# Sl4



## InvisibleFist (Mar 12, 2005)

I read some of docs postings with interest.  What is SL4?


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## Doc (Apr 24, 2005)

InvisibleFist said:
			
		

> I read some of docs postings with interest.  What is SL4?


Up until the passing of Ed Parker I had not given much thought to the diversity of Ed Parkers teachings over the years, and its affect on what he, in general called American Kenpo. I considered myself a good friend first and a student second, and I assumed his contemporary lessons for me were no different than others he considered close. I watched him teach and influence a variety of motion based Kenpo-Karate concepts over the years. He continued to share with former students who had gone on their own, as well as his current black belts who taught commercially. Although my own lessons seemed to go in a different direction, I really thought there were others he was teaching similarly to myself and never gave it much thought. In all fairness, who really knows? It is not my place to decide what anyone does or does not know.

After his passing I was caught off guard at the amount of curiosity, students at all levels of His Kenpo had about where my information came from. I took for granted and spoke of things that many had never heard of from an American Kenpo perspective. I was further surprised how strongly some argued that such information didnt exist in Ed Parkers system, and how their personal understanding of his creation was already complete. Still others apparently assumed his Infinite Insight series of books were the collective sum of his knowledge. How arrogant, I thought to myself for someone to assume they now know all the knowledge Ed Parker knew, or even that the sum of his knowledge was in a few books on concepts. Others wanted to know where this information was written. Still others asked the question, Well why didnt Ed Parker teach me or so-and-so instructor that? This is a question they should probably reserve for that instructor(s) or themselves.

Clearly there are advanced aspects to Mr. Parkers commercial motion based vehicle he privately sometimes called Motion-Kenpo. However I personally use the word advanced to mean knowledge not contained therein, not to demean or as a put down of the concept. I personally coined the terms Advanced American Kenpo Concepts, and SubLevel Four Kenpo based on phrases Ed Parker always used when he wanted to work on very specific areas in my interaction with him. He borrowed the former and used it himself on the jacket sleeve of the videos his son produced. Today I only use the phrase Motion Kenpo-Karate to differentiate what I teach from different interpretations, not to demean the significant works and study of others. Ed Parker disliked the word "karate" as a descriptor for his personal art, and only used it to describe the commercial vehicle he created.

*Nerve Activations*

This "advanced level" of His American Kenpo as I understand it, shortened sometimes to SL-4 tends to be misunderstood because it covers multiple areas of evolution and applications. When SubLevel Four is used to strike, nerves are activated through basic Destructive Sequencing utilizing Chinese Acupuncture Meridians, pressure points, and nerves embedded in cavities of the human body. This causes the subject to involuntarily react in a predictable manner creating a Negative Body Posture. This places him at a significant anatomical disadvantage. In simple terms, nerve cavities are made accessible and body positioning is physically restricted and vulnerable, thus the term Negative Body Posture. This unique methodology effectively manipulates the body uniquely for each additional action, until it is essentially incapacitated by a bodily dysfunction called Physical/Mental Disassociation or physically incapacitation. At the very least your attacker is severely momentarily physically restricted. 


*Striking Manipulations*

During this striking process, minor or major manipulations may be employed to assist in placing the attacker into negative posture to facilitate (if desired), nerve cavities being open and accessible. Once that occurs, particular natural weapons are then executed in a specific method, manner, angle, and known sequence in conjunction with the created Negative Posture. This process is facilitated and initiated by the attackers own aggressive actions as in traditional Chinese Arts. When you are capable of understanding as well as reading Martial Posture, you know what incapacitating mechanisms are most easily accessed based on your attackers own actions. The default techniques take this into consideration in defined applications in the base curriculum, and are taught so they may function under these primary base principles.


*Teaching*

Although it would seem to be a complicated process, with proper basic training it really is not. Freshman M.S.U. SL-4 Students routinely do it quite effectively. The method is all in the design of the Default Techniques and the level of knowledge designed into their execution, coupled with an instructor knowledgeable enough to teach it. If the technique is learned properly, it functions essentially on its own on multiple levels. Like with an automobile, when you turn the ignition key, a series of very complex things take place in successive order. Nevertheless, you dont really have to know how or why these things happen to drive, you just have to know how to turn the key, put it in gear, steer, and occasionally apply the brake.


