|
DOJO ETIQUETTE
Be prompt. Arrive before class
begins. If you come in late, get dressed out and be seated by the door way... wait for permission to join the class.
Always bow when entering
or leaving the dojo. Direct your bow first to the Flag then to the senior person present and acknowledge his or her presence
with the greeting Osu (pronounced "Ooss"). This gesture shows respect both toward fellow practitioners and the art.
Junior students are expected to
look to seniors for guidance, imitate their behavior, and treat them with respect and consideration. Sit and stand when your
seniors do; always sit to the left of seniors. Senior students are expected to set a good example for juniors, protect them
from injury, help them learn, and treat them with respect and consideration. REMEMBER We were all white belts once.
Always Behave appropriately in
the dojo ("place of the Way"). Remove your shoes before entering. Speak quietly and maintain an attitude appropriate for serious
practice. Food, drink, and gum are not permitted in this Dojo.
Never teach new techniques
or kata to other students unless asked to do so by your Sensei. Never throw or drop your Obi (belt) on the ground, and never
wash it. Your Obi is a symbol of your spirit.
Never lose your temper in practice.
Train with intensity but NEVER with anger or hostility. There is no place for ego in this Dojo. Pay attention; This is part
of your training. Concentrate on your art while you are in this Dojo. Practice your Ping-te and Kata consistently outside
of class, even if for just for a few minutes here and there. This is the only way to improve your skill and physical condition.
Ranks are valid only as indications
of one's current skill level, maintained through active training. If you are no longer training, you are not considered to
hold any rank in this dojo. We may reduce or advance your rank as he sees fit. Promotion or reduction of rank is a teaching
tool, providing an objective evaluation of your progress.
However preoccupation with
rank shows a lack of understanding of the arts.
Giving back to the Arts is a must, ask Sensei
what you may do to make this Dojo a better place For ALL who train here.
Thanks; kp sensei
 
RULES OF THE DOJO
1.We should always have Fun in class!
2. No member shall engage in any behavior that brings discredit to
themselves or their dojo.
3. Students shall maintain a well kept and sanitary appearance. This
means nails should cut and members should wash and clean themselves. Uniforms should be neat and be washed. Be proud
of your appearance and don't let your uniform become dirty.
4. Students shall kneel when they put on or take off their belt out
of respect for all who have trained before them .
5. NO horse playing in class, ever!
6. Members must be in proper uniform with all proper patches in place
by the day of testing if they expect to test for their first rank promotion.
7. Absolutely NO JEWELRY or GUM is allowed
8. Please be polite and use the proper terms for your instructor
and all senior ranks. Sensei should be referred to as such within the dojo. All higher ranks should be referred to as "sir"
or "ma'am". Children should use "sir and ma'am" regardless of their fellow students rank. Out of respect for their elders.
9. When a Black Belt, (out of respect for the many years of dedication
and hard work it took for them to achieve their rank.) ALL students should kneel when she or he puts on their belt. It
doesn't come easy, If it did, everyone would have a Black Belt .
10. All students are asked to please be cautious while practicing.
DO NOT EXPERIMENT WITH NEW TECHNIQUES WITHOUT SUPERVISION! they can be very dangerous.
11. All members must NEVER use their knowledge except to avoid
injury to yourself or your loved ones. (it is as easy to hurt a friend as it is to hurt an attacker). If you do, YOU
WILL BE EXPELLED.
12. Students must bow to the Flag when entering and leaving This
dojo.
13. Criticism of other styles or practitioners will NOT be tolerated
in this dojo. (leave your ego at the door).
14. Use discretion when explaining to others about our school where
techniques are concerned.
15. Please take special care of all equipment or property. This is
YOUR Dojo. Respect it.
16. To advance in rank, a person must have good attendance, know
the techniques, forms and have good basics. Also, all dues and fees must be current.
17.Members shall adhere to these rules. If you have a question about
a rule, please see Sensei.
IT'S ONE THING TO TALK OF BULLFIGHTING AND YET ANOTHER TO BE IN THE RING !!
|
| Peaceful Spirit Way! |
The Philosophy of Ping Shen Tao
By Kevin Pence Sr. Sensei
For a person to be complete and happy with oneself,
they must find a balance. If the body is in good health, then the mind may function skillfully. For all to work together mind
and body, we must employ our spirit. Do not criticize, be patient, be kind and understanding to others. Never too much, never
too little, only what is necessary. At their most basic level, the martial arts are nothing more than ways to prevent someone
from harming you. At their highest level, the arts are paths to self-knowledge, brotherhood and the beauty of life.
The martial artist must be both artist and scientist.
We must learn the traditions, techniques, principles, and theories upon which martial artistry is based. We must then practice
them with passion so as to properly learn and understand what it is we are doing. Only then can we master ourselves, our life’s,
and the Arts.
P S T is both an external and an internal style that
incorporates both linear and circular techniques. In addition, much emphasis is placed on learning to more zone on your opponent
and learning to flow with whatever your opponent comes at you with. Stopping with one counter hit is not likely; students
must learn to flow until the situation is no longer a threatened one. When this is done; we have Ping Shen Tao.
The martial arts are both art and science. It can
be said that; Art is a passion pursued with discipline; science is a discipline pursued with passion. Over my lifetime, I
have created a highly successful teaching technique that incorporates character building philosophies with traditional martial
arts training methods. With younger students, the art focus on helping them to understand and use the martial arts in order
to develop discipline, self control, and respect. It also helps them to establish healthy life style habits at an early age.
With older students, we enjoy sharing the secrets
and intricacies of a modern martial way. Our unique style of traditional martial arts training and modern workouts, plus stress
reducing Chi Kung sets, allow individuals to gain the physical benefits, and confidence that can only be achieved through
effective self defense training. Basic meditation is part of the curriculum. Students are instructed in the ethics of the
martial way, including loyalty to nation and family, truthfulness, keeping one's word, and the necessity to "justify your
means" when using force.
In a Sparring competition or a street fight, the basic
strategy is the same to submit your opponent as quickly as possible while absorbing the least amount of punishment possible.
PST teaches one to control an opponent, concentrating on balance, leverage, and technique to control one's opponent and ultimately
end all conflict.
A fight should Never last for more than a few seconds.
Learning to control an attacker is the key to ending a fight quickly. If you can't control a man, you can't submit him. And
if you are finding yourself fighting, you are probably not controlling your opponent properly. There are many set techniques
but, there is much emphasize put on improvised problem solving. Sparring emphasizes blocking and attacking at the same time
along a centerline strike points. When we must use our art to defend, we "use the whole body as a weapon". This is not for
everybody, it is sometime very brutal but, there is no question that it is effective.
Stated in the simplest of terms, Ping teaches you
how to effectively and efficiently control and defeat your opponent. As the name suggests Ping Shen Tao (Peaceful Spirit Way),
peace come first. Thus, a Ping practitioner must first learn to avoid problem situations, as much as learn takedowns, controls,
and positioning. To "Use Your Whole Body as a Weapon", you must first learn control of yourself. Endurance and conditioning
training is rooted in the basics of takedowns, footwork defenses, and joint control. These are the first concepts drilled.
Ping's goal is to cover all facets of fighting, ranging
from striking, grappling, weapons and incorporating all the different martial systems so that any given art may be countered.
The main distinction between most martial artist and the skilled in the Ping way, is that there are no illegal holds. There
is so much more to art than strikes, arm bars and chokes in real combat. We as martial artist should understand the science
of body manipulation. Ankle locks, knee locks, hip cranks, forearm locks, wrist traps, and neck cranks are all incorporated
into the training. It doesn't matter if you are on top, bottom, sideways, or on your feet. Once you understand the physiology
behind any Art, you can apply it from any position, in a most crippling manner.
In its ultimate form, PST is as much a psychological
battle as it is a physical one. You train to bait your opponent and continuously control him. You train to trap your opponent
from any position. You train to maintain control by flowing into what they themselves are pulling or pushing themselves into
from beginning to end.
We as martial artist should always be on the look
out for what works and what does not, this is the only true way of the arts. This is why I have gone on to explore such
arts as Kali, Goju Ryu, Kobudo, Ju Jitsu, Silat and Shotokan to bring back what really works. "Ping Shen Tao is not better
than any other Art, it’s just the best of many Arts combined."
For more on the art click here!
"You may never know what results come from your action. But if you
do nothing, there will be no result."
– Mahatma
Gandhi
Mohandas Gandhi, known by the honorific title Mahatma ("great souled"), embodied the power
of nonviolent protest to achieve great change. He was born in India in 1896 and awoke to discrimination while practicing law
in South Africa . He brought the struggle for equality back to India , rousing the population to demand self-rule from the
British. He was profoundly religious, spending one day a week in complete silence; he was also a devout vegetarian. He was
assassinated in 1948.
|
| The journey of 1000 miles starts with the frist step! |
My Family's Martial Crest (EXPLAINED)
-
The two hands we sometimes call "peace over power"
, (the closed fist for the power, and the open to symbolize peace.)
-
The open top hand over the fist is for the peaceful
side of the art. We show the hand wraped down to show respect for those who have trained before us and for the restraint we
take in using the art.
-
The
closed fist is to symbolize the power of the arts, and the hidden secrets within all styles of combat.
-
The three triangles are for the unity of mind, body,
and sprit.
- The tigers open mouth is to symbolize the passing on of the arts
and the true history of our's.
- The Ying and Yang is symbolic of the cycle of life, as well as
the soft and hard in the arts.
- The positive
side of the ying and yang symbol is thought of as the rising sun and is a reminder that everyday is a gift; use it to live
well and to help others.
- The negitive
side of the yin and yang symbol is thought of as the past, it is where our arts have came from and is a reminder
not to forget our history and lineage.
"Success is to be measured not so much by the position that was reached in life as by the obstacles which
one has overcome while trying to succeed".
"Now and again, it is necessary to seclude yourself among deep mountains and hidden valleys to
restore your link to the source of life."
Morihei Ueshiba
Rank Work Sheets
This booklet is and
over view of ranking requirements in my family art "Ping Shen Tao". It is given to you only through trust that you will never
use it to hurt an innocent being. I will try to teach you as long as you stick to this rule.
"Ping Shen Tao" defines the mass of education
that I have put to system. It is the total sum of Martial Arts taught at the Pence Self-Defense Institute Founded in Burlington
MA. " To set the record straight, I have NOT invented a new style". On the contrary I hope to free our students from "the
mold" and let them see the best of each of the arts l have had the chance to study." I expect the art will keep growing as
long as my students and I do.
The purpose of this organization is to provide
curriculum and testing standards. In the curriculum I have brought back some of the original Okinawain Kobudo sets including
Tonfa, Sai, Kama, Bo, Jo, and Katana. The Kali has added much in the ability to defend against knife attackers as well as
teaching to control the knife as a weapon in our hands. I have added a set of techniques and kata to the Kempo material, designed
to give the student the ability to jump from just doing techniques to applying concepts ,this is most important. I have systematized
all of the schools requirements for all ranks and will adhere to these standards in all promotions.
All past ranking requirements must also have improved
in timing, power, speed, and focus to be tested for the next rank.
The following text may read as such, just
text, but know that the information that unfolds through this training can save your life or the life of another. Never forget
man can fail many times, but he isn't a failure until he begins to blame somebody else.
"PING SHEN TAO" = "PEACEFUL SPIRIT WAY"
Practice much and live well.
Yours in the Arts, Kevin Pence Sr. Sensei
White Belt
Blocking System: 8 Point Blocks.
Hand Strikes: ( 1st ten of D-Set ) Front, Thrust, Back, Hammer, Sword, Palm
strikes.
Kicks & Drills: Front instep, Front ball, Side Thrust, Back kick.
Footwork: Horse stance, half moon stance. cross over.
Ju jitsu Techniques: 1 Front choke, 1 Rear choke, 1 Lapel grab, & 1 Wrist grab.
Kempo Techniques : 1 & 2 ( basic ).
Shaolin
D.M. (Shaolin Defense Manouvers): 2 & 3 Combination ( basic ).
Forms: 1 Pinan, - Nafachin 1.2.3.
Yellow Belt
Blocking System: 8 Point with Strikes.
Hand Strikes: ( 2nd. ten of D-Set ) Elbows, Inverted Strikes and Pokes.
Kicks and Drills: Roundhouse & Crescent & Reverse Crescent.
Footwork: Movements of side horse stance, Forward stance, Slap out drops.
Jujitsu Techniques: 2 Front choke, 2 Rear choke, 2 Lapel grab & 2 Wrist
grab.
Kempo Techniques: 3 & 4 ( basic ).
Weapon Techniques: # 1 Overhead club, #2 Side club.
Shaolin D.M. Combination: 6 & 7 ( basic ).
Forms: 2 Pinan - Nafachin 4. 5. 6.
Orange
Belt
Blocking System: 8 Point with simultaneous Strikes.
Hand Strikes: lead hand( mid to short range ) strikes with Boxing foot work.
Kicks: Shuffle side kick . Stepping Stool.
Footwork: Shuffle, pivot step, 45 Deg. work. Boxing work
Jujitsu Techniques: Front & Rear Bear hug, Single Wrist & Shirt
grab Technique.
Kempo Technique: 5 & 6. ( basic ).
Weapon Techniques: 3 & 4 club.
Shaolin D.M.: 4 & 5 Combination ( basic ).
Forms: 1 Kata - Nafachin 7. 8.
Purple
Belt
Blocking System: 16 Point way, Pass block ( a.k.a. palm to sword)
Hand Strikes: Palms; up, down, side, inverted
Kicks: cross over side, spinning back kick balance multi forward.
Footwork: 180 spin, Cross over
Jiu-jitsu Techniques: one hand wrist
grabs cross & strait
Kempo Technique: 7 & 8
Weapon Techniques: 5 & 6 disarming Club
Shaolin D.M. Combination: 12 & 18, advanced for 2 & 3
Forms: 2 Kata, Nafachin 1 - 8 Refined
Blue Belt
Blocking System 8 Point open hand, Fortress blocking
Hand Strikes: Elbow sets
Kicks: Hook kick,shuffling hook, Multi-balance kicks on the angles ( i.e. clock kicks)
Ju jitsu Techniques: Front & Rear Bear hugs.
Kempo Technique: 1-8 with Full endings
Weapon Techniques: 3 x straight in knife techniques.
Footwork: Cat
to twist, hook foot walking drills.
5 Animal Kung Fu 3
Tiger techniques.
Shaolin D.M. Combination, 8 & 9, advanced for 5 & 6
Forms: 3 Pinan - Hachi Ten Do
Blue Belt with Green
Stripe
Blocking System: 8
Point w/ open hand & Strikes,
Hand Strikes: Chain punches
Kicks: Jumping kicks ( Front instep, Front ball, Side Thrust ).
Footwork: Monkey & turtle rolls.
Jujitsu Techniques: Front and Side Head lock Technique.
Kempo Technique: 1-8 with Full endings refined.
Weapon Techniques: 7 & 8 Club
5 Animal Kung Fu: 3 Crane techniques.
Shaolin D.M. : Combination, 13a, 13b & 14.
Forms: 4 Pinan, Monkey Dance Shodan
Green Belt
Blocking System: Ju Ten Do: "10 point way"
Hand Strikes: finger strike work, dragon plays w / water
Kicks: Spinning Crescent & Reverse Cresecent
Foot work: Tiger tail walking
Jujitsu Techniques: tackle and take down technique - elbow joint lock.
Kempo Technique: 1- 8 with Full endings .
Weapon Techniques: 3 x slashing knife technique and Club 9,10.
5 Animal Kung Fu: 3 Snake techniques.
Shaolin D.M. : Combinations 1, 10, & 13c .
Forms: 5 Pinan & Ju Ten Do, Hachi Do Chi Kung
Green
Belt Brown Stripe
Blocking System: Ju Ten Do: "10 point way" Form___
Hand Strikes: 1 and 3 inch.
Kicks: Dragon Pole kicks and Snake kicks.
Foot Work: Zig-Zag
Jujitsu Techniques: Hammer Lock and Z-Lock.Technique.
Kempo Technique: 1- 8 with Full endings and form, Refined.
Weapon Techniques: 3 x Downward knife technique.
5 Animal Kung Fu: 3 Leopard techniques.
Shaolin D.M. Combinations 26,16
Forms: 3 Kata,12 / 5 pc. Arnis,Sho-Hanchi and Kempo Atemi Waza.
Brown Belt 3rd Deg.
Blocking System: Trapping Set
Hand Strikes: Iron palm training
Kicks: Jumping Crescent & Reverse Crescent .
Foot Work- Hook foot walking drills.
Jujitsu Techniques: Hair grabs and all floor arm bar Technique.
Kempo Technique: 1- 8 with Full endings and form, Refined.
Weapon Techniques: clubs 11, 12, 13.
5 Animal Kung Fu: 3 Dragon techniques.
Floor work: Hand-Knee attacks, Work Cranks, Presses, and Bends
Shaolin D.M.: Combinations 15, 20, & 30 A .
Brown
Belt 2nd Deg.
Blocking System: Trapping Set with Boxing foot work
Hand Strikes:Thumb strikes
Foot Work: leg climbs
Kicks: Hook to Round House combo Inverted Stomps & Presses
Floor work Leg scoops and hugs work
Weapon Techniques: Gun front,( low and high ), side and back inside outside two handed.
Jujitsu Techniques: Hammer Lock and Z-Lock.Technique.
5 Animal Kung Fu 15 techniques. refined.
S.D.M. Combinations 17,11, 19, 30B and 30C
Form: 5 Kata.
Brown Belt 1st Deg.
Blocking System: Perfected Trapping Set with Boxing Foot Work
Shaolin DM: 26 Total SDM "lefty" Combination
Kicks: Sweeps & inside Reaps
Floor work :Tiger work "Hip flips" Knee to Knee
Weapon Techniques: Gun front( low and high ), side and back inside outside two handed.
Jujitsu Techniques: Multi-attacker Techniques.
5 Animal Kung Fu:3 x all-DRagon, Tiger, Leopard,Crane & Snake technique.
Forms: Yanni kawa No-Kon-Sho( Bo Staff )
History: Family Tree 1st generation to 10th USA Mitose to yourself.
Black Belt, 1st Degree (Shodan)
Blocking System: Hachi Ten Do : "8 point way 1.----- 2.----- 3.- --- 4......Form....... Ju Ten Do: "10 point
way" 1.——.Form——
Hand Strikes: D- Set: "basic hand set" 20pc. Elbows 1 & 3 inch. punchs
Kicks: Front, Side, Back,Hook, Round house, Sweeps & Reaps, Pole kicks and Crescent,Reverse and clock
kicks.
Foot work: Half moon", "Shuffle", "Cross-over", "Pivoit", "Spin-around", "Boxing" , "hachi do" , "Zig-zag"
, "get-out"
Ju jitsu Techniques: Front & Rear Bear hug, Head lock ,Wrist & single Chokes & Lapel Techniques,
Multi-attacker Tech.
Hair grabs and all floor arm bar, Hammer Lock and Z-Lock, tackle and take down technique - elbow joint lock.
Kempo techniques: " Atemi Waza 1-8 and Form - (N.E.S.W. Boxing)
Weapon Defense Techniques: 1-10 Knife cross hands and Feeding, 1-10 Club, 1-6 Gun
Five Animal Kung Fu: "Shaolin Wu Hsing Ch’uan Fa" Three of all 5 Animals
Floor work Tiger work "Hip flips" Knee to Knee, Leg scoops, and hugs, Hand-Knee attacks, Cranks, Presses,
and bends
S.D.M.: 26 S.D.M. Combination. 1 thru 20( 13 ABC ) + 26 + 30 A.B.C, Forms: Nafachin 1 - 8, Pinan 1-5, Kata
1-5, Statue of the Crane
Weapons Form: Yanni kawa No-Kon-Sho( Bo Staff ) Kali: 5.pc - 12. pc (M. A.) - 6 / 6 / 6 drills **
History: Family Tree 1st generation to 10th U.S. Kempo ( Prof. Mitose to yourself ).
"It's not who's right, but who's left." -- E.K.P.
