The Kenpo Journal

User Guide

November 30, 2012

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The Kenpo Journal

Introduction to the Kenpo Journal

A brief history:
In 1972 my only interest was in learning Ed Parkers Kenpo. Now, as I sit
here - 40 years later, my primary interest is in preserving the Ed Parker System of Kenpo and to do so without adding, subtracting, or altering the art Mr.
Parker dedicated his life to creating.
Some years ago I asked Mr. Parker what I could use (of his) in order to teach
and train in the art of Kenpo. He told me that anything he had was mine to
use and gave me an abundance of his most recent written material. At the
time I never imagined I would someday use this material to compile his system of Kenpo into a relational database that would be used, as a study guide,
by martial artists around the world.
Back then I had never even
seen a personal computer
and the term cut and
paste meant you actually
used scissors and glue.
Now you not only never
see scissors and glue anymore, but you dont even
have to cut and paste on a
computer just drag and
drop. But sadly, thats not
all that has changed. It
seems many of the men
and women, who considered Mr. Parker to be a genius, when he was alive, now declare his system of
Kenpo to be so full of flaws that they have taken it upon themselves to fix it.
Well, a number of years ago I decided to put together a database of the Kenpo system for my personal study. Then, as I started to see how many new, up
-and-coming, martial artists were searching for "True Ed Parker" material and
coming up empty handed, I decided to make my Kenpo Journal available to
the general public.
Although my journal isn't the only true and accurate EP Kenpo reference
available many people do seem to appreciate the database format and some
of the extras I have included.
I would also like to mention that my journal is in no way meant to replace any
of Mr. Parkers other written works.
Although you may not learn how to do a form, or a technique, directly from his
books, you will learn about the man himself and how he thinks and feels. This
will in turn help you become more qualified to interpret his manuals and thus
become more proficient in his art.
As you use the Kenpo Journal in your study of Kenpo, please keep this one thought in mind:
The purpose of the Kenpo Journal is not to set any standards, but to "Preserve and Advance the Ed Parker System of Kenpo".
I would like to thank Rich Callahan, AC Rainey, Roger Thomas, Dale Eberwein, Larry Tatum and Ed Parker. These men have
been my primary instructors in the art of Kenpo. Their instruction and friendship is what has kept me in the art long enough to
accomplish this task. Without them there would be no Kenpo Journal for us to lean from and enjoy.
Rich Hale

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The Kenpo Journal

Installation Instructions
Windows: XP - Vista - System 7 & 8
The Kenpo Journal is a stand-alone application based on the data base program FileMaker Pro. This means that although the
Kenpo Journal was built in FileMaker you dont need FileMaker to run the program.
The Kenpo Journal is designed to run on a hard drive. Do not attempt to run the Kenpo Journal while its on the CD. If you run it
from the CD it will either run extremely slow, or not at all.
Place the Kenpo Journal CD into the CD Drive of your computer.
If your computer does not prompt you with an option to view the files on the CD, open the CD manually to view the files.
Copy the Kenpo Journal v6 folder and save it to your Documents Folder, then double click the folder to open it.
Once you have opened the folder named Kenpo Journal v6, locate the file named Kenpo Journal v6. This is the file that you will
double click to open the Kenpo Journal database.
Note: I suggest you make a shortcut of your Kenpo Journal v6 file so that you can place it on your desktop, or in some other convenient location.
Caution: Do not remove the original Kenpo Journal v6 file from the Kenpo Journal v6 folder, as it must stay with the other
files, in that folder, in order for the database application to function.
Acrobat Reader 6.0 or later is required to print the Technique, Set, and Form manuals included in the Kenpo Journal.
Acrobat Reader is available for free at: www.Adobe.com

Troubleshooting
If youre having installation problems the first thing you should do is attempt to run the journal directly from the CD, by double
clicking on the file Kenpo Journal v6, which is located inside the Kenpo Journal folder.
Previously I said not to do this as it makes the journal run very slowly, but in order to verify that nothing went wrong when you
copied the journal to your hard drive, its worth a try.
If the journal sill wont run, verify that your computer is running Windows XP, Vista or System 7/8 as the operating system. The
Kenpo Journal will not run on older Windows systems and it will not run on a Mac.
If the Kenpo Journal is functionally, but you cant open the technique, set and form manuals, you may need to install or update
Adobe Acrobat Reader.

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The Kenpo Journal

Cover Page
When you first open the Kenpo Journal you will see this cover
page. At the bottom of the page you will see the ID Number and
your name as the person this journal is registered to. Below the
name and ID number is the date your journal was programmed.
Journal ID 5367 is registered to Rich Hale
Version Date June 10, 2009

Notes:

Each journal is programmed individually with the ID Number and the User Name embedded in the program. This insures each journal is accounted for and I can stay in contact with the registered user.
The date on the bottom of the cover page is the day the journal was actually programmed. In that the Kenpo Journal is
updated on a regular basis this date allows me to know which updates are included in the journal.

Daily Insights
Each time the journal is opened it will display a new daily insight
from Ed Parker. These insights were taken from books, magazine
and newspaper articles written by or about Mr. Parker during his
extensive career as a martial artist.
Each insight is a quote from Mr. Parker that will add a little something to your knowledge and understanding of Kenpo. If you miss
opening the journal on any given day there is no way (at this time)
to go back and read the insights youve missed, but they will repeat again in the coming year.
Hopefully, this will encourage the user to open the Kenpo Journal
daily and study on a regular basis.

Notes:

The daily insights were never meant to replace reading Mr. Parkers books or other study material. Theyre simply a
way of staying in touch with who he was and what he had to sayon a daily basis. Each insight is taken from a larger
body of work that will give you a greater insight to who he really was and what he was trying to convey through his
teachings.
Further into the journal, when you reach the Q & A with Ed Parker section, you will have an opportunity to learn a great
deal more about what Ed Parker had to say, but even that in no replacement for reading all his books and manuals.
The Kenpo Journal is only the tip of the iceberg when it comes to understanding American Kenpo and the man behind
its creation. For the deepest insight to Ed Parker read his book, manuals and articles. Watch his seminar videos, interviews and even the work he did as a character actor in the television and movie industry.

