01-bushido martial arts yellow belt manual by jason brick
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Think with clarity.Move with purpose.
Act with love.
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Dear New Kenpo Student,
Welcome to Bushido Kenpo. Bushido Kenpo is a complete martial arts
system, designed to build humans who can fight efficiently, think clearly,
move beautifully and act compassionately. These manuals will form the
foundation upon which you and your instructors will build.
During your study of Kenpo, you will be asked to push yourself fartherthan you thought you could go. You will spend some time
uncomfortable, out of your element, perhaps nervous or even
frightened. This is a normal, necessary part of martial arts training. You
must surpass you prior limits to reach your future potential. Our
instructors are highly trained to push and lead you in this direction, and
also to help support you during the instances when you stumble or fallduring your training.
You are about to begin an arduous and beautiful journey. Welcome.
Sincerely,
Jason W. Brick
President, Bushido Martial Arts
WELCOME
Copyright 2005, Jason Brick. All rights reserved. Excerpts under reasonable use law.
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I will apply myself to the study of karate.
I will push myself consistently
to develop my mind, spirit and body
beyond what I once believed
to be my limits.
I will think with clarity.
I will move with purpose.
I will act with love.
I am a martial artist.
I will achieve these goals.
CREED
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Orange Belt
Purple Belt
Blue Belt
Green Belt
Advanced
Green Belt
3rd Brown
Belt
2nd Brown
Belt
1st Brown
Belt
Black Belt
White Belt
Yellow Belt
Black Belt PathAdult
KENPO KARATE
Continuingevolution in
Basics
Movement
Coordination
Combative Theory
Artistry
Self-Defense
Grappling
Physical Fitness
Physical Awareness
Mental Acuity
PhilosophicalKnowledge
Ethical Consideration
Historical
Understanding
Material
16 Techniques1 Kata
16 Techniques1 Kata
16 Techniques2 Kata
20 Techniques2 Kata
20 Techniques2 Kata
20 Techniques2 Kata
20 Techniques2 Kata
30 Techniques
2 Kata
16 Techniques
1 Kata
13 Techniques1 Kata
Basic Stances2 Techniques
2 - 3 months
3 - 4 months
3 - 5 months
3 - 5 months
3 - 5 months
4 - 6 months
4 - 6 months
4 - 6 months
4 - 6 months
Commitment
Time
4 - 6 months
Concepts
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Black Belt PathJunior
Continuingevolution in
Basics
Scholarship
Coordination
Self-Confidence
Artistry
Citizenship
Self-Defense
Self-Control
Physical Fitness
Physical Awareness
Material
6 Techniques1 Kata
6 Techniques1 Kata
6 Techniques2 Kata
6 Techniques2 Kata
TeachingTechniques
2 Kata
6 Techniques
1 Kata
6 Techniques1 Kata
Basic Stances2 Techniques
Orange Belt
Purple Belt
Blue Belt
Green Belt
Brown Belt
Black Belt
White Belt
Yellow Belt 2 - 3 months
3 - 4 months
3 - 5 months
3 - 5 months
3 - 5 months
4 - 6 months
Commitment
Time
4 - 6 months
Concepts
Junior Black Belts go on to get their Adult ranking in each
belt level of the Bushido Kenpo system, picking up the
more mature and complex concepts normally reserved for
our adult and teen students.
KENPO KARATE
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ESSAYS
ESSAYS
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Opening Comments
ESSAYS
Each of these belt material manuals covers a range of topics. There are
descriptions of your physical requirements and explanations of other
testing needs. There are also brief letters on topics related to your
study: historical notes, philosophical concepts, interesting tips and facts,
ethical principals.
These notes are not meant to be the sum total of a students
experience. Like the physical descriptions, they represent a bare bonessummary of the knowledge to be gained. Reading these manuals is
valuable in itself, to be sure; however, students are encouraged to use
the information here as a springboard for their own research, study and
inquiry. The life of a martial artist is a constant quest for more and
better knowledge and capabilities. These books are merely a beginning.
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Kenpo was brought to America, from Hawaii, by Edmund Parker. Mr.
Parker trained during his youth with William Chow, a student of Mr.
James Mitose. When Mr. Parker graduated from high school, he went
to Brigham Young University in Utah. At college, he taught karate.
