Kenpo Notes

[Thesemindz]

• Response Process

1. Scan
2. Identify
3. Predict
4. Decide
5. Execute

The Response Process is a description of the process which the student undertakes when presented with stimulus.


First the student must scan the stimulus to begin to receive information about the engagement. He then identifies the specific nature of the stimulus. Is it threatening? Is it a punch, a kick, or a weapon? What attributes does his opponent have which he must account for? He then begins the theoretical process of predicting his opponents likely successive actions and the outcomes of those actions. At this point, the student must select a course of action and commit to it. Finally he must execute that action. At this point the process begins again, as the nature of the initiating stimulus has changed as a result of the student's course of action.


-Rob

 

[Thesemindz]

• Four Levels of Understanding

1. Unconsciously Incompetent
2. Consciously Incompetent
3. Consciously Competent
4. Unconsciously Competent

The Four Levels of Understanding describe the process the student goes through as he advances in his training.

At the beginning, the student walks into a school, ignorant of the possibilities he faces in undertaking his training. He doesn't know what there is to learn, or what his potential is as a martial artist. He is blind and deaf in the world of martial arts, and he doesn't even know it. He is unconsciously incompetent. He doesn't know what he doesn't know.

But soon, he becomes consciously incompetent. He begins to realize just how bad he is at this martial arts stuff. He sees other students, far more advanced than he, and he begins to make comparisons between his ability and that of his peers. At this stage, he is beginning to understand that his kicks are weak, his punches slow, and his stances wobbly. Now he knows what he doesn't know.

With time and training, the student becomes consciously competent. He can stand, and move, and fight, as long as he puts his mind to it. He can repeat techniques and forms, although they may appear mechanical and lack passion. His techniques may be effective, but he can be easily overwhelmed by a skilled opponent.

If he continues to practice though, and studies the art, he will eventually become unconsciously competent. He won't have to think any more, he can react to his opponent without thought. His movements become fluid and passionate, and the material he has long known can be performed with ease.

This process occurs with every student who practices martial arts for a significant length of time, but it does not happen equally across all students or across all techniques for any single student. It is a result of practice and study, and a process which can not be rushed. The student must be immersed in the material, if he is, then in time he will achieve each of these levels of comprehension. Even then, new material will still be approached from the start, and even the most advanced student will begin again at the most appropriate place.

The beginning.


-Rob

 

[Thesemindz]

• Four Focus Points

1. Rate on a scale of one to ten
   • Am I giving this my all?
   • How far could I go?
2. Friendly Competition
   • Could I do better?
   • Is this my best effort?
3. Situational Awareness
   • Where am I?
   • What am I doing?
   • Is it real?
4. Am I improving?
   • Am I progressing?
   • Am I getting better?

The Four Focus Points are a tool for self reflection which assists the student in assessing his approach to his training and his progress. While they are meant to be applied to martial arts, the Four Focus Points can be applied to any practice in life. The goal is for the student to be conscious of his training and its results. By asking himself these questions, the student is able to consistently reasses his advancement and refocus on his training.


-Rob

 

[Thesemindz]

• Four Dynamics of Survival

1. Defend Self
2. Defend Family
3. Defend Nation
4. Defend Mankind

The Four Dynamics of Survival are the order in which an individual must approach self defense in order to succeed. Each successive range incorporates all the previous ranges, while also increasing the magnitude of the defensive action. If the student puts any one of these ahead of another then he will reach a point where his personal survival is being jeapordized for the survival of another. While this may be acceptable at the time, it will put the survival of the individual at risk. By focusing on each of the Four Dynamics of Survival, in order, the student increases the possibility of success.


-Rob

 

[Thesemindz]

• Joe Lewis Punching Method

1. Explosive Action
2. Initial Speed
3. Bridging the Gap
4. Hyperextension of the Stance
5. Recovery

The Joe Lewis Punching Method describes the process of striking which has been attributed to Joe Lewis, the famous martial artist and fighter.

