Kata, Hyung tonifies the body

I was asked to do Pyung Ahn Oh Dan yesterday. In fact, I offered as it's a hyung I need to practice, so I executed it three times: once to the count, twice without a count and boy did I know about it! I'd forgotten how many different stance changes there were, and of course...the jump.

In any case, I felt like I'd had a real workout by the end of it! A martial arts lesson for us all I think: kata or hyung can really tone up our bodies if practised assiduously.

As I searched for Pyung Ahn Oh Dan I came across the shotokan equivalent (or vice versa you may argue!) pinan godan and found it interesting to juxtapose the videos of the forms.

The first one is classical Tang Soo Do hyung. The second one seems almost shotokan in its delivery but still intended as Tang Soo Do. And the third one is definitely karate Japanese (Okinawan) style kata. But all in all, similarities run through them all I find.

Last days fencing and ki ken tai

The fencing course culminates with a competition with the rest of the club. This includes fun atmosphere and prize giving so I was fairly relaxed about going along, despite not having actually fought anyone for real!

It was quite a liberating experience for me as when I have been to martial art competitions I'm always a little anxious about technique, remembering stuff, wanting to do well and not let myself down. These all buzz around my head so calming them is a process which takes up energy. Last night at the fencing tournament however I didn't mind at all! Everyone sees you are a learner due to the blue plastron beginners wear and I had nothing to prove. I went along to see how sword combat would be and to maybe get a few points on other fencers, which I did.

One thing to remark was how tired I was after each bout. I'm sure this was because I didn't really know about the correct and most efficient way to fence, but also maybe because I was lunging too much. I think more astute and experienced fencers don't need to lunge and this takes up a lot of energy. Also I was probably chasing the hit a little too much- I couldn't rely on sitting back, parrying and riposting as my technique wasn't developed enough.

My fights ended against M, a tall left-handed fencer who was very able and who thrashed me soundly with me scoring only one point on him. Afterwards in the pub he told me he'd been working on his footwork a lot which improved his fencing. He found that this could free up his mind to work on the 'point' work and bringing these two together, he said, really improved his game: foot and point working in unison. I couldn't help chipping in to add that ki ken tai (breath/spirit or shout, sword and body) was a similar concept in kendo and other striking arts. Bringing together the spirit of the attack (the raw will of the attack) with the body movement and footwork together with the strike of the weapon (be it sword or fist) gives a unity and firmness to the offence. Ki is sometimes considered as the shout or kiai and in some martial arts if the kiai is not present the point is not scored.

This concept is important on a physical level as it improves the structure of the given attack but also on a philosophical level makes the strike more complete. Movement within a traditional martial art is considered more correct if these three elements are present. This is particularly pertinent within kata or hyung practice when intent, focus and body movement are essential.

Counter riposte

The counter riposte in fencing refers to a continuation of an attack after the first riposte has been parried. The first attack has been defended and the attacker presses on his or her attack.

This made me think of something we worked on in boxing a week ago and that is to continue the attack even when your opponent is attacking. In other words parry and attack (in this case punch) a the same time. This tactic can of course yield great results but often in our kata work and one step techniques we can overlook this by assuming: block, punch, block, punch in sequence. If we don't understand the forms we can step through them in quite a linear fashion. The boxing counter punch is almost simultaneous.

This isn't to say that traditional Asian striking arts don't advocate this quick counter riposte, it's just something we need to bear in mind.

Some karateka often churn out the old chestnut, "Ah yes but any block can also be an attack". This is certainly true but I think there's more to it than simply banging in a block hard and claiming that the force would have hurt your opponent's arm/leg. This is too simplistic. Of course bunkai or the attitude of seeing and practising applications within kata is now more and more popular and we can use this within our visualisations during training. It's in these applications that we can unlock many of the more sophisticated block ripostes. for example see the following video outlining one of the very first moves many karateka make from Pyung Ahn Cho Dan (peinan or heian shodan). Here the actors show first the moves as they exist within the hyung then the interpretation. Here you will see a fierce multiple counter riposte sequence.

My fencing teacher made a point which might clarify the issue here. We were happily trying out the riposte and counter riposte over and over again with application and quiet dedication and thought we were doing a good job of it. When he came over he said that it was ok but we needed to spend less time on the blade when blocking. Parry and counter were quickly executed almost like one flowing technique.

