Twin Fist
Grandmaster
"The important thing is not to stop questioning. Curiosity has its own reason for existing."--Albert Einstein.
you have to be willing to listen to the answers
you wont
thats why you fail
Follow along with the video below to see how to install our site as a web app on your home screen.
Note: This feature may not be available in some browsers.
"The important thing is not to stop questioning. Curiosity has its own reason for existing."--Albert Einstein.
Our one and only Senior Grandmaster was not yet sixty years old when he passed away. In Chinese terms, he would be considered just beginning to move into his prime. Most of the subsequent self-proclaimed “Grandmasters” of his commercial art got there faster than he did. Yet Ed Parker was a perpetual student and was still learning until the day he moved on. Mr. Parker was a genius, and he definitely accelerated the learning process from the Traditional Chinese. He was always exploring and accumulating more knowledge and never failed to remind students, “One doesn’t become great until they realize what they know is very little.” What some call evolution, Ed Parker called “tailoring and rearrangement.” They are doing what Ed Parker always taught for Motion-Kenpo. For this they should be commended.
However, this has given us too many young “masters.” Although many are content with where they are, others are unaware of how to move further. Still many others are exploring other arts not realizing much of what they seek is available closer to home. There is also a sizable group that would like more but is unwilling to give up what they think they have. Full cups don’t have much room. All that really matters however is continuing to educate oneself. Ed Parker always said, “The mind is like a parachute, it only works when it’s open.” If something is missing in your or your instructors Kenpo, ask intelligent questions.
A great deal of the SubLevel 4 information comes from my own lesson notes. Mr. Parker dictated the core and laid the foundation. He constantly scrutinized, examined, and decided what he personally wanted. This forced me to write my own Coursebooks for my students. The information was, and as far as I know, is not available in written form anywhere else. Mr. Parker expected me to keep track of, and codify what we were doing at the time. It allowed him the freedom to “think” freely, and removed the burden of organizing the information. He really disliked organizing his thoughts sometimes because it slowed him down in the creation process. He often asked or assigned students organizational problems. He formed a foundation for me that I will be utilizing perpetually.
In my lessons he stressed the execution of a sound workable Default Technique to strengthen and solidify a firm foundation and physical vocabulary. I was never allowed to deviate. Unlike Motion-Kenpo which is plagued by what I call the “what if syndrome,” Mr. Parker mandated I understand the importance of a specific sequential structure. This is the completely opposite of the “tailored” flexibility concept found in his general teachings. Although experimentation was a part of my lessons, he was the one that initiated it, until he was satisfied with the results. He often changed his directions, and I had to flow with the lesson of the day. He told me what to do, how to do it, and a little at a time, the “why.” The “why,” was most important, because he taught me “why” you couldn’t change techniques, not “why” you could. His lessons allowed Kenpo to be more destructive without maiming, as well as more passive if you desired. It does not attack the soft tissue of the eyes, throat or testicles because it doesn’t have to for effectiveness. If you remove soft tissue assaults in Motion-Kenpo, what do you have left? Nothing remains but the blunt force trauma available to any unskilled street fighter.
SWORD AND HAMMER (right flank – left hand shoulder grab)
- While you are standing naturally (facing 12 o’clock), your opponent (standing between 3 and 4 o’clock) grabs your right shoulder with his left hand. Immediately and simultaneously (1) step off and to your right with your right foot toward 3 o’clock into a horse stance (with your head and eyes turned toward your opponent), (2) strike your opponent’s throat with a right outward handsword, and (3) pin your opponent’s left hand to your right shoulder with your left hand. (This action should cause your opponent’s head to move away from you.)
- As your opponent reacts to your handsword strike and bends backward, settle your body (by bending your knees) and with the help of gravitational marriage execute a right back hammerfist strike to your opponent’s groin. (Your opponent should then bend forward at the waist.)
you have to be willing to listen to the answers
you wont
thats why you fail
Watching this back and forth, I was spurred to do some research.
From SL4 Concepts by Ron Chap'el
Ras, after reading a lot of your posts, I have no doubt that you are very skilled, very knowledgeable, and very passionate about your training. But, I think there are also areas where you don't know nearly as much as you think, and you're trying to apply your incomplete or external understanding of some training methods. At the same time, I think you're also catching grief for being "different", and that sometimes people aren't seeing what you're saying because of that.
