Mr. Tatum on extensions to base techniques

(posted on Facebook by Mr. Tatum earlier this year)

An extension to a base technique serves different purposes.

Some extensions are just the reverse of the base technique, but move on to different planes of motion.

Some are the same pattern but using your legs as the weapons.

Some extensions take one of the master key geometric shapes from a base technique and place it within the extension to highlight its use on different planes and usage.

Some extensions keep the base technique without altering it, but move it to other planes by using different footwork to change the plane of your action.

Some extensions use the same basics of the base technique, but within a different pattern.

Some extensions depart from the base technique and consist of random elements of techniques within the system; this teaches that even the random can easily be connected to your base without giving the lesson of reverse, opposites, pattern change, or re-highlighting one or more patterns within a base technique.

The base techniques are like cells of concepts and principles of motion that can be randomly generated and cross-referenced to a new base, or what we call extensions, so the student can see the totality of how all the Art is related to itself and morphs into what is needed to continue your flow of action without hesitation.

You might say that the base techniques are like your conscious mind, while the extension is your subconscious mind, feeding you what you need beyond the conscious mind. Later, the two merge into a single, unified mind, or super consciousness.

Remember that each alteration of a base technique creates a new ideal phase of a technique through an extension.

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(some follow up information when Mr. Tatum was asked if the extensions are over-kill)

Not over kill but over skilled in terms of understanding how the base technique fits into the extensions and in the process giving one the three Dimensional use of the Art. There is no cap on learning in the system, it is an open-ended triangle of a progressive learning cycle that once learned in its totality, there is no beginning or end to it, it becomes self-fulfilling, so the student can pick and choose what is useful for them depending on the situation.

Kenpo does have an ethical code of behavior, but it is built into the system's first part. What can be viewed as an overkill is allowing the student to understand the ramifications of escalated use of force. But in terms of survival, he is taught to go beyond the line of basic defense and do whatever it takes when your life is on the line.

A couple of links to Larry Tatum interviews

In the past it seemed like Mr. Tatum didn't do any interviews, or if he did they weren't readily available.  

Lately however a couple of interviews with Mr. Tatum have come up on YouTube. 

Here are the links, enjoy.

link to My Empty Hands interview

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link to Whistlekick Martial Arts interview

Mr. Tatum on keeping kenpo from becoming traditional

(from a recent discussion on Facebook)

If you don't want the kenpo system to become traditional then use the Rearrangement Concept.

You can prefix, delete a move or moves, add to, rearrange, alter, regulate, suffix, or insert a move to any given base.

By doing so, you can end up with a new Base technique, with its own ideal phase, what-if phase, and formulation phase.

But make sure you adhere to the concepts and principles that make kenpo what it is.

Mr. Tatum on doing a kenpo form

"If you are going to do a Kenpo Form for a demonstration or a tournament, then give it meaningful dialogue. You are speaking with your hands and body, not merely going through the motions. Let every movement say something about who you are and the passion that lies within your being."

Mr. Tatum on Kenpo Forms

(posted recently on Facebook by Mr. Tatum)

Kenpo forms, also known as kata (Japanese term), are an integral part of training in this system. 

Beyond being mere sequences of movements, Kenpo shapes encapsulate a wealth of techniques and concepts essential to the practitioner. 

Within each form there are seemingly simple but meaningful movements and practical application in real combat situations.

One of the most intriguing features of Kenpo shapes is the presence of hidden movements, also known as "secret movements". 

These movements are those that are not obvious at first sight, requiring careful analysis and meticulous practice to discover their usefulness and applicability. 

They can be subtle deviations, hidden blocks, or strategic counter-collapses that are ingeniously integrated into the sequence of the shape.

The importance of thoroughly investigating the hidden content in Kenpo forms lies in the development of the practitioner's understanding and skill. 

By discovering and understanding these hidden movements, the practitioner acquires a deeper knowledge of the techniques, as well as a more comprehensive appreciation of the philosophy and principles underlying kenpo.