 Henka & Tekiyo process
"It 's about the Felling"
We should all be cautious when entering into Kata training that you guard against becoming a "pack
mule" or collector of techniques. As you study Kata you must also study Henka (variations) and then Tekiyo (practical applications)
. We do this Henka & Tekiyo process of training to discover the feeling of our bodies motion, not just to memorize set
forms and movements.
You must grow to understand that the feelings inside the techniques are more important then the
techniques alone. All of us are different in size, weight, height, age , flexibility but, we all are so much the same in that
our blood flow, breath, and basic structure is human.
The empty memorizing of forms is lifeless and leads you away from the spirit of our Art. Don't
fall into this trap it has sized to many good martial artist already.
kp sensei
S. D. M.'s
A.K.A. COMBOS
1. # 6 BLOCK AS L FOOT STEPS FORWARD TO OUTSIDE OF ATTACKER
AS LEFT HAND WRAPS HIS RIGHT ARM FOR JOINT LOCK. R HAND FOLLOWS CIRCLE WITH DOWNWARD TIGER RAKE ACROSS ATTACKERS FACE ENDING
AT ATTACKERS RIGHT SHOULDER SPRINGING BACK TO CRANE HEAD STRIKE W/ R WRIST R HAND THEN FLOWS BACK TO R RIBS TO TIGERS MOUTH
STRIKE TO ATTACKERS WIND PIPE SQUEEZE WIND PIPE AS R FOOT STEPS BEHIND ATTACKERS R FOOT GOING TO SIDE HORSE STANCE PUSH DOWNWARD
FELLING ATTACKER ON HIS BACK PULL R HAND BACK TO RIBS RIPPING THROAT CLOSE FIST AS DOING SO PROCEED W/ R FRONT PUNCH TO R
CHECK AND LEFT DOWNWARD SWORD TO STERNUM AS YOU RELEASE ATTACKERS R ARM FROM JOINT LOCK. STEP BACK W/ R FOOT ON 90 DEGREE
ANGLE OFF ATTACKERS R EAR DRAW TO FLAT CAT .... ON GUARD.
2. L # 2 SWORD BLOCK TO RADIAL NERVE OF ATTACKERS R WRIST
SIMULTANEOUSLY STRIKING PHILTRUM W/ R BACK 2 KNUCKLE PUNCH SHUFFLE IN R FOOT GOING FORWARD TO REVERSE ELBOW DOWNWARD TO ATTACKERS
STERNUM DRIVING ATTACKERS WEIGHT TO HIS HEELS R SWORD HAND PROCEEDS OVER ATTACKERS HEAD FINDING THE BACK CREASE OF HIS L KNEE
JOINT SWEEPING MOTION CONTINUES R HAND FLOWS TO ATTACKERS ANKLE ENDING W/ CHIN-NA TRAP AS L . HAND CEASES THE TOP OF SAME
ANKLE THROW LEG TO OUTSIDE OF R KNEE R DOWNWARD SWORD TO GROIN L CROSS SWORD STRIKES INSIDE R THIGH JUST BELOW GROIN STEP
BACK W/ R FOOT DRAW TO FLAT CAT W/ L ...ON GUARD.
3. #4 PALM BLOCK TO OUTSIDE OF ATTACKERS R ARM R THRUST
PUNCH STRIKES ATTACKERS R RIB CAGE LOW L HAND THEN PRESSES ATTACKERS R HAND INTO HIS BODY BELOW HIS ELBOW JOINT R HAND ROLLS
SIMULTANEOUSLY TO ROLLING THUNDER STRIKE TO R TEMPLE SAME R HAND THEN GRABS BEHIND ATTACKERS NECK W/ EAGLES TALON L SHOULDER
SPINNING ATTACKER COUNTER CLOCK WISE TO PRACTITIONER STRIKE W/ DOWNWARD THRUST PUNCH TO TRIPLE WARMER 17 AS FEET PIVOT AND
SCREW INTO GROUND FELLING ATTACKER ON S EAST ANGLE STEP BACK R FOOT TO FORWARD STANCE..... ON GUARD
4. # 4 TIGER BLOCK PASSES TO #5 TIGER BLOCK COMES UP
AND AROUND CLOCK-WISE MOTION BLOCKING UNDER ATTACKERS R PUNCH THROW ATTACKERS HAND AWAY AS THE CIRCLE FINISHES AT 9 O’CLOCK
R FOOT STEPS BACK TO CENTER LINE AS BLOCK OCCURS R HAND FROM 9 O’CLOCK POSITION CONTINUES BACK TO 12 O’CLOCK TO
DOWNWARD TIGER PALM HEEL RAKE TO BRIDGE OF NOSE L HAND MIMICS R ON SAME CENTER LINE TO STERNUM AS R FRONT BALL KICK STRIKES
INSIDE L THIGH FELLING ATTACKER TO HIS BACK R FOOT LANDS IN TWIST STANCE IN FRONT OF LEFT TO TWIST STANCE DRAW BOTH HANDS
BACK TO SHOULDERS AS YOU LOWER STANCE PREPARING TO LEAP FORWARD OVER ATTACKER IN HORSE STANCE BOTH HANDS SHOOT FORWARD AS
YOU LEAP PROJECTING YOUR BODY FOR LONGER JUMP LANDING OVER OPPONENT PROCEED TO 2 DOWNWARD PALM HEEL TIGER RAKES TO BRIDGE
OF FOREHEAD ROLL HANDS TO DOUBLE TRIGGER PUNCHES RISE UP TO THE CRANE R FOOT UP SCUFFING ATTACKERS CHIN W/ R FRONT HEEL KICK
PULL BACK TO CRANE DOWNWARD HEEL STOMP TO STERNUM R FOOT THEN CROSSES OVER L L FOOT STEPS WEST LEAN DRAGON STANCE R LEG STRAIGHT
LEFT KNEE BENT LOW AS R 7 TIGER BLOCK DROPS TO LINE OF R LEG #6 TIGER BLOCK RISES BOTH PALMS FACE TOWARDS ATTACKER. .... ON
GUARD5. FORTRESS BLOCK L SIDE AS L FOOT STEPS BACK TO SIDE HORSE L HAND SEIZES ATTACKERS WRIST DRAWING IT DOWNWARD TOWARDS
BELT LINE AS R BACK FIST STRIKES R CHEEK BONE OF ATTACKER DRIVING R SIDE HEEL KICK STRIKES ATTACKERS R RIB CAGE AS R HAND
STRIKES DOWNWARD ON RADIAL NERVE OF ATTACKERS R WRIST R FOOT CROSSES OVER L LEFT FOOT STEPS BACK ON SOUTH ANGLE.... ON GUARD
6. FORTRESS BLOCK ON R SIDE AS PRACTITIONER STEPS BACK
W/ R FOOT CEASING ATTACKERS R WRIST W/R DRAGON FOOT DELIVER L PALM HEEL TO R CHEEK BONE LOW R BALL KICK TO ATTACKERS R KNEE
RELEASE DRAGON FOOT WHILE IN CRANE DELIVER ROLLING THUNDER TO R TEMPLE DRAW R HAND ACROSS BODY DELIVER DOWNWARD SHOOTO TO
BACK OF ATTACKERS NECK AS R SIDE STOMP STRIKES BACK OF R KNEE R FOOT CROSSES IN FRONT OF LEFT ON NORTH WEST ANGLE L FOOT STEPS
OUT ....ON GUARD
7. #4 PALM BLOCK TO 1 RIDGE UNDER ATTACKERS ARM AS L
FOOT STEPS TO NW ANGLE R HAND COMES DOWN DELIVERS CROSS SHOTO TO R RIBS AS L HAND FLOWS THROUGH #2 BLOCK MOTION UP R FOOT
RISES HIGHER THAN PRACTITIONERS L KNEE AND STOMPS ON A DOWNWARD 45 DEGREE ANGLE TO ATTACKERS R KNEE (AS L FOOT PIVOTS ON A
SW ANGLE) R FOOT CROSSES IN FRONT OF L ON SW ANGLE L FOOT STEPS OUT....ON GUARD
8. #2 RIDGE HAND BLOCK AS R HAND TRAPS DOWN ON TOP OF
L BICEPS HOLDING ATTACKERS WRIST AS PRACTITIONER STEPS BACK W/ R FOOT TO CENTER LINE ON BALL OF FOOT SPRING BALL KICK TO SOLAR
PLEXUS RELEASE WRIST R BACK FIST L DRIVING PALM HEEL R BALL KICK TO ATTACKERS SOLAR PLEXUS AS PRACTITIONER HOLD POSTURE OF
LOOMING DRAGON HIDDEN TIGER....ON GUARD
9. PRACTITIONER STEPS BACK ON CENTER LINE AS ONE RIDGE
BLOCK AND L HAND TRAPS DOWN ON BICEPS HOLDING ATTACKERS WRIST STRIKE W/ R FRONT BALL KICK TO R RIB CAGE WHILE HOLDING IN THE
CRANE DRAW ATTACKERS WRIST ACROSS BODY TO L SHOULDER PERFORM DOWNWARD SIDE STOMP TO KNEE AS R BACK FIST STRIKES ATTACKERS
R TEMPLE R FOOT CROSSES IN FRONT OF LEFT L FOOT STEPS BACK ON S ANGLE....ON GUARD
10. L FOOT STEPS IN AS #6 BLOCK RISES AND WRAPS ATTACKERS
ARM JOINT LOCKING ELBOW R HAND STRIKES W/ PALM HEEL UNDER CHIN SCUFFING CONTINUING THE CIRCLE W/ THE R HAND STRIKE ATTACKERS
GROIN W/ RIDGE HAND R HAND THEN STRIKES UNDER CHIN W/UPWARD PALM FINGERS UPHOLDING PALM FINGERS PINNED OUTWARD BY ATTACKERS
L CHEEK HOLD AND PUSH DOWNWARD W/ R HAND AS R FOOT STEPS BEHIND FIND HORSE STANCE ATTACKERS FELLED TO BACK LOCK STILL INTACT
L ARM UNDER ATTACKERS R TRICEPS PERFORM 2 DOWNWARD SWORD HANDS TO STERNUM RELEASE JOINT LOCK UNWRAPPING ARM STRIKE DOWNWARD
W/ L SWORD TO ATTACKERS R RIBS AS R HAND CIRCLES FOR LAST SWORD HAND OVER L STRIKING SAME RIB CAGE PRACTITIONER STEPS BACK
W/ R FOOT S ANGLE AND DRAWS TO FLAT CAT W/L....ON GUARD
11. L #4 PALM BLOCK AS PRACTITIONER STEPS SLIGHTLY NW
W/ L FOOT R TRIGGER PUNCH IS DELIVERED TO R TEMPLE FOLLOWED BY R ELBOW TO FRONT OF R RIB CAGE AS L HAND SWEEPS BACK OF ATTACKERS
R KNEE AS ATTACKER FALLS R HAND GOES OVER RISING R LEG AND WRAPS ATTACKERS LEG UNDER R ARM PIT L HAND PRESSES #4 BLOCK TO
OUTSIDE OF ATTACKERS R KNEE SHUFFLING IN KNEEL ON GROIN W/PRACTITIONERS R KNEE PRACTITIONER STANDS BACK UP AND STANDS OVER
BODY W/ L FOOT ON NE ANGLE R FOOT STEPS BACK ON NW ANGLE AS PRACTITIONER ROTATES CLOCKWISE HE KNEELS DOWN ON COCCYX BONE W/
R KNEE ARCHING HIMSELF BACK TO DISLOCATE ATTACKERS R HIP DROP LEG FROM UNDERNEATH R ARM PIT STEPPING OFF W/ R FOOT HOOK KICK
ATTACKERS L EAR W/ HEEL R FOOT FINISHES AT NE ANGLE KNEELING THRUST IS PERFORMED W/R THRUST PUNCH TO ATTACKERS BACK OF RIB
CAGE SAME SPOT IS THE SCUFF HEEL KICKED W/ R FOOT DELIVER DOWNWARD AX KICK TO HIS L RIBS ON NW ANGLE L FOOT THEN STEPS OFF
AND OVER ATTACKERS BODY AS L HEEL STRIKES HOOK KICK FASHION TO ATTACKERS R EAR CONTINUE HIP KICK MOTION AROUND TO SW ANGLE
DRAW R FOOT BACK TO FULL CAT..ON GUARD
12. R #3 PALM TO L #5 SWORD AS PRACTITIONER STEPS BACK
ON R FOOT TO CENTER LINE L BALL KICK STRIKES SOLAR PLEA STEP DOWN FORWARD W/ L FOOT PIVOT CLOCKWISE LOOK OVER R SHOULDER WOUNDED
TIGER STANCE DELIVER R BACK HEEL KICK STEP AWAY R FOOT IN FRONT L FOOT STEPS TO S ANGLE SHOW TIGER GUARD CIRCLING PALM SWORD
STYLE (TIGER CLAWS)....ON GUARD
13. HOLDING BELT SHOULDER WIDTH W/BUCKLE ON L SIDE HANDS
FORM IN FRONT PUNCH POSITION PRACTITIONER STEPS IN W/L FOOT ON NW ANGLE AS L HAND MOVES ACROSS TO #4 BLOCK USING THE BELT
AS THE BLOCK DELIVER R ROLLING THUNDER STRIKE TO R TEMPLE LOOP BELT OVER ATTACKERS HEAD L HAND BACK PUNCHES ADAMS APPLE GLANCING
BLOW SEIZE ATTACKER BY CHOKING W/BELT PRACTITIONER STEPS R FOOT BEHIND L TO TWIST ROTATE HIPS 180 DG IT A TSOH THROW OVER
L LEG RELEASE ATTACKERS NECK BY LETTING GO W/L HAND PULL BELT BACK BEHIND R SIDE OF YOUR BODY STRIKE DOWNWARD (FIGURE 8 MOTION
)W/BELT BUCKLE TO GROIN THEN FACE STEP BACK W/R FOOT ON SE ANGLE AS BELT CIRCLES DOWN AND AROUND TO L TIGERS MOUTH CATCH BELT
CLOSE L FIST PULL L FOOT OT FULL CAT STANCE....ON GUARD
13B. HOLDING BELT SHOULDER WIDTH W/BUCKLE ON L SIDE HANDS
FORM IN FRONT PUNCH POSITION PRACTITIONER STEPS IN R FOOT CENTER LINE N AS #3 BLOCK COMES ACROSS BLOCKING
INSIDE ATTACKERS R ARM STRIKE LOW W/L THRUST PUNCH HIGH W/R BACK PUNCH TO ATTACKERS R CHEEK L HAND THEN WINDS BEHIND ATTACKERS
NECK STEP L FOOT BEHIND R TWIST TURN COUNTER CLOCKWISE TO SE ANGLE TIATOSH THROW OVER R LEG CONTROLLING ATTACKER TO FALL HEAD
BETWEEN PRACTITIONERS LEGS PULL BELT FROM UNDERNEATH ATTACKERS NECK SNAPPING THE EYES W/ BLADE OF BELT RELEASE BELT W/ LEFT
HAND AND PULL BACK BEHIND R SIDE OF PRACTITIONERS BODY STRIKE DOWNWARD TO GROIN W/ BUCKLE STEP BACK R FOOT NW ANGLE STRIKE
FACE W/ BUCKLE SHUFFLE BACK NW ANGLE CIRCLING BACK CATCH BELT IN L TIGERS MOUTH CLOSE FIST HOLDING BELT DRAW TO FULL CAT L
FOOT ....ON GUARD
13C. STEP BACK W/R FOOT S CENTERLINE COME DOWNWARD OVER
TOP OF ATTACKERS R ARM DRAW L FOOT TO CAT LUNGE BACK STRIKING EYES W/ BLADE OF BELT LOOP BELT OVER HEAD STRIKING BACK OF NECK
PUSH L BACK 2 KNUCKLE PUNCH INTO AND UNDER ADAMS APPLE WHILE PULLING BACK R HAND TOWARDS RIBS (FISH ON THE LINE) DELIVER R
RISING KNEE STRIKE TO HEART STEP BACK W/R FOOT ON S CENTER LINE DRAGGING ATTACKER DOWN TO FLOOR ON SE ANGLE RELEASE W/ L HAND
UNLOCKING ATTACKERS NECK DRAW BELT BEHIND PRACTITIONERS R SIDE OF BODY STRIKE DOWNWARD IN CIRCULAR MOTION W/ BUCKLE TARGETING
R TEMPLE CIRCLE BELT AGAIN CATCHING IN TIGERS MOUTH L HAND CLOSE LEFT FIST OVER THE BELT WHILE STEPPING BACK ON NW ANGLE W/
R FOOT L FOOT DRAWS TO FULL CAT ...ON GUARD
13D. HOLDING BELT SHOULDER WIDTH W/BUCKLE ON L SIDE HANDS
FORM IN FRONT PUNCH POSITION PRACTITIONER STEPS ON NW ANGLE W/ L FOOT AS 4 BLOCK COMES ACROSS R HAND WRAPS UNDER THE WRIST
OF THE ATTACKER AS L FOREARM APPLIES PRESSURE BY ELBOW JOINT TRAPPING ATTACKERS ARM DISLOCATE ELBOW R FOOT THEN STEPS BEHIND
L TO TWIST STANCE ROTATE CLOCKWISE FACING SW ANGLE FELLING ATTACKER TO BACK RELEASE TRAP BY LETTING GO OF BELT W/ LEFT HAND
STRIKE DOWNWARD (FIGURE8) GROIN AND FACE JUMP LEFT FOOT UP STEPPING STOOL R FOOT HEEL STRIKES HEART WHILE R HAND CIRCLES BELT
DOWN TO R TEMPLE STEP BACK R FOOT E ANGLE WHILE CATCHING BELT IN TIGERS MOUTH CLOSED FIST DRAW L FOOT TO FULL CAT...ON GUARD
13E. HOLDING BELT SHOULDER WIDTH W/BULKED ON L SIDE HANDS
FORM IN FRONT PUNCH POSITION PRACTITIONER BLOCKS #3 AS L HAND WRAPS UNDER WRIST SEIZING SIMULTANEOUSLY STRIKING INSIDE OF
ATTACKERS R KNEE W/ CRESCENT KICK STEP DOWN BETWEEN LEGS STEP BEHIND R/L TO TWIST ROTATE COUNTER CLOCKWISE FELLING ATTACKER
HEAD LANDS ON NE ANGLE ARM STILL TRAPPED IN BELT KNEEL W/R KNEE BESIDE ATTACKER STRIKING RIBS ON THE WAY DOWN BUT SETTLING
ON FLOOR UNWRAP ATTACKERS R ARM AS R BACK FIST STRIKES R CHEEK L THRUST STRIKES CHEEK R THRUST STRIKES CHEEK FINISH W/ BLADE
STRIKE OF BELT OT EYES STAND BACK UP STEP BACK ON SW ANGLE W/R FOOT FULL CAT W/L FOOT AS DYNAMIC TENSION IS CREATED THROUGH
CIRCLING THE BELT... ON GUARD
14. PRACTITIONER DRAWS L FOOT UP TO CRANE POSITION WHILE
BLOCKING W/ #3 PALM TO INSIDE OF ATTACKERS R RADIAL NERVE SIMULTANEOUSLY COMING ACROSS W/ LEFT PALM TO COVER TORSO AREA (FINGERS
POINTED DOWN ON LEFT HAND) INSTEP KICK W/LEFT TO STEPPING STOOL KICK W/ R STRIKING JUST ABOVE BELT LINE LAND W/ R FOOT BACK
SPRINGING R FOOT BACK TO TARGET ATTACKERS CHIN LAND R FOOT BACK SWORD HAND CIRCLES....ON GUARD
15. #4 PALM BLOCKS OUTSIDE ATTACKERS R ARM AS #1 TO 5
