Requirements for Rank of 1st Degree Brown Belt
Look below for an overview of rank requirements. If you have any questions, bring them to class so we can work through them.
1st Degree Brown Belt Katas and Sets:
Adult Card
Long Form 5
Kicking Set 2
Kids Card
Coordination Set
Kicking Set 1
Stance Set 1
1st Degree Brown Belt Techniques:
For an overview of all belt requirements, download the 1st Degree Brown Belt card here.
1 • CLUTCHING FEATHERS
2 • TRIGGERED SALUTE
3 • DANCE OF DEATH
4 • GIFT OF DESTRUCTION
5 • LOCKING HORNS
6 • LONE KIMONO
7 • GLANCING SALUTE
8 • FIVE SWORDS
9 • SCRAPING HOOF
10 • GRIP OF DEATH
11 • CROSSING TALON
12 • SHIELDING HAMMER
13 • STRIKING SERPENT'S HEAD
14 • THRUSTING SALUTE
15 • LOCKED WING
16 • OBSCURE WING
17 • REVERSING MACE
18 • BUCKLING BRANCH
19 • THRUSTING PRONGS
20 • TWISTED TWIG
21 • OBSCURE SWORD
22 • REPEATING MACE
23 • RAINING CLAW
24 • CRASHING WINGS
Use the typefaces to help you scan quickly:
All stances are in bold
Each foot change is in italics
Each strike is underlined
These techniques work best in a printed manual, designed to be worked with on the mat. They are printed with a spiral binding, large enough so that you stand a good chance of reading them if the book is open on the mat as you work the technique. Each technique is formatted to cover only one page (you need never turn a page in the brief or skeletal descriptions of the technique), although the discussions do cross pages. The printed versions will always have the latest comments and developments, and are printed only as you order them. Click on KENPO KARATE MANUALS to visit the publisher's site.
1 • CLUTCHING FEATHERS
(left hand hair grab/arms pinned front bear hug)
After the armpit strike and heelpalm to the chin (with the outward block), continue the raking mace through the nose to the groin and rebound it to backnuckle to the face, then left front crossover with a universal punch right step through with an inward elbow sandwich to the head. Then your right hand claws up through his face with a right scoop kick and comes down as a heelpalm though his face as you stomp down.
1) natural stance, L hand grab attacker’s L wrist, pin him to your head
-L foot step back to 6:30 R neutral bow
-R vertical middle knuckle strike to L armpit
-R extended outward block to inside of R forearm
-L heelpalm to face
-R forward bow
-R inward raking hammerfist (palm up) to L jaw
-R neutral bow
2) continue the R counterclockwise circle to a R downward hammerfist to the groin, R reverse bow
- R backnuckle to face, R neutral bow
- L high check
3) L front crossover to L front twist stance
-universal punch (L reverse punch to heart, R hammerfist to R kidney)
-R inward elbow head sandwich (L hand check to R jaw)
4) R leg comes up with R knee kick to R thigh
-R upward claw through face
-R scraping stomp to R foot
-R downward heelpalm through L jaw
After the elbow-to-the-head sandwich of (6), you can use grab on to his collar with your left hand that now pulls up as you push down with the right hand and foot. This will spin the attacker around to the left as your right scraping stomp sweeps out his left leg. You can also just send him straight onto his back with a heelpalm strike straight to the jaw. • The Parker technique ends with the right downward hammerfist, followed by a right rear scoop kick as you exit. The exact movements between that point and the upward claw vary somewhat between teachers. • If you stay in a right neutral bow with the hammerfist to the groin you can make your left high check into a left inward heelpalm (that feeds the chin to the inward right elbow). This changes the groin/face/head sandwich rhythm of:
4) continue the R counterclockwise circle to a R downward hammerfist to the groin
-R reverse bow
-L high check
5) R backnuckle to face
-R neutral bow
6) L front crossover to L front twist stance
-R inward elbow head sandwich (L hand check to R jaw)
to a groin & jaw together/face/head sandwich rhythm of:
4) continue the R counterclockwise circle to a R downward hammerfist to the groin
-L inward heelpalm to R jaw
5) R backnuckle to face
6) L front crossover to L front twist stance
-R inward elbow head sandwich (L hand check to chin)
(of hammerfist & heelpalm/backnuckle/elbow). If rhythm is the right word. • The left front crossover provides an opportunity for a sweep kick to the right ankle to open up his stance, as does the right knee that follows. The right step through is a right knee kick, but because it’s coming from a twist stance you don’t have a clear shot, which softens the power a bit. Basically the kick and scraping stomp are bonuses to a right step through.
2 • TRIGGERED SALUTE
(right push to left shoulder/left roundhouse punch)
After the elbow break and the inward elbow, extend the outward elbow to chop his left shoulder, then circle in to a raining claw/backnuckle to the face, followed by a right rear elbow as you go into him with a left rear crossover, stepping out to right sweep his left leg as you hammerfist to the groin, then lift him up with a right knee kick on the way out.
1) natural stance, L hand pin R pushing hand to L shoulder, R foot step forward to 11 o’clock, buckling R knee, to R neutral bow
-R heelpalm to chin
-R downward crane strike to bicep, hooking at elbow
-pull inward with R hand
-R horizontal inward elbow
-R horizontal outward elbow
-L hand still pinning R hand
2) R outward handsword to L shoulder
-R hammerfist check to R arm
-L overhead downward claw to face
-R backnuckle to face
3) L rear crossover to 2 o’clock to L rear twist stance
-R rear elbow strike to solar plexus
-L high check
4) R step out R straight leg sweep against L knee to R reverse bow
-R downward hammerfist to groin
-R foot rebound from sweep to R knee kick to inside R thigh
-L hand high check
-R foot land to 7:30 in R front crossover
Mr. Parker kept the backnuckle of (4) as an uppercut to the face. We use it more as in Raining Claw. The right outward block/handsword continues a circle through the face, striking the right arm and going on around for the backnuckle to the face. That outward handsword checks the attacker’s left arm and if you want to be a more active dummy, throw a left hook after the outward elbow, at the end of the orange belt technique. • The left high check of (5) could also be a claw to the face, or heelpalm using the momentum of the crossover. • You might be able to add an inward sweep kick to the ankle following the final knee kick. The kick is to the inner knee or thigh, whichever is a more apt target. • A right rear eye stab can accompany the final right front crossover.
3 • DANCE OF DEATH
(shuffle straight right punch/right leg grab)
After your right hand gives that painful flick to his groin, use both hands to grab his right foot and flip him clockwise over on his belly, then left stomp across his back, shoot a left side kick to the ribs, and to drop on him in a left wide kneel with a right chop to his neck, then right stomp again on his spine as you cross out to 11 o’clock, adding one more right foot stomp to the neck.
