The Forward Bow

(from a recent conversation on Facebook)

Mr. Parker demonstrating a Forward Bow transition (notice that I didn't say 'stance'); it can be argued that he is over-exaggerating the forward weight shift, but it is a clear display of the fact that a proper and structurally-practical 'Forward Bow' requires a sufficient weight-change AND shifting the hips FORWARD. 

So many in Kenpo merely pivot their centerline, allowing the front hip to rotate backwards rather than PROJECT both hips FORWARD. - American Society of Kenpo Karate

Absolutely correct. If we're not shifting our weight forward then its still a 50/50 weighted stance. It has to be 60/40 and only a positive shift of weight over the front foot will give you that. We need to move our lower Dantian forward but without leaning. And our rear toes need to be facing dead on 12 o'clock so that our hips also face 12 o'clock. - John Fletcher

Mr. Parker as well as Lee Wedlake stated that when pivoting into a Forward Bow Stance the weight should be 70/30 the 70% should be on the forward leg with the body tilting forward angling diagonally so that there is a straight line from the shoulders to the rear heal. - William Di Carlo

The posture of Mr. Parker in the picture is correct. Feet, weight distribution, and fist posture are all correct. There are two common variances of the "forward bow" predicated on circumstances that include forward momentum and/or a stationary posture. The forward bow in motion is inherently unstable and substitutes principles based on purpose. The stationary version, to be effective, must employ different principles. Both are functional when used within design parameters. When people think of "stances," they tend to think of "feet." Stances are "whole body posture." That is, your feet may be correct; however, if other parts of your posture are incorrect, then the stances become dysfunctional. Additionally, how you arrive at the posture also has an impact. The end product may look perfect, but how you arrived at that posture is equally as important, and therefore, a picture-perfect posture may still be incorrect because the mechanical movements utilized to achieve that perfect look may be wrong and destroy your stance function even though it may not be externally visible. - Ron Chapél

Dr. Ron Chapél on the Alphabet of Motion

(from a recent conversation on Facebook)

When I met Mr. Parker in 63, my first lesson was on vocabulary and terms he had handwritten, and the "motion" concept probably didn't exist yet. He emphasized the importance of organization and language in communicating ideas.

It prompted me to be a Broadcast Communications Major at JC. I later realized that my personal training took me in a different direction, focusing more on the anatomical mechanical aspects of his and my previous training with Ark Wong before he created the system built on "motion.”

He described "motion" as more abstract and an extension of the dominant method of teaching at the time through mimicry. The Chinese taught "mechanics" over "motion" or proper "anatomical movement." This is a much slower, deliberate way that takes more time, but the rewards and results are greater and longer-lasting. Many from the "Chinese Kenpo" era didn't like the new "motion" system and never followed Mr. Parker into it beyond the business opportunities it created.

It caused a major split among black belt students, although many remained loyal to Mr. Parker, they refused to teach the new "system." Some strayed to Tracy's at first with the idea he was staying with the old method, but he, too, succumbed to the business aspect, creating even more techniques and franchising schools with anyone who had the money, black belt or not.

Many also either came over to, or came back to, Mr. Parker and helped with, and learned the modern system. Notable examples would be the LaBounty Lineage of Tom Kelly and Rich Planas. Chuck Sullivan didn't teach it either while remaining loyal, but instead chose to create his own "Karate Connection" based on his years of Chinese kenpo Training with Mr. Parker. Some, like Rich Montgomery, left and went with Jimmy Woo to continue in the traditional Chinese "mechanical method," while Danny Inosanto went with Bruce Lee to help him create JKD as his primary training partner. It should be noted that Danny came out of Ark Wong as well and knew the value of "mechanical over motion.”

As I said, the bulk of these people remained loyal to Mr. Parker while pursuing their own paths. This wasn't unusual at the time. The martial arts were relatively new and few, so everyone, on some level, cross-trained with anyone they encountered to expand their experiences. I did the same, while remaining close to most of the family, training with Mr. Parker, and eventually running the IKC for 12-14 years.

Dr. Ron Chapél on how to get faster with your techniques

(from a recent discussion on Facebook)

"Only go as fast as you can perform the stances and footwork." Speed will come over time, from physical and mental familiarity. It happens gradually, and if done properly, you will barely notice it.

Dr. Ron Chapél on Mr. Parker breaking boards for a commercial

(from a conversation on Facebook about Mr. Parker breaking boards for a commercial promoting the International Karate Championships, see commercial here: https://kenponotes.blogspot.com/2016/09/ed-parker-breaking-boards.html )

The back story was, that Mr. Parker felt breaking boards was a useless activity and hated doing this publicity stunt to advertise the tournament. But just like adding the word "karate" back to the modern system, he gave the public what they wanted. He bruised both of his hands pretty good and his knuckles were really swollen afterward.

I remember that day vividly because his hands were visibly banged up, red, and swollen, so I asked because I worked and wasn't at the shoot. He wasn't happy about having to do it at all. But, he wouldn't let on to anybody he bruised his hands. It had probably been many decades since he broke a board. In his famous first commercial, he opened by breaking one board with a single punch and said, "Ever been attacked by a tree? Probably not." Breaking boards when we were Chinese Kenpo didn't make sense and led to one of Mr. Parker's sayings, "Always hit hard with soft, and soft with hard." Simply, Heel palm strikes to the head, punches to the body. Besides, despite the publicity garnered from board breaking, Mr. Parker thought the makiwara was stupid, and most never used it as intended. If you strike with the palm down, that is anatomically after the punch into its extension. The Chinese rightly focus on what we call the vertical punch, which then may be extended into the horizontal position as follow-through. Driving your hand into a makiwara in the horizontal position Mr. Parker called "jousting." He complained about the officials in tournaments who allowed points for doing the same thing. He said, "That's not punching. Points shouldn't be allowed for jousting."

Horizontal Grappling

(comments by Dr. Ron Chapél from a discussion on Facebook) 

Mr. Parker came to a reasonable conclusion that most seem to ignore in favor of what he called, "Horizontal Grappling." This was really big in the fifties and Mr. Parker predicted the wrestling/kickboxing popularity would return. But he also said for street self-defense purposes over the competition variety, there is a reasonable priority one must accept. 

