By Derek Ence
Introduction
Recently, the AKKI has endured some unwarranted criticism
for doing something different from what Mr. Parker established
as his standard curriculum. (Mr. Parker was anything
but "standard.")
When questioned about it we unabashedly state that
its true — we are doing some different things.
For example, we have consolidated Short One with Long
One, Short Two with Long Two, Short Three with Long
Three, and added many more things to create three fabulous
new forms that teach everything their predecessors taught,
plus much more. Those familiar with these revised forms
should already know some of the major themes that they
teach. They contain the themes and principles contained
in the original short and long forms and more. For instance,
Form One contains the Master Key Movement Patterns,
and Form Two contains the four Master Key Timing Patterns.
Forms One and Two contain an Introduction and a Conclusion.
Form One’s Introduction contains the Master Key
blocking patterns. The Conclusion contains Master Key
defensive hand movements against a knife attack. Form
Two’s Introduction focuses upon upper case striking
patterns, and its Conclusion, lower case striking patterns.
Form Two is particularly interesting in that it expands
the movements contained in Short Two and Long Two creating
new techniques, each one having a name; techniques such
as Darting Spears, Broken Wing, Destructive Pendulum,
Whipping Pendulum, Flashing Claws, Unfurling Mace and
several others. Also, Form Two contains Master Key club
movement patterns, though they remain concealed to those
unfamiliar with the new AKKI club set.
Form Three is important because it expounds upon circular
energy, which is essential to fill dead space in a logical
manner and create tremendous power through tail end
speed. This energy is utilized in many ways, including
complementary upper and lower case movements. For example
there are at least two instances where you are sandwiching
your opponent between your hands (uppercase) and your
knee (lower case). You perform Locked Wing, which is
an example of a sandwich between the right hand and
right knee, and also Crossed Twig, which incorporates
a sandwich between the left (and right hand) and left
knee. These sandwiching movements initiate extremely
dynamic stomps and foot maneuvers when combined with
our explosive specialized timing patterns built into
the movements, more so than any other Kenpo Form.
One of the reasons these changes were made was to make
room for new material to supplement American Kenpo as
we know it. In addition to the forms, we have added
some new, very explosive techniques to complement the
ones Mr. Parker compiled. We have added new drills,
sets, and weapons training. All of the original techniques
are part of the new curriculum, plus many more. While
some of the original techniques have been put into an
"optional" category, this simply means that
they will not be tested at the International tests.
AKKI members are still encouraged to learn all they
can, but the AKKI recognizes that as we add more material,
we need to make room for it in our limited training
time, as we cannot add more hours to a day no matter
how hard we might try. The wisdom in this approach is
becoming evident through the improvements demonstrated
in the recent International tests, where the results
have been nothing short of phenomenal.
Even with these additions, we would be remiss to ignore
the material that has been passed on to us by Mr. Parker,
thinking that we have learned all we can from it. This
article will explore Form Four and its precious contents.
I do not doubt but that it too will undergo some transformation
at some point. But when and if it does, its successor
will not discard what the predecessor teaches, only
expound upon it. Therefore, it is very beneficial to
revisit Form Four, learn from it, and appreciate it
for what it is – a beautiful form containing many
important Kenpo principles. But remember that even beautiful
things can be improved.
Opposites and Reverses
The principle that "to every concept, principle,
move and theory there is an opposite and reverse"
is all too familiar, but many fail to grasp the full
meaning of the phrase. One can spend many hours studying
its significance only to learn that there is still much
more to discover. This is because the statement contains
an eternal truth that not only applies to Kenpo, but
to our existence. It is the literal expression of the
yin-yang concept. Without evil there is no good; without
pain there is no pleasure; without virtue there is no
vice. This philosophical concept is as applicable to
everyday life as it is to combat.
Understanding opposites and reverses opens a realm
untapped in forward motion. Its practice creates an
exponential expansion of already acquired knowledge.