1) natural stance, L foot step to 11 o’clock L neutral bow
-L inward parry
-R ridgearm to groin
-R forward bow
-R foot step through to 10 o’clock to R wide kneel
-R horizontal elbow strike to chest
-L hand grabs R leg below knee
-stand, pivoting counterclockwise to horse
-trapping R foot in L armpit with L vertical outward block
-R hand circles counterclockwise, clearing against possibility of L kick with R backnuckle to R leg
-R downward finger strike to groin
2) R hand grabs heel of R foot, L hand moves to palm down on toes
-R hand lifts up, L hand pushes down, twisting clockwise to break ankle and flip attacker clockwise onto his stomach as you pivot R to a R forward bow, then drop the feet
3) L step-through forward to L stomp to lower spine
-R step through to beside his R hip, L side kick to best target, L foot land by his R kidney,
- pivot counterclockwise to L wide kneel on his back, pinching kidney as you drop down to
-L heelpalm to shoulders, R downward handsword to neck
4) R stomp to upper spine
-L step through to 11 o’clock
-drag up R foot, stomp back with R rear heel kick to head
-R reverse bow
When you drop to the left wide kneel of (5), it’s written as a straddle, your left foot to the left side of his body, your right knee attacking the right kidney. You may also position yourself entirely to the attacker’s right in your wide kneel, using your left shin and knee to pin the attacker and attack his right kidney. • Instead of the stepping stomps of (6) some folks substitute a leap into the air, landing on the upper spine with both heels. Do this well, and you can look like Bruce Lee or Lester.
4 • GIFT OF DESTRUCTION
(right handshake/right roundhouse punch)
After you land into him with the right inward elbow to the jaw, left offstep counterclockwise up the circle as your right elbow drive in to his heart, followed by the right fist backnuckling down, popping up with a forearm strike, then hammering out and in through the face (out & down/up/out/in & in). The left checks and claws whatever it can.
1) natural stance, L foot hop to 11 o’clock R knee to groin
-R hand, grabbing R hand, yanks to R hip
-L hand heelpalm to elbow
-R foot land forward, scraping R leg R neutral bow
-R inward horizontal elbow to L jaw
2) L foot offstep to 4:30 to R neutral bow as your R elbow goes through his jaw and returns with a
-R outward horizontal elbow to heart or solar plexus, continue circling out with
-R backnuckle clockwise down through bridge of nose, with
-L high check (possible strike to face), as
-R pops straight up with a possible upward forearm strike to jaw, then pulls back into you with a
3) R outward hammer (vertical block) to R jaw
-R inward hammerfist to L jaw, continuing a circle in to
-R downward hammerfist to belly as you
-L heelpalm claw to chin
We can liken the action of this ending to turning a large steering wheel (like a violent bus driver, or maybe Ahab hankering after that whale, certainly nobody I’d want to share a road or a rowboat with). • Landing forward into the attacker after the knee kick should buckle his right leg. • Seems like everyone does this technique differently, and changes often. • Scott Gonzales drops his weight with the final downward to the body, also effectively using this in his freestyle.
5 • LOCKING HORNS
(front head lock/front bear hug arms pinned)
After the right inward elbow/left heelpalm head sandwich, your left hand then snakes around his head to pull it down into an upward right knee kick that lands your right foot on his right thigh so that you can step-push him down onto his back, continuing to drive into him with a right stomp to his right ankle, and a left rear crossover to stomp his left ankle.
1) bent over, chin tucked, attacker in front with his arm around your throat, trying to pick you up by your neck, R foot step forward R wide kneel
-R ridgearm to groin with your L hand at neck, inside his choke, palm out against his grip
-R upward reverse elbow strike to chin as your L hand pulls down R wrist
-standing up to R neutral bow spreading hands outward with R and L outward parries
-shuffle in with a R inward horizontal elbow to left jaw and L heelpalm to right jaw
2) continue L hand across his face, around head to hook over the back of his neck to pull his head down
-R hand low check forward against his R thigh
-L front crossover to L front twist stance
3) R knee kick to face
-R foot step on R thigh, push him down (foot and R heelpalm) to flat on his back, you are standing between his legs
-R foot stomp to R ankle
-L rear crossover, L stomp to L ankle
This version of the ending continues the direction of the heelpalm/head sandwich; it continues the circle through itself, and turns it downward with the knee. It’s elegant. • If you lose the hook over the head, or just prefer strikes to manipulation, Parker initially wrote the middle part as:
4) shuffle in
-R inward horizontal elbow to left jaw
-L heelpalm to right jaw
-L front crossover to L front twist stance
-R horizontal backnuckle to R floating rib
-L downward heelpalm to solar plexus (fingers horizontal, pointed back to you)
5) R knee kick to groin, scraping stomp to R foot
• Jim Foschia likens the knee kick step to the thigh, pushing it down, to climbing up a ladder. Kenpo handyman. • Instead of the ankle you could of course stomp to the foot, the instep, whatever’s best.
6 • LONE KIMONO
(left hand to right lapel grab/pull left hand free, right punch)
After your right uppercut breaks his arm keep your arm inside as you drag up back into him with a left heelpalm to the face as your right outward block clears his broken arm. Your feet come together so that your right foot can scoop up through his groin and stomp down to the right thigh landing with a right chop to his neck.
1) natural stance, pin his left hand with your left
-L foot step back to R neutral bow, R arm uppercut to R arm, your elbow striking under his elbow
2)L foot immediately rebound, dragging back up to close cat stance, hips facing 12, R knee forward, with
L heelpalm to face and R extended outward block clearing away his R arm. The L drag up kicks your R foot up to
3) R scoop kick to groin, landing with
-R downward stomp to R knee as you
-R downward inward handsword to neck
The ending is shorter than the original technique. • The first step back immediately rebounds forward and serves to pull him into the left heelpalm. You don’t really settle as in the Orange Belt version to enable the arm break, but since your right arm is moving in that general direction on its way to the outward block you make as well make this part of the trip. The fact that the technique makes use of your forward momentum makes it work equally well if he has just grabbed you or if he’s pulling you in. So this technique could be used in the same circumstances as Conquering Shield. • Mr. Parker added a left inward two-finger eye hook on the way to pinning his grab, pretty much as in Twin Kimono. But that will make the attacker lean back, straightening out his arm, and work against the rebounding step/yank into the heelpalm that we use. Instead of that sequence, Mr. Parker made the left heelpalm into a left outward handsword, concurrent with the right extended outward block, and made the foot maneuver a shift to a right forward bow with the chop and block. The left drag up coincided with a right inward raking back knuckle to the nose followed by a right knife edge kick to the inside of the attacker's right knee. It’s a different way to go. • As with all face strikes at this level, substitute a target high on the chest so that you can practice the technique while making contact. Most all the endings go on longer because they rely on moving the attacker to different positions, manipulating him. Make sure you don’t end up relying on your fellow student’s knowledge of where he’s supposed to be in order to make the technique work. Practice with large people who don’t know what to do, and make them do it. In the interests of remaining friends with your fellow students, substitute the chest for the face with your left heelpalm. • The final move might well remind you of Unfurling Crane, which is where our scoop kick comes from. Depending on the attacker’s position, you may not be in a good position to execute and effective scoop kick, so just go for kicking out his right knee, buckling it and taking him down.
