Sunday, December 1, 2013

What are the Benefits of being a Club vs. School - - Chief Instructor's Blog December 2013


Han Moo Kwan Tae Kwon Do is a Club versus a School. (Please note the definitions used here are my definitions of a club and a school.)

So, you may ask what is the difference?

Han Moo Kwan is considered a club for a couple of reasons. One of the major reasons is we are more informal in our structure. Some of the areas that I consider us more informal than a school are described in the paragraphs below.

Unlike many schools, we are on a first name basis with everyone including instructors. Mr. Kim was the only person not on a first name basis. We do not refer to instructors as Sensei or Master. This does not mean we are not respectful of one another, but we do not feel we require titles to be respectful or demonstrate understanding of who is the Chief Instructor or Certified Instructors. (We also teach to adults where we do not think we need to re-enforce respect through titles like you might need to in a children’s class.)

We also do not have a creed or motto we state for every class. We do sign an agreement of participation when we join the club, but we do not repeat it every class night.

We do not force the use of Korean terms. We do use a few terms like dobok and dojang, but we do not force students to use Korean terms, such as counting or names of basic techniques, etc.

From time to time, Certified Instructors working with students hold dialogues and discussions with each other to share their ideas and observations. From time to time, the Chief Instructor may ask other instructors if they have any observations to share. This is probably one of the major areas that would not happen in a more formal school.

In fact, in many formal schools there would be little to no dialogue. The instructor would state the exercise and drills and the students would perform them. The students would not be allowed to ask questions related to why they were doing something – the old style thought to instructing was it would come to one over time, and an explanation was not necessary. There would be little to no talking during the drill or exercise. We found this disadvantageous to students who learn through understanding versus simply doing.

The biggest difference between a club and a school is its intent. Clubs tend to be non-profit or not-for-profit, so their primary focus is on the art form. Schools tend to be businesses for profit so the business (and profit) tends to be the focus. Schools are interested in bringing in new students through the trophies they win or the prestige of their Masters and lineage in order to pay the rent, the insurance, and pay the instructors. And even though most schools probably start out focused on the art form, over time, the business aspects tend to take front and center. At the worst, schools may ask a student to test before they are truly ready because they charge thousands of dollars for black belt testing and the business may need the money.

Is it better or worse to be a club?

While there are benefits to being a club there are some drawbacks.

For me, the number one benefit is our agenda and only intent is to share the art form and we are not distracted by needing to run a business and make a profit at the same time. In addition, a benefit to our club atmosphere is students seem to feel more comfortable asking questions and bringing up their concerns or issues. The lack of using Korean terms allows for easier understanding of the direction and instruction.

Another benefit is students are getting the perspective of different instructors with different experiences and different primary learning and teaching styles. With the variation, you are more likely to get the information in a way that resonates with you.

A drawback is by getting different perspectives and teaching from multiple sources there can be confusion or too much information from time to time, and people tend to think there are too many opinions. In these types of situations, the Chief Instructor is ALWAYS the final authority of the information, period.

Another drawback is at times, in class, we tend to get relaxed and not focus on the task/drills at hand with full attention. We tend to forget through our less formal instruction that we must listen and follow direction exactly because we are learning an art form which can have deadly results if used improperly. In a school environment, those not listening or following direction explicitly when the primary instructor spoke would be asked to step aside.

Another drawback is we do not spend time with the culture of the art form in class, so that information related to the art form either has to be picked up individually or not at all. While that information is not critical, the history and culture of the art form from its Korean roots does promote a deeper understanding of the philosophy, strategies, and tactics that have evolved.

Overall, I believe our Club provides a good, healthy learning environment in a safe atmosphere with the primary goal to assist students to learn and grow physically, mentally, emotionally, and spiritually. Our Club is not perfect, and like we ask of the students, we do strive to continue to provide good instruction and improve on our instruction; we continue to get more consistent with the information through the websites, and remain open to feedback. We continue to honor Mr. Kim’s legacy through our not-for-profit Club. We continue to touch the lives of individuals whether it is for a few months or for years.

Regards,
Kelly

"Human beings are capable of virtually limitless degradation; they are also capable of virtually limitless improvement and achievement. Success depends on goals and on diligence in pursuing them." ~ Masutatsu Oyama (1923- 1994), a karate master who founded Kyokushinkai Karate

Sunday, November 3, 2013

No Pe Hyung – What It Teaches You - - Chief Instructor's Blog November 2013


In my April 2013 blog, I discussed the Kibon series and what you learn from it. In my June 2013 blog, I discussed the Pyung Ahn series. In my October 2013 blog, I discussed Shipsu. In this month’s blog, I will discuss No Pe Hyung. If the Kibon series is about learning to crawl and walk, Pyung Ahn series is more about learning to run, and Shipsu is about learning to run with style, control, finesse, and independent of the physical body, then No Pe Hyung is learning to have power, control and style while maintaining constant focus.

No Pe Hyung is based on forms that are called Rohai which translates approximately to “Vision of a Crane” in Okinawan and Meikyo which translates to “Bright or Polished Mirror” in Japanese.