Mr. Parker had a Judo/Jiujitsu background so he was speaking from experience. He said, all horizontal grappling if it occurs on the street, would begin as vertical grappling first. He reminded me of Judo Randori where you must defend against both, and points are given for the takedowns as well as the submissions. It doesn't make sense to ignore what happens standing up, so you can train on the ground. This is what I call an "Assumption of Failure." 

If your overriding philosophy is, "All fights go to the ground" then it makes some sense, kinda. But my decades of experience on the streets in rough neighborhoods as a cop tells me otherwise. In fact, it truly is the opposite. 

Because of the vulnerability of being on the ground "in the hood," two guys throwing blows at each other who both go down, will disengage so they can stand up and start all over again. Neither one wants to be on the ground, and even this scenario is extremely rare. 

The answer he said was always "footwork" and it is one of the least-known aspects of the arts because teachers do not have the knowledge or the labor-intensive will to teach it, and it has zero commercial appeal. I'm reminded of the uneven Shaolin Temple Floors in China littered with divots from nothing but foot and stance training over the years. 

So, to concede the failure of your ability to remain upright, and concentrate your training on the horizontal ground would seem to ignore a huge chunk of street truth. If an attacker's strength is in ground grappling, of course, he wants to take you to the ground, and it's a great selling point in the business of martial arts.

So you see, Mr. Parker suggested students front load their training priorities as he placed them in the Web of Knowledge. At least it is something to think about. Ask any of my students and the one phrase they all hear in their sleep is, "Fix your feet!" for a reason.

Ed Parker Jr. artwork done for Mr. Chapél

 

(recently posted on Facebook by Mr. Chapél)

The expanded design based on the Vitruvian Man was created and executed many years ago by Edmund Parker II inserting some of the terminology and principles utilized within the system as we trained, for presentation in an academic discussion and as a companion logo to the Martial Science University Design Logo.

“BODE” – Body Optimized Defensive Energy

“PNF” – Proprioceptive Neuro-muscular Facilitation.

“BAM” – Body Alignment Mechanism.

“BIT” – Body Index Training.

“PAM” – Platform Aligning Mechanisms.

“GCM” – Grapple Control mechanisms.

“SIA” – Surviving The Initial Assault.

“SIR” – Significant Initial response.

“DIP” – Decision Index Point.

“DAM” – Disassociated Anatomical Movement.

“MRT” – Mental Reference Training.

“ASS” – Adrenal Stress Syndrome

Category Completion

(recently posted on Facebook by Mr. Ron Chapél)

Early on when Mr. Parker decided to do something extraordinary by writing "manuals" for his instructors to keep everyone generally on the same page, he noticed that the bulk of the attack scenarios tended to be for some kind of right punch. Naturally, because most people are right-handed, that's the way we think. 

Others who were copying Ed Parker did the same. 

Realizing there were so many attack scenarios that needed to be addressed he, in conjunction with others came up with the idea of "Category Completion." 

He would take a base attack, and there would be a defense created for it. But, then he would "complete the category" of say a right punch. The base might be to go "outside" the right punch but to complete the category to ensure he didn't miss any possibilities, he would now do "inside" the right punch. Then, "over" the punch, followed by "under" the right punch, and you can see these variations represented in the Modern Manuals. 

As he got deeper into the material and the technique scenarios became more diverse and complex, he could see this approach wasn't going to work. Looking for another approach, he ultimately came up with the "Web of Knowledge." 

Based on a circular spider's web, as you moved around the web, it touched upon specific attacks and specific belt levels and even explored the differences between active versus "dead hands" as well as weapons, etc. This was to cover reasonable possibilities in order of priority of occurrences without ignoring belt levels and realistic possibilities. 

"Priority of Examination" is major. This has become even more significant as time has gone by because of the competitive nature of the business of martial arts that has forced people into "Martial Identities." This is a necessity to separate themselves from the competition, thus creating unrealistic subculture-focused arts and disciplines that ignore the realities of street self-defense. 

This has blurred the lines of "art," and "disciplines," over true street self-defense to drive priorities. This has given us "arts' that focus on just knives or sticks, etc. whose relevance in street self-defense is very low in Modern American Culture in the frequency of occurrence. 

Mr. Parker felt that greater time and energy should be spent on the most likely attacks over short-sighted focused anomalies. So you see at each belt level an examination as need of "grabs and tackles," "pushes," "punches," "kicks," "locks and chokes," and finally "weapons" in that order. 

By examining this it should be obvious the order of importance Mr. Parker placed on certain assaults according to time commitment to self-defense training in the modern American Culture for most people

The Four Stages of Index Learning

(recently posted on Facebook by Mr. Ron Chapél)

I. Stage One - Alphabetic

This is the preliminary physical stage of learning in any physical activity, where the alphabet letters or basics are learned and physically pronounced singularly and properly in preparation for subsequent stages of learning. Some Stage One alphabets crossover into Stage Two because in physical activity, some alphabets of singular action require multiple “letters” to function as a unit, therefore, becoming “phonic” in nature. This is most apparent in the complexities of the Martial Sciences, particularly in interactions.

II. Stage Two – Phonetic

This is the second stage of learning in any physical activity. It stresses the basics of proper execution and constant and consistent physical correction, anatomical alignments, and structural integrity, as its primary function. Like Stage One, it requires a significant teacher with knowledge of, and the ability to identify improper execution of the smallest detail and a student with the personal discipline to execute and accept the critical corrections.

At this stage, in many ways, it is like a subjective dance, in that students do not know what they are doing and everything is abstract in nature. The student must trust the instructor’s guidance to reach their goals. This can usually be accomplished by observing others that have undergone the same process, who are further along, and their acquired skill level.

Its primary goal is to begin the process of training the body internally and creating muscle memory and synaptic pathways associated with the activity in preparation for the next stage of development. This process is also known as building a “Mind/Body Connection” for the specific activity. It is the highway path the brain will use to send signals to specific body parts to function. However, laying out the path of the highway does not yet make it ready to support intense traffic and this is considered a “soft memory.” Here the term Phonetic Basics is appropriate to distinguish what is learned from more expeditious and intuitive actions to come later in one’s development. The individual alphabet components of Stage One, are combined into a Phonetic Unit.

