(recently posted on Facebook by Mr. Gary Ellis)
One of the outstanding physical features about Senior Grand Master Ed Parker was his hands.
The scene in Blake Edwards’ film Return of the Pink Panther, when a fist comes through a door and grabs the door handle, is quite distinctive because even though you cannot see the man himself, that hand is without doubt Ed Parker's!
Ed Parker’s hands were truly lethal weapons. His right hand especially was conditioned by years of training with makiwara, and without any shadow of a doubt would have inflicted serious damage to a target if deployed.
Traditionally, conditioning the hands and feet was an important facet of training for practitioners of Karate and Kung Fu, and in the days when warriors had to be able to punch and kick through an invading samurai's armour in Okinawa, it was a necessary skill for survival. As an example, they trained to kick through armour with their toes, shaping the feet into spears. Ouch!
There are many examples of extreme conditioning of the hands in the martial arts. A quick search on You Tube will reveal such examples and impressive demonstrations of breaking boards, bricks, stones abound.
Ed Parker’s Teacher Professor Chow had heavily conditioned hands as was evident by the large callouses on his knuckles.
However our modern environment and lifestyles do not call for such conditioning and the resultant damage to the bones and tissues which can amplify conditions such as arthritis with age.
When the Arts were introduced to the west the methods of training were modified. Extreme stance training and weapon conditioning were deliberately toned down for student retention. They understood that the western mind set is very different to the eastern mindset and for the Art to successfully spread in the west the methods of training would have to become more user friendly.
In a way, this makes it even more important that we ensure that the engineering of our natural weapons is precise, to be able to deploy them effectively when needed, while at the same time preventing permanent damage to our hands and feet.
The shift of focus from repeated heavy impact training, which meant you had to shape the weapon correctly or suffer injury, to light impact training with attention to detail of weapon formation and engineering ensures the best of both worlds.
In Kenpo we hit hard targets with soft weapons and soft targets with hard weapons. This concept calls for serious focus and precision on the part of the Kenpoist, or the strikes will be ineffective and injury to the natural weapon is a probable outcome.
We can develop and strengthen our weaponry in a way that makes it highly effective and yet ensures and enhances good health and continued training in later years.
Engineering of natural weapons should be reinforced through repetitious shaping and forming each weapon, which through time strengthens the hands and forearms, feet and legs, and enriches the student’s familiarity and intimacy with each of the weapons or alphabets of motion, thus building on their effectiveness. This in turn develops the Kenpoist’s confidence in employing these natural weapons when needed.
Pressure testing each weapon on a bag or pad is a great way of ensuring your engineering is up to standard, and that the method of execution is being effectively utilised. Regular bag and pad work strengthens the hands and feet and conditions the practitioner to regular impact. Impact training soon reveals whether you have correct alignment of the wrist and ankle, elbow and knee, and shoulders and hips.
Joint alignment is a key factor in the utilisation of the skeleton to brace strikes and kicks. Misalignment of these joints can lead to self inflicted injury through poor analysation and attention to detail of basics. Lack of focus and commitment to perfecting the engineering and mechanics of basics in turn erodes skills of survivability and makes you an ally of your opponent.
Hand swords with splayed fingers, incorrectly formed fists and feet and poor mechanics all serve to undermine confidence, which again adds to the chances of a poor outcome when put under pressure of the truth of combat.
Consistent practising of basics is advanced Kenpo. The alphabets or letters of motion with each alphabet analysed, practised, revised and improved, strengthened and reinforced, thus forged into an effective precise tool made for the job.
Focussing and working on the correct point of impact for each weapon also serves to further define the weapon's function and use, it’s targeting and delivery. The correct part of the weapon, to the correct part of the target.
Kenpo is an Art which calls for precision from the practitioner. Advanced Kenpo is about detailed analysis of our Basics, spit shining them as close to perfection as possible and in turn developing an intimate relationship with each alphabet of motion.
THERE ARE NO SECRETS! Just hard conscious, consistent, here and now, reflective, corrective work.
Mental Ironworking is an essential prerequisite to forge the necessary tools. Attention to detail with consistent reviewing of progress through analysing and correcting the engineering of your natural weapons. This work develops the will and character of the Kenpo Warrior as well as their physical ability. This internal alchemical process forces Ego to give way to a much deeper meaningful mindset, that of a warrior, leader and mentor.
Prioritising speed and sequences over basics is like buying an expensive car but not being able to afford to run and maintain it!
Going for the flash and bling to impress may work in the beginning but over time the true nature of what is presented reveals itself for all to see. Nothing is hidden by speed to the educated eye and the truth of combat.
Power up your Kenpo through the eyes of a child!
Mastery through the process of renewal is a mantra which I have employed for many years and is about attitude and approach to training. Our attitude should always be that of a child Always have an enquiring mindset, a student, open and receptive with a strong willingness to learn and grow.
I cannot afford the luxury of thinking that I am what my rank and title suggest, I must remain in my own mind forever a student of the Arts.