I've never trained Kenpo, under any format. My understanding, based on readings & interviews from Ed Parker, Ron Chap'el, and others, is that each of the named techniques embodies a concept or ideal. The name contains a code of sorts to the concept or ideal, as well as the weapons employed. Training takes place at several levels or across different approaches. In the beginning, the technique is learned exactly as shown, against a scripted attack with an attacker going along. Later, the technique can be adapted and the principle applied against less predicted attacks. As long as that principle is maintained, the technique is "true" to the concept.
Now, let's look at Sword & Hammer. I found this page which gave a thorough breakdown of the model technique. My understanding is that the technique begins by being grabbed and pulled, from the right side. The response is to turn and step into the pull, delivering first a chop to the attackers throat then a hammer to the groin. The page attributes the following description to Ed Parker himself:
Let's look at that technique for a second. You're grabbed, perhaps to be pulled into a punch -- so you ride that pull into the attack, using his energy and your own motion to strike him and disrupting that potential punch, then before he can recover from the initial strike, you deliver another shot that hopefully will be a serious deterrent. If all goes according to plan, the attacker is probably gasping past a spasming (or crushed) throat while simultaneously dealing with the nausea and pain of a major strike to the groin. You're in a position to do more, if necessary, as well. I like this technique. It's solid, can be taught quickly, and relies on gross body movements. I like that you're moving into the attacker; you neutralize a lot of potential further attacks that way. It's not a perfect technique, though, in my opinion. You're inside your attacker, and he has a number of options if the first shot doesn't sufficiently shatter his attention. Groin shots aren't 100% reliable.
So, let's look at your ATACX GYM version. Rather then turn in, you step and turn away, shielding as you turn. You expect your opponent to strike at you again, so you step into that strike, again shielding, clinch and begin to knee and strike your attacker. It's not a bad technique -- but it's significantly different from the original. The initial attack has changed; it's no longer a grab and pull, it's a push and pummel. You've lost the hand sword and hammer fist, instead using similar hand positions as a shield for your turn and entry. Like I said, I wouldn't call it a bad technique. There are things here I like, too. It's a good redirection, and your emphasis on covering as you enter is good. You're nicely set up for knees, kicks, elbows, and more when you enter.
But your version is built around a different attack, and different principles in response. It's not really a better version of Sword & Hammer, any more than a custard is a better version of a souffle. They're both egg-based dishes, but that's about where the resemblance ends.
As I read the notes and Parker's own description of the technique, the goal is to respond nearly instantaneously with the grab, before a punch could land. You're going to move inward, inside the attack, if a punch is coming. And even if you don't beat the punch, that hand sword could become a block/deflection of the attack. If there's no punch, and it's merely a grab to unbalance -- the concern is moot. I think you're trying to make it fit a different situation than it was designed for, kind of like trying to say that a hammer is no good for sawing a board to length.Now THIS is more like it! Thanks for your response...it's well researched and well presented. I like much of your response too. I think yo're jcorrect in that I catch flakk for being "different", and I am the first to admit and acknowledge that my knowledge of what I call Kenpo is incomplete. I don't know anyone [ including, by all accounts, Mr. Parker himself ] who would seriously opine the opposite.
On top of that? Insofar as Sword and Hammer and any and all other names of techs of Kenpo is concerned? I completely agree. I think that there is significant importance regarding the meaning of the tech...but right here is where the deviation starts on my part. As you said...let's take a look at Sword and Hammer in the piece you quoted above and compare and contrast it with both mine and the more common, more prominent physical expression in what Doc called the "idea not Ideal" Phase of Motion Kenpo.
1). The technique is vastly flawed. It assumes that the BG will grab and pull your shoulder, and the Kenpoist will be able to preemptively respond and dispense with the attacker with this tech prior to any other harm befalling him.
A small note here. I happen to be a certified LE Defensive Tactics Instructor, and a certified LE Firearms Instructor. I said earlier that there are some things that you don't understand as well as you think you do.VIDEOS OF THE I.P. PROVIDED ON THIS THREAD SHOW THAT: There is nobody pulling on your shoulder. The uke is tamely reaching out and very lightly grasping the demonstrator's shoulder. Uke MIGHT cock a fist, but in ever ase uke stands paralyzed like a petrified zombie. The demonstrator then fires off his techs...Sword and Hammer...and that's a wrap for uke. Everyone rejoices in the kenpo dojos.