III. Stage Three – Script/Cursive

Here the movements began to take on a more fluid look as the mind in conjunction with the body become more comfortable with the activity. The corners are becoming more rounded although the movements are still significantly large and pronounced as we execute with a more flowing, smooth, and unhesitating action.

It can be compared to drawing a square as opposed to drawing a circle. A circle may be drawn rather quickly but a square takes more time and is much more difficult to do proportionately correct. The square is essentially phonetic, while the circle is a scripted or cursive movement with a greater tolerance for error.

IV. Stage Four – Shorthand/Abbreviated

When the movements externally begin to become significantly shorter and more direct in their scripted execution, it becomes “shorthand.” This is where external speed begins to emerge beyond the ordinary. Although the movements originally learned in Phonics are present, they now flow with a shorter more directed action, but still, retain the structural integrity of the now well-trained substructure anatomy. It is important to understand, that if training begins at this level, it will not have the foundational structure for consistent success and long-term sustainable synapsis.

It is important to understand abbreviated or shorthand actions may not achieve the same results if all the previous stages of development are not significantly met, before moving to the next developmental stage. While a person may be taught abbreviated actions as a starting point as in some interpretations in some arts, this quick method although expeditious is not capable of supporting the mind-body connection, in conjunction with the structural support achievable under proper Index Stages of learning and training.

Although some shorthand methods may develop to an acceptable level, they will always fall short of the efficiency obtained in the slower more methodical method that produces internal support and efficiency over external movement. Mass-market applications of martial arts training rely on the expeditious method for student retention. Older methods screen students for discipline factors and goals, train without little regard for retention and instead focus on maximizing skill development. Thus, these institutions are fewer, and less popular with the masses, although they traditionally produce a much superior product.

V. Stage Five – Internal/Chi

This is the esoteric “dragon” we speak of or the true professor stage. In practice, it really does not exist. What it is, is the culmination of the proper understanding and execution of the Four Stages of Indexing or learning, coupled with the time element needed to fully inculcate its lessons into the human synapses’.

Here sometimes the indexed movement may be externally imperceptible, creating all the alignment and structural integrity necessary for the functional activity internally, because the mind controls the body alignment, not the body. This is “why” you train the external to nurture the internal. This is the ultimate in functionality and speed with the true economy of movement created by the external training of the body to have the subsequent effect of training the internal to the extent that the exaggerated phonetic external movement is no longer necessary to achieve structural integrity or anatomical efficiency.

This methodology although expressed differently in other disciplines, is well documented within the older cultural arts from the Chinese, Indonesian, and East Indian, and movements that may appear excessive or unnecessary have only to be properly interpreted. Nevertheless, all stages are functional, although as you develop physical and mental familiarity with any movement, anatomically correct or not, it naturally becomes more expeditious in execution.

But just because some movements may be internalized does not mean that all applications allow such execution. Some applications require large movements to maximize efficiency physically in a real-world interaction. It is here we fully begin to understand the philosophy of execution of what I term American Chuán-Fa™. The idea is nothing is arbitrary, and has always had a position of significance in the Chinese Methods that Mr. Parker learned, and that I embraced fully under his guidance after beginning my journey under Sifu Ark Wong.

Its meaning becomes clear in that it encompasses Mr. Parker’s “Four Depths of Combat,” found in his Modern Kenpo and expeditious motion-based vehicle, (which serves its purpose), but also includes its many subcategories, as well as the Four Stage Method of learning as he taught me. All are valid but not all can produce equal results. You cannot get to stage five by any other method, other than significant time properly spent in the preceding stages, guided by someone who is knowledgeable. You cannot begin stage four until you have progressed through the previous three stages. With little effort, videos can be found of Mr. Parker philosophically speaking of Phonetic Motion, Alphabets of Motion, Scripted/Cursive Movement, and even Shorthand, and how you must proceed through the stages. Some presumed you could do it all at the same time as a mental exercise. The process requires a specific foundation of material to be taught, over a time period at each level to be functional. Without that foundation, and the time element removed, students gravitated to Level Four, without the physical or mental foundation to get to Level Five.

It is an accelerated self-defense vehicle as he intended. I believe if he had lived, his Four Stage Methods of learning would have become a vehicle for those willing to move to higher levels of learning. It would have been the next level of learning His Kenpo. However, unlike other interpretations, it requires significant knowledge of all that may teach, it moves beyond quick self-defense skills and is not as easily proliferated because of the labor-intensive efforts on the part of its teachers, and self-discipline demands on the casual students.

Therefore, at the time, it was not his primary focus. While he worked on it personally, the masses only saw it when Mr. Parker demonstrated, moving quickly and explosively with power, while he never explained all that head movement, stomping, slapping, or any subtle movements of execution, for the knowledgeable they were very significant.

Mr. Parker always said it was a matter of choice and that the masses would not be inclined to submit to this level of training, and the dearth of those qualified to teach contributed to his preliminary approach to get the art to the masses first, with an eye on raising the bar later for those who could graduate to the next level, while maintaining a large and strong base of practitioners to draw from.

What are you doing?

(recently posted on Facebook by Mr. Ron Chapél)

For many if not most, everything they understand about Kenpo comes from a Modern Ed Parker Kenpo Karate perspective. That’s not a bad thing but it has some significant limitations because its origin is as much a business model as a martial arts model. The good news is both can and have been enormously successful. But, for obvious reasons, they both have significant limitations outside of the stated goals of either. Ed Parker’s Kenpo Karate from the perspective of those that came before its inception could be easily characterized as the “big compromise.”

Has anyone taken notice that senior practitioners, that trained and studied with Mr. Parker before it was created did not or do not teach it? While modern senior practitioners embrace strictly embrace the “manuals,” Esteemed Seniors like Sullivan, Hebler, Inosanto, Dimmick, etc., and the many late seniors that have left us didn’t teach it while they were still alive and thriving during the heyday of the new Modern System. So, what gives?

The reason is simple and when being candid, they will tell you. The Modern Kenpo System was based on a business plan utilized by the Arthur Murray Dance Studios and a huge and significant compromise departure from what Mr. Parker was training and teaching before. The Seniors mentioned above are from the Chinese Kenpo era as am I when training was much different.

