The second KenpoWorld.com interview is with 7th Degree Black Belt Brian Duffy. Mr. Duffy is my instructor, and I must say that after reading his responses I was all the more proud that he is.

Make sure that you check out his October Texas Spirit camp listed in the main section below.

As with the last interview, the format is the same. Everybody gets pretty much the same questions and the answers are unedited.

Oh, and some of you have asked about reprinting and reposting. That's fine with me as long as you cite the source, www.kenpoworld.com,
and you aren't trying to make money off of it.

And now, on with the show...
JWT

Interview with Brian Duffy, January 2001

1. What style of Kenpo do you practice?

I practice the American Kenpo System as developed by the late Senior Grandmaster Ed Parker. It uses a logical and scientific approach to combat that emphasizes principles and concepts of why you do a technique instead of just how you do a technique.

2. Who were your major influences in the martial arts?

My major influences would have to be all the great teachers I have had the good fortune to study with.. my last formal instructor Ed Parker, my instructor before him Gary Swan whom I trained with from Purple through 4th Black, Mr. Swan's instructors-Steve Labounty and Tom Kelly-who I have worked with in training camps and seminars for over 25 years, and a host of other instructors too numerous to mention who I have had the opportunity to work with in seminars and camps. I have been fortunate to have trained under people who are secure in their martial arts abilities and encouraged me to expand my knowledge base and expose myself to good training whenever the opportunity presented itself.

3. What books would you recommend for the Kenpo enthusiast?

All of Mr. Parker's Books are great reference materials for his art.

4. What is your current rank and what steps do you go through to attain that rank?

I am a 7th Degree Black Belt. Mr. Parker promoted me to 5th Black in January of 1989. When he died I was left without a teacher and did not actively seek any higher rank. At a taining camp that I promoted in 1994 the American Kenpo Senior Council (AKSC) was formed and I became a member of that organization and advisory to the Council itself. One of the AKSCs main missions was to lend more credibility to tests for 5th Black and higher. I was asked to prepare to test for 6th Black by Steve LaBounty, chairman of the AKSC in may of 1995. I was part of the first AKSC test in October 1995 along with Tommy Burks who tested for 5th, John Sepulveda who tested for 7th, and Bob Liles who also tested for 7th. Our testing panel consisted of Steve LaBounty, Tom Kelly, Bob White, Richard Planas, and Frank Trejo. At my annual Texas Spirit Camp in October 1998 I was promoted to 7th Black by AKSC chairman Steve LaBounty for my contributions and efforts to spread the art.

5. Why did you begin studying the martial arts? Why Kenpo in particular?

I began studying martial arts to learn self defense. I was lucky enough to happen upon a Kenpo studio to start with. I knew nothing about different styles of systems.

6. What has made you decide to stick with Kenpo?

The Kenpo of blend of linear and circular movements is a very good mix for me. Through having a base in Kenpo I have been able to adapt to other styles of martial arts quite easily. After I got my Black in Kenpo I trained in Tae Kwon Do Moo Duk Kwan and received a Black in it. I have attended training camps by Okinawan Karate groups and adapted well to their techniques. I also trained some in Tai Chi Chuan, Hung Gar and Choi Li Fut Kung Fu and was very comfortable with those arts. The linear movements developed in early Kenpo training made the Okinawan and Korean techniques comfortable while the fluid circular movements developed later in Kenpo made the kung fu techniques comfortable as well. Kenpo is also much more comprehensive in its approach than a lot of other arts I have seen. There are so many aspects to the Kenpo system that there is always something to keep you interested.

7. Other than Kenpo, are you studying any other martial arts?

I am starting to do Tai Chi Chuan again. We also do some basic Brazilian Jiu Jitsu grappling drills in the studio to help with our ground fighting skills.

8. What martial arts organizations you belong to and what positions
do you hold in those organizations?

I am president of the American Kenpo Federation and I am a member of the Executive Board of the American Kenpo Senior Council.

9. What is your curriculum like?

I use a curriculum I developed in the late 1980's which is a restructure of the standard American Keno curriculum. We have 10 techniques for Yellow, 16 techniques for Orange through Green, and 20 techniques for 3rd Brown through 1st Black. This gives you your 154 base techniques at 1st Black along with all the 1st and 2nd sets and Froms Short 1 through Form 4. Extensions to techniques and Forms 5, 6, and 7 are taught for 2nd through 5th Black. This curriculum takes the "front end load" off the lower charts and provides a more stair stepped approach to introducing the material to the student. All of the new charts are set up according to the "Web of Knowledge" just as in the original curriculum. There is an accompanying children's curriculum that allows for an easy transition to the adult curriculum when the student gets too old for children's classes. I presented this curriculum to Mr. Parker who studied it and gave me his blessing to use it. He also sent it out to other instructors who were investigating alternative curriculums for them to try. He often "field tested"
new ideas that way. When he passed away the IKKA sanctioned only
the 24 technique curriculum as written in his Infinite Insights books. The purpose for any structured curriculum lies in its ability to successfully impart the skills and knowledge of the system. For many instructors the original 24 technique curriculum works just fine. I however feel I am better able to develop my students' abilities with my curriculum as use it as the standard for American Kenpo requirements for rank.