VIDEO OF THE ATACX GYM: Immediately real world pressures and actions are considered,such as: the energy of a grabbing push not only displacing you but disrupting counterattacks based upon the premise of Kenpoists preemptively defeating attacks prior to attackers being able to launch their offensives. This is a highly flawed and oft-repeated concept in Motion Kenpo, and is highly unrealistic. Simply recreating the requisite scenario on the mat and requiring the students to do as either the original suggestion regarding the IP Sword and Hammer suggested or any of the stuff misrepresented as the IP in the kenpo videos that aren't mine would immediately make this reality bold and obvious. The recommended responses will not work as scripted taught and shown. That's like having a FBI instructor show you shooting techs that won't work under pressure, a parachuting jumpmaster showing you techs that will fail to open your parachute afte you jump out of the plane or whatever spot that's high off the ground, or a boxing coach showing you how to NOT jab under pressure...and claiming you CAN jab under pressure. You go to a swimming coach to learn to swim, cuz you alred know hat you'll drown or that your swimming doesn't meet the requirements you set for yourself.
But are you doing a "more realistic" version of the initiating attack -- or a completely different attack? In the Parker technique, the attacker is either slightly behind or to your right side, and grabbing your shoulder. Kind of a "hey, you..." grab. It may be preparatory to a punch, or simply an unbalancing grab. Perhaps you haven't seen it -- but it does happen. For real. And the energy of a pull is different from a push, or even a simple grab. An appropriate and effective defense against a grab is different from one for a push. ("Grabbing push" is rather an oxymoron, no?) You're showing an effective technique against a push and hold. It's not nearly as direct or effective against a pull.Therefore, you are correct sir...I have indeed changed the attack.j..by making it far more realistic. Far more real world. Functionalizing the attack functionalizes the response. So my change is not only an improvement over the original model and most especially the model presented as the IP in most Kenpo videos...my version is a reflection of the actual definition of The Ideal Phase. Again and I repeat...Mr. Parker and recently Doc Chapel specified that The Ideal Phase is supposed to be crafted on a case by case basis by student to teacher, using the techs and medium of Kenpo, combined with the teacher and student's prior experience, all in pursuit of properly implementing the tech Sword and Hammer.
I saw your response, Chris. I appreciate the depth and the detail of your responses in all honesty I do...but it will be even easier than I thought it would be to respond to all of your positions. And truth be told? I knew it would be easy simply based upon your previous posts on this thread. Be back for ya in a minute...
dude it was a test
I AGREED WITH YOU and you still had to tell me i was wrong
that convinced me that you are only here to argue and i got no time for someone with , how was it put to you? oh yeah:
an unteachable spirit
You might be a great fighter, but you will never be great martial artist.
I doubt you will even see the difference
As I read the notes and Parker's own description of the technique, the goal is to respond nearly instantaneously with the grab, before a punch could land. You're going to move inward, inside the attack, if a punch is coming. And even if you don't beat the punch, that hand sword could become a block/deflection of the attack. If there's no punch, and it's merely a grab to unbalance -- the concern is moot. I think you're trying to make it fit a different situation than it was designed for, kind of like trying to say that a hammer is no good for sawing a board to length.
A small note here. I happen to be a certified LE Defensive Tactics Instructor, and a certified LE Firearms Instructor. I said earlier that there are some things that you don't understand as well as you think you do.
I agree that, in the demonstrations you've selected, the uke is rather passively participating. (It's a complaint I have about a lot of Kenpo demonstrations, to be honest.) But they are simply demonstrations. In many demonstrations, uke does not fully react as they would in a real situation; that's part and parcel of demonstration. After all, the presenters are trying to show the base technique, not every variation or possibility. Let's be real; you probably won't show a take where your demonstration partner up and clocks you, now are you?
The purpose of a demonstration is to present the technique, not highlight every possibility. Experiments and what if's can come in later, when you've worked with it a bit. I don't think you've given the technique a chance, against the attack it's designed for. You're trying to use that hammer as a saw, and then saying it doesn't work.
