What Are you Bringing Into the Dojang? - - Chief Instructor's Blog January 2014

While our Club follows minimal etiquette or protocols, the one that I think is the most important is bowing.  We bow on the following occasions:

• Upon entering and leaving the dojang, (or training area, such as the mat)
• Start and finish of classes or Testing Session
• When working with a partner.
• Formal sparring

I see the act of bowing important for many reasons, but I want to focus on when entering the dojang.   One major reason we bow before entering the dojang is so we can leave the outside world and events outside and prepare ourselves mentally to focus on what happens inside the dojang: practicing and studying a martial art. 

When is the last time you spent a moment and let your day go before you entered the dojang?

When is the last time you bowed entering the dojang and said I am happy to be here and ready to learn?

The attitude and energy you bring into the dojang will determine how well you enjoy the class that night, how much you may learn that night, the type of experience you will have and the type of experience your fellow students will have as they interact with you.

If you are distracted and not focused on learning, how much and how well do you think you will learn?

If you are distracted, how well do you think you will practice?

If you had a bad day and are still thinking about that or spending the class time thinking about the rest of your night or tomorrow, do you think your partner will enjoy working with you?  Do you think your partner that evening will get the most of his/her experience that night?

Especially considering what we practice can do damage, should you be practicing if you are not focused?  If you have other motives of being there – waiting for traffic to clear or just wanting to escape work for an hour and we are doing a drill that is intense or sparring, should you participate?

As instructors, how good do you feel about your teaching session if you are tired or distracted?  How much do you think your students will get out of your session?

We owe it to each other, our fellow students and instructors, to show up and be present when we are participating in class sessions and bring a positive attitude and energy ready and willing to learn and practice.  One student or one instructor that is not present, distracted, or really wanting to study/learn that night can change the experience for everyone for that night from positive to not positive.

So, when you bow before entering into the dojang, spend a moment and let your day go, be happy to be entering the dojang and be ready to learn (and/or teach) and practice with an open mind.

Regards,

Kelly

“As you think, so shall you become.” ~ Bruce Lee, (1940 –1973) American-born Chinese Hong Kong martial artist, actor, and founder of Jeet Kune Do

 

 

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

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

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

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

NOTE:  Some clarifications and modifications were made to this blog January 2026 for clarity and consistency.

In July 2012 blog, I discussed the evolution of the attack punch. August 2012, I discussed the evolution of the Cat Stance Attack 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 as much as practical
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:
• Start to shortened 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
• Start to 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 as much as possible
• 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 transition from and to a knife hand quickly and smoothly

• Be able to use the knife hand in various practical applications

• Throw strike linear from preparation position to target

Advanced
Interim Black Belts and First-Degree 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 always
• Have energy that flows from ground through legs to center creating strong base
• Be able to penetrate past the physical hand 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

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

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