It's easy to think of the blocks and counters within hyung to be linear and sequential. No matter how quickly you execute them they still seem like a block and punch combination whereas we should be mindful of the idea of a counter riposte without spending so much time "on the blade".

Teaching at Tang Soo Do

Tuesday night's Tang Soo Do was less sweaty and more cerebral. It's good to explore lesser taught aspects of the art and tonight meant much in-depth teaching of forms and one steps. I love to teach forms and their applications: it's somewhere you can find real depth in karate so needless to say I had a fun time and loved grilling students to make sure stances were in order. I enjoyed seeing a beginner react to my tuition and 'get it'. She was executing movements in the last phase of the step and from the elbow. A step through and punch should be one fluid movement starting from the front stance, flowing through with the step, arms engaging and body weight and momentum adding power to the torquing punch. Once I'd explained that this step and punch was one movement she stopped prodding the air and got it together! Fantastic. I hope she gets more from her forms now. Hyung is a connected and organic entity not really a series of movements. Describing it as a series of movements almost implies that the movements are disparate. It really shouldn't be considered as 35 moves nor should it be thought of as one 'process'. Usually forms can be conceptualised as 4 or 5 grand processes within one entity. (See also Rhythm in Hyungs)

On that note I am pleased to say that I learned a new form. Something I haven't done in years so it was a pleasant experience. It seems a completely different process from when I was a white belt. Back then I struggled with basic concepts such as low block or front stance or (as above) dealing with chunks of form rather than piecemeal. Now I know how to execute a low block so I don't need to expend energy on that but I do need to dig deeper into the application and rhythm (or punctuation) which is challenging but in a different way!

This is not the style of Rohai I learned but this is beautiful to see:

More on music

Dave Russell

08 July at 08:11----

Hey up Chris,

I'm trying hard to learn a piece of country guitar at the moment which comes off a tuitional DVD, which involves copying what the guy does note for note and I was struck by a parallel with martial arts. Naturally, I want to know what you think.

All the note for note stuff that we learn, like I'm doing currently, or like learning a solo, or intro exactly is like the choreographed floor routines that you have to learn in martial arts (I wish I could remember the proper word, but you know what I mean).

This then gives you ideas and armoury to engage in improvisation, which is like sparring, or combat.

What think?

Christopher Littlefair

08 July at 17:07 ----

Oh, Oh! Nice one! I think I'll be able to expand a blog entry I did about this once. And yours is a slightly different take on it.

Here's my article:http://diaryofamartialartist.blogspot.com/2009/02/rhythm-in-hyungs-kata.html

I think it is very similar, if not exactly the same sort of learning process. We drill a lot on individual techniques, then build them up into sequences (especially in forms and kata) then take it further into free fighting which is, as you say, a direct parallel with music learning. Equally each of these exercises are valid in their own right. It's perfectly reasonable to perform kata on their own just as it is to free fight. On the guitar you might happily play a known song which you have to follow: that is to say a pre-determined sequence like kata, or you might want to improvise/create new songs, like free fighting creates 'new' forms of expressing oneself in combat.

Neat comparison Mr Russell!

More music entries.

Dan gum hyung

It was hot again last night and I felt it was very difficult to finish class...but I did! There were one or two moments when I just wanted to sit out and get my breath and give my body time to stop leaking sweat! It was good to get through it though, if a little tough- lots of regular breathing bringing the breaths deep down into the belly. It was good to perform when my body was under stress; I made a real effort to not let my techniques slip whilst still trying to nourish my blood with oxygen!

Towards the end of the class the dan grades ran through Dan Gum hyung (literally short sword form) or dagger form. This is a fun form to work through and if you're using a live blade it certainly keeps you attentive to your techniques. Before we started it we shared stories of injuries through dagger form: one guy in a competition dropped the blade onto his foot and it bounced out and stuck in the floor: result...stitches! Another described was an injury from the downward thrust along the line of the arm: point dug into arm and ripped open the flesh: result...stitches!

Having just looked up Dan gum in the Muye Dobo Tongji but there isn't a section on dagger (or dan gum). Other sword forms covered in the book are: Ssang Soo Do (Long Sword) and Ssang gum (twin swords).

Applications within Pyung Ahn Ee Dan

I needed to move.

I'd missed Shorinji Kempo on Monday and despite an energetic session on Tuesday at Tang Soo Do I felt like I'd missed out tonight so I headed for the garden once my chores were done...