Only Chuck Sullivan transcends all of the eras, and he too while being quite active, still does not teach it. Having insight into the multiple interpretations and changes of Kenpo perspectives changes how we view what most are doing currently with the interpretations in general, and specifically this new Modern System. No one can argue the effectiveness of the teachings of these “pre-EP Kenpo Karate” seniors and yet none of them transitioned to the “new” system for a reason. So, what gives?

Many are ignorant and arrogant enough to suggest older senior practitioners are “changing” Ed Parker’s Kenpo Karate not understanding we’re not changing something we didn’t do and are only continuing to explore and interpret Ed Parker’s teachings from previous eras, often before they were born, something Ed Parker Sr. himself strongly encouraged.

Understanding this singular fact alone should change anyone’s perspective and hopefully cause one to look at “Kenpo” with a broader more open understanding and a more holistic approach to learning and teaching. Had Mr. Parker himself not taken a more inclusive less identity-centric approach, the Modern System would probably not have come into existence.

The Modern Systems' strength is also its weakness. It is more conceptual, and open-ended, and encourages interpretations and tailoring over the old-school rigid methods of early on. Great for business because it makes room for everyone, and no one is turned away. For the diligent self-disciplined this yields positive results. However, for the more casual student looking for the next belt, pajama party participant, the results will be no better than the lackluster effort they put into their training three (3) hours a week. Genius on Mr. Parker's part because it allowed students of all ages, interests, and capabilities to settle in and study where they feel most comfortable. But Mr. Parker also cautioned when you tailor your training to your liking, you must also take responsibility for the results good and bad.

And, while many still don’t understand there is no such thing as an “ideal” in Kenpo until you create it, while they are still arguing the correct way to perform a technique in a book, real students are exploring how to survive the street attacks he suggested you explore, and expanding their understanding of all arts, and are refraining from making general statements about Kenpo other than their own.

Old School Kenpo was ridged in structure and drilling basics were everything. Now, there are so many ways taught to do a technique with so many moves, students don’t know what to do and it shows in real life. Teachers are as much in the dark as students. Many have resorted to a form of “kick-fight” sparring, bringing everything back to a common denominator dictated by sport application rules and cross-training aerobics.

Ed Parker’s Modern Kenpo Karate gives students and teachers alike a lot of freedom to develop. Unfortunately, most are not interested in studying what’s there. They’re so busy memorizing material for their next belt, they don’t have time to learn it.

Mr. Chapél on the Kenpo salutation

(a post from Mr. Chapél on Facebook, July 2022)

As a "greeting" or acknowledgment of another person, the left hand simply "covers" the closed right fist and there is no footwork involved. Think of it as similar to a "bow" used in Japanese Culture. However, it is presented differently when used as a part of the Traditional Chinese Martial Salute. Beginning "covered" with a right clenched fist over (not below) your right shoulder as you step forward into a "twist stance," you begin "covered." From there as you step out into a cat stance the left hand opens as your hands come forward to display the now uncovered fist. From this position, both hands are thrust forward to an individual or moved from side-to-side to a group displaying the fist thus announcing your intentions to "display" your knowledge or to "challenge" those it is directed towards. 

The Ed Parker Kenpo Salute (and Salutation) are a combination of the "old and the new.” Divided into two parts (Salute and Salutation), they are interchangeable depending on the circumstances in which they are used. The salute honors the originators of the science, the Chinese. 

Before the establishment of what was called "Shaolin," a left hand “grasping” a clenched right fist was used as a greeting. It is a gesture that says, "I am friendly and unarmed." When the left hand however is “open” and resting on a clenched fist, it is then considered a “salute." So, if you are greeting someone and showing respect, the left hand “covers” your right hand. When the left hand is “open” and resting on the right clenched fist to indicate a forthcoming “expression” of the science, friendly or otherwise. Some of the meanings of these gestures are:

(1) Respect to the originator of the particular system, including all who had studied before him, with him, and presently study under him.

(2) Respect to those who would observe the movements.

(3) Respect to both scholars and warriors who were practitioners alike, since the left hand (open) of this salutation represented the scholar and the right hand (clenched), means the men who actually executed the science.

During the period of the Shaolin in the Ch'ing Dynasty, the meaning of the gestures changed when two additional movements were added.

The change was that the left hand represented the sun, the right hand the moon. With this change, the combination of sun and moon represented the Chinese character Ming, thus meaning "revolutionary defenders for the cause of the Ming restoration." The two additional movements that were added to the sun and the moon were formed by placing the back of the hands together with both palms out. The fingers at this point were in a claw-like- fashion and raised to the chest and heart. This gesture meant, "We are against foreign invasion and our hearts are for China." The last movement was to clench both hands and draw them to the sides of the waist. This pulling gesture meant, "By pulling and working together we can take our country back."

The Hungs, who were secret triad societies in China, perpetuated these movements. In short, "Scholar and warrior united together, back to back, pulling together, to defend against the foreign intruders.” The variations arise from practitioners over the years adding "flair" for competition presentations or simply to be different from others, but the Traditional Chinese Methodology is steeped in Traditional Symbolism therefore there is the way of its origin, and the way many have chosen to do it. 

Personally, because I cam from a Traditional Chinese background, I stay with the tradition but no one is going to castigate someone for their own interpretations.

Mr. Chapél on Bruce Lee and JKD

(a post from Mr. Chapél on Facebook, August 2022)

A reminder that Bruce Lee's JKD is not a style of martial arts any more than Ed Parker's Kenpo Karate. 

Both were designed to suggest students should follow a particular regimen to achieve the best outcome for the individual. Unfortunately, JKD doesn't actually set any parameters or even suggest specifics for encounters beyond a straight punch reflecting the rudiments of its roots in Wing Chun. This is not surprising considering Bruce's youth and time having a formal teacher, which was relatively short and done by the age of 18. 

A perusal of Bruce Lee's written works is mostly philosophical with much of his Tao of JKD being little drawings and quotes from other philosophers and was compiled after his death. Most of his written works surfaced after he had passed and most displayed essentially the same lead leg knife edge kick to the knee, back-fist combination trapping the lead hand. Classic Wing Chun. 