As in the Pyung Ahn series and Shipsu, No Pe Hyung also helps students focus and practice linear strikes, practice throwing techniques without reciprocals, combinations, staying centered and balanced in techniques, and grounding.

No Pe Hyung may look simple and straightforward, since it is built on just a few techniques, but it contains several fun challenges built around the following techniques:
• Fighting Cat Stance with Raised Knee Combination Downward Knife Hand / Knife Hand High Block
• Horse Stance Right Downward Punch breaking the board
• Crescent Kick to the open palm to the 360 Degree turn , Execute Cat Stance Attack

The real challenges and what No Pe Hyung is trying to teach us is to maintain constant focus, shifting targets at the exact moment you need to, staying present in the moment, being aware of your surroundings at all times, while throwing straight, offensive power while maintaining ground.
• Perform upper body techniques at shoulders (integrated with the body) without losing ground. Examples include, but are not limited to:
o Natural Stance Upward Double Ridge Hand
o Transition from Cat Stance to Attack Stance
o Setting kick in place after Crescent Kick

• Stay grounded at all times and do not overground
o For example, after board break, if overgrounded, will have to unground to move to the Fighting Cat Stance with Raised Knee Combination Downward Knife Hand / Knife Hand High Block

• Maintain focus and force throughout form; especially after the board break
o Have intensity and focus to “dare” someone to attack without threatening motions. Examples include:
 • Two short steps forward
 • Fighting Cat Stance with Raised Knee Combination Downward Knife Hand / Knife Hand High Block

• Be aware of your surroundings at all times; be precise in your movements
o Perform board break without losing awareness around you
o Move easily and comfortable around the bricks and boards; always knowing where they are
o Be exact in your position and intent in where you place your foot after the Crescent Kick, 360 degree turn

• Be where you need to be when you need to be there
o Adjust your stance and your distance to be near the board throughout the form
o Be comfortable working in close proximity to the board

• Maintain constant focus, shifting focus at the exact moment you need to, stay present in the moment. Finish each move and do not be anxious for the next one.
o Complete Attack Stance Double Punches before transitioning back to the board
o Complete the board break before transitioning to the Knee Block Combination Downward Knife Hand / Knife Hand High Block

• Do not give up your advantage or ground. Anytime move “backwards”, need to maintain forward, offensive presence
o Transitioning into Fighting Cat Stance with Raised Knee Combination Downward Knife Hand / Knife Hand High Block, especially after the board break
o Cat Stance Attack after the 360 Degree Turn
o Cat Stance Attack performed moving backwards

As in the Kibon series, Pyung Ahn series, and Shipsu students should also practice and study the techniques and combinations in No Pe Hyung in self-defense applications, including the transitions and the turns.

All hyung have intentions and applications to each of their techniques and as you move through a hyung you can tell a story as you transition from one technique to another. For me, No Pe Hyung has one of the more straightforward and compact stories to tell. The key is too stay focused and be present for each technique.

In a future blog, I will describe the overall goals of the Mepojan series.

Regards,
Kelly

"The art of war teaches us to rely not on the likelihood of the enemy's not coming, but on our own readiness to receive him; not on the chance of his not attacking, but rather on the fact that we have made our position unassailable." ~ Sun Tzu (6th Century BC), Chinese General, military strategist, and author of The Art of War

Wednesday, October 2, 2013

Shipsu and What You Learn From It - - Chief Instructor's Blog October2013

In my April 2013 blog, I discussed the Kibon series and what you learn from it. In my June 2013 blog, I discussed the Pyung Ahn series. In this blog, I will discuss Shipsu. If the Kibon series is about learning to crawl and walk, and Pyung Ahn series is more about learning to run Shipsu is about learning to run with style, control, finesse, and independent of the physical body.

In Okinawan it is called Jitte and in Japanese it is called Jutte. It is most often translated as meaning “Ten Hands” (i.e., the weapon with the power of ten hands).

As in the Pyung Ahn series, Shipsu also helps students focus and practice linear strikes. This includes all the techniques in the opening moves:
• Outward Ridge Hand (short strike at waist level)
• Cat Stance Variant Upper Punch
• Cat Stance Variant Inward Low Block
• Horse Stance Outward Ridge Hand

In Shipsu, more techniques are thrown without reciprocals. This is intentional and provides students ways to practice and become effective in throwing techniques without relying on reciprocals to provide power. Examples include:
• First of the three Horse Stance Knife Hands
• Side Medium Blocks

In Shipsu, more combinations are introduced including combinations of two techniques at the same time.
• Sweeping Attack Stance Combination Split Double Palm Strike
• Elongated Attack Stance Combination Downward Hammer Fist/ Medium Block

Pyung Ahn series also provides more opportunities for the students to practice becoming more competent in staying centered and balanced in techniques. Examples include:
• Cross Step Upward ‘X’ Block
• Transition from one Sweeping Attack Stance to the next one
• 180 degree turn from Sweeping High Block to Sweeping High Block

Shipsu also provides more opportunities for the students to practice and become more competent in grounding. The techniques test students through physical movements intentionally designed to make grounding challenging. Examples include:
• Foot movement in opening moves
• Inward Low Block with preparation raised above head
• Cross Step Upward ‘X’ Block
• Sweeping Attack Stance High Block
• Transitions (e.g., transition from Side Medium Block to Ready Stance, transition from Sweeping Double Palm strike to first Elongated Attack Stance, transition from the first Elongated Attack Stance to the second one, etc.)