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Daily Insights / Self-Correcting (sample)

The ability to constantly make sound and logical judgments, and
to act on them when analyzing movements, or when in combat
situations. This can only be accomplished with a thorough
knowledge of the principles, concepts and theories of the Martial
Arts.
Note:

Mr. Parker often told his students that he wanted them to

become Self-Correcting. He knew that he would not
always be around to make these corrections himself and
if his system of Kenpo was to even survive, let alone
flourish, his students had to learn the difference between
right and wrong and then make the corrections necessary to produce positive results.
Taken literally the term Self-Correcting is correcting ones self. This can be much more difficult than being corrected by
others in that that only pressure to correct ourselves comes from within.
A martial artist who is incapable of being self-correcting will fall victim not only to the ill-conceived ideas of others, but illconceived ideas of his own. Then, over time, our system of Kenpo would slowly become diluted through misconceptions and slowly become a fractured system based on concepts and theory instead of proven principles.
Daily Insights should be a catalyst to improve upon what we learned previously with what we learned recently .

Contents
The contents page gives you a brief description of where the information in the Kenpo Journal came from and provides a pathway
to access the various sections of the journal. This includes:

Note:

Contents
Ed Parker
Basics
Forms
Sets
Techniques
Terminology
Memorabilia
First Aid
The Kenpo Journal is not and was never meant to be cast in stone. Its updated on a regular basis as I correct typos
and include additional information. Being a relational database, FileMaker is capable of doing in less than a second
what would have taken hours or even days when all we had to work with were the written manuals. This being the
case, some of the updates to the Kenpo Journal arent based on additional information, but on new ways to locate and
present the existing information already in the journal.
As for the overall content in the Kenpo Journal, it is and always will be in support of Mr. Parkers System of Kenpo.
The sole purpose of the Kenpo Journal is to Preserve and Advance the Ed Parker System of Kenpo.

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The Kenpo Journal

Edmund Kealoha Parker

Ed Parker
The home page for Mr. Parker gives you a brief biography on Mr.
Parker and a little information on the art of Kenpo.
The headings along the top of the page will have changed to provide you access to the various sections of the Kenpo Journal that
are dedicated to Mr. Parker. These include:

Contents
Photos
Books
Videos
Q & A with Ed Parker
Magazines
IKC Programs
Memorabilia

As the original developer of the art of American Kenpo Karate, Mr. Parker was a very talented, gifted and skilled with an unbelievable mind to develop what became American Kenpo. He built his system on principles of motion that included "Opposite and
Reverse Motion", "Tailoring", "Focus" and the use of Logic.
Mr. Parker was dedicated and was driven to create, as well as evolve, the art he called American Kenpo. He built his system to
incorporate linear and circular motion, with intermittent spurts of speed and power when and where necessary, with both major
and minor moves. His idea was for the student to learn motion and then tailor it to fit their body and later create their own personal style of moving, governed by principles. His extraordinary knowledge and skill of the art made him a very deadly man, yet
these same skills empowered him to be a man of compassion, forgiveness, control, and self discipline.

Mr. Parker teaching a Thursday Night Class at his Santa Monica Studio.

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Ed Parker / Photos
The Ed Parker photo pages are a glimpse of Mr. Parkers journey
in the art of Kenpo. Although this page is its infancy it will grow to
include more and more photos of Mr. Parker.
These pages will never be an all encompassing photo gallery of
Mr. Parker as its purpose is to give you just a glimpse of the
many photos available. More photos can be found on the Internet
and in many of the books written by and about Mr. Parker.
Note:

If you have photos of Mr. Parker that you would like to

share youre welcome to go to the Kenpo Journal web
site and submit your photos for consideration.

Ed Parker / Books
Ed Parker was one of the few martial arts masters who took the
time to put his physical art into the written form. In order to learn
and teach the art as he intended, reading his books and manuals
is essential. The books covered in the journal are:
Kenpo Karate - Law of the Fist and the Empty Hand
Secretes of Chinese Karate
The Zen of Kenpo
The Woman's Guide to Self-Defense
Ed Parkers Guide to the Nunchaku
Ed Parkers Kenpo Karate - The Basics
Ed Parkers Encyclopedia of Kenpo
Ed Parkers Infinite Insights into Kenpo - Volume 1,2,3,4,5

Ed Parker / Books / Kenpo Karate (sample)

This page is an example of having clicked on Mr. Parkers book Kenpo Karate, Law of the Fist and the Empty Hand.
The description begins:
The quest for unarmed defensive knowledge continues today despite mans continuous attempts at mass annihilation. Fear of
unprovoked attack by unknown assailants necessitates this demand. However, the average mans ignorance of self defense is
quite alarming. Reasons contributing to their ignorance are many.
There are those who claim that they cannot find the time to devote
to such training. Others do not have the opportunity since training
of this nature is not . . .

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The Kenpo Journal

Ed Parker / Videos
Mr. Parker certainly had a love-hate relationship with both the
camera and especially with the video camera. Being always the
perfectionist, the best angle, the best direction and so on was
always eluding him.
Although he played many small television and movie roles, his
plans to create a video based instructional video series was never
completed. The closest he came was when he completed the first
two videos of the series Sophisticated Basics 1 & 2
Note:

This page can be a guide for titles as you do your own

search for Mr. Parkers videos.