For example, if one already knows three moves (1,2,3),
application of the reverse concept creates yet another
pattern (3,2,1) without having to learn one single new
move. Application of the concept of "opposites"
creates further possibilities as those same moves, either
the original set or its reverse, are executed by opposing
body parts. For example, the inward block/front kick/outward
handsword of "Delayed Sword" is simply the
reverse of the outward block/front kick/inward handsword
in the technique "Sword of Destruction." Then
further applying the concept of "opposite,"
one can then execute both techniques with the left hand
and foot forward. Thus, knowing "Delayed Sword"
and applying the concept of "opposite" and
"reverse," one can easily create four variations
for use. There remain yet many more possibilities originating
from the Master Key technique, "Delayed Sword,"
but the above example should suffice to demonstrate
the point.
Another example is the downward outward block/inward
elbow sequence of "Deflecting Hammer." Reversing
this sequence provides the inward elbow/downward hammerfist
sequence in many of the Kenpo techniques, such as "Fatal
Deviation." These are very simple examples of this
more sophisticated concept. (Close relatives of the
"opposites and reverse concept" are the equation
formula, rearrangement concept, and the returning motion
principle, both of which are concepts that manipulate
a given pattern of moves in their application. However,
discussion of these additional concepts would broaden
this endeavor beyond manageable parameters.)
Opposites and Reverses in Form Four
Everyone knows that the main theme of Form Four is
defensive strategies against kicks, punches and kick/punch
combinations. But this knowledge only scratches the
surface. Looking deeper into the form, one soon realizes
that it is a veritable incarnation of the concept of
opposite and reverse. Form Four seems to have been created
out of the opposite, reverse or both of a given pattern.
Below are a number of these opposites and reverses contained
in the form. Remember, these are only some of the examples
contained in the form; there are many more that I have
intentionally chosen not to describe.
1. Protecting Fans -- finger poke simultaneous with
kick using the opposite leg
Darting Leaves -- finger poke simultaneous with kick
using the same leg
2. Unfurling Crane -- arms move in opposite directions
simultaneously
Destructive Kneel -- arms move in same direction simultaneously
3. Flashing Wings -- right hand weapons are: (1)
inward lower case, (2) outward uppercase, (3) inward
uppercase
Gathering Clouds -- right hand weapons are: (1) inward
uppercase, (2) outward uppercase, (3) inward lower
case
4. Circles of Protection - defensive movements on
a horizontal plane
Dance of Darkness - defensive movements on a vertical
plane
5. Circles of Protection -- circular defense and
offense beneath attacking punch
Prance of the Tiger -- circular defense and offense
above attacking punch
6. Thundering Hammers (transitions) -- twist away
from opponent
Unwinding Pendulum (transitions) -- step twist into
opponent
7. Circling Windmills -- inward circular strikes
Reversing Circles -- outward circular strikes
8. Snaking Talon -- inward/outward circular defense
w/ same hand
Circling Fans (modified) -- outward/inward circular
defense w/ two hands
9. Snaking Talon -- pulling hands leading to kick
Circling Fans -- pushing hands leading to kick
10. Snaking Talon - pulling hand motions bring opponent
into kick
Circling Fans -- kick brings opponent into offensive
hand motions (demonstrating two ways to create borrowed
force)
12. Defensive Cross -- left hand acts as ceiling
in sandwich
Bowing to Buddha -- left hand acts as floor in sandwich
13. Five Swords -- back up mass is behind weapon
(pushing methods)
Twirling Hammers -- back up mass is in front of weapon
(pulling methods)
14. Prance of the Tiger - backknuckle strike with
kick
Shield & Mace -- hammer fist strike before kick
Circling Fans - thrusting backknuckle strike after
kick
15. Prance of the Tiger -- block and then strike
with opposite hand
Shield & Mace -- block with strike with opposite
hand
16. Protecting Fans -- inward/outward parries
Destructive Kneel -- outward/inward parries
17. Flashing Wings (transition) -- outward/inward
block (double factor)
Twirling Hammers (transition) -- inward/outward block
(double factor)
18. Thundering Hammers -- strikes descend upon opponent's
targets
Unwinding Pendulum -- strikes ascend to opponent's
targets
19. Destroying Foundation
Prance of the Tiger -- kick w/ rear leg to opponent's
lead leg, then kick w/ lead leg to opponent's rear
leg
Shield and Mace -- hand strike to front leg, kick
to rear leg
Unwinding Pendulum -- kick w/ rear leg to rear leg,
kick (buckle) to front leg w/ same (rear) leg
20. Prance of the Tiger -- side kick w/ front leg
Shield and Mace -- side kick w/ rear leg
21. Prance of the Tiger - blocking on the downside
of the circle
Reversing Circles - blocking on the upside of the
circle
22. Shield and Mace - kick while pulling hands to
opposite side of the body
Snaking Talons - kick while pulling hands to same
side of the body
23. Prance of the Tiger - thrusting sweep to front
leg
Unwinding Pendulum - thrusting sweep to rear leg
24. Protecting Fans - step-drag foot maneuver
Gathering Clouds (transition) - drag-step foot maneuver
(diversified angle)
25. Circles of Protection (transition) - front crossover
foot maneuver
Dance of Darkness - rear cross over foot maneuver
As stated before, the above list of opposites and reverses
are only a sampling of the many contained in the form.