7 • GLANCING SALUTE
(right push to right shoulder/front bear hug arms pinned)
After pulling his head into your right knee as you step through forward, continue forward with a drag up and sweep his left leg as your right heelpalm bashes his groin and then left/right stab to the eyes as your right front crossover buckles his right leg as you exit.
1) natural stance, L step forward to 11 o’clock L neutral bow
-R hand pins his R wrist to your R shoulder
pivot clockwise R forward bow facing 3 o’clock
-L inward block to elbow, breaking arm
-pivot counterclockwise L forward bow facing 12 o’clock
-R heelpalm through chin, to hooking outward grab around his head
-L hand checks R arm against body
-R crane grab around head, pull head into R knee
-R knee kick to head
-R leg land forward to 11 o’clock, R neutral bow, checking into R knee
-R horizontal elbow to head, L heelpalm sandwich
2) L foot drag up, R foot step out to 2 o’clock, sweeping his L leg, R reverse bow with
-R hammerfist to groin
3) R front crossover sweep kick to R leg, buckling R knee as you
-L stabbing eyehook to R eye
-R hand comes up underneath circling clockwise to outside of L eyehook, to R 2-finger stab to eyes
-L step out, R step through to 4:30
Whether the knee kick of (4) goes to the head or to his solar plexus or stomach depends on his reaction, and size, and strength - in other words you may not be able to connect with his head. Basically you are making use of your step-through as part of your attack. Any target will help. • The hammerfist to the groin could just as well be a downward heelpalm. • Another variation at the end is to follow the groin attack with an immediate backnuckle to the face. Whatever the attack, you make use of the fact that attacking his groin will cause him to fold up and run his face into the next strike. • The sweep kick as you finally cross out presents another opportunity to personalize this technique. If you have damaged knees, which can make the stress of a sweep kick dangerous to your remaining meniscus, a slight change of angle makes the same move a knee kick to inside his right knee. That is the move as Mr. Parker wrote it.
8 • FIVE SWORDS
(step-through right roundhouse punch/left roundhouse punch)
After the handsword stab to the solar plexus, shoot a left chop to the throat as you rear crossover up the circle, setting up to chop down on his neck with a right downward handsword, then lift him up with left/right upward neck chops followed by a right side kick.
1) natural stance, R foot step forward to 11 o’clock R neutral bow buckling R knee
-R inward block, L extended outward block to R arm followed by a R outward handsword to neck
-L heelpalm to chin as you pivot counterclockwise to R forward bow and R hand cocks to hip, palm up fist
- R uppercut to solar plexus as you pivot back to R neutral bow
2) L foot offstep up circle to 4:30 to L front twist stance
-L outward handsword to neck, hook hand over neck
3) unwind counterclockwise to R neutral bow
-R downward handsword to neck
4) L upward claw to face
-pivot clockwise to R forward bow
5) pivot counterclockwise to R reverse bow
-R rear upward handsword to throat
-R back kick to best target (dragging up as necessary)
There are several interesting and significant variations you can practice with Five Swords. Ed Parker did not use that left offstepping chop to hook the neck and bring it down to meet the upward chops. In his ending the left is used twice as a claw, there’s no offstep, and the final back kick is a leg lift i.e.:
2) L outward claw to face, still in R neutral bow
3) R downward handsword to neck
4) L upward claw to face
5) pivot counterclockwise to R reverse bow with R rear upward handsword to neck, followed by
-R stiff-legged rear kick to groin
Try using your left only as a check, and your right is a striking block, which is safer below the elbow, but as a chop, more damaging to the bicep. If the attacker is coming in with a straight right, you can use a vertical outward block to the punch, making contact high up on your arm to add mass to the block. The chop to the bicep can actually get powered into the neck by the straight right punch. • The short description can be seen as Nine Swords and a Kick, as used in the original Chinese (Kempo) technique. In our general use (and in Mr. Parker’s adaptation) the fourth handsword, the left stab, is usually a heelpalm and the right (fifth) an uppercut punch, and the eighth, a claw. •
As long as I’ve brought it up, Kempo and Kenpo derive from the same root, translated from Chinese to Japanese and then transliterated to English. The spelling difference is an indication of a mispronunciation that has come to actually stand for a different branch of the same style. Kenpo comes from two Chinese characters that were translated to the Japanese, “ken” meaning fist, and “hou” meaning law. But when the character for “hou” is used with “ken,” it’s pronunciation changes to “pou,” and the “n” of “ken” becomes and “m” sound. However, Japanese phonetic alphabets use the same letter for “m” and “n,” so it is written Kenpo, and then in English we tend to pronounce it as written. Except some folks, figuring out the etymology, went back and reintroduced the “m” sound and made it Kempo, which then gives you the correct pronunciation and incorrect spelling. Usually studios advertising Kempo Karate are referring to a Chinese lineage, and Kenpo Karate usually refers to a style derived from the teachings of the James Mitose family, who taught William Chow, who taught Ed Parker who taught Larry Tatum. • Mr. Parker did not use the offstep up the circle with the left outward handsword, or the subsequent pull down. Instead, he made that move an outward claw through the face, followed by a right thrusting chop to the left side of the neck, and then after the left inward claw to the face, he ends with a right outward chop to the right side of the neck and a right stiff legged kick to the groin from the right reverse bow.
9 • SCRAPING HOOF
(attempted full nelson/front arms free bear hug)
After scraping your hoof down on his right instep immediately sweep his left leg with your right and rebound to knee kick his right, following it up with a left front crossover that buckles his right leg, then left rear crossover as he falls back to set up a right back heel kick to his groin.
1) natural stance, in an attempted full nelson, before his fingers lock, ram your fists together and down in front, straightening both arms over his
-straighten your legs, straighten and arch your neck to strike his face with the back of your head
-all your weight to your L leg, bend your L knee
-R snapping back kick to inside of L knee, R snapping side kick to R shin
-scrape R foot down inside R shin to R heel stomp to R instep
2) R leg sweeps back to 7 o’clock to R reverse bow, attacking L leg at knee
3) L front crossover, R step out knee kick to thigh, buckling R leg, landing in R neutral bow as you
-R hand check down to thigh, L hand checking high
-forcing attacker flat onto his back with legs spread
4) L rear crossover setting up
-R back heel kick stomp to groin
When you straighten your legs with the head butt you can increase the power the strike by bringing your feet together. Dragging in your left foot pulls the attacker off balance and into the back kick. • The left front and rear crossovers of (4) and (5) are written without a timely clock direction. They are gauging steps, small shifts that allow the next move of the right leg as it attacks the attackers right knee and then the groin. The crossovers might not be necessary. • The right leg does all the attacking - the initial back kick/side kick, the left leg sweep, the right leg buckle and the stomp to the groin.
