This is your introduction into a scooping block and defending against a tae kwon do style front snap kick. AB variations are for a right kick and CD or for a left kick.
Remember when you do this type of block your heel palm should lead so that you do not jam your fingers.
A variation is what to do to if you scoop the kick past you but the legs are now spread apart. B variation after you have scooped the kick there legs are spread eagle so you can kick up between the legs.
C Variation they threw a right kick so you do the same move nothing changes other than drawing more into a cat stance for the block, D variation they throw a right kick with a punch so you will come down with the check block to pull the head into a forward elbow strike.
Remember position is more important than blocking
Tuesday, August 17, 2010
Questions
If you have any questions about anything I have written please feel free to post them and I will be happy to answer them for you.
Windmill Guard ABC
This technique teaches you how to use a two touch block. It also introduces you to the Windmill block and a step wheel kick. There are many follow up techniques that we use with this opening. The C variation is just one way this type of block could be used in the streets.
The block should be quick, tap tap followed by a wheel kick. When it comes to the Wheel kick you can kick with your shin, or toes, you can target the groin or solar plexus depending on the type of shoes you are wearing and your surroundings. This should be two motions the step with the Windmill block followed by the kick letting the forward momentum generate power to the kick.
When throwing the wheel kick make sure your shoulders and hips stay lined up and your kicking knee does not go past your supporting knee. Watch your critical distance line as you will need enough room to throw the kick so make sure you are stepping out far enough to not jam your kick, but close enough that you still can block and initiate a technique.
The block should be quick, tap tap followed by a wheel kick. When it comes to the Wheel kick you can kick with your shin, or toes, you can target the groin or solar plexus depending on the type of shoes you are wearing and your surroundings. This should be two motions the step with the Windmill block followed by the kick letting the forward momentum generate power to the kick.
When throwing the wheel kick make sure your shoulders and hips stay lined up and your kicking knee does not go past your supporting knee. Watch your critical distance line as you will need enough room to throw the kick so make sure you are stepping out far enough to not jam your kick, but close enough that you still can block and initiate a technique.
Circling Thorn
This is your first introduction into defending against the knife. This technique as well as all your techniques will require practice and timing.
The first move should be done as one smooth motion, not pinning the hand as much as check the hand so that you can move with it as you do not want to stop the motion as he is drawing back you want to go with it so that you can continue your motion of stepping forward then back to 12:00 and driving the knife back into your opponent.
The key to making this technique work to make sure you do the technique in one smooth motion, use the opponents motion of pulling the knife back to follow through with the technique.
When dealing with a knife take note of the type of blade or knife the opponent has, is it a double edge knife or single? How is he holding the knife? The last thing is be prepared to get cut chances are you are not going to come out of the fight unharmed.
The first move should be done as one smooth motion, not pinning the hand as much as check the hand so that you can move with it as you do not want to stop the motion as he is drawing back you want to go with it so that you can continue your motion of stepping forward then back to 12:00 and driving the knife back into your opponent.
The key to making this technique work to make sure you do the technique in one smooth motion, use the opponents motion of pulling the knife back to follow through with the technique.
When dealing with a knife take note of the type of blade or knife the opponent has, is it a double edge knife or single? How is he holding the knife? The last thing is be prepared to get cut chances are you are not going to come out of the fight unharmed.
Crossing Guard
Crossing Guard introduces you to a twist stance and shows you how it can be used to gain distance as well as to generate power by twisting out of it. This technique is one of a few offensive motions that we teach.
The key to making this technique work it to make sure that your twist stance is not to wide or two short. When you twist out of it you should either be in a proper fighting stance or horse stance. If you do not step correctly it will disrupt your balance as you twist out impeding the power that you could be generating.
As with all your Kenpo techniques make sure you are in a proper stance
The key to making this technique work it to make sure that your twist stance is not to wide or two short. When you twist out of it you should either be in a proper fighting stance or horse stance. If you do not step correctly it will disrupt your balance as you twist out impeding the power that you could be generating.
As with all your Kenpo techniques make sure you are in a proper stance
Thursday, August 12, 2010
Free ebook by Shihan Jim Rathbone
HELLO,
Have you read my first Kenpo novel? "There's a Pirate in the Family". I'm trying to get 5,000 people to read it over the next 12 months. I'm giving away FREE e-book copies to friends and friends of friends. It’s A Fun Easy Read for All Ages. Just email a request for your FREE e-book copy to
TimbleFamilyMysteries@DomoAji.Com
See a video synopsis or listen to the first chapter on my “There’s a Pirate in the Family” FaceBook page
Thanks for your help with my goal
JIM Rathbone Shihan
White Tiger Kenpo
WWW.KenpoJujits.Com
Have you read my first Kenpo novel? "There's a Pirate in the Family". I'm trying to get 5,000 people to read it over the next 12 months. I'm giving away FREE e-book copies to friends and friends of friends. It’s A Fun Easy Read for All Ages. Just email a request for your FREE e-book copy to
TimbleFamilyMysteries@DomoAji.Com
See a video synopsis or listen to the first chapter on my “There’s a Pirate in the Family” FaceBook page
Thanks for your help with my goal
JIM Rathbone Shihan
White Tiger Kenpo
WWW.KenpoJujits.Com
Wednesday, August 11, 2010
Driving Elbow
This technique is for a bear hug from behind with arms pinned high which means the attacker has grabbed you above the elbow and below the shoulders.
This technique takes what you learn from the last technique stepping out and opening the centerline and introduces you to the Dancer step and Corkscrew Backfist. When doing the Dancer step make sure you do not Dancer to wide or to shallow. You should pivot out into a fighting stance or very close to it. If you do not adjust out correctly your legs could be tangled up which will give you lack of balance which means lack of power.
You want to use the twist out to generate the power for the corkscrew backfist, and then drop back into softbow as you strike with a heel palm to the face.
This technique takes what you learn from the last technique stepping out and opening the centerline and introduces you to the Dancer step and Corkscrew Backfist. When doing the Dancer step make sure you do not Dancer to wide or to shallow. You should pivot out into a fighting stance or very close to it. If you do not adjust out correctly your legs could be tangled up which will give you lack of balance which means lack of power.
You want to use the twist out to generate the power for the corkscrew backfist, and then drop back into softbow as you strike with a heel palm to the face.
Japanese Strangle Hold AB
This technique is for a muggers grip from behind and it is designed to teach the student to step out to square to open the opponent’s center line up. Every time you are grab from behind the first thing you want to do is open up there centerline.
At the same time you want to relive the pressure of the hold and possibly be able to breathe, that is why you want to grab the attackers arm with your left and apply a little downward pressure as you turn your head into the elbow so that you can get an air pocket. This should all be done at the same time that you step out to open the centerline followed be the strikes.
B variation is the same as A but we are going to step in the opposite direction since they now have are right hand in a hammerlock along with the muggers grip.