But are you doing a "more realistic" version of the initiating attack -- or a completely different attack? In the Parker technique, the attacker is either slightly behind or to your right side, and grabbing your shoulder. Kind of a "hey, you..." grab. It may be preparatory to a punch, or simply an unbalancing grab. Perhaps you haven't seen it -- but it does happen. For real. And the energy of a pull is different from a push, or even a simple grab. An appropriate and effective defense against a grab is different from one for a push. ("Grabbing push" is rather an oxymoron, no?) You're showing an effective technique against a push and hold. It's not nearly as direct or effective against a pull.
You've admitted that you've changed the attack; you've changed the response. But then you're trying to say that you're using the same principle, because you're using the same hand positions. But you're not striking with either the hammerfist or sword hand; you're shielding behind them, and perhaps incidentally delivering a blow to the arm. Both are attacking on the same level in your technique; in Parker's they attack to different levels (throat & groin). Let me try another food analogy. Both lasagna and spaghetti with meatballs contain tomatoes, pasta and ground beef. They're not the same dish, though, are they?
[SUP]Chris,
Ras isnt doing Ed Parker's Sword and Hammer, so he isnt doing it"wrong" thats how he justifies his position
he is doing something he made up, and since he cant or wont create a unique name for his technique he is just calling it sword and hammer
it is sort of like the dude in Comming to America. He opened a restaurant called McDowell's where they served Big Mic's. The food wasnt bad, he was just shamlessly stealing someone else's hard work
go to hong kong, and they have "Mayboro" cigerettes, red and white package, looks a LOT like some other better known product
and the smokes are not bad, but they are not the real thing.
thats what we have here.
it isnt BAD, but it isnt sword and hammer, his other technique vids are all the same, he takes the names, and does a different attack and different defense and anyone that points that out to him isnt smart enough to get what he is doing.
hell, i AGREED with his technique and he still had to tell me i was wrong
I think he is just here to argue.
seriously.
take this:
[/SUP] "I said I've taught this tech with EASE to beginners for decades and I can do it again. Within 8 hours they'll be able to fight with it. Guaranteed. Because I'm functional? I can usually have them able to pull it off against nonoverwhelming attacks [ little woman attacked by surprise by some huge armed guy or something ] in literally 1 hour of training the tech. Been doing it for decades."
this simply isnt possible.
I will say in no uncertain terms, this isnt possible
you cannot take a person off the street and have them fighting with a technique, ANY technique in 8 hours.
they might remember a sequence of movements in one hour, but they wont have a clue when they are doing, and thier attacks wont have any power and will most likely hurt thier hands more than the person they are trying to hit.
anyone that have actually taught someone knows this.
you say you can do alot
and all you ever have is your word and your ability to ignore everyone else's points...
you have never proven anything, you just disagree and throw up another 10K words (in yet another wall of text no one bothers to even read any more.) that all amounts to "because i said so"
its old. its tired, and it is BO-RING
you might accomplish something one day, if you get rid of your ego, and actually learn the techniques. From a qualified instructor.
Dont bother replying. I wont be reading it. You have nothing to offer.
Er... right. Gotta say, you don't actually seem to have any correction for me, though.... And, for the record, I'm not incorrect. So you know.
Hardly a Kempo-particular training method, Ras. We have the same idea in a range of our methods. Catch is, though, that's not what you're doing. Additionally, the very premise of the technique kinda denies performing it in multiple directions, as it'd designed against an attack from a particular direction/side to begin with.
Hang on, are you saying that each instructor and student is supposed to make up what they feel "works" for them, rather than follow what the techniques actually are? Really? Then what makes it that art itself? This is the thing, Ras, there are established techniques, which may have some variation from instructor to instructor, but are fundamentally the same. That is demonstrated with your clips of other instructors showing basically the same thing. It makes it possible for the art to be taught reliably, as well as for intra-organisational and inter-organisational discussion to occur.
As far as the last comments there, frankly Ras, that shows me a fair amount of problems with your approach...
Are you kidding? The technique deals with a grab and attempted punch, and you show blind-siding king-hits (sucker punches), and you think they're the same thing? Then, when both John and I point out the lack of relationship, you say that I'm "massively incorrect"? Ras, I have eyes, you know....