10 • GRIP OF DEATH
(left flank head lock, his right leg in front/getting up)
After the heelpalm to the chin, use your left leg to thrust kick his right leg and then sweep his left leg, putting him into the splits (at least).
1) attacker has you in a head lock, your chin tucked L into your chest, either hand pulling down on his choking R arm as he throws you forward counterclockwise from your left side, his right leg in front of your left
-R foot step to 10 o’clock R close kneel, back straight
-L foot tucked parallel inside his R foot
-R hammerfist to groin as you L hammerfist to L kidney
-L hand grab attacker’s hair
-pull L elbow to hip as you pivot counterclockwise to face 6 o’clock to L forward bow with R heelpalm to face
2) L front crossover thrust-kick R leg towards 10 o’clock –land in L front twist stance
3) R foot offstep down the circle, pivot clockwise
-L leg sweep backwards against his L knee landing in L reverse bow that buckles attacker’s L knee (or could also use a L side kick to knee)
The sweeping left foot can either knock the attacker’s leg out of the way to enable the leg-breaking reverse bow, or it can kick the attacker’s leg high enough to be able to grab onto his while you sweep to the reverse bow. Either way, you are putting all his weight onto his left for the second, knee-breaking sweep. • The offstep of (4) doesn’t really establish a new stance. It is a gauging step to give you a good angle for the sweeping reverse bow. • Exercise caution when practicing this technique as either student or attacker. It works because all your weight is on your supporting leg, which is being bent backwards. If you are unsure of your control, don’t do it. If you don’t trust the practicing student, don’t do it.
11 • CROSSING TALON
(right hand to right wrist grab/left leg grab)
After the downward elbow to the spine, both hands grab his right hand and left step back, flipping him onto his back as you right roundhouse kick to his face, then switch to a left reverse bow and yank him into a left knife edged kick to the neck.
1) natural stance, L hand pins attacker’s grab to R wrist
-yank back, rotating R hand clockwise to grab R wrist
-L foot step forward to 1:30 L neutral bowwith L inward downward block to R elbow
-yank R hand to R hip as you L horizontal outward elbow to head
-L heelpalm claw through face, anchoring elbow down on shoulder blade
-circle elbow clockwise to L downward vertical elbow to spine
- L heelpalm to L mastoid, grab head with R knee kick to face, land to horse stance
2) L hand grabs attacker’s R hand over his thumb, your thumb pointing up on the back of his hand
-R hand grabs the other side of the attacker’s hand, your thumbs together, pointing up in the same direction of his fingers
-L foot step back to 6 o’clock
-breaking attacker’s wrist as you turn it suddenly counterclockwise
3) R roundhouse kick to face (or solar plexus) as he goes onto his back
-land with R front crossover, L step out to 7 o’clock to L wide kneel, your hands to your L hip, still gripping his wrist - he’s now laying parallel to you on his back, his head pointing toward 7 o’clock, along your L side, your L knee at his elbow allowing you to possibly break his arm backward across your shin. Your R knee helps pin him to the ground
4) R hand regrab attacker’s wrist, your thumb pointing down toward his shoulder
-L heelpalm to back of elbow, arm break as you
-pivot clockwise to L reverse bow
-both hands grab his wrist, yank him into
5) L knife-edged kick to neck
-L front crossover thrust kick against elbow, cross out
If you are fast enough, and sure of your grip, you can skip the initial left pin and secure his right wrist by quickly whipping your right hand around clockwise to regrab the grab. • Landing from the knee kick into the horse stance gives you greater stability while you are changing your grip on the right hand before breaking it. Some people are just as happy to use a left neutral bow, the only important thing is keeping control. Your left elbow pinning his elbow to your thigh can help. Just be sure to avoid turning your back to him as you regrab, giving him a chance to begin grappling with his unfettered left arm. • The final stomp kick to the head is fairly the same as the stomp kick ending Tripping Arrow.
12 • SHIELDING HAMMER
(step-through left hook punch to head/bear hug or right roundhouse punch)
Follow up the elbow strike shuffle with a left front crossover as you fold him up with a double punch to the solar plexus and groin, unwinding clockwise with right /left chops to the throat leading into left back kick to the groin.
1) natural stance, L foot step back to 7 o’clock R forward bow
-R extended outward block with L high check
-R inward raking backnuckle across bridge of nose
-still in R neutral bow you shuffle forward with R elbow strike to solar plexus
2) L front crossover to L front twist stance
-L vertical punch to heart
-R downward hammerfist to groin (or R kidney)
3) unwind clockwise to L neutral bow
-R upward chop to the throat, continue as outward claw through the face and leading to
-L upward chop to the throat
-continue clockwise pivot to L reverse close kneel
-L back kick to groin
-looking over L shoulder, R hand check by face
The initial left high check could easily be used as a heelpalm strike to the face or chest with the extended outward block, and then as a stab to the eyes with the right elbow to the chest. • The left vertical punch of (4) could go to the solar plexus, following the attack with the right elbow. That would serve, with the groin hit, to fold him up into the upward strikes of the handswords (and vertical elbow, if you use that). On the other hand, as written the groin and sternum hits tend to send him in two directions at once, which is also good. • You can also substitute a left vertical punch over right backnuckle to the solar plexus, but the groin hit will probably have a greater effect, and also follows the general circular feel of the rest of the ending. • Mr. Parker unwound from the twist stance with a right upward elbow to the jaw, followed by a right heelpalm, resolving into a right outward claw through the face. He followed this with a left heelpalm strike to the chest. • The whole ending follows a single unwinding curve from the front crossover through to the back kick.
shieldinghx
13 • STRIKING SERPENT'S HEAD
(arms free bear hug/two-handed grab to shoulders or neck)
After the half-fist punch to the throat, slam a right inward elbow to the heart as you step through behind him to a right neutral bow, slamming his spine on your right knee, then right hammerfist down on his heart and right roundhouse kick to the face as you drop him to the ground.