The ultimate goal is to maintain ground (floating ground) throughout the form.

The real challenges and what Shipsu is trying to teach us is control of our energy. The four aspects of energy Shipsu challenges us to study, practice, and learn are:
1. Keeping our energy linear while our physical body moves in an arc.
• Sweeping Attack Stance Combination Split Double Palm Strike
• Sweeping Attack Stance High Block
2. The use of “In-power” – internal energy
3. Maintaining presence as you split energy
• Elongated Attack Stance Combination Downward Hammer Fist/ Medium Block
• Sweeping Attack Stance Split Double Palm Strike
4. Staying focused as you separate power (mostly energy) from the physical body; working with the two independently

As in the Kibon and Pyung Ahn series, students should also practice and study the techniques and combinations in Shipsu in self-defense applications, including the transitions and the turns.

In addition, students should take any aspect of a technique or concepts learned in Shipsu and apply it to the Pyung Ahn series and the Kibon series.

Even though Shipsu is just one form (as opposed to the Pyung Ahn series and Kibon series each which has five forms), each technique in Shipsu has several challenges and aspects of it to learn and study. The form is complex and the techniques are filled with applications that will enable a person to become very competent and effective. It is no wonder that the meaning translates to” Ten Hands” (i.e., the weapon with the power of ten hands). While some aspects of this form may take longer than others to execute well, the training is part of the journey.

In future blogs, I will describe the overall goals of No Pe Hyung and the Mepojan series.

Regards,
Kelly

"Karate-do may be referred to as the conflict within yourself, or a life-long marathon which can be won only through self-discipline, hard training, and your own creative efforts." ~ Shoshin Nagamine (1907-1997), Founder of Okinawan Matsubayashi-Ryu Karate

Sunday, September 1, 2013

Evolution of the Knife Hand - - Chief Instructor's Blog September 2013


In July 2012 blog, I discussed the evolution of the attack punch. August 2012, I discussed the evolution of the Cat Stance and in September 2012, I discussed the evolution of front kick. This month I will discuss the evolution of knife hand.

Beginner
As with all techniques, the beginning is focused on the mechanics. The key mechanical aspects are:
• Hips and shoulders remain square throughout the strike; back straight
• Eyes/gaze will be forward, to the horizon, throughout strike
• Striking hand thrown as a palm strike forward from shoulder towards opponent’s side of the neck
o Motion is similar to throwing a shot put
o Elbow points downward throughout the strike
• Striking hand turns over into Knife Hand position (palm upward) just before impact
• Striking hand palm upward, palm flat, fingers slightly bent; thumb tucked in; edge of hand neck height
o Elbow approximately at a 90 degree angle at impact
• Opposite hand comes back in reciprocal position at the hip (palm upward)
• Remain set in Attack Stance prior to impact
o Stance is approximately twice as wide as it is long, both knees and feet pointed forward
o Rear leg is locked
o Front knee bent approximately 35 degrees from horizontal and above the ankle
o Body weight evenly distributed on both feet

For the very beginner, there is not much power, and the focus is to ensure the stance, body alignment, motion and targeting are all correct.

Intermediate
Once the mechanics are fairly solid, speed and power are added to the technique. At this point, Green Belts and Beginning Blue Belts should:
• Shorten time between movement in stance and strike
• Focus on form, increasing speed and decreasing reaction time while maintaining mechanics
• Focus on form, adding force while maintaining mechanics
• Be able to transition from and to a knife hand quickly and smoothly.
• Throw techniques in various stances (Reverse attack stance, cat stance, horse stance, etc)
• Strike should be able to be thrown various directions (inward, outward, downward, etc)

More Advanced Blue Belts and Brown Belts should:
• Be grounded and remain grounded throughout the technique
• Have power come from hips; driven by hip through elbow; arm is natural extension of the body
• Have consistent force throughout technique
• Have minimal upper body motion to generate power
• Project proficient force with intent to go through object striking
• Be able to use the knife hand in various practical applications
• Throw strike linear from preparation position to target

Advanced
Interim Black Belts and Black Belts should be grounded all the time and start projecting more energy and utilizing less mechanical force in their techniques. In particular, advanced students should:
• Have a stance that is rooted to the ground
• Have energy that flows from ground through legs to center creating strong base
• Be able to penetrate past the physical fist itself and shatter the target
• Throw strike to slice or shatter the target
• Throw strike in any direction with equal energy (inward, outward, downward, etc)
• As an advanced knife hand technique, be able to start their preparation outside the shoulder instead of in front and maintain a linear strike to the target

The modifications and adjustments must be consciously and deliberately applied to hyung, self-defense, and sparring. This takes time and focus. In addition, this is the part of the constant relearning of the art form. This is why it takes time to master a technique – mastering the technique means: 1) You can apply it through all the aspects of the art form, not just basics, and 2) You can teach it at any level.