Ed Parker / Q & A with Ed Parker

This section is approximately 400 quotes by Ed Parker. Many of
these quotes are from interviews while others are statements
made by Mr. Parker and then put into a Q & A format.
The purpose of this section is not to "prove" what Mr. Parker had
to say, or how he felt, about any specific subject, but to give you
an opportunity to see what Mr. Parker had to say about various
subjects - at specific times - in his career.
Q & A with Ed Parker contains no unverifiable quotes. Every
quote attributed to Mr. Parker was taken directly from my personal
collection of books, magazines and newspaper articles that contain the quoted statements.
Notes:

The Q & A with Ed Parker section of the Kenpo Journal is one of my personal favorites and an area which took a lot of
work, a lot of patience and bit money as well. All the quotes were derived from my collection of over a hundred and fifty
magazines and newspaper articles either by or about Ed Parker.
It took a number of years searching the Internet to find some of the most rare magazines featuring Mr. Parker. (Many of
which you will have the opportunity to view cover shots of in another section of the journal.) The newspaper articles
were also found on the Internet by searching through countless newspaper archives all over the United States. Not that
I didnt enjoy the process of searching, but I wasnt always easy to break away from the computer and get out on the
mat. Which should be a reminder to us all that neither writing or reading the Kenpo Journal should take precedence
over getting out on the mat.
You may notice some of the quotes seem to be redundant. This is because, on some occasions, I used the same
quote, or portions of the same quote in answer to different questions. This way I could bring more attention to various
topics without taking a single statement out of an article - and risk having that statement being taken out of context.
As I mentioned above, there are no unverifiable quotes in the Q & A with Ed Parker section of the Kenpo Journal. To
insure that every quote attributed to Mr. Parker is valid, I have included the name of the publication, the date of the
publication, the volume and issue number, the title of the article and the authors name, at the bottom of every page.
For example:
Official Karate Dec. 1970 V-2 No. 10

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Ed Parker's Plan to Save the Tournaments - Ed Parker

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The Kenpo Journal

Ed Parker / Q & A / Page 49 (sample)

This page is an example of having clicked on the year 1970.
The first question is: Do you think one system, or style, of karate
is better than another?
I personally feel that all styles are good, or least have some good
in them. Take men like Norris, LaPuppet, Lewis, and the many
other champions who have added innovations of their own to the
art over and above the original system.
With the changing times they were, in many instances, forced to
create, borrow, or develop newer methods, since others capitalized on observing them to try to beat them at their own game . . .

Ed Parker / Magazines
Over the years Mr. Parker was featured on the cover of many
magazines. Some of the covers are from:
Action Karate
Inside Kung-Fu
Black Belt
Official Karate
Fighters
Martial Arts Masters
Meet the Masters
Martial Arts Legends
Masters of Kung-Fu
Inside Karate
Martial Arts Professional
Self Defense International

Ed Parker / Magazines / Action Karate (sample)

Of the many magazines Mr. Parker was on the cover of, Action
Karate was one of the earliest. The cover features Mr. Parker
with two of karates greatest and longest burning stars of the art of
karate - Joe Lewis and Chuck Norris.
Mr. Parker also happened to be the publisher of Action Karate of
which he published five issues before his distributor went bankrupt, bring an abrupt halt to Mr. Parker venture into the magazine
publishing business.
Several collectors of Kenpo memorabilia have managed to find all
five issues of Action Karate along with the collectors box they
came in. More on that later in the Kenpo Journal.

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Ed Parker / IKC Programs

Ed Parker kicked off the second decade of his world renowned
International Karate Championships with a magnificent display of
spirited competition, exciting demonstrations and famous personalities from all walks of life. Parker attracted more than 6,000 participants who performed before an audience estimated at 20,000,
in the course of the two day event. Overcoming tremendous logistical hurdles, Parker did an admirable job of achieving his stated goals of "entertaining and then educating" the ever increasing
martial arts public. He also added another first to his long line of
accomplishments by enticing NBC television crews into filming
their highly successful Sunday program (a major portion of which
was devoted to the subject of martial arts) live, just outside the
jam packed Long Beach Arena.
Inside Kung-Fu 1974

Ed Parker / IKC Programs - 1964 (sample)

Although the Kenpo Journal doesnt contain all the programs from
the International Karate Championships, it does have the very
earliest. The first being from 1964, the first year of the IKC.
This was the tournament where Bruce Lee was discovered and
Mike Stone became the first International Grand Champion.
In the early years other great karate fighters would emerge as
champions; men like Allen Steen, Chuck Norris, Joe Lewis, Steve
Sanders, Darnell Garcia, John Natividad just to name a few.
Without doubt the International Karate Championships were the
greatest most unifying martial arts tournament in the world.

Ed Parker / Memorabilia
Another absolute favorite section of the Kenpo Journal is the
Memorabilia section. Many rare and treasured items have found
their way onto these pages.
Here you will see the Kenpo Knives Mark II and Mark III. The
original Kenpo Ring created by Huk Planas, the Executive Vice
President of the International Karate Association and legend in
area of teaching Kenpo.
You will also see limited addition portraits of Mr. Parker that were
done by his son, Ed Parker Jr. and many other Kenpo treasures.
The memorabilia section of the Kenpo Journal is continually growing , but slowly as many great items are hidden away in other peoples possession. If you have anything to share from past generations,
I would love to hear from you.

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Ed Parker / Memorabilia / Mark II & III (sample)

Gil Hibben has been training in Kenpo karate for nearly 50 years
and has earned a 6th degree black belt having studied under Ed
Parker and 10th degree black belt Richard "Huk" Planas. Gil was
inducted into the Martial Arts' Masters Hall of Fame in 2000 and
the Action Martial Arts Magazine Hall of Fame in 2004.
In 1968 Gil designed the Kenpo Knife (sometimes called the Ed
Parker Fighting Knife) for his black belt thesis on knife fighting
using Kenpo tactics. His thesis became the basis of the Kenpo
system's Long Form VIII (the double dagger form) which uses two
knives in mock combat.) Over the years Gil has made several of
the handmade versions of his Kenpo knives including knives that
were presented to Ed Parker and Elvis Presley.

Ed Parker / Memorabilia / Kenpo Ring (sample)

Huk Planas began his Kenpo training in the late sixties under Steve LaBounty and Tom Kelly. He moved to Pasadena, California to
go to work for Ed Parker as a Brown Belt.
He received his Black Belt and all subsequent rank through Ed
Parker up to Seventh Degree; the highest non-honorary, nonpolitical rank given by Parker in 1985. He became the Manager of
the Pasadena school for several years, as well as the Executive
Vice President of the International Kenpo Karate Association for
the last ten years Ed Parker lived. Throughout this time, Mr.
Planas was also instrumental in the development of the original
manuals.
Huk also created The Kenpo Ring.

