# Yellow Belt Freestyle Techniques



## Rob_Broad (Mar 5, 2002)

> _Originally posted by Klondike93 _
> 
> *Since GD7 and the Kenpo Viking  have talked about curriculum(sp) I have a question for you.
> Do you follow the curriculum as it's laid out by Mr. Parker or have you changed things around some?
> ...


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## Rob_Broad (Mar 9, 2002)

The freestyle information can be very useful, but some people tend to become bogged down with it, they think it is all that matters in the end. When in reality it is just another cog in the wheel, or as Kenpo Viking would say just another tool to put in your Kenpo Tool Box.


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## Rob_Broad (Mar 10, 2002)

> _Originally posted by Goldendragon7 _
> 
> *That would be a correct statement.  I said Kenpo "Tools"  not Kenpo Tool!
> 
> ...



"And the Kenpo Tool award goes to..." I better stop there most of them even though they act like cretians could kick my butt.


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## Datu Tim Hartman (Mar 4, 2002)

Remember,
     Ingmar is from Sweden and English is his third language. Sometime things get misunderstood. I talk to him all the time and I can't understand him half of the time.



:asian: :idunno:


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## Kenpo viking (Mar 4, 2002)

There is to much stuff. I believe the best way is to put on the gloves and fight. 
How do you become a good fighter?
By fighting off course

Theory is good but not for everything !!!!

This is an excellent example how comercialised 
Ed Parker's kenpo can become.

On the matt everyone knows who is who. Independent of 
rank or title.

Ingmar



:viking3: :viking2: :stoplurk: :boxing: :toilclaw: :moon: :jediduel:


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## Kenpo viking (Mar 4, 2002)

Dear Michael

I never learned this drills but I have learned other ones.
I think I have done pretty good during my last 10 years of fighting in the European championships.

Remember there are many diferent ways to learn drills to become a good fighter. I just believe the fighting drills are a little to over empasize.

Nothing bad just a personal view. 
The important thing is that they are there for those who wants to play with it.

Ingmar



:viking2: :viking3: :boxing:


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## Kenpo viking (Mar 4, 2002)

Dennis

You teach everything you say that includes the extensions and in that case up to what level ?? How about kicking set 2  ???

A question from one that wishes to know. Because I don't know all of the extension and the ones I do know I don't teach.
Back to a statement I did eirlier To much stuff for comercial reasons. People need to train more preceptual speed and formulation phase. And tailor there art to there way of moving.
Or what do you think???

Respectfully
Ingmar
Kenpo Sweden


:asian: :viking2: :viking3:


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## Kenpo viking (Mar 5, 2002)

Question

Did Mr Parker come up with kicking set 2. If not then what is the problem to take it out. Ask Mr Planas he does not do these sets. Many groups does not teach it any longer. And I can't see the value in that one. Now the chicken kicks the sweep kicks and the back kicks etc. 
Can be practice and used much better then having a set that is hard to remember!!!!!. I have to inform you that I used to teach it but I don't any longer.

Material should be in there for helping the student not confusing. I can inform you that i spent 2 years in the swedish sports institute studing to become a physical educator so when it comes to teaching I know very well what you meen.

Dennis I really enjoy talking to you on the net. I wish we meet up to take our thoughts futher down the inspiring ways of kenpo.
By the way I heard you have been promoted to 6:th degree congratiulations.
Take care and hope to hear from you soon. Right now I'm in Buffalo and I'm leaving tomorrow to Sweden. That is why I'm up late writting.

Respectfully
Ingmar Johansson
Ed Parker's Kenpo Sweden



:asian: :viking2: :viking3:


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## Kenpo viking (Mar 5, 2002)

Dennis well said
I dont agree on everything sais. But he has extremly amount of knowledge.
Reminds me of a saying.
Respect all fear no one.
Looking forward to see you.