Regards,
Kelly

"When you are learning a new technique, practice it wholeheartedly until you truly understand it." ~ Gichin Funakoshi (1868-1957), founder of Shotokan Karate

Friday, August 2, 2013

Martial Arts Code of Conduct - - Chief Instructor's Blog August 2013


One code of conduct definition is”a set of conventional principles and expectations that are considered binding on any person who is a member of a particular group” [1].

Codes of conduct exist for many different types of organizations, including the military, and have been around for martial arts for centuries. A code of conduct is important especially in martial arts where without principles that drive behavior and use of the art, people may be out of control and the intent of its usage disregarded.

The Samurai’s had a code of conduct called Bushidō that evolved over centuries, which translates to “the way of the warrior". A couple books of interest that go into the history and the actual Samurai code of conduct itself are:

• Bushido: The Soul of Japan by Inazo Nitobé [2]
• Training the Samurai Mind: A Bushido Sourcebook by Thomas Cleary [3]

The ancient Korean martial art, Hwarang-do had a code of honor, many tae kwon do schools, and many martial arts schools or clubs, in general, have specific codes of conduct. The table below lists the tenets of the Bushido, Hwarang-do code of honor, and typical tae kwon do code of conduct.


As you can see the seven tents of the Bushido and the five tenets of the Hwarang-do are very similar in nature and that the typical tae kwon do code of conduct has many of the same tenets.

While we do not have a specific code of honor or code of conduct spelled out in our Han Moo Kwan Club we do instil these tenets through our teachings policies, and agreement of participation. In the below table I describe how I believe this is the case.



I believe living these tenets are critical when studying and practicing our art form, since the skills we teach in the Club can cause bodily harm and severe damage. I have said in class many of times if it is not precise it is not a martial art, it is just street fighting. If we do not have principles and tenets to guide our use of the art form, then the same is true. It can not be considered a martial art, but strictly street fighting.

References:
1. http://www.thefreedictionary.com/code+of+conduct., Accessed 21 July 2013
2. Bushido: The Soul of Japan by Inazo Nitobé
3. Training the Samurai Mind: A Bushido Sourcebook by Thomas Cleary
4. http://en.wikipedia.org/wiki/Bushido, Accessed 21 July 2013
5. Hartman, Ronald. TKDTutorage, "Code of conduct.". Accessed 21 July 2013, http://tkdtutor.com/articles/topics/students/101-procedures/818-code-of-conduct?showall=&limitstart=

Regards,
Kelly

“But here we may wonder what he may do if nobody knew anything about it.” ~ from The Code of the Samurai: A Modern Translation of the Bushido by Yuzan Daidoji, Oscar Ratti, and Thomas Cleary

Monday, July 1, 2013

Harshness of the Art form - - Chief Instructor's Blog July 2013


Han Moo Kwan literally means Korean Military School - the word Han is the South Korea name for Korea, the word Moo means Military or Martial, and the word Kwan means School or Hall.

The name implies the intent of the art form was to use it for military purposes. The intent and of the art form is to learn techniques and philosophy to defend oneself in a combat or military situation. Because of this, the philosophy of the art form is often seen as harsh.

Keep in mind, that this fighting art is used strictly for self-defense and for improving oneself physically and spiritually. The intent being if you can not escape the situation and have to defend yourself, you will defend yourself until you feel safe again. We fight as if our life depends on it, doing whatever it takes to defend our life and neutralize the threat.

Therefore, when we need to use our techniques, we throw them offensively not defensively.
• Blocks do not stop or deflect an incoming strike or kick, blocks are used to break.
• Strikes and kicks are thrown to go through the target, shattering and damaging the target.
• In Han Moo Kwan, we do not teach to grab – we strike or crush.

Every technique is meant to cause damage, even if it is subtle. For example, there is a fist rotating move in Mepojan 2 – this is not just turning the fist, this technique is actually used to tear skin.

When practicing against air or a bag, our intent and focus on each technique should be to cause damage. If you are wondering if an application or the intent of a technique is right, think if that application is to cause damage. If it is not causing damaging, think of a different application where damage could be possible and you will find a better application and intent for the technique.

For instance, there is a technique in Pyung Ahn 3, where we turn 180 degrees and end up with both fists on our hips. I have heard several possible applications for this technique, but one that is more aligned with the Han Moo Kwan philosophy is the turn is actually more of a headlock technique that followed by the next move of a stomping side kick could do severe damage to the neck.

Even though the art form is very harsh in its intent, safety is still very important to the Club. When we practice with each other in class, we have to ensure we control our intensity so we do not damage one another significantly.

So it is important to practice with the right intent and focus so if you had to use the art form you will be effective in protecting yourself. But at the same time, you need to respect the harshness when applying against another student in class.