RIDGE HAND BLOCK CONTINUES UNDER ATTACKERS ARM R FOOT STEPS OVER L NW ANGLE IN TWIST STANCE LOW LEFT CROSS SWORD STRIKES R
SIDE OF RIB CAGE.FOLLOWED BY A INVERTED R PALM STRIKE TO THE ATTACKERS R EAR . STEP AROUND ATTACKER W/ L FOOT COUNTER-CLOCKWISE
AS L WHIPPING RIDGE HAND STRIKES L SIDE OF NECK R INVERTED PALM STILL PRESSING AGAINST R EAR SEIZING THE HEAD BY TURNING L
WRIST UNDER CHIN LINE STEP BACK W/R FOOT AND SETTLE ATTACKERS BODY WEIGHT ON L THIGH ATTACKERS HEAD SHOULD BE ACROSS R SIDE
OF PRACTITIONERS BODY W/ R HAND PERFORM UPWARD TIGER RAKE TO FACE AND EYES CIRCLING R HAND BEHIND PRACTITIONER TO DOWNWARD
ELBOW TO L TEMPLE FOLLOW UP W/DOWNWARD HAMMER STRIKE TO HEART DROP ATTACKER BY STEPPING BACK W/ L FOOT ON NW ANGLE DRAW TO
FLAT CAT R FOOT FORWARD HAND CLOSED FIST...ON GUARD
16. SLIP FORWARD ON NW ANGLE AS #4 AND #3 PALM TRAP ATTACKERS
ARM DISLOCATING ELBOW L PALM AT BASE OF TRICEPS R PALM AT END OF RADIAL NERVE BOW KICK W/R FOOT AS YOU USE AN ARM BAR TO FORCE
ATTACKER ON A SE ANGLE TO THE FLOOR (TYPICALLY ON HIS HAND AND KNEES) STEP OVER BODY L FOOT CREATING A CRESCENT TO AX KICK
STRIKING TARGET OF THE L SIDE OF ATTACKERS NECK TWIST COUNTER CLOCKWISE TO DISLOCATE SHOULDER WHILE HAVING ARM BETWEEN PRACTITIONERS
LEGS. STEP OFF ATTACKER BY TURNING CLOCKWISE AND STEPPING OVER W/ R HOOK KICK MOTION TO A NE ANGLE PERFORMED KNEELING R THRUST
PUNCH DOWNWARD TO TARGET SPINE STEP BACK ON NE ANGLE W/ L FOOT PULL TO FLAT CAT W/ R...ON GUARD
17. DRAW BACK TO L FLAT CAT AS #2 TIGER CLAW BLOCKS INSIDE
ATTACKERS R ARM LUNGE IN STRIKING FACE W/ L INVERTED TIGER CLAW AND R DOWNWARD TIGER CLAW TO GROIN RI[P GROIN
OFF AS L HAND CIRCLES OVER AND UNDER ATTACKERS R ARM SEIZING AT THE ELBOW JOINT R INVERTED TIGER PALM STRIKES L TEMPLE AND
STAYS ON ATTACKERS HEAD AS L FOOT STEPS N COUNTER CLOCKWISE AND L FOOT STEPS N TURNING COUNTER
CLOCKWISE TO HORSE STANCE (TIGER HUGS THE MOON) (AT HIGHER LEVELS THIS MAY BE DONE AS A JUMP) HAVING FELLED
ATTACKER TO HIS BACK STRIKE LOW TO R RIBS W/ R THRUST PUNCH UNWRAP ARM STRIKE L THRUST TO SAME RIBS FOLLOW W/ R SHOOTING SPEAR
STRIKE TO TRACHEA W/ R FOOT STEP BACK TOWARDS W DRAW L FOOT TO CAT .....ON GUARD
18. AS L #8 HOOKING CRANE HAND BLOCK PASSES IN FRONT
OF RISES #5 CRANE MOTION PRACTITIONER MOVES R FOOT ON E ANGLE LIFTING L FOOT TO INSTEP CRANE POSITION DELIVERING INSTEP KICK
UNDER ATTACKERS GROIN LANDING BETWEEN ATTACKERS LEG DELIVER L INVERTED RIDGE TO TRIPLE WARMER 17 L HAND THEN GRABS AROUND
BACK OF NECK TIGERS MOUTH CROSS SWORD TO THROAT PULLING DOWNWARD W/L HAND TO JUMPING STEPPING STOOL KNEES R THEN L KNEE STICKING
ADAMS APPLE R ARM DROPS TO DELIVER DOWNWARD ELBOW STRIKING BACK OF NECK R HAND THEN DROPS TO #7 BLOCK MOTION REVERSE HAMMER
STRIKES BEHIND L EAR PRACTITIONER THEN JUMPS BACK ON R FOOT LIFTING L ON E ANGLE CHANGING CRANE GUARD TO
R HAND #5 BLOCK MOTION L HAND # 8 MOTION SWORD HAND INSTEP KICK W/L STRIKING ATTACKERS FACE RECOILING FOOT BACK TO CRANE POSITION
.....ON GUARD
19. #4 PALM BLOCKS ON OUTSIDE OF ATTACKERS R ARM AS R
HAND DISAPPEARS BEHIND PRACTITIONERS BODY STEPPING BACK W/R FOOT DRAWING TO L CRANE DELIVER R BALL KICK TO FLOATER RIBS STEPPING
DOWN TO OUTSIDE OF ATTACKER DELIVER DOWNWARD R SWORD TO ATTACKERS R COLLAR BONE AS L INVERTED SWORD STRIKES
GROIN R HAND COCKS SLIGHTLY DELIVERING R SHOOTO CROSS SHOOTO TO ATTACKERS R SIDE OF NECK L HAND SHOOTS BETWEEN
LEGS R HAND GRABS BEHIND NECK THROW ATTACKER OVER ON SE ANGLE WHILE CRADLING BACK OF NECK DELIVER L UPWARD RAKING TIGER TO
FACE RELEASE BACK OF NECK W/R HAND DELIVER DOWNWARD HAND TO STERNUM R FOOT STEPS BACK ON NW ANGLE ...ON GUARD
20. DELIVER #2 OUTWARD SWORD HAND TO INSIDE OF ATTACKERS
R RADIAL NERVE WHILE SIMULTANEOUSLY STRIKING R CLAVICLE W/ R DRIVING SWORD HAND CIRCLE R HAND COUNTERCLOCKWISE AROUND TO ANOTHER
DOWNWARD SWORD TO L CLAVICLE AS ATTACKERS R ARM IS RAPPED OVER AND UNDER (6 TO 2 SWORD HAND) W/PRACTITIONER L ARM WHILE SWEEPING
BEHIND ATTACKERS L LEG IN TIATOSH HAWK AFTER FELLING ATTACKER DELIVER R DOWNWARD SWORD TO STERNUM HIGH UNWRAP ARM STEP BACK
W/ R FOOT ON S ANGLE FLAT CAT L FOOT...ON GUARD
21. #6 BLOCK RISES UNDER ATTACKERS ARM AND SEIZES ATTACKERS WRIST AS R VERTICAL
LEOPARD PAW STRIKES UNDERNEATH ATTACKERS R ARM PIT R FOOT STEPS COUNTER CLOCKWISE UNDERNEATH ATTACKERS ARM L FOOT STEPS BACK
UNDERNEATH ARM SAME DIRECTION ENDING IN SHORT HORSE STANCE DRAW ATTACKERS WRIST TO YOUR L HIP AS YOUR R HAMMER BREAKS DOWN
JUST ABOVE THE TIP OF ELBOW DELIVER INVERTED L STOMP TO BACK OF ATTACKERS R KNEE STEPPING DOWN IN L OVER R TWIST STANCE DELIVER
CROSS HAMMER STRIKE TO TW 17 CREATE CLOCKWISE SPINNING MOTION W/ BODY TO R REVERSE CRESCENT TO AX KICK TARGETING ATTACKERS
NECK R FOOT STEPS BACK ON W ANGLE DRAWING L FOOT TO FULL CAT ...ON GUARD.
22. #4 PALM TO RISING #6 SWORD BLOCK FORCINGATTACKERS ARM UP AND BACK STEP IN L
FOOT TO OUTSIDE ATTACKERS R LEG DELIVERING R SNAKE HAND TO TRACHEA WHILE COCKING L SWORD ACROSS BODY TO PRACTITIONERS R SHOULDER
L BACK OF HAND STRIKES L CHEEK OF ATTACKER WHILE L FOOT PERFORMS STIFF LEG CRESCENT KICK MOTION ON E ANGLE FELLING ATTACKER
TO THE W ON HIS BACK PRACTITIONER HOLDS BALANCE ON R FOOT WHILE ATTACKER FALLS THEN PROCEED TO JUMP ON NW ANGLE TO L FOOT
DELIVERING DOWNWARD HEEL R HEEL KICK TO RIB CAGE TURNING THE TOES TO THE NOSE COUNTER CLOCKWISE AS PENETRATION IS MADE PRACTITIONER
THEN STEPS BACK W/R FOOT ON SE ANGLE DRAWING L FOOT TO FULL CAT...ON GUARD.
23. #4 SWORD BLOCK STRIKES TO THE OUTSIDE
OF ATTACKERS R ULNA AS #3 SWORD HAND STRIKES RADIAL TRAPPING ATTACKERS WRIST STEPPING BACK W/ R FOOT TO S ANGLE DRAWING WRIST
TO PRACTITIONERS R RIBS DELIVER R SWORD HAND TO STERNUM L CROSS SWORD HAND TO R RIBS BOTH HANDS CIRCLE DOWN AND AROUND BODY
L INVERTED PALM STRIKES T.W. 17 AS R EAGLES TALON SEIZES WIND PIPE R LEG STEPS BEHIND R LEG OF ATTACKER SWEEPING AND FELLING
WHILE PUSHING DOWNWARD BEHIND EAR W/L INVERTED PALM TO THE FLOOR ANGLE WHILE RIPPING EAGLES TALON BACK TO R RIBS CLOSE FIST
STEP BACK ON S ANGLE W/R FOOT DRAW TO FULL CAT W/L AS #3 /#2 EAGLES TALON CIRCLE...ON GUARD.
24. #7 JUTENDO BLOCK
DOWNWARD ON TOP OF ATTACKERS R WRIST STEPPING BACK ON S ANGLE FLAT CAT DRAWS W/L LUNGING BACK IN OVER THE TOP OF ARM STRIKE
CROSS SWORDS ON BOTH SIDES OF NECK LUNGING BACK ON S ANGLE AS TWIN OUTWARD TIGER CLAWS STRIKE EYELIDS LUNGING BACK IN TIGERS
MOUTHS STRIKE THUMBS IN EYES GAUGING FROM INSIDE TO OUTSIDE STEP BACK W/L FOOT S ANGLE #4 TO #1 CIRCLING TIGERS MOUTHS AS
R FOOT DRAWS TO FULL CAT...ON GUARD.
25. #4 DOWNWARD SLAPPING HAND PUSHES ATTACKERS R ARM ACROSS BODY SHOOTING R SNAKE
HAND OVER THE TOP OF L ARM CROSS SWORD W/L TO THROAT AS R HAND DRAWS BACK TO RIBS PALM UP DELIVER R DRIVING PALM HAND TO ATTACKERS
R CHEEK WHILE DRAWING L HAND TO L RIBS DELIVER INVERTED L PALM TO CHEEK SPINNING R HOOK KICK 360 DEGREES STRIKES R SIDE OF
NECK LANDING W/L FOOT FORWARD R FOOT ON S ANGLE...ON GUARD .
26. #6 UPWARD AND FORWARD BLOCKS UNDER ATTACKERS R ARM AS R SNAKE HAND STRIKES UNDER
ARM PIT PRACTITIONER JUMPS UNDER ATTACKERS R ARM BY STEPPING R FOOT FORWARD NW ANGLE L FOOT BACK N ANGLE AS L ELBOW STRIKES
A GLANCING BLOW TO ATTACKERS FRONT OF R RIB CAGE R TIGER CLAW GRABS GROIN AND RIPS BACK AS L SWORD HAND STRIKES BEHIND
ATTACKERS R KNEE FELLING ATTACKER TO BACK PRESS LEG TO OUTSIDE OF PRACTITIONERS L THIGH HOLDING W/L OUTWARD SWORD ON INSIDE
OF ATTACKERS R ANKLE DELIVER DOWNWARD R SWORD HAND TO CENTER LINE OF GROIN L LEG STEPS BACK ON SW ANGLE...ON GUARD .
27. #4 PALM BLOCK REDIRECTS ATTACKERS R ARM BY STRIKING OUTSIDE ULNA STEPPING BACK TO
R FOOT TO FULL CAT UP TO CRANE DELIVER L BALL KICK TO R RIB CAGE STEPPING DOWN BESIDE ATTACKERS R LEG DELIVER R DRIVING SWORD
FOLLOWED BY L DRIVING SWORD BOTH STRIKING R CHEEK BONE OF ATTACKER SPIN CLOCK WISE ON L BALL OF FOOT DELIVER R DRIVING REVERSE
ELBOW ON R BALL OF FOOT STEP AROUND ON NW ANGLE TWISTING BODY TO FACE SE ANGLE DELIVER L DRIVING DRAGON PALM TO CENTER LINE
OF SPINE WHILE SHOOTING R PALM ON A NW ANGLE CREATING DYNAMIC TENSION ...ON GUARD .
28. #9 JUTENDO BLOCK AS R FOOT STEPS ON NW ANGLE UNDERNEATH ARM DELIVER L HOOFK KICK
TO STERNUM( PUSHING ATTACKERS WEIGHT TO HIS HEELS BY DOING SO) W/R LEG IRON BROOM SWEEP BACK THROUGH ATTACKERS R LEG TO A
SE ANGLE
FELLING ATTACKER DELIVER R BALL KICK TO R RIB CAGE STEP BACK ON SE ANGLE DRAW FULL CAT W/ L ...ON GUARD .
29.
#4 PALM BLOCK TO THE OUTSIDE R FOOT CROSSES OVER L TWIST STANCE AS R CRANE HAND STRIKES UNDER JAW LINE OF ATTACKERS R SIDE
R HAND THEN GRABS W/ EAGLES TALON AROUND TO L SHOULDER (DELTOID MUSCLE) L FOOT STEPS AROUND 180 DEG. CLOCKWISE AS L ELBOW
DROPS DOWN ON TOP OF L SHOULDER L SWORD DROPS FROM THERE AS PRACTITIONER STEPS BACK W/R FOOT ON NW ANGLE FELLING ATTACKER
TO BACK LANDING ON L KNEE BESIDE ATTACKERS BODY DELIVER TWO DOWNWARD INVERTED PALMS PULL BACK UP TO DELIVER TWO CROSS INVERTED
PALMS L TIGER RAKES DOWN BODY AS R TIGER RAKES UP BODY ANDFACE L PALM STRIKES UNDER CHIN AS PRACTITIONER STANDS BACK UP STEP
BACK W/R FOOT ON E ANGLE CIRCLING HANDS DRAGON PALM STYLE...ON GUARD .
30. #4 PALM PASSES TO #1 OUTWARD SWORD TO ULNA
AS DRAGON FOOT SEIZES AROUND ATTACKERS R WRIST PRACTITIONER DROPS TO GROUND DELIVERING R BALL KICK TO RIBS R LEG THEN HOOKS
BEHIND THE CREASE OF ATTACKER R KNEE AS L INSTEP PERFORMS ROUNDHOUSE KICK TO INSIDE AND FRONT OF ANKLE FELLING ATTACKER ON
SE ANGLE TO ATTACKERS BELLY PRACTITIONER THEN ROLLS TO HIS R SIDE W/L HAND COMING ACROSS TO PRESS DOWN ON TRICEPS OF ATTACKER
UP ON R KNEE L LEG COCKED IN FRONT OF R ANKLE OF ATTACKER DELIVER LINSTEP ROUNDHOUSE KICK TO BACK OF ATTACKERS NECK ROLL OFF
ON W ANGLE L FOOT R FOOT STANDING UP L FOOT BACK ON W ANGLE...ON GUARD .
31. #4 PALM BLOCKS ON OUTSIDE OF ATTACKERS
R ARM AS R HAND DISAPPEARS BEHIND PRACTITIONERS BODY STEPPING BACK W/R FOOT DRAWING TO L DELIVER DOWNWARD R SWORD TO ATTACKERS
R COLLAR BONE AS L INVERTED SWORD STRIKES GROIN R HAND COCKS SLIGHTLY DELIVERING R SHOOTO CROSS SHOOTO TO ATTACKERS R SIDE
OF NECK L HAND SHOOTS BETWEEN LEGS R HAND GRABS BEHIND NECK THROW ATTACKER OVER ON SE ANGLE WHILE CRADLING BACK OF NECK DELIVER
THREE UPWARD RAKING TIGER TO FACE( L, R, L, CLAWS ) W/R FOOT STEP BACK ON NW ANGLE JUMP BACK OVER ATTACKER TO SE R FOOT L
FOOT PERFORM 3
ROLLING TIGER RAKES UNDER GROIN (R,L,R CLAWS) ROLLING THUNDER R HAND STRIKES DOWNWARD TO STERNUM FOLLOWED
BY L DOWNWARD PALM TO STERNUM PERFORM L HEEL KICK TO CHIN STEPPING ON NW ANGLE OVER BODY TURN CLOCKWISE LIFTING L LEG UP DROPPING
R HEEL KICK TO COLLAR BONE STEPPING BACK ON NW ANGLE DRAW TO LEAN DRAGON STANCE L LEG STRAIGHT R KNEE BENT LOW AS #8 TIGER
BLOCK DROPS TO LINE OF L. LEG #5 TIGER BLOCK RISES BOTH PALMS FACE TOWARDS ATTACKER. .... ON
GUARD.
32. #6 BLOCK
R LEOPARD PAW STRIKES UNDER ARM PIT AS L FOOT STEPS FORWARD ON NW ANGLE L DRAGON FOOT GRABS INSIDE ATTACKERS R WRIST R FOOT
STEPS ON NW ANGLE UNDER ARM AS R HAND SEIZES ON TOP OF ATTACKERS R WRIST PULL BOTH HANDS DOWNWARD TOWARDS PRACTITIONERS CHEST
DISLOCATING ELBOW OF ATTACKER ON YOUR L SHOULDER BOTH HANDS PULL UP AND
OVER YOUR HEAD THEN DOWNWARD BY YOUR R SHOULDER
AS YOU IRON BROOM SWEEP W/R FOOT THROUGH THE BACK OF ATTACKERS R LEG SYNCHING R WRIST BY PRACTITIONERS R HIP PERFORM SCUFFING
R HEEL KICK TO BACK SIDE OF ATTACKERS R RIB CAGE FOLLOWED BY DOWNWARD HEEL KICK AX TO L FRONT OF RIB CAGE PRACTITIONER TURNS
180 COUNTERCLOCKWISE STILL HOLDING ATTACKERS R WRIST PULLING UPWARD ON ARM ROLLING ATTACKER TOWARDS HIS L SIDE DELIVER L SCUFFING
HEEL KICK TO BACK SIDE OF R RIBS L FOOT THEN STEPS OVER ATTACKER ON N ANGLE R FOOT DRAWS UP TO HEEL CAT (7 STAR STANCE) ...ON
GUARD.
33. #3 PALM TO #2 BACK HAND BLOCKS ON INSIDE OF ATTACKERS R WRIST PRACTITIONER THEN STRIKES W/L GLANCING PALM
TO R EAR OF ATTACKER AS L FOOT SHUFFLES INWARD ON OUTSIDE OF ATTACKERS R LEG L HAND NOW BEHIND ATTACKERS NECK PULL HEAD INTO
R WHIPPING ELBOW STRIKE TO BRIDGE OF NOSE W/L HAND PRESS DOWN ON NECK R HAND CIRCLES BACK AND AROUND TO POISON THUMB STRIKE
UNDER STERNUM R HAND CIRCLES BACK AROUND TO DOWNWARD HAMMER TO BACK OF NECK AS L HAND STRIKES W/ THRUST TO BACK OF R RIBS
BOTH HANDS DRAW BACK TO RIBS R THEN STRIKES W/TRIGGER PUNCH TO R SIDE OF NECK WHILE SIMULTANEOUSLY STRIKING R RIBS W/L ELBOW
SHUFFLE LUNGE W/STRIKES ...ON GUARD .
