue Belt Journal Terminology ENVIRONMENT - Conditions that confront us ona daily bass. Itinvolves social and cultural conditions, objects around us, thoughts that are in us, condition of our bodies, weather conditions, ability of your opponent, objects which an opponent may use, and all other factors that influence our chances of survival. FAMILY GROUPINGS - Movements that stem from the source, position, point of origin, or point of reference. Although these moves stem from the same Point of origin, their methods of execution vary according to circumstance. Applying this concept, teaches you how the first two moves of initial action could be viewed as Mother/Father moves. Action stemming from Mother/ Father moves produce Brother/Sister moves. Secondary, but similarly struc- tuted posttions, produce Auni/Uncle moves. Moves stemming from them produce Cousin moves, etc. HOOK - The execution of a natural weapon that makes contact with its target after passing the apex of the circle in which it travels, In short, contact is made on the down side and not the upside of the circle in which your weapon fravels, When delivering your weaponinthe manner described, the Position and angle in which it travels generally causes the weapon being used to catch or fasten Itself to the torget being struck, HOP - A foot maneuver involving moving forward, back, or to the side while springing on one foot. a | INSERT - The addition of a weaponormove, simultaneous with, orsandwiched | In between your base moves. Inserting is part of the EQUATION FORMULA, and is divided into two studies, (1) filling of dead space (SEQUENTIAL FLOW) and (2) its usefulness as a check or strike. KIAI - Loud noise caused by the rapid expulsion of air from the mid-point of o] the body. The expulsion of air creates stability, increased force, fortifies the body and can have a psychological effect upon your opponent. Kiai originally meant “breathing exercise”. MATHEMATICAL AND GEOMETRICAL SYMBOL CONCEPTS - There are three mathematic symbols; the minus, plus, and times sign and three geometric. symbols; the square, triangle, and circle that can enhance student learning. This concept can be paralleled with the CLOCK PRINCIPLE and, therefore, eachmethod canbe used interchangeably thus providing similarresuits and benefits in better understanding DIRECTION and PATH of travel. Copyright © 1987 Bd Parker Sr. Ei 12Blue Belt Journal Terminology MIRROR IMAGE - The opposite of whatever you employ. For example, the mirror image of a right outward block is a left outward block. OPPOSITE MOTION - Whatever motion is done to one side can be matched ‘on the other side. PATTERN ADDICT - One who is caught up in traditionally prescribed move- ments. PIN-POINT EFFECT - Thisisa principle that follows the effect of a pin where the surface of the natural weapon being used is concentrated to as small an area as possible in order to have a more penetrating effect on the target. While surface injury is at o minimum the internal effects are much greater. POINT OF REFERENCE - (1) That point of otigin of a specific natural weapon Move , or technique sequence that one can refer to before proceeding to the next comparative stage, establishing other options, or duplicating it to the opposite side. Duplicating the same sequence to the left as opposed to the right. (2) The selection of a basic move ortechnique sequence to fashion all others from. This concept is also called REFERENCE POINT. POSITIONAL OR POSITIONED CHECK - The formation of vatious defensive postures that automatically checksincoming action. The structured positions In and of themselves act as checks without any effort on your part. REARRANGE - Shifting or changing the sequential order of movements, One of the key ingredients of the EQUATION FORMULA. RIGHT TO LEFT - A freestyle position where your right foot, which is forward, is opposite your opponent's left forward foot. ROUNDHOUSE - Any weapon that makes contact with its target before reaching the apex of the circular path in which it is traveling, SCOOP - The execution of a weapon that resembles the dipping motion of ashovel. It is literally a HOOK that is delivered vertically in reverse. SUFFIX - A move that is added after the BASE MOVE. UNCOMMITTED ACTION - Moves that are not committed to taking a specific course of action. Freedom to take action at any time, to any target, in any i> manner desired, Copyright © 1987 Ed Parker Sr, aera 74Blue Belt Journal Terminology VOCABULARY OF MOTION - Refers to having an extensive knowledge of Martial Art movements. Each individual move, whether they be offensive or defensive isconsidered asbeing an alphabet of motion. Combinations ‘using the same arm or foot form WORDS OF MOTION. Combinations employing both hands and/or both feet are considered SENTENCES OF MOTION. Combined SENTENCES OF MOTION form PARAGRAPHS OF MOTION. Com- binations create altematives. A reservoir of alfematives offer you countless variations that can be tailored fo suit whatever the situation calls for. WEAPON AVAILABILITY - the proper Positioning of natural weapons for immediate use. YIELD - To give way to your opponent’s action. ZONE OF SANCTUARY - Dead areas of space where one can elude fo for Protection. As an example, if we were fo snugly fit a ciicle within a square, we would find the comers of the square untouched. These untouched areas are called ZONES OF SANCTUARY or areas where one can take refuge and this would prevent you from beinghit. This area of refuge, therefore, aZONE OF SANCTUARY. ‘ ‘opyright © 1987 ed Parker Sr. 15Blue Belt Journal Required Techniques satan F901. BEGGING HANDS - Front Two-Hand Grab to Wrists 48. ot, THRUSTING WEDGE - Front Two-Hand High Push Roplk 3. FLASHING WINGS - Front Right Step Through Punch | 64 4, HUGGING PENDULUM - Front Right Thrusting Knife-Edge Kick 1.5, REPEATED DEVASTATION - Full Nelson 12.36, ENTANGLED WING - Front Arm Lock 13. 9-7, DEFYING THE STORM - Front Right Step Through Roundhouse Club #148, RAKING MACE - Front Two-Hand Lapel Grab Pulling In Gite 9. SNAKING TALON - Front Two-Hand Push 4-410. SHIELD AND MACE - Front Right Siep Through Punch Gaus 11. RETREATING PENDULUM - Front Right Thrusting Heel Kick Executed With Either a Right Step Through or a Left Rear Crossover. 17,12, TRIPPING ARROW - Front Bear Hug Arms Free 18 913. FALLEN CROSS - Rear Two-Hand Choke 14. 4614, RETURNING STORM - Front inward Roundhouse And Backhand Club 20,# 15. CROSSED TWIGS - Rear Two-Hand Grab to Wrists GMAe 16. TWIST OF FATE - Front Two-Hand Push GA4w 17. FLASHING MACE - Front Right Step Through Punch : a Gea” “18. GIFT OF DESTINY - Front Handshake GM 19. WINGS OF SILK - Rear Two-Aim Armlock GAS 20. GRIPPING TALON- Front Left Direct Grab to the Right Wrist OH 21. GATHERING CLOUDS - Front Right Punch _| ¥a~ 22. DESTRUCTIVE TWINS - Front Two-Hand Choke ~ Pulling In Gam’ 23. BROKEN RAM Front Tackle BP GA 24. CIRCLING THE HORIZON - Front Right Step Through Punch Copyright © 1987 Ed Parker Sr, aBlue Belt Journal 1.Begging Hands ront twonand grab to wrists) 1. Standing naturally, step back with your left foot toward 6 o’clock into aright neutral bow (facing 12 0’clocld as you have both of your hands citcle from inside out so that they circle over and ontop of your ‘opponent's wists simulating begging with two hands (with your pakns up). 2. Without disturbing your flow of motion, slide your right foot back into aright 45 degree cat stance and Immediately deliver a right front snapping ball kick to your opponent's groin. (Your opponent should bend forward at the walst, as his entire body moves away from you). 3. Plant your right foot toward 12 o’clock (making sure that you adjust the depth of your planting foot according fo the circumstance) and deliver aleft front snapping ball kick to your opponent's chin or chest. (Your opponent’s head and chest should snap up). 4, Asyouplant your left foo! forward into a left neutral bow (facing 12 o'clock), delivertwin torquing heel paim thrusts under your opponent's ribcage (fitting). Shuffle forward if needed. (Thisshould knock the wind out of your opponent, cause him fo bend forward at the waist, and possibly drop to the ground). 5. Left front crossover and cover out twice toward 4:30. © 1987 Ed Parker Sr.Blue Belt Journal 2.Thrusting Wedge drone wo-nand high push) 1. Standing naturally, step forward! between your opponent’ slegs with your tight foot into a fight forward bow while thrusting both of your forearms forward, thus usingthem. as wedges inside of your opponent's ams. (It is the outer portion of your forearms that are used to wedge with). Continue the flow of your action as you convert the movement of your arms into two rolling upward-outward claws (your right hand rolls counterclockwise and your left clockwise) fo your opponent's eyes. (This should stop your opponent's forward momentum and blur his vision). 2. Pivot into aright fighting horse as you execute aright upward elbow strike under the chin of your opponent. During the same coursé of action, have yourlefthand grab your opponent's rightam, slide down fois tight wrist, grat his ight wrist with yourleft hand, andjerk that arm down, past, and below your left hip. (The effect should stun your ‘opponent and controt his Height Zones). 3. Pivot into aright neutral bow as you follow up with a tight downward heel paim claw to the bridge of your opponent's nose and then to his eyes. (This should break your opponent's nose and again blur his vision). 4. Right front crossover and cover out twice toward 7:30. Copyright © 1987 Ed Parker Sr.Blue Belt Journal 3.Flashing Wings eront right step through punch) 1. Standing naturally, have your left foot step toward 11 o'clock into Qleft neutral bow while simultaneously executing a left inward block tothe outside of your opponent’ sight arm (at or above the elbow) as your right hand cocks to your right hip (fist clenched ond paim up). Your left knee should postionally check Your opponents right knee. 3. Pivot clockwise into a horse stance as you execute aright outward elbow strike to your opponent's right kidney. Simultaneously deliver q left outward heel-paim claw ‘Across your opponent's face (making ‘sure that your left forearm is sliding check asit travels up the tight arm ofyour opponent). (Your opponent's headshould snap back and tun to his right) h your elbow: anchored. Within thesame flow of motion, inwardhandswordstrike to the back of youropponent’s Neck. (This should drive your opponent's head downward), 5. Pivot counterclockwise into g left close knee! stance as your left hand slides down and past your opponent's tight shoulder to check and pin his: right arm tohisbody, Simultaneous with this ‘action, execute tight upward thrusting handsword (palm up) to your opponent's throat. (Ihis should snap your Pponent’s head back). 6. Left front crossover and Cover out twice in the direction of 4:30, i Copyright © 1987 Ed Parker ‘Sr 19Blue Belt Journal 4.Hugging Pendulum pont ight thrusting knifeedge kick) |. While in aright neutral bow, shutfie back (push-drag) toward 7:30.08 you deliver a right hammering downward diagonal block on the putide of your opponent's right kickingleg. Have your blocking aim [ravel fom 10:30 to 4:30. (This action should disturb your opponent's Balance, injure his leg, inflict pain, and tum his body to his let. 2. Without delay execute a left front crossover, cross your right hand {Palm up) to your left hip, and positionally check with your left hard, Immediately deliver a tight knife-edge kick to the Inside of your nbPonent’sleft knee. (ihis should buckle your opponent's left knee to the ground). 3. 4s you plant your right foot forward into a right neutral bow, follow gowitharight outwardhorizontal backknucklestrike to youropponent’s Tigh! mastoid orrighttemple. Arc yourstike tothe right and relat right inwardhorizontathookingheelpalm claw tothe left side of your sehen ent ’sface. Maintainabendin yourright elbow throughout your ‘action. (Your opponent should fall fo the ground). 4. Right front crossover and cover out toward 7:30. Copyright © 1587 Ba Parker Se : : 205.Repeated Devastation (ull Nelson) Blue Belt Journal 1. While in a Full Nelson, move your ight foot toward 3:00 intoanarrow horse stance, os you stike over and back of your head with both of Your fists to your opponent's face. The palm of yourhenas should face forward when sandwiching your opponent's Neca: (Your opponent should loosen his grip), 2 While dropping lower in yourhorse stance, chive both of your elbows ouun 40 Your opponent's biceps (palms sil facing, you). Immediately thrust both fststowardlthe ground poimstacing yee, youstaighten and stiffen your knees, body, and neck, 3. Step forward with your left foot between 12 and 1 O'clock into a transitional left neutral bow and Pivot clockwise into a right forward bow (facing 6 O'clock). While pivoling, deliver a tight outward thrusting elbow strike to the tight side of your opponent's jaw, As you strike, pin your opponent's left forearm to your body with your left forearm. (his should rock your opponent's head back). 