As to the idea of getting hit and not dropped straight away, it's not that I'm saying that doesn't happen, it's that each example you gave showed people being knocked down, and said your technique deals with it. And, for the record, getting knocked around a bit would make it harder for you to perform what you're showing. Not impossible, but a much lower chance of success.
Please. You got the choke on because you were demonstrating, and he was going along with it. The rest of this shows a lot of fundamental gaps in reality, by the way.
But what you're doing only has three things that connect it with Sword and Hammer, and only superficially at that. Namely the angle the attacker approaches from, the use of a sword-hand and hammer-fist (which, by themselves, does not make the technique itself "Sword and Hammer"), and the name. What I was looking for is that you follow what the technique itself follows the strategies and tactics of Sword and Hammer, which it doesn't. As a result, it's not Sword and Hammer. And no, I don't expect the exact same performance, I expect it to be the same method, though.
Wow, this shows a lot of issues in understanding the training methods of many different arts, Ras.
Based on every single other example of the technique, no, it's not. You choose to use the same name due purely to the same fists being used, but that's it. It's not the same technique, which has been our point.
Uh, you may be reading a bit too much into the words there.... I wouldn't say that Ed Parker was suggesting that you initially take a technique (teaching a particular form of response against a particular form of attack), then basically throw out almost everything, change the technique to something unrecognizable from the original, miss the point of the technique in the first place, go against the very lessons it's teaching, in order to make up what you want and call it the same thing. Cause Ras? That's what you've done here.
In terms of telling John to "ignore the label and look at the tech", when you put it up as a version of the initial one and ask for a comparison to be made, to ascertain which one is "better", or "works", but your version isn't anything like the original, the attacks you use to make your point aren't the ones that the technique is designed against, it changes what we look at when we see the technique. If you just put up the videos as a response against a rear grab and punch, fine. But you proffered it as a version of Sword and Hammer, giving the other forms as contrasts. Therefore ignoring the label and just looking at the technique really doesn't work. At all.
Isn't that just the same damn thing you posted in the first place? Seriously, Ras, the answer is the same. As far as "which is better", honestly, I'd prefer the "IP" version, it's a damn solid technique. Yours is too messy, too complicated, too reliant on too many issues, has legal issues (here, at least), and just doesn't come across as anywhere near as reliable.
Really? You talk a lot about being able to "torpedo" others arguments, but I note that you have yet to ever actually do that... or have anything more to say other than "I could prove you wrong, but I'm not going to". I'm far from convinced, Ras. About quite a lot.
And, again, this shows a large gap in your understanding of quite a range of martial training methods, Ras.
Ras, you frankly have no idea whatsoever of what I do. If you can't see the huge issues with the above from my posts, you really don't have the insight you think you do.
No, Ras, it shows a highly limited understanding of martial arts and training. That's blunt, but there it is.
[SUP]Chris,
Ras isnt doing Ed Parker's Sword and Hammer, so he isnt doing it"wrong" thats how he justifies his position
he is doing something he made up, and since he cant or wont create a unique name for his technique he is just calling it sword and hammer
it is sort of like the dude in Comming to America. He opened a restaurant called McDowell's where they served Big Mic's. The food wasnt bad, he was just shamlessly stealing someone else's hard work
go to hong kong, and they have "Mayboro" cigerettes, red and white package, looks a LOT like some other better known product
and the smokes are not bad, but they are not the real thing.
thats what we have here.
it isnt BAD, but it isnt sword and hammer, his other technique vids are all the same, he takes the names, and does a different attack and different defense and anyone that points that out to him isnt smart enough to get what he is doing.
hell, i AGREED with his technique and he still had to tell me i was wrong
I think he is just here to argue.
seriously.
take this:
[/SUP]"I said I've taught this tech with EASE to beginners for decades and I can do it again. Within 8 hours they'll be able to fight with it. Guaranteed. Because I'm functional? I can usually have them able to pull it off against nonoverwhelming attacks [ little woman attacked by surprise by some huge armed guy or something ] in literally 1 hour of training the tech. Been doing it for decades."
this simply isnt possible.
I will say in no uncertain terms, this isnt possible
you cannot take a person off the street and have them fighting with a technique, ANY technique in 8 hours.
they might remember a sequence of movements in one hour, but they wont have a clue when they are doing, and thier attacks wont have any power and will most likely hurt thier hands more than the person they are trying to hit.
anyone that have actually taught someone knows this.