*Multiple Levels*

There are four levels of physical curriculum in SubLevel Four Kenpo, and the fifth is an academic application of the previous four. At the first level students learn to make the Default Technique for each assault or attack scenario functional. The design of the technique allows a student to express their basic skills and perfect applications essentially indefinitely as more knowledge is conveyed. Each technique has a particular method and manner of execution that is, unlike motion based Kenpo-karate, is not flexible in its learning process. This is because the teaching imparts basic body structure, and the cultivation of newly formed synaptic pathways, that are being hard wired under Adrenal Stress Training. This is a process that most traditional arts attempt to do in some manner or another. Motion-based Kenpo-Karate's approach is a large exception to proper physical training, and teaching, not the rule. There is a reason why everyone moves the same in more traditional arts like Wing Chun, or in TaijiQuon forms, as well as in American Kenpos original parent, Chaun-fa.

Each technique is also an expression of basic skills that can be performed without a partner for training alone much like old world Chinese Methods. We call this S.E.T., for Singular Execution Training. When properly executed they are essentially a functional mini-form or set. In S.E.T. Training, internal energy is developed by forcing correct body mechanics, breathing, and Body Aligning Resistance similar to Taiji. Each Default Technique has many levels of applications and lessons built into their design that go far beyond what is obviously to the eye. To the unknowledgeable, they look essentially the same as conventional motion based Kenpo-karate training.


*Level One*

The First Level, which contains ten (10) separate progressive courses that insures the techniques are anatomically and mechanically functional. Grabs, through very specific mechanisms known as Survive The Initial Assualt, (SIA) must be defended properly and not as attempted grabs. There are no throw away techniques. This insures students can use the curriculum functionally if not yet precisely, and can defend themselves relatively quickly. The higher a student moves in course level the more skilled they become, and the better they execute previous course curriculum that is constantly revisited to insure foundational skills, and the less they actually need of what they have previously learned to be effective. 

This was a major source of discourse among Ed Parker Sr. followers. Once they felt they had learned something, they wanted to move on to more "advanced" material. Ed Parker Sr. constantly re-examined everything. Current M.S.U. Students in the SubLevel Four Kenpo Schools are responsible for their present course of study as well as all courses previously studied, and subsequent improvements in curriulum until they graduate to the black belt level. From the graduate level up, students may choose to review, or not as they desire. Although everyone in the First Level does the same thing, it is clear more advanced students do it better with more precision, power, control, and effectiveness.


*Level Two*

The Second Level explores the true application of forms and sets and integrates that functionality into the current level of instruction. When viewed from a non-motion perspective, there is a great deal of information to be inculcated. Additionally, each attack scenario is re-visited with the responsibility of an intense escalation of the attack beyond the default scenario. Here we emphasize counter grappling through mechanisms learned in level one that create a Grapple Control Mechanism or G.C.M. In addition, other considerations are added moving the Default Technique attack upward in aggression. As an example, in a technique like Sword and Hammer, where the shoulder is grabbed at the First Level, at the subsequent level students are obliged to defend against an additional punch and possible grappling charge with the shoulder grab. Because the basics are so solidly taught and consistently functional, this can be taught without venturing outside of already created synaptic pathways or muscle memory of the Default Technique previously learned. There are no singular attack scenarios at this stage. A punch is never just one punch. A grab is always a precursor to further assaults in the Level Two Default Technique Sequence Scenario. Finally, all techniques are addressed from a perspective of Startle Reflex Activation in execution. That is, some techniques must be successfully performed under circumstances that suggests you are caught completely by surprise and you must react initially without the Benefit of footwork to Survive The Initial Assault.


*Level Three*

Level Three is a very significant level because the accumulated skill developed here should be such that completing a Default Technique Sequence in its entirety should not be the students goal. Instead, the first one, two, or three moves of the Default Technique, (depending upon the attack), should be executed at such a high degree of skill that it renders the rest of the technique sequence unnecessary. Although still available if needed, this allows a built in safety net at all levels of performance from beginner to advanced with a philosophically built in "Assumption Of Success."