At the same time you want to relive the pressure of the hold and possibly be able to breathe, that is why you want to grab the attackers arm with your left and apply a little downward pressure as you turn your head into the elbow so that you can get an air pocket. This should all be done at the same time that you step out to open the centerline followed be the strikes.
B variation is the same as A but we are going to step in the opposite direction since they now have are right hand in a hammerlock along with the muggers grip.
Arm Bar
Arm Bar is your first introduction into a Standing Arm Bar, this technique needs a lot of practice to prefect it but once you do it is a fabulous technique and can be used from anything to controlling your opponent without hurting them to total devastation.
Make sure you grab, block and kick at the same time. You want to step back after the kick so that you can pull your opponent off balance and straighten out their arm as you apply the Standing Arm Bar, Make sure the wrist is bent and the finger are point towards the opponent, bring your right elbow right down to your ribs and you have a slight drop of body weight.
To make this a devastating technique the student can do a side fall which would drive the attackers shoulder straight into the ground.
Make sure you grab, block and kick at the same time. You want to step back after the kick so that you can pull your opponent off balance and straighten out their arm as you apply the Standing Arm Bar, Make sure the wrist is bent and the finger are point towards the opponent, bring your right elbow right down to your ribs and you have a slight drop of body weight.
To make this a devastating technique the student can do a side fall which would drive the attackers shoulder straight into the ground.
Saturday, August 7, 2010
Breaking the Sword AB
Breaking the Sword is one of the most complicated techniques to learn in Yellow Belt it is also your first takedown move using joint manipulation.
A variation shows you how to break the elbow over the shoulder. The key to making this technique work is attack the shoulder by this I mean move the arm at the shoulder level, make sure you have your opponent on their toes as you step in to shove them back, keep that pressure on the finger as you push back and up keeping that elbow straight and you as you move into position to break the elbow.
B variation what is unique about this technique is you can either break the arm as you take them down or you can just take them down to control them. Key thing to remember when doing this technique is SPACE KILLS the more space between you and your opponent the easier it will be for them to counter the attack. Make sure you are locking up the wrist, elbow and shoulder, do not put the hands over your head, and go under the hands. The arm should always be touching or in contact with your back so that you can feel your opponent if they try to counter. Keep your shoulder over your hips as you take them down, you can pull up on the arm to add more control or damage to the opponent.
A variation shows you how to break the elbow over the shoulder. The key to making this technique work is attack the shoulder by this I mean move the arm at the shoulder level, make sure you have your opponent on their toes as you step in to shove them back, keep that pressure on the finger as you push back and up keeping that elbow straight and you as you move into position to break the elbow.
B variation what is unique about this technique is you can either break the arm as you take them down or you can just take them down to control them. Key thing to remember when doing this technique is SPACE KILLS the more space between you and your opponent the easier it will be for them to counter the attack. Make sure you are locking up the wrist, elbow and shoulder, do not put the hands over your head, and go under the hands. The arm should always be touching or in contact with your back so that you can feel your opponent if they try to counter. Keep your shoulder over your hips as you take them down, you can pull up on the arm to add more control or damage to the opponent.
kenpo Shield AB
Kenpo Shield is for a right punch but with this technique it does not matter if the attack is a right or left punch all you would need to do is change your target. Also it does not matter wither you step forward or back with this technique.
A variation uses a reverse punch, make sure you go into a hard bow as you throw your punch, watch the timing and form; your feet should be flat on the ground forward need bent with the back leg locked out. Make sure you get in and out of and back to fighting stance as quick as you can
B variation you will use an inverted punch because for whatever reason you are too close to do a reverse punch. Make sure you are driving up with a softbow as you throw your inverted punch, watch your stance if you need have your back leg drag forward with you as you strike.
A variation uses a reverse punch, make sure you go into a hard bow as you throw your punch, watch the timing and form; your feet should be flat on the ground forward need bent with the back leg locked out. Make sure you get in and out of and back to fighting stance as quick as you can
B variation you will use an inverted punch because for whatever reason you are too close to do a reverse punch. Make sure you are driving up with a softbow as you throw your inverted punch, watch your stance if you need have your back leg drag forward with you as you strike.
Wednesday, August 4, 2010
Returning Dragon
Returning Dragon has been changed from the original Tracy’s Technique which is a shoulder grab from the side followed by a kick to the ribs then a kick to the knee. This technique was changed to meet the needs of today’s street and is more effective to use.
Returning Dragon is one of the hardest techniques to learn in Yellow belt. This technique is a side attack but can be used for a shoulder grab from any direction.
Facing 12:00 you need to make sure that you pivot to face 3:00 in softbow as you clear the arm away. Strike the neck into horse, back to softbow as you cradle and crush.
When you forearm your opponent you be pushing them away and off balance until the neck reaches the tips of your fingers then pull them into your knee as you step out to 12:00. This will keep your opponent off balance and unable to counter your move with any authority. Drop into a softbow as you do an elbow strike to the back.
Students/Instructors: Watch the soft bows; I should see 4 soft bows as you pivot from strike to strike. If the opponent is to close step back if they are too far step in otherwise just pivot into a softbow as you block.
In this technique you are using both circular as well as drop of body weight as your power pattern. When practicing watch your softbows, instructors correct is needed.
Returning Dragon is one of the hardest techniques to learn in Yellow belt. This technique is a side attack but can be used for a shoulder grab from any direction.
Facing 12:00 you need to make sure that you pivot to face 3:00 in softbow as you clear the arm away. Strike the neck into horse, back to softbow as you cradle and crush.
When you forearm your opponent you be pushing them away and off balance until the neck reaches the tips of your fingers then pull them into your knee as you step out to 12:00. This will keep your opponent off balance and unable to counter your move with any authority. Drop into a softbow as you do an elbow strike to the back.
Students/Instructors: Watch the soft bows; I should see 4 soft bows as you pivot from strike to strike. If the opponent is to close step back if they are too far step in otherwise just pivot into a softbow as you block.
In this technique you are using both circular as well as drop of body weight as your power pattern. When practicing watch your softbows, instructors correct is needed.
Tuesday, August 3, 2010
Twisting Talon ABCD
This technique is designed to teach out to get out of a wrist grab. AB variation is for a straight arm wrist grab and CD is for a cross arm wrist grab.
The key to making this technique is to attack the weakest point of the grip. When someone grabs you there are two weak points the first one is the shoulder, no matter how hard they try they cannot resist with the shoulder. The 2nd weak point is the thumb. In this technique we are going to learn how to attack the thumb to get out of the lock.
On the AB variation you are going to pull against the thumb by turning your arm thumb up then pull towards your chest. Make sure you do not pull towards the fingers only towards the thumb.
The C and D version you are going to roll the hand over so that you over and out from the thumb.
All 4 variations should be done smoothly without any jerking action. The hand grabs on all variations should NOT be USED to pull the hand away from the arm but to have their hand counter grabbed when your hand comes loose.