4. Side your left foot back to its point of origin, step forward with your fight foot between 11 and 12 o'clock into transitional right neutral bow, and pivot counterclockwise Info o lett forward bow (facing 6 ©’clock). While pivoting, deliver alefl ouhward thrusting elbow strike to the leftside of your opponent's jaw, Ouring this action, have your right forearm maintain a check by smartly resting on your opponent's right forearm. (Again, your opponent's head should tock back), 5. Left front crossover ‘and cover out twice toward 10:30. 21course of thisaction, have yourle! lefl hand. you to properly align your opponent's elbow across the top of your tight shoulder fora break. (This should tum your opponent to his right). 3. Immediately pivot clockwise into a horse stance as you execule a fight back elbow strike to your opponent's midsection or loft ribcage. Maintain your left hand os a posttignal check at your right shoulder, (Your opponent should bend forward at the waist), 4. Right front crossover and cover out twice toward 6 o'clock. Copyright © 1987 Ba Parker Sr 220Copyright © 1987 Ed Parker Sx Blue Belt Journal ‘7.Defying the Storm (vont right step through roundhouse 2. Instantly have yourlefthand grab youropponent’s left wristand your tight hand grab the back of your opponent's ight elbow: Without Relay, step back with your right foot foward 4:30 into @ lot forward 3. Follow up with a right knee sirke to your opponent's sternum, (this Should knock the wind out of your opponenh. SAS You plant your tight foot toward 11 o’clock into a right neutral bow, bury a tight inward overhead elbow stilke to your opponent's (Your ene. Have your lefl hand maintain control of his font emt (Your opponent should fall to the ground), 5. Right front crossover ‘and cover out twice toward 7:30, club)PSU sTO ta Corer tT | 8.Raking Mace ¢ront twonand tapel grab-pull in) 1. Asyour opponent pulls you in, have your right foot: step forward into. aright neutral bow (between your opponent’ legs) while you simulta- neously execute a right uppercut punch to your opponent's solar plexus. In coordination with the above action, have your left hand horizontally pin both of your opponent's hands to your chest. (Your opponent should bend forward at the waist). 2. Immediately have your right hand circle counterclockwise (with your left hand stil pinning) and have the knuckles of your right fist diagonally rake inward, down, and acrossthe bridge of your opponent's nose. Continue this motion so that you strike down and onto your ‘opponent's forearms, as your lefl hand checks above your right am. (Your opponent's head should turn to his right and drop toward you). 3. Follow up with a right outward handsword to your opponent's throat, as your left hand checks below your right arm. 4. Instantly execute aright inward horizontal elbow strike to the left side ‘of your opponent's jaw as your left hee! palm. simultaneously strikes to the right side of your opponent's jaw to cause a sandwiching effect. (Your opponent should fall to the ground). 5. Right front crossover and cover out twice toward 7:30. i: Copyright © 1987 Ed Parker Sr. 249.Snaking Talon ¢ront two-nand push) 1. Standing naturally, drop back with your left foot toward 6 o'clock Into a right neutral bow (facing 12 o’clock) as your right hand loops a figure eight (following a path and not aline). Begin with aright inward handsword on the outside and the top of your opponent's left arm. Flow into a right extended outward handsward on the outside of your opponent's right arm. (Both actions are to diagonally check your opponent's Height and Width Zones by conveniently orisscrossing your opponent's arms diagonally and down). During this action, your left hand checks at your solar plexus. 2. Asyou continue the flow of your right hand, grasp your opponent's Tight wrist with your right hand while fading back into a right front 45 degree cat stance. 3. While still within the flow of action, have your right hand pull your: ‘opponent's right arm foward you (down and to your right), as you deliver a right front snapping ball kick to your opponent's groin. (Your ‘opponent should bend forward at the waist:) 4. With your right kicking foot still in the cir, execute a sight front crossover toward 7:30 into a left rear twist stance ( facing your oppo- nent). (Your opponent's upper body should once again become parlially upright.) 5. Release your opponent's right wrist and immediately pivot counter- clockwise os you deliver aleft spinningbackheelkicktoyouropponent’s abdominal area (toward 12 o'clock). (Your opponent should bend forward at the waist, with his entire body driven back.) 6. With your back facing your opponent, hop onto your left leg while edging toward your opponent (gauge the distance correctly) and deliver arightbackheelkick, This'sactually aback chickenkicktoany ‘pening on your opponent, preferably the face or chest. (Your ‘opponent should fall fo the ground.) 7. Right front crossover and cover out twice toward 7:30, 25Blue Belt Journal | i | 10.Shield and Mace ¢ront right step through punch) 1. Standing naturally, move forward and fo your left with your left foot (to 11 o'clock) into aleft neutral bow. Immediately pivot to your right into a horse stance and deliver a right vertical outward block to the outside of your opponent's right arm. Thisis done while simultaneously delivering a left straight punch to your opponent's ight lower ribcage. (Your opponent should bend forward at the waist.) 2. Pivot to your left and drop into a left close kneel as you strike down with a right hommerfist to the top of your opponent's right kidney, driving down to the pelvic area, Your left hand is now a BRACING ANGLE CHECK at your opponent's tight elbow. ( Your opponent should buckle at the knees. ) | t 3. Circle your left hand clockwise and pin your opponent's right arm | down to his own body as your fight hand circles counterclockwise | E striking your opponent's face and eyes with a right looping inward horizontal heel palm claw. (This should snap your opponent's neck and turn his head to his right.) 4, Continue the flow of the counterclockwise circle of your right hand : and have it contour down and along the back of your opponent's | : body and right legto strike the back of your opponent's right knee with yourtight handsword. This actionistobuckle your opponent ’srightleg. Have your left hand circle clockwise and check just below your opponent's right shoulder. | 5. Without raising your body, follow up with a tight knife-edge kick to the back of your opponent's left knee. (Your opponent should drop tothe ground.) | 2 6. While your right foot is still in the air, right front crossover and cover | out twice toward 8 o'clock. es | Cc 9 TOS ETAT oTBlue Belt Journal 11.Retreating Pendulum gront right thrusting heel kick-executed with either a right step through or a left rear crossover) 1. While in a right neutral bow, have your right foot execute a rear Ctossover toward 6 o'clock into a left front twist stance (facing 12 o’clocld. Simuttaneously deliver a right downward diagonal block to the outside of your opponents kicking leg as your lefi hand checks next fo your right shoulder. (This should disturb your opponent's bal- ‘ance, injure his leg, inflict pain, and cause his body to turn to his left). 2. Immediately deliver a right knife-edge kick to your opponent's left inner knee. (His left knee should buckle to the ground). 3. Plant your right foot forward toward 12 o'clock into a right neutral bow as your left hand checks high (near your right arm pit). Simulta- neous with this action (while taking advantage of GRAVITATIONAL MARRIAGE ) execute a right inward overhead hammertist across the Tight side of your opponent's neck. (Your opponent should drop to both of his knees). 4. Pivot to your lett into a right reverse bow and deliver a right back scoop kick fo your opponent's groin. Your right leg is between your pponent’s legs at this point. You may have to drag your left foot toward your right foot to assure proper distance for your back scoop kick. 8. Plant your tight foot back into a tight reverse bow between your opponent's legs, as you use the right reverse bow to buckle the inside of your opponent's right leg. (This should drive your opponent, face down, to the ground). 6. Right front crossover and cover out twice toward 7:30, Cont ©1057 BX Fas 27Blue Belt Journal 12.Tripping Arrow ¢ront bear hug-arms free) 1, Your opponentis applying a front bear hug with yourarms free. Step to your left with your left foot (toward 9 o'clock) into a horse stance (facing 12 o’clock) as you have your left hand grab your opponent's left shoulder and pullit downto check his Height Zones. This action will nullify your opponent's leverage and thus prevent him from delivering right or leff knee kick. Simultaneous with this action execute a right hooking inward horizontal hee! palm strike to your opponent's left jaw hinge. (This can dislocate your opponent's jaw as well as render him unconscious.) 2. Immediately circle your right foot clockwise, around, and back of your opponent's right leg (toward 3 o'clock) and buckle it by heavily stomping your right foot into a horse stance. Make sure that your right hand circles counterclockwise with the aforementioned action and ‘cocks at your right shoulder (palm up ). 3. Without hesitation, pivot to your left (toward 9 0’clock ) into a left forward bow as you thrust your tight heel palm strike to the jaw of your ‘opponent. This action will rip your opponent over your right leg, Be sure to maintain your left hand grab on your opponent's right arm. (Your opponent should fall to the ground and onto his back). 4. With your opponent on his back and yourleft hand grabbing at your ‘opponent’sright wrist, thrust aright hee! stomp under your opponent's chin. Ifyouropponent tums from the momentum of the fall andslips out of your grasp, alter your target and execute a right stomp kick fo your opponent's right kiciney or ribs. 5. From the stomp kick, release your left hand grasp and sweep your opponent's right arm with your right foot as you execute a right front crossover and cover out twice toward 4:30,Blue Belt Journal 13.Fallen Cross (rear two-hand choke) 1. With your opponent choking you from the rear with both of his hands, be sure fo tuck your chin to protect your vital throat areas. Simultaneous with this action, step to your left (foward 9 o’clock) into ahorsestance (facing 120’clock) as you grabboth of your opponent’s wrists with both of your hands, (right to right and left to left). 2. Commence fo fum your head counterclockwise as you have your right foot step forward to 10:30 into a transitional right neutral bow. uring your head will cause your neck to put pressure against your opponent's right thumb and, therefore, help to release his grab.) Immediately pivot counter clockwise into a left neutral bow (facing 4:30) as you cross your opponent's arms with his right arm over his left, making sure that the arms are crossed at or above your opponent’s elbows. During this action, be sure to disturb your opponent's balance and Height Zones by Jerking him down and toward you. 3. While still grabbing your opponent's wrists, have both of your ars force your opponent's arms down even further. Meet this action by delivering a right knee kick up and against the left elbow joint of your ‘opponent. (His left elbow joint should be facing down at this point). Without hesitation and with your right knee against your opponent's left elbow, deliver a right front snapping ball kick to your opponent's groin. CYour opponent should be driven back). 4. Asyou plant your right foot forward to 4:30 into a righ! neutral bow, deliver a right inward horizontal elbow strike (or a right inward down- ward diagonal forearm smash from 7:30 to 1:30, depending upon the circumstance) to your opponent’sleftjawhinge. Simultaneously have yourleft hand check your opponent's arms down and toward himself. 