Are Nerve Points Effective For Self Defense - - Chief Instructor's Blog February 2020

You may have heard of pressure points, nerve points or vital points.  The theory of these points is typically associated with meridians and energy lines in the Eastern cultures to nerve clusters in Western cultures.   Whichever names you have heard have been part of martial arts for at least the last century and most likely even longer.  Vital points are discussed in the Bubishi [Ref. 1], a classic Chinese work handed down from master to student in Okinawa for generations describing the philosophy, strategy, medicine, and techniques used to master the art of karate-do.

These points in the body can cause various reactions when force is applied:  pain, numbness or weakness in a muscle, fixed reaction, paralysis, and even death.


In Vital Point Strikes by Sang H. Kim [Ref. 2], a vital point is described as “a pressure sensitive point on or near the surface of the human body.  Vital points function like gateways to the nervous system, the main controller of the body, allowing you to use pain to influence the actions and reactions of an opponent.  Even a single strike can cause serious damage, unconsciousness or, in rare cases, death.”


The Dim Mak or touch of death technique in martial arts is a vital point strike technique. Some have speculated the Dim Mak technique was the reason for Bruce Lee’s death.


In our Club, we do discuss and from time to time practice against nerve points.  However, we do not focus on them or practice them as an effective technique for self-defense. 


The problem with nerve points as a means for self-defense is you must be extremely precise and to be precise you must practice these techniques a lot.  In addition, not everyone has the same pain threshold or reaction to nerve points.  Some people have zero reaction to certain nerve points while others are very sensitive.  Some people have higher thresholds of pain and therefore do not react the same to nerve points as others.  And if people are on drugs, they may have no reaction at all to force applied against these nerve points.   And those nerve points that are really dangerous and could cause death, from a practicality standpoint we don’t believe we cannot really practice them safely.


So, if you are trying to end an altercation quickly, you can not rely that a nerve point will be accomplish this goal.

So, if this is the case, why do we even bother discussing practicing nerve points?  For one, self-defense is more effective when you go after vulnerable parts of the body.  Therefore, I believe an understanding of anatomy, the human body and its vulnerable points (and nerve points can be vulnerable) is fundamental to a self-defense based martial art like Han Moo Kwan.  When we do practice nerve points, you will hear me say, I think of them as icing on the cake – if I strike a vulnerable point that is also a nerve point and the person has more of a reaction because it causes more pain or numbness in the muscles, etc. then it is just a bonus.

Regards,
Kelly



References:

1.      The Bible of Karate: Bubishi, by Patrick McCarthy (Translator)\

2.      by Patrick McCarthy Vital Point Strikes by Sang H. Kim

“It is not possible to become a great martial artist without an education.  The serious Karateka should study anatomy and physiology, grappling, swordsmanship, archery and strategic tactics, etc.  Cross training and study must balance your training in order to understand the way.”  ~ Gichin Funakoshi (1868-1957), founder of Shotokan Karate

Training the Martial Artist's Four Mindsets - - Chief Instructor's Blog January 2020

In my last blog, I discussed four important martial artist mindsets: Shoshin, Fudoshin, Zanshin, and Mushin. I also stated you must consciously train these mindsets as well, just like consciously physically practicing a form or a technique.  Some of you may be wondering how you would go about training a mindset.  So, in this blog, I will describe some ways to train these mindsets.


Shoshin: Beginner’s Mind

I discuss some of the concepts of a beginner’s mind in my August 2018 blog, More Tips On Improving (http://hanmookwan-svl-chiefinstructor.blogspot.com/2018/08/).  In summary, if something does not make sense or you are uncertain,

1. Trust the instructor – it can sometimes take years to grasp a concept. 

2. Ask for clarification in class to ensure you understand the why of a concept or principle.

Remember, martial arts take a lifetime to learn- I have stated this in class and included it in several blogs, so keeping this in mind will also help keep your attitude/mind open– whether it is a new concept or some subtly.\

I also suggest that as you bow into the dojang and bow into class, you repeat some phrase or mantra to remind you to keep an open mind/attitude such as “I am open to all the new information I will receive today” or “I am excited for the new techniques/ information I will learn today”.  