Ed Parker / Memorabilia / Black Belt # 1 (sample)

One of the most price collectables for any martial artist is a first
edition of Black Belt magazine. And for the students of Kenpo its
even better because the first issue of Black Belt just happens to
contain an article on Ed Parker.
The Kenpo Journal not only contains a cover shot of BB No. 1, but
you can read the entire article on Mr. Parker by clicking through
the pages on the right hand side of the page.
Many men have made their mark in the martial arts, but few have ever had
such far reaching influence over such a great amount of time as Ed Parker.
Im proud and happy to share these rare gifts with our Kenpo family.

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Ed Parker / Memorabilia / Lobby Card (sample)

When a friend of mine watched Kill the Golden Goose with me, he
said Mr. Parker wasnt a very good actor. Rather than be upset
that this guy just insulted the Master of the Art, I informed him that
Mr. Parker was not acting and that if I did chose to inform Mr. Parker of this minor insult he may very well stab a fork into his throat
and then rip it rest of the way open with a broken table plate. This
seemed to a sufficient response as he silently continued to watch
Mr. Parker in action.
Years later I came across this Mexican Lobby Card, which is the
American version of a movie poster.
I think the next time I have a portrait done, I will seek out such a
flattering artist.

Ed Parker / Memorabilia / TOC Program (sample)

With the success of his International Karate Championships which
was taking place annually in Long Beach, California, Mr. Parker
took his experience and energy back to his home of Hawaii and
presented the 1968 U.S. Karate Tournament of Champions.
I so enjoyed reading through this program that I included all fourteen pages of the program in the Kenpo Journal.
The Mainland team competing against Hawaii were:
Allen Steen, Gerald Taylor, Mike Stone, I. C. Sanders
Greg Baines, Chuck Norris, Thomas LaPuppet,
Arnold Uriquidez, Skipper Mullins and Tony Tulleners

Ed Parker / Memorabilia / Portrait 1 of 500 (sample)

Little need be said about the artistic talents of Ed Parker Jr. His
work has grown to be legendary both inside and outside the Kenpo family.
One of two works, by Edmund, that I have included in the Kenpo
Journal is a portrait he did of his father wearing a white karate gi.
This portrait is a fine example of the extraordinary work Edmund is
doing. It leaves one to only imagine the heights his talent can go.
This particular portrait is number 1 of 500.
See more of Edmunds work at: www.EdParkerJr.com

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The Kenpo Journal

The Basics of Kenpo

Basics
"Simplified moves that comprise the fundamentals of Kenpo.
They are divided into: Stances, Maneuvers, Blocks, Strikes
(Punches, Kicks, Finger Techniques, Parries), Specialized Moves
and Methods. Each basic move constitutes an alphabet of motion
that can be combined to form words, sentences, and paragraphs
of motion."
Sometimes a forgotten segment of our art are the basics. The
memorization of our techniques, sets and forms can be a useless
endeavor if we dont have crisp, clean and powerful basics.
This section of the Kenpo Journal is just a reminder of the basics
as they were laid out by Mr. Parker when he established the 24
technique system of American Kenpo.

Basics / Yellow Belt (sample)

As simple as a list of basics is, its surprising how many students
fail to practice them. And by this I mean really practice compared
to going over them quickly just to make sure you still know which
is which.
One of the most basic principles of Kenpo is the Economy of Motion, something that everyone in Kenpo strives to achieve.
Mr. Parker described economy of motion as:
Entails choosing the best available weapon for the best available
angle, to insure reaching the best available target in the least
amount of time. Any movement that takes less time to execute,
but still causes the effect intended. Any movement that inhabits, or
does not, actively enhance the effect intended is categorized as
Wasted Motion.
What some students seem to pay attention to is the last sentence of Mr. Parkers description of Economy of Motion.
The basic are not included in the Kenpo Journal simply because theyre part of the curriculum, but because theyre and essential
factor in becoming an effective martial artist. In recent years there has been a reemergence of how many times someone can
strike a target in a given amount of time. Im not criticizing speed training, but Id much rather be stung by a hundred bees than
get punched in the head just once by Mike Pick.
Economy of Motion may be one of the principle that American Kenpo is based on, but effective basics is the platform upon which
Economy of Motion and all the other principles must stand.

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Basics / Print Basics

The controls for printing the Kenpo Basics are located on the main
forms page just below the Kenpo crest.
To print the basic sheets all you need to do is click on the button
Print Basics. This will open a PDF document with a list of basics
for each belt level, as lined out by Mr. Parker.
I did not include the requirements for sets or forms on these pages. Over the years more sets and forms have made their appearance and requirements change from school to school. What I did
was place an area at the bottom of each page were you can write
in your own set and form requirements.
Note:

You must have a current version of Adobe Acrobat

Reader installed on your computer to open and view the
embedded PDF files in the Kenpo Journal.
Acrobat Reader is a free download at www.Adobe.com

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Stances:

Blocks:

Parries:

Side Horse
45 Degree Horse
Close Kneel

Same as Yellow Belt

Inward

Punches:

Strikes:

Straight Snap
Vertical Snap
Inverted Horizontal Snap
Vert. Middle Finger Fist

Inward Downward Diagonal Elbow

Inward Overhead Elbow
Forward Reverse Handsword
Inward Hammerfist
Inward Raking Hammerfist
Palm Heel Thrust
Upward Palm Heel
Forward Underhand Thumbs
Half Fist
Upward Lifting Forearm
Back Elbow
Hooking Back Knuckle

Kicks:

E
L
Finger Techniques:

P
M

A
S

Straight Thrust
Overhead Claw
Outward Whip

Foot Maneuvers:

Exercises:

Front Thrust Kick

Roundhouse Kick
Front Knee Kick
Rear Snap
Side Thrust Kick

Drag Step
Front Cross-Over
Cover-Out

Inward Outward
Downward Outward
Upward Outward
Inward Outward

Sets:

Forms:

_________________________

_________________________

_________________________

_________________________

_________________________

_________________________

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The Forms of Kenpo

Forms
Kenpo Forms are unique in many ways. First it's easy to see that
Kenpo forms are more intricate, longer and contain more
knowledge than the average karate form.
Each Kenpo form was created with stand alone value, but ultimately work together with progressively learned and interlocking
skill sets that insure the Kenpo student will develop into a wellrounded martial artist.
Our basic forms are Short 1, Long 1, Short 2, and Long 2. These
are considered to be "Dictionary" forms, because like a dictionary,
they provide brief definitions of basic movements.
Our intermediate forms are Short 3, and Long 3. These are considered to be "Encyclopedia" forms, because they provide a more
in-depth understanding of the basic movements and their application.
Our advanced forms are Forms 4, 5, 6 and above. These are also considered to be "Encyclopedia" forms, and provide Kenpo
students an opportunity to do a greater in-depth study of our most sophisticated movements and their underling principles.

