# Kenpo constituents or components



## Kenpo Dan (Jul 28, 2013)

Does anybody teach the American Kenpo systems component makeup. Such as path of travel for the stick techniques as the fighter pilot analogy on the vertical clock. As 12 to 6 capturing the storm, 10:30 to 4:30 defying the storm, 7:30 to 1:30 for calming the storm etc. or that delayed sword and falling falcon shoulder grab techniques are just the opposite, or that for the center chest grab lone kimono or conquering shield, again push pull. Mr. Parker listed the techniques as constituents, meaning elements, parts, or components that add to the whole or some total of an organization, society, system, or art such as Kenpo. After 10 years of study I realized that any of the groupings follow a complete clock either vertical the pilot analogy, or the floor clock for grabs, chokes etc. I found if you learned your one hand grabs techniques only using left hand grabs for delayed sword, falling falcon, dominating circles you find you start in the center of your opponent with lone kimono for push and conquering shield for pull you work your way to the center of your opponents back with menacing twirl. You will find the techniques that are missing are found in the forms, pinning wing, and controlled wing etc. Now if learned on both sides you work your way around your opponents body. I was very blessed in finding Mr. Parkers original 1987 manuals that coincide with his infinite insights books. I just never hear anybody talking about these components. Note: an example of the three depths of action for the grabs using the Venetian blind theory is one delayed sword, falling falcon, the push would be triggered salute. Deeper step, Lone kimono, conquering shield, the push snapping twig, and so on.

Thank you for your time, Dan


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## REY MISTERIO (Jul 28, 2013)

kenpo is awesome


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## Touch Of Death (Jul 28, 2013)

I think the techs are great tools, but when you start talking about how we are missing important components, I think we aren't seeing the forest for the trees. Once we have studied a few trees (154 give or take) we know we are in the forest and position ourselves accordingly.


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## Kenpo Dan (Jul 29, 2013)

True, but we need to recognize the tree so we know what path to take. When you determine your choice of action you need to recognize the angle of attack, path, which leg he is stepping in with. This normally applies to all striking defenses, such as kicks clubs, punches pushes etc. with hugs holds chokes grabs etc. you have to work off compliance. The answer lies within what you can do, not what you can't do. As Mr. Parker explains in his book the system lets a smaller person react to compliance. If you're 200 pounds and your student is 100 pounds he moves with compliance. Example bear hugs, squeezing the peach, your opponent is pulling you backwards you comply. Your opponent pulls you to your right with a circular motion, arms free you execute crashing wings. Your opponent pulls you to the left arm pinned, execute crashing hammers. Opponent leans against you toward your 10 o'clock arms pinned you use capture Twig. Spiraling twig is also the 10 o'clock angle arms free. Opponent keep you neutral and you bend forward, arms free you execute squatting sacrifice. And as Mr. Parker explains in encyclopedia of Kenpo that repeated devastation can be used for the 12 o'clock angle to fill in the gap for the bearhug in that direction. Now if you learned these on both sides you complete the clock or angles of compliance in all directions. Attacks are done by force these techniques are designed on complying to the direction of the force. And again this is the ideal phase, but it gives us a base to start with, after that we use the formulation equation as necessary. Mr. Parker explains in chapter 7 how to determine what technique to use. I've read many different manuals from different schools and I have found the changes of techniques, including footwork etc. which throws a monkey wrench into the components. As Mr. Parker says it's a system, each technique was designed for a purpose, depth, angle. Kenpo which is still very effective, but once you change a component in American Kenpo you no longer have the full system, you have Kenpo. The 1987 copyrighted manuals that was lucky enough to acquire explains these concepts and principles, green book alone is 105 pages. Simply amazing what is now left out.


