Stance Set 2

(recently posted on Facebook by Mr. Tatum)

With each stance the arms and hands now mirror the stances and footwork but in an inverse position to each other.

Each hand and arm position is lending and giving emphasis to the action of the transition from one stance to another while each stance change does the same for the arms and hand.

All the stances are kenpo stances in that they follow the parameters of the three depth zones in Kenpo, as do the arms and hands.

This unique exercise was very much a part of Mr. Parker's routine exercise and was an extract from his Kung Fu development phase after bringing his Kenpo to the mainland.

Further examination reveals how the Eagle moves about his prey by descending tearing clutching and thrusting his wings upward to lift his prey.

This descending and lifting of your prey play out in much of your kenpo today. An example is in the extensions where your heels hook under the chin of your opponent while the other knee is bracing against the neck and you want to cause a lifting break, you then need empirical from your lifting arms and hands to pull you upward against the fulcrum of your knee and one tucked under the chin.

To cause this upward break you are propelled into the air like an Eagle over and away from your attacker landing in a Crane stance.

At one demo I gave with Mr. Parker, he slipped into this bird of prey fashion of moving and when his attacker was face down, he swooped down with his arms flailing over his attacker and allowing his hands and fingers to become like talons as his ripped across his opponent in an (X) pattern tearing across his meridians which did affect the dummy in such a way not often seen.

I said you are tearing at the flesh but more importantly, you are draining his KI from his meridians.

As kenpo time moved on throughout its evolution this type of movement was not often seen outside of Kung Fu practitioners.

Although he defined every basic scientifically, he nonetheless appreciated the spirit of the animals such as the Eagle, the Tiger, the Snake, etc.: in his actions.

What made this form or set his was when he scaled it down to work within the parameters of Kenpo today.

Not the long stances of the past Kung Fu days. The stances and hand work matched each other within the outer rims that surround and separate the top to the bottom but work in harmony.