Although his association with Dan Inosanto brought additional knowledge to him, as well as with Gene LeBell, and others. Bruce's genius was his gift to assimilate physical movement, and he did that with everyone he came in contact with, while his celebrity students paid the bills. 

So in many ways, JKD is like EPKK. But, Ed Parker's version is light years ahead of the concept. By creating an actual guideline curriculum, and providing concepts of execution, as well as suggesting specific encounter scenarios, Mr. Parker was constantly pointing students in the correct direction while giving them the flexibility to tailor to their liking. None of this exists in JKD, and even Bruce's number one training partner, Dan Inosanto doesn't teach JKD, essentially because it only exists philosophically on a conceptual level. 

So in that sense, there is a definite connection between the two (JKD & EPKK), and Bruce's relationship with Ed Parker and others had a definite impact. It was even Mr. Parker who suggested Bruce Lee needed to learn to kick. Imagine that, but at the time Bruce only had Wing Chun experience with very limited kicking skills. So Mr. Parker sent Bruce to Sea Oh Choi of Hapkido over on 3rd and Fairfax, (in L.A. ) at the time and we (Cliff Stewart, Hugh Van Putten, and myself) got to watch Mr. Choi "teach" Bruce "how" to kick, especially for the movies. 

Mr. Parker said Bruce was a tremendous athletic talent, He said, "If you show Bruce something the first time he might do it almost as good as you. A second time he could do it as well as you, and if you weren't careful and showed him a third time, he might do it better than you." 

That was his gift, although he was not knowledgeable, he continued to grow and absorb from those around him without having a formal teacher. 

Had he lived, and if he had chosen to, he would have been a tremendous martial artist beyond the screen stuff. But, you see, Bruce was not interested in being the best martial artist in the world. Bruce wanted to be an actor, he wanted to be Steve McQueen, and had he achieved that status who knows if he would have continued to grow beyond the obvious screen prowess he already possessed. 

However, my biggest complaint about Bruce devotees is they tend to take his screen persona as real life instead of the "reel life" that it is. On top of that, the philosophy of training he espoused was major league flawed for anyone but himself. To do what Bruce did, you would have needed to have Bruce Lee's gift. Most do not. 

Bruce told people to throw away the inessential, but how do you know what is and isn't essential when you have no training and no experience? Interestingly, Bruce hated forms, but he did them before he discarded them, and is famously depicted in full Gung-Fu uniform on the cover of his first book doing a form. 

So Bruce gave good advice, but only from his own gifted and extremely talented perspective. Those significantly interested in Bruce Lee and his life should obtain a copy of Tom Bleecker's Book, "Unsettled Matters."

Ball or Heel?

 (recently posted on Facebook by Mr. Ron Chapél)

It is important in the martial sciences we have a clear understanding that the ball of the foot is for mobility and the heel is for stability. Both have a specific relationship with the rest of the body in general, and the hip joint/femur specifically.

Consider the biomechanics of walking in bipedal anatomical movement. Think of an inverted pendulum that swings from the top, and that “walking” is essentially a series of “swings” or “controlled falls.”

As your walking gait strides forward, you firmly plant your heel on the ground establishing a specific relationship anatomically between the leg and hip joint for “stability” – while simultaneously “pushing off” or rotating onto the ball of the rear foot for stored energy release and “mobility.” Moving rearward reverses that biomechanical function. Additionally, moving rearward while walking shifts the body into “anatomically disassociated” or loose connectivity to move “less efficiently” in momentary violation of the basic “most efficient” forward locomotion design and capability of the human body.

Once you understand this, then you should realize that the act of “pivoting” on the heel violates, (in general) anatomical mandates of stability. When applied to martial arts postures, personal preferences for activity are acceptable in some disciplines. However, in martial science, specific anatomical mandates must not be violated. Moving in martial stances and postures should follow the appropriate physics associated with everyday anatomical mobility and stability extrapolated to martial postures and mobility and you may not replace them with personal preferences or ill-informed teachings.

All movements utilizing stances are specific to the activity, including the whole-body posture in general, and weight distribution, hip, legs, and feet specifically. A lack of understanding or a change in any part of the posture may make any other part moot and dysfunctional whether the desired outcome is stability or movement.

Web of Knowledge

(recently posted on Facebook by Mr. Ron Chapél)

In studying the nature of an attack, you must learn to:

(1) identify, define and classify the types of encounters you may find yourself in;

(2) thoroughly scrutinize the various methods in which weapons (natural or otherwise) can be employed; and (3) instinctively determine your choice of action in successfully combating the numerous types of encounters with which you may be confronted.

When identifying the nature of an attack, you must first ascertain whether trouble is:

(1) eminent in the ENVIRONMENT you are entering;

(2) then anticipate the possibility of an encounter; and

(3) eliminate the element of surprise. Although the type of action you encounter may surprise you, you would, nevertheless, be prepared to instinctively utilize your knowledge regardless of the predicament. Again, at this stage, strategy and plans for defense and offense are not thought of consciously -- they occur naturally.

Defining the predicament involves classifying and categorizing the various types of attack. Utilizing this approach makes classification a useful tool when you are categorizing and defining the attack. Answers are more appropriately geared to attack situations when they are categorized into topics such as:

1. Grabs and Tackles

2. Pushes

3. Punches

4. Kicks

5. Holds and Hugs

6. Locks and Chokes

7. Weapons

8. Multiple Attacks

While these categories become extremely helpful in defining the attack, they, nevertheless, are general categories. Specific detailing is needed since there are numerous methods of executing the techniques listed in each category. In the determination to classify and categorize the various types of attacks in a logical and systematic order we were prompted to create the WEB OF KNOWLEDGE.