Regards,
Kelly

“The art of war teaches us to rely not on the likelihood of the enemy's not coming, but on our own readiness to receive him; not on the chance of his not attacking, but rather on the fact that we have made our position unassailable." ~ Sun Tzu (6th Century BC), Chinese General, military strategist, and author of The Art of War

Sunday, June 2, 2013

Pyung Ahn Series and What You Learn From It - - Chief Instructor's Blog June 2013


In my April 2013 blog, I discussed the Kibon series and what you learn from it. In this blog, I will discuss the Pyung Ahn series. If the Kibon series is about learning to crawl and walk, the Pyung Ahn series is more about learning to run.

The Pyung Ahn series contains five forms and was created by Anko Itsou, a master of Okinawan Karate in 1907 [1], and introduced into the school systems thereafter. In Okinawan this form is called Pinan and in Japanese it is called Heian. ”Pyung-ahn" is a Korean pronunciation of the term "pin-an.”

Pinan is most often translated as "well-balanced" and "peaceful". Another translation based on the original Chinese characters is “Safe from Harm” [2, Article 39].

Pyung Ahn series is more dynamic and has more variations of transition in a specific stance or from stance to stance at various angles. Once through the Pyung Ahn series, students should feel more comfortable and competent to transition to and from any stance to any stance in any direction. Examples in the forms include:

Pyung Ahn 1:
• 90 Degree Turns in Horse Stance

Pyung Ahn 2:
• Sparring Cat Stance to Cat Stance
• Cat Stance to Natural Stance
• Natural Stance to Attack Stance
• 45 Degree/135 Degree Cat Stance Turns
• 45 Degree/135 Degree Attack Stance Turns

Pyung Ahn 3:
• Cat Stance to Closed Stance
• 360 Degree Spin into Attack Stance
• 180 Degree from Attack Stance to Closed Stance
• 180 Degree from Attack Stance to Horse Stance

Pyung Ahn 4:
• 180 Degree Turn from Sparring Cat Stance to Sparring Cat Stance
• Attack Stance to Closed Stance
• Closed Stance to 45 Degree Attack Stance
• Attack Stance to Cat Stance with leg slid behind

Pyung Ahn 5:
• Closed Stance to Attack Stance
• 270 Degrees from Attack Stance to Horse Stance
• Horse Stance to Sparring Cat Stance wit leg slid behind
• Cat Stance “jumping to” Cross Step Stance
• Cross Step Stance to Elongated Attack Stance

Pyung Ahn series also helps students focus and practice linear strikes. Some examples include:

Pyung Ahn 1:
• Forward/Downward Hammer Fist
• Double Knife Hand

Pyung Ahn 2:
• Outward Hammer Fist
• Outward Knife Hand

Pyung Ahn 3:
• Outward Hammer Fist
• Backhands
• Hook Punch

Pyung Ahn 5:
• Outward Hammer Fist
• Crescent Kick
• Outward Hammer Fist/ Hook Punch Combo

Pyung Ahn series also provides more opportunities for the students to practice becoming more competent in staying centered and balanced in techniques. Examples include:

Pyung Ahn 2:
• Extended Spear Hand

Pyung Ahn 3:
• Extended Spear Hand
• 360 Degrees to Attack Stance Outward Hammer Fist
• Stamping Side Kicks

Pyung Ahn 4:
• Attack Stance Downward ‘X’ Block
• Front Kick/Backhand combination

Pyung Ahn 5:
• Attack Stance Downward ‘X’ Block
• Attack Stance Upward ‘X’ Block
• Crescent Kick across body to the Left palm

In the Pyung Ahn series, many more combinations are introduced including combinations of two techniques at the same time.

Pyung Ahn series also provides more opportunities for the students to practice and become more competent in grounding. The techniques challenge students by trying to raise their ground, or transition to a narrower stance that requires more focus on grounding. Examples include:

Pyung Ahn 1:
• Four final Horse Stance Double Knife Hand strikes

Pyung Ahn 2:
• Opening move: Sparring Cat Stance Combination Left Medium Block / Right Rising Block combinations
• Transition from Cat Stance Reverse Straight Punch to Natural Stance
• Final move: Attack Stance Reverse Upward Punch

Pyung Ahn 3:
• Opening move : Closed Stance Combination Right Medium Block/ Left Low Block
• 360 Degrees to Attack Stance Outward Hammer Fist

Pyung Ahn 4:
• Opening move : Sparring Cat Stance Combination Outward Ridge Hand / Knife Hand Rising Block
• Closed Stance Hook Punch
• Rear Leg Front Kick to Cat Stance with leg slid behind transition
• Attack Stance Upward and Forward Double Palm Strike
• Knee Strike to 180 Degree Cat Stance Attack

Pyung Ahn 5:
• Transition to and execution of Closed Stance Hook Punch
• Attack Stance Upward ‘X’ Block
• 270 Degree Turn to Horse Stance Combination Right Stamping Side Kick/ Right Outward Hammer Fist/ Left Hook Punch
• Right Crescent Kick across body to the Left palm
• Sparring Cat Stance Reverse Medium Block with Left palm fingertips under Right elbow transition to setting Right fist Upward
• Transition from Cross Step Downward ‘X’ Block to Elongated Attack Stance Combination Medium Block/ Low Block
• Transition from Elongated Attack Stance Combination Medium Block/ Low Block to second Elongated Attack Stance Combination Medium Block/ Low Block

Many techniques throughout the Pyung Ahn series do not use reciprocals. This is intentional and provides students ways practice and become effective in throwing techniques without relying on reciprocals to provide power.