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## Touch Of Death (Jul 29, 2013)

Kenpo Dan said:


> True, but we need to recognize the tree so we know what path to take. When you determine your choice of action you need to recognize the angle of attack, path, which leg he is stepping in with. This normally applies to all striking defenses, such as kicks clubs, punches pushes etc. with hugs holds chokes grabs etc. you have to work off compliance. The answer lies within what you can do, not what you can't do. As Mr. Parker explains in his book the system lets a smaller person react to compliance. If you're 200 pounds and your student is 100 pounds he moves with compliance. Example bear hugs, squeezing the peach, your opponent is pulling you backwards you comply. Your opponent pulls you to your right with a circular motion, arms free you execute crashing wings. Your opponent pulls you to the left arm pinned, execute crashing hammers. Opponent leans against you toward your 10 o'clock arms pinned you use capture Twig. Spiraling twig is also the 10 o'clock angle arms free. Opponent keep you neutral and you bend forward, arms free you execute squatting sacrifice. And as Mr. Parker explains in encyclopedia of Kenpo that repeated devastation can be used for the 12 o'clock angle to fill in the gap for the bearhug in that direction. Now if you learned these on both sides you complete the clock or angles of compliance in all directions. Attacks are done by force these techniques are designed on complying to the direction of the force. And again this is the ideal phase, but it gives us a base to start with, after that we use the formulation equation as necessary. Mr. Parker explains in chapter 7 how to determine what technique to use. I've read many different manuals from different schools and I have found the changes of techniques, including footwork etc. which throws a monkey wrench into the components. As Mr. Parker says it's a system, each technique was designed for a purpose, depth, angle. Kenpo which is still very effective, but once you change a component in American Kenpo you no longer have the full system, you have Kenpo. The 1987 copyrighted manuals that was lucky enough to acquire explains these concepts and principles, green book alone is 105 pages. Simply amazing what is now left out.


I was taught that the techniques were designed, by a right eye dominant, and right hand dominant person. I am left handed, left eye dominant; so, there is just some stuff I should try out of a left neutral, and to the right. I can't see it! We as kenpo practitioners need to figure out what is best, and gravitate toward it. There is no problem with practicing both sides. In fact I hear it is best to teach to the weak side, and have the student teach his strong side with the weak side to eliminate bad habbits. At any rate, you will find that when you do the techniques, you are doing the same thing every time. Apply logic of the art that you have been taught; it never changes. New material ain't gonna help if you believe the answer lies in a technique. You do realize you can teach the art without teaching them a single technique, don't you? Teach them points of reference, and the logic of how to use them, and the student will be performing techs you never taught them. More material is not the answer.
Sean


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## Kenpo Dan (Jul 29, 2013)

I am Looking at his 1987 journal, 
*OrangeBelt Prerequisites:*
*1. *Know andbe able to execute all of your yellow belt material.
*2. *Recitethe orange belt pledge. 
*3. *Know theformalities of your school.
*4. *Know theorange belt sayings.
*5. *Know thesynonyms names used in the techniques.
*6. *Explainthe meanings of Ed Parker&#8217;s Kenpo crest.
*7. *To knowand explain your terminology learned in your yellow and orange belt manuals.

*8. *Executeyour basics correctly.
*9. *Long form#1 and explain what it contains & teaches.
*10. *Kicking set #1 and explain what it contains andteaches.
*11. *Know your techniques and begin practicing orange andyellow belt techniques on both sides.
*12. *Know and explain the equation formula.
*13. *Orange belt freestyle techniques.
*14. *Spar frequently using the basic ideas of the orangefreestyle techniques.
*15. *Be able to pass the orange belt written exam.
Purple belt Prerequisites
#20- Practice your techniques on both sides to equally develop your coordination.

I can only tell you whats in his Journals.


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## Touch Of Death (Jul 29, 2013)

Kenpo Dan said:


> I am Looking at his 1987 journal,
> *OrangeBelt Prerequisites:*
> *1. *Know andbe able to execute all of your yellow belt material.
> *2. *Recitethe orange belt pledge.
> ...