It is by no means an exhaustive roster. Your challenge
is to find others. If you would like to share your ideas,
please email
me with your thoughts.
Corollary Concepts Contained in Form Four
As in anything in Kenpo, nothing is only what it seems
to be at first glance. By this I mean there is never
just one meaning to anything we do. Form Four contains
other corollary themes and principles. One of these
corollary themes involves the gaseous state of motion.
All forms teach the practitioner to strike multiple
opponents at the same time if you look hard enough.
For example, Form One has always contained the opposing
motion of blocking forward with the lead hand and executing
a back elbow to an opponent in the rear. Form Two and
Three also contain this theme, though in a more subtle
way than in Form Four. One of the mass attack principles
contained in Form Four is the ability to generate power
directed in opposite directions simultaneously.
Another mass attack principle is the wall of defense
blockade created by dropping your opponent and then
using that opponent as a building block in a wall around
you. If you notice the locations of your opponent’s
body once he has dropped, you will see that you will
soon build a wall around yourself, reducing your opponents’
avenues of attack. The first part of the form concentrates
on attacks from the front 180° between 9:00 and
3:00. The middle part of the form has you moving back
and forth between the back half and the front half and
horizontally between 9:00 and 3:00. The last part of
the form focuses on the 180° in back of you between
9:00 and 3:00. Of course, it then brings you back to
12:00 to finish the form. When you are finished you
will have opponents all laying on top of each other
in a complete circle around you. Very cool. This theme
is expounded upon in Form Five. Obviously there are
other common threads woven into the Form Four tapestry,
but that is left for you to discover.
Finally, as you build this wall of bodies around you
on the ground, the form’s otherwise innocuous foot
maneuvers become lethal bone-crunching movements. In
many instances, you are catching the downed opponent’s
arm between your feet by executing a rear-cross over
and then spinning out, breaking the arm in the process.
For example, imagine that after executing the right
hand version of Gathering Clouds, that there is someone
with their arm laying just outside your right leg (perhaps
the guy you knocked out in the Flashing Wings sequence).
In the transition, you rear cross over with your left
leg over your opponent’s arm, twist into your horse
stance to place tension on the arm, and then step forward
with your left leg while executing the left side of
Gathering Clouds, thus snapping the elbow joint. Another
example of this lethal footwork is found immediately
after you have executed both sides of Destructive Kneel.
At this point, you would have two bodies lying on either
side of you. When you transition into Flashing Wings,
think of your foot work as a right twist stomp onto
the left opponent’s neck, left step out stomp onto
his kidney, then left twist stomp onto your right opponent’s
kidney, right step out stomp onto his ankle. Again,
these are only a few samples. The ability to discover
and see these concepts all depends upon your ability
to adopt a point of view different from what has been
the traditionally accepted norm.
Conclusion
As is readily apparent, the value in a form may not
be exclusively expressed in the physical movements themselves,
but in the concepts and theories the form’s structure
contains. It should be our endeavor to practice forms,
not just on the physical plane, but in the mental and
spiritual realm, thinking about and feeling what they
have to offer. The AKKI practices American Kenpo as
it has been handed down from generation to generation,
and then some. Our mission is to make it better than
what it was when we received it. That is why we say
the AKKI holds "The Art of the Future" and,
in my opinion, "The Future of the Art." (Did
you catch that opposite/reverse?)
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