Forms / Short Form 1 through Form 6 (sample)

The shorter forms are listed written out as a single page and beginning with Long Form 3 the forms are broken into easily read
segments. This allows the student to click on any segment of the
form (on the right side of the page) and only that segment will appear on the page. This prevents having to scroll down a long
page searching for the information youre looking for.
In learning English, the alphabet forms the basis of our
language. Then words are created, phonetics added, and
verbs, nouns, pronunciation, along with definitions.
Forms are alphabets in motion. If you learn how to pronounce a word and never know what the word means how
could you ever use it correctly in a sentence?
When learning English the alphabet forms the basis of our
language. From them, words are created, phonetics added, pronunciation, along with definitions to give words
meaning.
I feel that over the years many students are going through
their form, but they don't know what the forms are for.
How can you place proper emphasis on forms if, in fact,
you don't know what they mean or know that a certain
form has more than one meaning?
Ed Parker

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Forms / Print Forms

The controls for printing the Kenpo Forms are located on the main
forms page just above the Kenpo crest.
To print the form manuals all you need to do is click on the button
Print Forms. This will open a PDF document with the forms
Short 1 through Form 6.
Note:

You must have a current version of Adobe Acrobat

Reader installed on your computer to open and view the
embedded PDF files in the Kenpo Journal.
Acrobat Reader is a free download at www.Adobe.com

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The Kenpo Journal

1. With your right foot, step forward, toward 12 o'clock, into a right neutral bow while executing a right inward block with
a left hand cover. Execute a right outward chop.
2. With your left foot, step forward, toward 12 o'clock, into a left neutral bow while executing a left inward block with a
right hand cover. Execute a left outward chop.
3. Slide your left foot back, towards 3 o'clock, into a transitional cat stance (facing 9 o'clock) while covering your right
fist (on hip palm up) with your left fist (palm down). Step out to left neutral bow facing 9 o'clock while simultaneously
executing a left outward block and a right reverse punch.
4. Slide your right foot back, towards 9 o'clock, into a transitional cat stance (facing 3 o'clock) while covering your left
fist (on hip palm up) with your right fist (palm down). Step out to right neutral bow facing 3 o'clock while simultaneously executing a right outward block and a left reverse punch.

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5. Adjust left foot, to about 5:30, turn counter clockwise into a wide kneel, facing 6 o'clock, while simultaneously executing a left upward block and a right hand middle knuckle vertical downward strike.

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6. Adjust right foot, to about 12:30, turn clockwise into a wide kneel, facing 12 o'clock, while simultaneously executing a
right upward block and a left hand middle knuckle vertical downward strike.
7. Slide left foot back into a cat stance and turn to 4:30 while executing a right inward downward block (palm up) and
cocking the left hand at the right shoulder.

A
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8. Step out toward 4:30 into a left neutral bow while executing a left downward block and a right back elbow strike.
9. Step through, toward 4:30, into a right neutral bow while executing a right palm heel thrust with the left hand covering under your right arm.
10. Slide right foot back into a cat stance and turn to 7:30 while executing a left inward downward block (palm up) and
cocking the right hand at the left shoulder.
11. Step out toward 7:30 into a right neutral bow while executing a right downward block and a left back elbow strike.
12. Step through, toward 7:30, into a left neutral bow while executing a left palm heel thrust with your right hand covering under your left arm.
13. Slide your right foot back into a cat and turn, clockwise, to 1:30 while executing a left inward block with the right
hand cocking palm up at your waist.
14. Step forward into a right neutral bow while executing a right extended outward block (on an upward angle) with the
left hand cocked in a palm up half-fist at your left side rib cage.
15. Shift into a right forward bow and drop your right extended outward into a check while executing a left half-fist at
throat level.
16. Slide your left foot forward into a cat and turn, counterclockwise, to 10:30 while executing a right inward block (on an
upward angle) with the left hand cocking palm up at your waist.
17. Step forward into a left neutral bow while executing a left extended outward block with the right hand cocked in a
palm up half-fist at your right side rib cage.
18. Shift into a left forward bow and drop your left extended outward into a check while executing a right half-fist at
throat level.
19. Step forward with your right foot into a horse stance facing 12:00.
20. Salute.

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The Kenpo Journal

The Sets of Kenpo

Sets
Kenpo Sets, like Forms are offensive and defensive movements.
These "sets" of movements are sometimes done from a stationary
position, such as a horse stance, or can be incorporated into
dance-like routines similar to Forms.
Although similar in context, Sets and Forms provide somewhat
different approaches in learning the basics of Kenpo.
Forms are broader in scope, while Sets teach you how to articulate your basics, to be crisp and exact, while progressively developing them.
In our system of Kenpo they are appendices to the study of motion
and are most often used to refine specific skills, or weak areas,
that need special attention.
The Kenpo Journal provides detailed information on how to execute thirteen Kenpo Sets:
Stance Set 1 & 2, Blocking Set 1 & 2, Coordination Set 1 & 2, Striking Set 1 & 2, Kicking Set 1 & 2, Finger Set 1 & 2, Staff Set

Sets / Coordination Set No. 1 (sample)

Note: The Coordination Set 1 consists of ten sets of the same
actions. The left foot is the pivot except for when it is lifted to kick
or step down into a training horse stance.
Set 1:
1. Drop your right foot back to 6:00 so you're facing 12:00
in a left neutral bow while simultaneously delivering a
left outward block and a right back elbow strike.
2. Turn your outward block into a left punch to the head.
3. Shift into a left forward bow while delivering a right
reverse punch to the solar plexus and a left back elbow strike.
4. Simultaneously deliver a right rear leg front snap kick
to the groin and a left hand punch to the head with a
right back elbow strike.
5. Plant into a left forward bow while delivering a right
reverse punch to the solar plexus with a left back elbow strike.
Set 2:
1. Step through with your right foot into a . . . continued

