Okinawan/Japanese interpretation of the “martial fist” is well taken. From that perspective in general, and the Japanese interpretations in particular, the “fist” has always been an interpretation in “karate-do.” With “do” literally meaning “way,” it was always a matter of whatever the style head wanted. It was always doing it his “way” as with every other aspect of their discipline's execution. With disagreements surfacing over time, these contradictions in execution usually led to the creation of offshoot styles where a newer or different interpretation or “way” would prevail.
While the Okinawans imported Chinese Practitioners of Chuán fa/Kenpo to teach them to fight, in its migration to Hawaii the combination of the Okinawan Influence and Japanese cross-training of the progenitor of the philosophy of modern Chuán fa became heavily infused with the Japanese Culture through Henry Okazaki and Dan Zan Ryu Jiujitsu/Karate-do, in spite of its Chinese Roots. It was Mr. Parker who returned the activity back to its roots with his Chinese Kenpo in the sixties and training with Sifu Ark Wong once settling on the mainland in Pasadena.
Prior to that, the obvious Japanese Influence was the prevailing methodology leaning heavily on the Jiujitsu component in conjunction with the punching and kicking of Karate-do. Keeping in mind that Mr. Parker not only boxed as a teen but entered his training with Professor Chow having already earned a Shodan in Judo. Therefore, along with Sifu Chow’s experience, grappling was a large part of the “Kenpo” of the time, as well. Moreover, Mr. Parker’s diploma listed him as a Shodan in Karate-do, Jiujitsu, and Kenpo, (signed by Thomas Young as Sifu Chow was illiterate).
While there are many interpretations of execution for some things, there are others that science demands to be executed in a singular fashion for maximum physical efficiency. The "making of a fist" is one of these things. Unfortunately, most focus on the end product or the “what” in executions with the reality is science tells you the “how” of the execution.
Philosophically, turning the human body into a weapon is a goal in martial interpretations. The utilization of the “fist,” means that while the hand is the “Point of Contact,” it is the goal of striking with the entire body and not just the hand or even the upper body. The proper formation of the fist leading to the proper posture will scientifically give you what the philosophy suggests. So, while all of the fist positions or postures have a measure of effectiveness, turning the hand into a weapon has some very specific methodologies predicated on how you intend to use it, AND a clenched hand is not used exclusively as a fist in any martial discipline I know of. Therefore, to make a fist posture with the idea or intent of it only being used as a “punch” would be incorrect as well. Mr. Parker used the analogy of a claw hammer. You may strike a surface with it in many ways, however, if your goal is to strike and drive a nail, the weapon is designed to be used only one way effectively and efficiently.
The Fibonacci Fist, based on the Fibonacci Sequence of execution does just that, with implications that go far beyond just punching. We tend to forget, and at the end of the day, we’re supposed to be teaching interactive body mechanics of the Chinese, not the cultural proclivities of a “do” art form of personal discipline found in places like Japan.” In the author’s defense, He begins with the origin of his perspective. However, the Chinese Infused perspective of the Modern Kenpo Systems do not, or should not use that methodology.
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