Fudoshin: Immovable Mind

To train your Fudoshin mind you must work on keeping your focus on the task at hand and not be distracted.  I discuss focus and concentration in my August 2010 blog, Focus and Concentration (http://hanmookwan-svl-chiefinstructor.blogspot.com/2010/08/) and in my September 2017 blog, Training The Mind by Staying Focused (http://hanmookwan-svl-chiefinstructor.blogspot.com/2017/09/).   As a summary to those two blogs, some ways to practice this are:

1.      Keep one thought through basics/hyung.

Some examples are:  focus on your breathing and making it smooth, during the attack stance techniques focus on keeping back leg locked, focus on powerful penetrating techniques.  Notice if you become distracted and immediately get back to your focus item.

2.      Meditate

In addition to the above, in all you do you must remain positive and confident.  In Gichin Funakoshi’s, The Twenty Guiding Principles of Karate [1], his fifth principle is “Mentality over Technique”.  Funakoshi states, “….in martial arts mental faculties are more important than technique.  The former must rise above the latter.”



So, if you start to doubt something or have a negative response, think of two positive experiences of where you performed a technique well or were successful to help overcome the negative thoughts. \


Zanshin: Remaining Mind

To train your Zanshin mind you must work on your intent and attitude while practicing.  I discuss this topic in my October 2017 blog, Training The Mind Through Attitude/Intent (http://hanmookwan-svl-chiefinstructor.blogspot.com/2017/10/).   In summary you must practice all your techniques, hyung, sparring and self-defense with an attitude that your life depends on it.  You must practice all your techniques with the intention to do damage. 



In addition, you need to practice being aware.  I discuss this in a couple blogs including my August 2009 blog, More Awareness  (http://hanmookwan-svl-chiefinstructor.blogspot.com/2009/08/) and my March 2014 blog, Awareness Revisited (http://hanmookwan-svl-chiefinstructor.blogspot.com/2014/03/).    For me, Gichin Funakoshi states it best in his 16th principle in The Twenty Guiding Principles of Karate [1], when he states “Consequently we should adopt the attitude that when leaving our gate we are entering into the midst of many potential enemies and should stay mentally alert.”  


It also means listening to your instincts if you feel unsafe, paying attention to the people and the events around you,  expanding your awareness when you are in areas that are unfamiliar, and noticing areas/events where you are more at risk (and avoiding them if possible).


Mushin: No Mind

Mushin comes from practicing over and over and over again such that you react without thinking.  It means being grabbed hundreds of times and focusing on that one technique to escape until it becomes second nature and then moving to another technique, then another then another.  It means being so comfortable with your arsenal of techniques you flow from one to the other without hesitation. 


So, again to be proficient in these mindsets, you must train – train the body and train the mind.   


Regards,
Kelly


“Do not place hope in finding a secret technique. Polish the mind through ceaseless training; that is the key to effective techniques.” ~ Kyuzo Mifune (1883-1965), Judo Master (10^th degree)


 References:

1.      The Twenty Guiding Principles of Karate: The Spiritual Legacy of the Master by Gichin Funakoshi

Four Important Mindsets of a Martial Artist- - Chief Instructor's Blog December 2019

Martial artists have various mindsets they use to be effective in learning and performing martial arts.  Each of these mindsets are important to learn and practice as a martial artist to maximize your learning and effectiveness.  Four of these mindsets I contend are probably the most important: Shoshin, Fudoshin, Zanshin, and Mushin.