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Sets / Print Sets

The controls for printing the Kenpo Sets are located on the main
set page just above the Kenpo crest.
To print the set manuals all you need to do is click on the button
Print Sets. This will open a PDF document with the stance sets,
blocking sets, coordination sets, striking sets, kicking sets, finger
sets and staff set.
Note:

You must have a current version of Adobe Acrobat

Reader installed on your computer to open and view the
embedded PDF files in the Kenpo Journal.
Acrobat Reader is a free download at www.Adobe.com

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The Kenpo Journal

The purpose of the set is to teach that if a punch is blocked, it can orbit around in a variety of ways and still result in an
effective strike against your opponent.
The set consists of a basic pattern of strikes done first to the front, then to the sides, and then with both hands. It can
be done in either horse stance, or a bent knee attention stance (i.e., feet together).

Set 1: (all punches are to the chest area)

a. Right punch, followed by an outward back knuckle. Repeat on the left.
b. Right punch, followed by a downward outward hammer fist to the front. Repeat on the left.
c.

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Right punch, followed by a right inward overhead inverted back knuckle strike. Repeat on the left.

d. Right punch, followed by an inward horizontal hammer fist strike palm up (grafting into chopping punches).

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Repeat on the left.

Set 2: Repeat Pattern 1, but with all punches to the side, and at shoulder level.

Set 3: Repeat Pattern 1, but with both fists striking simultaneously to the front.

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Set 4: Repeat Pattern 1, but with all punches to the side, and with both fists striking simultaneously.
Close:

Bring the left foot to the right foot, keeping your knees bent.

a. Both fists striking simultaneously to the front.

b. Both hands execute outward back knuckles to the front.
c.

Both hands execute downward outward hammer fist strikes to the front.

d. Both hands execute inward overhead looping inverted back knuckle strikes to the front.
e. Both hands execute inward horizontal hammer fist strikes, palm up (grafting into chopping punches) to the
front.
f.

Cross the hands, palms down, re-chamber at your hips executing double back elbows, while also straightening your knees.

g. Step back out into a horse, and then close.

Note: For a little bit of diversity, try this set with an open hand - replace the punches with finger pokes, the hammer fists with
chops, and the back knuckles with ridge hand strikes. It's not a major change, but it introduces some really subtle differences without changing the basic pattern.

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The Kenpo Journal

The Techniques of Kenpo

Techniques
The self-defense techniques in the Ed Parker system of Kenpo
are simply amazing! Unlike systems that suggest you only need a
single punch or kick to defend yourself, Kenpo suggests that there
is no "one way" to defend yourself and to never rely on a single
anything!
On the surface a technique may look like it's teaching you to
block, kick and chop. But in actuality it's teaching you an alphabet
of motion and how to formulate self-defense techniques from this
alphabet, so you can spontaneously create techniques (as needed) for any given situation.
Ed Parker on Techniques:
I teach Kenpo, not for the sake of teaching the techniques, but for
the principles involved in them. And even then, these principles
must be altered to fit the individual.
The reason I give my techniques names is because there are certain sequences associated with these terms. If I told a student
tomorrow that I was going to teach him a counter version to a double hand grab, it's not as meaningful as when I say I'm going to
teach him Parting Wings.
Youve got to know how to vary things. A lot of the techniques
Ive worked with, theyre ideas, theyre not rules. At any given
time, any of my moves can change from defense to offense, offense to defense.
Martial artists, and Kenpo people especially, become so involved
in doing the techniques exactly right in such and such amount of
time, that they get caught in a pattern that they cant break.
Thats not what theyre for. Specific moves, specific techniques
are based, like the ABCs in the English language or standard
football plays.
You have to have a point of reference and from there the combinations are endless and limited only by universal laws, laws that
you cant change.

Kenpo Journal Techniques

The techniques in the Kenpo Journal are taken from material
given to me by Mr. Parker not long before he passed away. Its
the most current revision of his material available. Nothing has
been added and nothing has been taken away.
I think everyone should have an opportunity to study the art of
Kenpo as Mr. Parker left it - without deletions and without additions.
Once you have mastered the art of Kenpo, youre free to do with
it as you will, but the Kenpo Journal wasnt compiled for masters,
it was compiled for students, such as myself.

Mr. Parker performs a technique on long-time student and friend, Tony Cogliandro, President of American Kenpo International.

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Techniques / Base (sample)

The first page you see when you click on a technique is the base
technique. That is the technique without its extension.
Most Kenpo schools teach the techniques in two separate pieces
and at two different belt levels. In this example Dance of Death is
taught through Step No. 4 at the Orange Belt level and then the
extension of Steps 5 through 15 are taught for 1st Brown.
Note the blue text in the sample techniques. I have highlighted
the strikes within each technique in blue to facilitate quick referencing within a technique. Reading through an entire technique,
searching for specific strikes is time consuming and difficult. Highlighting the strike in blue makes it easy to check the strikes and
further subdivides the technique within the numbered steps.

Techniques / Extension (sample)

Although teaching the technique extensions is generally done at
separate times and belt levels, as mentioned above, this is not
always the case.
Some schools teach the base technique and the extension consecutively and within the same belt level. This is why I have not
labeled the extensions as requirements for brown and black belt
levels, but instead left them within their original belt categories.
If a school prefers to teach the entire technique they need only to
click on the Extension link at the top of the page and the extension appears in place of the base technique.
If a school prefers to teach the extensions at a higher belt level
than the one currently be studied, the technique is hidden from
view until they are ready to view it.

Techniques / Principles (sample)

The Ed Parker System of Kenpo is based on Principles. Be it the
basics, forms, sets, techniques or fighting the entire art is based
on a set of principles, as outlined in Mr. Parkers Encyclopedia of
Kenpo.
As a reminder of this and as another catalyst for study, the principles of each base technique is available for viewing by clicking on
the Principles button on the top of the technique page.
This list of principles was complied by Mr. Parker, but that isnt to
say the list is 100% complete. Mr. Parker always left something
for individual effort.
The list of principles in the Kenpo Journal should be but a starting
point for your own personal study of what makes Kenpo work.

