Blocking on the outside

Blocking on the outside

Joined: August 23rd, 2010, 6:36 pm

November 28th, 2011, 10:17 pm #1

Seeing as how I did the BLIT video od five swords, I was wondering how y'all aproach the blocking above the elbow thing for Attacking Mace and Dance of Death.

No video for discussion yet, but, I wanted to hear from anyone that cares to chime in on how they block above the elbow without happy footin' or leaning away and breaking posture.

The video I make will include, a) pivoting the hips as the blocking arm/hand rises from the point of origin
b) point of contact, at the wrist, while the blocking arm is relaxed
c) increasing tension in the blocking arm to the point of penetration
d) cancellation of the width zone with a bracing angle

When I learned of the Thrusting Inward block in 1992 I was stunned that there was more than one inward block, and, the one I learned prior to 1992 looked and functioned (if at all) like the two I learned in 1992. Before '92 I was doing the 3 to 9 and 9 to 3 inward block. Looking back it makes sense why none of my I was getting slapped in the head when I tried to do Dance of Death with the 9 to 3 inward block.

Posture and directional harmony are compromised when trying to get around the fist to make the initial block above the elbow and below the shoulder. Add to this the tendency to wait until the punch is less than 10 inches from my face and the whole thing is a mess.

There are reasons why the basics pages of big red have seemingly redundant blocking/striking methods. The inward block of Destructive Twins is a block or strike (whichever you prefer to call it) that moves from Point of Origin and moves from 3 to 9. So that path has its place, but, not against a punch.

While working through two man set last night I found myself doing the 3 to 9 inward block and mentally chastised myself for it. Since the point of origin is the back fist to the face, this is the perfect opportunity to do the hammering inward block from BS1. Excellent!!

What do you do? How does it work for you that blocking above the elbow and below the shoulder when blocking on the outside of the arm.

Clark
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Joined: February 4th, 2004, 12:00 pm

November 30th, 2011, 7:39 am #2

The Keyword should be at or above the elbow. Not just above elbow. If you block to the right angle when you close your centerline then it should not be a problem.
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Joined: September 18th, 2009, 4:26 pm

December 2nd, 2011, 11:20 pm #3

Seeing as how I did the BLIT video od five swords, I was wondering how y'all aproach the blocking above the elbow thing for Attacking Mace and Dance of Death.

No video for discussion yet, but, I wanted to hear from anyone that cares to chime in on how they block above the elbow without happy footin' or leaning away and breaking posture.

The video I make will include, a) pivoting the hips as the blocking arm/hand rises from the point of origin
b) point of contact, at the wrist, while the blocking arm is relaxed
c) increasing tension in the blocking arm to the point of penetration
d) cancellation of the width zone with a bracing angle

When I learned of the Thrusting Inward block in 1992 I was stunned that there was more than one inward block, and, the one I learned prior to 1992 looked and functioned (if at all) like the two I learned in 1992. Before '92 I was doing the 3 to 9 and 9 to 3 inward block. Looking back it makes sense why none of my I was getting slapped in the head when I tried to do Dance of Death with the 9 to 3 inward block.

Posture and directional harmony are compromised when trying to get around the fist to make the initial block above the elbow and below the shoulder. Add to this the tendency to wait until the punch is less than 10 inches from my face and the whole thing is a mess.

There are reasons why the basics pages of big red have seemingly redundant blocking/striking methods. The inward block of Destructive Twins is a block or strike (whichever you prefer to call it) that moves from Point of Origin and moves from 3 to 9. So that path has its place, but, not against a punch.

While working through two man set last night I found myself doing the 3 to 9 inward block and mentally chastised myself for it. Since the point of origin is the back fist to the face, this is the perfect opportunity to do the hammering inward block from BS1. Excellent!!

What do you do? How does it work for you that blocking above the elbow and below the shoulder when blocking on the outside of the arm.

Clark
Make contact at the wrist and ride up to the elbow or slightly superior/cephalic of the elbow.

If you use bucking action at the wrist on the outside you might eat an elbow if his arm folds. If you don't block until you get to the elbow you might eat a fist.
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Joined: January 19th, 2004, 2:11 am

December 2nd, 2011, 11:23 pm #4

Of course that's what you intend to do, create the collapsible deflection on your opponent to your benefit?

Have a great gun carryin' Kenpo day

Clyde

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Joined: September 18th, 2009, 4:26 pm

December 2nd, 2011, 11:58 pm #5

I can see your point but I still have doubt.

Can you give an example of when/how you would use that to your benefit?

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Joined: January 19th, 2004, 2:11 am

December 3rd, 2011, 12:09 am #6

I can see your point but I still have doubt. Can you give an example of when/how you would use that to your benefit?

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Really, you doubt LOL? So, you must be the new Kenpo prodigy, with all the eclectic skills Mr. Parker endeavored to teach vicariously through your instructor.

Look, you can doubt me any time, but it's you that can't think of a reason to do what I've suggested. While I can appreciate your boldness, you're really pissing into the wind sometimes.


Have a great gun carryin' Kenpo day

Clyde






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Joined: September 18th, 2009, 4:26 pm

December 3rd, 2011, 12:49 am #7

I am a student of the art of Kenpo, I don't know about "prodigy", opinions vary : )

My doubt is with you, not Mr. Parker or my teacher.