Explosive Action refers to the initiating force which launches the strike. Initial Speed is the speed at which the weapon is launched towards the target. Bridging the Gap refers to the process by which the strike is carried across the intervening distance from the student to the opponent. Hyperextension of the Stance describes extending towards the opponent in order to penetrate with the strike and Recovery is the process by which the student retrieves his weapon and prepares it for successive strikes.

The Joe Lewis Punching Method assists the student in examining, describing, and refining his striking technique


-Rob

 

[Thesemindz]

• Five Ways to Bridge the Gap

1. Lean
2. Front Step and Lean
3. Drag Step
4. Push Drag
5. Step Through

The five ways to bridge the gap are five simple ways that the student can cross the intervening distance between himself and his opponent.

1. Lean. By simply hyperextending his stance towards his opponent the student can increase his applicable range. This requires a transferrence of weight distribution from the back to front legs however, reducing mobility and potential force transferrence upon impact.

2. Front Step and Lean. By stepping with the front foot and increasing his base, the student is able to further increase the effectiveness of the lean. However, doing so exponentially increases the amount of weight redistribution and may even result in destabalizing the student, or requiring him to come up or even off of his back foot in order to strike his opponent.

3. Drag Step. The drag step involves dragging the back foot up to the front foot, and then stepping forward with the front foot. While this foot maneuver can gain the student a great deal of range, it is an "and-then" type maneuver which telegraphs the student's intention and delays the final execution of the technique.

4.Push Drag. The push drag is executed by pushing off the back leg in order to propel the body forward. The student should elevate as little as possible, only enough to reduce his friction with the ground. This allows him to move his entire stance forward in a sudden burst of motion. Striking while push dragging can take advantage of back up mass, but decreases the effectiveness of ground leverage. The push drag should only increase range by six to eight inches at most. It is not intended to cover great expanses of range, but rather short distances to move in or out of effective range.

5. Step Through. The step through foot maneuver involves the student bringing his back leg all the way through to a new stance position with it in front and his former front foot behind. This foot maneuver allows the student to both increase his range by a full stance length, as well as switching the front face of his stance. Step through strikes can be very powerful, and mimic movements seen in a variety of other athletic endeavors, including running, baseball, football, and weight throwing athletics. The danger of such a large movement is that it can be easily recognized by the opponent and, at least briefly, squares the student to his opponent.


The Five Ways to Bridge the Gap are not the only ways the student can affect range. Instead, they are intended to endow the student with some basic understanding of how to cover that intimidating space between his weapon and his opponent's.


-Rob

 

[Thesemindz]

• Five P's to Master the Art

1. Practice
2. Patience
3. Perseverence
4. Polish
5. Perfect

The Five P's to Master the Art is a list of attributes and attitudes the student must maintain in order to seek eventual mastery at any level.

Practice is the first and most important aspect of training. Practice makes permanent, and so it is important to practice the material correctly and with the proper attitude and attention to detail with each repetition. Without a commitment to practice the student can not even begin the journey towards mastery.

The student must then learn patience. No skills can be learned and mastered instantly, and the student must learn that the journey is long and slow, but that there are constant victories to be enjoyed if he is patient and attentive.

At this point, the student must continue to persevere. For many, mere competency is sufficient, but in order to seek mastery, the student must push beyond that level and continue to practice material he has already acheived competeny with.

Then the student polishes the material. He must seek out the little details in his execution which seperate a workman's performance from a master craftsman's. He must pay attention to the most minute details of his performance and correct each and every flaw in his technique.

Lastly, the student must perfect his technique. Here, perfect is used as a verb, not an adjective. The student will never acheive complete perfection, but can be constantly engaged in the process of perfecting his material, and his understanding of that material.

The Five P's to Master the Art must be applied to each and every aspect of the student's study, and represent a process that is ongoing and one which is renewed with each new technique the student learns.


-Rob

 

[Thesemindz]

• The Prerequisites of Proper Performance

1. Posture
2. Balance
3. Angle
4. Liveliness
5. Continuity

The Prerequisites of Proper Performance describe the five aspects of the technique which must be demonstrated in order to be effective. Whether in exhibition or application, the student must show each of these things to accomplish his goal.