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Techniques / Ed Parker Notes (sample)

One of the least available resources in the study of American Kenpo has been Mr. Parkers personal note for each technique.
Each technique in the Kenpo Journal is accompanied by a set of
notes by Mr. Parker describing:
1. How each technique got its name
2. The technique theme - what its designed to teach
3. The Ideal Phase of the attack
4. A list of What-If scenarios
5. Notes clarifying technique execution and understanding

Techniques / Personal Notes (sample)

Mr. Parker has said many time that he taught the techniques not
for the techniques themselves, but for the principles within the
techniques. He further said that there is no one way to do a
technique correctly.
Therefore I have provided a place in the Kenpo Journal where you
can keep your own personal technique notes. If we are to truly
follow his lead we cant simply repeat the movements he laid out
for us. We need to do our own study of the material provided and
make our own decisions as to how this knowledge will be applied.
This is not an invitation to change Kenpo, but to personalize it.

Techniques / Mark Technique

The Kenpo Journal came about as my own personal study tool for
Kenpo. I wanted to find information quickly and efficiently. A relational database seemed the answer - and it worked. Then eventually I wanted to find previously found information without having
to do repetitive searches.
The first time around I added a check box to each technique
page, so I could find any technique that I had clicked the check
box on.
Then I changed the check box into a searchable text field. That
way I could find different techniques by different criteria.
Eventually I ended up with a searchable text field times eighty. On
the following page I will attempt to explain why I added this seemingly outrageous number of search and recovery options.

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Techniques / Print Techniques

The controls for printing the Kenpo Techniques are located on the
individual technique pages at the bottom of the technique lists.
To print the technique manuals all you need to do is click on the
button Print Techniques. This will open a PDF document with
the techniques for that belt level.
Note:

You must have a current version of Adobe Acrobat

Reader installed on your computer to open and view the
embedded PDF files in the Kenpo Journal.
Acrobat Reader is a free download at www.Adobe.com

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The Kenpo Journal

Piercing Lance _______________________________________________________________________ No. 16
(Front: Right knife thrust while your arms are up)
1. While standing in a left neutral bow, with both of your hands raised slightly above your shoulders, your opponent initiates his attack with a right step through knife thrust toward your abdomen.
2. Immediately slide your right foot toward 7 oclock while simultaneously executing a right hooking downward outward parry to the outside of your opponents right wrist. As your right parry directs the knife wielding hand toward 5 oclock, execute a left heel palm parry to the outside of your opponents right elbow, before sliding your
left hand to the top of your opponents right wrist to grab it.
3. While maintaining the grab with your left hand, and without disrupting your flow of action, slide your right foot
clockwise (rotating your body 180 degrees) toward 1 oclock. As you complete this maneuver (ending in a left
neutral bow) make every effort to buckle your opponents right leg with your right leg, while simultaneously executing a right back elbow strike to your opponents right or left ribcage, depending upon how you line up with
your opponent. Your position is back to back with your opponent while still maintaining your left hand grab on
your opponents right wrist.

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4. Immediately slide your right foot (counterclockwise) to 8 oclock (into a right neutral bow). During this action
have your right hand now take the place of your left hand as it grabs your opponents right wrist. Without delay
have your left hand form the shape of a crane and have it hook onto the left side of your opponents neck and
throat. Without any hesitation (as if it was a single move) pivot counterclockwise (facing 1 oclock) as your left
forearm fulcrums on top of your opponents right shoulder (using the back also) and forces your opponents
neck, throat, and head back. During the course of leveraging (leverage) your opponents head back, drop down
into a left wide kneel stance while pulling your opponent down with both of your hands. Guide and force your
opponents right elbow onto your left knee with all intentions of causing an arm break.

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5. Have your left hand again grab your opponents right wrist as it assists your right hand in twisting your opponents wrist counterclockwise while moving your left foot back to 9 o'clock. Immediately rotate counterclockwise
into another left wide kneel stance facing 9 oclock while simultaneously having both of your hands twist and
force your opponents knife (if opponent is still holding on to the knife) into his own throat. If your opponent releases the knife on the arm break, maintain the hold on your opponents right wrist with your left hand as your
right hand grabs the knife and plunges it into your opponents throat.

A
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6. Grab your opponents right wrist with your right hand. As you release your left hand grab, shift it so that it grabs
the back of your opponents right hand (reverse it clockwise with your left palm facing away from you). As your
left hand twists your opponents right hand clockwise, to possibly sprain or break his wrist, simultaneously wrap
your opponents left arm around your left leg. Continue to have your left hand rotate clockwise (if the clock is to
your left) and toward you while simultaneously pushing down on your opponents outer right elbow with your
right heel palm to cause your opponents right shoulder to dislocate.
7. Have your right hand now grab (clockwise with palm out) under your opponents right wrist as your left hand
releases its grab. Without delay, switch into a left reverse bow stance as your right hand maintains its grab to
your opponents right wrist. Continue to twist your opponents right arm clockwise to place greater pressure on
his right wrist and shoulder. Simultaneous with the twist have your left heel of palm strike your opponents right
elbow to cause a possible sprain or break.
8. Cock your left leg and deliver a left heel stomp to the right side of your opponents neck. This is done as both of
your hands grab and pull up (toward you) on your opponents right arm to cause further shoulder dislocation.
9. Force your opponents right arm to the ground, left front crossover stomp on top of his right wrist, and cover out
twice toward 5 oclock.