34. #4 PALM BLOCK AS #3 PALM CROSSES BEHIND AS A COVER STEP BACK W/R FOOT DRAW
TO L CRANE KICK W/L BALL KICK TO R RIBS STEP DOWN BETWEEN LEGS STRIKE W/L CRANE HEAD STRIKE TO L CHEEK FOLLOWED BY R CRANE
BHEAD STRIKING R CHEEK R HAND THEN GRABS AROUND BACK OF NECK AND PULLS ATTACKER DOWN INTO R UPWARD KNEE L HAND RISES UP THEN
DROPS DOWNWARD ELBOW STRIKE TO SPINE L HAND THEN COMES OVER HIS BODY GRABBING UNDER THROAT PRESSING HEAD INTO YOUR R HIP TURN
COUNTER CLOCKWISE L FOOT IN FRONT OF R R FOOT BEHIND L SPINNING DELIVER R REVERSE ELBOW TO R SIDE OF NECK RELEASE HEAD R BACK
FIST TO L DRIVING PALM STRIKE TO TW17 R FIST COMES BACK TO R RIB CAGE IN BACK FIST POSITION L LOOMING DRAGON...ON GUARD.
35.
L #4 BLOCK PALM TO #1 SWORD CREATES FORTRESS BLOCK TO OUTSIDE OF ATTACKERS R WRIST AS R FOOT STEPS BACK ON S LINE SEIZE WRIST
W/ R DRAGONS FOOT CHIN NA DELIVER L BACK FIST TO L CHEEK LIFT L LEG TO CRANE POSITION STOMP DOWNWARD ON ATTACKERS R KNEE L
FOOT THEN STEPS DOWN TOES POINTING S SPIN AROUND HOOK KICK STRIKES BACK OF NECK LANDING R FOOT BACK ON S ANGLE...ON GUARD
.
36. #1 RIDGE HAND AS #4 DOWNWARD HOOKING CRANE HEAD TRAPS ON TOP OF ATTACKERS R WRIST DISLOCATING WRIST WHILE PRACTITIONER
STEPS BACK SLIGHTLY ON S ANGLE DELIVERING L BALL KICK TO INSIDE OF R HIP STEPPING DOWN ON OUTSIDE OF ATTACKERS R FOOT RE-TRAP
UNDER ATTACKERS R WRIST W/ R TIGERS MOUTH WHILE DELIVERING L INVERTED PALM STRIKE (ULNA) TO ATTACKERS R RIBS SWITCH TRAP AGAIN
BY TRADING TO L DRAGONS FOOT AROUND R WRIST WHILE STEPPING BEHIND ATTACKER W/R FOOT ON NW ANGLE SWEEPING IRON BROOM
BACK TO SE ANGLE STRIKING SIMULTANEOUSLY W/DOWNWARD R SWORD ARM ACROSSTORSO FELLING ATTACKER STEP OVER W/R FOOT PERFORMING
SCUFF AX KICK TO L RIBS KNEEL DOWN W/ L KNEE ON RIBS PERFORMING DOUBLE TWISTING INVERTED PALMS TO GROIN AND THROAT STANDING
BACK UP JUMP CLOCKWISE INTO HORSE STANCE OVER ATTACKERS HEAD DELIVERING UPWARD TWIN TIGERS RAKES TO FACE TWIN IMMORTAL
MAN R HAND OVER L CROSSING STRIKE EYES L FOOT SCUFFS ACROSS FACE W/INSIDE CRESCENT MOTION STEPPING OVER IN FRONT OF R R FOOT
STEPS BACK ON SE ANGLE ...ON GUARD
37. #4 DOWNWARD SMOTHERING BLOCK TO THE TOP OF THE ATTACKERS R. WRIST AS # 3 DOWNWARD
SMOTHERING BLOCK TO THE TOP OF THE ATTACKERS R. FOREARM. R FOOT LUNGING BACK TO L. FLAT CAT JUMPING BACK IN W/ L.FOOT PLANTING
BEHIND HIS R. LEG INVERTED L. PALM TO ATTACKERS R. EAR AND WHIPPING RIDGE HAND TO TARGET UNDER THE JAW LINE OF THE L. SIDE
OF ATTACKERS HEAD. WHILE HOLDING HEAD IN THIS POS. STEP AROUND ATTACKERS BODY W/ R. FOOT TO A NW. ANGLE . RIP UPWARD ON THE
FACE OF ATTACKER W/ R. TIGER CLAW AS L. CROSS SWORD FORCES NECK TO BEND BACK PUSHING ATTACKER AWAY TO SE. ANGLE. RIP TIGER
CLAW HAND UP TO A #5 POS. AND STAY IN SIDE HORSE STANCE FACING SE. ANGLE ....ON GUARD .
38 .3#PALM BLOCK STRIKES IN SIDE OF THE ATTACKERS R. WRIST AS L.FOOT STEPS IN FRONT OF
R. IN TWIST STANCE L. BACK TWO KNUCKLE PUNCH HIT UNDER THE HEART THEN R. BACK FIST HITS HEART FOLLOWED BY A L. DRAGON PALM
ALSO TARGETING THE HEART . SPIN CLOCKWISE TO A R. REVERSE ELBOW TO THE ABS TO R.ROLLING THUNDER STRIKE TO HEART AS BODY TWIST
TO A FORWARD STANCE FINISH W/ A L. DRAGON PALM ALSO TARGETING THE HEART. RIGHT HAND FINDS ITSELF ON R. RIBS AND L. PALM STAYS
OUT ....ON GUARD.
39. #4 BLOCK OUTSIDE STRIKING ULNA AS L FOOT STEPS IN FRONT OF R STRIKING W/R THRUST PUNCH TO RIBS
SPIN CLOCKWISE TO DELIVER R SPINNING BACK FIST TO BACK OF ATTACKERS NECK FOLLOWED BY LOW L BACK FIST TO RIBS SHUFFLING FORWARD
DELIVER R WHIPPING ELBOW TO BRIDGE OF NOSE FOLLOWED BY LOW L BACK FIST FINISH W/HIGH R BACK FIST TO BACK OF NECK R FOOT BACK
ON SE ANGLE ...ON GUARD .
40. #4 PALM BLOCK RE-DIRECTS R PUNCH ACROSS BODY OF ATTACKER R HAND GOES OVER THE TOP OF
LEFT TO STRIKE W/TRIGGER PUNCH TO ATTACKERS R TEMPLE AS L FOOT STEPS ON A NW ANGLE . RISE R FOOT TO CRANE STANCE DELIVERING
DOWNWARD R STOMP KICK TO BACK OF ATTACKERS R KNEE AS R HAND DROPS TO AN INVERTED HAMMER STRIKE TO KIDNEYS L HAND SEIZES R
DELTOID OF ATTACKER W/EAGLES TALON FELLING ATTACKER TO KNEES ON AN E ANGLE R FOOT STEPS DOWN BESIDE ATTACKER TO DELIVER R
TRIGGER PUNCH TO TW.17 STEP BACK W/R FOOT ON SW ANGLE DRAW TO FULL CAT AS CIRCLING EAGLES TALONS ARE SHOWNDOWNWARD TO ATTACKER
... ON GUARD .
41. #3 DOWNWARD SMOTHERING PALM COMES ACROSS ATTACKERS R WRIST AS L UPHOLDING TIGERS MOUTH COMES UNDER
WRIST TO SEIZE DELIVER L FRONT BALL TO ATTACKERS R RIBS LANDING L FOOT FORWARD LEFT FOOT SLIGHTLY IN FRONT OF R ROTATE L ARM
ACROSS BODY TO CREATE A JOINT LOCK ON ATTACKERS R. ELBOW R. FOOT STEPS BEHIND L. IN A CLOCKWISE MOTION TWISTING ALL THE WAY
AROUND TO N ANGLE DISLOCATING ATTACKERS ELBOW ON YOUR L FOREARM (#4 MOTION) DELIVER R REVERSE ELBOW THE R RIBS OF ATTACKER
FOLLOWED BY TWINWHIPPING ELBOWS R. ON TOP TO HIT THE NECK AND L ON BOTTOM TO STRIKE THE R. RIBS IN A PINCHING MOTION. R FOOT
THEN STEPS BACK ON S ANGLE ...ON GUARD.
FORMS
KATA 1
FRONT POS. BOW, BACK TO FRONT POS. RIGHT FOOT STEPS OUT TO E.
(HORSE STANCE) AS RIGHT FIST DRAWS INWARD TOWARD HEART AND L HAND COVERS IT INHALE ..HANDS RISE HIGH OVER HEAD IN A CROSS
BLOCK (R ON TOP OF L) EXHALE W/ KIAI PULLING BACK FIST BACK TO THE RIBS.
1. #3 PALM BLOCK FOLLOWED BY #2 SWORD HAND BLOCK AS L FOOT DRAWS
UP TO CRANE AND KICKS W/ FRONT BALL KICK TO MID-SEC.LANDING IN A FORWARD STANCE DELIVER A R. FRONT PUNCH TO CENTER LINE ,R
FOOT DRAWS UP TO CRANE AND KICKS W/ FRONT BALL KICK TO MID-SEC.LANDING IN A FORWARD STANCE DELIVER A L. FRONT PUNCH TO CENTER
LINE .
2. L. HAND ON TOP OF R. TURN ON BALL OF R. FOOT 180 DEG. COUNTER
CLOCK WISE TO THE SOUTH AND LEFT FOOT PULLS UP TO FULL CAT STANCE ROLL HANDS IN TO RIBS IN BACK PUNCH POS. CROSS BLOCK TO
THE S. AS ABOVE AND FORWARD THE HEAD W/ R. HAND ON TOP STRIKE W/ L. INVERTED HAMMER STRIKE TO THE GROIN FOLLOWED BY A R. DOWN
WARD FRONT PUNCH TO THE NAVEL W/ KIAI.
3. LEFT FOOT DRAWS BACK UP TO R. TO FACE N. IN TREE STANCE AS
L. FIST COMES ACROSS BODY TO CUP OVER SAUCER POS. R BACKFIST ON R. RIBS . BLOCK TO THE W. W/ A LOW CROSS BLOCK R. FIST ON
TOP (TO BLOCK A R. FRONT KICK ) AS L. FOOT STEPS OUT TO THE W. IN A FORWARD STANCE . R. HAND OPENS TO TIGER CLAW AND HOOKS
UNDER THE ATTACKERS ANKLE AND PULLS ON FOOT CLOCK WISE TO TURN ATTACKERS BACK TO KEMPOKA . RELEASE FOOT AND STRIKE W/ (IRON
BUTTER FLY) TO SPINE LEFT HAND ON TOP. L. FOOT STEPS WEST AND HELPS THE PUSH AS THE STRIKE HITS . L. FOOT THEN TURNS BACK
TO THE N. HORSE STANCE .... AS THE HANDS SWING AROUND TO #2 DRIVING SWORD HAND ( STOPS AT THE CENTER LINE ) AND #5 SWORD HAND
FOLLOWS IN A COUNTER CLOCK WISE MOTION . THIS POS. IS HELD FOR A TWO SEC. COUNT.
4. STEP W/ R FOOT TO THE N. CENTER LINE AS #3 SWORD HAND BLOCKS
AND STRIKES ON THE INSIDE OF BICEPS AS L. HAND PERFORMS #2 SWORD HAND TO THE RADIAL NERVE . # 4 PALM L. HAND THEN BLOCKS DOWNWARD
ON A (LEFT HOOK) AS R. HAND COME BACK TO FIND R. RIBS. R. HAND THEN STRIKES W/ SPEAR HAND TO THE THROAT JUST BELOW THE ADAMS
APPLE AS KIAI IS DELIVERED.
5. KEMPOKA THEN PIVOT TO THE S. IN COUNTER CLOCK WISE MOTION
ON THE RIGHT FOOT AS THE L. DRAW TO A FULL CAT #3 PALM BLOCK TO COVER THE FACE . STEP FORWARD W/ L. FOOT AND DELIVER A L.
DRAGON PALM TO THE CHIN AS R. FOOT PULLS UP TO CRANE AND PERFORM FRONT BALL KICK TO CENTER LINE AS R. GUARD COMES UP W/ CLOSED
FIST LAND IN FORWARD STANCE W/ KIAI.
6. KEMPOKA TURNS TO N. IN COUNTER CLOCK WISE MOTION TO A FULL
CAT ON L FOOT AS #2 BLOCK IS PERFORMED FOLLOWED BY A LUNGING L. BACKFIST TO CENTER LINE W/ KIAI.
7. THE R. FOOT DRAWS UP TO L. IN TREE STANCE, AS CUP OVER SAUCER
ON THE L. SIDE IS SHOWN. R.SIDE KICK SHOOTS OUT THE THE E. AS R. BACKFIST SHOOTS TO THE E. AS WELL BOTH ARE BROUGHT BACK TO
THE BODY FIST ON RIB AND FOOT BACK TO CRANE STANCE (FOOT BACK TO KNEE) BEFORE STEPPING DOWN TO A HORSE STANCE
8. L. FOOT DRAWS UP TO R. IN TREE STANCE, AS CUP OVER SAUCER
ON THE R. SIDE IS SHOWN. L. SIDE KICK SHOOTS OUT TO THE W. AS L. BACKFIST SHOOTS TO THE W. AS WELL. BOTH ARE BROUGHT BACK
TO THE BODY FIST ON RIB AND FOOT BACK TO CRANE STANCE (FOOT BACK TO KNEE) BEFORE STEPPING DOWN TO A HORSE STANCE.
ENDING..... R. FOOT COMES UP TO MEET L. TO FACE THE N. LINE IN
A TREE STANCE AS L. FRONT PUNCH LANDS ON TOP OF THE R. FRONT PUNCH, INHALE AS BOTH HANDS ROLL TO THE RIBS. R. FOOT STEPS OUT
TO THE E. AS HANDS RISE HIGH OVER HEAD IN A CROSS BLOCK (R ON TOP OF L) EXHALE W/ KIAI PULLING BACK FIST BACK TO THE RIBS.
R. FOOT THE STEPS BACK UP TO LAS HANDS MEET IN FRONT POS. BOW AND SHOW READY STANCE BY PLACING TO DOWNWARD FRONT PUNCHES FORWARD
TO FRAME THE KNOT OF THE BELT.
KATA 2
FRONT POS. BOW, BACK TO FRONT POS. RIGHT FOOT STEPS OUT TO E.
(HORSE STANCE) AS RIGHT FIST DRAWS INWARD TOWARD HEART AND L HAND COVERS IT INHALE ..HANDS RISE HIGH OVER HEAD IN A CROSS
BLOCK (R ON TOP OF L) EXHALE W/ KIAI PULLING BACK FIST BACK TO THE RIBS.
1. R. FOOT STEPS BACK TO S. (HALF MOON ) AS L. #8 MOTION FLAT
HAND PALM DOWN BLOCKS DOWN TO MID- SECTION AND THEN DELIVERS CRANE HAND STRIKES UP WARD TO CHIN HEIGHT L. FOOT STEPS BACK
TO S. (HALF MOON ) AS R. #7 MOTION FLAT HAND PALM DOWN BLOCKS DOWN TO MID- SECTION AND THEN DELIVERS R. CRANE HAND STRIKES
UP WARD TO CHIN HEIGHT. L. FOOT THEN PERFORMS FRONT BALL KICK ON CENTER LINE AS L. GUARD COMES UP LAND FORWARD FACING NORTH
.
2. KEMPOKA THEN TURN CLOCK WISE TO THE SW. ANGLE IN A FULL CAT
W/ THE R. FOOT . WHILE IN THE FULL CAT POS. MOVE THE GUARD TO THE SE. ANGLE AND SIDE KICK W/ KIAI ON THE SE. LINE ,LANDING
ON A NE LINE IN A #9 JU TEN DO GUARD .
3. STEP BACK ON A SW. LINE W. R. FOOT AS #2 RIDGE HAND BLOCKS
PERFORMED STRIKE L. L. SPEAR HAND TO NE. LINE THEN STEP BACK ON NE ANGLE AS WHIPPING R. SWORD HAND HITS THE L. SIDE OF THE
ATTACKER S NECK . W/ KIAI .
4. KEMPOKA THEN PIVOT TO THE SW. IN COUNTER CLOCK WISE MOTION
ON THE RIGHT FOOT AS THE L. FOOT DRAW S TO A FULL CAT # 3 PALM BLOCK TO COVER THE FACE . STEP FORWARD W/ L. FOOT AND DELIVER
A L. DRAGON PALM TO THE CHIN AS R. FOOT PULLS UP TO CRANE AND PERFORM FRONT BALL KICK W// KIAI TO CENTER LINE AS R. GUARD
COMES UP W/ CLOSED FIST LAND IN FORWARD STANCE ON SW. LINE .
5. L. FOOT DRAWS UP TO R. TOES FACE THE W. BUT THE HEAD TURNS
S. CUP OVER SAUCER ON THE R. SIDE OF THE BODY R. HAND LOW ON THE R. RIBS . LEFT FOOT STEPS S .HALF-MOON STYLE BLOCKING W/
#2 BLOCK AS R. FRONT PUNCH HITS THE CENTER LINE S. , R. FOOT STEPS S. HALF-MOON STYLE BLOCKING W/ #1 BLOCK AS L. FRONT PUNCH
W/ KIAI HITS THE CENTER LINE S.
6. GUARD TURNS TO THE W. AS R. FOOT PULLS UP TO CRANE PERFORM
THREE KICKS W/WITH OUT PUTTING FOOT BACK ON THE GROUND. BACK KICK TO N . FRONT KICK TO S. FOLLOWED BY R. SIDE KICK TO THE
WITH KIAI, LAND W/ GUARD STILL ON THE W. LINE .
7. TURN THE GUARD TO THE E .PALM SWORD STYLE FACE THE E. IN ASIDE
HORSE STANCE. STEP IN HALF- MOON STYLE TO THE E. W/ R. FOOT AS #3 PALM AND #2 SWORD BLOCKS ARE PERFORMED . STRIKE W/ LOW R.
FRONT PUNCH TO NAVEL AS L. HAND COCKS BACK ACROSS CHEST BY THE R. SHOULDER L. THEN STRIKES W/ BACK OF FIST TO THE LEFT CHEEK
OF ATTACKER REPEATING.. STRIKE W/ LOW R. FRONT PUNCH TO NAVEL AS L. HAND COCKS BACK ACROSS CHEST BY THE R. SHOULDER L. THEN
STRIKES W/ BACK OF FIST W/ KIAI TO THE LEFT CHEEK OF ATTACKER.
ENDING..... R. FOOT COMES UP TO MEET L. TO FACE THE N. LINE IN
A TREE STANCE AS L. FRONT PUNCH LANDS ON TOP OF THE R. FRONT PUNCH, INHALE AS BOTH HANDS ROLL TO THE RIBS. R. FOOT STEPS OUT
TO THE E. AS HANDS RISE HIGH OVER HEAD IN A CROSS BLOCK (R ON TOP OF L) EXHALE W/ KIAI PULLING BACK FIST BACK TO THE RIBS.
R. FOOT THE STEPS BACK UP TO LAST HANDS MEET IN FRONT POS. BOW AND SHOW READY STANCE BY PLACING TO DOWNWARD FRONT PUNCHES
FORWARD TO FRAME THE KNOT OF THE BELT.
KATA
3
FRONT POS. BOW, BACK TO FRONT POS. RIGHT
FOOT STEPS OUT TO E. (HORSE STANCE) AS RIGHT FIST DRAWS INWARD TOWARD HEART AND L HAND COVERS IT INHALE ..HANDS RISE HIGH
OVER HEAD IN A CROSS BLOCK (R ON TOP OF L) EXHALE W/ KIAI PULLING BACK FIST BACK TO THE RIBS.
1. STEP BACK W/ R. FOOT AND PULL L. FOOT TO FULL CAT AS R. HAND
SWINGS AROUND TO #5 SWORD HAND L. HAND #2 SWORD ON GUARD . SWITCH FEET R. FOOT FORWARD AND L. FOOT BACK, LAND AND PERFORM
# 1 RIDGE BLOCK THEN PERFORM # 2 RIDGE BLOCK . KEMPOKA THEN STRIKES W/ LOW R. SPEAR POKE TO THE GROANING HIGH L. SPEAR POKE
TO THE R. SIDE OF THE ATTACKERS NECK. A L. FRONT BALL KICK IS THEN PERFORMED TO STRIKE THE STERNUM W/ KIAI.