5. Right front crossover and cover out twice toward 10:30. Copyright 61987 Ed Parker Se. 29BeJUsTem stv Contt eet 14.Returning Storm eiight roundhouse and backhand club attack) 1. Your opponent steps through with his right foot to deliver a wild right roundhouse horizontal club strike, Shuffle back (push-drag) with your left foot toward 7:30 (ZONE OF SANCTUARY) into a right neutral bow (facing your opponent). While shuffiing, place both of your arms close toyourches| (positioning them vertically with your fists at the top). Your shuffling back should cause the club to fall short of its mark and pass by you. 2. Asyour opponent retums wilh a backhand club strike, step forward with your left foo! toward 1:30 into a left neutral bow. While stepping forward, have both of your arms strike vertically so that your left forearm strikes at your opponent's right elbow joint and your right forearm sttikes at your opponent's right wrist. (This should disturb your ‘opponent's balance and possibly break his elbow). 3. Immediately grab your opponent's right wrist with your right hand while pushing out with your left forearm. While pushing out and pulling in, slide your right foot clockwise toward 10:30 into a left neutral bow (facing 4:30). Remember tokeep constant pressure onyour opponent's ight elbow. Your ROLLING action on his elbow coupled with the ROTATIONAL FORCE of your body should spiral your opponent down into your next move. 4, Follow up with a right front snapping ball kick (toward 4:30) to your ‘opponent's right ribcage. (his kick should knock the wind out of your opponent). 5. As you plant your right foot forward into a right neutral bow (facing 4:30), check your opponent's right arm with your left hand by pushing it down and past your right hip as you deliver a right upward lifting stiff arm back knuckle strike to your opponent's face. (Your opponent's head should snap back before he falls to the ground.) 6. Right front crossover and cover out twice foward 12:00. Copyright © 1987 Ba Parker St. anBlue Belt Journal 15.Crossed Twigs tear two-hand grab to wrists) 1. Standing naturally with your opponent grabbing both of your wrists from the rear, counter grab both of your opponent's wrists (ight toright ‘and left to left) as you step toward 1:30 with ‘your left foot into a transitional left neutral bow (reverse Toe-Heel Line). This should help disturb your opponent's balance, especially if you pull forward and down with your left arm. 2. Pivot clockwise into a right neutral bow (facing 7:30), still maintaining the wrist grabs, as you cross your opponent's arms (right over left). In the process, have your right elbow strike diagonally and outward to your opponent's right jaw hinge. Continue the flow of your right arm 80 as fo pull your opponent's tight aim down. Have your left hand, which is grabbing your opponeni’s left wrist, pull down and below the level of your buHtocks. (This should stun your opponent as well as minimize his ablity to retaliate) 3. Release your right grasp and loop your right arm counterclockwise, as it now becomes a right inward overhead elbow strike down to the upper spine of your opponent. (Youropponentshould startto crumble: to the ground). 4, Release yourleft grasp. Nowwith both yourtight andleft hands free, execute two downward heel paim strikes to your opponent's left kidney and lef ribcage (left hand to left kidney and tight hand to left kidney and right hand to left ribcage). 5. As you grab and pinch your opponent's kidney and ribs, deliver a left knee kick to your opponent's ight ribcage. (This should knock the wind out of your opponent, and cause him fo fall to the ground). 6. Replant your left foot foward 1:30 into.a right neutral bow (still facing your opponent) and execute a right front crossover and cover out twice toward 1:30. Copyright © 1987 Ed Parker Sr.PSU cL Cae Cey ter t-T | 16.Twist of Fate trront wo-hand push) 1. As your opponent pushes, drop back with your tight foot toward 6 o'clock into a left neutral bow (facing 12 o'clock) as both of your hands come up and out as twin extended outward handswords tothe inside of your opponent's wrists. This is executed the same as the first move of PARTING WINGS. 2. Immediately have your lefthand grab your opponent’sright wrist os your tight hand grabs your opponent's left waist. 3. Deliver aright step through slicing heel kick to your opponent's right lower ribcage. (Your opponent should bend forward at the waist), 4. Before planting your right foot, pivot your entire body counterclock- wise (180 degrees) while balancing on your left foot. During this transition be sure to twist your opponent's arms and cross them counterclockwise over your left shoulder. Immediately plant your ight foot toward 11 o'clock which should now form a left neutral bow facing 6 o'clock. 5. Without losing momentum, force your opponent's arms forward, down, and back toward you, shuffling back as you do so, This action should whip your opponent’s body so thathe ends up almost horizontal to the ground, face up. 6. With your opponent about fo fall to the ground and while you are still grasping his wrists, continue to pull your opponent's arms toward you as you deliver a tight knee kick to the upper spine or head of your opponent. 7. Plant your right foot to the Point of Origin. Execute a left front crossover and cover out twice toward 10:30. Copyright © 1887 ed Parker Si 322SS) Slot (elrrar ET 1, Stanaing naturally, step to 1] o'clock with your lef foot into a left neutral bow as you deliver a left Inward block to the outside of your opponent's right arm (atorabove his elbow). Simultaneous wilh the block, cock your right hand above your right shoulder (paim oul), Be sure to have your left knee positionally check your opponent's tight knee. 2. Immediately step through with your right foot toward 10:30 into a transitional right neutral bow as you deliver a right inward diagonal back knuckle rake to your opponent's right cheek bone or temple. While striking. have yourleft handinapositionalcheck. (Youropponent’s head should be driven back). 3. Without hesitation, pivot counterclockwise 180 degrees ond stiketo your opponent's right lower ribcage with a left oulward horizontal back knuckle. In the same motion, have your right hand execute an inward heel palm bracing angle check to your opponent's right upper arm. (Your opponent should bend forward at the waist), 4. Follow up with aleft upward hooking check (yourleft handlooks ike Q waiter carrying a tray) on top of your opponent's right arm. As you Grop into a left wide kneel stance, continue the motion of your tight aim and without loss of motion, have your right hand citcle counter- Clockwise as you loop a tight ovethead back knuckle strike to your opponent's face or left temple. Be sure to utilize Mariage of Gravity when executing thisstrike, (Your opponent’shead should snap back). 5. Left front crossover and cover out toward 10:30, 17.Flashing Mace ¢ront right step through punch) 33°Blue Belt Journal 18.Gift of Destiny: eront handshake) 1, Standing naturally, step forward with your right foot into a right Neutral bow (facing 120’clock), buckling the inside of your opponent's tightknee with yourright knee. Simultaneous with this movement, have your left hand grab your opponent's right wrist. Your palm and fingers are on top of his wrist joint. While grabbing, strike with a right inward horizontal elbow to your opponent's solar plexus. (This should create Painonyouropponent’sright wrist as wellasknock the wind out of your opponent). 2. Have your right hand circle counterclockwise, contouring your opponent's ight fingers with the paim of your right hand. (Your fingers are new pointing up and your thumb is down). During this action, your left hand still controls your opponent's right wrist. Immediately have your right hand grab your opponent's fingers, 3. While stepping back toward6 o'clock intoa left neutralbow (facing 120’clock), tum yourright hand clockwise and inthe process twist your opponent's wrist palm up. Simultaneously turn yourleft hand counter- Clockwise (as your Iefi heel of palm uses your opponent's right wist as PIVOT POINT), ending with yourleft hand (palm up) controlling under his right wrist (which is also palm up). At the completion of fully twisting with your right hand, reach further around your opponent's right wrist with your left hand, which now allows your left hand to twist your opponent's wrist even further. As you settle into your left neutral bow, felease your right hand and chamber it. his should force your opponent to bend forward at the waist and allow you to control his Height Zones). 4. Immediately render aright heelpalm thrust strike to the back of your ‘opponent's right hand to break your opponent's wrist. To insure more Pain strike toward 1:30 (not directly toward your opponent's right elbow). 5. Deliver a right front snapping ball kick to your opponent's solar Plexus. (This should knock the wind out of your opponent). 6, Plant your tight foot to the Point of Origin. Left front crossover and cover out twice toward 4:30. 34Blue Belt Journal 19.Wings of Silk rear two-arm tock) 1, Standing naturally with your arms locked from fhe rear, stomp your opponent’sleft instep with your left foot. Simultaneously have your left hand pinch the nerve located onthe crest of your opponent’s|eft hip. (his should help to loosen your opponents hold). 2. As your right arm starts to slip out of your opponent's right arm, execute crightbackobscure elbow to the underside of your opponent's chin simultaneous ‘with’ aright back scoop heel |kickto youropponent’s groin. (this should stun your opponent). 3. Turn and step counterclockwise with your right foot (toward 9 o'clock with a short fight step) as your right arm slips completely out of your opponent’s arm, pinching and pinning your opponent's left arm. with your left hand and arm, as you begin to twirl out. 4. Complete the twirl (360 degree turn) by circling your left foot counterclockwise (again to 9 o’clock) and end up ina horse stance facing the same direction as youropponent. Simultaneously have your right arm deliver an uppercut forearm strike to break your opponent's left elbow joint. Your left arm Is stil pinning your opponent's left arm. 5. Right front crossover and cover out twice foward 10:30. Copyright © 1987 Ba Parker Sr. 35Copyright © 1987 Ba Parker Si. Blue Belt Journal 20.Gripping Talon ¢ront hand direct wrist grab) 1. Standing naturally with your opponent's left hand grabbing your tight wrist, step forward with your right foot (inside of your opponent's ef fool) Intoaright neutralbow (facing 120’clock). Simultaneous with this action, have your right hand (palm down) circle counterclockwise under your opponent's left hand (to act as @ FULCRUM) and to the outside of your opponent's left wrist prior to freeing your right hand from your opponent's grasp. In coordination with this same action, have your left hand follow up by reaching under your right hand and countergrab (palm in and thumb down) your opponent's left wrist (Pulling it down and past yourleft hip) which intum frees yourrighthand 80 that it can immediately deliver a tight downward hammerfist fo your ‘opponents groin. (Your opponent should bend forward at the waist) 2. Follow up with a right inward horizontal elbow strike to the back of your opponent’sleft lbcage, making sure that you follow through with this action. (Your opponent's upper body should snap back.) 3. Immediately reverse your motion and execute a fight outward elbow strike to the front of your opponent's right ribcage. 4. Execute a left rear crossover toward 1 o'clock) and during the transition (left rear twist stance) deliver a tight outward back knuckle strike to the front of your opponent's left ribcage. While striking, maintain control of your opponent's left arm with your lefthand. (Your opponent should bend forward at the waist.) 5. Complete the crossover by dropping into a right réverse bow to buckle the inside of your opponents left leg. Smuttaneous with this action, have your tight hand follow through (from the back knuckle) and convert itinto right looping inner diagonal wrist slike tothe right side of your opponent's Neck. Coordinate your left hand with the obove action by yankingyouropponent’sleff arm. The coordination timing ofthe buckle, the wiist stke, and the pull explodes when properly hamonized. 6. Before your opponent falls fo the ground, deliver a right knee strike to his face. 7. Flow directly from your knee strike into a tight front crossover and cover out twice toward 4:30. 