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The Kenpo Journal

The Terminology of Kenpo

Terminology
The Kenpo Journal contains approximately a thousand terms that
you can search and cross reference at the click of a mouse.
For example, lets say you wanted to research the term Reverse
Marriage of Gravity. In the old days you would have to comb
through all 154 techniques, and their extension to find the term.
And then you would have to do it all again for the 154 technique
notes, where Mr. Parker explains how the technique got its name,
the theme of the technique, the ideal phase attack, what if scenarios and specific notes of interest for the training and understanding
of each technique.
Whereas today all you have to do is click Terminology, click R,
click Reverse Marriage of Gravity and you instantly have the
term in front of you . . . and now for the good part . . .
Now that you have the term looked up in the dictionary click Find Term in Technique and the database instantly finds and isolates every technique that contains the term, and highlights Reverse Marriage of Gravity in red! The same is true for clicking on
Find term in Technique Notes.
For anyone who is truly interested in studying the Ed Parker system of Kenpo, this one feature alone is worth more than the
entire cost of the Kenpo Journal. Many learn Kenpo, practice Kenpo and teach Kenpo, but not nearly so many actually study
Kenpo. One of the highest compliments I have received in regard to the study of the art came from a man named Craig McCoy.
Now to put things into perspective, Craig, a long time student of Huk Planas, was wearing a well earned fifth degree black belt
when my first was so new it still had the crease marks on it. This is what Craig wrote to me:
Rich,
You have more than exceeded my expectations. As you have discovered by
"studying" the art there is more than originally meets the eye. Congratulations
and my admiration. Many don't reach so far.
Craig
Craig didnt say I was awesome, great or even pretty good at Kenpo. What he
said was that he recognized and admired my effort to actually study Kenpo.
Honestly, I have never received a greater compliment in regard to my what I
have tried to do in the art. The Kenpo Journal is a tool to study Kenpo and the
terminology is a cornerstone of that tool.
As you use the Kenpo Journal and go to the terminology section a little window
will open to inform you that:

Huk Planas, Dale Eberwein, Craig McCoy

1982 International Karate Championships

The terminology in the Kenpo Journal is derived from, but not a copy of, Mr. Parker's Encyclopedia of Kenpo. Most terms have
been abbreviated, while a few others were left out entirely.
The Kenpo Journal's purpose is not to replace the Encyclopedia of Kenpo, but rather to reinforce the need for it.
The primary function and value of the Kenpo Journal's terminology database lies in its ability to instantaneously locate any given
term, within the self-defense techniques or technique notes - with a single click of the mouse.
Without this unique ability, the Kenpo Journal would be merely providing a quick reference, with a basic description of Kenpo
terms.

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Terminology / Term Definition (sample)

The description of the term Reverse Marriage of Gravity is not as
clearly defined as it could be in Mr. Parkers Encyclopedia of Kenpo. Mr. Parker states only that:
Reverse Marriage of Gravity - Involves reversing the effects of
gravity to enhance the potency of your action.
As is the case with many of Mr. Parkers terms, this description is
open to a considerable amount of interoperation. This is why
most dictionaries include the usage of a word in one or more sentences to clarify its meaning.
This is what the Kenpo Journal will do for you, but instead of
providing only a few examples, it will find every instance the term
is used, isolate those instances and then highlight the term in red.

Terminology / Found in Techniques (sample)

Circling Fans
7. Diversify your Angle of Attack by contouring your right knee
down the inside of your opponent's right thigh to buckle his
right knee outward. (This action should both turn your opponent's body clockwise to his right, and bring his head down.)
Utilizing Reverse Marriage of Gravity, deliver a right upward
lifting forearm strike under your opponent's chin. Simultaneous
"with" these two actions utilize a left horizontal forearm check
at waist level. (Your opponent should be driven back and fall
to the ground.)
When you have finished studying how a term is used the selfdefense techniques you can return to Terminology and click on
Find Term in Tech Notes

Terminology / Found in Technique Notes (sample)

Wings of Silk
Notes:

Compare the use of Reverse Marriage of Gravity in

Scraping Hoof as compared to Wings of Silk.
Never underestimate the value of striking within Obscure Zones.
Be sure of the Angle of Incidence on the breaking of your
opponents elbows.
The elbow break is an example of the use of the inside
portion of a triangle. Review the number of corners that
are within a square and a triangle.

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The Analogies of Kenpo

Terminology / Analogies
This is what Mr. Parker had to say about how he began to use
analogies in his method of teaching Kenpo.
After reading scriptures, I noticed that Christ did a lot of talking in
parables or analogies, and I said Is there a possibility I could do
the same with that which we are already acquainted?
For instance we buy shoes to fit us, we buy clothes to fit us; likewise should you not then develop the art so that the art suits the
individual, rather than the individual to the art? Certainly.
So thats how my system of Kenpo karate came about by making comparisons, thinking about experiences, things in life, etc.
(Therefore) I'm a believer in the use of analogies.
Each and every movement we do is an alphabetic motion. By
using a single hand, you make a word of motion and when you
interject the other hand and use it intermittently with the foot, you
then form a double word which forms a sentence of motion.
Then parallel that with music. In music, a sharp rises in a note a
half step. A flat lowers it a half step. My knife hand, as a sharp,
raises the damage. The open, or flat part of my hand, acts as a
flat, lowering the damage."
What I'm trying to get people to see is that they can take
these things and make the comparisons with something
that they've been familiar with for a long time . . . Once
people begin to see this, they'll see that there is nothing
mystical about the martial arts.
Yes, they are sophisticated. And what is sophistication?
Nothing more than simplicity compounded.

Terminology / Analogies / Appendix (sample)

This analogy is used to distinguish and explain Kenpo
forms and sets.
Kenpo practitioners are instructed that all forms up to Short
Form Three (Long and Short Forms One and Two) are
comparable to the dictionary, whereby movements in the
form can be defined.
Short Form Three and above are compared to an encyclopedia.
In these forms the movements are not only defined, but explained
as well.
Sets (Coordination, Stance, Blocking, Finger, Kicking, etc.) are
considered appendices in that they are supplementary catalogues
of motion that add to the general knowledge of a Kenpo student.

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First Aid
First Aid
The Kenpo Journal is by no means a medical reference, but I
have included a section on first aid. It is accessed by clicking on
the Red Cross on the far right hand side of the main menu.
Topics covered in the first aid section are:

Black Eyes
Bleeding
Broken Bones
Bruises
Chest Pain
Choking
CPR
Cuts and Scrapes
Dislocation
Eye Scratch
Fainting
Head Pain
Head Trauma
Heart Attack
Heat Cramps
Heat Exhaustion
Heat Stroke
Human Bites
Inhaled Object
Nosebleeds
Object in Eye
Object in Nose
Object in Skin
Puncture Wounds
Shock
Spinal Injury
Sprain
Stroke
Swallowed Object
Tooth Loss
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