Brings back memories. LOL


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## Kenpo Dan (Jul 30, 2013)

Sorry but I don't understand the LOL statement, if it brought back memories you were taught to learn them on both sides. The manuals/journals I have were not student manuals, there are the manuals only given to the few instructors that were operating his schools, business managers, and receptionists. He speaks of these manuals on page 34 volume 1 of infinite insights. It is a complete breakdown of the American Kenpo system. He emphasizes to learn your techniques on both sides many times. To me it's common sense, you have five left punches, 18 right punches, excluding roundhouses. So you need to learn both sides to identify them from a different angle The punches stem from the eight angles of attack, some are descending punches, some are ascending punches, some are from outside in crossing the line of defense etc.. So on and so forth. All of this is explained in chapter 7 volume 5 of infinite insights. Each technique needs to be broke down and analyzed for direction, method, path, dimension, range and angle, etc. As Mr. Parker says page 97 and 98.

Point. Circling the horizon is a descending punch from 1:30, short range. Flashing Mace is a descending punch long-range, from 10:30. So you need to understand a left punch executed the same way. 

I guess one side is fine, unless your opponent applies a hammerlock on the left arm. At this point you can decide how to address it, or you could've been prepared by knowing locked wing on the other side. Which would apply to all. You learned a left hand center of chest grab, Lone kimono for reverse compliance, a grab push, and conquering shield for forward compliance, a straight arm pull so you can act without hesitation. It stands to reason if you learned the same technique for a right hand mirrored attack to the center of your chest, you again could act without hesitation.

The final word on the subject was written by Mr. Parker in the Greenbelt pledge.

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

In the manual he highlighted as above. But everybody is free to follow their own path. My students and I decide to follow Mr. Parkers outline laid out in the 1987 copyrighted manuals.

Dan / Brown Belt / disabled / electrical contractor/engineer, stopped working for promotion five years ago, just continued for the love of American Kenpo, had my first black belt certified last month by Master Tatum. He worked 3 to 5 hours daily and received his black in 20 months.


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## Touch Of Death (Jul 30, 2013)

Kenpo Dan said:


> Sorry but I don't understand the LOL statement, if it brought back memories you were taught to learn them on both sides. The manuals/journals I have were not student manuals, there are the manuals only given to the few instructors that were operating his schools, business managers, and receptionists. He speaks of these manuals on page 34 volume 1 of infinite insights. It is a complete breakdown of the American Kenpo system. He emphasizes to learn your techniques on both sides many times. To me it's common sense, you have five left punches, 18 right punches, excluding roundhouses. So you need to learn both sides to identify them from a different angle The punches stem from the eight angles of attack, some are descending punches, some are ascending punches, some are from outside in crossing the line of defense etc.. So on and so forth. All of this is explained in chapter 7 volume 5 of infinite insights. Each technique needs to be broke down and analyzed for direction, method, path, dimension, range and angle, etc. As Mr. Parker says page 97 and 98.
> 
> Point. Circling the horizon is a descending punch from 1:30, short range. Flashing Mace is a descending punch long-range, from 10:30. So you need to understand a left punch executed the same way.
> 
> ...


It is fine to practice both sides, but it isn't the same. It is a waste of time for instance to learn left hand dominance if you aren't left handed, but by all means work both side of locks and chokes. I am simply saying that the techniques are motion sequences, not the Kenpo it self. You don't need to understand sister techs or family groupings once you understand the logic of the technique.
Sean


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## Touch Of Death (Jul 30, 2013)

I think it is also important to consider you are nine times more likely to be attacked by a right handed person as you would a lefty; so train against lefties 1/4 of the time, at best.  I don't know what makes righties so hostile.


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## Kenpo Dan (Jul 31, 2013)

Touch Of Death said:


> I think it is also important to consider you are nine times more likely to be attacked by a right handed person as you would a lefty; so train against lefties 1/4 of the time, at best.  I don't know what makes righties so hostile.



My apologies, as of instructor I am failing to make my point. The system is structured. Sure you've heard the statement sometimes you find the answer before, during, or after. What this refers to is the components that make up the art. Let me try this the Venetian blind theory. A short step almost squared to your opponent, could be considered short range or the first part of the Venetian blind theory closed. Using a one hand push you would have triggered salute push to your left shoulder. If you learned snapping twig, center of chest push which is taught as a left hand push. And as you yourself said most people are right-hand dominant while attacking so learn snapping twig for a right hand push which ends up center of chest because of the deeper step, or part two of the Venetian blind theory. Now glancing salute taught as a right hand cross push is even a deeper step or part three of the Venetian blind. The deeper the step the further your stepping foot moves to your left changing the point of contact further to the right of your opponents chest. Now you learned triggered salute first, which is the first part of this grouping. But you learned glancing salute second, which is the third part of this group, then you learned snapping twig on the left which really is the second part of this grouping. So the depth was not taught in order. And if you don't learn snapping twig on the other side you've left out a right push to the center of your chest, which would throw a monkey wrench in what you are saying about right-hand attacks being more important than left hand attacks.