The key to making this technique is to attack the weakest point of the grip. When someone grabs you there are two weak points the first one is the shoulder, no matter how hard they try they cannot resist with the shoulder. The 2nd weak point is the thumb. In this technique we are going to learn how to attack the thumb to get out of the lock.
On the AB variation you are going to pull against the thumb by turning your arm thumb up then pull towards your chest. Make sure you do not pull towards the fingers only towards the thumb.
The C and D version you are going to roll the hand over so that you over and out from the thumb.
All 4 variations should be done smoothly without any jerking action. The hand grabs on all variations should NOT be USED to pull the hand away from the arm but to have their hand counter grabbed when your hand comes loose.
Monday, August 2, 2010
Knee of Vengeance
This technique is one of those techniques that no matter how much time passes you just do not forget it. If this is due because this is the first technique you learn or because of the type of technique it is. This technique is going to teach the student one possible way of dealing with an attack that starts with a shove.
This first thing you want to do is get your stability without it you will not be able to continue with any effectiveness. Pull your opponent into you as your strike with your knee. The knee should be aimed at the groin but do not focus on this.
This is true of the foot stomp after the knee stomp, if the foot is not in range of your stomp then do not worry about it and go onto the next step. Basically just bring your knee up then down because the position of our foot is more important than the foot strike.
Before you do the cradle and crush it is very important that your feet are position correctly, so that when you pivot to face 9:00 as you go from softbow to horse stance you can generate the power that is need to make the strike work as well as put you in a position of stability.
This first thing you want to do is get your stability without it you will not be able to continue with any effectiveness. Pull your opponent into you as your strike with your knee. The knee should be aimed at the groin but do not focus on this.
This is true of the foot stomp after the knee stomp, if the foot is not in range of your stomp then do not worry about it and go onto the next step. Basically just bring your knee up then down because the position of our foot is more important than the foot strike.
Before you do the cradle and crush it is very important that your feet are position correctly, so that when you pivot to face 9:00 as you go from softbow to horse stance you can generate the power that is need to make the strike work as well as put you in a position of stability.
Fang of the Cobra
This technique teaches you how you can defend yourself against a two hand choke. The most important thing to remember is not panic and get your airway open my pinning their hand against your chest.
After the spear hand to the throat the 1st claw to the face can be used to either clear the area for example if they have glasses on then the 2nd claw would go to the face. Make sure your fingers are spread apart and slightly bent.
Stomp the foot then leave the strike there so that you pin the foot to the floor so that you can break the ankle as you shove them back
After the spear hand to the throat the 1st claw to the face can be used to either clear the area for example if they have glasses on then the 2nd claw would go to the face. Make sure your fingers are spread apart and slightly bent.
Stomp the foot then leave the strike there so that you pin the foot to the floor so that you can break the ankle as you shove them back
Friday, July 30, 2010
Delayed Sword AB
Delayed Sword AB
Delayed sword is design to teach what do you when your back is against the wall or you do not have the room to step back to defend yourself but you need to.
You are not stepping back into cat as much as you are stepping into a Cat stance. The Cat Stance and the inward block should be at the same time.
On A variation when you throw your front snap kick into the groin the opponent should double over or drop to their knees. This will set you up for the knife edge strike to the collar bone.
Instructors and students need to watch the power pattern in the technique you should be using the drop of your body weight to generate the power therefore you should end up in a softbow stance.
B variation is the what if, what if your attacker is not there for the strike, in the case of B we are assuming that they back up from the kick or the saw the kick coming and moved out of the point of contact. In this case you start off just like A but when you go to strike the collar bone you realize they are no longer in range so you go immediately into your kick.
Delayed sword is design to teach what do you when your back is against the wall or you do not have the room to step back to defend yourself but you need to.
You are not stepping back into cat as much as you are stepping into a Cat stance. The Cat Stance and the inward block should be at the same time.
On A variation when you throw your front snap kick into the groin the opponent should double over or drop to their knees. This will set you up for the knife edge strike to the collar bone.
Instructors and students need to watch the power pattern in the technique you should be using the drop of your body weight to generate the power therefore you should end up in a softbow stance.
B variation is the what if, what if your attacker is not there for the strike, in the case of B we are assuming that they back up from the kick or the saw the kick coming and moved out of the point of contact. In this case you start off just like A but when you go to strike the collar bone you realize they are no longer in range so you go immediately into your kick.
Wednesday, July 28, 2010
chinese Sword AB
Chinese Sword AB
Chinese Sword A is your first introduction into figure 8 motions. You want to make sure the student uses a continuous motion that flows. Also watch your power pattern making sure you end up in softbow with left hand in check and right hand in chamber.
Chinese Sword B is for a left hand, start off just like A but realized after you started that it was a left punch, since you no longer have the neck as a target you strike the face with a backfist. Making sure you keeping the hand relaxed until the end has you snap it out there with a little shoulder behind it as you lean slightly into it.
Chinese Sword A is your first introduction into figure 8 motions. You want to make sure the student uses a continuous motion that flows. Also watch your power pattern making sure you end up in softbow with left hand in check and right hand in chamber.
Chinese Sword B is for a left hand, start off just like A but realized after you started that it was a left punch, since you no longer have the neck as a target you strike the face with a backfist. Making sure you keeping the hand relaxed until the end has you snap it out there with a little shoulder behind it as you lean slightly into it.
Stop Hit A-E
Stop Hit A-E
Teaches you how to use an initiation move or a possible way to start a technique. A and B is for long range strikes so you will use a Heel Palm or vertical punch, C close range this is why you use the elbow. D and E are designed for midrange you are too far for an elbow and to close for a straight punch so you use a hammerfist to the temple as well as a chop.
Make sure you end up in a hardbow on A and B variation.
On the C variation depending on wither you are stepping in with your left or right foot. If you step in with your right foot you will step into softbow and pivot to horse to generate your power. If you step in with you left foot you will go from fighting stance to softbow.
D and E Variation make sure you step to about 1 or 2 pm in softbow and pivot to horse or fighting stance.
Teaches you how to use an initiation move or a possible way to start a technique. A and B is for long range strikes so you will use a Heel Palm or vertical punch, C close range this is why you use the elbow. D and E are designed for midrange you are too far for an elbow and to close for a straight punch so you use a hammerfist to the temple as well as a chop.
Make sure you end up in a hardbow on A and B variation.
On the C variation depending on wither you are stepping in with your left or right foot. If you step in with your right foot you will step into softbow and pivot to horse to generate your power. If you step in with you left foot you will go from fighting stance to softbow.
D and E Variation make sure you step to about 1 or 2 pm in softbow and pivot to horse or fighting stance.
Attacking the Circle ABC
The first technique in Yellow belt is Attacking the Circle ABC. This technique is about learning our clock system which is a tool that we use to help students with direction and angles. It is also designed to work footwork which is very important.
Attacking the Circle A is about learning your 45deg by going in and out of fighting stance to 12:00, 3:00, 6:00, and 9:00. When doing this technique make sure you are not bobbing up and down your head should stay level as you move in and out of cat stance and into a fighting stance to each time zone. The other thing is to make sure you are in a proper fighting stance.