Respectfully
Ingmar Johansson
Ed Parker's Kenpo Sweden


:wavey: :viking2: :viking3:


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## AvPKenpo (Mar 4, 2002)

Apparently Ingmar, you have not a clue what this post is about.  One of the main reasons for these sparring drills is the same reason that boxers have boxing drills.  SO they can get better in the ring.  In american kenpo we take individuals that have had experience, have had no experience or are experts in another art.  The drills help with coordination, speed, timing, power all these are essential to what we know as American Kenpo.  Granted fighting in the ring does make you better, but drills make you deadly and accurate with speed and power to back you up.  If you deny these basic drills for sparring, you are denying 1/3 of the art.  It would be the same thing as not doing your techniques and getting in fights in the streets,  Because it makes you better.
Oh and by the way I believe Ed Parker developed this curriculum, so what the flip do you mean by it being "an exellent example of how commercialized Ed Parker's Kenpo has become."  ????


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## AvPKenpo (Mar 4, 2002)

Sorry didn't know it seemed so angry.  I'll try to tone it down.  
Michael


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## Klondike93 (Mar 4, 2002)

That's a pretty good plain english explanation there GD7.   

Do you cover this material in your school and if so, how has worked with their sparring?

Thanks

:asian: 

Chuck


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## Klondike93 (Mar 5, 2002)

Since GD7 and the Kenpo Viking  have talked about curriculum(sp) I have a question for you.  
Do you follow the curriculum as it's laid out by Mr. Parker or have you changed things around some? 
I ask because the Kenpo school I go to doesn't teach the self defense techniques in the order they are in the book.  Now my instructor told me when I asked him that he showed it to his instructor and he was told it didn't matter what order they are taught in so long as all the techniques were taught before black belt. Any thoughts? I don't have a problem with it because the way it's set up the techniques are taught in a way that you learn two or three techniques that are similar or the opposite of each other. 

Thanks

:asian: 

Chuck


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## Goldendragon7 (Mar 4, 2002)

YELLOW BELT FREESTYLE TECHNIQUES 


B -- This alphabet represents the BASE MOVE. It consists of two variations. Both variations commence from a " Left to Left" fighting position. 

LL -- LEFT TO LEFT: 

Your left leg (which is forward) is facing your opponent's left leg (which is forward). The first letter (in this case L) always refers to your lead leg (leg that's forward). The second letter (also L in this case) refers to your opponent's lead leg. 

(a) The first variation is a left hooking grab to your opponent's left arm, while pulling down, and diagonally to your left; this is simultaneously executed with a right vertical punch to your opponent's face. 

(b) The second variation is a left hooking grab to your opponent's left arm, then pulling it down, and diagonally to your left; this is simultaneously executed with a right uppercut punch to his left lower ribcage.  This punch is diagonal and parallel with your opponent's left ribcage. 

Both variations require that your forward leg check your opponent's forward leg. This maneuver re-enforces an ANGLE OF DISTURBANCE and an ANGLE OF CANCELLATION. 

The numbers represent body and foot maneuvers, and are as follows: 

(1)  In-place body maneuver (pivot to a forward bow) 

(2)  Push-Drag 

(3)  Front Crossover, Step Out 

(4)  Front Crossover, Step Out, Step Through 

1.  Bla                   5.  B3a 
2.  Blb                   6.  B3b 
3.  B2a                   7.  B4a 
4.  B2b                   8.  B4b 

EXPLANATION OF THE YELLOW BELT FREESTYLE TECHNIQUES 

B1a -- is the first variation, while pivoting into a left forward bow.

B1b -- is the second variation, while pivoting into a left forward bow.

B2a -- "2" indicates that the movement to be used is a push-drag, needed in the event that your opponent is a little out of range or when your opponent is in the process of moving back slightly, while executing the first variation of the base move. 

B2b -- indicates the push-drag is again used, but you are now to execute the second variation of the base move. 

B3a -- "3" indicates that a front crossover is executed while executing the grab, followed immediately by a step out while executing the first variation.

B3b -- is the same application of the front crossover, step out, while executing the second variation. 

B4a -- "4" indicates that a front crossover is executed while executing the grab, followed by a step out, then a step through while executing the first variation. At this level your right step through should position you inside of your oppponent's left leg. (This is referred to as being inside of the Angle of Entry).  

