Cirularity

[PBMaster]

A question for Ed Parker practioners. I am a San Soo Instructor. I have read several of Ed's books and find some similarities with stance work done in both our arts. This probably due to the fact that both are Chinese in origin.

I am curious whether the flow through your stances, i.e. neutral bow stance to left bow stance is circular in nature. This as opposed to linear in movement.

That is, does the rolling of the hip and flexing of the forward knee follow the angulation of the forward foot, cutting circular symetrical paths, or is the motion of the body, hip and knee, oblique to the front foot and present as a kind of bias.

For the most part in San Soo, things are pretty natural and circular.
Is this Kenpo's goal also.

PB

 

[Michael Billings]

It depends on application and intent. We use the twist stance usually in transitions, but could use the circular movement if we were attempting to destabalize or throw.

This is a very limited response obviously. The old Twisted Horse stance is taught, but not called anything except a Right or Left; Front or Rear, Twist Stance. You could excute a right front twist stance as a sweep, or for rotation as you twist or untwist. Or you could sweep back and around as part of a buckle or evasion.

-Michael

 

[PBMaster]

Thank you for your responce. Yes. I can visualize what you are saying.

My question really goes to whether most of movements have an innate, circular quality or if the movements are executed in a strickly linear sense.

As an example, I observed hand-arm combinations being delivered by a practitioner in a Japanese system. The patterns were similar to those found in my system. However, their movements were short, linear and very fast with a limited amount of body movement. This went beyond the differences between artists and more to the stylistic nature of that art.

Kung-Fu is generally pretty fluid and circular. I am curious if this is an element that is focused on in Kenpo? or if it is more straight and to the point.

Thanks again for your input.

PB

 

[Kembudo-Kai Kempoka]

Mr. Parker managed to draw in guys from varied backgrounds. Some came to kenpo from harder japanese styles, while others came from more fluid Chinese art backgrounds. The downlines of students typically reflect the subtle biases of their instructors lineage.

BTW...the Woo brothers were an integral part of the formation of Parker's kenpo, so it's not surprising to me that you see similarities. Some who go back far enough to have known both parties at the time wear symbols from both camps. There is a SanSoo prof. in southern Orange County who has a large Universal Pattern emblazoned accross the back of his uniform.

I've trained in San Soo (very very little), and in "branches" of kenpo that were more linear in preferenece, and some that are more circular in preference. Near as I can tell, the commonality is that there is an attempt to match the movement to the situation, economizing motion without sacrificing effectiveness. Less circular than most SanSoo, but more circular than most karate.

Albeit vague, I hope it helps.

Regards,

Dave

 

[PBMaster]

Thanks, Dave.

What you are describing, the influence of the personality on the execution of art, is something that happens too, in San Soo. I have read quite a bit about Ed Parker's system and have had students over the years who trained to some degree in that system, but I have not actually "seen" it first hand. I need to go visit a studio or find some clips to see how things 'move".

Some arts play down the movement of their targets and opt for fast hands. Some arts that are more distance oriented, of course find target movement impractical and opt for a blitzing attack or fast response.

When you talk of the Woo Brother's, I am not sure who you are talking about?

Jimmy H. had a son, not very involved though. Any how thanks for your answer to my question.

PB