After graduation he began running karate studios full time, eventually
creating the system now called American Kenpo.
Some of Master Parkers students included Al Tracy, Jim Tracy, DavidHebler, Larry Tatum, Huk Planas, Frank Trejo and Elvis Presley. These
practitioners and others took Kenpo with them throughout the United
States and abroad. Kenpo is now one of the most widespread systems
of martial arts in the world, with strong presence in Germany, England,
Ireland, Brazil, Mexico and dozens of other countries.
Master David Hebler, who went on to serve as Mr. Presleys bodyguard
and to write a bestselling book, opened a school in Hillsboro in 2001.
That small school has expanded into what is now Bushido Martial Arts.
Historical
ESSAYS
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Ethical
Bushido is an ethical code roughly analogous to the code of chivalry in
western culture. It was a guiding aspect of the life of Japanese samurai
and still heavily influences Japanese culture even today.
Bushido consists of seven ethical principles: courtesy, bravery,
discernment, loyalty, truth, sincerity and compassion. During your study
of Bushido Kenpo, you will for a time focus on each of these principles.
As you prepare for your yellow belt, please take a moment to consider
each of these principals. Perhaps you could look them up in the
dictionary to see if Mr. Websters definition of these words is the same
as your own. Perhaps you could think about the people you know who
demonstrate, or even personify, one of these traits. Later in your
training you will be asked to write thesis papers about some of theseideas. For now, though, just give these ideas some thought.
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When we were children, everything was brand new to us. The world
was bright and vibrant, full of new things. As we grew, much of the
world became commonplace, familiar. We learned so much that we
knew the name for everything around us. The newness wore off, and so
did our sense of wonder with the world.
Without that sense of wonder, we can lose sight of the everyday
miracles of life in our time. Our culture and technology can make thenight-time as bright as noon, can cure diseases that once wiped out
entire populations, can communicate instantaneously with people on the
other side of the planet. Consider for a moment how miraculous such
things as toilets, microwave ovens and email really are.
From time to time, we can recapture that sense of newness andwonder. Traveling abroad puts everyday things into a new light and
perspective. Learning a new subject or skill brings us out of our
everyday rut. Spending time with children reminds us of how the world
looked and felt when we found it brand new.
As a new student of the martial arts, you have another opportunity to
find newness and wonder. As you learn new skills and have new
experiences, you may be reminded of how you felt as a child,
surrounded by unfamiliar things.
Philosophical
ESSAYS
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Fake it til you make it.
It rhymes, its hokey, but it works. Actors use this principal to make
their living. Go to a movie and watch a grown man cry real tears and
have the appearance of true grief over the death of a loved one. We all
know the man on the screen isnt really grieving. Hes not actually
related to the character who died. He may not even like that person.
In fact, the only death was of a fictional character. Nobody has reallydied!
And yet, a real person is crying real tears. Even though the actor wasnt
actually sad, he knew the occasion called for grief. So he faked grief well
enough to cry. The best actors in the world are able to fake emotions
so well they fool even themselves and actually experience the emotionsthey are presenting.
This concept can be used in everyday life. If we are called into a
situation requiring something you dont feel, or even dont feel up to
giving at that time, we can often get the job done simply by pretending
we have what it takes. Need a little extra patience to deal with a
relative? Pretend youre an actor playing an exceedingly patient
character. Need to be more confident and decisive for a job or
promotion interview? Pretend that you are.
Try it sometime. Youll be amazed how powerful this technique can be.
Mental
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The white belt student can best be described as one who is learning
how to learn. During these initial weeks of your martial arts career, you
will begin to understand and master the basics of our Kenpo system.
Kicks, strikes, blocks, stances and movement represent the building
blocks of Kenpo and other martial arts. Grand Master Edmund Parker
described our basics as letters of motion. In our English alphabet of 26
letters, we combine those basic components into hundreds of
thousands of words. In Kenpo, we take our letters of motion and
combine them into techniques, sets and forms our vocabulary of
motion and combat.
Be patient with yourself in the beginning. Like a language, Kenpo takes
time to learn and master. In time, you will speak this language as well asyou do the language you were born to.
Physical
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TECHNIQUE DESCRIPTIONS
TECHNIQUE
DESCRIPTIONS
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Delayed Sword
TECHNIQUE DESCRIPTIONS
Defense is against a right punch from the front.
