One of the forms that I have learned a great deal from is Sho Tung Kwa. It is the form the GM Villari claims contains all the ‘secrets’ of his take on kempo. During my research I came across one of the alleged meanings of this form: hands and feet in harmony. This lead me to a particular practice in the way I do kempo. I actively feel to get close enough to take out the legs without much change in technique. Of course, to attempt to think about this in the middle of a fight (breath) would simply slow me down and end up being awkward to explain to the students when (if) I woke up in hospital. So, we add it to the practice of all our kempo, from simple buckles to all out sweeps, we practice every technique with an awareness of these poosiblities. The intention is that they will just ‘be there’ should we ever need them. So, now for the next two months we, in my dojo / kuen will focus on this and it is my intention to teach this as a permanent concept in all our techniques from now on…if it is there.
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I feel this is a huge element in kempo that was underserved in my early training. As time went on and as I gained a more varied experience, I added many of these concepts myself. That’s one of the reasons I felt so comfortable with Professor Kimo’s art. He was doing all of the things I felt were missing in my art all along.
I agree with your assessment here wholeheartedly.
Is there a glitch
No it’s just me
Anywho , I feel the same way, Matt, about training with Prof. Kimo and studying under Shihan