Attcking the Circle B is about learning your 90 deg using a extending outward block with a reverse punch. As with A you need to make sure your head stays level, you are stepping into a proper fighting stance, hand is in chamber as you throw the extended outward block, followed by a reverse punch into hardbow.
Attacking the Circle C: We want the students to learn to take what they have learned and apply it to a real life situation, by placing 4 attackers somewhere in the circle. This variation also teaches the student how to move from one technique into another and to set themselves up for the next defense.
Almost everything done past the 12:00 hour up to 6:00 will be done with the right side of the body, and everything past that will be done with the left side. 12:00 and 6:00 can be done with either side depending on the technique. Remember there is always an exception.
Attacking the Circle A is about learning your 45deg by going in and out of fighting stance to 12:00, 3:00, 6:00, and 9:00. When doing this technique make sure you are not bobbing up and down your head should stay level as you move in and out of cat stance and into a fighting stance to each time zone. The other thing is to make sure you are in a proper fighting stance.
Attcking the Circle B is about learning your 90 deg using a extending outward block with a reverse punch. As with A you need to make sure your head stays level, you are stepping into a proper fighting stance, hand is in chamber as you throw the extended outward block, followed by a reverse punch into hardbow.
Attacking the Circle C: We want the students to learn to take what they have learned and apply it to a real life situation, by placing 4 attackers somewhere in the circle. This variation also teaches the student how to move from one technique into another and to set themselves up for the next defense.
Almost everything done past the 12:00 hour up to 6:00 will be done with the right side of the body, and everything past that will be done with the left side. 12:00 and 6:00 can be done with either side depending on the technique. Remember there is always an exception.
Tuesday, July 20, 2010
new blog
Starting next monday I will be doing a daily blog of each technique in our system. I will start at Yellow belt and go all the way through Black belt over 600 techniques.
I will be discussing the power patterns of the technique, key points that you need to rememeber as a student and a instructor.
If you have any comments or questions please feel free to post them as I would love interaction on this blog.
I will be discussing the power patterns of the technique, key points that you need to rememeber as a student and a instructor.
If you have any comments or questions please feel free to post them as I would love interaction on this blog.
Monday, July 19, 2010
The importance of Power Patterns
I cannot stress enough the importance of using the correct power pattern in your technique. Almost every technique has one of our three power patterns in them if not a combination of them. Without these power patterns the techniques just will not work to their full potential. It does not matter if you are working on your yellow belt or your Black belt you must have proper power patterns.
Instructors, make sure you your students are doing the technique correctly if they are not stop them walk them through it and have them do it again. Do not just correct them show them as well. We do not just show students the martial arts we teach them the martial arts.
Students: if you do not understand the how’s and why’s of a technique ask your instructor if you do not have one then email or call us and we will explain it to you. It is important that you understand how and why the technique works the way that it does. Ask questions not matter how small or stupid you may think they are, there are no stupid questions only unanswered ones.
Keep the Kenpo Flames
Instructors, make sure you your students are doing the technique correctly if they are not stop them walk them through it and have them do it again. Do not just correct them show them as well. We do not just show students the martial arts we teach them the martial arts.
Students: if you do not understand the how’s and why’s of a technique ask your instructor if you do not have one then email or call us and we will explain it to you. It is important that you understand how and why the technique works the way that it does. Ask questions not matter how small or stupid you may think they are, there are no stupid questions only unanswered ones.
Keep the Kenpo Flames
Tuesday, July 13, 2010
Instructor class
This has been a very busy month with the instructor training summer camp. The camp has ended and everyone did a great job, learned quite bit I hope and had some fun doing it. Congratulations to Chris McFarland for receiving his instructor certification. Let’s all wish him luck on opening his Kenpo school in Tulsa Oklahoma.
I hope everyone has a safe and happy summer. See you on the mat.
LeAnn
I hope everyone has a safe and happy summer. See you on the mat.
LeAnn
Monday, June 28, 2010
The Importance of your stance
For the majority of the students the stances are the hardest obstacle to over come. In order to over come this problem, students must be constantly aware of were their feet and body position are at all times. Even though the stances are difficult at first with time and practice they will become second nature.
A proper stance is very important because without a proper stance you will not have the stability needed nor will you have power needed behind your strikes and blocks, by not using a proper stance you will also sacrifice mobility. You will need to perfect each stance in a stationary position as well as practice changing from stance to stance, while keeping an upright body position or shoulders over hips at all times while executing a technique or a kata.
One of the first things people notice about Kenpo is the fluidity that Kenpo stylist have and one thing that contributes to that fluidity is the capability to move from different stance while performing a technique or kata.
A proper stance is very important because without a proper stance you will not have the stability needed nor will you have power needed behind your strikes and blocks, by not using a proper stance you will also sacrifice mobility. You will need to perfect each stance in a stationary position as well as practice changing from stance to stance, while keeping an upright body position or shoulders over hips at all times while executing a technique or a kata.
One of the first things people notice about Kenpo is the fluidity that Kenpo stylist have and one thing that contributes to that fluidity is the capability to move from different stance while performing a technique or kata.
Sunday, June 13, 2010
The timing of the punch is very critical due to the fact that if the elbow rolls over or you turn your hand over to soon you will be using the smaller muscle call the trapezoids by rotating the hand over as soon as your elbow clears the rib cage area you will use the bigger muscle called the pectoral and the laterals. Also by watching until the elbow clears the body the muscle will shut off so you can get the maximum potential out of the punch.
A good way to demonstrate this is have one person put their hand in a position to throw a punch (this will usually be a hook punch). Place your palm in their fist and have them push with their arm in that position. Chances are they will not be able to move you now rotate the hand to the chamber position and have them throw a punch and they should be able to push you back.
When throwing your punches make sure you keep your elbow in, also make sure you hand does not turn over to early. Watch what you are doing while practice, remember to correct yourself when you see errors.
Hope to see everyone on the Mat on Monday. Enjoy your weekend.
A good way to demonstrate this is have one person put their hand in a position to throw a punch (this will usually be a hook punch). Place your palm in their fist and have them push with their arm in that position. Chances are they will not be able to move you now rotate the hand to the chamber position and have them throw a punch and they should be able to push you back.
When throwing your punches make sure you keep your elbow in, also make sure you hand does not turn over to early. Watch what you are doing while practice, remember to correct yourself when you see errors.
Hope to see everyone on the Mat on Monday. Enjoy your weekend.
Sunday, May 30, 2010
Instructor certification classes
From June 15th to July 15th we are going to have Kenpo Instructor certification classes, for anyone that interested. Please contact me and make your reservations now as they are filling up fast.