Pushes are structured the same way. Short step, delayed sword, grab push, second Venetian blind, little deeper step, but learned as a left grab to center of chest, Lone kimono, grab with push. Conquering shield also learned as a left hand center grab pulling. And so on and so forth. And again if you use the right-hand dominant way of thought, you need to learn these left hand grabs on the right. But he systematically worked grabs all the way around the body pushing or pulling.

Mr. Parker has a great section in the higher manuals about learning how to think. In encyclopedia Kenpo under first cousin/second cousin moves gives an example of the Venetian blind theory, he doesn't say Venetian blind theory but it's what it is. " For example the techniques attacking Mace, flashing wings, and circling the storm all have the same father/mother movement, as well as the same brother counterattack. They may then be used as one single idea that may be varied as the situation dictates". If you notice in yellow belt in the Parker manuals short form one the punches are to the chest. Attacking Mace is to the chest. Part two of the Venetian blind theory. Flashing Mace is to the chest, part one of the Venetian blind theory. Now removing the club from the hand of your opponent for the thrust to your chest is part three of the Venetian blind theory. The punching hand on all three of these techniques originate from the opponents chest or horizontal punches. Mr. Parker was a master of hiding the system while explaining the system. The Dragon.

He actually said once, he would hand a black belt to the person that figured out how he constructed the system. When a person truly understands the system, such as path of travel, angle of execution etc. the student should be able to respond to each technique without being told which technique to use while testing.

If you understand, path of travel of your storm techniques, capturing the storm, 6 to 12, left to right. Securing the storm 9 to 3. Calming the storm 7:30 to 1:30 left hand block. Five swords 7:30 to 1:30 right-hand block. Read five swords in book 5, it doesn't reflect the photographs that are laid out beside. In all of these techniques work with allowances such as five swords works from 9:00 to 7:30 as Mr. Parker calls adjusting your angle of arc. By understanding these path of travel the student knows which technique to use without the instructor telling him, kind of important on the street. This applies to all techniques.

Hope this might help.


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## Touch Of Death (Jul 31, 2013)

Kenpo Dan said:


> My apologies, as of instructor I am failing to make my point. The system is structured. Sure you've heard the statement sometimes you find the answer before, during, or after. What this refers to is the components that make up the art. Let me try this the Venetian blind theory. A short step almost squared to your opponent, could be considered short range or the first part of the Venetian blind theory closed. Using a one hand push you would have triggered salute push to your left shoulder. If you learned snapping twig, center of chest push which is taught as a left hand push. And as you yourself said most people are right-hand dominant while attacking so learn snapping twig for a right hand push which ends up center of chest because of the deeper step, or part two of the Venetian blind theory. Now glancing salute taught as a right hand cross push is even a deeper step or part three of the Venetian blind. The deeper the step the further your stepping foot moves to your left changing the point of contact further to the right of your opponents chest. Now you learned triggered salute first, which is the first part of this grouping. But you learned glancing salute second, which is the third part of this group, then you learned snapping twig on the left which really is the second part of this grouping. So the depth was not taught in order. And if you don't learn snapping twig on the other side you've left out a right push to the center of your chest, which would throw a monkey wrench in what you are saying about right-hand attacks being more important than left hand attacks.
> 
> 
> Pushes are structured the same way. Short step, delayed sword, grab push, second Venetian blind, little deeper step, but learned as a left grab to center of chest, Lone kimono, grab with push. Conquering shield also learned as a left hand center grab pulling. And so on and so forth. And again if you use the right-hand dominant way of thought, you need to learn these left hand grabs on the right. But he systematically worked grabs all the way around the body pushing or pulling.
> ...