You seem very hesitant to answer my question, and quick to jump to mockery, that's uncalled for and I'm not doing so to you.

You assume I didn't think of a reason. I did consider the scenario using YOUR suggestion of creating the elbow bend, but I don't see that your answer is better.

say, Dance of Death,
A step through R straight punch from 12, I'm stepping forward with the left foot toward 11 WITH a L inward block using bucking action at the wrist causing his elbow to bend, his elbow now in my face.

I came up with an answer using double factoring, L inward block, R outward parry, and let the left hand circle down and toward him to strike with a hammerfist, but it doesn't seem the most efficient, since I'm stepping forward that stuffs my L hammerfist (lead hand). I don't want to strike with the R because I'm using that hand to keep his elbow out of my face. To me it still seems best to block at the wrist and ride to the elbow or superior of the elbow.

I asked you for an example because I considered the scenario, and still found riding action to be preferred.

All your years in the art and you chose to respond with mockery. I question whether you know what you're talking about, you could have answered, or perhaps given a hint. I also question what you're in this discussion for? If it's the growth of the art and of greater understanding, then you have a funny way of showing it.

An instructor's job is to remove doubt, not mock the student when (s)he asks for clarification. If I misunderstand and your intention is otherwise, please clarify your purpose/intent clearly here and now.

Thank you Clyde.
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Joined: January 19th, 2004, 2:11 am

December 3rd, 2011, 1:07 am #8

All your years in the art and you chose to respond with mockery. I question whether you know what you're talking about, you could have answered, or perhaps given a hint. I also question what you're in this discussion for? If it's the growth of the art and of greater understanding, then you have a funny way of showing it.

An instructor's job is to remove doubt, not mock the student when (s)he asks for clarification. If I misunderstand and your intention is otherwise, please clarify your purpose/intent clearly here and now.

Thank you Clyde.
================================================================================================================

Give a hint? I did give a hint, but you "doubted". Dude, you argue like a frickin' Democrat. My intent was to get you to look further at why you would perform an action. What you did was "doubt", and then ask for an example, with no further thought than you had before. There is more to Kenpo than you've been exposed to, and won't be for a very long time, but yet you "doubt". Really? Sometimes, mocking is the only way to deal with "doubt", that or a very nice 2nd person perspective, which would be a form of mocking (or would that be "environment"?) LOL.

My years in the art have done nothing to temper my attitude towards people who are true Kenpophobes. By your posts to date, I'd say you are definitely a Kenpophobe. As an instructor, my job is not to stroke your emotional puppy, it's to turn you into a fighting machine that goes home after a confrontation.



Have a great gun carryin' Kenpo day

Clyde



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Joined: September 18th, 2009, 4:26 pm

December 3rd, 2011, 1:12 am #9

I can see your point but I still have doubt. Can you give an example of when/how you would use that to your benefit?

=======================================================================================================================

Really, you doubt LOL? So, you must be the new Kenpo prodigy, with all the eclectic skills Mr. Parker endeavored to teach vicariously through your instructor.

Look, you can doubt me any time, but it's you that can't think of a reason to do what I've suggested. While I can appreciate your boldness, you're really pissing into the wind sometimes.


Have a great gun carryin' Kenpo day

Clyde






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Using the Dance of Death scenario I described in the other reply

I could also use the double factor (L inward block, R outward parry) and execute a L inward horizontal elbow strike to his kidney or side ribs, (depending on availability). So that uses a weapon that fits the range.

but again, I don't see here that causing his arm to bend would be necessary, we could do the same move with riding action and not risk putting his elbow in our face.

- Chuck
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Joined: September 18th, 2009, 4:26 pm

December 3rd, 2011, 1:55 am #10

All your years in the art and you chose to respond with mockery. I question whether you know what you're talking about, you could have answered, or perhaps given a hint. I also question what you're in this discussion for? If it's the growth of the art and of greater understanding, then you have a funny way of showing it.

An instructor's job is to remove doubt, not mock the student when (s)he asks for clarification. If I misunderstand and your intention is otherwise, please clarify your purpose/intent clearly here and now.

Thank you Clyde.
================================================================================================================

Give a hint? I did give a hint, but you "doubted". Dude, you argue like a frickin' Democrat. My intent was to get you to look further at why you would perform an action. What you did was "doubt", and then ask for an example, with no further thought than you had before. There is more to Kenpo than you've been exposed to, and won't be for a very long time, but yet you "doubt". Really? Sometimes, mocking is the only way to deal with "doubt", that or a very nice 2nd person perspective, which would be a form of mocking (or would that be "environment"?) LOL.

My years in the art have done nothing to temper my attitude towards people who are true Kenpophobes. By your posts to date, I'd say you are definitely a Kenpophobe. As an instructor, my job is not to stroke your emotional puppy, it's to turn you into a fighting machine that goes home after a confrontation.



Have a great gun carryin' Kenpo day

Clyde



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I appreciate your directness. I'm not looking for a stroke job, just understanding.

Maybe I am a bit of a Kenpophobe, there's only 1 place around here I would study Kenpo at, after having visited the other 3 and comparing what they call "Kenpo". I know I have a lot to learn still.


As for my doubt, I am considering the scenario more. maybe we want his elbow to bend like that to keep his hand away from us, like if there's a knife in his hand?

I agree with you on going home safe from the confrontation. I resolve to be more open minded. Thanks Clyde.

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