Shoshin

Shoshin refers to a beginner’s mind.  It means coming to every class with an open mind and no preconceptions.  It means being inquisitive and maximizing your learning in every session as if you were a white belt every day.  Sometimes, the higher in rank we are the more we think we know and start to resist learning something new or a new way of thinking about something you thought you already learned and understood.  A lifetime is not long enough to understand all there is to know about a specific martial art. Martial arts is like an onion – it has many layers and while you may be well versed in one layer, you must always think there are more layers that will undercover more depth or breadth of a subject.   I have said many times in class, that by becoming a Black Belt, you have now reached a state to really learn.  By keeping a beginner’s mind throughout class and during your practice, you keep open possibilities you may have been closed to if you already thought you know all there is to know.

Fudoshin

Fudoshin refers to an immovable mind.  When I teach board breaking, I test to see if a student is ready to break a board by asking if they think they can break it.  If they are hesitant, then they are not ready, because if they do not think they can break it then most likely they well not.  For a martial artist, fudoshin is critical in self-defense where your mind must be locked in on the goal to defend yourself and stay safe.  To get out of a conflict alive, your mind must never waver, hesitate, or doubt your ability to defend yourself and remain safe.   


Zanshin

Zanshin refers to a remaining mind.  For a martial artist, this means always being ready and alert.  It means not letting your guard down and staying focused on the task at hand.  This is also critical during self-defense, where a martial artist does not stop or relax until they are safe.


Mushin

Mushin refers to no mind.  For a martial artist, mushin means reacting based on the physical training and not allowing the thinking mind or emotional mind to interfere.  A student can achieve a mushin mind only after they are proficient in their techniques and can perform them effectively without thinking as a reaction versus having to think about it.  Bruce Lee describes mushin as being like water: I also discuss Mushin in my November 2010 blog “Free the Mind – Be Like Water” (http://hanmookwan-svl-chiefinstructor.blogspot.com/2010/11/).


To be proficient in each of these mindsets, a martial artist must be aware of each of them and consciously train to achieve.  Therefore, I challenge each of you to do just that each and every class.

Regards,
Kelly

“When the swordsman stands against his opponent, he is not to think of the opponent, nor of himself, nor of his enemy's sword movements. He just stands there with his sword which, forgetful of all technique, is ready only to follow the dictates of the subconscious. The man has effaced himself as the wielder of the sword. When he strikes, it is not the man but the sword in the hand of the man's subconscious that strikes.” ~ Takuan Sōhō (1573 –1645), Legendary Zen Master

Why HMK Is the Right Martial Art For Me- - Chief Instructor's Blog November 2019

There are hundreds of martial arts to choose from.  Some of the more wide spread martial arts in the United States include:  Aikido, Jeet Kune Do, Jiujitsu, Judo, Kenpo, Kung Fu, Mixed Martial Arts, Muay Thai, Karate, Krav Maga, Tai Chi, and Tae Kwon Do.  And even with each of these there are different styles or focuses.  For example, our Han Moo Kwan (HMK) Tae Kwon Do is different than World Taekwondo Federation (WTF) or International Taekwondo Federation (ITF).

If interested in more details of how WTF and ITF compare to HMK, please see my blogs in October / November 2015 (http://hanmookwan-svl-chiefinstructor.blogspot.com/2015/10/ and http://hanmookwan-svl-chiefinstructor.blogspot.com/2015/11/) and April/ May 2016 (http://hanmookwan-svl-chiefinstructor.blogspot.com/2016/04/itf-compared-to-hmk-part-i-of-ii-chief.html and http://hanmookwan-svl-chiefinstructor.blogspot.com/2016/05/)

So, how did I know that HMK was the right martial art for me?  In the beginning I was looking for four things when I joined the HMK Club:  

1.      Self-Defense Oriented

An art form that taught me practical self-defense.  I wanted to learn skills to protect myself and possibly others and feel confident of the skills I learned.  I believe our style has very practical self-defense: we keep it simple, linear and stress every technique should cause damage, therefore making it effective.   We also practice self-defense and sparring on a regular basis where we grab and punch/kick at each other to try to simulate a real attack.   I have heard of martial arts clubs that teach self-defense but never actually grab each other, or practice sparring where they do not actually hit each other.  For me, it is important that I practice the techniques gaining confidence they will work.  