In addition, the exploration of hidden movements promotes creativity and adaptability in combat. By understanding how movements in a form can be transformed into effective responses to different situations and attacks, the practitioner develops the ability to improvise and respond effectively in a real confrontation.

In short, Kenpo's shapes offer much more than just sequences of movements. They are true deposits of knowledge and wisdom, teaching not only combat techniques, but also values such as perseverance, discipline and the constant pursuit of excellence. 

A thorough investigation of the hidden contents of Kenpo's forms is crucial to unlocking his full potential and reaching true mastery in this martial art.

Mr. Tatum on draining KI from one's meridians

(recently posted on Mr. Tatum's Facebook page as a follow up to his Stance Set 2 post)

In short, as KI passes through the body there are times when with the correct weapon one can channel the direction of KI or disrupt it in certain moments when one is engaged, but this is highly sophisticated and is only effective at the right time when the attacker is in a moment of reset or weakened. 

The type of Reiki is not passive but a very strong and purposeful application of your natural weapons. In some of the techniques, there are Clawing and or ripping that tear at the cluster of Meridian points much like intersections throughout the body that are vulnerable but only at the right moment. 

When I say right moment, I'm not talking about a standing still compliant student as you most likely have seen online that drops at the slightest touch but with a very harsh striking force that fellows the "Algorithms" of the body's nerve system which can affect other internal organs. 

Many techniques in the system follow this related structure of the Algorithm's paths and patterns. It is a fascinating study of the kenpo we have at our disposal. The use of this type of mastery is supported by several pretexted moves that activate the targets so they will comply with this method of striking. 

If you look at my daughter striking the inside of my arm with her elbow, then the heel palm you will see her allow her fingers to grasp the bicep and grasp the nerves over and around the bicep, but the strike of the elbow and then the palm heel activated or deactivated the use of the Bicep. This was and has been somewhat of an elusive art within an Art (kenpo) that is fascinating and gives one another edge to their training.

If you look at an overhead claw in use it may strike the bridge of the nose and then the fingers to the eyes, but then notice how the path of action continues down the torso, raking the chest and even down the stomach, (checking his height) in the process. When it reaches the point of no contact then there is an upward groin strike buy this downward rake has made it even more reactive to the strike. Because you have hampered the relay process to the last target. In this photo see where you can place your fingers on the meridian lines and how they spread out across the face the neck and the chest.

 

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.

Rules in Kenpo, why we have them, are they written in stone?

(recently posted on Mr. Tatum's Facebook page)

There are rules to govern progress in the early stages of learning Kenpo. For instance, one rule states to never turn your back on your opponent. This a good rule for beginners to always face your work and that you are not fighting more than one person at a time, but as you progress through the ranks you then can transcend this rule, by adhering to another rule, depending upon circumstances.

All rules have an exception which then can force one to transcend a rule by adhering to another rule.

Another rule of kenpo is too not to cross your opponent's center line without taking a target with your block or strike, such as in Shielding Hammer. (you take the nose of the attacker on the center line).

Another rule is don't have both hands on one side of your opponent's center line.

Yet we learn to do just that in Five Swords. So, what rule did we break to stay within the rule of safety?

Well, we traveled across his center line and reached the arc of his punch before he could use his other arm. Now depending upon the angel of the block it could create an angel of cancellation by directing the block (strike) in a downward angle causing his height to break and twist the left side of the body away from you.

This is also used in Defying the Storm. But the timing to cancel his width must be timed long before he has reached the apex of the circle of his wielding club.

In Ram and Eagle, we can turn our back for two reasons, one we occupied the rear attacker with a back knuckle then we traveled further from him as we engaged the front attacker. We then turned are back from the front attacker to cover for the rear attacker, but the front attacker was occupied with a Hammer Fist during this action of turning.

So, by adhering to a rule of how to cover properly, we transcended the rule of never turning your back.

Another rule early on is to always have your hands on top of your opponents, (the dominant position) and a good rule of kenpo.

This is illustrated in how we check our attacker's grabs, holds, etc.