1. Step back into right neutral bow and execute a right inward
block.
2. Execute right front snap kick to groin.
3. As your right foot plants forward, execute right inward chop tothe right side of opponents neck.
Notes:Notes:Notes:Notes:
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Defense is against a two-hand push from the front.
1. Step back with your left foot into a right neutral bow.
Simultaneously execute a right inward block.
2. Execute a right side kick to the inside of opponents front knee.
3. Plant right foot forward in a right neutral bow. Pivot and delivera left front kick to the solar plexus.
Notes:Notes:Notes:Notes:
Aggressive Twins
TECHNIQUE DESCRIPTIONS
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Defense is against a left punch from the front.
1. Step back into right neutral bow and execute a right outward
block.
2. Execute right front snap kick to groin.
3. As your right foot plants forward, execute right inward chop tothe left side of opponents neck.
Notes:Notes:Notes:Notes:
Sword of Destruction
TECHNIQUE DESCRIPTIONS
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Defense is against a right front thrust kick.
1. Step back into right neutral bow and execute a right downward
block. Left hand is at chest level to check.
2. Shuffle forward and execute a right inward elbow.
Notes:Notes:Notes:Notes:
Deflecting Hammer
TECHNIQUE DESCRIPTIONS
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Defense is against a left side headlock.
1. While tucking chin in and grasping opponents right wrist with
your right, step forward into a right kneel stance. Drive left
hand behind opponents right knee. Simultaneously pinch and
grind at nerves in opponents knee and wrist.
2. Step forward into a left neutral bow while you pull opponentswrist with your right hand and strike opponents elbow with a
left inward block.
3. Checking opponents right arm with your left, release with right
arm and execute a right vertical punch to opponents temple.
Notes:Notes:Notes:Notes:
Grasp of Death
TECHNIQUE DESCRIPTIONS
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Defense is against a rear bear hug with arms pinned.
1. Pin attackers left hand with your left hand as you raise your
right hand, bent at the elbow.
2. Step left toward 9 oclock into a horse stance as you execute a
right reverse hammer fist to you opponents groin.
3. Pull your right foot to your left in a cat stance as you turn your
hips towards 3 oclock.
4. Step toward the attacker into a right neutral bow.
Simultaneously deliver a right obscure elbow under opponents
chin.
Notes:Notes:Notes:Notes:
Captured Twigs
TECHNIQUE DESCRIPTIONS
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Defense is against a right overhead club attack
1. Step right to 3 oclock while executing a left upward block.
Simultaneously pull your left foot in to a closed cat stance.
2. Execute a left front snap kick to groin.
3. Plant left foot and deliver a right step-through side kick toopponents left knee.
4. Plant right foot forward and execute a right backfist to
opponents temple.
Notes:Notes:Notes:Notes:
Checking the Storm
TECHNIQUE DESCRIPTIONS
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Defense is against a two-hand pulling lapel grab.
1. Pin hands against your chest with left arm. Simultaneously step
forward and bring right arm down onto opponents arms,
buckling them.
2. Execute a right inward elbow to opponents jaw.
3. Reverse direction and deliver a right driving elbow to opponents
throat or face.
Notes:Notes:Notes:Notes:
Mace of Aggression
TECHNIQUE DESCRIPTIONS
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Defense is against a right punch from the front.
1. Step back into a left neutral bow while performing a left inward
block.
2. Pivot into a left forward bow and right reverse punch to the rib
cage.
3. As right hand checks against opponent, deliver a right front snap
kick to the solar plexus or groin.
4. Plant forward and execute a left reverse punch to the kidney or
floating ribs.
Notes:Notes:Notes:Notes:
Attacking Mace
TECHNIQUE DESCRIPTIONS
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Defense is against a left-handed shoulder grab from the right side.
1. Pin opponents hand with your left as you step to 3 oclock with
your right foot into a horse stance. Simultaneously execute a
right outward chop to the opponents throat.
2. Immediately deliver a right reverse hammer fist to opponents
groin.
Notes:Notes:Notes:Notes:
Sword and Hammer
TECHNIQUE DESCRIPTIONS
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Defense is against a two-handed push from the front.
1. Step back with left foot into right neutral bow. Simultaneously
execute a right inward block.