2. KEMPOKA TURNS TO S. IN CLOCK WISE MOTION TO A FULL CAT ON
R. FOOT AS #1 BLOCK IS PERFORMED FOLLOWED BY A LUNGING L. BACKFIST TO CENTER LINE W/ KIAI.
3. TURNING FROM THE S. BACK TO THE N. COUNTER CLOCK WISE PUT
THE L. HAND ON THE FLOOR AS THE R. FOOT PERFORMS A IRON BROOM SWEEP THROUGH TO THE NE. ANGLE
4. FROM THE IRON BROOM SWEEP POS. LOW JUMP UP TO FACE THE S.
LINE AS STEPPING STOOL KICK W/ L. FOOT TARGETS CENTER LINE MID SECTION OF ATTACKER LAND W/ GUARD ON # 8 BLOCK FIRM AND R.
BACK FIST ON R. RIBS W/ KIAI
5. R. FOOT DRAWS UP TO THE TREE STANCE AS HANDS COME TO "SET
POS." R. HAND LOW ACROSS BODY AND L. HAND HIGH ACROSS BODY FACES THE S. LINE . STEP W/ THE R. FOOT OUT TO THE W. TO A HORSE
STANCE AS HEAD TURNS TO THE E. , AS BODY ROTATES TO THE EAST , PULL L. FOOT UP TO A FULL CAT AS #8 BLOCK DROPS LOW AND R.
BACK FIST GOES TO R. RIBS (ALL THE THREE MOVES ARE DONE W/ DYNAMIC TENSION)
6. R. FOOT DRAWS UP TO THE TREE STANCE AS HANDS COME TO CIRCLING
TIGER HANDS BOTH CROSS BODY AND L. HAND IN FRONT. BODY FACES THE E. LINE . STEP W/ THE R. FOOT OUT TO THE S. TO A HORSE STANCE
AS HEAD TURNS TO THE N. , AS BODY ROTATES TO THE NORTH , PULL L. FOOT UP TO A FULL CAT AS #8 TIGER CLAW BLOCK DROPS AS #5
TIGER CLAW BLOCK RISES (ALL THE THREE MOVES ARE DONE W/ DYNAMIC TENSION)
7. R. FOOT DRAWS UP TO THE TREE STANCE AS HANDS COME TO TWIN
IMMORTAL HANDS BOTH CROSS BODY AND L. HAND IN FRONT. BODY FACES THE N. LINE . STEP W/ THE R. FOOT OUT TO THE E. TO A HORSE
STANCE AS HEAD TURNS TO THE W. , AS BODY ROTATES TO THE WEST , PULL L. FOOT UP TO A FULL CAT AS KEMPOKA "DRAWS TO THE BOW
" R. HAND GOES BACK TO THE R. EAR AS THE L. MOVES TO THE W. W
8. STEP BACK DOWN FROM FULL CAT FORWARD W/ L. FOOT TO 50/50 STANCE
AND PERFORM PALM SWORD BLOCK (# 3 + # 2 ) THEN TARGET A .R. DRAGON PALM STRIKE TO THE CENTER LINE MID-SEC. W. R. GUARD COMES
UP AS KEMPOKA BALANCES W/ FRONT BALL KICK TO BACK HEEL KICK FINISHING W/ SIDE THRUST KICK (W/ KIAI ) TO THE N. . LAND IN SIDE
HORSE STANCE LOOKING N. W/ R. FOOT TOWARDS N. LINE .
9. SWING GUARD AROUND TO THE S. BY PERFORMING A #2 SWORD HAND
AS #5 SWORD COMES UP W/ FINGER TIPS POINTING TO S. LINE . L. FOOT CROSSES IN FRONT OF R. TO A TWIST STANCE , THEN SIDE KICK
TO THE S. LINE TO CHEST LEVEL . CROSS BACK IN FRONT OF R. W/ L. FOOT AS FOOT R. FOOT STEPS TO N. LINE SIDE HORSE AS GUARD
SWINGS AROUND TO THE S. BY PERFORMING A #2 SWORD HAND AS #5 SWORD COMES UP W/ FINGER TIPS POINTING TO S. LINE .
10. PERFORM #6 UPWARD AND FORWARD BLOCKS ON S. LINE UNDER ATTACKERS
R ARM AS R. SNAKE HAND STRIKES UNDER ARM PIT PRACTITIONER JUMPS UNDER ATTACKERS R ARM BY STEPPING R FOOT FORWARD SE. ANGLE
L FOOT BACK S ANGLE AS L. ELBOW STRIKES A GLANCING BLOW TO ATTACKERS FRONT OF R. RIB CAGE R TIGER CLAW GRABS GROIN AND RIPS
BACK AS L. SWORD HAND STRIKES BEHIND ATTACKERS R KNEE FELLING ATTACKER TO BACK PRESS LEG TO OUTSIDE OF PRACTITIONERS L THIGH
HOLDING W/L OUTWARD SWORD ON INSIDE OF ATTACKERS R ANKLE DELIVER DOWNWARD R SWORD HAND TO CENTER LINE OF GROIN W/ KIAI.
11. PRACTITIONER THEN LOOK OVER RIGHT SHOULDER TO NORTH LINE
AND STEPS WITH RIGHT FOOT TO NORTH EAT LINE DELIVERING #7 BLOCK AND LEFT FRONT PUNCH TO CENTER LINE OF NORTH ATTACKER WITH
KIAI.
ENDING..... R. FOOT STEPS BACK TO MEET L. TO FACE THE N. LINE
IN A TREE STANCE AS L. FRONT PUNCH LANDS ON TOP OF THE R. FRONT PUNCH, INHALE AS BOTH HANDS ROLL TO THE RIBS. R. FOOT STEPS
OUT TO THE E. AS HANDS RISE HIGH OVER HEAD IN A CROSS BLOCK (R ON TOP OF L) EXHALE W/ KIAI PULLING BACK FIST BACK TO THE RIBS.
R. FOOT THE STEPS BACK UP TO LAS HANDS MEET IN FRONT POS. BOW AND SHOW READY STANCE BY PLACING TO DOWNWARD FRONT PUNCHES FORWARD
TO FRAME THE KNOT OF THE BELT.
KATA 4
FRONT POS. BOW, BACK TO FRONT POS. RIGHT FOOT STEPS OUT TO E.
(HORSE STANCE) AS RIGHT FIST DRAWS INWARD TOWARD HEART AND L HAND COVERS IT INHALE ..HANDS RISE HIGH OVER HEAD IN A CROSS
BLOCK (R ON TOP OF L) EXHALE W/ KIAI PULLING BACK FIST BACK TO THE RIBS.
1. TURN TO THE W. AND PULL L. FOOT TO FULL CAT AS # 2 AND #5
BLOCK ARE PERFORMED TO THE W. ANGLE, KICK W/ L. BALL KICK TO BELT LEVEL AND LAND IN FORWARD STANCE . SWING R. BACK PUNCH FROM
#5 POS. AROUND TO STRIKE RIBS OF ATTACKER AS L HAND COCKS ACROSS BODY ON R. SHOULDER. THEN STRIKE W/ L. BACK FIST TO ATTACKERS
L. CHEEK W/ KIAI
2. TURN TO THE E. AND PULL R. FOOT TO FULL CAT AS # 1 AND #6
BLOCK ARE PERFORMED TO THE E. ANGLE, KICK W/ R. BALL KICK TO BELT LEVEL AND LAND IN FORWARD STANCE . SWING L. BACK PUNCH FROM
#6 POS. AROUND TO STRIKE RIBS OF ATTACKER AS R. HAND COCKS ACROSS BODY ON L. SHOULDER. THEN STRIKE W/ R. BACK FIST TO ATTACKERS
R. CHEEK W/ KIAI
3. TURN TO THE NE. AND PULL R. FOOT TO FULL CAT AS # 3 BLOCK
ARE PERFORMED TO THE NE. ANGLE, KICK W/ R. BALL KICK TO BELT LEVEL AND LAND IN FORWARD STANCE . SWING L. BACK PUNCH AROUND
TO STRIKE RIBS OF ATTACKER AS R. HAND COCKS ACROSS BODY ON L. SHOULDER. THEN STRIKE W/ R. BACK FIST TO ATTACKERS R. CHEEK
. FINISH W/ L. FRONT PUNCH TO NE. ANGLE W/ KIAI AS WEIGHT IS SHIFTED TO THE R. FOOT 70 % W/ R. FIST GOING BACK TO R. RIBS
4. L. FOOT DRAWS UP TO R. TOES FACE THE E. BUT THE HEAD TURNS
N. CUP OVER SAUCER ON THE R. SIDE OF THE BODY R. HAND LOW ON THE R. RIBS . LEFT FOOT STEPS S .HALF-MOON STYLE BLOCKING W/
#2 BLOCK AS R. FRONT PUNCH HITS THE CENTER LINE N. THEN R. FOOT STEPS N. HALF-MOON STYLE BLOCKING W/ #1 BLOCK AS L. FRONT
PUNCH W/ KIAI HITS THE CENTER LINE S.
5. THE GUARD IS THEN TURNED TO THE W. AS THE HANDS SWING GUARD
AROUND TO THE W. BY PERFORMING A #2 SWORD HAND AS #5 SWORD COMES UP W/ FINGER TIPS POINTING TO W. LINE KEMPOKA IN A 50/50
STANCE .A # 9 JU TEN DO BLOCK IS THEN MADE AS THE R. FOOT COMES UP OFF THE HEEL TO LEAVE JUST THE BALL OF FOOT ON THE FLOOR
. WITH THE GUARD STILL IN #9 JU TEN DO ROTATE BODY TO THE N BY TWISTING THE WAIST THEN BACK TO THE W. SLOWLY . LEAN BACK ON
THE R. LEG AND PERFORM A #1 AND #2 BLOCK TO THE W. ANGLE AND REACH OUT TO GRAB TO SHOULDERS OF THE ATTACKER/ TIGER CLAWS PULLING
HIM INTO THE R. KNEE AND LOW INSTEP KICK W/ KIAI . LAND FORM KICK BY TURNING ON THE E. ANGLE W/ FEET IN A HALF MOON STANCE
6. THE GUARD IS THEN TURNED TO THE E. AS THE HANDS SWING GUARD
AROUND BY PERFORMING A # 2 SWORD HAND AS #5 SWORD COMES UP W/ FINGER TIPS POINTING TO W. LINE KEMPOKA IN A 50/50 STANCE .A
#9 JU TEN DO BLOCK IS THEN MADE AS THE R. FOOT COMES UP OFF THE HEEL TO LEAVE JUST THE BALL OF FOOT ON THE FLOOR . WITH THE
GUARD STILL IN #9 JU TEN DO ROTATE BODY TO THE S. BY TWISTING AT THE WAIST THEN BACK TO THE E. SLOWLY. LEAN BACK ON THE R.
LEG AND PERFORM A #1 AND #2 BLOCK TO THE E. ANGLE AND REACH OUT TO GRAB TO SHOULDERS OF THE ATTACKER W/ TIGER CLAWS PULLING
HIM INTO THE R. KNEE AND LOW INSTEP KICK W/ KIAI . LAND FORM KICK BY TURNING ON THE W. ANGLE W/ FEET IN A HALF MOON STANCE
. THE GUARD IS THEN TURNED TO THE W. AS THE HANDS SWING GUARD AROUND TO THE W. BY PERFORMING A #2 SWORD HAND AS #5 SWORD COMES
UP W/ FINGER TIPS POINTING TO W. LINE
7. LOOK OVER THE L. SHOULDER TO THE S. LINE AND STEP TO THE N.
W/ R. FOOT AS #6 BLOCK RISES AT THE SAME TIME AS THE R. HAND PERFORMS A SPEAR POKE TO THE ATTACKS NECK S. LINE WHILE PIVOTING
BODY ON THAT SAME S. ANGLE. RIGHT FOOT THEN STEPS IN HALF MOON STYLE TO S. AS #5 BLOCK RISES AT THE SAME TIME AS THE L. HAND
PERFORMS A SPEAR POKE TO THE ATTACKS NECK.. LEFT FOOT THEN STEPS IN HALF MOON STYLE TO S. AS #6 BLOCK RISES AT THE SAME TIME
AS THE R. HAND PERFORMS A SPEAR POKE TO THE ATTACKS NECK. RIGHT FOOT THEN STEPS IN HALF MOON STYLE TO S. AS #5 BLOCK RISES
AT THE SAME TIME AS THE L. HAND PERFORMS A SPEAR POKE TO THE ATTACKS NECK. W/ KIAI .
ENDING..... R. FOOT COMES UP TO MEET L. TO FACE THE N. LINE IN
A TREE STANCE AS L. FRONT PUNCH LANDS ON TOP OF THE R. FRONT PUNCH, INHALE AS BOTH HANDS ROLL TO THE RIBS. R. FOOT STEPS OUT
TO THE E. AS HANDS RISE HIGH OVER HEAD IN A CROSS BLOCK (R ON TOP OF L) EXHALE W/ KIAI PULLING BACK FIST BACK TO THE RIBS.
R. FOOT THE STEPS BACK UP TO LAS HANDS MEET IN FRONT POS. BOW AND SHOW READY STANCE BY PLACING TO DOWNWARD FRONT PUNCHES FORWARD TO FRAME THE KNOT OF THE BELT.
KATA 5
FRONT POS. BOW, BACK TO FRONT POS. RIGHT FOOT STEPS OUT TO E.
(HORSE STANCE) AS RIGHT FIST DRAWS INWARD TOWARD HEART AND L HAND COVERS IT INHALE ..HANDS RISE HIGH OVER HEAD IN A CROSS
BLOCK (R ON TOP OF L) EXHALE W/ KIAI PULLING BACK FIST BACK TO THE RIBS.
1. RIGHT FOOT STEPS IN HALF MOON STYLE TO THE N. AS R. HAND PERFORMS
#7 PARRYING BLOCK, BOUNCING BACK TO STRIKE THE R. CHEEK OF THE ATTACKER W/ THE BACK OF THE OPEN R. HAND. LEFT FOOT STEPS IN
HALF MOON STYLE TO THE N. AS L. HAND PERFORMS #8 PARRYING BLOCK, BOUNCING BACK TO STRIKE THE L. CHEEK OF THE ATTACKER W/ THE
BACK OF THE OPEN L. HAND.
LEFT FOOT STEPS BACK HALF MOON STYLE TO THE S. AS R HAND PERFORMS
#1 RIDGE BLOCK, COUNTERING W/ R. SPEAR HAND POKE TO THE THROAT OF ATTACKER. RIGHT FOOT THEN STEPS BACK HALF MOON STYLE TO
THE S. AS L. HAND PERFORMS #2 RIDGE BLOCK, COUNTERING W/ L. SPEAR HAND POKE TO THE THROAT OF ATTACKER W/ KIAI.
2. THE L. FOOT THEN STEPS BACK TO THE S. TO SIDE HORSE STANCE
TO FACE THE W. . PERFORM #1 AND #2 RIDGE BLOCKS AT THE SAME TIME AND COUNTER W/ R. SPEAR POKE THE THROAT AS THE L. SPEAR HITS
THE INSIDE OF THE ATTACKERS RIGHT GROIN AREA W/ KIAI
3. THE L. FOOT THEN STEPS BACK AWAY FROM THE S. LINE TO THE N.
AND MAKES A # 7 BLOCK AND STRIKES BACK W/ A ROLLING THUNDER STRIKE HIGH TO THE BRIDGE OF THE ATTACKERS NOSE W/ KIAI.
4. THE R. FOOT DRAWS UP TO L. IN TREE STANCE, AS CUP OVER SAUCER
ON THE L. SIDE IS SHOWN. R.SIDE KICK SHOOTS OUT TO THE E. AS R. BACKFIST STRIKES TO THE E. . BOTH ARE BROUGHT BACK TO THE
BODY FIST ON RIB AND FOOT BACK TO CRANE STANCE (FOOT BACK TO KNEE) BEFORE STEPPING DOWN TO A HORSE STANCE KEMPOKA THEN SPRINGS
TO THE W. W. A L. ROLLING BACK FIST FROM THE L. RIBS AS THE R. HAND COCKS ACROSS THE CHEST OF KEMPOKA , THEN SPRINGING TO
THE E. W./ A ROLLING R. BACK FIST FROM ACROSS THE CHEST OF THE PRACTITIONER TO STRIKE THE L. SIDE OF FACE OF ATTACKER W/ KIAI.
5. THE L. FOOT THEN STEPS TO THE N. LINE AS KEMPOKA BRINGS GUARD
UP TO N. AND KICKS W/ A R. SIDE THRUST KICK HIGH TO FACE OF N. ATTACKER LAND ON THE R. FOOT AND PULL THE L. UP TO A CRANE
STANCE COVERING THE BODY W/ THE L. ARM IN A #8 MOTION COVERS LOW IN SWORD STYLE BLOCK AS THE R. HAND GOES TO A #5 SWORD W/
PALM FACING SOUTH LINE STEP DOWN FROM CRANE L FOOT SOUTH LINE WHILE L HAND PERFORMS #8 PARRYING BLOCK TO SOLARPLIX LEVEL R
HAND SPEAR POKES UNDER L TO SOLARPLEX OF ATTACKER THEN DRAWING BACK PULL R HAND OUT FROM UNDER L R HAND AGAIN SPEAR POKES
OVER THE TOP OF L FOREARM TO THE ATTACKERS THROAT DBL. TIGER CLAWS RAKE EYES R BALL KICK TARGETS BETWEEN THE TWIN TIGER CLAWS
AT FACE LEVEL OF SOUTH ATTACKER KIAI W/KICK LAND IN R FORWARD STANCE R FOOT FORWARD
6. PRACTITIONER THEN LOOKS OVER L SHOULDER ON NORTH LINE AS L
FOOT IS DRAWN TO FULL CAT ROTATING BODY COUNTER CLOCKWISE 180 DEG. PERFORM #2 BLOCK DRAWING BLOCK DOWN TO L RIBS LUNGE FORWARD
ON NORTH ANGLE TO DELIVER BACK TO KNUCKLE PUNCH TO THROAT OF ATTACKER W/KIAI
7. CUP OVER SAUCER ON R SIDE PRACTITIONER LOOKS OVER RIGHT SHOULDER
ON SE ANGLE AND DELIVERS R BACK SNAKE KICK TO THROAT OF ATTACKER LANDING FORWARD W/ RIGHT FOOT ON NE LINE WHILE HANDS PERFORM
#8 PARRYING BLOCK TO COVER FRONT OF PRACTITIONERS L RIBS SIMULTANEOUSLY STRIKING W/ R SPEAR POKE TO TRACHEA W/KAUAI
ENDING..... R. FOOT STEPS BACK TO MEET L. TO FACE THE N. LINE
IN A TREE STANCE AS L. FRONT PUNCH LANDS ON TOP OF THE R. FRONT PUNCH, INHALE AS BOTH HANDS ROLL TO THE RIBS. R. FOOT STEPS
OUT TO THE E. AS HANDS RISE HIGH OVER HEAD IN A CROSS BLOCK (R ON TOP OF L) EXHALE W/ KIAI PULLING BACK FIST BACK TO THE RIBS.
R. FOOT THE STEPS BACK UP TO LAS HANDS MEET IN FRONT POS. BOW AND SHOW READY STANCE BY PLACING TO DOWNWARD FRONT PUNCHES FORWARD
TO FRAME THE KNOT OF THE BELT.
click here to play video
SHAOLIN CREED
"LEARN THE WAY TO
PRESERVE RATHER THAN DESTROY
AVOID RATHER THAN
CHECK;
CHECK RATHER HURT;
HURT RATHER THAN
MAIM;
MAIM RATHER
THAN KILL;
FOR ALL LIFE IS PRECIOUS,NOR CAN ANY BE REPLACED."
THIS IS THE WAY OF SHAOLIN!
"MAKE A LIST GET MORE DONE"
ERSHI TE (A.K.A DEMOULAS SET). "basic hand set" 20pc.
Nafachin1.----2.---- 3.---- 4.----
5.-----6.----7.---- 8.----
KATA 1.----2.---- 3.---- 4.---- 5.-----
PINAN 1.----2.---- 3.---- 4.---- 5.-----
STATUE OF THE CRANE——
KARAZENPO "MONKEY" FORM——
S.D.M. : "Shaolin-defense manevers" (AKA COMBOS)
1.------- 11.----- 21.----- 31.........