36Blue Belt Journal 21.Gathering Clouds ¢ront right straight punch) 1. Standing naturally, step forward with your left foot toward 10:30 into aleft neutral bow, as you execute a left inward parry to the outside of your opponent's right arm simultaneous with a right inward vertical middle-knuckle rake to and through your opponent's right ribcage. Immediately reverse the motion of your right hand and execute aright outward handsword to the right lower ribcage of your opponent. Your left hand is stil checking your opponent's right am. (Your opponent should bend forward slightly at the waist.) 2. Step forward with your right foot into a right neutral bow (toward 1:30), planting your right foot to the inside of your opponent 'sright foot and buckling his right knee with your right knee. . (You are ON AND OVER THE LINE OF ENTRY.) As you settle into your right neutral bow, deliver a tight inward horizontal elbow strike to the front of your ‘opponent ’sright lowerribcage. Yourleft handisstilllbracing up against your opponent's right elbow. (This should disturb your opponent's balance as he bends even further at the waist.) 3. While pinning your opponent's right arm down and against his own body, immediately follow up with a right front scoop kick to your opponent's groin. (Your opponent should bend forward at the waist.) 4, Simuticneously loop your right hand counterclockwise as you execute aright two-finger eye hook to your opponent’sleft eye as you time the eye hook with the right front scoop kick. (Your opponent's head should snap back.) 5. Continue the action of your scoop kick and plant your right foot back toward 7:30 into a left neutral bow (fecing your opponent). 6. Left front crossover and cover out twice toward 7:30. Copyright © 1987 Ed Parker Sr ” 37Blue Belt Journal 1. Standing naturally with your opponent pulling you toward him, step forward with yourright foot into o right neutral bow (facing 120’clock). Simultaneously deliver a left overhead punch (palm down) to your opponent's face “with” a ight uppercut punch (palm up) toy opponent's groin or stomach. Both punches form the shape of a “U" that looks as ifit is on its side. (Keep your back erect and head up.) 2. Have your tight foot side slightly to your right toward 1:30 into aright neuiral bow. Simultaneously execute a right inward block to the outside of your opponent’ sieft arm, anda left inside downward block (palm down) fo the top of his right arm and convert itinto aleft vertical outward block outside of your opponent’sleft arm. (Thisissimply aleft vertical outward block that makes proper use of the DOUBLE FACTOR PRINCIPLE against two arms.) At the completion of your left vertical outward block, you should have dropped into a tight forward bow, recocking your tight clenched fist to your right hip, palm up. (Your ‘opponent's body should turn to his right.) 3. Immediately thrust a left horizontal finger strike to your opponent's eyes. (Your opponent's head should snap back.) 4. Follow up by pivoting (in-place) to your left and dropping into a horse stance (facing 10:30) as you deliver a right straight thrust punch fo your opponent's left ribcage. Simultaneously have your left hand grab the upper portion of your opponent's left arm, slide down to his left wrist, then grab and pull it diagonally down, and past your left hip to cancel both Width and Heigt Zones of your opponent. 5. Right front crossover and cover out twice toward 4:30. 22.Destructive Twins (rwohand choke-pull in) 38Blue Belt Journal 23.Broken Ram ¢ront tackle with your opponent's arms wide) Copyright 6 1987 Ed Parker Sr, 1. While in aright neutral bow, have your left foot swing counterclock- wise toward 3 o’clock into a right neutral bow (facing 9 o'clock). Simultaneous with this action, execute a right outside downward pany tothe Inside of your opponents right arm, as yourleft hand checks the left side of your opponent's head or neck. Continue the flow of both arms as yourright hand nowbecomes aninward overhead hanmerfist to the back of your opponent's neck and_ your left hand, a check against youropponent’sleftarm. (Youropponentshouldbuckle atthe knees.) 2. With youropponent’s|eft arms attemptingto grasp your waist, pivot to your left into a tight reverse bow (looking over your right shoulder) and deliver a tight uppercut forearm strike against the joint of your opponent's left elbow fo cause a break. Your body, with your opponent's arm around your waist, acts as a fulerum that helps to accentuate the break. Your left hand checks in the NEUTRAL ZONE. (Your opponent's upper body should snap back.) 3. Deliver a right back scoop kick to your opponent's groin. (Your ‘opponent should again bend forward at the waist.) 4, Plant your right foot to the POINT OF ORIGIN. (Adjust the foot if and when necessary.) While planting your right foot, buckle the inside of your opponent’s left knee with your right leg. During this action, loop your right hand counterclockwise and over your opponent's left arm and strike to your opponent's left jaw hinge with a right downward hammerfist, Time this action with settling into your right reverse bow to gain the full effect of your MARRIAGE OF GRAVITY. (Your opponent should drop to the ground.) 5. Right front crossover and cover out twice toward 4:30.Blue Belt Journal J. Standing naturally, step to your with your left foot toward 9 o'clock s you execute a left Inward parry to the outside of your opponent's right arm. During this action, your right foot slides toward your left foot info a right 45 degree cat stance. Your right hand circles clockwise from POINT OF ORIGIN, fist covering past your groin, then tracking over the top of your left wrist and finally striking as a right thrusting vertical back knuckle to the right cheek bone of your opponent. This final action occurs as you settle into your cat stance and as your left ond checks your opponent's tight arm. (Your opponent's head should snap back.) 2. Immediately step forward with your tight foot intoa right neutralbow (facing 1:30) 10 the outside of your opponent’sright leg while delivering tight Inward horizontal elbow strike to your opponent's right lower ibcage, as your left hand Is a BRACING ANGLE CHECK of your opponent’sright arm. The final action to this move occursas you settle info your right neutral bow. (Your opponent should bend forward at the waist.) 3. Drop down into a right close kneel as you strike the back of your opponent'sright knee with aright choppinghammerfist tobuckle your opponent's right leg. 4. Follow through with your right hand and immediately strike up to your opponent's groin with a right underhand reverse hammerfist. Your left hand is still checking your opponent's right arm. (Your opponent should bend forward at the waist.) 5. Right front crossover and cover out twice toward 9 o'clock, 24.Circling the Horizon. gront right step through punch) 40Blue Belt Journal Long Form #2 OPENING:ATTENTION STANCE, BOW. DROP TO MEDITATING HORSE STANCE. COME UP TO ATTENEION STANCE. SIGNIFY. EXECUTE THE SALUTATION: 1) SALUTE, 2) SYMBOL OF FRIENDLY AND UNARMED, 3) MEDITATING HORSE, 4) PRAYER OF FORGIVENESS. THEN RETURN. TO AMEDITATING HORSE, AND CONCLUDE WITH THE HEAD UP AND EYES OPEN. Set 1: (a) Have your right foot step forward toward 12 o'clock into a right neutral bow as you execute a right inward block to the inside of your opponent's right arm. Simultaneously have your left hand cock to your left hip (fist clenched, paim up). (b) Without delay execute aright outward handsword to the tight side of your opponent's neck (while still remaining in a right neutral bow). (c) Immediately pivot into a right forward bow (toward 12 o'clock) as you deliver a left horizontal finger thrust fo your opponent's eyes. Simultaneously have your right hand cock to your right hip (fist clenched, palm up). (d) Immediately pivot back into a right neutral bow as you execute aright vertical finger thrust to your opponent's solar plexus. Simultaneously have your left hand cock fo your left hip (fist clenched, palm up). Set 2: (a) Have tour left foot step toward 12 o’clock into a left neutral bow as you execute a left inward block to the inside of your opponent's left forearm. Simultaneously have your right fist cock to your right hip (fist clenched, palm up). (b) Without delay execute a left outward handsword to the left side of your opponent’s neck (while still remaining in aleft neutral bow). (c) Immediately pivot into a left forward bow (toward 12 a o'clock) as you deliver a right horizantal finger thrust to your be E a Copyright & 1887 fed Parker Sr. 41Blue Belt Journal Long Form #2 opponent's eyes. Simultaneously have your left hand cock to your left hip (fist clenched, palm up). (d) Immediately pivot back into a left neutral bow as you execute a left vertical finger thrust to your opponent's solar plexus. Simultaneously have your right hand cock to your right hip (fist clenched, palm up). Set 3: (a) Slide your left foot back into a left 45 degree cat stance (while still facing 12:00). Simultaneously have both your hands cockto your tight hip (left hand over right with both fist clenched, left palm down and right palm up), (b) Have your left foot slide toward 9 o'clock into a left neutral bow as you execute a left vertical outward block simultaneously with a right straight thrust punch to your opponent's solar plexus. (Your opponent at this point has executed a right step through punch.) (c) Follow up with a left straight thrust punch to your opponent's face as your right clenched fist cocks to your tight hip, palm up. (@) Having turned your opponent slightly to his left, execute aright straightthrust punch to your opponent's right ribcage as your left clenched fist cocks to your left hip, palm up. (e) Immediately execute aleft lifting knife-edge kick to your opponent's right shin (from Point of Origin to shin level), simultaneous with a left vertical punch to the right lower ribs of your opponent as your right clenched fist cocks to your right hip, palm up. (® Plant your left foot (toward 9:00) into a horse stance and turn your head toward 12:00 as both of your clenched fists cock to their respective hips, palm up. Set 4: (a) Slide your right foot back into a right 45 degree cat stance. (This stance is modified so that the tight knee aims Copyright 6 1887 Bd Parker Sr. — anes 4aPS)U Cm SLCC bert-T Long Form #2 toward 12 o'clock, while the left foot is also pointing toward 12 o'clock). Simultaneously have both of yourhands cock to your left hip (tight hand over left with both fists clenched, tight palm down and left palm up). (b) Have your tight foot slide toward 3 o'clock into a tight neutral bow as you execute a right vertical outward block simultaneously with a left straight thrust punch to your opponent's solar plexus. (Your opponent at this point has executed a left step through punch.) (c) Follow up with a right straight thrust punch to your opponent's face as your left clenched fist cocks to your left hip, palm up. (d) Having turned your opponentsiightly to his right execute aleftstraight thrust punch to your opponent's left: ribcage as your right clenched fist cocks to your right hip, palm up. (e) Immediately execute a right lifting knife-edge kick to your opponent's left shin (from Point of Origin to shin level) simultaneous with a right vertical punch to your opponent's left ribcage, as your left clenched fist cocks to your left hip, palm up. @® Plant your right foot (foward 3:00) into ahorse stance, and turn your head toward 12:00 as both of your clenched fists cock to their respective hips. Set 5: (a) Have yourleftfootslide back and to your right to 4:30into G left rear twist stance. Pivot counterclockwise into a left neutral bow (facing 6 o'clock) as you execute a left down ward block simultaneous with a right inward block (universal block) while keeping your upper’ body erect. Your opponent is attacking with asimultaneous right straight kick left straight punch combination. You are blocking on the inside of his tight kicking leg with your left downward block, and blocking on the outside of his left punching arm with your tight inward block. (®)_ Your opponent now plants forward with his tight foot Copyright ©1987 Ea Parker Sr. 43Blue Belt Journal Long Form #2 executing a right straight punch toward your face. Pivot to left forward bow while executing aleft upward block (that becomesanupward parry, fistclosed) under youropponent’s tight punch, Simultaneously deliver a right rolling underhand hammerfist to your opponent's groin. (©) With