In a technique like Scrapping Hoof, the rule is to check height, but when you are outside of his center line you check the width.

Crashing Wings, you are on the inside side, so you check height with two downward elbows until you get to the outside of his center line you then check his width by positioning yourself around and behind him, and then the outward elbow strikes continue to keep his width in check.

The paradox in kenpo is you need rules for different stages of learning, but every rule is made to be broken depending upon the circumstances, as long as you adhere to another rule.

Now by our moral compass in a civilized society, this may not stand true, but the Kenpo compass teaches that there are indeed times to break a rule.

One such rule you keep is to protect your family and loved ones at all costs, (all cost is a very broad brush).

In short, Kenpo teaches discretion in all encounters, and won't ask you to level your moral compass, which in the end depends upon your self-worth, your self-esteem, and your conscience to back any decision.

Be careful in defining another person by your own rules.

Mr. Tatum on hand position and point of origin

(recently posted on Facebook by Mr. Tatum)

In terms of hand position up or down, you have hands up point of origin in the first height zone, hands in the middle height zone, and hands down in the third height zone. But for the most part, you walk around the street with your hands down below the waist. 

For instance, Parting Wings is from hands down so to teach the student to move up from Point of Origin. Now Hooking Wings is taught with hands up to teach moving down from the Point of Origin. 

When I was a Green Belt at age 16 it was very cold one night at a hamburger stand so my hands were in my pockets. A guy tried to uppercut me into my right ribs, I didn't have time to remove my hands, so I pivoted into a twist stance and parried his punch with my forearm on the outside of his arm and controlled his width. So, this gives you an idea of the point of origin dictating the response.

Mr. Tatum on how to embody the Art

(recently posted on Facebook by Mr. Tatum)

With each new insight into the structure of Kenpo, you must allow yourself to physically change with each insight. If you make this a habit your physical growth will become sophisticated and you will physically experience that mental insight. You won't just know of it but rather KNOW IT.  

This is how we embody the Art.

Mr. Tatum on the Kenpo Creed

(posted recently on Facebook)

"As the environment changes so does the methods, but the main purpose of the Creed is invest into yourself, before you go beyond your natural weapons. By doing so you will discover the importance of yourself and how your body relates to the world about you, for good or bad for right or wrong these are realities you wrestle with that leads to humility and self-restraint . It is easy to pick up a weapon and in a short time learn how to use, but the time you give to yourself to master yourself leads you away from conflict not to it."

More from Mr. Tatum

Functioning within the genetic code of the Art

(posted on Facebook by Mr. Tatum a couple of years ago)

Each technique carries a genetic code that binds the system together. Because of this, each technique is coded with a concept or principle about how the body can function and an overall strategy.

As within our own bodies, each gene is responsible for a job such as what color our eyes will be, our hair color, how tall we will become, etc;

The overall end product is what we are.

It is the same with our Art each technique carries certain coded information that at the end of our development of each belt level, will leave us with certain body behaviors, such as heighten responses, muscles reaction from our nervous system which has been changed. All of our senses become galvanized into a new form of our body.

As with certain cancers, we have found out that they can attack the genes and change them in such a way that they are altered and the process of dysfunction begins within our body.

Now, this is a sad refrain of how delicate our genes are but it also sheds light on how other choices we make can have an altering effect such as with Kenpo when taught with all the inside coded lessons.

Each Belt referencing from each other as illustrated in this Kenpo gene helix. 

Now, this is not to say that every technique has to be taught past a certain point if one can transfer the code to each encounter without the help of each technique in the book.

None the less, the examples are given to help the student to see the future lessons within.

 

What determines a sophisticated basic?

(recently posted on Facebook by Mr. Tatum)

What determines a sophisticated basic? It is single in action but dual in purpose, on one level this is true but let's expand on this.

What determines a remedial basic technique from an advanced technique?

A basic technique for instance in yellow belt is made of basically three (actions) with each basic addressing one dimension with its use.

When you take a basic technique and alter its use to work within three dimensions you have now taken that technology (technique) to an advanced level.