When dealing with curriculums you must weigh out the quantity versus quality issue. The old saying "One technique mastered is worth a thousand learned" is worth considering. Sheer volume of material taught for rank doesn't necessarily mean the student will be able to effectively apply those technique, and isn't effective application of technique what we want? More emphasis should be placed on internalizing the techniques than on just introducing new movements. There has to be a happy medium between refinement of technique and introduction of new technique. This is what my curriculum attempts to achieve.

10. How would you describe the ideal student?

The ideal student has a desire to learn, listens to his instructor, the time to devote to practice, and the discipline to stick to it even through those training plateaus that occur. He/she will also have a questioning mind to try to dig deeper into the art for a more thorough understanding. He/she will be loyal to their teachers but honest with himself about where the best place is for his development. If he moves on to a new teacher he should never fail to credit his previous teachers for their part in his development.

11. How would you describe the ideal instructor?

The ideal instructor is technically proficient, enjoys working with people, is a good communicator, and cares about his students' progress. He tries to make his classes fresh and enjoyable but maintains a realistic attitude about training for self defense. He strives to push each student to their maximum potential and tries to bring out more from them than they thought they could do.

12. What do you expect from a Black Belt?

A Black Belt practitioner has reached a level where he has a thorough understanding of the basic concepts and principles and is technically proficient in the application of those concepts in all aspects of their art: basics, self defense techniques, forms, and sparring. At this level he is prepared to begin a more thorough study of the art.

13. How would you suggest maintaining quality of instruction at satellite schools?

The use of a standardized curriculum is a good start for insuring quality instruction at satellite schools. That way all students are taught the same things at the same levels. There still remains the problem of trying to ensure the same level of proficiency in application of technique sat any given level. Regular visits to satellite studios by qualified senior instructors as well as training camps and seminars help. Also requiring testing at certain levels only by authorized testing personnel allows for better control.

14. What are you doing to keep up your Kenpo skills and increase your knowledge?

I make an effort to work out with my Intermediate Class twice a week. This includes a 30 minute cardio session prior to the 1 to 1 = hour karate class. I make an effort to attend seminars that are offered in my area whenever my work schedule permits. I sponsor an annual training camp in October and fly in the AKSC Executive Board. This allow us all to share knowledge, concepts, principles, techniques, and ideas with each other.

15. What areas of Kenpo do you think that students should focus on?

Kenpo is such a multi-faceted art that it is all but impossible to develop full expertise in each and every diverse section. A practitioner should make every effort to develop himself (or herself) in each of the major divisions of the art: basics (including forms), self defense techniques, and sparring. Those should go without saying. But then you have instructors that specialize in other aspects and variations. People like Ron Chap'el with his Sub Level 4 that includes locks, submissions, pain control and compliance, as well as nerve strikes and knock out points. Then there is Bob White whose studio has produced more International Karate Championships trophies and has produced more fighting champions than anyone else in Kenpo that I can think of. Then there is Huk Planas who is considered a living textbook on the numbered forms by many people in the art and who emphasizes the ability to graft and flow from technique to technique and also incorporates lock flows and Filipino stick and knife influences. These are just a few of the people who have emphasized different aspects of the art. Mr. Parker used to refer to American Kenpo as a "system" and said each individual would develop his own "style". Most folks style is fairly mainstream but you can see there is plenty of opportunity to explore other facets. It's hard to cover all those facets.

16. How do you feel about adding new material to the art?

I see no problem with adding new material to the art if it serves the purpose of better developing the student. I feel the American Kenpo curriculum is very thorough in its coverage of technique. As such any new material would best be kept as optional unless it was shown to cover a topic of importance as yet not addressed elsewhere.

17. How do think Kenpo practitioners today compare with those of 20 years ago?

Kenpo students now are generally more technically and intellectually proficient than 20 years ago. The students of 20 years ago were tougher than most of their modern counterparts. Back then the predominate
segment of a karate school's students were still young males in their late teens to early 20's. The training was more militaristic in nature and a certain amount of contact was a given. Now with most successful studios you have a very large children's group as well as families. More emphasis is placed on the benefits of confidence, respect, discipline, and positive attitudes. These are all good but there is not as much emphasis on developing physical and mental toughness. With instructors wanting to keep students as well as avoid injury lawsuits contact is minimized in many studios.

18. What do you think students will be like 20 years from now?

I have no idea how students will be 20 years from now. Hopefully more technically and intellectually proficient and tougher as well.

19. What do you think is the biggest misconception about Kenpo?

Kenpo's biggest misconception is that all types of Kenpo are basically similar. I have seen so many people doing Kenpo that is not even remotely close to the system I do. There is American Kenpo, Chinese Kenpo, Shaolin Kenpo, Okinawan Kenpo, Kosho Ryu Kempo, Shorinji Kenpo, Ryukyu Kempo: the list just goes on and on. Many of these systems are diametrically opposed to other Kenpo systems in principles and application of technique.

20. What advice do you have for the aspiring student?

Find a good teacher, listen to what he says, practice each day. Do not judge yourself according to other people's abilities. The study of the martial arts is all about personal development. Take responsibility for your own development and make yourself the best you can be. A good teacher can show you a good path to take but you have to walk it by yourself.

Mr. Duffy also has a section in the Who's Who here.

This interview was first published on Kenpoworld.com
(This website is no longer active.)