In Ed Parker's words, "The idea for the WEB OF KNOWLEDGE came to me thirty two years ago in Hawaii as I observed a spider constructing a web. As I watched the spider meticulously build this ingenious trap for his survival, I attempted to parallel the principles of this construction with the learning of the Martial Arts. From this design created by our Supreme Being, I pondered about how it could be used as a beneficial trap: a trap that would be an aid in retaining Martial Arts' knowledge. Surely, if a web is primarily a trap to ensnare victims, why couldn't a similar structure be used to ensnare knowledge? As I began to develop the concept, I pondered about topics that could be studied. What knowledge was the web to contain and what order of priority would it follow? Would the topics of study vary from one belt level to another? If so, what belonged where? Such unanswered questions did not make it easy to create and organize a progressive plan utilizing a WEB OF KNOWLEDGE. Through trial and error, I arrived at what I thought to be an equitable solution. I categorized the web into prime topics of concern and arranged the course into what I considered progressive."

The Web is prioritized according to the degree of difficulty in handling an attack:

1. Grabs and Tackles -- The beginning student should have a good chance against a grab where the opponent does not instantly plan a punch. Without an immediate follow-up, a grab is basically inactive.

2. Pushes -- Because of the forward momentum of pushes, they require more timing than grabs, but not as much as the required timing for a punch.

3. Punches -- Still a greater degree of timing is required to defend against a punch due to the faster speed and force of a punch.

4. Kicks -- Not only do kicks require timing, but they have potentially greater power than punches -- thus making them more dangerous.

5. Holds and Hugs -- These in turn are more difficult because of the restriction of body movement and the limited number of available weapons and targets. There is a real danger of being taken to the ground.

6. Chokes and Locks -- These are more dangerous than Holds and Hugs because they have the potential of causing broken limbs and even instant death.

7. Weapons -- The timing and power associated with weapons easily rates them as being the most difficult to handle. Your opponent has a range advantage with a high probability of serious injury or death.

8. Multiple Attacks -- Defense against multiple attacks requires skill and strategy. Being attacked by more than one opponent increases the probability of serious injury or death and, therefore, should be viewed as being equivalent to a single attacker well versed in the use of a weapon.

Careful examination of the techniques required in each of the belt levels will reveal that the topics listed above are in the exact order in which they are introduced to you. While all belt levels up through Green Belt, follow the same sequence of topics, there are noticeable omissions of attack sequences. The omission of various attacks within the sequence may be due to the frequency of different attacks. Lower belt requirements may stress more grabs, punches, hugs, or holds since there is a greater probability of encountering these types of attacks rather than kicks. Secondly, beginners are not equipped to make kicking techniques work because of their limited experience.

Besides understanding the relative difficulty and danger of various attacks, you should explore related usages for the Web by visualizing and categorizing the various attacks according to direction, method, path, dimension, and angle of delivery or execution. For example, a punch might be delivered with a left or right hand, in a linear or circular motion while employing a variety of methods. Such methods of execution may:

(1) create straight, hook, or roundhouse punches; (2) employ related methods in the form of a cross, jab, uppercut, chop, rake, or thrust type punches; or they may require (3) delivering punches with the rear or lead hand while in a stationary position, shuffling, or using a step through maneuver; or (4) by using combinations of the same. All methods of punching, grabbing, pushing, etc., and their combinations should be studied. The greater your knowledge of existing methods, the greater your repertoire of knowledge -- all Of which lessens your chances of being surprised. All motions that have been discussed may be compatibly inserted into the UNIVERSAL PATTERN™.

In time you will learn that a specific technique used for a right-hand grab may be suitably or identically used for a right hand push or punch. It may require altering the timing of your action, but you, nevertheless, would still employ the identical technique pattern. When the structure of a technique allows for identical use against each of the types of linear motion mentioned, spontaneity is proportionately increased. There is no hesitation in deciding which technique to use, you simply respond to the action without deviating from the prescribed pattern. The substitution of a knife, however, would undoubtedly alter your technique pattern. Sophisticated strategy would be needed to control your opponent's actions. Naturally, logic should always dictate your need to alter, reduce, expand, or substitute your movements to increase your chances of success. Included here are 4 blank Webs. Study the outline of the previous Web and fill in a Web for Yellow, Orange, Purple, and Blue. Please use a pencil as you more than likely will make a few errors in filling in the Webs. Remember when filling in the Web that a spider weaves its web from the outside into the center.

In addition, a progressive list of techniques, according to the nature of the attack is provided. If properly used it can be a valuable tool in developing your spontaneity.

Zone Blocking, strikes, and feints

 (recently posted on Facebook by Mr. Ron Chapel)

In my experience, I have a training philosophy when teaching defense for punch attacks that is simple. "If he throws one punch, he'll throw two. If he throws two, he'll throw three, if he throws three..." In other words, he's going to keep coming until you do something about it, and to execute a singular punch no matter what the lead, as if that is the end of the attack would be a bad idea in training.

Always respond as if there is another punch coming and address it technically to limit vulnerability. Being on the inside of either hand is dicey and ups one's vulnerability big time, so you better be swift sure, and cancel or at least address that next punch that is going to come "hot and heavy."

Addressing any scenario from the perspective of the Psychology of Confrontation forward puts us in the mind of the attacker, and defines the assault, the intent, and how the attacker plans to carry it out. We always approach from this perspective before addressing any response, as one defines the other and clarifies the scenario response.

At one lower level, we simply address the lone punch but are mindful of the implication of additional punches to follow. At another level up the food chain, the scenario changes to a more skilled attacker who is utilizing a strategy when attacking, throwing one punch to set up the other. Then as the skill level rises that same scenario might shift to, a punch that is really a feint to set up the other, which speeds up the second punching hand significantly.

Therefore, the idea of a "simple" punch or two has many implications predicated on the mindset, and skill level of the attacker, and all three levels use the same one or two punches. Now when you extrapolate a lesson into a three-plus punch scenario, you get the idea. Nobody stops until you stop him or her. This brings us to the blocking versus striking problem, and it is indeed a problem if your application is misplaced.

When I teach these techniques and blocking I come from what appears to be a unique perspective these days. I use it to reinforce the concept of Zone Blocking from the Chinese as I was schooled by Mr. Parker. Too many I've seen when learning to block are fed the idea "all blocks are strikes." This concept is majorly flawed and probably should be best expressed as, "all blocks MAY become strikes - eventually."

When blocks are viewed as strikes, it causes the student to "seek contact" with the offending limb. The problem here is when you strike; the configuration and the muscle groups, and thus the commitment utilized are very much different from a "block" internally and externally.