2.      Exercise

A martial art that allowed me a good workout and challenged my endurance, strength and flexibility.  Our style has allowed me to get in a good workout. When I first started out, I would drip with sweat just getting through basics.  What I did not know then, but know now, is I also want to practice a martial art I could practice for many years.  Judo, for instance, with all the throws is not necessarily a good martial art in your 40s and 50s.  With HMK, I have been able to still be effective after 25 years because (1) I have adjusted to what my body can handle and (2) the energy side of the art form has allowed me still to be effective (and even more effective) in my skill as I got older.  Bob Rainie practiced until his late 80s, so I know that I can continue into at least my 70s and still be able to practice some aspects of HMK and benefit from it.  

3.      Atmosphere/ Environment

A place to practice that was supportive and had a sense of community.  I was not looking for a boot camp that pushed one even if the body was not ready for it.  I appreciate the fact that our club stresses one should honor their body.   I was also looking for a place to meet people, so I appreciate that we get together for awards dinners and have annual club picnics to gain a sense of community among ourselves.  I appreciate the instructors are not paid, and part of what we do is teach as a means to give back to our community.

4.       Personal Enjoyment

I needed to enjoy it.   In the beginning I enjoyed the physical aspect of it (the forms, the basics, self-defense, etc.).   Twenty-five years later, I still enjoy the physical aspects, but I also enjoy studying and learning the history, philosophy, the essence of the martial arts.  

Since I started, I have realized there are two other attributes one should consider when starting and continuing with a martial art.

1.      Competition Oriented

For me, training for and performing in competitions was not and is still not important to me.  Not that I am not competitive.  I played competitive sports for most of my younger years but this was not something I was looking for in martial arts.  And if it was, then HMK would probably not be the right style for me. 

2.      Modern or Traditional

I have found that I enjoy the traditional aspects of our Club and its lineage.  I enjoy studying the history and culture associated with HMK as well as being pure to the techniques and not evolving them.  But at the same time, I also enjoy that our Club has limited the formality.   While we do bow and have some Korean terms we use, a more traditional Tae Kwon Do club would use more Korean terms during practice (including counting).  Chief Instructors would be referred to as Master or Grandmaster.  There would also be less discussion on the why and less ability to ask questions.  It would be more Master Says, Students Do sort of atmosphere.  I believe our Club provides a nice balance of preserving the traditional aspects with minimal formality which I have found I enjoy.

For me, HMK is a good martial art because it meets what I am looking for in the six attributes laid out above and believe it will continue to be what I am looking for from a martial art for decades to come.

Regards,

Kelly

“Understand that the essence of martial arts is not the art itself, but what's hidden deep within yourself.” ~ Gogen Yamaguchi (1909-1989), Grandmaster of Japanese Karate-dō and founder of the International Karate-dō Gōjū Kai Association

What Makes a Hyung Good - - Chief Instructor's Blog October 2019

When a student is demonstrating a Hyung, there are up to six major elements I look for to determine whether it is good or not depending on the level of the student.

1. Mechanics

First off, for all levels, I assess the quality, efficiency, and effectiveness of the mechanics of the techniques.  I watch to see if the techniques are performed appropriately for the level of the student.  This includes the stances, the movement, where looking, and the targeting.  For example, if a student is performing an attack punch:

• Stance should be approximately twice as wide as it is long, both knees and feet pointed forward, rear leg locked, leading leg bent, with the knee not to extend past the toes of the leading foot, hips and shoulders square; back straight
• During the movement hips and shoulders remain square throughout the punch; Punching fist moves forward to sternum level, wrist flat, rotating fist 180 degrees just prior to impact; first two knuckles pointed at target; arm stays in contact with side of body throughout motion; other fist comes back in reciprocal position at the right hip (fist upward); punching arm elbow should remain slightly bent at impact
• Student is focused forward at the target, chin level
• Target is the sternum; wrist flat; first two knuckles pointed at target

At each level it is expected students’ techniques are more precise.  For example, when a student is ranked a White Belt, I am not as particular that the feet are pointed forward, but by the time a student reaches the rank of Brown Belt, I am more critical that the feet are precisely pointed forward.