your opponent bending forward, pivot into a left neutral bow as you execute aleft overhead heel palmclaw to your opponent's face while your right arm checks horizon tally (fist clenched, palm down, and under your left elbow). (d) Flow into a right outward diagonal back knuckle strike (using a rolling action) fo your opponent's right temple. Repeat your rolling action with a left and then another right outward diagonal back knuckle strike to your opponent's left and right temples respectively. When your right hand is striking, your left hand should be checking positionally at your solar plexus and when your left handis striking, your right hand should be checking . These three checks are done with the hand open and the palm down. Set 6: (a) Have your right foot slide back and to your left fo 1:30 into a right rear twist stance. Pivot clockwise into a right neutral bow (facing 12 o’clock) as you executea tight downward block simultaneous with a left inward block (uni versal block) while keeping your upper body erect. Your opponent Is attacking with a simultaneous left straight kick tight straight punch combination. Your are blocking on the inside of his left kicking leg with your right downward block and blocking on the outside of his right punching arm with your left inward block. (b) Your opponent now plants forward with his left foot executing a left straight punch toward your face. Pivot to a right forward bow while executing aright upward block (that becomesan upward parry, fistclosed) under youropponent’s left punch. Simultaneously deliver a left rolling underhand hammerfist to your opponent's groin. Copyright © 1987 Ba Parker Sr aa nageBlue Belt Journal Long Form #2 (©) With your opponent bending forward, pivot into a right neutral bow as you execute a right overhead heel palm claw to your opponent's face while your left arm checks horizontally (fist ~ clenched, palm down, and under your right elbow). (d) Flow into a left outward diagonal back knuckle strike (using a rolling action) to your opponent's left temple. Re peat your rolling action with a right and then another left outward diagonal back knuckle strike to your opponent's right and left temples respectively. When your left hand is striking, your right hand should be checking positionally at your solar plexus and when your right hand is striking your left hand should be checking. These three checks are done with the hand open and the palm down. Set 7: (a) Your right foot covers toward 10:30 into aleftneutralbow, facing 4:30, while simultaneously delivering aleft downward block, asyour righthand cocks on your right hip (fist clenched, palmup). This block is done on the outside of your opponent's left leg as he executes a left step through kick. (b) With your opponent's body forced to turn to his right, continue the action of your left hand so that it converts into a left looping back knuckle strike to his right temple at the moment your opponent's left foot plants. (c) Pivotinto aleft forward bow (facing 4:30) as you execute a right straight thrust punch to your opponent's right ribs as your left hand cocks on your left hip (fist clenched, palm up). (d) Execute a right step through front snap ball kick to your opponent's groin (entering from the rear) simultaneous with a left thrusting punch to your opponent's left ribs, as your right hand cocks on your right-hip (fist clenched, palm up). (e) Plant your right foot forward to 4:30 into a transitional right neutral bow as you immediately pivot into a right fighting horse to buckle your opponent's left leg, while executing a right thrusting vertical punch to your opponent's left ribs. Have your | left hand.cock (fist clenched, pain up) to your left hip. EA erieht © 1057 Ba Parker Sr «4BSIUC Memes tty Long Form #2 Set 8: (a) Your right foot V steps (transitory cat stance) and moves +o 7:30 into a right neutral bow, while simultaneously deliver ing aright downward block, as your left hand cocks on your left hip (fist clenched, palm up). This block is done on the outside of your opponent’s right leg as he executes a right step through kick. (b) With your opponent's body forced to turn to his left, continue the action of your right hand so that it becomes a right looping back knuckle strike to your opponent’s left temple at the moment your opponent's right foot plants. (c) Pivot into a right forward bow (facing 7:30) as you executealeftstraightthrustpunchtoyouropponent’ ’stight rios,os your fight hand cocks on yourrighthip (fist clenched, pam up). (a) Execute a left step through front snap ball kick fo your opponent's groin (entering from the rear) simultaneous with aright thrusting straight punch to your opponent's right ribs, as your left hand cocks on your left hip (fist clenched, paim up). {e) Plant your left foot forward fo 7:30 into a transitional left neutral bow, as you immediatly pivot into a left fighting horse to buckle your opponent's right leg. while delivering a leftthrustingverticalpunch: foyouropponent’srightribs, Haveyour tight hand cock (fist clenched, palm up) fo your right hip. Set 9: (a) Execute aleft front crossover to 1:30. as you execute aleft overhead punch (hanging punch) to your opponent’snose. During this action your right hand is on your right hip. (b) Without any loss of motion step out into a right neutral bow toward 1:30 while executing what appears to be right upward block. In actual application the move Is dually used by first having the fist (traveling in an uppercut fashion) strike to the underside of your opponent’s chin. As the same action continues its course, your right forearm is used to 46Blue Belt Journal Long Form #2 again strike under the chin. Have your left hand cock (fist clenched, palm up) on your left hip. (c) Follow up with a left two-finger eye poke to your opponent's right eye, paralling the returning motion of: your right arm (Your right hand stops near your left elbow.) Then shoot a tight two-finger eye poke to your opponent's left eye, which parallels the returning motion of your left arm. (Your left hand stops near your right elbow,) Again shoot a left two-finger eye poke to your opponent's right eye, which parallels the returning motion of your tight arm. (Have your left hand stop near your right elbow.) Set 10: (a) Execute a right front crossover (utilizing a clockwise rotating twist) to 10:30 as you execute a right overhead punch (hanging punch) fo the opponent's nose. During this actionyourlefthandcocks: onyourlefthip (fistclenched, paimup). (b) Without any loss of motion step out into a tight neutral bow toward 10:30 while executing what appears to be aleft upward block, In actual application the move is dually used by first having the fist (traveling in an uppercut fashion) striketo the underside of your opponent's chin. As the same action continues its course, your left forearms used to again strike under the chin.Have yourrighthand cock (fist ‘clenched, palm up) on your right hip. (c) Follow up with a right two-finger eye poke to your opponent's left eye, Paralleling the returning motion of your left arm. (Your left hand stops near your right elbow.) Then shoot a left wo-finger eye poke to your opponent's right eye, which parallels the returning motion of your right arm. (Your right hand stops near your left elbow.) Again shoot a tight two-finger eye poke to your opponent'sleft eye, which parallels the returning motion of your left arm, (Have your tight hand stop near your left elbow.) Copyright © 1987 Bd Parker St i a7Blue Belt Journal Long Form #2 Set 11: (a) Step back with your left foot toward 4:30 into a right front twist stance (facing 10:30), as you execute a left inside downward block, palmup, onthe outside of your opponent's right step through kick. (This block is done diagonally from 10:30 to 4:30 with your back straight). In the process your right hand cocks on your right hip (fist clenched, palm up) (b) Pivot counterclockwise into a right fighting horse stance (facing 10:30) while you snap a right vertical punch to your opponent's right ribs. Have your left hand cock on your left hip (fist clenched, palm up). Set 12: (a) Step back with your right foot toward 4:30 into a left front twist stance (facing 10:30), as you execute a right inside. downward block,palmup, onthe outside of youropponent’s left step through kick. (This is done diagonally from 1:30 to 7:30 with your back straight). In the process your left hand cocks on your left hip (fist clenched, paim up). (b) Pivot counterclockwise into a left fighting horse stance (facing 10:30) while you snap a left vertical punch to your opponent's left rios. Have your right hand cock on your right hip (fist clenched, palm up). Set 13: (a) Step back with your right foot toward 7:30 into a left fighting horse (facing 1:30), while you execute a left inside downward block, palm dowan to the outside of your opponent's right step through kick. Have your right hand cock on your right hip (fist clenched, palm up). (6) Continue the counterclockwise motion of your left arm into a left vertical snapping back knuckle strike to the right temple of your opponent ight @ 1087 Bd Parker Sr. anBlue Belt Journal Long Form #2 Set 14: (a) Step back with your left foot toward 7:30 into aright fighting horse (facing 1:30) while you execute a right inside downward block, palm down, to the outside of your opponent's left step through kick, Have your left hand cock on your left hip (fist clenched, palm up (b) Continue the clockwise motion of your right arm into a right vertical snapping back knuckle strike to the left temple of your opponent. Set 15: (a) Pivot into a right forward bow (facing 1:30) as you execute a left push-down block on top of your opponent's tight step through knee strike. Have your right hand cock on your right hip (fist clenched, palm up). (b) Step through with your left foot toward 1:30 into a left neutral bow, as you execute a left outward overhead elbow strike fo your opponent's chest. The same move is then converted into a heel palm claw to your opponent's face. Set 16: (a) Pivot into aleft forward bow (facing 1:30) as you execute aright push-down block on top.of your opponent's left step through knee strike. Have yourlefthand cock on yourleft hip (fist clenched, palm up). (b) Step through with your right foot toward 1:30 into a right neutral bow, as you execute a right outward overhead elbow strike to your opponent’s chest. The same move is then converted into a heel palm claw to your opponent's face. Set 17: (a) Pivot into aright forward bow: (facing 1:30) as you execut a left push-down block on top of your opponent's right step through knee strike. Have your right hand cock on your right = hip (fist clenched, palm up). Copyright ©1987 a Parker Sr caeeesinns 4aBlue Belt Journal Long Form #2 (b) Step through with your left toward 1:30 into a left neu tral bow, as you execute a left outward overhead elbow strike to your opponent's chest. The same move is then converted into aheel palm claw to your opponent's face. (c) Pivot into a left forward bow (facing 1:30) as you Quickly thrust a right straight punch to your opponent's stomach. Have your left hand cock on your left hip (fist clenched, palm up).