Because your offensive intent is a factor and requires a significantly different commitment, a person will over-extend when no contact is made thus drawing you out of position and violating what Mr. Parker called the "Outer Rim Concept."

Proprioceptively, when the body anticipates an offensive action and it doesn't appear, the body is shortly structurally "disharmonious." Think of the old Peanuts Lucy trick on Linus by moving the football when he's trying to kick it. If a kicker is anticipating kicking a football held by the placekick holder, his body will anticipate and be proprioceptively prepared for the contact.

However, if the ball is removed from the equation at the last possible moment, the kicker would probably fall down simply because the ball wasn't there, even though he would not should he have kicked the ball. This is no different than when you attempt to punch something or someone and they are not where your senses anticipated they would be, you would probably fall down or at least fall forward losing your balance momentarily because your body is configured to anticipate the contact, follow-through, and the resistance that comes with it.

The worse thing you can do in blocking is to seek offensive contact because that is not the goal of a block. A block is a defensive mechanism inherent in human Startle Reflex Mechanisms, whereas a strike is quite the opposite and requires, to be effective, a different commitment from the body. Why is this a big deal? This becomes important when dealing with "feints." This is implied but rarely addressed in curriculum application techniques.

Because blocks are reactive, Mr. Parker used the Zone Blocking Theory so that feints would not get us in trouble. It essentially says, "Block the zone, not the threat." With this in mind, it doesn't matter when blocking if the threat exists or not. If I train to reflexively block the zone, I do not overcommit myself to a singular action that may or may not be necessary and thus cannot be lured into a bad position or off balance.

Example: An attacker might throw a straight left followed by a right cross. This is a common tactical "boxing" strategy set up whether a right lead or left lead. Throw one to set up the other. However, one must consider the possibility the follow-up is not the goal, but actually a third punch with the first two setting up the third. This could be accomplished with a well-executed feint of the second punch, in which case you might be seeking contact with something that is not there, and in that process overreach and become immediately vulnerable to the now much quicker third punch.

In Zone Blocking Theory it doesn't matter whether it is a feint or an actual punch. You treat feints and actual street punches the same. The practice in contested matches is different because the goals are different in prolonged strategic contests, and is why competitors are more likely to "cover" to protect rather than block.

Moreover, in self-defense street applications, you'll find there is a unique benefit that helps you to understand the definition of a block. A block by Ed Parker’s Definition "checks or hinders an attack." That is when you block properly your goal is not to hurt the attacker. You place an obstruction between you and him, and he hurts himself when he makes contact with your defensive postured limb. It hurts him and you barely feel it because your body is configured in a defensive posture based on your actions, and he is configured offensively. The body configures itself differently offensively versus defensively and those differences are significant and accomplished by adjusting the mechanics of the action, but more importantly addressing it by changing your mindset of what you are attempting to accomplish in applications.

Have you ever noticed, that when you throw a punch and it hurts you, it never seems to bother the blocker, who technically is absorbing as much contact as you are? There’s a reason for that, and Proprioceptive Neuromuscular Functions of human anatomy are why and have to be considered in any effective teaching process.

What if the attacker fights back?

(recently posted on Facebook by Mr. Ron Chapel)

What if the attacker fights back? People that punch usually keep punching. People that attack with a kick usually follow up with another kick, punch, or grapple. 

You have a plan called a "technique." The attacker has one as well, and I'm pretty sure the attacker's plan isn't to throw one punch or kick, and then stand there so you can "do your thing." I'm mindful of the Mike Tyson quote; "Everybody has a plan until they get hit." You have to change your mindset in training.

We used the term "Time and Space Predictability" along with "Paired Rhythm." In Hop-logical interaction, The speed of one's action is not yours alone, if a successful application is a goal. Mr. Parker and I used the "Pool Table Analogy" to explain why these things are so important. "Everybody looks good playing Air Guitar, but things change when you have to perform with a real guitar and play music with others."

Swimming with Sharks

 (recently posted on Facebook by Mr. Chapel)

By Ron Chapél, Ph.D.

(Previously Published In Combat Martial Sports Magazine)

Tangling With Ground fighters Doesn’t Have To Be Automatic Defeat. By Controlling the Distance, You Can Counter the Street Grappler

You may have noticed. If you haven’t, you may be the only one who hasn’t. The last couple of decade has shown a steadily increasing interest in the grappling disciplines.

Interestingly, Ed Parker predicted the “grappling” craze back in the mid-1970s. Back then, he took a long, hard look at the ground game. While he could see that it had more than its share of merits, he really felt there was not a lot to worry about from a self-defense perspective, provided, of course, that you had some knowledge and skill of grappling.“

Remember, this was just his opinion, but it wasn’t unfounded. He always did his homework with his good friends in the arts. In this case, that included Wally Jay, creator of small circle jiu-jitsu, and the former world champion wrestler, “Judo” Gene LeBell. Moreover, Parker, who had a black belt in judo and jiu-jitsu, knew ground fighting – in all of its many forms – had been thoroughly explored under various rules for centuries, and he had his fair share of exposure to the art. In addition to Jay and LeBell, Parker trained with Kwai Sun, who had trained with Professor Henry Okazaki, a man who had a major influence on training in the Hawaiian Islands.

Furthermore, modern grapplers like LeBell have seen and used every trick in the book for decades. With Parker’s previous training and his association with people like LeBell, Jay, and Chow, it wasn’t likely anyone was going to come up with something that he hadn’t seen some version of already. To be sure, his training and experience made him quite competent to make reasonable decisions about grappling.

LeBell, by the way, is the man Parker chose to represent “The American Martial Artist” in an exhibition bout versus a professional boxer. Milo Savage, a decent middleweight, lost the match when LeBell closed the distance and threw him with a hip throw. LeBell then quickly finished him off with a stranglehold. Parker knew the best competitors in the world in their own venue are grapplers, and there was no one better ever or since than LeBell. Getting into the ring with a wrestler under his rules is like swimming with sharks. Sooner or later you’re going to get eaten.

Parker agreed that a good working knowledge of how to fight on the ground was important, and those techniques exist conceptually within his many variations of Kenpo. One of the unique ways Parker chose to address ground fighting for the street was based partly on an early conversation with LeBell. They both agreed on the importance of “controlling the distance.” LeBell had proven that with Milo Savage. If Milo had been able to do that, the outcome may have been much different.