Many contributed IDEAS for the manuals, but they were not IDEALS, but ideas. IDEALS were supposed to be creating by the school heads, based on the the IDEAS provided as a starting point reference, but you could do anything within the framework of the attack. I SAY AGAIN. THERE WERE NEVER ANY IDEALS, ONLY IDEAS.
See,that's the stuff I want to know about. Who created the specific ideals that became so ingrained in Kenpo that they have been collectively referred to as the "Ideal Phase" instead of what Mister Parker very clearly defined as thee REAL "Ideal Phase"? How did virtually universal acceptance of the same or essentially the same dysfunctional techs become accepted and law? I cannot believe that such a universal accord has been reached that--nearly 50 years after the creation of the IP--nearly every major school and organization's IP is the same,and that was somehow accidental. I also find it hard to believe that all of those fueding,well paid Motion Kenpo BBs that Mr. Parker brought on board could snipe slash snarl and gore one another...basically decide that they made enough money not to need to listen to Mr.Parker about his system...and then turn around and agree virtually across the board on the remarkable similarity of expression in the IP,sets and forms.
So how did that happen?...
...And who made Blinding Sacrifice? Can we actually trace specific IP moves to specific creators?
...As for the techs, some were impromtu (sp?) discussions about things early students ran into. "I got tooled by this guy who grabbed me by the wrist, and did this thing to me... hurt like hell". So Mr. P puts together a tech against that attack. It starts as a "The next time that happens, try this":. After a few years of contemplation, a few tweaks get made to turn it into a viable learning lab for some movement concepts. He goes from teaching it as a "Defense against a Front Wristlock", to using it as an opportunity to dialogue with those willing to listen about something like guided collision, destabilization of an attackers base via their appendicular limbs, etc. Trouble is, most folks don't listen.
If one was willing to remain in "uptime", and try to take what's being offered rather than reaffirming ones own suspected biases, there was always a wealth of information falling out of his head. Mostly, though, he sorta gave up unless specifically asked. because people stopped listening. It was more advantageous to already know, than to shut up and learn.
You really need to let the word "ideal" go. Try this; THERE IS NO IDEAL TECHNIQUE. THERE IS NO UNIVERSALLY ACCEPTED IDEAL TECHNIQUE. What is there exists because people moved up the ranks and became instructors with no knowledge, skill, or experience. These people made the outline IDEA in the manuals the IDEAL because they could not create the IDEAL as Mr. Parker said they were supposed to. Each school, group, club etc was supposed to have one person who would set the IDEAL but only for their group. What you have is a bunch of people all taking the ideas in a manual and teaching it because that's all they have. So removes the word IDEAL from your vocabulary, unless you are talking about IDEALS you created that you teach for your students. That is the only ideal there is. What YOU CREATE.
You're misinformed, and I explained how the manual became the IDEAL for the majority when it was never supposed to be. It was only a guide to begin the process, but absent experience, knowledge, and skill that allowed you to think through the process the manual is all you need whether it works or not. Call it LAZY, call it whatever you want, just don't call them "universally" accepted, because its not true...
You're touching on a lot of stuff here Ras. And a lot of it "just isn't discussed" in polite kenpo society. Asking who ranked who is a little touchy, and tends to devolve pretty quickly. But hey, go for it. Nothing wrong with history.
I wasn't there. I don't feel comfortable speaking to anything specifically because all I could give you is hearsay. I'm sure what everyone did at the time seemed right to them. In the long run, it's what you bring to the table that matters. As for how the "IP" motion techniques got disseminated, you have to remember the context of the time. There weren't that many people doing karate, Mr. Parker was one of the most prominent practitioners, and a lot of people in the arts were flocking to him for a lot of reasons. He was hiring his curriculum out all over the country and traveling to support that all the time. I've never seen Big Red, but every kenpo manual I've seen reads pretty much the same so I imagine they are patterned off of it. If that's the case, the techniques are universally recognized because they come from the same root. For example, it probably said DELAYED SWORD - DO THESE MOVES - TEACH THEM THIS. The problem, as it has been described here, seems to be that some instructors were taking the ball and just not running with it. Instead of building on that foundation and getting better, they just taught that and essentially "let Mr. Parker do the work." So he runs around trying to keep the ball in the air and everyone else just rides on his coattails. I'm not saying this is the case, I'm saying this is how I'm interpreting what's being described. If this is the case, I think we have to acknowledge that Mr. Parker was probably just smarter and better than a lot of the people who walked in his shadow. He had access to instructors the likes of which most of us will never know, in a time and place where karate was popular and Masters were available, and he made a lot of connections and learned a lot. I'm not trying to denigrate his hard work, but he was also in a unique position. It was his destiny. So when he passes his knowledge at that point in his training around, a lot of the instructors who picked it up probably didn't understand it themselves. They were learning from it, they weren't in any position to improve upon it. I've trained in kenpo for fifteen years and I'm still learning from his system all the time. How could those instructors, who just bought this book of lessons, possibly improve upon them in any short term fashion that would differentiate the lessons significantly within the first few generations?