(This action should cause your oppo nent to bend forward.) (d) As your opponent attempts to grab your waist, pivot into a left neutral bow (facing 1:30), As you pivot, deliver a left inward vertical elbow strike to the tight side of your opponent's head. in the process your tight hand cocks on your right hip (fist clenched, palm up). SET 18: (@) Step back with your left foot toward 7:30, while pivot Ing into a right neutral bow (facing 1:30). During this ac tion have your left hand grab your opponesnt 's hair to control and pull him forward. Release the hair grab just Prior to delivering a tight inward overhead elbow strike to the base of your opponent's skull. At the moment of your right elbow strike have your left hand cock on your left hip (fist clenched, palm up). Set 19: (a) Step back with your right foot toward 7:30, while pivot ing into a left neutral bow (facing 1:30). During this action have your right hand grab your opponent's hair to control and pull him forward. Release the hair grab just prior to delivering aleftinward overhead elbow strike fo the base of your opponent's skull. At the moment of your right elbow strike have your right hand cock on your right hip (fist clenched, paim up). ee Copyright © 1987 Bad Parker Sr ROBlue Belt Journal Long Form #2 *“The remainder of this form constitues moves that are isolated. They are not linked to produce logical working sequences, but are to be studied for thelr individual value. Consequently, the attacks or targets of your opponent may be excluded or have the following interpretation. Set 20: (a) Step back with your left foot so that it lines up with your tight foot and then drop into a training horse stance (facing 12:00), -As you form your horse stance, simultaneously ex ecute a right inward horizontal elbow strike-left inward hori zontat heel palm sandwich to available targets such as your opponent's head. (b) Execute twin outward elbow strikes. atyour shoulder level as they may be possibly directed to the heads of your two. flanking opponent's. (c) Then simultaneously execute a left upward elbow strike (under the chin of your front opponent) with a right back elbow strike (to the solar plexus of your rear opponent). CLOSE: Yourlefthandthen: opens (in place) as yourrightclenched fist meets the leftopen palmto forma MEDITATING HORSE STANCE. COME TO AN ATTENTION STANCE, EXECUTE THE FULL SALUTATION, Bow, Copyright © 1987 ied Parker Sr. : é mqBlue Belt Journal Long Form #2 CONTAINS: 1. Basic Stances: Attention Horse Neutral Bow Forward Bow Cat - Transitory Front Twist - Transitory Rear Twist - Wide - Transitory Rotating Twist ra-oaoog 2. Basic Blocks: a. Inward b. Outward ¢. Universal d. Downward e. Inside Downward Palm Up f. Inside Downward Palm Down 9. Push Down 3. Punches: a. — Horizontal b. Vertical e. Hanging d. Roundhouse 4. Strikes: a. Outward Handsword b. Outward Back Knuckle c¢. Outward Downward Hammerfist d.— Vertical Thrusting Back Knuckle e. Vertical Snapping Back Knuckle ft. Rolling Back Knuckle g. Looping Back Knuckle h. Outward Diagonal ForearmBlue Belt Journal Long oo #2 Upward Elbow . Inward Overhead Elbow k. Inward Elbow 1 Outward Elbow m. Back Elbow fn. Inside Horizontal Heel Palm 5, Kicks: a. Front b. Side 6. i Techniques: Horizontal Finger Thrust b. Vertical Finger Thrust ¢. Inward Overhead Claw d. Outward Overhead Claw e. Two-Finger Eye Poke 7. Parries: a. Upward 8. Foot Maneuvers: Basic Angles of Attack Step Through Forward Step Through Reverse Front Crossover Forward Cover Forward Cover Reverse soa0c9 9. Specialized Moves: a. Horizontal Forearm Check b. Overhead Positional Check ¢. Hair Grab 10. Various methods of Execution: a. Thrusting b. Snapping Copyright € 1687 Ed Parker Sr. ARbS)UTC sty CM Celta etT | Long Form #2 ¢. Rolling d. Clawing e. Looping f. Hanging g. Grabbing 11. Natural Weapons: Outside Forearm Inside Forearm Handsword Finger Tips Fist - Front Knuckles Fist - Back Knuckles Fist - Flat Fist - Hammerfist Heel of Palm Elbow - Front Elbow - Back Foot - Side Foot - Ball BrFTTsFer-opgo0T0 Copyright © 1967 Ed Parker Sr, RaBlue Belt Journal Long Form #2 TEACHES: 1. How to move up and down an “x” pattern, 2. How to block and counter: Q. Immediate strike after block - same hand. b. Immediate strike after block - opposite hand. ¢. — Simultaneous block with strike. d. Immediate strike after 2 simultaneous blocks. 3. How to tur a defense into an offense. 4. How to use body momentum as a source of power while punching or kicking, 5. Where linear movements end, circular movements begin, and where circular movements end linear movements begin, 6. How to step through with the action: a. When kicking b. = When punching ce. When striking d. When blocking 7. How to strike and kick simultaneously in the same direction with the same hand and foot. 8. How to strike and kick simultaneously in the same direction with the opposite hand and foot. 9. How to strike and kick simultaneously in opposite directions with the same hand and foot. 10. How to strike and kick simultaneously in opposite directions with the opposite hand and foot. Copyright 6 1987 Ea Parker Sr aE‘Copyright 6 1987 Bd Parker Sr. 12. 13. Blue Belt Journal Long Form #2 n. Organized Retrograde. How to use a variety of Natural Weapons in a variety of angles within the Outer Rim. Continuous Weapons. Continuity of Action; a. Stationary b. In motion Ingredients of Motion Analysis: Direction: 1) Front 2) Front Angie 3) Right Side 4) Left Side 5) Rear 6) Rear Angle Method: 1) Linear 2) Circular Path: 1) Basic a. Horizontal 2) Vertical 3) Diagonal Dimension: 1) Height 2) Width 3) Depth e@. Angle - Degree of Arc How to block below the waist, using the hand, while advancing or retreating. How to jam - offensively. eaPej Unt ot Journal Long Form #2 18. Economy of Motion: @. Stationary b. In Motion 19. Offensive moves during transition. 20. Defensive moves during transition. 21. Simultaneous defense with offense: a. Same Direction b. Opposite Direction 22. Striking while checking. 23. Double Factor Copylht © 1887 Ba Parcs 57PSU B STO Ca Clit artTl Striking Set #1 OPENING: ATTENTION STANCE, BOW. DROPTOA MEDITATING HORSE STANCE. BOTH HANDS TO THEIR RESPECTIVE HIPS (FIST CLENCHED, PALM UP), ‘STRIKES TO THE FRONT ‘SET 1. 1. @. Execute a tight straight thrust punch at stemum level. b. Execute a right rolling back knuckle strike at face level. ¢. Execute a left straight thrust punch at stemum level. d. Execute a left rolling back knuckle strike at face level. 2 @. Execute a right straight thrust punch at stemum level, b. Execute a right rolling underhand hammerfist at groin level. ¢. Execute a left straight thrust punch at sternum level. . Execute a left rolling underhand hammerfist at groin level, 3. 4. Execute a right straight thrust punch at stemum level. b. Execute a right inverted vertical roundhouse punch at femple level ¢. Execute a left straight thrust punch at sternum level. . Execute a left inverted vertical roundhouse Punch at temple level. 4. a. Execute a tight straight thrust punch at stemum level. b. Execute a right inward chopping hammerfist at kidney level. ¢. Execute left straight thrust punch at sternum level. 4. Execute a left inward chopping hammeriist at kidney level. ‘STRIKES TO THE SIDES 1, @ Execute a tight vertical thrust punch at face level, b. Execute a right rolling back knuckle strike at face level. ¢. Execute a left vertical thrust punch at face level. 4. Execute a left rolling back knuckle strike at face level. 2 a. Execute a right vertical thrust punch at face level. b. Execute a tight rolling underhand hammerfist at groin level. ¢. Execute a left vertical thrust punch at face level, 4. Execute a left rolling underhand hammerfist at groin level. 3. @. Execute a right vertical thrust punch at face level. 'b. Execute a tight inverted vertical roundhouse punch at temple level, ¢. Execute a left vertical thrust punch at face level. H ce d. Execute a leftinverted verlical roundhouse punch at temple level. Copyright © 1987 ed Parker Sr. SRPS)UT STO Da Core etl | Striking Set #1 4. a. Execute a right vertical thrust punch at face level. . Execute a tight Inward chopping hammerfst at kidney level. ¢. Execute a left vertical thrust punch at face level. 4. Execute a left inward chopping hammerfist at kidney level. STRIKES TO THE FRONT SET3. 1 1. Execute simuttoneous tight and left stroight thrust punches at stemum level. 'b. Execute simuttaneous right and left roling back knuclde strikes at face level. 2. @. Execute simultaneous right and left straight thrust punches at stemum level. b. Execute simuttaneous right and left rolling underhand hammersts at groin level 3. @. Execute smuttaneous right and left straight thrust punches at stemum level 'b. Execute simultaneous right and left inverted vertical round house Punches at temple level, 4. a. Execute simultaneous right ond left straight thrust punches at stemum level, 'b, Execute simuttaneous tight and left inward. ‘chopping hammerfists at kidney level. ‘STRIKES TO THE SIDE SET 4, L @. Execute simultaneous right ond left vertical thrust punches at face level. 'b. Execute simuttaneous right and left roling back knuckle stikes at face level. 2, a. Execute simultaneous right and left vertical thrust punches at face level. b. Execute simuttaneous right and left roling underhand hammertists at groin level. Convrisht 6 V8A7 Fad Parker Sr. zaBlue Belt Journal Striking Set #1 SETS. 4. Execute simuttoneous right and left vertical thrust punches at face level, b. Execute simultaneous right and left inverted vertical roundhouse punches at temple level. ©. Execute smuttaneous right ond left vertical thrust punches at face level. b. Execute simultaneous right and left inward chopping hammerfists al kidney level. STRIKES TO THE FRONT Bring your left foot to your right foot as you execute simultaneous right and left straight thrust punches at sternum level, Execute simultaneous right and left rolling back knuckle strikes a face level. Execute simuttaneous right and left roling underhand hammerfsts ot groin level, Execute simultaneous right and left inverted vertical roundhouse punches at temple level. Execute simultaneous right and left inward chopping hammerfists at kidney level. Cross your right hand over your left hand and cock both hands at hip level (fist clenched, palm up.) Have your left foot step out fo 9 o'clock, as you drop info a Meditating Horse Stance.Blue Belt Journal Striking Set #1 — ‘CONTAINS: 1 Punches: a. Stroight thrust . b. Vertical thrust. c Inverted Vertical Roundhouse. Hammerfists: @. Rolling underhand. b. Inward chopping. Back knuckle: a. Rolling. Simultaneous strikes: a. Same direction (front). b. — Opposite directions How to readily switch targets. How to strike with various parts of the clenched fist. How to readily convert from a strike with the front portion of the fist to strike with other portions of the fist. How to attack Height, Width, and Depth Zones. “Where linear moves end, circular moves begin”. How to sitike wilh the same weapon to the side as well as the front. How to strike simultaneously with both hands. Copyright © 1987 ted Parker Sr.Blue Belt Journal Finger Set #1 OPENING: ATTENTION STANCE. BOW. DROPTO A MEDITATING HORSE STANCE. BOTH HANDS TO THEIR RESPECTIVE HIP (FIST CLENCHED, PALM UP). SETA: (0) Execute a tight straight finger thrust (palm down) to eye level. Your left hand remains clenched on your left hip. (b) Execute a left straight finger thrust (palm down) to eye level. Your tight hand cocks on your right hip (unclenched, palm up). SET 2: (@) Execute a right vertical finger thrust to solar plexus level. Your left hand cocks on your left hip (unclenched, palm up). (6) Execute a left vertical finger thrust fo solar plexus level. Your right hand cocks on your right hip (unclenched, palm up). SET 3: (@) Execute aright upward finger thrust (palm up) to floating ribs level. Your left hand cocks on your left hip (unclenched, palm up). () Execute a left upward finger thrust (palm up) to floating ribs level. Your fight hand cocks on your right hip (unclenched, palm up). NOTE: Since the depth factor is involved, have your finger thrusts, after the tight and left straight finger thrusts are executed, shorten each set thereafter by one hand length (from the finger tips of the open hand to the wrist of that same hand). ‘SET 4: () Have your right hand cross over your left shoulder as you execute aight back finger thrust (palm down). Your left hand cocks on your left hip (unclenched, palm up). (b) Have your left hand cross over your right shoulder as you execute left back finger thrust (palm down), Your right hand cocks on your ight hip (unclenched, palm up).PSU SLC Lol i art TI Finger Set # SETS: (@) Bring both hands to the front and center of your body, position them, palms open and facing you. To gain ihis position, have your left hand swing from right fo left, as if executing a left oulward downward elbow strike. Simultaneously, have your right orm simulate a right Inward downward elbow strike. (b) Execute two snapping upward finger thrusts (palms up) fo throat level. (e) As both of your hands recoil toward your chest, have them cross ight over left). In the process alfer your weapons into two, vertical. Two-finger pokes. Immediately, execute twin two-finger pokes to eye level, SET 6: (@) As both of your hands recoil, execute a left downward horizontal heel palm check, Simultaneous with this action vertically position your tight am (with elbow anchored) over the back of your left hand. Your right hand is formed in the shape of a crane with your palm down and fingers pointing down and away from you. (©) Deliver a right overhead whip to eye level. (©) Execute a right downward horizontal heel palm check. Simulta- neous with this action vertically position your left arm (with elbow anchored) directly over the back of your right hand. Your left hand is formed in