Proper posture is an important part of effective execution. Depending on the relative positions of the actors in the engagement, proper posture may mean different things. Controlling his postition, as well as that of his opponent is an important part of effective application of the material.

All techniques are dependant on an understanding of balance. Whether striking, throwing, manipulating, or debilitating the oppponent the student must understand balance. This includes the balance of his own stances, as well as understanding the balance between offensive and defensive technique, between striking and grappling, and between static and dynamic maneuvers.

Applying an understanding of angles allows the student to attack and defend more successfully. Knowing which lines both himself and his opponent are capable of attacking along allows the student to most effectively attack while also preventing his opponent from defending or countering. Angles also affect the degree of force transferrence, as well as the effectivness of grappling applications. The same force applied against one angle may be devastating, and against another unproductive.

Liveliness refers to a passion which must be present in each maneuver. It is the application of force and emotion in the movement which makes them dynamic and destructive. It is not enough to walk through the motions. The student must internalize the lessons contained within and then express them through his performance.

Continuity is a description of how the movements are applied in a dynamic situation. Continuity requires that the student flow seamlessly from technique to technique with power, passion, and fluidity. The student must be able to both act and react appropriately to the stimulus with which he is presented.

The Prerequisites of Proper Performance must be demonstrated whether the student is performing a form for competition, sparring with his classmates in the studio, or defending himself against a gun shoved in his face by a mugger in the dark of night.


-Rob

 

[Thesemindz]

• The Kenpo Formula

1. Prefix
2. Suffix
3. Add
4. Delete
5. Alter
   • Targets
   • Timing
   • Angles
6. Re-Arrange

The Kenpo Formula is a process that can be used in a motion based system to change the execution of a technique to most appropriately respond to a dynamic situation.

For example, take the technique Delayed Sword.

Delayed Sword (Front-- Right Hand Lapel Grab)

1. An attacker at 12 o'clock grabs your lapel with their right hand.

2. Step your left foot to 6 o'clock into a right neutral bow facing 12 o'clock as you simultaneously execute a right inward block to your attacker's right inner wrist. At the same time, your left hand should be checking at solar plexus level.

3. Immediately slide your right foot back to a transitional cat stance. Execute a right front snap kick to your attacker's groin.

4. Plant your right foot to 12 o'clock into a right neutral bow, checking off your attacker's right knee, as you simultaneously execute a right outward handsword to the right side of the attacker's neck.

Now. This technique contains a number of important lessons about power, and structure, and anatomical repositioning, but for our purposes here, we are only going to focus on the basic movements.

In this technique you step back, block, kick, and strike.

1. Prefix. If your opponent grabbed you with one hand and tried to slap you with the other, you could prefix the technique with a right outward block and then proceed to step back, block, kick, and strike.

2. Suffix. If after you step back, block, kick, and strike, your opponent is not yet defeated, you could suffix the technique with a right grab to the opponent's right shoulder and pull him down into a right knee strike to the body.

3. Add. After you step back, block, and kick, you could add a right stomp to the top of the opponent's right foot, followed by the strike to the opponent's neck.

4. Delete. If after you step back and block your opponent takes a step towards you, you may be too close for the front kick. In that case you could delete the front kick and move directly to the strike to the neck.

5. Alter. Throughout your execution you can alter many aspects of the technique, including, but not limited to, timing, targets, and weapons. For instance, you could alter the timing of the technique by landing from the kick and then striking to the neck, perhaps in response to uneven footing. Or you could alter the targets by kicking to the bladder or inside of the opponent's left knee instead of the groin. Or you could alter the weapon by using a hammerfist to the opponent's neck or collarbone instead of a handsword strike.

6. Re-Arrange. Within the technique the student could re-arrange the movements. For instance, the student could strike to the neck, then step back into his stance, block the opponent's arm, and then strike to the groin.

All of these decisions change more than the simple execution of the technique. Because each movement in kenpo is dependant on the movements which precede it, and also sets up the moves which come after it, it is important to understand that reordering or changing the movements effects every other aspect of the engagement. Sometimes it may be necessary, or even beneficial to do so, but that decision should be based on efficacy, not mere whim.