*Level Four*

Level Four is arguably the most physically challenging, and certainly the most difficult. This component is the most recognizable as different from most commercial Kenpo-Karate. Although as you move through the other three levels you are being slowly introduced to Level Four Concepts and Principles, it is not until you get to this level that you are responsible to execute full Control Manipulation from the same external stimulus of previous curriculum. Additionally, a student is required ultimately to do this extemporaneously in conjunction with striking methodology as necessary.

*Control Manipulation*

SubLevel Four Control Kenpo Manipulations have often been confused with jiu-jitsu or even Aikido, but its parameters are much different and are not pain reliant like other manipulation arts. This makes the manipulations different from conventional Jiu-jitsu, or Aikido, execution. Its roots are in a component of all Chinese Arts called Chin-na which is the historical source for most manipulations arts. Mr. Parker however dictated and I continue, with very specific American Kenpo Parameters, different from even its source Chin-na. This component is integrated with the nerve striking and misalignment sciences. SubLevel Four Kenpo Control Manipulations can be every bit as aggressive as the stand-alone striking component. All SL-4 components are engineered to produce skills that work together or independently of each other as you desire, or as the situation dictates. By definition, Control Manipulation is not a part of motion-based Kenpo-karate, and is not included in the 4 ranges of combat as defined by Ed Parker in his published Encyclopedia of Kenpo."


*Psychology of Confrontation Theory*

Additionally, a very important component called Psychology of Confrontation Theory is taught in some form at all levels. It is very important to get into the mind of the attacker and understand his actions relative to the assault. Once you understand what an attacker is trying to accomplish and what motivates their actions, you are better equipped to see that they are not successful. This is also where the stress component is significantly increased in intensity. The method is similar to military training or civilian law enforcement role-playing scenarios. This is where your training becomes really hard wired into muscle memory, therefore making synaptic pathways virtually immune to "Adrenal Dump Syndrome."


*The Learning Process*

Although the learning process never stops, self-exploration for the purposes of discovering information isnt a major part of that process. A student must have a significant foundation of knowledge not available except by being transfered from an informed source. Information is only examined under the tutelage of competent and knowledgeable instructors. The lowest level of commitment acceptable is Level One. Students with commitment levels lower than Level One Guideleines, and who have not accepted the physical commitment necessary for study are therefore not accepted into the student body. We are absolutely results driven and are not obliged to accept anyone, regardless of age, gender, or previous training and study. Although there is a social camaraderie component to our classes, our students are very serious and our approach is definitely not recreational. This is part of our responsibility to the student to not instill false confidence through rank that could get them seriously injured. Integrity comes from excellence, and excellence comes from integrity. Unlike our public school systems, there are no social promotions, or "grading on the curve," and no monetary incentives to keep unproductive and failing students.


*Structural Integrity and Qi*

Proper (as opposed to aesthetically) Anatomical Alignment is also stressed continually, and is paramount at all levels to create structural integrity and internal energy flow. The creation of structural integrity is a science unto itself. Should the body not be placed in the proper position, effectiveness is diminished significantly offensive and defensively. Without the knowledge of Anatomical Body Positioning, none of these components will work to maximum efficiency. What the Chinese call Qi or internal energy cannot be generated without proper body mechanics. Conversely, proper body mechanics cannot exist without Qi being generated. Therefore, these two elements, once initiated by proper physical movement and body mechanics, feed off each other. You cannot achieve one without the other. Like a spiraling staircase, if you continue to feed the mechanics, the internal grows which in turn feeds back into the mechanics. It is one of many processes in SubLevel Four Kenpo and is very real, and quite effective. 


*A Different Process*

So you see, SubLevel Four Kenpo is a disitinct process. It is a unique method and manner of study and training of specific Kenpo curriculum that students must immerse themselves in to achieve maximum benefit. There are no what ifs and definitely no "short cuts." It is the execution of a curriculum specifically designed to get a student to the highest level of skill and knowledge his/her personal commitment will allow. The process is indefinite and instruction never stops. Everyone starts at the beginning of Level One, regardless of previous study outside of SubLevel Four Kenpo. Some feel they should begin at a higher level, because they have studied other arts or even Kenpo-karate. For most, the differences are diametrically opposed to the SL-4 teaching process, and this is not possible, even though previous experiences can be an asset.