the shape of a crane with your paim down and fingers pointing down and away from you. (d) Deliver a left overhead whip to eye level. (0) Execute a left inward downward horizontal forearm heel palm check. Simultaneous with this action, execute a right outside downward shape of the crane parry, which finishes on the right hip. The weapon ksstilin the shape of a crane with the palm and fingers pointing up.) Copyright 6 1087 Ea Parker 63sS)UTToM sty amee enti aetT | Finger Set #1 (b) Execute a right underhand whip at groin level. (€) Execute a tight inward downward horizontal forearm heel palm check. Simultaneous with this action, execute a left outside downward shape of the crane parry, which finishes on the left hip. (The weapon ts still in the shape of a crane with the paim and fingers pointing up.) (@) Execute a left underhand whip at groin level. SET 8: (@) Execute a right outside downward parry (in the shape of the crane), Without hesitation, continue the flow of your tight arm, circling from outside in as your right hand torques inwardly into a fight inward horizontal finger slice (pal up) at eye level. Instantly reverse the direction of your slice and with a loose hand, torque right outward horizontal finger slice (palm down) at eye level. Be sure fo use the weight of your arm as a contributing factor to your strikes. (b) Execute a right inward downward diagonal heel palm parry. The Parry then changes in its path and becomes a right outside down ward patty (in the shape of the crane), finishing on the right hip (unclenched, palm up). Simultaneous with this action, execute a left inward horizontal finger slice (palm up) at eye level. Be sure that this stice occurs “In syne” with your right hand finishing at your Fight hip. instantly reverse the direction of your slice and with a loose hand, torque a left outward horizontal finger slice (palm down) at eye level. Be sure to use the weight of your arm as a contributing factor to your strikes, SET 9: (@) Execute aleft inward downward diagonal heel paim pany. This pany then changes iis path and becomes aleft outsicle downward Pary (in the shape of he crane), finishing on thelefthip (unclenched, paim up). Simuttaneous with this action, execute a right inward circulor five-finger claw at eye level, Besure that this claw occurs “insync” withyourlefthand finishing at your left hip. Instantly reverse the direction of your claw and, ‘torque a right outward circular five-finger claw at eye level. me) pvright © Ta87 Bd Parker Sr, naBlue Belt Journal Finger Set #1 (b) Execute a right inward downward diagonal heel palm pany. This Parry then changes its path and becomes a right outside down ward parry (in the shape of the crane), finishing on the right hip (unclenched, palm up). Simultaneous with this action, execute a leff Inward circular five-finger claw at eye level. Be sure that this claw occurs “in syne” with your right hand finishing at your right hip. Instantly reverse the direction of your claw and torque a left outward circular five-finger claw at eye level. SET 10: (@) Execute a left inward: downward diagonal heel palm parry. This Parry then changes its path and becomes a left outside down ward parry (inthe shape of the crane), finishing as aleft back stiff- arm underhand heel palm claw at groin level. Simultaneous with this action, execute a right inward overhead heel palm, claw at nose and eye level. Be sure that this claw occurs “in syne” with your left hand claw. () Execute a right Inward downward diagonal heel palm parry. This pany then changes ils path and becomes a right outside down ward parry (in the shape of the crane), finishing 08 « right back stiff arm underhand hee! palm claw at groin level. Simultaneous with this action, execute a left inward overhead heel palm claw at Nose and eye level. Be sure that this claw occurs “in sync” with your fight hand claw. SETH: (@) Execute a left inward downward diagonal heel palm parry. This patty then changes its path and becomes a left outside down ward parry (in the shape of the crane), finishing as a left back stiff- ‘arm underhand hee! palm claw at groin level. Simulfaneous with this action, execute a right underhand heel palm claw at groin level. Be sure that this claw occurs “in syne" with your left hand. claw. (©) Execute a tight inside downward diagonal heel palm parry. This Parry then changes ils path and becomes a right outside down ward party (n the shape of the crane), finishing as a right back siiffarm underhand heel palm claw at groin level. Simultaneous with this action, execute aleft undethand heel palm claw at groin level. Be sure that this claw occurs “in sync” with your right hand claw. Copyright 6 1987 a Parker Se . RABlue Belt Journal Finger Set #1 ‘SET 12: (@) With your left hand remair in its position, execute a right underhand heel palm ‘sowie groin level. (©) With both hands forward andto the center of yourbody cross your hands (tight over left). (€) Without losing motion, commence as if executing a double upward finger thrust and immediately switch into twin finger flicks Gt eye level (as though you are flicking your opponent's glasses Off with the back of your finger tips. Then execute twin outword thumb hooks fo eye level, (d) Inthe samemotion, continue intotwo: side outward overheadheel palm claw at face level. (e) Conclude this actionwith yourheel paim claws finishing at the sides of your thighs. The heel palm precedes the fingers when contach ing the sides of your legs. SET 13: (@) Execute a right two-finger eye hook at eye level. The retuming motion of your right arm is to be used as aright inward forearm pany. (®) Execute left two-finger eye hook at eye level, as your right arm Fontinues into a right outward forearm pany, before finishing at the right hip. (©) Now have the retuming motion of your left arm, used as a left inward forearm parry. Continue the flow toward your left hip with @ eff oulward forearm pany, before finishing at your left hip. (@) Have your left open hand cover your right clenched fist. CLOSE: FROM THE ABOVE MEDITATING HORSE POSITION , COME TO AN ATTENTION STANCE. BOW, 4ABlue Belt Journal Finger Set #1 CONTAINS: 1. Basic methods of execution: . Thrusting. b. Snapping ¢. Whipping. d. Slicing, e. Clawing f. Hooking. 9. Lifting, 2. Basic weapon that can be formed by the fingers: @. Four-finger thrust, b. Two-finger pokes. ©. Shape of a crane. d. Finger slice 1) Palm up. 2) Palm down. e@. Heel paim claw. t. Thumb hook. 9. Two-finger eye hook. 3. Checks that become parties and panies that become checks. 4. Hidden transitions. 5. Linear and circular methods of execution. 6. The Double Factor. 7. Avarlety of Angles of Execution. 8. Forearm Parries . Inward b. OutwardSIUM Tym Lolita: Tt Finger Set #1 TEACHES: 1. How to use the finger tips as natural weapons. 2, Movements that teach Economy of Motion by way of a. Continuity of Motion b. With c Reverse motion as a defense or an offense d Retuming motion as a defense or an offense @. Contouring f. Sequential Flow 9. Point of Origin h Double Factor L Geometric Path 3. The value of Points of Reference in developing accuracy. 4A. How different Angles of Delivery influence Methods of Execution ‘and Choice of Weapons. 5. How to simultaneously strike in different directions, paths, and/or dimensions, 6 How to simultaneously execute different methods of execution, 7. How to graft principles. 8 How to attack various Depth Zones both to the front and the rear. 9 How to attack various Height Zones--both to the front and the rear. 10. The use of Body Fusion. 11. To take advantage of a Pivot Point. 12. Knowledge of diversified targets and weapons to insure multiple effects. 13. How to properly gauge the distance of your strikes. 14. How to attack from Obscure Zones. 15, The use of Dead Motion Deception. 16. The use of Object Obscurlty. 17. How to elongate circles and round off comers, 18. The use of an “open ended triangle” as a defense. 19. How to use a "hinge supported concept” to magnify damage. 20. The development of “precision” movement. 21. How to properly aim and strike'specific targets with specific weapons, 22. The use of “tail end” speed from a whip to gain acceleration. 23. Employment of the Pin Point Effect. Copyright © 1987 Ed Parker Sr. 68Blue Belt Journal Freestyle Technique B--This alphabet represents the BASE MOVE. It consists of two variations. Both Variations commence from a “RIGHT TO LEFT” fighting position. RL -- RIGHT TO LEFT: Your right leg (which is forward) Is facing your opponent's left leg which is forward. Ths fist letter (in nis case ®) clwaysrefers fo your loadieg feginar's forward). The second letter (Lin this case) refers to your opponent's lead leg. (@) The first variation is a left hooking Zee ‘to your opponent's left arm, while Buling down, and Glagonally toyour ft; this issimultaneously executed with aright vertical punch fo your opponent's face. (6). The second variation is a left hooking grab to your opponent's left arm, pulling down, and diagonally to yourleft; 'ssimultaneously executed with Srigh uppercut punch fo hs left ower fipcage. This punch ls diagonal and parallel with your opponent's left ribcage. Inallcases, an ANGLE OF DISTURBANCE and an ANGLE OF CANCELLATION are completed by having your forward leg check your opponent's forwardleg. The letters represent various methods of executing strikes and are as follows: a - the first variation Is - isaleg sweep b - the second variation. P - isapunch = bk - is a back knuckle f - Isa roundhouse kick d - isa drag fs - is a reverse snap kick is a heel or back heel kick s - lsasnap kick H - isa heel palm (8 st - isa spinning rear kick K - isa front snap kick is - isa thrusting sweep kick The numbers represent body and foot maneuvers and are as follows: - In place body maneuver (upper body tum) ~ Push-Drag - Front Crossover, Step-Qut - Front Crossover. Step-Out, Step Through ~ Step Through ~ Rear Crossover onsen ‘opyright 6 1087 Ed Parker Sr. 69Blue Belt Journal Explanation of Freestyle Technique BlaPdk B5aPrk B3aPHK Blarksrk BIbPdk BSbPrK B3bPHrK Blbrksrk B2aPdK BéahKbk B4aPHrK B3asKrKsrK B2bPdK BébhKbk B4bPHrK B3bsKkrKsrk B3aPdk BlaPHK BSaPHrK BSatskrk B3bPdK BIbPHrK BObPHrK BSbtskrk BdaPdk B2aPHrik BéahKbkis Boarsk6hK BabPdkK B2bPHrK BébhKbkis BébrskKéhK BlaPdK - indicates the execution of the first variation of the basemove, while simultaneously turning your upper body counterclockwise. (Be sure not to rotate past a POINT OF CANCELLATION nullifying your own effectiveness.) Follow up with a left vertical punch to your opponent's face, while simul- taneously executing a tight sliding check down and onto your opponent's leftarm. As youropponent backsup, execute aleft drag, right front snap ball kick to his groin. BIbPdK - indicates the execution of the second variation of the base move, while simultaneously tuming your upper body counterclockwise. (Be sure not torotate past a POINT OF CANCELLATION nullifying your own effectiveness.) Follow up with a left vertical punch to your opponent's face, while simulta- neously executing a right sliding check down and onto your opponent's left am. Asyouropponentbacksup. execute aleft drag, ight front snap ballkick to his groin. B2aPdK - indicates the execution of the first variation of the base move, while simultaneously push dragging forward. Follow up with a left vertical punch toyour opponent's face, while simultaneously executing a right sliding check down and onto your opponent's left arm. As your opponent backs up, execute a left drag, right front snap ball kick to his groin. B2bPdK - indicates the execution of the second variation of the base move, while simultaneously push dragging forward. Follow up with a left vertical punchto your opponent's face, while simultaneously executing aright sliding check down and onto your opponent’ sleft arm. Asyour opponent backsup, execute a left drag, right front snap ball kick fo his groin. Copyright © 887 a Parker Sr.Explanation of Freestyle Technique B3aPdK - indicatesthe execution of the first varlation ofthe base: move, while simultaneously executing a left front crossover. Follow up with aleff vertical Punchtoyour opponent's face, while simultaneously executing aright sliding check down and onto your opponent ’sleft arm. In this ‘case, your opponent backs up only alittle and the shuffle (drag) Is incorporated into the crossover, THREAD aright frontsnap ballkickto his groin, directly out of your twist stance. B3bPdK - indicates the execution of the second variation of the base move, while simuttaneously