Wednesday, May 19, 2010
Why learn Kata
Kata has been used to teach the Martial Arts since the dawn of time and in most styles of Kung Fu you would learn a Kata or form first then once you have mastered this form (which could be as long as 20 years or never in some cases) you were then taught the self-defense application of the kata. In the art of Kenpo you are taught the self-defense techniques first then once you have learned those techniques you will then learn the Kata. For example the techniques you learned in yellow belt will then be applied to your first Kata in Orange Belt, Short 1.
The White Tiger Kenpo forms are divided into segments: short 1, long 1; short 2, long 2; short 3. These are considered basic and intermediate kata and are then followed by the more advanced forms and kata’s such as Short 4, long 4, Mass Attacks, Panther Set, Tiger & Crane, Darkroom Staff and Skylight Staff.
White Tiger Kenpo students are not simply taught the basic kata movements, we teach the students the kata meaning and what is to be learned from the Kata. In other words you are not just memorizing the motion and then performing the kata, you should also understand what you are doing and why. By doing this it will give value to each movement, and offers a better understanding and appreciation of the kata. You know you truly understand a Kata when you can do the kata in any direction or even blind folded, or on any terrain. In other word it should not matter which way you face the Dojo or where you are ask to perform the kata or under what conditions. If you truly understand what you are doing and why it will not matter.
Kenpo kata are made up of both linear and circular motions, both hard and soft. Kata circular motions are transformed into dynamic, powerful technique. This transition from soft to hard and back to soft again is accomplished by redirecting circular into linear movement and vice versa. The kata when performed should be fluid and graceful with one move blending into the next seamlessly.
Kenpo kata progress in logical and orderly manner, we do this by teaching the basics in a step-by-step manner. By teaching the student the basics first it will give them a strong foundation to build on. The kata’s will build in complexity from simple to "sophisticated simplicity" to advance. In the first Kata you learn called Short One in Orange belt you will be introduce to basic foot patterns such as adjustment steps and transition steps or moves you will also be using in conjunction with these new foot patterns some techniques that you have already learned from Yellow Belt. Each Kata will build on the last Kata as well as what you have learned from your last belt. You will be learning how to move from one technique into the next without the stop of your motion or momentum. With every Kata you will build on to this pattern so that by the time you make Black Belt you will be able to move from one technique into the next without loosing your momentum or timing in what you are doing it will look like one continues motion and a bystander will not be able to tell where one technique stops and the next one starts.
In conclusion, Kenpo kata are a living testimony to what human endeavor, inspired by foresight and sincerity is capable of achieving. White Tiger Kenpo has established itself as a sophisticated, intelligent form of self-defense training acutely tuned with our rapidly changing environment. Kata are a part of it!
The White Tiger Kenpo forms are divided into segments: short 1, long 1; short 2, long 2; short 3. These are considered basic and intermediate kata and are then followed by the more advanced forms and kata’s such as Short 4, long 4, Mass Attacks, Panther Set, Tiger & Crane, Darkroom Staff and Skylight Staff.
White Tiger Kenpo students are not simply taught the basic kata movements, we teach the students the kata meaning and what is to be learned from the Kata. In other words you are not just memorizing the motion and then performing the kata, you should also understand what you are doing and why. By doing this it will give value to each movement, and offers a better understanding and appreciation of the kata. You know you truly understand a Kata when you can do the kata in any direction or even blind folded, or on any terrain. In other word it should not matter which way you face the Dojo or where you are ask to perform the kata or under what conditions. If you truly understand what you are doing and why it will not matter.
Kenpo kata are made up of both linear and circular motions, both hard and soft. Kata circular motions are transformed into dynamic, powerful technique. This transition from soft to hard and back to soft again is accomplished by redirecting circular into linear movement and vice versa. The kata when performed should be fluid and graceful with one move blending into the next seamlessly.
Kenpo kata progress in logical and orderly manner, we do this by teaching the basics in a step-by-step manner. By teaching the student the basics first it will give them a strong foundation to build on. The kata’s will build in complexity from simple to "sophisticated simplicity" to advance. In the first Kata you learn called Short One in Orange belt you will be introduce to basic foot patterns such as adjustment steps and transition steps or moves you will also be using in conjunction with these new foot patterns some techniques that you have already learned from Yellow Belt. Each Kata will build on the last Kata as well as what you have learned from your last belt. You will be learning how to move from one technique into the next without the stop of your motion or momentum. With every Kata you will build on to this pattern so that by the time you make Black Belt you will be able to move from one technique into the next without loosing your momentum or timing in what you are doing it will look like one continues motion and a bystander will not be able to tell where one technique stops and the next one starts.
In conclusion, Kenpo kata are a living testimony to what human endeavor, inspired by foresight and sincerity is capable of achieving. White Tiger Kenpo has established itself as a sophisticated, intelligent form of self-defense training acutely tuned with our rapidly changing environment. Kata are a part of it!
Monday, May 10, 2010
6 parts to an attack
6 Parts of the Attack:
1. Attitude is 90% and effort is 10%: when fighting it is all in the attitude. If you go in thinking you are going to lose or intimidated by them then you are going to lose. Go in to the fight with the proper attitude, remember be positive.
2. Focus: Zero in on something specific and be mentally tough, stay focus on what you are doing and not thinking about something else or watching other students.
3. Strategic Game Plan: Frustrate your opponent; you can do this by using set point control and off set rhythm attacks.
4. Proper Position: Set up your opponent, initial move, extraction, be explosive and if necessary deceptive.
5. Making sure your initial move is explosive: your first move should be explosive and if necessary deceptive.
6. Bridging the Gap: Be able to Bridge the Gap with techniques such as the lunge punch, slide wheel kick, Backfist and forward hand strikes.
1. Attitude is 90% and effort is 10%: when fighting it is all in the attitude. If you go in thinking you are going to lose or intimidated by them then you are going to lose. Go in to the fight with the proper attitude, remember be positive.
2. Focus: Zero in on something specific and be mentally tough, stay focus on what you are doing and not thinking about something else or watching other students.
3. Strategic Game Plan: Frustrate your opponent; you can do this by using set point control and off set rhythm attacks.
4. Proper Position: Set up your opponent, initial move, extraction, be explosive and if necessary deceptive.
5. Making sure your initial move is explosive: your first move should be explosive and if necessary deceptive.
6. Bridging the Gap: Be able to Bridge the Gap with techniques such as the lunge punch, slide wheel kick, Backfist and forward hand strikes.
Wednesday, May 5, 2010
Why we teach Attacking the Circle
Why do we teach Attacking the Circle? We teach this technique for 2 reason the first is to teach the clock system to the student, we use this system to help students with direction and angles; you will notice throughout our manuals and videos that we refer to a position on a clock, for example place your right foot at 10:30. This method is easier to understand then to tell the student to take their right foot and step out at a 45-degree angle. The common times used throughout the manual are 12, 3, 6, and 9. Then we use 2:30, 4:30, 7:30, and 10:30. You should also keep in mind that these times are not exact they are just a guide adjust them as needed for your own personal size and height. Almost everything done past the 12:00 hour up to 6:00 will be done with the right side of the body, and everything past that will be done with the left side. 12:00 and 6:00 can be done with either side depending on the technique. Remember there is always an exception.