It does. I trained them all just as you have stated, but I am left handed. It was a need be.


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## Kenpo Dan (Jul 31, 2013)

Nice,I&#8217;ve learned by teaching in groupings student retains much easier. Example: *gift of destruction *is the opposite of *gift destiny*. Or *gift in return *downward angle is just the opposite of *broken gift a *upward angle.

 If teaching the two hand front grabs, *Mace of aggression *is a pull or throw to your 10:30, 10:30 compliance and *raking mace* a direct pull  to 12 o'clock forward compliance arms bent, then he inserted a shoulder grab blinding sacrifice a pull to 12 o'clock arms straight, forward compliance. *Lone kimono *two hand lapel grab pushing out. Again if learned on both sides you cover your pull to 1:30  *Mace of aggression *on the other side, and same for other examples.

Notice in all your grab techniques, chokes etc. if you are stepping in a direction it coincides with the compliance or direction of force of that attack. When your trading partner pulls or pushes in that direction it's much easier to pull off the correct technique.

When you do your to hand wrist grab, pull what executing desperate Falcons, forward compliance, when he tries to resist flow into your begging hands, then vice versa.

Dan

Dan


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## Kenpo Dan (Aug 2, 2013)

Another way of understanding the American Kenpo component's is to find the father move, such as thrusting wedge, push, blinding sacifice, shoulder grab, and heavenly ascent, choke. The wedge is the father move. 

Now find your three depths of action. One is squared to you, wide stance, close range weopon, a little deeper step, and a stept-through.

One has you step in and pivot into a right fighting horse to buckle his right knee!

It's the understanding, not only the technique.

This is why you cant change techniques, you disreguard a component of the system. Look up the word system and you will understand.


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## Kenpo Dan (Aug 14, 2013)

To answer a few questions. If one hand grabs fill half the circle, stands to reason other techniques do the same. Take Bear hugs.
 1. arms pinned pulled to  the right , would be crushing hammer to the right, or other side.
2. arms free pulled to the left, crashing wing on the other side.
3. Squeezing the peach, pulling back toward 6 o'clock. Question, which is his lead leg? It matters: now learn it on the other side.

Compliance is the key. so what is the key, or compliance for captured twigs, now learn it on the other side. the answer to arms free for this compliance of force is found in full nelsons techniques.

Dan.


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## Kenpo Dan (Aug 18, 2013)

Answer to a question about punches.

Leaping Crane (Right _*step through *_punch) as written, Mr Parker's Journal.

First section.
1. With feet together, leap to between _*9 and 10 o'clock*_, into a one-leg stance with your right foot cocked to the inside portion of your left knee as you redirect you'r opponent's right punch with a left _*inward*_ parry to the outside of that arm. During this action, execute a right middle-knuckle strike, _*palm facing 9 o'clock*_, as it rakes inward and _*horiontally*_ toward yourself, across your opponent's right ribs, whenever possible. end the motion by having your right hand cocked across your waist, near your left hip, palm up. an effective slice should cause your opponent to bend forward at the waist.

Chapter 6 Infinite Insights Vol 5.
1. _*Direction- 10:30 *_- Why? Leap to 9:30, The middle knuckle strikes to _*center of mass *_traveling toward you, your inward parry travels to the outside edge of your right shoulder.

2.Method - Linear. Parry

3. Path - Horizontal. 

4. The three Dimensions - Height-droping, Width- narrowing , Depth-wide.

5. Angle, straight - Location of natural weapon to target.

Mr Parker covered foot work for the eight angles of attack, if this punch was delivered to zone two of your height zone, angled down you can use the top half of the technique flashing mace, (which is from another location of the clock). Remember strike to you angled down, you strike high. This gives you a hint an analytical study of your other techniques.

Many other questions needs to be answered, such as which foot the attacker step in with, is the technique meant to work on the inside or outside, or on the line defense. Only a few of these punches are from 12:00, and straight. Some are angle up, some down, feet together, standing natural, or fighting stance. I think thats why people change techniques.
You must have Mr Parkers books to be able to ask these question of your instructors. Question to ask Chapter 7 book five.