2. Push down opponents arms with your right hand as you pivot
into a right forward bow and deliver a left vertical punch to
opponents solar plexus.
3. Drop left hand down to smother opponents hands. Pivot back
into a right neutral bow as you execute a right backfist to the
head.
Notes:Notes:Notes:Notes:
Alternating Maces
TECHNIQUE DESCRIPTIONS
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Defense is against a right step-through kick from the front.
1. Step back with left into a right neutral bow. Pivot counter
clockwise to face 6 oclock in a left neutral bow. Simultaneously
execute a right inward downward block.
2. Execute a right scooping rear kick to opponents groin along
with a right reverse hammerfist to the face.
3. Plant your right foot in a left neutral bow and immediately
deliver a right thrusting rear kick to the opponents solar plexus.
Notes:Notes:Notes:Notes:
Intellectual Departure
TECHNIQUE DESCRIPTIONS
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Defense is against a rear bear hug, arms pinned.
1. Step back between opponents legs with right foot, into a left
forward bow. Simultaneously pin opponents hands with your
left and strike opponents groin with right reverse hammerfist.
2. Pivot clockwise while stepping back right into a left neutral bow.
Facing opponent, grab behind neck with both hands.
3. Pull opponents head down as you execute a right rising knee to
the face.
4. Press opponents neck down with left hand as your right arm
begins to circle behind and overhead.
Notes:Notes:Notes:Notes:
Spreading the Branch
TECHNIQUE DESCRIPTIONS
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FORMS
FORMS
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Short One KataPage 1
FORMS
1. Start from a meditating horse stance facing 12 :00.
2. Step back with left foot into a right neutral bow while
simultaneously delivering a right inward block.
3. Step back with right foot into a left neutral bow while
simultaneously delivering a left inward block.
Notes:Notes:Notes:Notes:
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4. Turn head to face 9 :00. Step with your right foot to 3:00,
into a left neutral bow, while simultaneously delivering
left outward block.
5. Step back with your left foot into a right neutral bow
while simultaneously delivering a right outward block.
6. Turn counter-clockwise to face 3 :00, adjust right footand settle into a left neutral bow while simultaneously
delivering a left upward block.
7. Step back with your left foot into a right neutral bow
while simultaneously delivering a right upward block.
Notes:Notes:Notes:Notes:
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Short One KataPage 2
FORMS
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Short One KataPage 3
FORMS
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8. Turn to face 6 :00. Step back with your left foot into a
right neutral bow, while simultaneously delivering a right
downward block.
9. Step back with your right foot, into a left neutral bow,
while simultaneously delivering a left downward block.
10. Step clockwise with your left foot to 12 :00, returning toa horse stance.
Come to attention stance facing 12:00.
Notes:Notes:Notes:Notes:
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GLOSSARY OF BASICS
GLOSSARY
OFBASICS
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Page 1
GLOSSARY OF BASICS
Backfist
Extend hand forward in an arc to strike the target with the two largest
knuckles on the back of the hand.
Clock Principal
A means of describing motion. Imagine standing in the center of a clock,
facing the number 12. From this given, turning to face 3 oclock would
mean turning ninety degrees to the right. Regardless of which directionyou face during a sequence of motion, 12 oclock will always be named
as the direction you were facing at the beginning of the sequence.
Downward Block
Starting with hands in the pocket, move one hand to the opposite hip.
Follow by moving it a quarter-circle downward and outward to the farside of the legs.
Downward Elbow
With arm bent and fist closed, move elbow in a circle behind you and
over the head. Bring elbow downward toward your target. Strike with
the point of the elbow on the bottom of the upper arm.
Driving Elbow
With arm bent and fist closed, push arm outward and parallel to the
body. Strike with the tip of the elbow.
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Page 2
GLOSSARY OF BASICS
Forward Bow Stance
Starting in Neutral Bow, shift your hips and toes so all point forward.
The leading leg will bend and the rear leg straighten. As with a neutral
bow, a Right Forward Bow is with the right leg leading.
Front Kick
Starting in a Neutral Bow, raise one knee to waist level. Kick out and
forward with that foot, being certain to keep toes pulled back. Strikewith the ball or heel of the foot.
Horse StanceBegin facing forward with feet together. Step left with left foot until feet
are shoulder width apart. Toes should point forward or slightly
outward, with knees bent.. Hands should be at hips, in fists with palmsup.