Ed Parker always said, “Distance is your best friend,” and he taught that from the beginning. He hypothesized, “If you control the ability of your attacker to get close to you and control what happens at the fourth (close) range of combat, you will be successful.” Although most of Kenpo’s fourth range is contact manipulation, Kenpo’s unexplored Fourth Range and its many sub-categories is defined by Mr. Parker as Control Manipulation and encompass a broader range of offensive and defensive tools.

EXPLOSIVE CONTROL

Control Release is one of the tools that play an important role in the curriculum. During his studies, Ed Parker explored major and minor manipulations, and the concept of the controlled release was given a great deal of importance. Control release occurs when the attacker is momentarily seized, struck, pulled, pushed, or manipulated to create “explosive momentary control” and “bodily misalignment.” This opens nerve cavities on the body and breaks down anatomical stability with negative posture. Within an instant, the attacker is released in preparation for the next move.

Kenpo Control Manipulations based in Chinese Chin-na include everything from locks and holds to major as well as minor strikes. Control Releases set up the body for a final result. Those results may be a “lock” or takedown and “pin” or sequential strikes to temporarily paralyze or render a level of unconsciousness, or in some cases, all of the above. They all fall within the specialized moves and methods outlined in Mr. Parker’s Infinite Insight Books. These, by the way, are not aesthetic, artistic movements. Instead, they are based on real anatomy, and tremendous emphasis is placed on anatomical alignment.

GOOD MECHANICS
If the alignment is critical, you know that there are good mechanics nearby, and Ed Parker noted that in the 1970s. First, he said, “the next big martial arts craze is going to go back to where it was in the early 1950s, and that is grappling.” He also noted that grapplers are good “mechanics.”

“If your body is not aligned properly, you don’t have a chance,” he said. “Good grapplers have great hands-on mechanics and train vigorously. Students must sharpen their basics to remain successful against these guys on the street.”

To effectively compete, anybody contact activity demands optimum alignment. Grappling disciplines, or other sports like Western boxing and football, expose poor body mechanics. In karate sparring competitions, tournaments points are awarded for hypothetical conclusions. They score you for what you purport you could have done – not for what you actually do.

On the self-defense technique side, throwing a punch and standing still so someone can execute a speedy defense is also an example of “hypothetical martial arts.” Doing a demo on a live "dummy" that is standing still may seem impressive to the uninitiated but only demonstrates possibilities, not reality. There doesn’t seem to be any regard for the reactions of the person being hit or where he will be after he reacts to the first action and beyond.

The truth is you can only move as fast as your attackers react to what you’re doing. This is an example of what I call “Paired Rhythm.” In reality, you have to read his posture, so you know what’s available for your next action. This also means you have to learn how to misalign your attacker, as well to assist in that process. Mr. Parker in his pool table analogy said, “You can’t take your next shot until the balls stop rolling so you can find it.”

CONTROL THE SPACE, CONTROL THE FIGHT

There are other factors to keep in mind, as well. Most think when someone throws a punch that hitting you is their only intent. But, Mr. Parker gave me another perspective. He said, “Block this punch.” I did and found that I was now locked up in an arm-lock. He said, “Sometimes people throw punches so you will hand them your arm, which is what they really want.”

When on the street, don’t overlook the possibility that your attacker may grab your arm. If your arm is anatomically weak, you’re in trouble. If a grappler attempts to wrap you up while blocking, your limb and body must be incorruptible and serve as a momentary obstacle. Unable to easily move, bend, or manipulate the limbs or close the distance effectively momentarily occupies the attacker.

This gives you the opportunity to continue your technique. Without the proper anatomical basics when your arms and legs move away from the torso, this is not possible. These movements are built into the structure of every technique and are called “Grapple Control Mechanisms” (G.C.M.). Even your strikes are G.C.M.’s if executed with the proper anatomical alignments. It is important that you “own the space” between you and your attacker. Remember, “he who controls the space controls the fight.”

TRAIN TO FIGHT - NOT TO COMPETE

Mr. Parker also made an extremely good point about the way grapplers train. From Day No. 1, grapplers train not to fight but to compete, he said. This is a very important distinction. They purposely omit the things you would do in a real fight because it would greatly inhibit their ability to train. Why? They would constantly be injured, and to preserve the identity of what they do in Martial Sport. That is why they, as well as judoka, are such great competitors. Everything they do is to that competitive end relative to their identity. There’s a reason they don’t kick in fencing. If they did, it wouldn’t be fencing.

As Gene LeBell and Ed Parker, both noted, however, you can throw a grappler off if you do anything for which he doesn’t train. For example, let’s say you go to the ground with a grappler. “If you quickly bite and gnash a grappler’s available soft tissue, he usually instinctively releases through startle reflex because he is unaccustomed to such actions in his training,” said Ed Parker. There was a wink and a nod to that in Bruce Lee’s Chinese Connection film. The much bigger Russian pinned him with an armbar and bruce bit his leg for a release.

This, of course, is completely disruptive to someone who has never trained to deal with these countermeasures, and frankly, it is difficult to train for in any discipline. This fact alone changes grappling options. What are some other ways to throw them a change-up? Along with “fish hooks,” grabbing the testicles and throat, striking the temple, pulling hair, executing small-joint manipulations of the fingers and eye gouges, spitting, head butts, and nerve cavity presses. Believe me, these things can be very disconcerting to someone not accustomed to such tactics left out of training. Grappling has good single engagement stuff but it focuses on training within the rules of engagement in their sport.

GET REAL, BABY

If you study a different non-anatomical form of Kenpo, don’t think that all of your previous lessons must be negated. That is not the case at all. Granted, the priorities have changed, and the level of execution must be taken to a much more precise degree. However, we’re not really replacing concepts. We’re just putting them in the proper priority. Like all physical laws, changes occur that force you to alter them or diminish their importance.

The experiences learned in other Parker Kenpo interpretations are important ones, but they must give way to more sophisticated and dominant concepts to execute certain advanced curricula successfully, and most importantly, in “real-time.”