1) R foot step back to 5 o’clock to L neutral bow
-R hand check forward
-L hand circles around back behind head to backnuckle strike to L temple (thumb down)
-L hand grabs hair, R hand cocks palm up at R hip
-anchor L elbow to L hip, pulling back head and opening throat
-R half-fist strike to throat, pivoting counterclockwise L forward bow
-pivot back clockwise L neutral bow
2) L foot offstep to 9 o’clock, L hand slides down to grab attacker’s R hand
-R foot step through to 11 o’clock R neutral bow, R inward elbow to chest immediately slipping your R arm under his R arm as you
-push his R hand in to meet your R hand,
-grabbing onto his hand with both your hands, making an arm bar
3) drop to R wide kneel, yanking attacker’s spine down on R knee
4) R arm circles around to R downward hammerfist to heart
5) pull back to R 45º cat, letting attacker fall
-L hand check, R hand sweeping out R with a hammerfist if attacker tries to kick
-as he hits the floor add a R downward looping roundhouse kick to face
-land with R front crossover, L step out
As Rebecca Burten noted, it is easily possible for the attacker to turn into the arm lock of the ending, transforming it into a choke, which she’s named The Burten Choke. Your only way to ensure the attacker doesn’t have that option is to move quickly to slam him down on your knee. • In a simpler version you can just work your forward momentum, using the drive through forward of the right step-through to take him down with the right inward elbow to the chest:
2) L foot offstep to 9 o’clock, L hand grabs attacker’s R wrist or arm
-R hand grabs neck or collar from the back
-R foot step through to 11 o’clock R neutral bow, R inward elbow to chest
3) drop to R wide kneel, yanking attacker’s spine down on R knee
4) R arm circles around to R downward hammerfist to heart
5) pull back to R 45º cat, letting attacker fall
-L hand check
-R downward looping roundhouse kick to face
-land with R front crossover, L step out
In this technique the attacker is already in close and you can’t get him away, so you make use of his proximity. If you knock him back with your initial checks, you wont be able to whip that backnuckle strike around his head. • Mr. Parker was able to work in a left downward vertical claw across the face between the right half fist to the throat and the right inward elbow. • After the right hand assists in pulling down the attacker onto your knee, use a clockwise circle to the downward hammerfist so that its path goes out to your right over his legs, and will act as a check to an inadvertent kick as he falls over backwards.
14 • THRUSTING SALUTE
(step-through right front kick/ bear hug or right roundhouse punch)
Upon landing with the right heelpalm to the chin continue forward with a left front crossover and universal punch (left over right), pivoting to a left neutral bow as you land with a left inward elbow, then using a left forward bow to power a left backnuckle to the face and a right punch to the bladder.
1) natural stance, R foot step back to 4:30 L neutral bow
-R inward parry to inside kicking R leg
-L outward downward block as R hand cocks back to hip, palm up -R front kick to groin -land to 10:30 between legs R neutral bow as L foot pivots through counterclockwise with kick
-R heelpalm to chin-L hand check high
2) L front crossover to L front twist stance with
-L vertical punch to heart with
-R horizontal heelpalm (fingers pointing L) to belly
3) unwind clockwise to L neutral bow
-L inward elbow to ribs
4) pivot into L forward bow as
-L backnuckle to face
-R horizontal punch to bladder
Making that initial right inward parry into a right inward downward block, doing some good damage to the ankle. • Mr. Parker used a horizontal left forearm check instead of a left backnuckle in (5) to check the attacker’s depth. It would be just as effective as a punch in the face, but might hurt less. He also made the target of the right punch the pubic bone instead of the bladder. • There are many variations of the universal punch, simply going to different targets, always with a double punch, usually left over right. This is the only one I can think of that repeats the pattern, tight with the twist stance, and opened up with the neutral bow.
15 • LOCKED WING
(right hammerlock/right leg grab)
As you land forward from the knee kick your left hand grabs his chin and you flip him onto your knee as you offstep up the circle to a right close kneel; your right fist makes a figure 8 hammerfist down on his heart and then through his face as you right step back, dropping him to the ground so that you can drop your left knee onto his throat.
1) R hand grab his R wrist, L foot steps back to 4:30 R neutral bow
-L horizontal outward elbow, L heelpalm claw through face
L hand circles counterclockwise to hook R arm at elbow
-pivot clockwise to R forward bow, breaking arm, making him move
-R foot step-through back to 4:30 to L neutral bow
-locking his broken elbow to you with your left arm, releasing with your R hand as you pull him along to
-R knee rebounds to R knee kick to face
-land forward to 10:30 R neutral bow
-with R heelpalm to back of neck
2) L claw along L side of face, grabbing chin, turning him counterclockwise, R hand pulling, then pushing on his R shoulder, both hands flipping onto his back as your
-L foot steps back to 3 o’clock R wide kneel as you drop the attacker’s spine on your R knee
3) R arm pulls out from underneath and circles around up to
-R hammerfist through the face, then back to
-R backnuckle down through the face, as
-R foot offstep back to 1:30, letting attacker slide off knee as you pivot R, dropping him to the ground
-drop L knee onto throat, R close kneel
4) stand up, R foot shuffle past his head
-L foot sweep kick through face
-L stomp kick to face
In (3), if you whip you right hand up to your left shoulder after the hammerfist to the heart, you can fit in a right outward elbow to the head, which is then immediately followed by the outward backnuckle, making a powerful extra strike, and you might even, depending on how he falls, ending up dropping your left knee onto his head as you drop to the close kneel, making his a very bad day indeed. • You can also effectively flip the attacker onto your knee by pushing on his right shoulder as you pull back on his chin. This might also break his neck. And it might also trap your arm under him. If you can trust your grip, grab over onto his left chest for the turn. • Get a general feel for the feet movement of this ending by stepping up the circle, counterclockwise, left/right. This will coordinate with the circling of the arm. • There’s a chance to add a right outward claw as you offstep with your right foot to the close kneel, as he falls to the ground.
16 • OBSCURE WING
(left hand to right shoulder rear grab/waist grab tackle)
Follow up the elbow to the chin with a backnuckle to the face that grabs onto his head as you right sweep his near leg, pulling his head into a right knee kick as the left steps back (a kind of high-stepping switch), flipping the attacker onto his back so that you can hop around to right roundhouse kick to the groin, then right cross out over his face.
1) natural stance, L hand pins L hand to R shoulder
-R foot step to 3 o’clock to horse stance
-R rear elbow ( palm up) to solar plexus
-R hammerfist to groin
-R vertical upward rear elbow to chin
2) R leg steps back to 7 o’clock, sweep L leg as
-R backnuckle to face, crane around right side of neck and grab head, joined by L hand grabbing over L side of neck, getting the guy in a regular, passing-out style neck lock, and yank his head down into
3) R knee kick to head, land to 12 o’clock, feet together, legs bent
-L leg steps back to 6 o’clock R neutral bow as you pull down with both hands, flipping attacker over on his back, losing control of head
4) L front crossover sweep kick across face
-hop over body, turning counterclockwise
-land facing 6 o’clock with R roundhouse kick to groin
-R front crossover sweep kick to face, any targets available
-land to L of his head in R front twist stance
It’s possible to get in two knee kicks, right and left, with the switching step of (3/4). • As the right foot lands from the sweep and knee kick of (3), the stance is more like a shallow neutral bow than a natural stance. You are keeping stable while building momentum to flip him over. It’s a transitional moment. • The flip and sweep switch are mighty similar to that of Twisted Twig, but in that technique, instead of your entire body following the counterclockwise torque of the throw as you step around to the kick, only your right fist follows through, as you work safely above his head.
17 • REVERSING MACE
(step-through straight left punch/getting up)
Continue your drive forward after the right roundhouse kick by dragging up with a side kick to buckle his right knee as you slam a right hammerfist down onto his heart as you rear crossover to spin around counterclockwise behind him, hooking your right arm over his right to pull him into a left rear elbow to the head, then continue spinning around to your right with a right punch to the base of the skull, followed up by a right knee to the spine that resolves to a stomp to the left ankle.
