Specifically in interpretations of Lone Kimono:
I came through the NCKKA Chinese Kenpo system, where we smashed away at elbows, and I had some limited success with this when dealing with the "extended" arm. I would never attempt it against the "Pull". Other techniques were designed for this scenario. In EPAK I learned this techniques against an opponent grabbing, which by it's nature, requires the opponent to REACH OUT FOR YOU, thereby starting the extension of their arm for you. They may actually push you back slightly as they grab. You pin, stepping back, extending them past where they intended ... and away we go.
I am a big believer in learning the IDEAL PHASE of all the techniques, and being able to not only execute them correctly, but effectively. The technique Lone KImono, as taught when I moved into American Kenpo, introduced the Concept of a FRICTIONAL CHECK, forearm to forearm. As I pin (with or without a strike) the opponent's left wrist with my left, (and
possibly manupulate their wrist, as part of the pin), but above all ensure a solid ANCHORING of their wrist, [and you maintain this ANCHOR until you release it with the second move (another topic all together.)] Otherwise any attempt to hyperextend the elbow (or break) will only push their arm upward. As my right forearm travels upward and outward (think of an upward block), contact is made with their forarm on the vertical plane (execute an uppercut punch starting mid forearm and as you rotate and extend into the upward block, your forearm and fist travels up their arm, finishing with your fist almost in his face if you have arms like mine, if you are significantly longer limbed, this can possibly reach their face, although not intended or designed to.) This FRICTIONAL CHECK as your arm rises, assists in ensuring the opponent's elbow is actively positioned for the best possible ANGLE OF INCIDENCE. As I complete the upward strike to the elbow, I rotate my fist counter clockwise, to remove any slack from the strike, (by raising the fulcrum 2" or so), rotating the bones in the arm into a position where the radius is supporting the ulna, and thus adding correct SKELETAL ALIGNMENT forming a BRACING ANGLE and adding a small amout of BACKUP MASS in the vertical plane (reference REVERSE GRAVITATIONAL MARRAGE.)
OK, so all this is the 1st move, as I perform and teach it. After all my teacher told me not to teach Yellow Belts to be Yellow Belts, but rather teach them to be Black Belts ... everyone need a goal!
I am a sailer for what little down time I have. We call it "tweaking" a line, when we have to pull it in slightly to take the slack out. That is what I call the end of the 1st move, when I rotate my arm and stance counter clockwise, as I settle, SOLIDIFYING MY BASE. I call it "tweaking" the elbow because it takes them from a flat-footed uncomfortable position, to one where they are dancing on their toes, with height, width, and depth checked. The slack is taken out of not just their arm, but their entire body. Done correctly this move should be a CONTACT MANIPUATION, and at some level you can actually sustain this and have some period of CONTROL MAINTENANCE, prior to diagonally striking the arm down by ANCHORING your own elbow, utilizing a PATH OF MOTION as verses a LINE OF MOTION, instantly rebounding off their arm up and outward diagonally with your handsword, from an OBSCURE ZONE, as they fall rapidly into your upward outward diagonal handsword, utilizing BORROWED FORCE.
*** Credits to Howard Silva and Dennis Contser for the TIMING, and correct METHODS OF EXECUTION I utilize throughout this technique. ***
Oss Sirs!
-Michael
Kenpo-Texas.com