-Rob

 

[Thesemindz]

• F.A.S.P.

1. Form
2. Accuracy
3. Speed
4. Power

All basic maneuvers should be learned F.A.S.P, not fast.

When exposed to new material, the student must focus first and foremost on proper form. In order to transfer the maximum amount of force and protect the student's natural weapons, each must be properly formed and executed.

As the student moves to executing his weapons against solid targets, he must focus on accuracy. Hitting what he aims at is key to being effective in self defense. Often, when striking the body, a difference of less than an inch, or a difference in angle of execution by as little as ten degrees can mean the difference between destruction and total ineffectiveness. Accuracy will also aid the student in protecting his own weapons from damage. Striking hard targets with a closed fist, for instance, can be done with relative safety, but if the student misses by as much as an inch or two, he might instead break his fourth and fifth fingers.

Speed comes with accuracy. It doesn't work the other way around. The more consistently the student can perform correctly, the faster he will be able to do so. However, attempting to move fast without developing form and accuracy first will only result in unsuccessful technique and harm to the student.

Power is the final aspect which must be developed. Power comes as a result of form, accuracy, and speed working in concert. A weapon delivered correctly, accurately, and quickly to its target will deliver a great deal of force. Without the first three components working in concert however, effective power can never be achieved.


-Rob

 

[Thesemindz]

• The A List

1. Attitude
2. Avoidance
3. Awareness
4. Acceptance
5. Action

The A List is a set of attitudes which the student must possess in order to mentally prepare himself to use violence in his own defense.


First, he must have the attitude that he has a right to his own life and safety, and that no one else has the right to take those things away from him. Unless the student is able to accept his own worth as a human being, and defend it when necessary, no technique or weapon will ever suffice.

Secondly, the student must learn that 99% of self defense is avoiding dangerous situations. Learning to assess and avoid places and situations that would jeapordize the safety of the student will go a long way towards preventing him from ever having to use his skills for self defense.

Thirdly he must learn to become aware of his environment. He must develop a sense of both his physical surroundings and the attitudes and behaviors of the people around him. Awareness of the situations the student finds himself in will prevent most violent encounters before they develop.

Next the student must be willing to accept ahead of time that there will be situations which can only be resolved with violence, and he must accept in the moment when those situations have arrived. When an aggressive encounter becomes a violent one, the student must accept the reality of his situation and not delude himself with wishes about what he'd like reality to be.

Lastly the student must act. When he is called upon to do so, and the time for preparation and negotiation is over, he must act. Failure to do so will negate everything he has accomplished in his training.

Understanding the A List will help the student begin the process of mental preparedness before the time comes to put his physical skills into practice.


-Rob

 

[Thesemindz]

• The Six Invisible Enemies

1. Complacency
2. Ego
3. Fickleness
4. Impatience
5. Perfectionism
6. Unhealthy Comparisons

The Six Invisible Enemies are obstacles which all students must face throughout the course of their training. Learning to overcome each of these obstacles and consistantly rededicating one's self to training is the key to sustaining long steady practice.

1. Complacency. This is the attitude of accepting the progress that you have made and finding comfort with your current position. There is nothing inherently wrong with working within your comfort zone, but refusing to work outside of that zone will prevent you from ever growing beyond it. Complacency stops black belts from sticking around to really learn martial arts. It's what keeps people in the past and traps them in practices and traditions that they are too afraid to abandon, because they are unprepared for what may lie beyond the edge of their knowledge base.

2. Ego. Ego is the attitude of superiority, either in one's self, one's curriculum, or one's execution, which prevents the student from exploring the perspectives of others. A belief that one already has the answers prevents that person from asking any more questions. While some may indeed be endowed with great knowledge or physical prowess, that need not prevent them from exploring what other's have to offer.