I think you are seeing this happen now. All over the place, "motion" kenpo instructors are making changes. They are creating techniques, or adding techniques, or changing techniques, or the order of techniques. They each teach what works for them, which according to Doc, was the plan all along. It just took fifty years to get rolling. And now, I imagine successive generations will continue that evolution.
I think the answer to "why are all the techniques recognizably similar" is "because they all came from the same root, which was Mr. Parker's instructions to the instructors beneath him." I think the answer to "why didn't those instructors make changes to create their own expression of the ideas in the curriculum" is "they are, it just took decades to get good enough at kenpo to make any meaningful contribution to what they were given to start out with." And of course, some people have no interest in adding to what they were initially taught. Some people are happy just to reproduce what someone else has done, and leave it at that. Some people enjoy tradition for the sake of tradition.
-Rob
Yep! Mr. Parker gave the the "Ideal Phase" concept, but never gave the "Ideal Technique." In his own words he described what they were supposed to do in the Ideal Phase, but instead they took the Ideas in the manual, even when they didn't make sense and just taught whatever it said. Nobody cared whether they worked or not, all they wanted was to meet the requirements so they could get promoted. Then they turned around and did the same thing with their own students. Apparently, for many, thinking was optional.
Watching this back and forth, I was spurred to do some research.
From SL4 Concepts by Ron Chap'el
Ras, after reading a lot of your posts, I have no doubt that you are very skilled, very knowledgeable, and very passionate about your training. But, I think there are also areas where you don't know nearly as much as you think, and you're trying to apply your incomplete or external understanding of some training methods. At the same time, I think you're also catching grief for being "different", and that sometimes people aren't seeing what you're saying because of that.
I've never trained Kenpo, under any format. My understanding, based on readings & interviews from Ed Parker, Ron Chap'el, and others, is that each of the named techniques embodies a concept or ideal. The name contains a code of sorts to the concept or ideal, as well as the weapons employed. Training takes place at several levels or across different approaches. In the beginning, the technique is learned exactly as shown, against a scripted attack with an attacker going along. Later, the technique can be adapted and the principle applied against less predicted attacks. As long as that principle is maintained, the technique is "true" to the concept.
Now, let's look at Sword & Hammer. I found this page which gave a thorough breakdown of the model technique. My understanding is that the technique begins by being grabbed and pulled, from the right side. The response is to turn and step into the pull, delivering first a chop to the attackers throat then a hammer to the groin. The page attributes the following description to Ed Parker himself:
Let's look at that technique for a second. You're grabbed, perhaps to be pulled into a punch -- so you ride that pull into the attack, using his energy and your own motion to strike him and disrupting that potential punch, then before he can recover from the initial strike, you deliver another shot that hopefully will be a serious deterrent. If all goes according to plan, the attacker is probably gasping past a spasming (or crushed) throat while simultaneously dealing with the nausea and pain of a major strike to the groin. You're in a position to do more, if necessary, as well. I like this technique. It's solid, can be taught quickly, and relies on gross body movements. I like that you're moving into the attacker; you neutralize a lot of potential further attacks that way. It's not a perfect technique, though, in my opinion. You're inside your attacker, and he has a number of options if the first shot doesn't sufficiently shatter his attention. Groin shots aren't 100% reliable.