2.------- 12.----- 22.----- 32.........
3.------- 13.----- 23.----- 33........
4.------- 14.----- 24.----- 34.........
5.------- 15.----- 25.----- 35..........
6.------- 16.----- 26.----- 36........
7.------- 17.----- 27.----- 37.........
8.------- 18.----- 28.----- 38.........
9.------- 19.----- 29.----- 39........
10.----- 20.----- 30----- 40.--------
BLOCKING FORMS
HACHI TEN DO: "8 point way" *****JU TEN DO: "10 point way" ****MUI FA SHOU: "plum flower hands"
*******ERSHI SHOU: "twenty palms" ********P.D.K.TRAPPING : "chin na sets "***** TENSHO
BLACK BELT FORMS:
KATA 6 —— HUN SUKI —— SHAO DUN KWA —— SWIFT TIGERS ——
BASAI DAI ( to penetrate the fortress ) —— KANKU-DAI (to concur the universe) —— ITOSU ROHAI SHODAN
—— ITOSU ROHAI SANDAN ——
WEAPONS:KOBUDO AND SHAOLIN
ERSHI SHO (SHAOLIN BROAD SWORD—— SHAOLIN DAO SHO FORM ——
TONFA FORMS
SHO NO TONFA ——MASA HIGA NO TONFA——
BO FORMS
YANIKAWA NO KON SHO——SHUSHI-NO-KON-SHO——SHUGI-NO-KON-SHO——MATSU
HIGA NO CON——
SAI FORMS
HAMA HIGA NO SAI——
JO FORMS
SAN CHAI NA NO JO——ARAKAKI NO JO——NOBODI RYU NO JO——
KAMA FORMS
KANI GAWA NO ICHI GAMA——CHI GAWA NO ICHI GAMA——
KALI-ARNIS FORMS
FORMS 12 & 24 PC. MODERN ARNIS SETS
SEQUI NO KON____
{TWO STICK} KALI SET—— 1 (666 ) KALI SET——
2 (686) KALI SET—— 3 (55) KALI SET—— 4 (77) KALI SET—— 5 (66-66)
{ONE STICK} KALI SET—— 6 (5PC) KALI SET——
7 (CUT CHECKS UP AND DOWN) KALI SET—— 8
SPEAR FORMS
SAN CHAI NA SPEAR NO SHO——
30 CANE COMBINATIONS——
1.------- .7----- 13.----- 19......... 25.......
2.------- 8.----- 14.----- 20......... 26.......
3.------- 9.----- 15.----- 21.........27......
4.------- 10.----- 16.----- 22.........28 .......
5.------- 11.----- 17.----- 23........ 29.......
6.------- 12.----- 8.----- 24......... 30
KATANA
SHO NO KATANA—— SHINCHIN NO KATANA
CHI KING SET
P.D.K. CHI KING SET——BLACK TIGER CHI KING SET——SAN CHAI NA CHI KUNG SET——
KU BREATHS CHI KUNG SETS——
DEFENSE AGAINST WEAPONS:
KNIFE: overhead / side / cross
1.——-A.——-B.——-C.——-D.——-E.——-F.——-
2.——-A.——-B.——-C.——-D.——-E.——-F.——-
3.——-A.——-B.——-C.——-D.——-E.——-F.——-
4.——-A.——-B.——-C.——-D.——-E.——-F.——-
5.——-A.——-B.——-C.——-D.——-E.——-F.——-
6.——-A.——-B.——-C.——-D.——-E.——-F.——-
7.——-A.——-B.——-C.——-D.——-E.——-F.——-
8.——-A.——-B.——-C.——-D.——-E.——-F.——-
CLUB COMBOS:
1.------- 11.----- 21.----- 31.........
2.------- 12.----- 22.----- 32.........
3.------- 13.----- 23.----- 33.........
4.------- 14.----- 24.----- 34.........
5.------- 15.----- 25.----- 35..........
6.------- 16.----- 26.----- 36..........
7.------- 17.-----
27.----- 37..........
8.------- 18.----- 28.----- 38..........
9.------- 19.----- 29.----- 39..........
10.----- 20.----- 30----- 40.--------
GUN: front / side / rear
front .——-A.——-B.——-C.——-D.——-E.——-F.——-
side .——-A.——-B.——-C.——-D.——-E.——-F.——-
rear.——-A.——-B.——-C.——-D.——-E.——-F.——-
ATEMI WAZA: "Kempo punch & kick techniques"
1.——-A.——-B.——-C.——-D.——-E.——-F.——-
2.——-A.——-B.——-C.——-D.——-E.——-F.——-
3.——-A.——-B.——-C.——-D.——-E.——-F.——-
4.——-A.——-B.——-C.——-D.——-E.——-F.——-
clubs techniques
5.—
6.—
then club techniques 1 .——-2.——-
3.——- 4 .——-5.——-
6.——-7.——-8.——-9.——-10.——-12.——-13.——-
Kick techniques
7.——-A.——-B.——-C.——-D.——-E.——-F.——-
8.——-A.——-B.——-C.——-D.——-E.——-F.——-
JU JITSU: "escapes from grabs and holds"
FRONT CHOKE: 1. 2. 3. 4. 5. 6. 7. 8. 9.
REAR CHOKE: 1. 2. 3. 4. 5. 6. 7. 8. 9.
Dbl.WRIST GRAB: 1. 2. 3. 4. 5. 6. 7. 8. 9.
LAPEL GRAB: 1. 2. 3. 4. 5. 6. 7. 8. 9.
BEAR HUG O/A: B.H. U/A: 1. 2. 3. 4. 5. 6. 7. 8. 9.
HEAD LOCK: side 1. 2. 3. 4. 5. 6. 7. 8. 9.
HEAD LOCK: front 1. 2. 3. 4. 5. 6. 7. 8. 9.
FULL NELSON: 1. 2. 3. 4. 5. 6. 7. 8. 9.
CROSS WRIST: front 1. 2. 3. 4. 5. 6. 7. 8. 9.
CROSS SHOULDER: rear 1. 2. 3. 4. 5. 6. 7. 8. 9.
FIVE ANIMALS: "Shaolin Wu Hsing Ch’uan Fa"
TIGER:1.——- 2.——- 3.——-
4.——- 5.——-6.——7.——-8.——
DRAGON:1.——- 2.——- 3.——-
4.——- 5.——-6.——7.——-8.——
LEOPARD:1.——- 2.——- 3.——-
4.——- 5.——-6.——7.——-8.——
CRANE:1.——- 2.——- 3.——-
4.——- 5.——-6.——7.——-8.——
SNAKE: 1.——- 2.——- 3.——-
4.——- 5.——-6.——7.——-8.——
MAKE A LIST AND CHECK IT TWICE
(Pinan 1-5):
Peaceful Mind Kata.
It is said once one has mastered the 5 Pinan Kata they
could walk the street with a peaceful mind, as they contained all self defense. These kata were developed by Itosu Sensei
to make learning the long and difficult kata known as Kanku-dai, and Kosokun-dai) easier to learn and parts of this intricate
kata are broken down into 5 parts of varying difficulty.
"There is a difference between having a black belt and being
the rank".
Thanks Matt .... Ouss.
To know that you do not know, that is the best.
To pretend
to know, when you do not know, is a disease.
Lao Tzu
MIND, BODY, & SPIRIT
Your training in Ping Shen Tao can function as a road
to your own self-knowledge, providing you choose to use it so. When you train you have a choice. You can train your body,
or you can train your mind and your body. In the first case you'll obtain benefit by becoming healthier. But by approaching
your training with focus on your mind and body, by constantly questioning and challenging, the different aspects of yourself,
that's how you can acquire self-knowledge. And by doing so, your training in Ping can help you along the road to success
of the most meaningful kind.
"Not to
spew but, heres a few."
“Better a student of reality than a master of BS”. KP Sr. Sensei
"Finally a White belt, after a lifetime of trianing."
KP Sr. Sensei"Just
good Concepts, not Con-jobs" KP Sr. Sensei "A BRILLIANT MAN DOES NOT GET THAT WAY BY READING ONLY ONE BOOK IN THE LIBRARY " AND A MASTER
MARTIAL ARTIST DOSN'T EITHER. KP Sr. Sensei
"PEOPLE SHOW UP,TAKE A FREE WEEK AND LOVE IT , PAY FOR A MONTH, TAKE THREE OR FOUR CLASSES AND DISAPPEAR. I
SEE IT TO MUCH, BUT THE MARTIAL ARTS IS HARD WORK. IT'S NOT SURPRISING PEOPLE DON'T ALWAYS STAY. IT'S AMAZING
THAT ANYONE STAYS. BUT SOME DO... AND WILL ALWAYS ! THE WORLD CALLS THESE PEOPLE HARDCORE. I CALL
THEM MY STUDENTS" ! KP Sr. Sensei
"I Know You're out there and You will find us!" KP Sr. Sensei "No ouch.....
just ouss" ! KP Sr. Sensei
"THERE MANY THINGS IN THIS WORLD THAT YOU CAN GET OUT
OF WITHOUT PAYING, BUT ATTENTION IS NOT ONE OF THEM"! KP Sr. Sensei
"Something I tell all my new students " It's better to know how, and not have to; than to
have to, and not know how, but the true art lies in not having to use it at all. " KP Sr. Sensei "Just good Concepts, not Con-jobs" KP Sr.
Sensei "A BRILLIANT MAN DOES
NOT GET THAT WAY BY READING ONLY ONE BOOK IN THE LIBRARY " AND A MASTER MARTIAL ARTIST DOSN'T EITHER. KP
Sr. Sensei
"PEOPLE
SHOW UP,TAKE A FREE WEEK AND LOVE IT , PAY FOR A MONTH, TAKE THREE OR FOUR CLASSES AND DISAPPEAR. I SEE IT TO MUCH,
BUT THE MARTIAL ARTS IS HARD WORK. IT'S NOT SURPRISING PEOPLE DON'T ALWAYS STAY. IT'S AMAZING THAT ANYONE
STAYS. BUT SOME DO... AND WILL ALWAYS ! THE WORLD CALLS THESE PEOPLE HARDCORE. I CALL THEM MY
STUDENTS" ! KP Sr. Sensei
"I Know You're out there and You will find us!" KP Sr. Sensei "No ouch.....
just ouss" ! KP Sr. Sensei
"THERE MANY THINGS IN THIS WORLD THAT YOU CAN GET OUT
OF WITHOUT PAYING, BUT ATTENTION IS NOT ONE OF THEM"! KP Sr. Sensei
"Something I tell all my new students " It's better to know how, and not have to; than to
have to, and not know how, but the true art lies in not having to use it at all. " KP Sr. Sensei "Just good Concepts, not Con-jobs" KP Sr. Sensei
"The following text workbook may read as such,
just text, but know that the information that unfolds through this and its training can save your life or the life of
another". KP Sr. Sensei
"No matter what art a technique comes
from, if it works, it is Kempo!" KP Sr. Sensei "No EGO, Just KEMPO" KP Sr. Sensei "If I may, I'd like to say, I look forward
to a day, of play, in the Way"! KP Sr. Sensei "Peace over power... first". KP Sr. Sensei
To all who have fought,
Over "nothing"...
"Nothing", will never change!
Yours
in the Arts, KP Sr. Sensei
THE SEED
In the Far East the emperor was growing old and knew it was time to choose
his successor. Instead of choosing one of his assistants or his children, he
decided to do something
different. He called young people in the kingdom
together one day. He said, "It is time for me to step down and choose
the
next emperor. I have decided to choose one of you."
The children were shocked, but the emperor continued. "I
am going to give
each one of you a seed today - one very special seed. I want you to plant
the seed, water it, and come
back here one year from today with what you
have grown from this one seed. I will then judge the plants that you bring,
and
the one I choose will be the next emperor."
One boy, named Ling, was there that day and he, like the others, received
a
seed. He went home and excitedly, told his mother the story. She helped him
get a pot and planting soil, and he planted
the seed and watered it,
carefully. Everyday, he would water it and watch to see if it had grown..
After about three
weeks, some of the other youths began to talk about their
seeds and the plants that were beginning to grow. Ling kept checking
his
seed, but nothing ever grew. Three weeks, four weeks, five weeks went by,
still nothing. By now, others were talking
about their plants, but Ling
didn't have a plant and he felt like a failure. Six months went by -- still
nothing in
Ling's pot.
He just knew he had killed his seed. Everyone else had trees and tall
plants, but he had nothing. Ling
didn't say anything to his friends,
however. He just kept waiting for his seed to grow. A year finally went by
and all
the youths of the kingdom brought their plants to the emperor for
inspection. Ling told his mother that he wasn't going
to take an empty pot.
But his mother asked him to be honest about what happened.
Ling felt sick at his stomach,
but he knew his mother was right. He took his
empty pot to the palace. When Ling arrived, he was amazed at the variety
of
plants grown by the other youths. They were beautiful -- in all shapes and
sizes. Ling put his empty pot on the floor
and many of the other children
laughed at him. A few felt sorry for him and just said, "Hey, nice try."
When the
emperor arrived, he surveyed the room and greeted the young people.
Ling just tried to hide in the back. "My, what great
plants, trees, and
flowers you have grown," said the emperor. "Today one of you will be
appointed the next emperor!"
All
of a sudden, the emperor spotted Ling at the back of the room with his
empty pot. He ordered his guards to bring him to
the front. Ling was
terrified. He thought, "The emperor knows I'm a failure! Maybe he will have
me killed!"
When
Ling got to the front, the Emperor asked his name. "My name is Ling,"
he replied. All the kids were laughing and making
fun of him. The emperor
asked everyone to quiet down. He looked at Ling, and then announced to the
crowd, "Behold your
new emperor! His name is Ling!"
Ling couldn't believe it. Ling couldn't even grow his seed. How could he be
the
new emperor?
Then the emperor said, "One year ago today, I gave everyone here a seed. I
told you to take the seed,
plant it, water it, and bring it back to me
today. But I gave you all boiled seeds that would not grow. All of you,
except
Ling, have brought me trees and plants and flowers. When you found
that the seed would not grow, you substituted another
seed for the one I
gave you. Ling was the only one with the courage and honesty to bring me a
pot with my seed in it.
Therefore, he Is the one who will be the new
emperor!"
If you plant honesty, you will reap trust. If you plant goodness,
you will
reap friends. If you plant humility, you will reap greatness. If you plant
perseverance, you will reap victory.
If you plant consideration, you will
reap harmony. If you plant hard work, you will reap success. If you plant
forgiveness,
you will reap reconciliation. If you plant faith, you will reap
miracles. So be careful what you plant, now; it will determine
what you will
reap tomorrow. The seeds you now scatter will make life worse or better for
you or for the ones who will
come after you. Someday you will enjoy the
fruits or you will pay for the choices you make.
Two thousand years ago
someone else told the same story with fewer words,
"What you sow, so shall you reap". If you know who said this, nothing
else
needs to be said.
-- Author Unknown
Some Martial Arts Terminology
Atemi Waza- Japanese: "punch and kick techniques."Kempo techniques for
defense against punches.
Balance - Two triangles, head and chest. If they point in different directions,
balance is off.
Basics - Simplified moves that comprise the fundamentals of Kenpo. They are divided
into stances, maneuvers, blocks, strikes, parries, kicks, punches, specialized moves and methods, etc.
Block - A defensive maneuver used to check or hinder an opponent.
Bob and Weave - Body maneuvers used to avoid an attack. A "bob" involves a vertical movement
of the body. A "weave" is a horizontal side to side movement of the body.
Borrowed Force - An opponent's force which is used to defeat him. This can be accomplished
by going with the opponent's force or, upon occasion, going against his force. The concept allows your opponent's force to
enhance the effectiveness of your action.
Bodhidharma-India: (Da Mo) prince of a small tribe in South India who
became a warrior priest and 28th patriarch of the Buddhist faith. Known for setting the ground work for
Shaolin. chuan-fa died in 539 A.D.
Check - To restrain, hinder, or repress an opponent from taking action. This is
accomplished by pressing, pinning, or hugging an opponent usually at the joints so that it minimizes his leverage and nullifies
his actions.
Chuan Fa- Chinese for "Way of the Fist." the name originally given by
the Shaolin Monks to their fighting art.
Chi Kung-Chinese: the practice Chin
Na- Chinese: seize and control." Chinese ancestor of jujitsu which uses traps,locks,and pressure point attacks as well as
holds and throws.
Chi - A Chinese term used to describe the powers that can be generated when
the mind and body are totally unified. It involves total complete synchronization of mind, breath, and strength to achieve
maximum force. It is that extra inner force created by the precise synchronization of the conscious and subconscious mind,
along with an individual's breath and strength.
Chow,William- (AKA Thunderbolt) studied Hung Gar kung fu /Kosho-Ryu Kempo
one of seven Black Belts promoted by James Mitose (signed by Thomas Young)
Chojun, Miyagi- Founder of Goju-Ryu Karate-Was the first to introduce
Kempo Karate to the U.S .In 1934 he came to the Island of Kauai Hawaii and taught more than a 100 students. Miyagi is the
base for the Mr. Miyagi character of the movies .Circular Movements - Moves that predominantly loop or follow a curve. Such moves can be used
defensively or offensively.
Classical - Traditional methods and moves used by the so called, "pure system" of
Martial Arts.
Claws - Refers to the fingertips as used in a technique
Clock Principle - A system in teaching, to help the student to visually imagine the direction
which he is to follow. Generally asked to think of himself as being in the middle of a big clock facing 12 o'clock with 6
o'clock to the rear, 3 and 9 to his right and left and all other number in their respective places.
Close Range Encounters - Action that occurs within elbow and knee distance.
Common Sense - It is that sixth sense that many lack. It is the ability to overcome problems
and difficult situations by using logic.
Crescent - A path of action that can be compared and paralleled to a hooking type
maneuver.
Dim Mak-Chinese:lit.(poison
hand) the art of delivering damaging waves of chi to destroy your attackers organs.
Dan-Japanese: Black Belt levels 1-10 in Shaolin Kempo
Dojo- Japanese: "Place of the Way." Kempo training hall.Economy of Motion - Any movement that takes less time to execute and still causes the intended
effect.
Eighteen Hand Movements - The original number of hand movements first developed to defend or attack
an opponent. These moves supposedly formed the foundations of Shaolin Boxing.
Erishi Shou- Chinese " Twenty Palms." Black Belt blocking exercise.
Feint - A misleading move used to deceive an opponent.
Focus - Is the result of the entire body working as a unit at the very instant
a target is struck. The concentration of mind (knowledge) breath, strength, and methods of execution must unite as one in
conjunction with body momentum, torque, gravitational marriage, timing, speed, penetration, etc.
Form - Is literally a short story of motion. These motions are offensive and
defensive maneuvers incorporated into a dance for purposes of learning, home training and exercise. They are usually done
without a partner.
Formulate - The combining of moves into a systematized order, which when properly
organized, develops into a logical and practical sequential arrangement.
Full Contact - Is the professional method of freestyling (sparring) where actual hitting
is accepted as part of the rules
Hammering - A particular method of striking which resembles the action of a hammer
pounding a nail from various angles.
Hiken-Japanese:"hidden fist." The Kempo fist/palm salute. Hung mun ch
uan (Secret society fist) Chinese.Mu Te- Japenese:" empty hands" Specifically, the kempo open hand salute.
Hachi Ten Do-Japanese: " Eight Point Way" Basic blocking exercise in four
sections.Internal Power - Force from within developed via Chi.
Judo-Japanese:lit.(the gentle way)sport Jujitsu
Ju jit su- Japanese: "gentle art." Techniques of throwing, joint-locking,holding,
and choking as well as escape techniques employed in self defense.
Ju Ten Do- Japanese: " Ten Point Way" Green Belt Blocking exercise.Kempo- Japanese for "Way of the Fist" it is originally a Chinese word (Ch'uan Fa)
Karate- Japanese for "empty hand."
Kata -Japanese: "formal exercise" or "form." A pattern of predetermined
fighting movements.(thirteen forms are required for Black Belt.)