I said there were two reasons the 2nd reason is, we started emphasizing more on the footwork that we can teach the student while they are learning the clock system. So a version is learning how to go in and out of a fighting stance without going up and down. The B variation we choose to use an old technique that we no longer teach called Japanese Sword A (step with a extended outward block to the correct position, followed by a reverse punch, into a hardbow stance). This way the student can not only work the fighting stance but start practicing going from technique to technique.
“C” version we added as we wanted the student to start thinking about multiply attacks and combining the techniques they have learned in their private and group classes. This variation has no right or wrong answer but should still be practical and make sense.
I said there were two reasons the 2nd reason is, we started emphasizing more on the footwork that we can teach the student while they are learning the clock system. So a version is learning how to go in and out of a fighting stance without going up and down. The B variation we choose to use an old technique that we no longer teach called Japanese Sword A (step with a extended outward block to the correct position, followed by a reverse punch, into a hardbow stance). This way the student can not only work the fighting stance but start practicing going from technique to technique.
“C” version we added as we wanted the student to start thinking about multiply attacks and combining the techniques they have learned in their private and group classes. This variation has no right or wrong answer but should still be practical and make sense.
Monday, May 3, 2010
3 Stages of Learning
As students of White Tiger Kenpo you are going to go through 3 stages of learning, Mechanical, Technical and Psychological. These are very important stages as each one takes you one step closer to being able to freestyle with Kenpo.
Mechanical is where all students start at. This is where a beginning student learns each step of a technique, but does not yet understand the flow of the technique or the power patterns involved in each technique, and therefore no real utilization is available. This is usually Yellow – Purple Belt, with each level getting closer to the technical level by the time you test for purple belt.
The next level is the Technical level this is where the student now comprehends the motion of each move and the power patterns that are needed with each technique, but the student is not yet fully spontaneous, in the execution of the techniques against an attacker. This level is usually found in Blue – brown.
By the time you test for Black Belt you should be at the start of the Psychological level this is the level where the student is now capable of free styling with his techniques when they are confronted, they are also able to recognize patterns, with this knowledge they are able to counter or initiate the attack before the opponent is ready or aware and can initiate without being seen. As you progress through the upper black belt levels you perfect the psychological level of using Kenpo
Mechanical is where all students start at. This is where a beginning student learns each step of a technique, but does not yet understand the flow of the technique or the power patterns involved in each technique, and therefore no real utilization is available. This is usually Yellow – Purple Belt, with each level getting closer to the technical level by the time you test for purple belt.
The next level is the Technical level this is where the student now comprehends the motion of each move and the power patterns that are needed with each technique, but the student is not yet fully spontaneous, in the execution of the techniques against an attacker. This level is usually found in Blue – brown.
By the time you test for Black Belt you should be at the start of the Psychological level this is the level where the student is now capable of free styling with his techniques when they are confronted, they are also able to recognize patterns, with this knowledge they are able to counter or initiate the attack before the opponent is ready or aware and can initiate without being seen. As you progress through the upper black belt levels you perfect the psychological level of using Kenpo
Wednesday, April 28, 2010
10 Principles of White Tiger Kenpo:
The last two Principles we are going to talk about are Spatial Summation and Transitional Flow.
Spatial Summation is a case of 2 + 2 = 5, due to the physiology of the human body the brain pain threshold is triggered and the body will feel more pain when hit with fast multiply strikes to different areas of the body, than a single hard strike to the body.
This is what every White Tiger Kenpo student should strive to be able to do and that is Transitional Flow. By this we mean that you can flow from one technique into next without stopping or using jerking action.
A sign of a good Kenpo stylist is when you cannot tell where one technique ends and another begins.
A good way to practice this is to learn and understand your Kenpo kata as these will teach you how to move from one technique to the next.
Spatial Summation is a case of 2 + 2 = 5, due to the physiology of the human body the brain pain threshold is triggered and the body will feel more pain when hit with fast multiply strikes to different areas of the body, than a single hard strike to the body.
This is what every White Tiger Kenpo student should strive to be able to do and that is Transitional Flow. By this we mean that you can flow from one technique into next without stopping or using jerking action.
A sign of a good Kenpo stylist is when you cannot tell where one technique ends and another begins.
A good way to practice this is to learn and understand your Kenpo kata as these will teach you how to move from one technique to the next.
Instructors Cornor: Leading Centers
After learning how to read Set points the next important concept you need to learn is reading an opponents by learning to read there tells. A tell is also what we call a Leading Center this is something an attacker will do right before they initiate or attack.
A leading center is something as simple as droppring their lead hand before they throw a kick,switch from a right lead to a left lead, chnage there facial expresion, blinking, puff up their checks change there eye contact and so on.
By learning to read someone’s Leading center, especially someone who is trying to hide there Leading center the guy on the street will be almost a joke due to the fact that they will be so easy to read.
The best way to practice this is when you work out with your parner tell them what the do right before they throw a punck or kick, let them know what made you move or react to what you saw. By doing this you will find out what your weaknesses are and then learn to get rid of them. You will not only learn how and what to look for but you will also learn to hide your own tells.
keep in mind when sparring to be relaxed and react to what you see
A leading center is something as simple as droppring their lead hand before they throw a kick,switch from a right lead to a left lead, chnage there facial expresion, blinking, puff up their checks change there eye contact and so on.
By learning to read someone’s Leading center, especially someone who is trying to hide there Leading center the guy on the street will be almost a joke due to the fact that they will be so easy to read.
The best way to practice this is when you work out with your parner tell them what the do right before they throw a punck or kick, let them know what made you move or react to what you saw. By doing this you will find out what your weaknesses are and then learn to get rid of them. You will not only learn how and what to look for but you will also learn to hide your own tells.
keep in mind when sparring to be relaxed and react to what you see
Wednesday, April 21, 2010
Instructors Corner: Set Point
Set Point control strategies are invaluable in any combat situation, but first let us define exactly what, “Set Point” is. There are five components that are needed for your opponent to be ‘Set”.
The 1st one is distance, your opponent must be within the Critical Distance line and able to initiate there attack otherwise they are not a threat to you if they cannot hit you.
2nd the Line of Fire or the Red Zone, your opponent must be lined up with you and have you in their sites in order to initiate the attack if you are off to the left or right of them then they are not able to strike you at that angle.
3rd they must have the proper aim.
4th Balance; they must have proper balance physically and in a strong ready position.
5th your opponent must be in the correct state of mind or able to do an Educated Technique, which is where they can gain time and distance while neutralizing your position in the process.
In order to counter a Set point there are two things you can do 1st is movement, by moving to the outside, inside or off to one side or the other, your opponent will need to change their line of fire and aim during this transitional state they will no longer get set, so therefore they will not be able to strike. The 2nd thing you can do is use firepower, as soon as you see them set go in with a double jab or a forward leg wheel kick and neutralize their technique.