In The Pocket
Keeping an idle hand pulled in against the hip with hand closed in a fist
with palm facing upward.
Inward Block
Cock arm, hand in a fist with elbow down, palm facing to the front.
Keeping arm bent, move it in a straight line across your body, stopping
on the opposite side of the head.
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Page 3
Inward Chop
Beginning with arm cocked by head, as with an Inward Block. Hand is
open and the muscles there flexed. Bring hand down towards target in
a diagonal line. Strike with the part of the hand between bottom of the
pinky finger and top of the wrist.
Inward Elbow
With arm bent and palm facing down, swing elbow inward to strike thetarget. Striking surface is the half of the forearm nearest the elbow.
Kiai
Spirit Yell. A sharp exhalation or shout made at the point of impact
when delivering or receiving a strike.
Neutral Bow Stance
Step back until feet are shoulder width apart, toes pointed at 45 and
eyes forward. Hands are up with fists closed, elbows down. Keep back
straight and knees bent slightly. Neutral Bow is named after the foot in
front, thus a Right Neutral Bow is a Neutral Bow with right side
forward.
Outward Block
Starting with hands in the pocket, move one hand to the opposite hip.
Follow by moving it in a quarter-circle up and out to the other side of
the face.
GLOSSARY OF BASICS
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Page 4
GLOSSARY OF BASICS
Outward Chop
Start with your hand cocked beside the opposite side of your head. (If
using right hand, cock it to the left side of the head). Bring your hand
down toward the target in a diagonal line. Strike with the part of the
hand between bottom of the pinky and top of the wrist.
Rear Kick
Beginning in a Neutral Bow, look backward over the same shoulder asthe leg you intend to kick with. Drive foot straight backward with toes
pointed down.
Reverse Hammer Fist
With hand closed in a fist, extend arm in an arc (as opposed to in a line,
as with a reverse punch). Striking surface is the bottom of the hand.
Reverse PunchBeginning with hands in the pocket, extend the arm, straight out. Turn
arm while in motion until palm is facing down. Striking surface is the two
large knuckles of your index and middle fingers.
Rising Knee
Much like performing half a front kick. Starting in a neutral bow, bring
up rear foot, still bent and strike opponent with the top of your knee.
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Page 5
GLOSSARY OF BASICS
Side Kick
Start from a Neutral Bow. Pick up the back leg and tuck your knee up
to your stomach, pivot until your rear hip is pointing toward twelve
oclock. Press foot out and forward as if stomping a cockroach on the
wall. Bring your foot back in, and return to your Neutral Bow.
Upward Block
Starting with hands in the pocket, move one hand straight up the middle
of the body (as in an uppercut punch). At the top of your head, snap
elbow up and out until arm is completely above the head at a sharp
angle.
Vertical Punch
Beginning with hands in the pocket, extend the arm, straight out. Turnarm while in motion until palm is facing sideways toward your center
line. Striking surface is the two large
knuckles of your index and middle fingers.
Wheel Kick
Beginning in a neutral bow, raise rear knee to waist level. Pivot so your
hips and chest face to the side. Now kick out your foot in a horizontal
arc. Striking surface is either the top of the foot or the ball of the foot
with toes pulled back.
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APPENDICES
APPENDICES
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7/29/2019 01-Bushido Martial Arts Yellow Belt Manual by Jason Brick
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Chart of Requirements
APPENDICES
BASICS
Backfist Downward Block Front KickInward Chop Inward Block Rear KickOutward Chop Outward Block Rising KneeReverse Hammer Fist Upward Block Side KickReverse Punch Wheel KickVertical Punch
Downward Elbow Forward Bow StanceDriving Elbow Neutral Bow StanceInward Elbow Horse Stance
TECHNIQUES
Delayed Sword Alternating MacesDeflecting Hammer Sword of DestructionCaptured Twigs Grasp of DeathMace of Aggression Attacking MaceAggressive Twins Sword and HammerIntellectual Departure Spreading the BranchChecking the Storm
KATA
Short One Kata
SCHOLARSHIP
Understand and be able to explain the Kiai, In the Pocket, and ClockPrincipal.Know and understand the basic history of Kenpo Karate.What is Bushido?Understand hope vs. fear in human decision making.
ATTENDANCE
M f 16 Cl