When you move to the hard non-flexible curriculum of SL-4, you may no longer think of motion as the dominant theme. SubLevel Four diminishes motion-Kenpos tailoring significantly, and negates the Alphabetical AND Numerical Rearrangement Concepts almost completely, along with a great deal of other Motion-Kenpo ideas and rules. Motion is still there, and so is tailoring but they become restricted to much smaller parameters for effectiveness of the true dominant sciences. How and why you move take on different characteristics. Tailoring is usually restricted to Physical Geometry Limitations inherent in the diversity of human anatomy. That is, if a person is too tall for you to reach the prescribed target, there is a tailored adjustment made, but the target change usually conforms to the same meridian for destructive effect, not personal preference. Motion-based-Kenpo Karate is 95% Tailoring, SubLevel 4 is the opposite with a 90% structured curriculum because your body has effective limitations. Remember, our priority is the most effective self-defense, not as Ed Parker stated, Useless motion.

We tend to forget that although Chinese-Kenpo is ancient, the whole of Ed Parker's Kenpo interpretations are a relatively recent development. With the inclusion of Kenpo-Karate and Chinese-Kenpo as the forerunners of the divergent commercial art practiced by most today, its still only about forty-five years old inits entirety. Take away the forerunner Kenpo-Karate and the subsequent Chinese-Kenpo, and it is considerably younger. SubLevel Four Kenpo draws from ancient sciences that have been proven. The difficulty was to put them into an efficient modern cultural context with a reasonably efficient time learning curve fairly consistent with its commercial counterpart.


*Too Many Masters*

The one and only Senior Grandmaster of all Ed parker Lineage Kenpo was not yet sixty years old when he passed away. In Chinese terms, he would be considered just beginning to move into his prime. Amazingly, the subsequent self-proclaimed Senior and Grandmasters of his commercial, and other splinter arts got there much faster than even their progenitor. Yet Ed Parker Sr. considered himself a perpetual student and was still learning until the day he passed on. He was a genius, and definitely accelerated the learning process from the Traditional Chinese. He was always exploring and accumulating more knowledge and never failed to remind students, One doesnt become great until they realize what they know is very little. What some now call evolution, Ed Parker called tailoring and rearrangement. They are doing what Ed Parker always taught for Motion Kenpo-Karate. For this they should be commended. They should not consider themselves evolving Ed Parker's Arts, because they don't really know them. They themselves are evolving and that is only a natural evolution of a student. whether or not their evolution bares merit, will be determined however by others more knowledgeable then they.

Unfortunately however, this has given us too many young grandmasters of what is some very limited information. Although many are content with where they are and what they know, many others are exploring other arts not realizing much of what they seek is available closer to home. There is also a quite sizable group that would like more but is unwilling to give up what they think they already have along with the status of their belt ranks. Full cups dont have much room for improvement. Some seek to "traditionalize kenpo," and have, in doing so, created a huge oxymoron. In truth it is just easier to "dumb down" the Kenpo, and/or leave everything as is and stop being a student.

For those truly interested, all that really matters in the end is continuing to educate oneself. Ed Parker Sr. always said, The mind is like a parachute, it only works when its open. If something is missing in your or your instructors Kenpo, ask intelligent questions, and expect reasonable answers. If he doesn't have them, seek those who do. No one ever said it would be easy, nor are you "entitled" to study by video just because you are unable to get to a legitimate school, (whatever that is)


*My Lessons*

Much of the SubLevel Four Kenpo information comes from my own copious lesson notes. Mr. Parker dictated the core and laid the foundation. He constantly scrutinized, examined, and decided what he personally wanted. This forced me to ultimately write my own Coursebooks. The information was, and as far as I know, not available in written form anywhere else. Mr. Parker expected me to keep track of, and codify what we were doing at the time. It allowed him the freedom to think freely, and removed the burden from him of organizing the information. He really disliked organizing his thoughts sometimes because it slowed him down in the creative process. He often asked or assigned students organizational problems. He formed a foundation for me that I will be utilizing perpetually. His ideas form the foundation for my own study and creations.