In conclusion what you want to learn to watch for is for your opponent’s set point. Remember that is when your opponent is the most dangerous. Try and draw an imaginary line around your opponent’s foot, the spot at which they place his foot they will be at their set point. By using firepower and movement you will be able to prevent them from setting in which case while they are in a transitional move you will be able to attack them.
The 1st one is distance, your opponent must be within the Critical Distance line and able to initiate there attack otherwise they are not a threat to you if they cannot hit you.
2nd the Line of Fire or the Red Zone, your opponent must be lined up with you and have you in their sites in order to initiate the attack if you are off to the left or right of them then they are not able to strike you at that angle.
3rd they must have the proper aim.
4th Balance; they must have proper balance physically and in a strong ready position.
5th your opponent must be in the correct state of mind or able to do an Educated Technique, which is where they can gain time and distance while neutralizing your position in the process.
In order to counter a Set point there are two things you can do 1st is movement, by moving to the outside, inside or off to one side or the other, your opponent will need to change their line of fire and aim during this transitional state they will no longer get set, so therefore they will not be able to strike. The 2nd thing you can do is use firepower, as soon as you see them set go in with a double jab or a forward leg wheel kick and neutralize their technique.
In conclusion what you want to learn to watch for is for your opponent’s set point. Remember that is when your opponent is the most dangerous. Try and draw an imaginary line around your opponent’s foot, the spot at which they place his foot they will be at their set point. By using firepower and movement you will be able to prevent them from setting in which case while they are in a transitional move you will be able to attack them.
Tuesday, April 20, 2010
10 Principles of Kenpo Jujits part IIII
The next two principles we are going to cover this week are Power Patterns and Timing and Speed as these two go hand in hand. The first power pattern we are going to talk about is Linear power this one will be used when you are going to strike in a straight line such as seen in Kenpo Shield or Attacking the Circle B. When developing linear power your back leg should go into a hard bow stance. Your forward knee should be bent and the back leg is locked out, with the heel on the floor. As with all power patterns this is a transitional motion, once you have thrown the strike go back to your fighting stance. Circular power is going into a softbow or going from softbow to softbow. Examples of this power pattern can be seen in Returning Dragon and kimono Grab. The last power pattern is drop of body weight, in this instance you can end up in a softbow or by lowering your horse stance. For example the ending of Returning Dragon, after you have knee your opponent in the body you check the head drop to softbow as you are doing a downward elbow strike to the opponents back. Dropping into a lower horse stance, can be seen in Armbar, by dropping your body weight you are adding more pressure to the lock. Some techniques will use a combination of power patterns such as in Returning Dragon; you are using circular power for the strikes then drop of body weight when you strike the elbow in the back.
Even though the power patterns are important the timing and speed is critical to the execution of Kenpo techniques. If your timing is not right the power pattern will not work and you will not have the speed you need to complete the technique. When talking about timing we are talking two actions the 1st is the timing of a strike for example when you throw a punch you want to make sure you do not turn your arm over until the elbow leaves the rib cage. If you rotate the arm too soon you are not going to have the maximum power in the strike as you would if you timed it correctly. You also have the timing of your strike and power pattern. The two should work as one move not two separate moves. When you throw a reverse punch the hand should be coming out of chamber as you are pivoting into hard bow, as your strike hits your opponent you should be competing the hard bow at that very second, if you strike to early or to late then you will not have your body weight behind the strike just your own muscle power.
There are 3 types of speed but this week we are only going to talk about explosive speed or reaction speed. By this we mean how fast you can react to what you see and get into the proper position. By having the proper speed and timing you will have the power that must be implemented at the time when your opponent moves to proper positioning.
Remember you must have a proper power pattern, proper timing and speed in order to have a proper technique. Without any one of these the technique may not work correctly or be there when you need it.
Even though the power patterns are important the timing and speed is critical to the execution of Kenpo techniques. If your timing is not right the power pattern will not work and you will not have the speed you need to complete the technique. When talking about timing we are talking two actions the 1st is the timing of a strike for example when you throw a punch you want to make sure you do not turn your arm over until the elbow leaves the rib cage. If you rotate the arm too soon you are not going to have the maximum power in the strike as you would if you timed it correctly. You also have the timing of your strike and power pattern. The two should work as one move not two separate moves. When you throw a reverse punch the hand should be coming out of chamber as you are pivoting into hard bow, as your strike hits your opponent you should be competing the hard bow at that very second, if you strike to early or to late then you will not have your body weight behind the strike just your own muscle power.
There are 3 types of speed but this week we are only going to talk about explosive speed or reaction speed. By this we mean how fast you can react to what you see and get into the proper position. By having the proper speed and timing you will have the power that must be implemented at the time when your opponent moves to proper positioning.
Remember you must have a proper power pattern, proper timing and speed in order to have a proper technique. Without any one of these the technique may not work correctly or be there when you need it.
Thursday, April 15, 2010
10 Principles of White Tiger Kenpo Jujits pt III
Positioning Vs. Blocking:
“Knowing the place and the time of the coming battle, we may concentrate from the greatest distances in order to fight.”
This is one of the most important principles to remember. Position will always be more important than blocking, with proper positioning you will be beyond the point of contact when the strike arrives, the block may not be necessary.
The primary advantages to positioning over blocking are it will be harder for your opponent to set you up or sucker punch you. You know if you are in the right position you are not going to get hit. By positioning you will have the time to recognize your opponent’s set point and tells. Also you will be able to dictate when and where the battle begins. By being able to position yourself it will make it easier for you to set up your opponent so that your techniques will always function.
Maintaining your position requires recognition of your opponent’s set point and being able to see when he is going to pull the trigger (attack).
Body Checking & Balance Control:
After your first block your secondary should be a check to the body to control your opponent by feeling his movements so you will know if he attempts to counter your action; also you want to keep your opponent off balance by pushing and pulling on them so that you can maintain control at all times.
While doing techniques such as returning Dragon. When you throw your extended outward block making sure the arm moves away from the body so that the shoulders turn. After the cradle where you pulled your opponent forward or towards you, you chop or forearm to neck should push or rock your opponent in the opposite direction. Pushing your opponents neck out to a hook block, pull them back into the knee strike, followed by a knee strike.
By constantly pushing and pulling on your opponent they will never be able to gain their balance so they will lack stability which will rob of them of any power. This will also rob them of the ability to counter your attack. However in our experience few people last past the cradle and crush.
“Knowing the place and the time of the coming battle, we may concentrate from the greatest distances in order to fight.”
This is one of the most important principles to remember. Position will always be more important than blocking, with proper positioning you will be beyond the point of contact when the strike arrives, the block may not be necessary.
The primary advantages to positioning over blocking are it will be harder for your opponent to set you up or sucker punch you. You know if you are in the right position you are not going to get hit. By positioning you will have the time to recognize your opponent’s set point and tells. Also you will be able to dictate when and where the battle begins. By being able to position yourself it will make it easier for you to set up your opponent so that your techniques will always function.