Dan


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## Touch Of Death (Aug 19, 2013)

First of all, you shouldn't be leaping to any one legged stance.


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## Kenpo Dan (Aug 19, 2013)

Leap-A type of springing jump used to evade or attack an opponent. 

Leaps are explosive jumps used to evade or attack an opponent.  No matter what method is employed, *Both*_* feet do become airborne *_during the course of of a leap.
A leap may be used to close our extend distance between you and your opponent. A leap may be used to clear obstacles. As an leaping crane it is used to create distance as the opponent is stepping in deep with a step through, to enter the obscure zone behind him. He is already in a committed action.

Theoretically landing on one leg is no different than stepping to one leg and executing legs or hands strikes. Crane styles tailored for the long and lanky body styles of a person are designed for this.

In American Kenpo, we do try to keep these moves to a minimum, but they do have their purpose. We have leaping crane, leap of death, we use hops, in techniques like gift of destruction, hopping into a knee strike, or hopping crane found in our forms to place us on different sides of the body in the prone positions, leaps are also used for this purpose.

Dan

A lot of what we believe is what we're taught, sometimes one purpose can disqualify another purpose, and vice versa. What is wrong for one analogy, might be correct for another.

People can change techniques if they wish, Mr. Parker designed a component system. Each punch technique etc. is designed for a different depths of action, is the punch angle up, down etc? when we start changing this we no longer have American Kenpo, we have Kenpo. Using the Venetian blind theory if you're striking solar plexus sternum you're dealing with the closed version, or slightly opened Venetian blind. If you're striking ribs you're dealing with the open version of the Venetian blind. It's all about reading depths and angles. And understanding the equation formula for changing situations.

Green belt pledge, says teach this system as outlined in the manuals, by Ed Parker


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## Touch Of Death (Aug 19, 2013)

Kenpo Dan said:


> Leap-A type of springing jump used to evade or attack an opponent.
> 
> Leaps are explosive jumps used to evade or attack an opponent.  No matter what method is employed, *Both*_* feet do become airborne *_during the course of of a leap.
> A leap may be used to close our extend distance between you and your opponent. A leap may be used to clear obstacles. As an leaping crane it is used to create distance as the opponent is stepping in deep with a step through, to enter the obscure zone behind him. He is already in a committed action.
> ...


Leap is a poor term then, because people read that word and start... leaping.


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## Kenpo Dan (Aug 23, 2013)

Leap defined by Mr Parker on - Page 129 Infinite Insights into Kenpo Volume 2.

Webster's, also is always a good source.

The information put forth from myself on Mr Parkers system is all found in Mr Parkers books or 1987 Journals.

Something to think about. Falling Falcon is a grab and pull to his outside, (squared to attacker) see outside block, then a deeper step becomes a center chest grab pull to his inside, Conquering shield, if learned on the right side, what is the third stage of venetian blind principle for a one hand offset or cross grab/pull?

Dan


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## Kenpo Dan (Aug 25, 2013)

No thinkers out there?

Answer, Dominating Circles.

Did you know how many step through punches are in our system? Is sword of destruction, labeled as a left roundhouse punch or a straight punch a step through punch? Is raining claw a step through punch? See book 5 of infinite insights. Go through the list of techniques and count your steps through punches. The same with your storm techniques. Analyze your targets, is it on your opponent centerline, sternum, solar plexus, bladder etc. or is it to ribs inside or outside. A reverse punch which none is listed, do you think Mr. Parker left out such an important phase of any system? Destance of a leg and a half is a one of the keys to these questions.

Resarch some of the combination techniques, and compare them to the single punch techniques.

Note: a complete step-through put's the attackers left leg in the way for the groin kick for Sword of Destruction, and is not listed as a step through punch.
: Techniques are built on the Venetian blind principal three stages of depth, help you find your way through this analyze the 18 hand movements on page 9 volume 1 of insights into kenpo. Then add three depths to each angle. Book 4 and five also teaches us the degrees of angles, ascending, straight or descending.

In the manuals and books he gave us the dots, but expected us to connect them.

Dan


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