After having warmed up with a bit of skipping and burpees I decided to start close to the beginning and examined Pyung Ahn Ee Dan in detail particularly working through the applications therein.

The mirrored blocking and striking sequence has a lot of variety in application here but I'm of the feeling that this is most probably a block, arm lock and throw combination rather than a block and 'uppercut'-way too facile. Interestingly within Tang Soo Do there seems to have been preserved a head wrench one way then the other as we step across and up into a prepared stance for the block and kick.

I also enjoyed working through the soo do or spear hand at one extremity of the form. This is preceded by a parry (not just a flop down from the mah ki - it must be a parry) then strike.

From the strike through to the next block there is a turn involving the spear hand to be opened out and twisted behind the block to facilitate a release.

There's a lot within this form and I still need to work on it...

Korean kicks (all through the night)

This is a post in reply to Dan Prager's comment here and follows on from my previous post about which kicks are used within hyung (forms) and drills and what proportion of drills are kicking based.

This is a very good point as traditionally Korean martial arts are heavily oriented to kicking techniques, notably high kicks and jumping and spinning techniques and this can sometimes be seen in competition Tae Kwon Do. Indeed whenever I have trained with the University Tae Kwon Do club all we seem to do is incredibly tiring kicking drills with jumps a-plenty. This influence on Korean martial arts is said to come from the Northern Chinese Kung Fu tradition of high, acrobatic kicking and high stances as opposed to the Southern styles which were more 'grounded'. (Following is cut from Wikipedia: "The main perceived difference about northern and southern styles [of Kung Fu] is that the northern styles tend to emphasize fast and powerful kicks, high jumps and generally fluid and rapid movement, while the southern styles focus more on strong arm and hand techniques, and stable, immovable stances and fast footwork.").

It has to be said though that Tang Soo Do is Korean 'karate' and effectively a traditional martial art with it's main heritage in Japanese karate. Karate's name was originally taken from the logograms for Kara and Te (唐手): China and hand. It was later (~1930s "a few years after I came to Tokyo...I was then able to suggest that the art be renamed" ref1) that Funakoshi changed the meaning to 'empty hand' (空手) for political and ideological purposes. Tang Soo also means China hand. 

So we see the semantics of the names but are the arts themselves similar? It's true that the core forms are very similar which I have outlined previously and I have trained with Japanese clubs and compared forms. One of the sensei actually noted that the version of the form I was doing seemed like an 'older' version which had since further developed in his style. It's certainly interesting to see how seeds are planted and grow into the same plant but with slightly different variants.

Tang Soo Do is a kicking-based karate but as it has it's roots firmly in the Japanese/Okinawan heritage there is a lot of traditional hand techniques to be practiced and this brings me directly to Dan's question: what is the proportion of hand/kicking combinations in drills outside of kata? The short answer is 70/30 kicks/hands. The longer answer is that it's a bit more complex. Often the combinations are mixed and after hand techniques there may be a period of combined hand and feet. 30% techniques in the class may be done from front stance (chungul ja sae) which lends itself to the hand combinations with a few kicks interspersed much like in the hyung. We then develop into kicking from back stance (hugul ja sae). Finally we'll practice jumping kicks and jump spinning kicks.

Tang Soo Do is a Korean martial art with strong traditions within Japanese karate, as the similarities of the original names imply. It does, however, hold on to some of the indigenous high, powerful and acrobatic kicking typified by Northern Chinese influences. This is reflected in the training: traditional forms, altered only slightly with higher kicks but more leg-based drills than traditional 'te' derived Japanese arts.

(ref1 p. 34. Karate-Do, My Way of Life, Gichin Funakoshi. Published by Kodansha, first paperback edition 1981)

Forms and their kicks

I read recently an interesting point put forward by Vince Morris in a book 'Karate Kata Applications' (Vince Morris and Aidan Trimble, Ebury Press) how the traditional kata don't incorporate many kicks which are widely practiced in modern karate such as roundhouse kick, reverse roundhouse, axe kick or back kick.

I thought, for fun, I'd run through the Korean forms to document which kicks are included. As I've discussed previously these are based on Japanese and in turn Okinawan forms.

Kicks used in Tang Soo do Hyungs

Pyung Ahn Cho Dan: No kick.

