01-bushido martial arts yellow belt manual by jason brick

7/29/2019 01-Bushido Martial Arts Yellow Belt Manual by Jason Brick

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Think with clarity.Move with purpose.

Act with love.

BUSHIDO MARTIAL ARTSBUSHIDO MARTIAL ARTSBUSHIDO MARTIAL ARTSBUSHIDO MARTIAL ARTS


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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.

ESSAYS


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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

ESSAYS


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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

ESSAYS


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TECHNIQUE DESCRIPTIONS

TECHNIQUE

DESCRIPTIONS



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Delayed Sword


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.


Aggressive Twins




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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.


Sword of Destruction



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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.


Deflecting Hammer




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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.


Grasp of Death



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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.


Captured Twigs




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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.


Checking the Storm



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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.


Mace of Aggression




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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.


Attacking Mace



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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.


Sword and Hammer




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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.


Alternating Maces



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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.


Intellectual Departure




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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.


Spreading the Branch



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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.




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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.




FORMS


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FORMS


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.



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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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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

01-bushido martial arts yellow belt manual by jason brick

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