For advanced students, they should look at all techniques and ensure their energy is linear even though aspects of the techniques may appear not to be linear. The Pyung Ahn series also introduces some techniques that attempt to split energy. Black Belt students should practice these techniques focusing on keeping the energy centered.

As in the Kibon series, students should also practice and study the techniques and combinations in the Pyung Ahn series in self-defense applications, including the transitions and the turns.

In addition, students should take any aspect of a technique learned in the Pyung Ahn series and apply it to the Kibon series.

The Pyung Ahn series has so much information and challenges within these five forms it could take decades to master all if it. Take your time and study each aspect of these five forms.

Gichin Funakoshi in reference to these forms wrote “Having mastered these five forms, one can be confident that he is able to defend himself competently in most situations [3]”.

In future blogs, I will describe the overall goals of the advanced hyung.

Regards,
Kelly

“To practice kata is not to memorize an order. You must find the kata that work for you, understand them, digest them and stick with them for life." ~ Gichin Funakoshi (1868-1957), founder of Shotokan Karate

References
1. The Essence of Okianwan Katate-Do by Shoshin Nagamine
2. http://www.iainabernethy.com/articles/article_home.asp
3. Karate-Do Kyohan: The Master Text by Gichin Funakoshi





Saturday, May 4, 2013

Everything Has a Meaning and Use - - Chief Instructor's Blog May 2013


In the beginning we refer to transitions as preps or turns, or even just as a transition. In the beginning we teach you to crawl before you walk before you run, so we ensure you proactive the prep and turns mechanically correct but do not focus on the intention or the application of these techniques. One step at a time. The reality is there is no such thing as just a prep, turn, or transition. These are actually moves in and of themselves. The technique is not just the end position and a strike or kick at the end. The movement and motion to the end position are strikes and part of the technique itself. Every movement is a useful technique and has a meaning. Everything we do, we do for a reason and is part of Han Moo Kwan. Everything.


Let’s look at a couple of examples.

High block/ low block prep:

• At the completion of the prep, this can be used as a guard to your upper body and sternum.
• The transition from the prep to a low block is actually the start of the strike. It can be used to escape from a wrist grab, for example.
• The transition from the prep to a high block can be used as a forearm strike or a an elbow strike as you move to the final position of a high block.

Medium block prep:

• At the completion of the prep, this can be used as a guard to your upper body and sternum.
• This prep is an excellent block against a round-house or turn-away kick.
• The prep can be used to defend against a lapel/shoulder grab or a double lapel /shoulder grab.
• The transition from the ‘prep” to a medium block is part of the strike as you move to the final position.

Front kick prep:

• The prep of bringing the knee up can be used as a knee strike.
• It can also be used to block an opponent from coming in.

Turns in forms or basics:

• Turns in forms and basics can be used as leg sweeps or as a maneuver against an opponent.
Reciprocals:

• Reciprocal can be used as an elbow strike for an opponent behind you.
• Reciprocals can be used to draw an opponent closer from a same side or cross armed grab.

Other examples:

• The transition to an extended spear hand guard position can be used to strike downward to trap or deflect a strike.
• The transition to the final hook punch position can be an elbow strike or part of a forearm strike.
• Prep for the double knife hand in Pyung Ahn One can actually be used as a guard to a forward upper body strike as you step aside from the strike.

And the list can go on and on and on. One of the things I enjoy most about the art form is discovering what each motion and movement can be used for. What application and in what scenarios can I use this motion and movement to be effective. For me, it is what has kept the art form interesting to me for over 19 years. I continually discover new ways to use these movement and motion in self-defense, sparring, etc.

So, as you progress in the art form, and get competent in the techniques, start emphasizing and thinking of each technique not just by the final position, but in the transition as well. Start playing with applications of that motion and movement. Start recognizing that everything, everything we do in class is part of Han Moo Kwan and has a purpose and application and is useful.

Regards,
Kelly

"The true science of martial arts means practicing them in such a way that they will be useful at any time, and to teach them in such a way that they will be useful in all things." ~ Miyamoto Musashi (c. 1584 –1645) - famous Japanese swordsman, the author of The Book of Five Rings

Sunday, April 7, 2013

Kibon Series and What You Learn From It - - Chief Instructor's Blog April 2013


Kibon in Korean means basic techniques. The Han Moo Kwan Kibon series consists of five forms and is expected to be demonstrated by all students who are testing at any rank.

In our style, as in the other styles, these five forms familiarize students with forms using basic techniques and stances. The Kibon series focuses on five basics techniques (Punches, Low Block, Medium Block, High Block, and Front Kicks) in two of the basic stances (Attack Stance and Cat Stance). No additional techniques are included other than what is taught in the basics.