Pyung Ahn Ee Dan: Yup chagi, ahp chagi. (Side kick, front kick)

Pyung Ahn Sam Dan: Pahkeso ahnero chagi (Outside to inside kick.)

Pyung Ahn Sa Dan: Yup chagi, ahp chagi. (Side kick, front kick, knee strike.)

Pyung Ahn O Dan: Pahkeso ahnero chagi. (Outside to inside kick.)

Bassai: Yup chagi. (Side kick.)

Naihanchi Cho Dan: No kick.

Naihanchi Ee Dan: No kick.

Naihanchi Sam Dan: No kick.

Sip Soo: Pahkeso ahnero chagi (depending on the style of Tang Soo Do)

Morris further states that developing new forms with other variant kicks may be beneficial. 

Rhythm in hyungs (kata)

A brief training session in the garden today threw up the idea of rhythm within hyung or kata.

Although my main focus currently is Shorinji Kempo I still like to keep to date with my Tang Soo Do forms and as I was running through them today I was focusing on recalling them thoroughly, moving fluidly (thanks to this blog) and having strong techniques (not flopping my arms around just for the sake of trying to recall the hyungs). Along with these ideas another one came to mind and that is rhythm in forms. There is a natural rhythm to forms. I don't mean consistent and unchanging one-a-two-a-three-a-four-a- throughout.... Music is often syncopated to make it sound more interesting and music uses crescendo, diminuendo, staccato, stopping and so on. This gives more feeling to the music and helps tell a story more accurately.

Forms do tell a story but they should do much more too, so it's important to know when to pause, when to run two or three techniques together and when to speed up or slow down. Often in the lower forms there is a short pause after the punch but the block-punch is somewhat run together. So the tempo would be 'block-punch, block-punch'. This example is not a universal truth throughout all forms practice but it illustrates that forms must be performed with this 'punctuation' in mind otherwise it turns into one long chain of techniques. If you don't know where this punctuatino is in your forms, my advice is to find out!

Pyung ahn Ee Dan performed by a Tang Soo Do master and followed by Heian Nidan by a Japanese sensei. Both different interpretations of this same form but both with a rhythm to it punctuated by pauses, linking techniques together, crescendo and diminuendo (If you don't like the music analogy try thinking of commas, semi-colons, full stops...).

Okinawan -> Japanese -> Korean forms

Some time ago I was researching the origin of the matial art of Tang soo do, particularly the forms we practice (or Hyung) and I came across an interesting thing while training with a local karate club. The teacher is an impressive martial artist called Malcolm Howlett who was trained in (I believe) Goju Ryu and is very knowledgable with an instantly easy rapport. The revelation I made when training with Okinawan and Japanese stylists was that the forms I had taken great care to learn have a strong heritage in the Okinawan forms! I could happily follow a kata class with these guys, even understanding the names of the forms. I believe also that the Korean hyung have vestiges of an older style, that is to say the Japanese kata seem to have evolved in a different way and often the instructor would remark that I would perform an 'older' variant. 

The lineage of Korean karate is often disputed: certain exponents believe it has a pure lineage back to the 3 kingdoms era with no Japanese influence and mostly some Northern Chinese teachings (Northern Chinese kung fu or Mountain style is typified by higher stances, high and jumping kicks). what cannot be disputed though is the similarity between Tang Soo Do's hyung and the Japanese and Okinawan style katas.

Okinawan karate was influenced by Chinese traders who practiced Chuan Fa (chuan meaning 'fist'). The Okinawans developed this into a hard style which they referred to as 'Te' (or fist).  Kara te (originally meaning Chinese hand) was then taken to Korea during the early twentieth century occupation. Note the similarity between Kara te and Tang Soo (China Hand). Of course the nomenlature does not in itself make an argument in itself and it is true that Korean karate is typified by spectacular jumping and spinning kicks with high energy but I believe the structure of the Tang Soo do forms is irrefutably linked to a Japanese and Okinawan heritage.

Okinawan kata	Japanese kata	Korean Hyung
Pinan	Heian	Pyong Ahn
Naihanchi	Tekki	Naihanchi
Passai	Bassai	Bassai
Wanshu	Enpi
Rohan	Meikyo	Rohai
Chinto	Gankaku	Jindo
Kusanku	Kanku	Kong Sang Koon
Useishi	Gojushiho
Seisan	Hangetsu
	Jitte	Sip Soo

I'll get round to making this look prettier soon!