In my lessons he stressed the execution of a sound workable Default Technique to strengthen and solidify a firm foundation and physical vocabulary. I was never allowed to deviate from his mandates. Unlike Motion Kenpo-Karate that is plagued by what I call the what if syndrome, He mandated I understand the importance of a specific sequential structure. This is completely opposite of the tailored flexible concept found in his commercial teachings. Although experimentation was a part of my lessons, he was the one that initiated it, until he was satisfied with the results. He often changed his directions, and I had to flow with the lesson of the day. He told me what to do, how to do it, and a little at a time, the why. The why, was most important, because he taught me why you couldnt change techniques, not why you could. His lessons allowed Kenpo to be more destructive without maiming, as well as more passive if desired. In our curriculum, we do not attack the soft tissue of the eyes, throat or testicles because it isnt necessary for effectiveness. If you remove soft tissue assaults in Commercial Kenpo, what do you have left? Nothing remains but the blunt force trauma available to any unskilled person. You do not have to be a trained martial artist to poke someone in the eye, smash them in the throat with the edge of your hand, hit them in the groin, or even stomp them on their foot. That's commercial motion Kenpo-Karate. Anybody can do it, and learn it quickly. That is what it was created for and, on that level it defintely works.

Ed Parker had a great working knowledge of manipulations of all types, nerve applications, and energy disruptions. One of his goals was to insure the stability and execution of the self-defense technique against the street grappler. He emphasized street as opposed to strategies that might be employed in a competition venue. Anytime someone attacks you whether with a punch, kick or grab, the potential always exists for the situation to change to a grappling scenario.

Therefore as you execute a defense, your body must be moved in a manner to insure it can not only Survive the Initial Assault, but withstand and control the constant forward pressure of someone trying to encircle or grapple you whether high or low. It is important that you are able to do this within the sequential flow of the technique. This is another place where method and manner of execution creating structural integrity makes this possible. Manipulations and ground fighting has been around for centuries, with many modern great masters (and personal friends of Parker) like the truly great Gene LaBell and Wally Jay. Ed Parkers approach was to focus on the how of not going to the ground first and groundwork second. After all Ed Parker was a black belt in jiu-jitsu of Okazaki influence. This has been explored, perfected, and included in the SL-4 curriculum.


*Motion Comparison*

Therefore, in comparison, SL-4 is not flexible in the *initial* learning stages. It is difficult for those with limited Kenpo knowledge to understand this fact. It is closer to the traditional Chinese methods it evolved from than freeform Kenpo. Even though there may be many tailored ways to perform Mr. Parkers techniques, and even though those techniques are not neccessarily wrong, they may not allow for a successful application of certain advanced principles. Ed Parker used to classify technique effectiveness on a scale of one through four. There is 1; ineffective, 2; effective, 3; more effective, and 4; most effective. SubLevel Four Kenpo is a natural 4. Techniques become less abstract. Kenpo techniques that have seemed ineffective or only marginally effective are, in fact, remarkably effective. In short, SubLevel Four Kenpo gives Ed parker and the art the credit it truly deserves as you move from Kenpo Karates conceptual martial art, to SubLevel Fours true Martial Science. Simply put, Kenpo-Karate is motion based. SubLevel Four Kenpo is anatomically based. Like all physical endeavors that require a level of effectiveness, proper anatomical movement is the rule. From lifting weights to making a tackle, or jumping hurdles and coming out of the blocks in a track sprint, there is one right way. You would think that when a persons well-being is in jeopardy they would understand that.

Lastly, it is very important to not consider Ed Parkers motion based commercial product an evolution of Ed Parkers work, but instead it is a divergence. Although Parker continued to evolve from his original teachings, his creation for the masses grew beyond his control and for some became the Kenpo. In reality, it was only a Kenpo that served its purpose of proliferation well, but is very different from Ed Parkers personal art that wasnt an art at all. It is truly an advanced martial science.

I was introduced to this direction and studied under the tutelage of my best friend and teacher, Ed Parker Sr. for over twenty-seven years. This and subsequent writings and course material is dedicated to the spirit of continuous education and questioning Mr. Parker gave to all of us in the arts. My interpretations of my teachings are in no way meant to suggest that someone elses lesson interpretations from the Kenpo they learned and when they learned it, is in anyway incorrect.

This short explanation in no way conveys the totality of the concepts of SubLevel Four kenpo but does indeed give the novice a base understanding of how it functions and is taught - in a few words, without compromise.


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