The overall goal of the Kibon series is to provide a means to become competent in the basics, movement, turns, and transitions and to teach beginner’s how to direct focus and energy in with their physical movements. Moves are simple and the goal is to focus on these movements until they become body memory.

In the Kibon, series students practice and become competent in the mechanics (movement, turns, and transitions) of stances:
• Turning effectively in Attack Stance (90 degrees, 180 degrees, and 270 degrees)
• Turning effectively in Cat Stance (90 degrees, 180 degrees, and 270 degrees)
• Transitioning from Attack Stance to Cat Stance
• Straight linear transition from Cat Stance to Attack Stance
• Turning from Attack Stance into Cat Stance (90 degrees, 180 degrees, and 270 degrees)

In the Kibon, series students practice and become competent in specific techniques, their motions, and the techniques in and combination:
• Low Block/ Attack Stance
• Medium Block/ Attack Stance
• Low Block/ Medium Block/ Attack Stance
• Medium Block/ Punch/ Kick
• Medium Block/ High Block/ Kick/ Punch
• Control and manage the force and speed of the kicks outward and retracting

Students should also practice and study the techniques and combinations in self-defense applications, including the transitions and the turns.

As students become competent in the mechanics, they start to practice and become more competent in grounding based on aspects of the hyung, examples include:
• Transition from Cat Stance to Attack Stance
• Transition from Attack Stance to Cat Stance
• Turning in Attack Stance while maintaining a ground
• Set in stances
• Maintain set in Cat Stance in Kibon 3; keeping shoulder and hip alignment
• Stay grounded in Cat Stance during High Block in Kibon 4

Once students are competent in the mechanics and grounding, they can study and practice how their energy is aligned with their body such that their energy and physical movement are all in one direction.

In addition, as students practice the techniques, they become body memory, which is what allows them to focus on the grounding and energy aspects of the forms. And at the same time, as students advanced they will need to break down the techniques and mechanics again and reapply advanced concepts so the techniques do not look like beginner techniques, but are advanced techniques.
While the Kibon series appears to be basic, there is much to learn and practice in these five forms. Continue to practice and explore these hyung and discover for yourself all there is to learn and master in these hyung

In future blogs, I will describe the overall goals of the Pyung Ahn series and the advanced hyung.

Regards,
Kelly

“One becomes a beginner after one thousand days of training and an expert after ten thousand days of practice.” — Masutatsu Oyama (1923-1994), karate master who founded Kyokushinkai Karate

Sunday, March 3, 2013

Learn Techniques Thoroughly - Chief Instructor's Blog March 2013


To truly understand the various techniques practiced and used in Han Moo Kwan you must learn every aspect of them. This includes the mechanical, practical, and experimental.


The mechanical aspect will ensure you are throwing the techniques correctly to maximize the benefits of the technique and to ensure you perform it safety. The mechanics of each technique are thrown in a precise manner that aligns the body’s skeletal structure with the muscles to get the maximum force without injuring oneself. An example would be alignment of the first two knuckles with straight wrists in punches to ensure any recoil force goes through the alignment of bones so no torque in the wrist results (severe sprains or a break). Some of the preciseness is to ensure the technique is as powerful as possible and less likely to be detected or blocked. This is why we throw our techniques linearly (with a few exceptions). So, it is important students are diligent in practicing and learning the mechanics so they are performed precisely.

The practical is the actual application of the technique. It is one thing to practice against air and just moving forward and back. It is not until you hit something or someone or use the techniques in sparring or self-defense that you get the feedback that the technique is being thrown properly and you can understand the practical application. It is good from time to time in self-defense or sparring to focus in one technique so you can practice that one technique and feel more comfortable in using it if you needed to in an actual self-defense scenario. The practical also includes knowing the targets and distances that are most useful for each technique. This information will also maximize the benefits when using the technique and keep you safe. For example, spear hands are effective against soft tissue areas (trachea, lower end of sternum, groin, carotid artery, eyes, armpit, etc) as a penetration strike. If you throw a spear hand against hard targets like the sternum you could injure your hand including breaking your fingers.

The experimental aspect is also important to understand the techniques. The experimental aspect can be discovered when you practice and “play” with the techniques to determine for your body, against certain opponent’s body build, or in certain ways of being attacked, a techniques is most beneficial and can be used safely. This is where you can be as imaginative and creative as possible in testing theories of how a person may move or react to certain techniques. For example, if you throw a hard medium block against a cross arm grab, most people will turn such that their ribs and kidneys are an open target. This is valuable information in that if you had to use the technique on the streets, you can predict what may happen when you throw the medium block from a cross hand grab and can be already prepped and ready to throw that second technique to the open kidneys. And since you already know that punches and knife hands are every effective against the kidneys, that is the technique you are ready to throw.

I encourage all of you to study and practice each aspect of the techniques thoughtfully and diligently so you gain the maximum benefits from the techniques and remain safe in doing so.

