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