executing a left front crossover. Follow up with a left vertical punch to your opponent's face, while simultaneously executing a right sliding check down and onto your opponent'sleftarm. inthis case, your opponent backs up only alittle and the shuffle (drag) is incorporated into the crossover. THREAD a right front snap ball kick to his groin, directly out of your twist stance, B4aPdK - indicates the execution of the fist variation of the base move, while simultaneously executing a lefi front crossover. Step-out with your right foot @s you follow up with left vertical punch to your opponent's face, while simultaneously executing aright sliding check down and onto your opponent's leftarm, Asyour opponent backs up, execute aleft: drag, right front snap ball kick to his groin. BabPdK - indicates the execution of the second variation of the base move, while simultaneously executing alleft front crossover. Step-out with yourright foot as you follow up with a left vertical punch to your opponent's face, while simultaneously executing aright siding check downandonto youropponent’s left arm. As youropponent backsup, execute aleft drag, right front snap ball kick fo his groin. BSaPrK - indicates the execution of the first variation of the base move, while simultaneously executing a left front crossover. Step-out with your right foot 9s you follow up with a left verlical punch fo your opponent's face, while simultaneously executing arighi siding check downandonto your opponent's eft am. As your opponent backs up, execute a left roundhouse kick to his. Groin (Ihis “exaggerated step” is the step through referred to in the key os "5",) BBPIK - indicates the execution of the second variation of the base move, while simultaneously executing a left front crossover, Step-out with yourright foot as you follow up with alef vertical punch to your opponent's face, while simuttoneously executing arightsliding checkdownandontoyouropponent’s left arm. As your opponent backs up, execute a left roundhouse kick to his groin (Ihis “exaggerated step” is the step through referred to in the key os “5"). Copyright 6 1987 Bd ParksSEIU STO UaM Celthe stl | Explanation of Freestyle Technique BéahKbk - indicates the execution of the first vatiation of the base move, while simultaneously executing a left rear crossover. Immediately deliver a tight back heet kick to your opponent's groin. As your opponent bends over toward you and backs up, strike with aright outward back knuckle to his face while planting forward into a fight neutral bow, BébhKbk - indicates the execution of the second variation of the base move, while simultaneously executing a left rear crossover. immediately deliver a tight back hee! kick to your opponent's groin. As your opponent bends over toward you and backs up, stike with aright outward back knuckle to his face while planting forward into a right neutral bow. BlaPHrK - indicates the execution of the first variation of the base move, while simultaneously turning your upper body counterclockwise. (Be surenot torotate past a POINT OF CANCELLATION thus nullifying your own effective- ness.) Follow up with a left vertical punch to your opponenis face, while simultaneously executing aright siding check downand onto youropponent’s leftarm. Your opponentisstillwithin hand range. so execute arightheelpaim jab to his chin simuttaneous with a left sliding check down and onto your ‘pponent'’s left arm. As your opponent backs up, deliver a left roundhouse kick to his groin. BIbPHTK - indicates the execution of the second variation of the base move, while simuttaneously turning your upper body counterclockwise, (Be surenot to rotate past a POINT OF CANCELLATION thus nullifying your own effective- ness). Follow up with a left vertical punch to your opponent's face, while simultaneously executing aright sliding checkdownandento youropponent’s left arm, Your opponentisstill within hand range, so execute aright heel palm Jab to his chin, simultaneous with a left sliding check down and onto your opponent's left arm. As your opponent backs up, deliver a left roundhouse kick fo his groin, B2aPHrK - indicates the execution of the first variation of the base move, while simultaneously push dragging forward. Follow up with a left vertical Punchtoyour opponent's face, while simultaneously executing aright siding check down and onto your opponent's left arm. Your opponents still within hand range, so execute a tight heel palm jab to his chin, simulfaneous with a left sliding check down and onto your opponent's left arm. As your pponent backs up, deliver a left roundhouse kick to his groin. Copyright © 1087 Bd Parker Sr. 79Blue Belt Journal Explanation of Freestyle Technique B2bPHrK - indicates the execution of the second variation of the base move, while simultaneously push dragging forward. Follow up with a left vertical bench fo your opponent's face, while simultaneously executing aright siding check down and onto your opponent's left am. Your opponent isstil withic, hand range, so execute a right heel palm jab to his chin, simulfaneous with 1 left sliding check down and onto your opponent's left arm. As your opponent backs up, deliver a left roundhouse kick to his groin, B3QPHIK - indicatesthe execution ofthe first variation of the base move, while simultaneously executing a left front crossover. Follow up with a left vertical Punch to your opponent's face, while. simultaneously executing a right sliding check down and onto your opponent's left arm. Your opponent fs still within hand range, so execute a tight heel palm jab to his chin. Simuttaneously executecleftsliding check down and onto your opponent'sleft arm, Asyour opponent backs up, pivot out of your twist stance and deliver a left round- house kick to his groin, B3bPHIK - indicates the execution: of the second variation ofthe base move, while simultaneously executing a left front crossover. Follow up with a left vertical punch to your opponent's face, while simultaneously executing a fight sliding check down and onto your opponent's left arm. Your opponent is still within hand range, so execute @ tight heel palm jab to his chin, Simultaneously execute a left sliding check down and onto your opponent's left arm. As your opponent backs up, pivot out of your wist stance and deliver a left roundhouse kick fo his groin. B4aPHrK - indicates the execution of the first variation of the base move, while simuttaneously ‘executing a left front crossover. Follow up with a left vertical punch to your opponents face, while simultaneously executing a tight sliding check down and onto your opponent's left arm. Your opponent begins tomove out oftange, sostep out with your right: foot into aright neutral EABRHIK- indicates the execution ofthe second variation ofthe base move, while erultaneously executing aieft front crossover. Folow up withateftvetticcisureh Joyourapponent’sface whilesmulfaneousl executingarightsidingchockeorn sda fout opponent slefl cam, Your opponent begins fo movs Sut france, ponent'sleft am, As your opponent backs up, execute a left roundhouse ck fohisgn ns proceding ine techniques also may be done with one stike on the fist foot maneuver and two stkes on the second foot maneuver Inthe event your opponent backs up after the initial sirike. They should be Practiced both ways.) aBlue Belt Journal Explanation of Freestyle Techniques BSaPHTk - indicates the execution of the fist variation of the bose move while simultaneously executing a left front crossover. Step-out with your right foot 8 you follow up with a left vertical punch to your opponents face, while simuitaneously executing aright siidingcheckdownandontoyouropponent’s left arm. Youropponent doesnot move out ofrange. so follow up with aright thrusting heel paim to his chin, simultaneous with a left sliding check down and onto your opponent's left arm. As your opponent backs up, execute a leff step through roundhouse kick to his groin. : BSbPHIk - indicates the execution of the second variation of the base move while simultaneously executing aleft front crossover. Step-out with your right foot asyou follow up with aleft vertical punchto your opponent's face, while simultaneously executing aright siding checkdown and onto youropponent’s left arm. Your opponent does not move out ofrange so follow up with aright thrusting heel palm to his chin, simultaneous with a left sliding check down ‘and onto your opponent's left arm. As your opponent backs up. execute a left step through roundhouse kick to his groin: BéahKbkis - indicates the execution of the first variation of the base move, while simultaneously executing a left rear crossover. Immediately deliver a tight back heel kick to your opponent's grain. As your opponent bends over toward you and backs up, sitike with aright outward back knuckle to his face while planting forward into a right neutral bow. During this action have your left hand check near your solar plexus. Follow up with a left spinning sfiff-leg sweep to the back of your opponent's left leg. BébhKbkis - indicates the execution of the second variation of the base Move, while simutianeously executing a left rear crossover. Immediately deliver a right back heel kick to your opponent's groin. As your opponent bends over toward you and backs up, strike with a right outward back knuckle to his face while planting forward into aright neuiral bow. Follow up with a left spinning stiffleg sweep to the back of your opponent's left leg. Blarksrk - indicates the execution of the first variation of the base move, while simultaneously turning your upper body counterclockwise. (Be surenot to rotate past a POINT OF CANCELLATION thus nullifying your own effective- ness.) Follow up with a left roundhouse kick to your opponent's groin. Continue the flow of your action into a right spinning back heel kick fo his body. BIbIKsiK - Indicates the execution of the second variation of hebase move, while simuttaneously tuming your upper body counterclockwise. (Be sure not to rotate Past a POINT OF CANCELLATION thus nulifying your own effectiveness.) Follow up with a left roundhouse kick to your opponent’s groin, Continue the flow of your action into a right spinning back heel kick to the body. Copyright © 1987 Bd Parker Sr. 7ABlue Belt Journal Explanation of Freestyle Technique B3askrKstK - indicates the execution of the first variation of the base move, while simultaneously executing a left front crossover. Follow up with a right front snap ball kick to the inside of your opponent's right knee. As your ‘opponent's right knee buckles, plant your right gauging leg while delivering aleft roundhouse kick to his groin. Plant yourleft gauging leg as you continue the flow of your action into a tight spinning back heel kick to his body. B3bsKiKsrk - indicates the execution of the second variation of the base move, while simultaneously executing a leff front crossover. Follow up witha right front snap ball kick to the inside of your opponent's right knee. As your opponent's right knee buckles, plant your right gauging leg while delivering aleft roundhouse kickto his groin. Plant yourleft gauging leg asyou continue the flow of your action into a tight spinning back heel kick fo his body. BSatsKrk - indicates the execution of the first variation of the base move, as you execute a front crossover. Follow up with a right thrusting sweep kick to P| jhe outside of your opponent's left knee. As you plant your right foot (gauging leg), deliver a left roundhouse kick to his groin. BSbtrsKtk - indicates the execution of the second variation ofthe base move, ‘as you execute a front crossover. Follow up with a right thrusting sweep kick to-the outside of your opponent's left knee. As you plant your right foot (gauging leg), deliver a left roundhouse kick to his groin. Béarsk6hK - indicates the execution of the first variation of the base move, while simultaneously executing a left rear crossover. Immediately deliver a tight reverse snap kick to your opponent'sstomach. As your opponent backs up, plant forward andimmediately flowinto aleft rear crossover, simultaneous with a right thrusting back heel kick to his body. BébrsK6hK - indicates the execution of the second variation of the base move, while simultaneously executing a left rear crossover. Immediately deliver a right reverse snap kick to your opponent’s stomach. As your ‘opponent backs up, plant forward and immediately flow into a left rear crossover, simultaneous with a right thrusting back heel kick to his body. — Copyright © 1987 Ed Parker Sr. We