Regards,
Kelly

“Practice each of the techniques of karate repeatedly, the use of which is passed by word of mouth. Learn the explanations well and decide when and in what manner to apply them when needed. Enter, counter, release is the rule of releasing hand." ~ Anko Itosu (1830–1915), Okinawan Karate Master, from his letter 10 Precepts of Karate written in 1908

Sunday, February 3, 2013

Han Moo Kwan Club 40th Anniversary Reflection - - Chief Instructor's Blog February 2013


Over forty years ago, a chance meeting between Mr. Bob Rainie and Mr. Ui Jung Kim at a gas station in Campbell led to a demonstration and then the birth of the Han Moo Kwan Club in Sunnyvale in February 1973.


Over the last forty years approximately 1000 people signed up and started in the Club. Of those, our records indicate, 582 have tested and reached at least the rank of Green Belt. Of those, 64 have reached at least the level of First Degree Black Belt. Brian Rainie, who started with the Club at its inception, continues to teach and support the Club. Jeff Burgess, who started as a teenager, was Chief Instructor for seven years and overall has been an active Club member for over 30 years. I have been with the Club nineteen years and I have been the Chief Instructor for the last five years.

For a Club that is not for profit, run strictly because people want to instruct and carry out the teachings of Mr. Kim, where people just show up to learn, this is really an amazing accomplishment, or is it?

In some ways, I would say it is. The Club is not-for-profit and we charge minimal fees to participate. All instructors volunteer their time; there is no monetary compensation for instructing. For some people, especially Westerners, if something does not cost a lot of money, they do not value the item or believe it is not an item to be valued. Yet, we have continuously had people that were willing to be instructors at the Club donating their time to share their knowledge and experience with others. And we have had people interested in joining for various reasons (a different activity to add to their repertoire for physical fitness, learn self-defense, always wanted to learn a martial art, etc) and maybe even willing to give it a chance due to the low cost.

In some ways, I am not amazed. We have no agenda at the Club other than to teach, learn and share a martial art. We are not in it to make money or to win tournaments. Our goal is to support people in their journey as a martial artist, becoming proficient mechanically and with enough force on all the techniques so they can defend themselves if the occasion arises, and eventually support students in learning the energy side which opens up a whole new aspect to the martial art. When an organization is committed to supporting and helping without an agenda, that organization will always attract people.

That chance meeting has led to an amazing outcome. Forty years of a community developing martial artists and sharing knowledge and experience of a martial art with no other agenda. Because of that, I believe the Club will continue to exist for a long time.

I hope all those that have passed through the Club’s dojang feel they have benefited from their time in the Club whether they studied with us for six months or twenty years.

For me personally, my life would be so much different had I not started studying and practicing at the Club. I want to personally thank Mr. Kim for sharing Han Moo Kwan, his instructors who taught him, Mr. Kim’s family for supporting him in sharing the art form, Mr. Bob Rainie and Mr. Gary Murray for starting the Club, my instructors Mr. Brian Rainie, Mr. Jeff Burgess, Mr. Don Spears, Mr. Bob Ramirez, and Mr. Mike Marinos for their generosity in sharing their insights with me, and all the students who show up, work out and teach me as well.

"The teaching of one virtuous person can influence many; that which has been learned well by one generation can be passed on to a hundred." ~ Jigoro Kano (1860-1938), founder of Judo

Regards,
Kelly

Tuesday, January 1, 2013

Art Form Responsibility - - Chief Instructor's Blog January 2013


In our Club there are two aspects of art form responsibility that are critical to growing in the art form and becoming a martial artist.

The first aspect of art form responsibility is taking ownership of learning the art form and the second aspect is the responsibility of the use of the art form.

Ownership of the Art Form

As a White Belt, the Instructor of that class takes primary responsibility to ensure you have the information to test.

Once you leave the Beginner’s Class and enter the Intermediates Class, the responsibility is primarily on the student. What we mean by that is if you miss classes where training was provided appropriate for you (based on your skill set and experience) it is your responsibly to seek that information out from a Certified Instructor, Senior Instructor, or the Chief Instructor. Appropriate also means you are ready to learn new information because you have gained appropriate proficiency in the techniques and forms you have been taught to date.

If you are not sure, or need extra guidance or clarity, it is your responsibly to ask the questions. Just note that, with limited class time, we may ask that you wait until after normal class times to further discuss any questions or to receive personal guidance.

Many of the Instructors, including myself, are available outside class hours. To schedule time with me, please contact me through email.

Use of the Art Form

Learning the art form takes discipline, focus, and perseverance. With learning the art form comes great responsibility in the usage of the art form. The skills you learn in the Club can cause bodily harm and severe damage. This skill should only be used when you feel threatened and you feel you have no other alternative.

In the moment it actually might be easier to use your skill to end a scenario where you are upset or irritated, but this is not the intent of martial arts. It takes more discipline and focus at times to not use it and be patient and in control of yourself as opposed to blasting someone that cut you off, got in your way, yelled at you, etc.

That same patience, focus and discipline you use to learn martial art techniques is the same patience, focus and discipline you need to ensure you use the skills taught to you only when absolutely necessary. .

Regards,
Kelly

"He who conquers others is strong; he who conquers himself is mighty." ~ Lao-Tzu (6th century BC), philosopher of ancient China, and best known as the author of the Tao Te Ching