2. Force/Intensity

Next, I look for the force and speed of a student’s technique.  For students ranked as White Belts, I am not looking for force and speed as the focus is on the mechanics.  But as a student reaches the higher levels, I am looking for the student to throw techniques with force/speed and with an intention to break.  The intention to do damage should be reflected not just in the technique, but in the student’s attitude. For example, there should be an intensity in the student’s eyes that they are a force to be reckoned with and people in their path should get out of their way. 

3. Grounded

I also look to see if a student is grounded while demonstrating a Hyung.  For students with ranks of White and Green Belt, I do not expect students to be grounded, but once student reach higher levels, I expect them to start demonstrating being grounded.  For Blue Belts, I would expect students to be grounded while executing some of techniques and the force is fairly consistent throughout the techniques.  By time a student reaches Black Belt, the student should be grounded at all times and the force is consistent during the execution of the techniques as well as the transitions.

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4. Application/Purpose

For students ranked Blue Belt and higher, I watch to see if the student’s techniques look as if they have an application in mind and if it would be effective as an application.  I watch to see if the motion the student is performing has a purpose.  For example, when I watch the last moves to Pyung Ahn 2, I look to see if the student is actually grabbing/crushing the target and pulling it towards oneself and punching their target or are they just going through the motion. 

5. Timing

For students ranked Brown Belt and higher, I am looking for more students to perform a Hyung with flow and continuity in its motion.  The techniques should not look mechanical in nature, but naturally move from one technique to the next while each technique is still distinctionable (i.e., the techniques are not blended).

6. Energy

For Black Belts, I look at how the student projects their energy.  Black Belt’s energy should flow from ground, and the energy is forward and linear at all times (during the techniques itself and during transitions).  I watch to see if the student is conscious of how and where they are projecting their energy and their energy is not just following their physical body.  I also watch to see if the energy matches the philosophy of Han Moo Kwan: direct, offensive, and powerful.  The techniques should look as if each movement, no matter how small, and all parts of the body move with intention to do damage: shatter, slice, destroy the target

Regards,

Kelly

"It is not the number of Kata you know, but the SUBSTANCE of the Kata you have acquired." ~ Jitsumi Gogen Yamaguch (1909-1989), Japanese martial artist and founder of the International Karate-dō Gōjū Kai Association

Hyung Are Not Just About The Pattern - - Chief Instructor's Blog September 2019

Hyung (Forms) contain the foundation of any particular art form.  Some literature states that forms were developed to ensure that the most effective methods of a particular individual or style were not lost; and therefore, the true meaning and spirit of an art form can be found through the study and understanding of the techniques within its forms.

While hyung are performed in a specific pattern/sequence, learning the form is not just about learning a pattern/sequence.  If students just focused on the pattern/sequence, students would not learn how to properly perform the techniques.  The pattern/sequence, in and of itself, does not provide the means to learn forceful, effective techniques or why certain techniques work.

Ideally, when first learning a new hyung, there should be no new techniques to be learned.  Ideally, all new techniques have been learned and practiced so the mechanics (motion, stance, eye position, etc.) are correct and performed without hesitation.  By focusing and learning the techniques, it provides context once the pattern/sequence is introduced and makes learning the pattern/sequence easier and possibly more enjoyable. 

In addition, when learning a new technique, at least one application should be practiced.  By practicing an application (in self-defense or sparring), it gives an intention to the technique.  This intention will provide the student something to concentrate and focus on; and a mental focus usually results in stronger stances and more forceful, effective techniques.  

So, you may ask, what is the benefit of the sequence or pattern?

By linking techniques in a pattern/sequence, it gives students a way to practice the techniques in a more dynamic way.  The pattern/sequence enables students to develop more mental concentration, coordination, awareness of body, effective breathing techniques, practice and become efficient in combinations, become more aware and learn to shift attention and focus from one place to another. 