Kiai-Japanese:lit.(spirit meeting) a sharp yell that uses breath to increase
internal energy.
Kosho-Ryu-Japanese:lit.(old pine tree style) developed in 1560 from shaolin
inspired priest Koshu
Kung fu- Chinese for skill acquired through practice."Kong shou- Chinese for "empty hand"Ki - A Japanese term for Chi.
Kiai - A loud noise cause by the rapid expulsion of air from the diaphragm of
the body. This expulsion of air creates stability, increases force, fortifies the body and can have a psychological effect
upon your opponent. Kiai originally meant "breathing exercise".
Locks - Moves that lock the joints or body parts of your opponent to restrain
him from taking further action. It combines methods of pushing and pulling.
Long Range Encounters - Action that occurs at arm length or the length of a leg.
Meditation - A brief period of mental relaxation used in Kenpo to eliminate outside
distractions from the mind in order to fully concentrate on activities that are to be learned in class. Taking the time to
do this helps to avoid unnecessary injury which might otherwise occur.
Mui Fa Shou- Chinese " Plum Flower Hands" Black Belt blocking exercise.
Muk Yan Fa- Chinese: " Wooden Man Techniques." 108 Black Belt techniques
in shaolin kempo.Open End Triangle - Refers to the positioning of your body parts so that they form and opened
end triangle. Use of these body formations help to funnel, wedge, trap, or prevent an opponent from injuring you. Obi- Japanese:lit.(belt)
the one in 3 quaters inch belt tied around the body in a square knot.
Pankration-Greek: three thousand yr. old form of martial art filtered
to India to become the art of Vajramuhti Yudda.Power - Is the culmination of several principles--the sum total of which maximizes
the expenditure of energy. It is the magnification of force aided by concentrated focus. Its capacity is proportionate to
the physical strength, force, or energy exerted, in additions to the speed it is rendered.
Practical arts - The use of logical moves in a system that are realistic and not fanciful
or impractical moves.
Practitioner - One who learns, teaches and practices the Martial Arts.
Ping Te-Chinese: Fighting principles in action." In San Chai Na Kempo,
the required techniques which embody the principles of the art.
Pinan-Chinese: lit. "Peace,"harmony." Five of the thirteen kata required
for Black Belt.Principles - Comprehensive and fundamental rules stemming from theories which through
devoted analysis, develops into proven characteristics that make them doctrine.
Primitive Stage - That stage of learning where moves are crudely executed
Range - That distance which exists between you and your opponent.
Roundhousing - Any weapon that makes contact with its target before reaching the apex
of the circular path in which it is traveling.
Rules - Generally refer to those moves that are to be followed to the letter.
Such moves can only restrict flexibility and, therefore, ideas rather than rules are stressed in Kenpo.
Sensei- Japanese: lit. (first to come or before you) the word used
to call your teacher.
Sifu- Chinese: lit.(father or master the word for skilled kung-fu
teacher.
Simu- Chinese:lit. (master or mother )female kung-fu teacher.
Soke- Japanese:lit.(is that so)founder of a martial arts system the highest
ranking a master can obtain in his lifetime.Salutation - A series of moves and/or gestures in Kempo to indicate respect to one
you are greeting or competing against at a tournament, in opening and closing a class, etc.
Scooping - The execution of a weapon that resembles the dipping motion of a shovel.
It is literally a reverse hook that is delivered vertically.
Self-Correcting - Having a thorough knowledge of the principles, concepts and theories of
the Martial Arts so as to have the ability to consistently make correct judgments to maximize every move.
Shuffle - Shifting the body forward and back to close or increase the distance between
you and your opponent.
Solar plexus - Always hit solar plexus at a 45 degree angle (up or down) because it's
thin and a straight on strike is likely to miss it.
Spear - Refers to a finger poke as used in a technique.
Speed - Equal to the distance divided by the time (s=d/t) it takes to act or move.
There are three categories of speed-perceptual, mental, and physical (body performance). However, although categorized separately
in order to analyze what speed entails, these three elements, nevertheless, function as one.
Stomping - A thrusting method using the foot to strike down toward targets located
on or near the ground.
Shaolin- Chinese:lit.(young (pine tree) forrest)
San Chai Na Kempo-Chinese &Japanese: "Three Powers Controlling" Kempo.Mind
Body and Spirit.Sampai-Chinese:lit. second in command a senior student who
serves Sensei as a model for technique
System - Is the unification of related concepts, ideas, principles, facts, truths,
and basic elements of a particular school of Martial Arts.
Take Down Maneuvers - Moves of defense or attack that cause an opponent to fall to the ground
to immobilize, restrain, control, or to further attack.
Talon - Refers to a grab attack as used in a technique.
Target Areas - Vital areas on your or your opponent's body which can cause injury or
damage when struck.
Te - An Okinawan term which means "hand". Their Art was originally called Okinawa-te
or "hand Art" of Okinawa. This was later changed by the Japanese to karate meaning "empty hand". This change greatly angered
the Okinawans who were Chinese by descent.
Technique - Pre-planned moves that can be used defensively or offensively with successful
results.
Telegraphing - Body language that often works against you. These movements warn your
opponent of your intended action and help to prepare him for his defense. This can also work against your opponent.
Traditional - Generally refers to those practitioners of the Martial Arts who adhere
to custom or the original concepts and moves of a particular system
Trapping - Any stratagem designed to catch a natural weapon to prevent it from escaping.
Vital Areas - The major weak points of the body. See target areas.
Wu Shu-Chinese:Mandarin national martial art of China . total sum of all
Chinese arts
Wing Chun-Chinese:lit. (beautiful Springtime) developed by a budhist nun
named Ng Mei (Bruce Lee's base art)
Zen - Buddhist form of meditation perpetuated by Tamo (Daruma).
Zone Theories - This entails visualizing imaginary boundaries or zones of height, width
and depth superimposed on your or your opponent's body.
Mitose,James-Father of modern Kempo opened official self-defense club
in Honolulu in 1942 in protest of the bombing of Pearl Harbor.
Some
of the other Martial Arts of the World
Tae Kwon Do (way of punching and kicking): Founded
in 1955 by General Choi Hong. It is Korean in origin. It is good for sport, tournaments and sport art,
Aikido (way of mind / harmony): Japanese in origin,
founded in 1942 by Morihei Ueshiba. Aikido is good for self defense to a point. Generally there is no striking
Kobu Jiutsu or Kobu do (weapons art): Okinawa (now part of Japan) Origins with farmers who needed to defend
their crops, after the ban on all weapons.
Karate (empty hand): Japanese in origin. Other karate forms
are just for defense. If tournaments are allowed, generally the art is sport in nature. Flexibility is a must for most systems.
Jeet Kune Do (way of intercepting fist): Founded
in the 1962 by Bruce Lee. Chinese in origin (Wing Chun base). It is not good for sport or tournaments. Minimum flexibility
is required.
Jiu Jitsu (gentle art), Japanese Dr. Jigoro Kano
is considered the father of modern Jujitsu Great for self defense Not good for tournaments or sport but can be adapted
without the joint and bone breaks.
Judo: Japanese in orign (sport jiu jitsu). Founded
1882 by Jigoro Kano at age 22. Judo is good for sport and tournaments but not general self defense. All ages can perform it,
but some of the throws tend to get hard on you as you age.
Muai Thai (Kick Boxing): Origins are in Thailand.
Muai Thai is good for self defense. It is best for the young. The average boxers time span in competition is 4 years before
the crippling effects of style abuse remove them. Flexibility and top physical condition are a must.
Cardio Karate (Tae Bo): American in origin. Cardio
Karate is good for aerobics and fitness. It is not good for self defense.
Kempo (fist law): Japanese and Chinese in origin.
James Mitose (my-TOE-she) is considered to be the founder of modern Kempo. It is good for: self defense and as a martial art.
It is not for sport or tournaments. Kempo is a good art for all ages, and can be practiced into old age. Minimum flexibility
is required.
Kajukenbo - An offshoot of William Chow's original methods of Kenpo Karate
that was created by Adriano and Joe Emperado in Hawaii.
Kenpo Karate - The term used by William Chow to describe the art he was teaching
in Hawaii during the 1930's to 1970's. As described and taught by Parker, it literally means "law of the fist and empty hand".
Kung
Fu (worked skilled ): Chinese in origin at Shaolin aprox. 525 A.D. Kung Fu is good for, self defense and tournaments. Many
styles work well into old age.
Hwarang-do - A Korean Martial Art system that taught high principles and
philosophies. Advocates were dedicated to the cultivation of spirit and health among the youth along with self-defense disciplines.
Tai Chi: Chinese in origin. It is the moving
forms / meditations. Tai Chi is good for overall fitness. It can be adapted for self defense.
T'ang Hand - The term used to describe some of the Korean Martial Art systems
during a certain period of history in respect to China. T'ang Hand literally means the hand of China.
|
| Sensei KP2005.w.m.a.h.o.f |
KEMPO
PUNCH TECHNIQUES
1. #1 BLOCK AS LEFT FOOT STEPS ON NW ANGLE LEFT THRUST PUNCH THEN STRIKES
ATTACKERS RIGHT RIBS FOLLOWED BY A RIGHT THRUST TO SAME RIBS PRACTITIONER STEPS WITH RIGHT FOOT TO NORTH ANGLE BEHIND
ATTACKER WHILE DRAWING RIGHT
THRUST PUNCH TO THE WEST COCKING RIGHT ELBOW FOR STRIKE TO CENTER OF ATTACKERS BACK LEFT
FOOT THEN STEPS BEHIND RIGHT ON NORTH LINE TO TWIST COUNTER CLOCKWISE DELIVERING RIGHT WHIPPING ELBOW TO ATTACKERS RIGHT RIBS
AS WHIPPING ELBOW GLANCES BYRE -COCKS FOR ANOTHER RIGHT REVERSE ELBOW TARGETING SPINE RIGHT ARM THEN UNFOLDS DELIVERING ROLLING
THUNDER STRIKE TO BASE OF NECK RIGHT FOOT DRAWS UP TO LEFT KNEE CRANE STANCE TO DELIVER RIGHT DOWNWARD SIDE STOMP
KICK TARGETING BACK OF ATTACKERS LEFT THIGH JUST ABOVE THE KNEE JOINT KIAI WITH KICK . RIGHT FOOT CROSSES IN FRONT OF LEFT
ON NORTH ANGLE LEFT FOOT THEN STEPS AWAY ON NORTH ANGLE SIDE HORSE STANCE
RIGHT GUARD UP TOWARDS SOUTH LINE.
1A.
PRACTITIONER MAKES NUMBER 1 MOTION WHILE LEFT HAND COMES ACROSS NUMBER 4 MOTION SMOTHERING DOWN ATTACKERS RIGHT WRIST AS KEMPOKA
SLIPS
ON A NW ANGLE WITH SMALL STEP FROM LEFT FOOT IMMEDIATELY AFTER BLOCKING DELIVER FRONT TWO KNUCKLE PUNCH TO ATTACKERS
RIGHT CHEEK WHILE LETTING THE MOTION OF PUNCH FLOW THROUGH AND UPWARD ACROSS YOUR OWN BODY WHILE
LIFTING LEFT HAND HIGH
IN THE AIR IN SWORD POSITION RIGHT FOOT LIFTS TO CRANE AND KICKS DOWNWARD TO BACK OF ATTACKERS RIGHT KNEE FELLING HIM ON AN
EAST ANGLE DELIVER RIGHT CROSS SWORD FOLLOWED BY LEFT DRIVING DOWNWARD PALM (KIAI )TO BASE OF CEREBELLUM RIGHT FOOT THEN STEPS
BACK TO WEST ANGLE HANDS COVER ON GUARD.
1B PRACTITIONER MAKES NUMBER 1 MOTION WHILE LEFT HAND COMES ACROSS
NUMBER 4 MOTION SMOTHERING DOWN ATTACKERS RIGHT WRIST AS KEMPOKA SLIPS
ON A NW ANGLE WITH SMALL STEP FROM LEFT FOOT IMMEDIATELY
AFTER BLOCKING DELIVER FRONT TWO KNUCKLE PUNCH TO ATTACKERS RIGHT CHEEK WHILE LETTING THE MOTION OF PUNCH FLOW THROUGH AND
UPWARD RIGHT FOOT THEN STEPS ON A NW ANGLE AND LEFT FOOT STEPS BACK ON A NORTH ANGLE NOW STANDING BEHIND ATTACKER FACING
SE DELIVER ROLLING THUNDER WITH LEFT INVERTED PALM WITH
RIGHT COIL BOTH HANDS ON LEFT RIB IN CUP OVER SAUCER CONTINUE
BACK RIGHT ROLLING THUNDER LEFT DRIVING PALM TO CENTER LINE OF SPINE INVERTED LEFT
STOMP KICK STRIKES JUST BELOW
RIGHT KNEE OF ATTACKER TO CALF STEP BACK DOWN FROM KICK RIGHT FOOT STEPS BACK ON NW ANGLE ON GUARD...
1C.
PRACTITIONER MAKES NUMBER 1 MOTION WHILE LEFT HAND COMES ACROSS NUMBER 4 MOTION SMOTHERING DOWN ATTACKERS RIGHT WRIST AS KEMPOKA
SLIPS
ON A NW ANGLE WITH SMALL STEP FROM LEFT FOOT IMMEDIATELY AFTER BLOCKING TRAP BY CEILING TIGERS MOUTH OF LEFT HAND
OVER ATTACKERS RIGHT WRIST . LEFT FOOT THEN STEPS ON A SE ANGLE AFTER ROTATING #4 BLOCK MOTION ACROSS ATTACKERS RIGHT ELBOW
CREATING ARM BAR PRACTITIONER CONTINUES TO ROTATE BODY TO FACE WEST WITH HIPS SQUARE THEN SITTING ARM BAR STILL INTACT FELLING
ATTACKER WITH FACE GOING TO SE LINE INTO THE GROUND KEMPOKA THEN KICKS FEET OUT ON WEST LINE AND LAYS BACK ON TRICEPS OF ATTACKER
ARM SHOULD BE UNDER LEFT ARM PIT CAUSING DISLOCATION OF RIGHT ELBOW. RIGHT FOOT THEN CROSSES OVER LEFT ON SW LINE STAND UP
THEN STEP BACK WITH FOOT ON SW LINE ON GUARD...
2 PERFORM #2 BLOCK MOTION WHILE STEPPING
ON NE LINE STRIKE WITH FRONT 2 KNUCKLE PUNCH TO PHILTRUM FOLLOWED BY LEFT /RIGHT COMBO TWO FRONT
KNUCKLEPUNCHES TO
SOLARPLEX LEFT FOOT THEN STEPS UP TO R IN TREE STANCE AS HANDS COME TO R RIB CAGE IN LEFT CUP OVER SAUCER POSITION .
LEFT FOOT THEN STEPS ON NW ANGLE AS HANDS DELIVER LEFT INVERTED HAMMER STRIKE UNDER CHIN AND RIGHT THRUST PUNCH DRIVING UPWARD
TO HEART. PRACTITIONER THEN LIFTS RIGHT FOOT TO CRANE POSITION AND DELIVERS LEFT JUMPING FRONT BALL KICK TO CENTER LINE OF
ATTACKER LANDING INB FORWARD STANCE FACING NW LINE ON GUARD...
2A. PRACTITIONER FORMS #2 BLOCK
AS #3 PALM CROSSES BODY TO SMOTHER DOWN ON ATTACKERS R WRIST WHILE STEPPING RIGHT FOOT OUT NE LINE. KEMPOKA COUNTERS
WITH RIGHT ROLLING BACK FIST LEFT DRIVING PALM ACROSS RIGHT SIDE OF ATTACKERS FACE . KEMPOKA STEPS ON NE ANGLE WITH LEFT FOOT
TO SAN CHIN STANCE ROTATING CLOCKWISE WHILE STEPPING BACK ON N LINE WITH R FOOT DELIVER R REVERSE ELBOW TO
STERNUM UNFOLD
R ELBOW TO DELIVER R ROLLING BACK FIST TO BRIDGE OF NOSE ENGAGE HIPS TO SQUARE N LINE LEFT DRIVING PALM TO STERNUM.
R FOOT STEPS BACK
LOOMING DRAGON HIDDEN TIGER POSITION ON GUARD...
2B. PRACTITIONER FORMS #2 BLOCK
AS #3 PALM CROSSES BODY TO SMOTHER DOWN ON ATTACKERS R WRIST WHILE STEPPING RIGHT FOOT OUT NE LINE. KEMPOKA COUNTERS
WITH
RIGHT ROLLING BACK FIST LEFT DRIVING PALM ACROSS RIGHT SIDE OF ATTACKERS FACE .
LEFT FOOT LIFTS TO CRANE AND DELIVERS
IN STEP KICK UNDER ATTACKERS GROIN AS HANDS COME TO R RIBS CUP OVER SAUCER. STEP DOWN WITH LEFT FOOT FROM KICK ON NE ANGLE
BETWEEN ATTACKERS LEGS DELIVER LEFT ROLLING BACK FIST R INVERTED PALM REPEAT OPPOSITE BY PERFORMING R ROLLING THUNDER
LEFT DRIVING PALM ALL FOUR MOVES DONE W/WHIPPING CIRCLES. AT POINT OF LAST BLOW (L DRIVING PALM) PIVOT WEIGHT FORWARD TO BALL
OF L FOOT THEN PERFORM R SPIN AROUND BACK KICK TO CENTER LINE OF ATTACKER (360 DG.) ON GUARD...
2C. PRACTITIONER FORMS #2 BLOCK AS #3 PALM CROSSES BODY TO SMOTHER DOWN ON ATTACKERS R WRIST WHILE STEPPING RIGHT FOOT OUT
NE LINE. KEMPOKA COUNTERS
WITH RIGHT DRIVING FOREARM TO ATTACKERS NECK THEN WHILE SEIZING UNDER ATTACKERS R
WRIST WITH TIGERS MOUTH. KEMPOKA THEN USES R ARM TO CIRCLE
AROUND BACK OF ATTACKERS NECK WHILE LIFTING ATTACKERS R ARM
UPWARD. STEP BACK ON S LINE WHILE FORCING ATTACKERS HEAD DOWN AND WRIST UP FELLING
ATTACKER ON SE LINE . R FOOT STEPS BACK
ON SW LINE...ON GUARD
3.PRACTITIONER FORMS #3 BLOCK MOTION TO COVER
FACE AS R FOOT STEPS NE LEFT THRUST PUNCH IS DELIVERED TO ATTACKERS R RIBS AS R HAND COMES BACK TO RIBS IN BACK PUNCH
POSITION. KEMPOKA THEN PERFORM BACK 2 KNUCKLE PUNCH TO THROAT FOLLOWED BY INVERTED HAMMER JUST BELOW NAVEL FOLLOWED
BY R ROLLING THUNDER TO BRIDGE OF NOSE. WEIGHT SHIFTS BACK TO R FOOT AS L DRIVING PALM STRIKES UNDER CHIN OF ATTACKER DRIVING
HIM BACK ON N LINE R FIST COMES BACK TO R RIBS AS PALM STRIKES. KEMPOKA THEN SHUFFLES N FOLLOWING ATTACKER AND PERFORMS WHIPPING
R ELBOW ACROSS L CHEEK OF ATTACKER FOLLOWED BY R CROSS HAMMER STRIKE TO BRIDGE OF NOSE AS WEIGHT SHIFTS BACK TO BOW AND ARROW
STANCE ON L FOOT . LIFT R FOOT TO CRANE POSITION DELIVER R SIDE STOMP KICK TO INSIDE OF ATTACKERS L THIGH R FOOT CROSSES IN
FRONT OF L ON SOUTH LINE L FOOT THEN STEPS BACK ON S LINE AS WELL HANDS CIRCLE TO COVER.
