What Mr. Parker Taught

[MJS]

With all of the discussion of the motion, commercial, etc. versions of Kenpo, I thought I'd start this thread to discuss exactly what it was that Mr. Parker taught to his students in the early years. In another thread, it was mentioned that he was teaching things that met what the masses were looking for. However, it seems that some were taught different lessons. Why was this? I'd think that if people are going to take the time to learn an art, they'd want to be the best they could be and have a solid understanding of the material being offered.

I'm hoping to get some answers to these questions, rather than no replies, as I feel that it'll help people understand the material taught as well as those often used terms motion and commercial.

Mike

 

[michaeledward]

I was reading Mr. Wedlake's new book this weekend. In it, he tells that Mr. Parker would put 'signature' moves into Form 4, so that when observing the form performed by a young practitioner, of whom he had no prior knowledge, he (Mr. Parker) would be able to tell the practitioners' lineage.

I am very curious about what these 'signature' moves might have been. I expect to have this discussion with Mr. Planas the next time I see him.

For example ... and I am not certain if this is an appropriate example ... in Kenpo Karate 401, Mr. Wedlake, and Mr. White talk about and demonstrate the middle isolations with something called a 'smothering upward block' - the upward block has a completely horizontal forearm. Is this a signature move?

I learned that we executed upward blocks with an angled forearm. This allows a downward strike to glance, or slide, off the block. A horizontal forearm would have to absorb all of the downward force.

It may very well be that Mr. Parker taught different things to different people intentionally. It sure would be nice to get a catalogue of those ideosyncratic teachings.

 

[Touch Of Death]

With all of the discussion of the motion, commercial, etc. versions of Kenpo, I thought I'd start this thread to discuss exactly what it was that Mr. Parker taught to his students in the early years. In another thread, it was mentioned that he was teaching things that met what the masses were looking for. However, it seems that some were taught different lessons. Why was this? I'd think that if people are going to take the time to learn an art, they'd want to be the best they could be and have a solid understanding of the material being offered.

I'm hoping to get some answers to these questions, rather than no replies, as I feel that it'll help people understand the material taught as well as those often used terms motion and commercial.

Mike

Well in realation to what Mr. Ward just said. Each martial artist he dealt with had certain talents that accented their kenpo. Often times this was both a level of understanding and direction. Its obvious he taught at different levels, but I feel these varations we see are seeds he planted. Some are trees, some are flowers, some are weeds. Which is which is in the eye of the beholder at his or her level in his or her direction.
Sean

 

[Kembudo-Kai Kempoka]

The very early days were more robotic. Mr. Parkers woprkouts with peers and guides did not stop when he left Hawaii. As he continued to investigate approaches, these became influences that flavored his approach. Depending on where he was at in his own journey, the students learning from him would often reflect that flavor.

I've met and trained with a bakers dozen of 1st gens, many from different "era's" in Parkers development. Guys from the early Chinese Kenpo days have a flamboyant flair, with lots of speedy circles. The splashing hands influence is easily seen. The techniques are recognizeable ("Hey, that looks like Gathering Clouds, only flashier & more Elvis-like"). Often, cover-outs are signitory of era...Chinese kenpo flowery hands days, as the feet move, the hands are circling about like doing a hula. Later years, they either maintain shifts between complementary positions, or barely move at all.

Pre- CK, still a recognizeable kenpo tech, but very robotic and deliberate, with the moves looking more like a Shotokan BB trying to emulate kenpo.

Post CK...the emphasis switched to more positioned, pinning, and rolling checks; power somehow got de-emphasized, and some of the slappiness and hopping-around foot maneuvers became more emphasized.

Towards the end, as he was working on refining the concentric circles and directional momentum model, some of the CK stuff became more prominent, but without the wasted floweriness. The hands whip about more than in the KK or AK models, but have greater directional harmony and more solid authority than in the CK model.

Watch the old black and whites of Parker on Mr. Sullivan's site. Earliest days = robot. Then, late 60's/early 70's, flare and flash. Late 70's/early 80's, techno-focused speed stuff, but with almost no pre-chambering (AK). Late 80's, ...watch the old man, and watch Frank Soto, and watch for the similarities; Soto does a good job of emulating the concentric circles signature movements in his upper carriage. You can see the progression.

And if you get on the mat with Parker-boyz from different era's (guys who trained, then either broke off and stayed where they were stylistically, or semi-retired and then came out of the woodwork 20 years later like a motion time capsule), you can see the emulation of where Parker was at the time...you can date-stamp the decade they trained in by how they move.

Be good,

Dave

 

[IWishToLearn]

The very early days were more robotic. Mr. Parkers woprkouts with peers and guides did not stop when he left Hawaii. As he continued to investigate approaches, these became influences that flavored his approach. Depending on where he was at in his own journey, the students learning from him would often reflect that flavor.

I've met and trained with a bakers dozen of 1st gens, many from different "era's" in Parkers development. Guys from the early Chinese Kenpo days have a flamboyant flair, with lots of speedy circles. The splashing hands influence is easily seen. The techniques are recognizeable ("Hey, that looks like Gathering Clouds, only flashier & more Elvis-like"). Often, cover-outs are signitory of era...Chinese kenpo flowery hands days, as the feet move, the hands are circling about like doing a hula. Later years, they either maintain shifts between complementary positions, or barely move at all.

Pre- CK, still a recognizeable kenpo tech, but very robotic and deliberate, with the moves looking more like a Shotokan BB trying to emulate kenpo.

Post CK...the emphasis switched to more positioned, pinning, and rolling checks; power somehow got de-emphasized, and some of the slappiness and hopping-around foot maneuvers became more emphasized.

Towards the end, as he was working on refining the concentric circles and directional momentum model, some of the CK stuff became more prominent, but without the wasted floweriness. The hands whip about more than in the KK or AK models, but have greater directional harmony and more solid authority than in the CK model.

Watch the old black and whites of Parker on Mr. Sullivan's site. Earliest days = robot. Then, late 60's/early 70's, flare and flash. Late 70's/early 80's, techno-focused speed stuff, but with almost no pre-chambering (AK). Late 80's, ...watch the old man, and watch Frank Soto, and watch for the similarities; Soto does a good job of emulating the concentric circles signature movements in his upper carriage. You can see the progression.

And if you get on the mat with Parker-boyz from different era's (guys who trained, then either broke off and stayed where they were stylistically, or semi-retired and then came out of the woodwork 20 years later like a motion time capsule), you can see the emulation of where Parker was at the time...you can date-stamp the decade they trained in by how they move.

Be good,

Dave

I'd be interested to see who fits where of your Baker's Dozen. I tried to PM my question but copy/paste don't like me today.