In essence, after learning the techniques, practicing in a pattern/sequence provides all the key ingredients needed to survive a fight in the real world.

Regards,

Kelly

“It should be known that the secret principles of Goju Ryu karate exist in the kata.” ~ Chojun Miyogi (1888-1953), Okinawan martial artist who founded the Gōjū-ryū school of karate

What’s In A Name and Uncovering Applications - - Chief Instructor's Blog August 2019

In various blogs (more recently in September 2018, “Studying Hyung”) I have talked about the applications of the techniques and exploring them as part of studying the art form.

In the “Studying Hyung” blog, I discuss various ways to uncover tactics and principles within applications specifically within the hyung.  In this blog, when I refer to a technique, I am referring to all our techniques whether we practice them in a hyung or not.

In the “Studying Hyung” blog, I specifically mention that the number of applications is limited by one’s imagination.   In this blog, I want to explain how a name of a technique may inadvertently be limiting one’s imagination and how to potentially counter that.

Before I go much further, let me tell you a little background to the naming of techniques and specifically some of the names within our Club. 

First, I have read in several books and articles on martial arts over the years that names of techniques were changed and intentionally watered down once martial arts was introduced to children.  Specifically, a lot of techniques were referred to then as blocks versus a strike so the connotation was defensive versus offensive, therefore, being more appropriate to teach to children.

Back in 2006, the Han Moo Kwan Association took on a project to document the art form.  In doing so, the Association also determined a need to standardized technique names to (1) enhance our instructors’ ability to teach concisely and clearly, and (2) support the verbal and conceptual learners’ needs in order for them to understand and grasp the techniques.  Prior to 2006, for some techniques (for example, the opening move to Pyung Ahn 2), we did not have names for a technique and instructors used to just say “do this” or “watch/follow me”. 

While we chose to standardize names, we did it consciously just like the masters of the past did when they changed the names to something perceived to be more acceptable to teaching to children.  We understood that by doing so, we were creating an initial interpretation of the technique.  We intentionally did this because we believed a single interpretation in the beginning when first learning a technique allowed students to focus on the correct position, motion, transitions, stance, eye position, etc.  This was never meant to imply there is only one single interpretation.  

With all this said, in opening one’s imagination to the various applications to the technique we practice in our art form, one must not be stuck on the name or be limited by the name.  One must think about the position, motion, etc. instead and the various parts of the body during that technique that could be used.

A simple example is the low block.  The low block gives one a connotation it is a defensive move to defend oneself against an attack from the waist to approximately the knee (for example, a strike coming low to high, kick, etc.).  And, yes, these are applications for a low block and is the one we initially discuss so we can practice the mechanics.  If we can dismiss the name for a moment and now focus on the motion, we can come up with many more effective applications. A few examples are below:

• From same side grab:  Technique (called a low block) can be used to off-balance opponent while other hand attacks (e.g., punch, Knife Hand strike, etc.)
• From cross hand grab:  Technique (called a low block) can be used to escape from grab (quickly) or move opponent off balance/create effective openings and targets while other hand attacks (e.g., punch, Knife Hand strike, etc.)
• From single arm same side or cross hand wrist grab – by sliding back into Attack Stance at slight angle, can pull opponent off balance and towards you with reciprocal action, and the technique (called a low block) attacks the opponent’s groin.

So, in practicing application and to open up one’s imagination to all the possibilities, disregard the name of the technique and think about the motion and parts of the hand/feet being used.  By doing so, it will tremendously help in uncovering applications within our techniques.  

Regards,

Kelly

“The techniques should not be practiced simply so they can be performed in the kata. Since karate is a fighting art each technique and movement has its own meaning.  The karateka must consider their meaning, how and why they are effective, and practice accordingly” – Shigeru Egami (1912-1981), a pioneering Japanese master of Shotokan karate who founded the Shōtōkai style