Where I am after I ‘block’ not only depends on my footwork but also my attackers reaction to my response. So much of our kempo involves us getting to the side of an attacker or behind them , so the question becomes speed versus technique. A big criticism I heard of SK was that it was primarily built to be effective for young athletes only. Once again I re-examined my kempo and found something interesting, so see if this works for you as well. If my block sends a ‘stop’ signal to the attacker then I have to work harder to get where I want to go. However, should I change my blocking approach I can draw a serious attacker into a place where little or no effort is needed on my part to get around them. This, of course, at first, works less effectively against an uncommitted attack, yet in the end even with when dealing with those wary attacks you can win with much less work. Try it out and let me know.
marlon
When I teach two kata, I emphasize that it tends to have the theme of ‘draw the opponent in and strike’, taking advantage of timing and distance to invite the opponent to walk into your strikes.
I found that taking this approach really helped with combination 15.
Excellent t apply some effective fightng concepts to the practice of forms. So often bunkai/ applications focus on a set move instead of how to fight. Do you see this as someone particular to kempo or is it prevelant in other styles? Here is another question, and I realize you are not a big proponent of the ” animals” in Skk, Matt, but which animal or animals does this concept represent to everyone?
Of coure getting around is a dragon concept but the anmal that let’s the attacker run into strikes is for me the leopard.
It’s funny, I think of the crane as an ‘evade and let the guy run into it’ kind of animal.
Marlon I believe this is one of those staples that makes kempo “kempo”. As kempo practitioners we want to use certain physical attributes to our advantage. Getting to the side or behind our attacker allows us to manipulate the situation without the attacker “knowing what we did or if we can do it again”, to borrow a phrase from prof Rebelo. Sight obstruction is the reason for setting up the head the way we do whether it be a tiger claw or palm to the face (attacker can’t see through your hand) or a backfist to the temple (turning their head to the side). When we evaluate what makes kempo “kempo” I believe sight obstruction is one of those underlying principles.
It’s definitely a key principle, and it’s why things like body contouring and obscure elbows are such a plus.
Matt i love that for two kata!! of course, it is there but i never thought of teaching that way. Thanks.
Justin, sight obstruction is a good way of expressing that concept.
I look at the leopard more than the crane to have the opponent run into strikes when i am thinking of quick and solid power blows, slamming into the attacker from varying angles. The crane for me is more about disrupting the attacker’s balance and due to my emphasis on the non strength aspect of this animal i tend to move out of the way more with my cranes
Matt what is body contouring in kempo?
The crane can be a very powerful animal — 6 foot wing span crushing in on an opponent like baseball bats will leave a mark.. The leapord for me is like the boxer and it attacks the limbs of the person attacking
Contouring is when you use one limb or part of a body as a guide to target another. For example, if you do an outward block, you can use the arm as a guide to reach the neck without need for a visual contact since you can just follow the arm to reach the neck. Another example might be to do a hammer to the groin and slide right up to the chin with an elbow while the strike stays ‘out of sight’ for the opponent.
It’s more of an EPAK term.
http://www.bakerfamily4.net/kenpo/terms.htm#idx_C
Thanks Matt. i have always called that ‘anotomical seeing’. It is a powerful tool.
where did you get this phrase “Anatomical seeing?”
That one i just made up as I was explaining the idea to some students years ago.