1) R neutral bow, offstep L foot counterclockwise to 4:30 R neutral bow
-R inward parry
-L vertical outward parry, waiter’s check
-R horizontal outward backnuckle to L floating ribs
-R snapping overhead looping downward roundhouse kick to back of knee of L leg, buckling L leg
-R leg land to 11 o’clock
2) L leg drag up R snapping side kick, to R leg, land to R neutral bow, buckling R knee
-L rear crossover to 11 o’clock R front twist stance with a
-R downward hammerfist to heart
-L hand check to attacker’s shoulder
3) unwind counterclockwise with L rear elbow to back of head, R arm hooked over attacker’s L arm
-offstep R foot to 2 o’clock L neutral bow, facing attacker’s back
-L grab/check to L shoulder
-R reverse punch to base of skull
-R knee kick to spine
-land with R stomp to attacker’s L ankle
The ending continues the attack from the near leg to the far leg and then on in the same direction with the rear crossover (which allows the over-the-arm attack to the chest). • Mr. Parker used a left back knuckle to the right mastoid instead of a left rear elbow, which would have to mean he was farther away with the twist stance. Our use of that moment requires a shorter range weapon. • Dropping your height as you rear crossover into the twist stance of (3) adds the power of marriage of gravity to your hammerfist strike.
18 • BUCKLING BRANCH
(step-through left front kick/getting up)
After kicking out his right knee, your left foot lands back as your left hand yanks him down to meet a right knee kick that coincides with a right hammerfist to his chest, landing from the kick into a horse stance. Then you left rear crossover up behind him with a right claw to the face and left ridgearm through his throat, catching his head as he falls with a right upward backnuckle followed by leaping to a right downward roundhouse kick.
1) natural stance, R foot step back to 4:30 L neutral bow
-R inward parry to inside kicking R leg
-L outward downward block as R hand cocks back to hip, palm up
-R front kick to groin
-L foot pivoting through counterclockwise with kick
-L hand check high, R middle
-R leg land next to L leg, toes facing 3 o’clock
-L knife-edged side kick to R knee
2)L foot land to 10 o’clock, just outside his L leg L neutral bow
-L hand check/grab to L shoulder with
-R downward hammerfist to solar plexus yank him into
3) R knee kick to spine
-R foot land to horse stance
4) L rear crossover to 5 o’clock
-R outward heelpalm claw through face
-L ridgearm to throat
5) land in R reverse close kneel just to his left as you unwind counterclockwise with a
-R upward backnuckle to head as attacker drops to floor
-leaping counterclockwise to a R looping overhead downward roundhouse kick to heart
A previous incarnation replaced the claw with a backnuckle to the face:
3) L knife-edged side kick to R knee
-L foot land to 10 o’clock, just outside his L leg L neutral bow
-L hand check to L shoulder
-with R downward hammerfist to solar plexus
4) pivot counterclockwise to R close kneel
-R backnuckle strike through face
-L heelpalm to chin
5) L foot offstep to 5 o’clock, drop to R reverse close kneel
-R upward backnuckle to head as attacker drops to floor
-leaping counterclockwise pivot, R looping overhead downward roundhouse kick to heart
Mr. Parker lands you from the side kick of (3) to a left front twist stance, instead of a left neutral bow, to set you up for the right knee to the spine. • You might find that the set-up is not right for the knee kick, if the attacker has fallen to an inconvenient position, or for any other reason, and you’d need to skip the knee, moving right ahead with assisting his fall to the ground with your stiff-armed claw and backnuckle. • Mr. Parker also lists the final stance as a right close kneel, meaning, I reckon, that he figures you follow the attacker down to the floor before the offstep and turn, which we do whiles he’s en route. We don’t really use the right reverse close kneel, it’s noted in transition. • The final kick is just like the leaping spinning kick that ends Leap of Death. You may have to drag up with your left foot to gauge the distance, depending on his fall.
19 • THRUSTING PRONGS
(front bear hug with arms pinned/regrab front bear hug)
After you drive into him with your right knee kick, landing with a scraping stomp and inward elbow, your right hand snakes around his neck to pull him along as you step back all the way round to a neutral bow facing 3, landing in your stance with a left chop to the neck, then rebound back though to 3, giving him a knee to the face as you turn to face 9, landing with a right chop to the neck. Finish off his stance with a scooping heel kick to the jaw that lands taking out his left knee.
1) natural stance, R foot step back to L forward bow
-brace elbows together against your chest, thumbs together, up and stuck forward and down as two thrusting prongs to solar plexus
-still braced, L hand circles around to grab R arm at elbow (with crane hook)
-R knee kick to groin
-R knife-edged kick to L knee, scraping down shin
-R foot land to 1:30 R foot stomp to L foot
-R neutral bow
-R inward horizontal elbow to L jaw
2) offstep R foot clockwise to 9 o’clock to L neutral bow facing 3 o’clock
-as R arm continues around face, R hand hooking over L side of neck, pulling attacker with you land with a
-L downward handsword to neck
3) keep L hand checking, pushing down on neck
-step through with a R knee kick to face
-land to 3 o’clock, R downward handsword to neck
- pivoting L (counterclockwise) to L neutral bow facing 9 o’clock
4) R scooping heel kick to L jaw
-R back kick to L knee, land to 3 o’clock
Try to bounce all the final kicks, from one to the next- knee/scooping heel/back kick. If he’s in range you can kick out his left knee with a right knee kick on your way out, or possibly a right thrusting sweep kick. • If you are sure of your knees and balance, you can easily and more quickly skip the neutral bow of (4), and deep right rear crossover into a left front twist stance, rebound with the knee kick and land from that facing left, to 9 o’clock. Less pivoting. It might even be easier on the knees. • Don’t let the right arm stop after the inward elbow. Hooking the head as you pull back is part of the same moment. • As you come back in to him, after the right rear crossover to the best possible stance, you kick him twice in the head, in quick succession, with your right knee and right heel. The ending completes with your right foot attacking his left knee, just as in the initial technique.
20 • TWISTED TWIG
(right wrist lock/waist grab tackle)
Add a right sweep to the groin hit and whip your right hand back up to strike through his face and yank his head into a right knee kick. Then in-place switch and flip him onto his back as you step back left. Once he’s on his back, continue attacking his head - right punch through the face, left punch his head, then hopping back around to your right with a downward right roundhouse kick.
