Doc: What do you think about...

[camilyon]

Doc,

Salute. :asian: I am a college student. I've learned a very little bit of Xingyiquan and hope to study SL4AK when I transfer to UCLA fall 2006. I have a two-part question for you: What do you think about AKKI's rhythmic timing patterns and Zach Whitman's Kenpo Counterpoint?

 

[Doc]

Doc,

Salute. :asian: I am a college student. I've learned a very little bit of Xingyiquan and hope to study SL4AK when I transfer to UCLA fall 2006. I have a two-part question for you: What do you think about AKKI's rhythmic timing patterns and Zach Whitman's Kenpo Counterpoint?

UCLA. Good school. No, great school. Be specific in your question.

 

[kenpoworks]

I am interested in "camilyon"'s post on "rhythmic timing patterns" and your take on them, so Doc !... could you please give an example of their existence in "EP's motion Kenpo" or are they a AKKI development in your opinion?
Rich

 

[XtremeJ_AKKI]

I am interested in "camilyon"'s post on "rhythmic timing patterns" and your take on them, so Doc !... could you please give an example of their existence in "EP's motion Kenpo" or are they a AKKI development in your opinion?
Rich

They are an AKKI development, specifically from Mr. Paul Mills. It might be prudent to, if one has a question about a specific concept, to go straight to the source of the concept.

 

[Doc]

I am interested in "camilyon"'s post on "rhythmic timing patterns" and your take on them, so Doc !... could you please give an example of their existence in "EP's motion Kenpo" or are they a AKKI development in your opinion?
Rich

Well at the risk of being politically incorrect, I must say the idea or “concept” of executing a technique with a particular “rhythm” or “phrasing” in my opinion, is not a Paul Mills invention. Perhaps it could be termed a personal “discovery” if he didn’t learn it, (or it wasn't taught to him) by Ed Parker who did the same thing, but instead simply called it “timing” and in all honesty did it much better and effectively.

Moreover, Parker didn’t “invent” it either. It was taught to him as it was taught to me as well. It is an old Chinese concept that has many names and should include not only your own timing or rhythm, but that of your attacker as well. It would appear, from what I’ve seen, that most in motion based Kenpo tend to ignore the attacker completely after the first move and execute within their preset rhythm pattern exclusive of the adversarial reflexes and responses to their own initiated external stimuli. It does make for a lot of movement when performed that way, but is unrealistic in actual application. Any timing, rhythm, phrasing, beat, etc that does not include the attackers reaction to EVERY bit of inserted stimulus could invalidate subsequent stimulus.

Most in commercial kenpo teach some form of motion "action" but no initiated "reaction." Older film of Parker executing techniques always displayed the attacker being equally as active as the defender in reacting to the defense. For the most part, he stopped teaching this, but it can clearly be viewed in those old films. If you contrast that to video of modern motion kenpoist defending against a motionless attacker who "freezes" after throwing a punch while the defender is "flashing" and "slapping" themselves on the shoulder and ribcage, you begin to get the significant contrast - or lack of it. We're back to square one with the "slap art" label that Parker hated. Additionally it should be noted, "slaps" to parts of the torso can be extremely dangerous in combat and may be self defeating.

And with all due respect, the gentleman was specifically interested and asking for MY opinion, and apparently was not looking for someone who does it in motion Kenpo to explain it from their point of view.