(from Dennis Conatser's Facebook page January 24th, 2012)
"Learning & Teaching Methods" {excerpts from "Kenponents" The Book}
Note: This requirement may vary greatly between Associations.
Many students are initially are puzzled or insecure as to why and how to go about accomplishing this requirement. I shall attempt to outline several concepts and ideas to assist in this Adventure and make it a fun and inspirational.
BACKGROUND
Mr. Parker during his lifetime of Kenpo Development, he experienced many different aspects of the Art. Being a student himself, he faced many of the same problems, obstacles or challenges we all have. The Martial Arts are divided into two main categories, Mental (Scholar) often symbolized by the Dragon, and Physical (Warrior) often symbolized by the Tiger. Study of within both areas is necessary to the complete development of an individual that wishes to achieve success as a Kenpo practitioner. Knowledge of human movement and why it is so is critical to the balance and “understanding” of Kenpo.
Being a constant innovator, Mr. Parker devoted his life to the development of a system of self-defense as well as a syllabus of basics, exercises, drills, definitions and teaching aids in which to explore not only the physical skills desired but also an organized Architectural Structure of explanations.
Forms and sets are but two examples of drills within the Kenpo Architecture. The first Four Forms (a series of movements put together in a dance like arrangement), Short & Long Form #1 and Short & Long Form #2, are considered the dictionaries of Kenpo. The next Forms (Short & Long) #3,4,5,6,7,8, Two-Man, & Staff are considered the encyclopedias of Kenpo. All the Sets (Stance, Blocking, Striking, Finger, Kicking, Coordination, club, & nunchaku) are considered the appendices of Kenpo. These are all the current drills outlined; however there are additional Forms and Set being developed.
As Mr. Parker continued to design these exercises, he realized the tremendous learning opportunity developing such exercises and chose to include such an exercise within the requirements. Starting with but a few movements at Purple Belt, then increasingly adding movements through 1st Brown Belt, until at Black Belt, a much more sophisticated effort was produced.
Developing these forms create a vehicle for thinking and design. A topic or theme must first be chosen (either by the instructor, student, or both) then structurally developed following Principles and Logic. {It should be noted, that only a minimal instructor influence should be given, after all, the exercise is to see what, how and why the student completes the assignment.} Like a dissertation for a College Doctorate Degree (PhD), the student will be required to defend or explain his/her creation. This can be the scary part, IF the student completely botches or violates any or all principles, concepts and produces a horrible expose of the assignment (which is actually rare), they may fear failure. It MUST be understood by Instructors that regardless of the quality of the Form or Set produced, that the examination, explanation and subsequent discussion and evaluation of the students work and enlightenment is the goal.
This work and creation by the student, which can now be used as a vehicle to discuss the pros and cons of said assignment. Violations of principles or design flaws on the choices of, directions, ranges, positions, maneuvering, targets, natural weapon selection, and defenses all should be pointed out and discussed as well as any positive, clever, or innovative ideas that may occur. This “discussion and evaluation” will create a win-win scenario for the student and complete the purpose of the assignment which is the acquisition of greater knowledge and understanding.
A General outline should include; 1) Form/Set theme, 2) What the Form/Set contains, 3) What the Form/Set teaches, 4) Brief description of the Form/Set, 5) Graphic layout of the Form/Set components (see blank Form “Blueprint Graphic” & Short Form #1 example), 6) Any additional Notes or Comments.