3. Fickleness. Fickleness describes the students who show up at your school with experience in nine other martial arts already, sign up for your training program, show up every day for a month, and then move down the road and repeat the process again at the next school on the block. These students never receive more than the most basic, rudimentary exposure to any martial tradition, and will constantly be chasing mastery without ever allowing themselves a chance to find it. Fickleness prevents the student from learning those things which truly take years of dedicated study to even begin to understand.

4. Impatience. Impatient students are constantly looking for the next technique, the next trophy, the next stripe on their belt. They lack the patience to spend time focused on one basic, or one technique, long enough to internalize the lessons it contains. Because of this, no matter how much material the student accumulates, none of it will achieve a high level of effectiveness. Eventually, this student will simply move on to somewhere where they can learn more material faster and easier.

5. Perfectionism. When the student consumes himself with perfectionism he finds his performance will never be sufficient. No matter how many repetitions or how exacting his practice, the student will be consumed with the flaws he perceives, however minor. While understanding the areas which must be improved upon in one's performance is important, when it becomes an obsession the student loses the ability to put his improvement into perspective. This student will become consumed with his inability to achieve perfection and, despite whatever gains he may make, will eventually decide he can not achieve the level of perfomance he demands of himself and instead simply give up rather than accept what he perceives as defeat.

6. Unhealthy Comparisons. Comparing one's performance to that of one's peers is a healthy way to make objective decisions about where one stands in relation to those peers. It does not tell you how "good" you are, but merely how "good" you are in comparison. That may have value, but when it becomes an obsession it becomes unhealthy. When the student is consumed with being better than that guy, or hitting harder than that one, or moving faster than that girl, what is essentially an independant unique study becomes an external pursuit of accolades. At this point, personal performance is sacrificed in pursuit of interpersonal gamesmanship.

The Six Invisible Enemies can prevent the student from moving forward towards their goals. While enemies faced in the street may have clubs, knives, or guns, the enemies from within can be debilitating and dangerous in their own way, and can do just as much to prevent a student's progress in the art.


-Rob

 

[Thesemindz]

• The Eight Relationships of Circles

1. Side by Side - Not Touching
2. Side by Side - Touching
3. Side by Side - Overlapping
4. One above Another - Not Touching
5. One above Another - Touching
6. One inside Another - Touching Perpendicularly
7. One inside Another - Not Touching
8. A Relationship not yet Discovered

The Eight Relationships of Circles represent paths of motion which can be found within the movements of the human body. These paths can be found within the forms and techniques of the kenpo system.

1. Side By Side - Not Touching

This represents two weapons which are moving along similar paths of motion next to each other, without their paths overlapping. This movement can be found within techniques like Hooking Wings, Begging Hands, and Captured Leaves.
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2. Side By Side - Touching

This represents two weapons which are moving along similar paths of motion where those paths touch, but do not overlap. This movement can be found within techniques such as Charging Ram and Falling Falcon.
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3. Side By Side - Overlapping

This represents two weapons which are moving along similar paths of motion where those paths overlap. This movement can be found within techniques such as Circling Fans and Bow of Compulsion.
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4. One Above Another - Not Touching

This represents two weapons which are moving along similar paths of motion parallel to each other without touching. This movement can be found within techniques such as Five Swords and Marriage of the Rams.
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5. One Above Another - Touching

This represents two weapons which are moving along similar parallel paths of motion which touch. This movement can be found within techniques such as Defensive Cross and Raining Lance.
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6. One Inside Another - Touching Perpendicularly

This represents two weapons which are both moving in a circular fashion perpendicular to each other. This movement can be found within techniques such as Alternating Maces and and Attacking Mace.
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7. One Inside Another - Not Touching

This represents two weapons which are both moving in a circular fashion concentrically. This movement can be found within techniques such as Deflecting Hammer and Broken Rod.
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8. A Relationship Yet Discovered

This represents a path of circular motion which is not yet described by the previous seven relationships. It's presence on the list is intended to encourage the student to analyze his material in depth and to consider motion not only as a unique event, but also as part of a comparative relationship.
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The Eight Relationships of Circles exist as a tool to help the student to understand how his movements and paths of motion relate to one another and how those movements can be found within the Universal Pattern.


-Rob