Maintaining your position requires recognition of your opponent’s set point and being able to see when he is going to pull the trigger (attack).
Body Checking & Balance Control:
After your first block your secondary should be a check to the body to control your opponent by feeling his movements so you will know if he attempts to counter your action; also you want to keep your opponent off balance by pushing and pulling on them so that you can maintain control at all times.
While doing techniques such as returning Dragon. When you throw your extended outward block making sure the arm moves away from the body so that the shoulders turn. After the cradle where you pulled your opponent forward or towards you, you chop or forearm to neck should push or rock your opponent in the opposite direction. Pushing your opponents neck out to a hook block, pull them back into the knee strike, followed by a knee strike.
By constantly pushing and pulling on your opponent they will never be able to gain their balance so they will lack stability which will rob of them of any power. This will also rob them of the ability to counter your attack. However in our experience few people last past the cradle and crush.
Monday, April 12, 2010
Instructors Corner: Fighting Stance
Your ability to move and generate power is going to be dictated by your stance. If you have a proper fighting stance you should have equal reach with both hands the ability to throw kicks or do techniques from your stance. You should not have to raise or lower your hips in order to execute a move. If you fighting stance is too wide or to short you will not have the ability to move in any one direction and to generate the proper power that is needed to make the technique work. Also make sure you are not picking your foot up as the body will always want to go back into a side stance plus this makes your head go up and down and this is a telegraphed motion or tell that lets your opponent know exactly when you are going to move. To prevent this you should slide from one stance to the next. Making sure you are sliding in a straight line and not a crescent motion. The best way to do this is to open your stance up slide the forward leg straight back then close the stance down making sure you are in a proper heel toe relationship.
As the instructor watch your students head and see if it is going up and down as they move from one stance to the next a good drill to work on is have the student go up and down the Dojo floor in a fighting stance. Start at one end of the school and move forward from one fighting stance to the next, then have them go backwards from one fighting stance to the next.
As the student progresses through the ranks there fighting stance should change from a traditional stance to what we called a modified fighting stance. This is where they student has personalized his or her stance based on their own weight, size and fighting style. No two will be exactly alike but the underlying principle will be the same.
As the instructor watch your students head and see if it is going up and down as they move from one stance to the next a good drill to work on is have the student go up and down the Dojo floor in a fighting stance. Start at one end of the school and move forward from one fighting stance to the next, then have them go backwards from one fighting stance to the next.
As the student progresses through the ranks there fighting stance should change from a traditional stance to what we called a modified fighting stance. This is where they student has personalized his or her stance based on their own weight, size and fighting style. No two will be exactly alike but the underlying principle will be the same.
Friday, April 9, 2010
Who knows the Answer
Pop Quiz What tech/move does Bruce Lee Talk about when he said "Like a Cobra your strike should be felt before it is seen"
Wednesday, April 7, 2010
Questions/Answers
Please post any questions you have about Kenpo. The questions can be about techniques, the basics, theory, history or what every is on your mind we would love to hear from all of our White Tiger Students.
10 Principles of White Tiger Kenpo Part II
The next two principles of WTK is Awareness and Mobility, These are two very important principles. You must be aware of your surroundings at all times; this will eliminate most surprise attack, if you are aware that there might be a problem you might be able to get out of it without a fight. An example of this would be when Jim and I were in Orlando Fl several years ago, we went to the local drug store to get some cough drops when we noticed that two guys were following us, when we came out of the store they were still there, so we walked over to another store to see what would happen, when we came out they were still there, we headed towards are car, they started following us, we both turned around at the same time to let them know that we knew they were there, that and if there was going to be a confrontation we were going to have it on our terms. Needless to say they did not want to play, once me made eye contact with them they turned and left. You also should have Knowledge of your surroundings as this can provide defense alternatives and not just a reaction.
The 4th principle is mobility, this is the key to any offensive or defensive maneuver, you must be able to move in any direction at any giving time without sacrificing balance and stability for if you do you will give only give up power but the ability to move.
The 4th principle is mobility, this is the key to any offensive or defensive maneuver, you must be able to move in any direction at any giving time without sacrificing balance and stability for if you do you will give only give up power but the ability to move.
Friday, April 2, 2010
10 Basic Principles of White Tiger Kenpo Part 1
There are 10 Basic principles of the White Tiger Kenpo System in order to understand the techniques and how they work you must understand the principles. It is the understanding and application of these principles that will enhance your knowledge of variables; they will help to tailor the art to the needs of the individual. They will refine your motion, as one basic concept or principle can trigger another, leading into a chain reaction of concepts and principles. Remember, principles of motion take precedent over the sequence of motion. Self-defense techniques should be viewed as ideas and not set rules; nothing in the White Tiger Kenpo system is set in concrete. To do so would violate the total concept of the White Tiger Kenpo System. That is to have freedom of thought and movement but most important the ability to think for your self.
the first two we are going to discuss is Balance/Stability and distance.
Balance/Stability:
These two are one and the same without one you don’t have the other. Proper balance must be maintained at all times in order to execute proper techniques, without proper balance or stability you will not have the power behind your blocks or strikes and you forfeit mobility. You achieve this by keeping your shoulders over your hips, and keep your feet directly under your body. The same is true of your attacker; you must rob him of his balance and stability.
Distance:
You need to maintain or create distance until you are ready to defend yourself or make the first move. Be aware of the critical distance line at all times during any altercation no matter how frivolous.
continued next week. Please feel free to post any comments, suggestions or questions you may have.
the first two we are going to discuss is Balance/Stability and distance.
Balance/Stability:
These two are one and the same without one you don’t have the other. Proper balance must be maintained at all times in order to execute proper techniques, without proper balance or stability you will not have the power behind your blocks or strikes and you forfeit mobility. You achieve this by keeping your shoulders over your hips, and keep your feet directly under your body. The same is true of your attacker; you must rob him of his balance and stability.
Distance:
You need to maintain or create distance until you are ready to defend yourself or make the first move. Be aware of the critical distance line at all times during any altercation no matter how frivolous.
continued next week. Please feel free to post any comments, suggestions or questions you may have.
Wednesday, March 31, 2010
Blocks vs Positioning
You will find in your White Tiger Kenpo training that we stress positioning over blocking. Blocking requires reaction time. Knowing your opponent critical distance line and positioning yourself accordingly is much smarter and consumes less energy. This way you choose the time of your entry and control the fight.
Tuesday, March 30, 2010
Origins of Kenpo
Kenpo Karate is a unique martial art that traces its near history to the Pa lama settlement on Oahu, Hawaii. It is based on approximately 150 self defense patterns cataloged by the members of the Black Belt Society. Ed Parker brought Kenpo to U.S in the 1950's and established American Kenpo as his style. This Tracy brothers who were parker students established the Tracy Kenpo based on these same techniques. The true origins of these self defense patterns are unknown but many theories and legends abound.
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