1) natural stance, L hand checks to wrist grab, pulling it in (towards you) to break the attacker’s grip as you
-R foot forward to 11 o’clock to R neutral bow
-R upward elbow to solar plexus or chin (keeping your hand to the right side of your head, which should leave his grabbing hand behind your R shoulder)
-pivot counterclockwise to horse stance
-shooting R hand back to 5 o’clock, out of attacker’s grip
-R horizontal elbow to solar plexus or face
-pivot counterclockwise to R reverse bow
-R hammerfist to groin
-L hand check high
2) L hand hooks over L side of head
-R backnuckle to face, R hand hooks over R side of head
-pull head down into
-R knee kick to face, R foot land next to L foot
-L foot step back to 1 o’clock (you now face 6 o’clock) R neutral bow
-keep hands pulling in as you step back, flipping attacker over onto his back, head pointing to you and cradled in your L hand
3) keep pace with his fall, going through his face with a R downward hammerfist
-dropping height as you pivot counterclockwise to L close kneel
4) leap up, over to the other (L) side of his head, spinning clockwise to a
R close kneel, dropping your L knee on his collarbone
-L downward punch to face
5) leap up, over to the other (R) side of his head, spinning counterclockwise
-land with overhead looping downward R roundhouse kick to heart, face, solar plexus, or whatever suits the moment.
The ending works above his head, back and forth, out of his reach. You follow the sweep with the first punch across the face, staying above him. This ending is mighty similar to that of Obscure Wing, where you use the flip to propel a leap around down his side, to kick to the groin. • Mr. Parker used a leap into that first downward hammerfist, with the left close kneel. That allowed him to get in front of the dormant attacker enough to use his dropping knee to attack the attacker’s right clavicle. We go more quickly into the right punch, then leap to the second, and leap farther to the third. Which leaves us with one less leap than Mr. Parker’s original plan. • The final leap, spin, and kick, is again mighty similar to the same one used in Leap of Death.
21 • OBSCURE SWORD
(left hand to right shoulder rear push/getting up)
Your left front kick becomes a chicken kick as you continue with a right front kick attacking his left knee, landing into him with a right fist that goes out and in across his face like a windshield wiper - continuing on into him and behind him with a left rear crossover and horizontal right rear elbow to his chest that straightens to a right hammerfist to the groin; then unwind with a left rear elbow to his head as you spin to face his back. Finally take him down with a right knee to the spine and double heelpalms to his shoulders, knocking him flat and dragging up to right stomp to his groin.
1) natural stance, L hand pins attacker’s L hand across chest to R shoulder
-L foot step forward to 1:30 to L neutral bow, pulling attacker
-pivot clockwise to R forward bow
-R outward handsword to throat
-L front kick to groin
2) R front kick to inside L knee
-R foot land forward to 7 o’clock to R neutral bow as you
-R downward hammerfist across L jaw to heart or solar plexus
3) L rear crossover, capturing attacker’s R leg, R front twist stance as you
-R upward outward hammerfist through his R jaw, then start to unwind with L rear elbow to head that continues on into him with
-a R horizontal elbow to his neck as you L foot step back to 4:30, sweeping attacker’s R leg
-as your L hand grabs his shoulder to keep him off of you as he
falls as you turn to face him in a
4) L neutral bow facing 5 o’clock both hands grab him to yank him into a
-R knee kick to spine
-land forward to R neutral bow facing 5 o’clock
-double heelpalm strikes to shoulder blades, knocking attacker face down on the ground
5) L rear crossover R heel stomp to groin
-R sweep kick over L leg as you exit
The chicken kick, your first move of the extension, besides whatever damage inflicted on the knee, also serves to destroy his base, widening it past anything usable. • Mr. Parker gave three targets for the hammerfist of (3) - a chopping punch raking across the bridge of the nose, a hammerfist to the left collarbone, and a final strike to the chest. It can work as either a straight shot down, or an outward curving rake, like the right fist of the Gift of Destruction ending. • Mr. Parker wrote the technique adding in another strike (and I’m thinking that right neutral bow of (5) must be a misprint):
3) R foot land forward to 7 o’clock to R neutral bow
-R downward hammerfist across face to heart or solar plexus
4) R upward hammerfist, that continues into R upward vertical elbow, continuing R arm up to a cocked rear elbow position above your face as you
-L rear crossover, capturing attacker’s R leg, R front twist stance
5) unwind counterclockwise to R neutral bow
-R rear horizontal elbow to heart
-R downward hammerfist to groin
6) R arm hooks over attacker’s R elbow
-L foot steps back to 4:30, sweeping attacker’s R leg L reverse bow
7) unwind counterclockwise to L neutral bow facing 5 o’clock
The upward strike of (4) is all opportunity. You are cocking your arm for the rear elbow to the heart (or head, if that works better) and just hitting everything you can en route. It’s similar to the upward strike of Gift of Destruction, again. It’s a hybrid, it’s opportunistic, and it should be fun. It is, however, complex. Mr. Parker describes it as: “Simultaneously strike outward and up (a modified outward strike) striking to bridge of opponent's nose (his right side) with your right fist continuing the outward and upward motion into a right upward elbow strike under opponent's chin. Both moves or strikes are done without any loss of motion.” It might be simpler and more effective to think simply of striking any targets of opportunity you can find between the hammerfist to the chest of (4) and the horizontal rear elbow of (5). In fact, as Jay Hinton does the technique, it’s very effective and simple with a further simplification:
3) R foot land forward to 7 o’clock to R neutral bow
-R downward hammerfist across face to heart or solar plexus as you
-L rear crossover, capturing attacker’s R leg, R front twist stance
5) unwind counterclockwise, L foot steps back to 4:30, sweeping attacker’s R leg, etcetera
This is fast, direct, and works very well.
• The left rear sweeping step should happen directly from your twist stance, if you were able to trap his foot with the rear crossover. If you weren’t, you would need to shift position now, possibly making a curved sweep step, whatever it takes to destroy his base and balance. • Many folks can add a left rear elbow to the head, connecting simultaneously with the unwinding sweep step into the left reverse bow. If you use this attack, you are in position to continue unwinding your left arm from the horizontal elbow strike, and, with the right hand, grab him at the shoulders and yank him back into the knee kick, much like Back Breaker, and then throw him to the ground. • The hooked elbow enables you to use leverage in turning him with the sweep, as well as keeping track of him for the next hit. • Depending on your range, you might use a drag up rather than a crossover for your final stomp to the groin. After you turn into him, just think of your right leg attacking him - first the knee kick, then possibly as part of the shove to the ground (checking into his back as you land forward), then as the stomp to the groin, and finally as a sweep kick to any target on your way out. Some folks add a quarter step attack to the ankles - getting his right ankle with your left from a rear crossover, and stomping on his left ankle with your right as you leave.
22 • REPEATING MACE
(straight left hand push/getting up)
Land forward from the roundhouse kick into a twist stance as you strike to his chest with a right hammerfist followed by a left heelpalm to the chin as you step around in front of him and with a right spinning back kick knock him onto his back, then kick his legs apart before stomping to his groin.