So, let's look at your ATACX GYM version. Rather then turn in, you step and turn away, shielding as you turn. You expect your opponent to strike at you again, so you step into that strike, again shielding, clinch and begin to knee and strike your attacker. It's not a bad technique -- but it's significantly different from the original. The initial attack has changed; it's no longer a grab and pull, it's a push and pummel. You've lost the hand sword and hammer fist, instead using similar hand positions as a shield for your turn and entry. Like I said, I wouldn't call it a bad technique. There are things here I like, too. It's a good redirection, and your emphasis on covering as you enter is good. You're nicely set up for knees, kicks, elbows, and more when you enter.
But your version is built around a different attack, and different principles in response. It's not really a better version of Sword & Hammer, any more than a custard is a better version of a souffle. They're both egg-based dishes, but that's about where the resemblance ends.
Taken from Ed Parker's Encyclopedia of Kenpo ver. 1.0 ...
(p.66) IDEAL PHASE- This is Phase I of the analytical process of dissecting a technique.
It requires structuring an IDEAL technique by selecting a combat situation that you wish to analyze. Contained within the technique should be fixed moves of defense,offense, and the anticipated reactions that can stem from them. This PHASE strongly urges the need to analyze techniques from THREE POINTS OF VIEW.
(p.138) WHAT IF PHASE- This is PHASE II of the analytical process of dissecting a technique. this PHASE takes in additional variables. It requires being programmed to further analyze the IDEAL or fixed technique. (me talking: not sure I agree with the term programmed.) Expected, as well as unexpected opponent reactions are projected and evaluated. the concept here is that every movement may have critical consequences; thus, in a realistic situation, the need to predict each consequence to the best of your knowledge is imperative. Ideally, all consequential possibilities should be projected, evaluated, and learned. To do so is to increase your ability to instinctively and randomly alter the basic technique, and thus allow yourself a choice of action. <- (sounds alot like what you've accomplished Ras.)
(p.56) FORMULATION PHASE- This is PHASE III of the analytical process of dissecting a technique. This PHASE involves the actual application of your newly found alternatives to the original IDEAL or fixed technique. Knowing what can additionally happen within the framework of the fixed technique, teaches you how to apply your variable answers to a free and changing environment. This ultimate process of combat training can be learned by using the EQUATION FORMULA for fighting.
(p.48) EQUATION FORMULA- This is a special formula that one can follow to develop specific, practical, and logical fighting patterns. the formula allows you a more conclusive basis for negotiating your alternative actions. It reads as follows:
To give any base, whether it is a single move or a series of movements, you can (1)prefix it- add a move or moves before it; (2) suffix it- add a move or moves after it; (3) insert- add a simultaneous move with, the already established sequence (this move can be used as a (a) pinning check- using pressure against an opponent's weapons to nullify their delivery, or (b) positioned check- where you place the hand or leg in a defensive position or angle to minimize entry to your vital areas; (4) rearrange- change the sequence of the moves, (5) alter the- (a) weapon, (b) target, (c) both weapon and target; (6) adjust the- (a) range, (b) angle of execution (which affects the width and height), (c) both angle of execution and range; (7) regulate the- (a) speed, (b) force, (c) both speed and force, (d) intent and speed; and (8) delete- exclude a move or moves from the sequence.
and since doc mentioned ideas,
IDEAS- One of the philosophical views of Kenpo that considers defensive and offensive moves to be no more than concepts that vary with each and every situation. <- adds a bit more context for me when I re-read Doc's post about the "IDEALS" being "IDEAS".
Geeze...how the hell did I miss this thread? LOL! Anyways, I'll toss my .02 into the mix. So, if I'm reading right, the main issue is that S&H (Sword and Hammer) is no longer S&H mainly due to it not being the way that we'd typically see it taught in Kenpo schools. Ras made drastic changes, thus why call is S&H? So...that being said....rather than change the technique altogether, why not just do the base technique. If something were to change, ie: the badguy pushes, pulls, changes his attack, goes to punch, etc, just simply adapt to the new situation, and go from there? That way, you're technically still doing S&H, because thats what you started off with, but if/when the BG did something other than simply grab, you adapted.
I say this because this is what I do. Actually, thats not 100% correct. What I do is simply respond to whats happening. I'm not setting out to do S&H or any other tech., in its entirety. Maybe I'd just knock the guys hand off, if possible. Maybe I'd kick him. Honestly, who knows what I'd do...lol.
Thoughts?