The Basic itself stays constant along with all concepts and principles.

Advanced usage is when your mind can relate to the change of dimensions thus making the basic function on any plane and or direction. This includes the entire body moving about these planes of action.

Your ability to intercept unseen targets along your path of action and make instant changes in your lines or orbits at will is another means of sophisticating your action.

This advancement of Dimensional use is carried forward through each belt level.

This goes for you the defender and the Attacker as each carry the same dimensions.

As you recognize this within yourself you must recognize this within the Attacker.

Kenpo's use of physical communication is no different than sophisticated verbal communication.

Mr. Tatum on forms

(recently posted on Mr. Tatum's Facebook page)

Forms are made of all known Geometric Patterns that move about on three planes. ie; Vertical, horizontal, and Diagonal. These Patterns facilitate the use of your kenpo Basic's forward and reverse giving them function on a three-Dimensional level.

Although one can find many answers to dealing with an attack within the forms, they are not governed by rules of engagement.

While some Forms are (A) Symmetrical to each other (one side at a time) in design, others are just symmetrical (both sides being woven together). Within the Forms, these Patterns will Rise, Fall, and even Flatten out depending upon the Plane and perspective of the defender or attacker.

One of the greatest awareness or epiphanies in learning Kenpo is that you the individual are the host of all the Patterns. You are the Universal Pattern.

Most people move throughout their lives never knowing their physical relationship to the world in which they live. They are born and grow through different stages of growth while the Patterns within them rise and expand and contract depending upon the influence of the world influence.

At the peak of their physical stature and in their prime of wellness mentally and physically the Patterns within them expand in balance and maturity. As age consumes us these Patterns take on different shapes yet they hold together the best they can in an attempt to hold up our bodies so we can continue.

Health and Mental Maturity are the keys to keeping your Patterns in symmetrical alignment with each other.

Because Kenpo is built on the normal range of motion through normal body alignment it gives longevity to us in keeping our patterns strong and with integrity.

Hand position

 (recently posted on Facebook by Mr. Tatum)

In terms of where your hands should be in an attack is Subjective to where your hands are at the time which is determined by your environment and body position.

If for instance your hands are down to your sides and your attacker pushes towards your chest, then you can use Parting Wings from your hand's point of origin.

If your hands are already up to your first height zone and the attacker reaches towards your waist your hands, then can drop to Hooking Wings from their point of origin.

If you try to move your hands from the sides to do Hooking Wings you are then moving from your point of origin to another point of origin to drop onto the arms of your attacker. In terms of your circles, you are also moving on the Upside of the circle to then make contact on the downside. This takes more time.

Moving from one point of origin allows one to move on the Downside from bottom to top and top to bottom.

Top to bottom would be Hooking Wings.

Two things to consider, most of the Kenpo techniques consider the downside. If they don't then react to the idea phase of an attack with your hands positioned FOR the downside.

In Five Swords your hands are at your sides then you are likely to use a Thrusting inward block because it moves to meet the strike on the downside of the circle.

If your hands are already up, then you are more likely to use a dropping Hammering Inward Block because it moves on the downside from top to bottom.

In Evading the storm, you move the circle to blend with the strike by stepping offline with your left leg. Your angel of defection meets the strike on the downside of the circle. Your block should not travel to your left side and then back over to meet on the downside, that is wasted time.

So, the Downside is the key to how you respond. Keeping this mind, you can now go back to the techniques that start from the hands-down position and reinsert this Principle.

Coffee & Martial Arts - GM Larry Tatum - 2022 interview

Coffee & Martial Arts - GM Larry Tatum - 2021 interview

A current of energy

(recently posted on Facebook by Mr. Larry Tatum)

"There is a current of energy that runs along the ground, this is another part of unification between your feet and the earth. 

I gather the elements about me when I move, too many to address in one lesson. 

But this one I use. Your body can push down on the ground displacing the energy like stepping on a puddle of water but that force bounces back upwards through your feet and then escapes out of your weapon or weapons being used."