B4b -- is the same application of the front crossover, step out, step through while executing the second variation. 

NOTES ON THE YELLOW BELT FREESTYLE TECHNIQUES 

1.   The LEFT TO LEFT fighting position has been given priority since most Americans are familiar With these positions when boxing or street fighting. 

2.   To improve your VOCABULARY OF MOTION, your chances of survival on the street, and your chances of success at tournaments, we highly
recommend that you learn these same Freestyle Techniques from the RIGHT TO RIGHT fighting position as soon as possible. 

3.   When first learning these movements, try to get a feel for some of the favorable features that they offer: 

a.  You cannot always choose the distance when action begins. 

b.  Gain knowledge of your hand strikes first. Practice your hand strikes while learning to solidify your base (stances). A firm FOUNDATION is much more important during your initial stages of learning. 

c.  Move quickly and unhesitatingly when closing the gap between you and your opponent. 

d.  The most effective punch occurs when your strongest arm is chambered in the rear hand position. 

e.  If you can cancel your opponent's leverage points, he cannot strike you effectively. 

4.   The WHAT IF factors in B4a allow you a number of choices. You can plant your right foot on the inside of, on top of, outside of your opponent's left foot. No matter what you may decide to use,
it is important that you create an ANGLE OF CANCELLATION while simultaneously pulling with your left arm and planting your right foot. The precise placement of your right foot, simultaneous with the pulling of your left arm nullifies your opponent's height zones.

	:asian:


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## Goldendragon7 (Mar 4, 2002)

Well, for those that didn't know about it........... I was asked in another string to explain more on these techniques because the person asking was not aware that they even existed.  That's why I posted the Yellow Belt List, there is more for Orange, Purple, Blue, Green and 3rd Brown if we choose to go there.

For the veterans of Kenpo.......   I teach the "complete" Ed Parker System of Kenpo.  All the basics, all the Forms, all the sets, all the self defense techniques, all the pledges, all the sayings, all the coordination exercises and a very in-depth conceptual, theoretical, principled and historical information. 

I am not one that changes what already has been a proven system that works.  Likewise,  I always look for new drills and advancements on what we have.  I personally do not like some areas of training but it is still necessary to teach and train due to the fact that 1)... I (at this time) may not fully understand all the value of a particular segment or 2).... that someone else may find more need and value than I do.   So, like Mr. Parker said.... "Never throw away anything....... store it,  you never know when it may become useful."

I use these and other "drills" as a introductory base which forms the beginning of a portion of my training machine.  Certainly they are not all I do.  I have a very strong set curriculum and an even stronger "Training Tank of Drills" to draw from.  

Once these areas have been examined and trained for a period of time, the student needs to expand the drills to tailor for him/herself and to give back to the system "new" variations and ideas on how to employ new methods and activities to the Art.


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## Goldendragon7 (Mar 5, 2002)

Of course I teach Kicking Set #2, funny you should ask one of my 2nd Browns and I were reviewing it this morning for his upcoming test for 1st Brown.

I also teach the extensions.  I feel that if Mr. Parker saw value who am I to change what he gave me to study.  Now, with that said, does that mean that I don't study or research it, continually,,, NO!  Always looking for new advancements, twists, angles or ideas that spawn out of the curriculum to make it better (which has been very fruitful for me).  

One of the main differences with me and my organization is not the material so much but the methods used to teach and examine the material.  One instructor could teach you Kicking Set 2 and you could hate it......... another could teach it to you and you love it.  Each segment of our Art has something to teach and learn (some more than others depending upon the individual).  It all depends upon the master plan.  Remember, my major in college was Physical Education, so I am a physical educator first..... just now with a Kenpo curriculum slant.   The lesson plans and methods of a coach can make a huge difference in the outcome of the players that you come in contact with.