3A. PRACTITIONER
PERFORMS #3 SWORD HAND BLOCK TO RADIAL NERVE OF ATTACKERS R WRIST WHILE STEPPING BACK W/L FOOT ON S ANGLE DRAWING R FOOT TO
CRANE DELIVER IN STEP KICK TO GROIN OF ATTACKER. STEP DOWN R FOOT FORWARD DELIVER R CROSS SWORD TO THROAT FOLLOWED
BY L INVERTED WHIPPING PALM AS R HAND DROPS TO R HIP (FORM R RIDGE HAND) DELIVER R WHIPPING RIDGE HAND TO L SIDE OF NECK FOLLOWED
BY L DRIVING PALM TO R INVERTED PALM WHILE SHIFTING
WEIGHT TO L FOOT BOW AND ARROW STANCE DELIVER R SIDE KICK TO
STERNUM R FOOT CROSSES OVER L ON S LINE L FOOT STEPS BACK ON S LINE HANDS CIRCLE TO
COVER UP.
3B.
#3 SWORD HAND COVERS IN FRONT OF PRACTITIONERS FACE AS L #2 BLOCK STRIKES RADIAL NERVE PRACTITIONERS STEPS IN W/R FOOT TO
N LINE BOTH HANDS WIND BACK IN CIRCULAR MOTION TO L SHOULDER . THEN PROCEED TO STRIKE W R CROSS SWORD TO
R SIDE OF NECK AS L WHIPPING SWORD STRIKES R RIB CAGE ( WHILE STAYING UNDER
ATTACKERS ARM) DRAW L FOOT TO R AS HANDS CIRCLE
DOWN IN SWORD HAND POSITION TO R HIP CONTINUE COUNTERED TER CLOCKWISE MOTION AND DELIVER
DOWNWARD R SWORD TO L CLAVICLE
AS L DOWNWARD SWORD STRIKES STERNUM FELLING ATTACKER ON NE ANGLE KEMPOKA THEN JUMPS OVER ATTACKER BY LIFTING R FOOT AND CIRCLING
COUNTER CLOCKWISE LIFT L FOOT LANDING W ANGLE IN SIDE HORSE STANCE ON ATTACKERS R SIDE KEMPOKA THEN PERFORMS UPWARD TIGER
RAKE FROM CHIN TO EYES AND DOWNWARD L TIGER RAKE FROM EYES TO CHIN AS L HAND DRAWS BACK TO RIBS. FINISH WITH R SPEAR
POKE TO TRACHEA R FOOT STEPS BACK ON W ANGLE DRAW TO FLAT CAT...ON GUARD
3C. KEMPOKA PERFORMS
#3 CLOSED FIST BLOCK AS L FOOT STEPS BEHIND INTO TWIST STANCE L HAND IN LOOMING DRAGON COVER GUARD. STRIKE W/R INVERTED HAMMER
TO GROIN R ROLLING THUNDER TO BRIDGE OF NOSE R CROSS HAMMER TO RIBS. SWITCHING L GUARD ALL THE WHILE HIGH /LOW R FOOT THEN
STEEPS ON N LINE
BEHIND ATTACKERS L FOOT AS HANDS STRIKE TIGER CLAW STYLE R HAND TO FACE L HAND TO GROIN. CLAWS STAY ON
FACE AND GROIN AND SQUEEZE WHILE PUSHING DOWNWARD ON FACE AND UPWARD ON GROIN ON NW ANGLE FELLING ATTACKER ON
SAME ANGLE. STEP BACK R FOOT ON SE ANGLE...ON GUARD
3D. KEMPOKA PERFORMS #3 CLOSED FIST BLOCK WHILE STEPPING
ON NE ANGLE WITH R FOOT SIMULTANEOUSLY STRIKING W/ L THRUST PUNCH TO R RIBS OF ATTACKER WHILE COCKING #3 BLOCK TO L SHOULDER
DELIVER R BACK FIST TO R CHEEK OF ATTACKER FOLLOWED BY L FRONT PUN CH TO SAME CHEEK CREATE #4 BLOCK MOTION TO COCK L
HAND BY R SHOULDER AS R HAND STRIKES ATTACKERS L RIBS W/THRUST PUNCH FOLLOWED BY L BACK FIST TO L CHEEK FINISH W/ R
FRONT PUNCH UNDER JAW LINE OF ATTACKERS L SIDE OF FACE. R FOOT STEPS BACK ON S LINE HANDS CIRCLE ...ON GUARD
THE GROCERY STORE
a.k.a.
( The DEMOULAS Set )
1. Front Punch
2. Thrust Punch
3.
Back Punch
4. Hammer Punch
5. Downward Sword
6. Dragon Palm
7. Tiger Claw
8.
Leopard Paw
9. Rolling Thunder
10. Snake
11. Upward Elbow
12. Cross Elbow
13. Twin Dragon
14.
Crane
15. Trigger Punch
16. Immortal Man
17. Driving Sword
18. Inverted Hammer
19. Inverted Ridge
20.
Downward Ridge
1. Bow
2. Show hiken (a.k.a.)
Kempo hands or front position.
3. Step out with right foot to horse stances as you perform a high cross block, then pull
hand back to
ribs in a back punch position.
4. Start set with the right fist then left then right and so on.... All
strikes done from horse stances.
5. After last strike right foot comes back to left as left open hand lands on top of
right roll hands back
into back punch position as the hands met at your ribs.
6. Step out with right foot to
horse stances as you perform a high cross block with Kiai, then pull hand back to ribs in a back punch position.
7. Right
foot comes back to left as left to show hiken (a.k.a.) Kempo hands or front position.
8. Bow
9. Ready stance
placing two downward front punches forward to frame the belt (obi) knot.
 CLUBS COMBOS
1.
# 6 UNDER -HAMMER -SWEEP-CHOP
2. # 3 AND 2 -CROSSSWORD-SHUFFLE R- KNEE-L DOWNWARD ELBOW
3. # 5-L TIGERS
MOUTH -PULL UP TO CRANE R SIDE STEP-UP- W/ CLUB ACROSS AND DOWN
4. # 6 BLOCK AND WRAP TIGER RAKE DOWN AND UP FACE-
TIGER DOWN R--L JUMP PULL CLUB AS YOU KICK R INVERT TO RIBS
5. # 5 BLOCK AND AROUND L-UPWARD TIGERS MOUTH TAKE AWAY-UP-DOWN
AND IN
6. # 6 BLOCK AND AROUND -R UPWARD TIGERS MOUTH TAKE AWAY W/ R HAND UP AND ACROSS HEAD TO FRONT RIBS -BACK
RIBS -UNDER RIBS
7. # 5 BLOCK IN W/ L FOOT STEP BACK W/ R FOOT
TO ARM BAR UP W/ R KNEE - DOWN W/ DUB. ELBOWS.
8. # 6 BLOCK LEOPORD, DISLOCATE ARM, SWEEP , AX KNEEL
9. # 3 AND 2 - BLOCK, R. KNEE UP FOR ELBOW BREAK, R KICK DOWN
TO KNEE, L HOOK TO FACE.
 
Kali Drills....in to you!
In most systems, skills with weapons and with empty hands (unarmed)
are developed concurrently using training methods designed to emphasize their common elements. The most common variations
used are double stick (double baston), single stick (solo baston), and sword/stick and knife (espada y daga). In starting
with double sticks I feel it gets the student into the art deeper and faster . Some of the basic drills are as follows.
Drills for double baston
Sinawali 6 - 6 - 6
1st 6 ^ High High High {right then left}
2nd 6 ^ High - Low {right then left then right again}
3rd 6 ^ Low Low Low {right then left}
Sinawali 6 - 8 - 6
1st 6 ^ High Low High {right then left}
2nd 8^ High Low Low High {right then left}
3rd 6^ Low High Low {right then left}
10 - Redonda
1st 5 ^ right #1 , left #2 while shielding
with right then # 1 right while shielding with left
#2 left ,#2 right while shielding with left.
2nd 5^ * left #1 , right #2 while shielding with left then # 1 left
while shielding with right
#2 right , #2 left while shielding with right.
14 - 14 broken strike Sinawali
1st 7 ^ right #1 broken high, left #2 broken low ~ then right #1
broken low, left #2 broken low.
last 3 ^ High High High Sinawali {right, left then right}
2nd 7 ^ left #1 broken high, right #2 broken low ~ then left #1 broken
low, right #2 broken low.
last 3 ^ High High High Sinawali {left, right then left}
3rd 7 ^ right #1 broken low, left #2 broken high ~ then right #1
broken high , left #2 broken low.
last 3 ^ Low Low Low Sinawali {right, left then right }
4th 7 ^ left #1 broken low, right #2 broken high ~ then left #1 broken
high, left #2 broken low.
last 3 ^ Low Low Low Sinawali { left, right then left}
Repeat whole set starting
with left hand!
|
| Lapu-Lapu Vinas Arnis 1932 |
The short History of Kali
As with most martial arts, the history of Kali is surrounded
by legends, making it is difficult to pin down facts. This is especially true for Kali's since a significant amount of its
history is anecdotal and oral. Being a martial art for the common folk, most of its practitioners lacked the scholarly education
to create a written history.. The most commonly accepted explanation for the origin of Kali systems is that they were
originally the fighting systems possessed by every tribe in the Philippines and used by them to fight and defend against each
other.
It is historically recorded, though, that when the Spanish conquistadors arrived, some tribes fought them, using native weapons and techniques. Magellan, in particular, was killed in the battle
of Mactan in 1521 by forces of the Mactan tribal chief Lapu-Lapu when Magellan landed
in Cebu
- albeit by an arrow, not the sword or stick as many arnisadors promote. From this point sources differ on the history of
Eskrima. Certainly by the time the Spanish reached the Philippines, they were extremely
experienced conquerors, and had their own highly effective fighting systems, along with higher-quality steel and weapons. The degree to which
this affected the practice of the native fighting arts is a matter of debate, but it seems likely that the Filipinos borrowed
what worked and discarded what didn't. there is little doubt that Spanish fencing did influence the development of escrima
as a martial system.
The founders of most of the currently popular systems were famous
duelists; legends circulate about how many people "master whats his name" has killed. Certainly duels did happen
and deaths did result. However, to reduce legal problems that arose from injury or death, most duels would later often be
fought with hardwood sticks instead of blades. Public dueling has almost all been eliminated from the Filipino society . Although,
with dilligence one can still find regular gathering of masters in parks in the Philippines where at a drop of a hat one will
not hesitate to prove their point through an unprotected "friendly match". Local folk in the Philippines are much more likely
to carry knives than guns, and much more likely to use them when tempers rise. As a result, knife-fighting is still very much a living skill in the Philippines.
Many believe these fighting systems have strong historical roots
from Indonesian martial arts that are Chinese influenced like Kun
Tao. Kun Tao (literally the way of the fist) of course finds its
roots from Ch'uan Fa (which is a generic word for what we would call kung
fu. Other systems that have similar movements to many Filipino systems
also find their roots from Ch'uan Fa. Although the turbulent and conflict wrought history and environment of the Philippines enabled
the arts to develop.
This changed recently in the sense that some systematization
allowed easier and quicker teaching for the basics. Regardless of teaching methodology, these arts are considered so
effective and easy to learn with sufficient practice that the U.S. military teaches it to some varying degree in all of its
branches, particularly U.S. groups like the Navy SEALs, Army Special Forces and Delta Force. Many special operations groups
were stationed in the Philippines for some period of time during WWII - the period when these arts first became apparent to the mainstream.
12 angles
of attack with single baston Prof. Remy's
Demonstrate the 12 angles of attack with single
stick. Angles #1 and #2 striking to either side of the head, Angles #3 and #4 striking to the rib cage or sides of the body,
Angle #5 stabbing or striking to the solar plexus or center line, Angles #6 and #7 striking to the collar bone, Angles #8
and #9 striking to the knees or legs, Angles #10 and #11 striking to the eyes or face and Angle #12 striking to the top of
the head.
5 angles of attack with single baston
Gurus basics
Demonstrate the 5 angles of attack with single
stick. Angles #1 and #2 striking to the collar bone. Angles #3 and #4 striking to the rib cage or sides of the body,
Angle #5 stabbing or striking to the solar plexus or center line.
Some Kali / Escrima Terminology
There can be different terms for
the same thing, depending on which of the numerous Filipino languages is being used. The following are some
of the more commonly used terms in both Kali, Arnis, and Escrima.
Abanico: fan (quick wrist
snap strike)
Ala contra: counter to,
against
Alisto: look, be ready,
prepared
Ampo: pray, meditate
Anyo : form
Banda-Banda:
a horizontal side to side motion,
Barong: leave shaped short
sword
Basko: dropping strike
Bolo: short sword used
by farmers Cob cob:
Tap, tap
Corto Curvado: bend, have
curve, half the distance to abanico
Decadena: chain or series
of strikes
Dóble-Zero: two consecutive circular strikes out in front or off to the side
Elastico: body shifting technique where the feet usually stay planted
Enganyo: to fake or feint
Espada y Daga: Spanish
for sword and dagger
Floretti: small oval like
a flower petal
Garotte: escrima stick,
also called, kahoi, baston, or olise
Gunting: scissors
Kris: moro sword with wavy
blade
kamagong: (Ironwood)
hardwood baston
Kalasag: shield
Lakang: to step
Larga Mano: long range
fighting
Luhod: kneel
Numerada: by the numbers
Otra Vez: to repeat
Ocho-Ocho: a horizontal figure 8 motion out in front.
Pakal: ice pick grip of the knife
Pares: pairs
Payong: unbrella or overhead
block, strike
Punyo: the butt of the baston
Ritic: snap strike
with the wrist vertical that returns on the same path, also called "witic"
Rompída: a diagonal up and down motion
Saagan: deflect or block
SakSak
regular grip of the knife
Sagawas: from the outside
Saludo: salute
Sige: begin, start
Teros: strike, hit
Tindug: stand
Toyok: turn
Belt Ranks
 |
|
White Belt - 6th Rokkyu |
|
 |
|
Yellow Belt - 5th Rokkyu |
|
 |
|
Orange Belt - 4th Rokkyu |
|
 |
|
Purple Belt - 3rd Rokkyu |
|
 |
|
Blue Belt - 2nd Rokkyu |
|
 |
|
Blue Belt w/ 1 Green Stripe - 1st Rokkyu |
|
 |
|
Green Belt - Gokyu |
|
 |
|
Green Belt w/ 1 Brown Stripe - Yonkyu |
|
 |
|
Brown Belt w/ 1 Black Stripe - Sankyu |
|
 |
|
Brown Belt w/ 2 Black Stripes - Nikkyu |
|
 |
|
Brown Belt w/ 3 Black Stripes - Ikkyu |
|
 |
|
Black Belt |
Sibak |
 |
|
Black Belt 1st Degree - Shodan - Black w/ 1 red stripe |
Sibak |
 |
|
Black Belt 2nd Degree - Nidan - Black w/ 2 red stripes |
Sibak |
 |
|
Black Belt 3rd Degree - Sandan - Black w/ 3 red stripes |
Sibak |
 |
|
Black Belt 4th Degree - Yondan - Black w/ 4 red stripes |
Sifu |
 |
|
Black Belt 5th Degree - Godan -Black w/ red trim |
Sifu |
 |
|
Black Belt 6th Degree - Rokudan - Red and White |
SiGung |
 |
|
Black Belt 7th Degree - Shichidan - Red and Black |
SiGung |
 |
|
Black Belt 8th Degree - Hachidan - Red w/ Black trim |
Professor |
 |
|
Black Belt 9th Degree - Kudan - Red w/ Silver trim |
Professor |
 |
|
Black Belt 10th Degree - Judan - Red w/ Gold trim |
Professor |
SOME OTHER KARATE FORMS
Bassai-dai Bassai-dai is probably the most popular kata among various branches of karate.
It is often used as the main test kata for Shodan (1st degree black belt). Master Sakagami of the Itosukai cites 5 different
varieties in his book: "Itosu, Matsumura, Tomari, Oyadomari, and Ishimine". It is a difficult kata requiring many, many long
hours of practice.
Bassai-sho This is a unique kata in that it depicts defense against a staff (bo). It
also contains a difficult turn on one leg that makes it a difficult kata to master
Chinte Classified by Master Sakagami as being in the same series as Chinto, which stemmed
from the Shuri region.This kata contains a two finger strike to the eyes.
Chinto The Itosukai version was developed by Master Itosu from the Tomari style's version.
Many open-hand strikes and blocks and a double-flying kick.
Gojushiho This kata was popular among the warriors in the Shuri Reigion. It was a favorite
of Master Mabuni.
Ishimine Bassai This kata is very similar to the Itosu Bassai-dai, and some believe that
Master Ishimine based it on the Itosu Bassai-dai.
Jitte, Jiin, Jion Three kata from the Tomari region of Okinawa. All three begin with
the left hand poised over the right fist at Adam's apple level, reminiscent of Chinese kempo. heavy use is made of the shiko-dachi
stance, making these good for developing balance.
Kanku-dai ( Kusanku-dai, Kosokun-dai ). According to Master Sakagami, who references
the writings of Master Ohshima, this kata was brought to Okinawa by a military officer in 1762. It was popular in the Shuri
region of Okinawa and Master Sakagami cites a number of variations in his book on kata.
Kusanku-sho (Kosokun-sho) This version was developed by Master Itosu
Matsumura Bassai Master Sakagami wrote that this kata was passed on
Matsumora Rohai Another kata of the Matsumora style from the Tomari region. The one-legged
stance used in this kata makes it one of the more graceful katas.
Naifanchin (Naihanshin) Shodan, Naifanchin Nidan, Naifanchin Sandan (Naifanshin 1-3) Three
very fast, powerful kata in which the movement is all in a sideways direction.
Pinan shodan, Pinan nidan, Pinan sandan, Pinan yondan, Pinan godan (Pinan 1-5). These
kata were developed by Master Itosu to make learning the long and difficult kata known as Kusanku-dai (also known as Kanku-dai,
and Kosokun-dai) easier to learn and parts of this intricate kata are broken down into 5 parts of varying difficulty.
Rohai Shodan, Rohai Nidan, Rohai Sandan Three graceful kata in which the Sagiashidachi
stance (heron stance) where balance is taken on one leg is used (Rohai-shodan), both hands are used to simulateously strike
(Rohai- nidan. All three feature the shiko-dachi stance coupled with the open-handed kakiwake uke towards the end of the kata.
Saifa A kata which has its roots in the kata, Gekisai. It contains many techniques for
fighting at close range.
Sanchin A basic kata of the Higashionna style, this kata's regulated breathing and concentration
make it an indispensible kata for learning the basics of breathing, movement, and focus.
Seienchin A kata from the Higashionna style. It begins with the shiko stance and slow,
regulated breathing.
Seipai Master Sakagami attributes the roots of this kata to the 18 basics of the Southern
style of Shorinken.
THIS IS A SHORT SUMMARY OF EACH OF THE FIVE ANIMALS
OF SHAOLIN
SHAOLIN FIVE ANIMALS KEMPO:
(Shaolin Wu Hsing Chaun Fa)
TIGER:
The Tiger is the cornerstone of the system, Shaolin Chaun Fa. From the Tiger we learn strength and
tenacity. The Tiger employs powerful upperbody movements to overwhelm its opponents . Clawing, ripping , tearing and grappling
are characteristic tactics of Tiger style fighting.
LEOPARD:
The Leopard develops
power from its great speed, balance and muscle development. The Leopard techniques are characterized by loose, whipping movements
that are delivered at great speed.
  CRANE:
The Crane teaches grace, balance and
coordination of the entire body. Crane-style fighting combines evasion with deadly counter attacks to avoid injury and quickly
incapacitate an opponent. Crane techniques are extremely powerful, employing the entire body to generate force.
SNAKE:
The Snake teaches rhythmic endurance, focus and penetrating internal power. The
fighting techniques of the Snake employ both hard (external) and soft (internal)power. The Snake uses circular movements of
the arms and legs with rigid, penetrating and focused strikes with the hands and feet.
DRAGON:
The Dragon combines the fighting techniques
of all of the other animals and adds the quality of SPIRIT strike with purpose and focus. The Dragon teaches us to RIDE THE
WIND ie flow from one technique to another, the Dragon adds its total of MIND, BODY and SPIRIT. Above all the Dragon teaches
commitment, purpose and focus.
TO BE WELL TRAINED IN ALL FIVE ANIMALS IS TO HAVE A WELL ROUNDED ART MIND,BODY,AND SPIRIT!!!
|