1) natural stance, L foot step through rear to 5 o’clock to R neutral bow
-L vertical outward parry to waiter’s check
-R inward raking horizontal hammerfist through L kidney
-R backnuckle to L floating ribs
-R snapping downward overhead looping roundhouse kick to back of L knee
2) land forward, in front of knee to front R twist stance
-L hand still checking
-R hand cocked by L shoulder
3) L front crossover to between his legs, landing in front L twist stance with
-R downward hammerfist to heart or face
-unwind clockwise to L neutral bow with
-L heelpalm to chin followed by a
-R spinning back kick to heart or head
4) L foot hop forward to enable R scooping heel kick to L knee
-R roundhouse kick to R knee
-R foot land next to L foot
-L stomp to groin
5) R foot sweep kick any available targets as you R front crossover out
Use the left front crossover to throw yourself into the right spinning back kick, adding power to kick, with that gauging step. • Stepping back initially to a twist stance adds power to the backnuckle as you unwind to the neutral bow. It seems to make even more sense here than in the Orange Belt version since you land again in the front twist after the kick. If the opponent doesn’t go down from the roundhouse, you can give a quick stomp, a sort of inverted side kick, to push down his knee as you land to the twist. This can be done gently with great control if you need simply to remind a fellow student of his necessary reaction. It is important to get his knee down, or else the spinning back kick, if effective, will knock him back, not over, and you’d have to follow up with something else. • The beginning of the ending happens in a clockwise circle, stepping in front of him and spinning into him with hammerfist, heelpalm, and back kick. Then, once he’s on his back, just spread his legs and stomp to the groin. • Mr. Parker wrote the ending stepping to the left front twist stance to 12 o’clock, but then you have to make another step to give yourself a good angle for the spinning back kick. In either case, you can probably buckle his left leg with your left step, even making that step into a left sweep kick. • If you have damaged knees, and need to lessen in-place stance changes, make the left step of (3) a left step-through forward, and make the strike to the chest sooner. This will still allow you to use marriage of gravity with all your strikes, enable you a safer attack with the left leg, and continue the circle. It’d be like this:
2) R snapping downward overhead looping roundhouse kick to back of L knee
-land forward, in front of knee to front R twist stance
-R downward hammerfist to heart or face
-L hand still checking
3) L step-through forward to 1 o’clock to L neutral bow
-L heelpalm to chin
-spinning L back kick to heart or head
If, on the other hand, your knees are yet relatively undamaged, it’s a fun thing to do three twist stances in one technique. • Ideally, don’t land from the right spinning back kick until you left stomp. Ideally, you want three kicks in quick sequence -lay him out, and spread his legs with the knee kicks, then stomp. You land from the right roundhouse with your back to your opponent, and can use that landing to continue pushing his leg to the side, scraping stomping down the inside of his knee. • Possible targets at the end could be another back kick, if he’s trying to sit, or a sweep kick against the knee, or ankle or instep.
23 • RAINING CLAW
(step-through uppercut right punch/front bear hug)
A left hand stab follows the Orange backnuckle to the eyes and right half-fist to the throat. Then step counterclockwise up the circle taking control of his left arm, pulling him into a left arm lock that brings his face down on your right knee immediately followed by a left knee to the face as you step back around to face him, yanking his left arm down forward over his back, dislocating his shoulder and finishing with a right knee, left heel stomp to the head.
1) natural stance, L foot step back to 7 o’clock to R neutral bow
-R downward inward block to R attacking forearm
-L overhead downward claw to face
-R backnuckle to face
2) L 5-finger stab to eyes as you drop to R forward bow
-R half-fist (palm up) to throat as you unwind to R neutral bow, L hand checking, palm down, middle height
3) L backnuckle to solar plexus as you
-L foot offstep counterclockwise to 4 o’clock to R neutral bow
-R fist continuing to circle through L ribs
-L hand over your R hand over his L shoulder to grab his L wrist as
-L foot offstep counterclockwise to 2 o’clock to R neutral bow
- as your L hand pulls him into a left arm lock, forcing his face down into your R knee as you drop to a R wide kneel, both of you facing to about 6 o’clock
3) L knee kick to head as you
-L step through forward to 6 o’clock
-L hand grabs L wrist
-R hand checks against L shoulder
4) R foot step-through forward to 6 o’clock as you pivot clockwise to L neutral bow facing 12 o’clock
-R hand bracing forward against shoulder
-L hand pull back and down to dislocate shoulder, drop attacker face down on ground
5) shuffle in, R knee drop to back of head L close kneel
6) leaping twist clockwise, land facing 3 o’clock, L heel stomp to head
The left backnuckle of (6) could also go to the floating rib on the right side, and then directly on through under the armpit for the arm lock. The lock itself is left hand on top of right, pushing down and controlling the shoulder, shoving him into your right knee. Use the upper arm as something of a lever, from elbow to shoulder, pushing down at the shoulder as your shoulder lifts up his arm at the elbow. This makes use of his tendency to grab at your head or neck with his left hand, straightening out the arm, allowing you the use of it as your lever. • You may want to shuffle back on (8) to add power to the dislocation. • The shuffle in of (9) can also be with a counterclockwise twist instead of a straight drive in, and so strike to the neck instead of the head. Then the last two attacks have you then turning left and right.
24 • CRASHING WINGS
(rear bear hug - arms free/getting up)
After your right heelpalm to the chin grab his head with both hands and arch his back, dropping him into a right knee kick to the back of the head. Once he’s flat on his back finish him with a counterclockwise right slicing side kick and left stomp to the head.
1) natural stance, R foot step to 3 o’clock to horse stance
-hitting his forearms with both elbows
-L foot drag up to L cat stance, R hand pinning and pulling R arm as L hand cocks across chest, palm in
-L foot shoot behind attacker’s R leg L reverse bow
-pivot counterclockwise to horse
-L horizontal outward elbow strike to chin L neutral bow
-R downward hammerfist to groin as you pivot counterclockwise to L forward bow
2) L hand outward claw through face directly into
-R heelpalm to chin then
3) L foot offstep to 5 o’clock to L neutral bow as you grab his head with both hands and twist it counterclockwise, forcing his body to spin with it. Pull downward, dropping him into
-R knee kick to head, land forward into him to 7 o’clock R neutral bow
-L step through forward to 7 o’clock, still in R neutral bow
-R step through in reverse to 5:30 to L neutral bow, facing attacker now laying on the ground, face up
3) R slicing side kick back through face (counterclockwise), land to 6 o’clock
-L sliding back kick heel stomp to R collarbone L reverse bow
As you twist his head in (5) you control his height, width, and depth (we always use these terms in the studio to describe the relative position of attacker and you – his height from the ground; his width refers to how close he is to facing you dead on, as in a horse stance; his depth is how far he is away from you). You’re turning his whole body via his neck, so that you can pull him downward into the right knee kick. This manipulation is the core of the extension. He will go where you force him to go by twisting his neck. By pulling back and down at the same time you’re not only pulling him into the kick, but also determining exactly where he will land. • The subsequent right neutral bows, with each step-through, result from the first knee-kick step-through happening alongside the now prone, face-up attacker, and the left step-through turning into him. As always, the exact “time” of the clock is not important, but your relation to the attacker is. • There’s little reason not to make the final kick to the head rather than clavicle.
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