I have found that when I carenza I end up using the same patterns and basic strikes repeatedly, and when I do try to bring in something else my form really goes out of the window. So I was wondering if it might be a good idea to work out a set carenza to work through all my tools rather than just my comfy ones, or whether I should just try to bring things in on the fly? How do you do it?
I think there are a couple of ways to approach this. A) As you say, develop a set carenza "form" - one that I have is the "Shadowboxing" form from Bobby Taboada's Balintawak (not sure if it's still in his curriculum or not; heard recently he's made some changes to the curriculum but I don't know what they are). B) Work your freestyle carenza very slowly. Try to spot your repetitious movements and try to integrate other, less frequently, used movements. When your form goes out the window, keep doing that motion (or maybe put it into a cycle with a few other comfortable motions) until it cleans up some. C) Don't worry about it Carenza is what you feel at that moment. If you feel 100 redondos, do 100 redondos. Variety is nice. But we each have preferences in our movements based on our individual body, experience, and habits. Nothing wrong with it at all. Check this video: http://www.impactacademy.com/videos/show_vid.php?video=Carenza.wmv You'll notice that I have several motions that I do over and over again. Some of them come out because I've drilled them so much. Some of them come out because they suit my body. Some of them come out because they suited my mood at that moment. But flowing and not getting hung up in the moment is, IMHO, what Carenza is all about. It's like moving meditation. Be aware of everything, but don't let your mind get "captured" by any one thing. Flow, play, have fun. Mike
Hi Fergie We have lots of set "Amarra" in Doce Pares that serve this very purpose. here are descriptions of some and video clips on my Doce Pares website at www.docepares.co.uk
Amarra Here are the direct links to the relevant pages.... Amarra page Twirling exercises with video clips It would be well worth learning our striking notation too if you plan ontaking notes & making up your own combinations.
Thanks guys, I'll take what you said and vid clipped and put it into use somehow and see how it goes. I think I should also get a lighter stick to carenza with until my wrist and grip get stronger. Yoda I have enough trouble remembering the terminology for the arts I already study without adding in anymore.
I'm not talking about terminaology. I mean the figures we use to denote the various types of strike - once you have them it makes taking notes a lot easier as you just draw what you see rather than trying to remember a set of terme or write a written description. Here's an example of what I mean...
Ah right well I do something simillar, so tat ain't too much of a stretch. The twirly hit (arko?) I haven't seen used before, so I'm thinking that that strike is not used in the Lacoste/Inosanto style I'm learning. I don't like the look of it either, or what it would do to my wrist, Also seems more designed for a sword than a stick strike. If not how does it work?
The arco works verywell with a stick. My instructor teaches it as part of his curriculum and Lacoste/Inosanto is at the core of that curriculum so I'd guess that it is in Lacoste/Inosanto. But I could be wrong. He may have pulled it from his Doce Pares or Balintawak background. As to how it's used, one way is as a feint. You fire a shot, they respond, you use the arco to go around their response. You can use the arco as multiple strikes. You can use the arco to quickly change lines or levels. You can use the arco to clear an obstacle on your way to a hit. I'm sure there are other uses. But those are the ones coming to me most quickly right now (when I should be asleep ) Mike
Mike's about right with some of the many applications of arko. It's from my Doce Pares training. It should in no way be hard on the wrist if done correctly. I'll be in Glasgow sometime soon -maybe I can show you?
Would it be right to say arco could be used as block then strike, or should that be regarded as 2 moves? ps I like those diagrams Yoda, a lot more descriptive and easier than learning the names.
Yes, an arco could be used as a block then strike. Though it would really be more of a "deflection" than "block", but the principle's the same. Mike
Not sure about the spelling here but the acro seems simmilar to the fleuretti, but they can have more than one loop. Is the acro limited to one loop?
Hey Fergie Boy, I have totally the same problem with my carenza. I put it down to a mixture of lack of talent and creativity for myself! Anyway I think we've both come to the same conclusion that we need some kind of "form" to follow in order to give us some building blocks on which to base eventual free practice... There is some good information around on the internet, videos and in books but all limited use to me for a variety of reasons: 1. I don't have a computer at home so any useful clips etc are left at work, 2. In general videos are too expensive and not specific to this particular problem, 3. Unless really well designed its hard to extract correct dynamcs from the photo sequences in books. I'm not sure why we don't do forms but I think it comes down to the JKD slant of my club and the fear of such "classical" methods. I'm still in two minds... However my latest develoment is a PDA that plays short vid clips so I can now take these home to have a look at. Other than that I'm a bit stuck really... Mike (Pesilat) I've heard the "Shadowboxing" form from Bobby Taboada's Balintawak mentioned before (maybe on the ED?) - where did you get this from i.e. how did you learn it? By the nice advice about the carenza and good vids - I accessed them without the usual probs I get on the Internet. Do you have more in the pipeline? Also just a general heads-up to anyone that's interested as Yoda's websites have been a great source of information to me. Added to the fact that we have access to his knowledge via MAP I think we are very lucky indeed - I look forward to future updates! As for the arko/floretti discussion... I began using the arko after accessing info on Yoda's website. Just becasue your aren't taught it doesn't mean you shouldn't use it I reckon. Anyway later on I was taught the floretti and realized that they are in principle pretty similar. One point that was made though is that the movements are less about rotating the wrist and more about using body mechanics to manipulate the weight of the weapon whilst in movement - I haven't quite go this yet. They way this was demo'ed was with a heavy garotte, an axe and a sword all of which woudl be too heavy to manipulate only using wrist control especially over a length of time (say in a fight/battle) correct body mechanics are essential to take the strain off the wrist - the movement of the wrist is used to guide the weapon. As Mike pointed out there are many uses and its a nice technique to add especially if you use the first movement more as a feint. Probably doesn't look quite a pretty when used in a combative situation of course - I mean are you likely to get 3 strikes of a floretti in the heat of the moment?
I learned the form from my instructor, who was a student of Bobby's. I also did the form at a seminar with Bobby in '95. I will have more vid clips on the website. But they're not really planned. I just shoot them to help explain something, or I pull them out of video that's previously been shot (i.e.: the Montage from the Flexible Weapons Workshop). I'm teaching a workshop at the end of April in Muncie, IN that I'm planning to film. I'll probably have some more vid clips from it to post Mike