You mentioned that too much stuff was for commercial reasons...... All I have to say to that is "you are entitled to your own opinion".  While some say that, I personally, with the manner and methods that I teach ... don't understand what you are talking about.  What others do with the material they have at their disposal I can't talk for ....... I can only vouch for myself and what I have to offer which I have and continue to train and develop exceptional Kenpo students. 

I do agree with you that the students need to continue and train the material until it is "useful" for them to actually "apply" it and not just talk about it.  This is the goal, to be able to turn the tangible into intangible.  Rudimentary to Reactionary.  The gaseous stage if you wish...... which IS tailoring all you have learned as it applies to oneself and not just a lot  of book learning.

That's what I think!

:asian:


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## Goldendragon7 (Mar 5, 2002)

Yes, all the sets and the curriculum were encouraged by the one and only Edmund Kealoha Parker Sr.  Why would I waste time if he did not see value in it.  If he didn't want it there, do you really think he would have put it there?

It is a challenging form, I will agree with you there however I personally find much value in it.  We will have to get together and discuss it further one day..... I look forward to that!

As to what "Huk" Planas does or does not teach.... What has that got to do with Ed Parker's Kenpo?  I'm sorry, but Huk Planas is not the last word on all of Ed Parker's curriculum.  He certainly is free to do what ever he wants with "HIS KENPO" but what he chooses to do or not do has nothing to do with me.  

I respect Mr. Planas immensely (after all he is my uncle in lineage under his original instructors Tom Kelly and Steve LaBounty), and have learned and continue to learn much from him but, I don't necessarily agree with all his methods or the  curriculum that he chooses to teach.  He can teach what he feels comfortable with, I am not complaining as to what he is teaching or not, I respect his right to do that.  

I expect the same from others.

I again, agree with you that confusing the student is not good..... I find that hard to believe that at 2nd Brown this is a confusing set (we really need to work on together) lol.  Actually I find it very hard to confuse my higher rank students.... they have been trained to think, reason, research, study, practice, develop, expand logically, and increase their physical as well as mental abilities.

I can't wait to get my Viking Sword and Shield!
:viking3: :asian:


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## Goldendragon7 (Mar 5, 2002)

I agree!  I love to pick his brain!

How does that wise saying go .......

Master of no one ....... Jack of all.    hee hee

:viking1::asian::viking3:


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## Goldendragon7 (Mar 5, 2002)

Any one can commercialize anything if they  try hard enough.  LOL In Kenpo however, we are rich in curriculum which leads to greater knowledge if we choose to adventure down the paths......  

We also can get lost or stuck in a rut with many areas of the Art.  Trick is to keep moving and keep expanding yourself towards your personal goals (whatever those are)   Kenpo offers a wide variety of study.

When I was younger I concentrated on getting my Black Belt and being as good as I could be at the material and at the same time I enjoyed competition a great deal.   As I  draw to middle age, I now love to explore the intellectual side of the art more but I still love to teach and share my experiences and skills with those that will listen and learn.

:asian:


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## Goldendragon7 (Mar 9, 2002)

The freestyle techniques are just interesting drills that we have in our system.  Some use them some dont.  If you dont that does not mean you are no good or cant spar.  

I was a 2nd Black before I started really teaching them in my curriculum because I wasn't required to  before.

I like them for a number of reasons but there are also many many other drills that are just as good or better.

I pride myself on teaching the complete Parker system as a base before we start variable expansion so as to well round my students and to not feel that anyone out there has anything "up on them".  Their real treasure though, is skill and ability derived from the entire curriculum.  

"There are two ways of spreading the light......  1) to be the candle    or
2) to be the mirror that  reflects it"

:asian:


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## Goldendragon7 (Mar 10, 2002)

That would be a correct statement.  I said Kenpo "Tools"  not Kenpo Tool!


:asian:


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## tunetigress (Mar 5, 2002)

I am a student of Tracy's style but wish to say that I have found the depth of information covered in Ed Parkers style totally fascinating!  It has not seemed at all 'commercialized ' to me, but rather more clearly defined, in fact.  Seems to me all the Kenpo systems have something to offer!  Respectfully,  _(_)_  Tune


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