One handed lateral cut overextension

[MBuzzy]

I have been working on my one handed lateral cuts, i.e. straight horizontal across the body from left to right only using one hand. I am having a problem stopping at the right point though. I'm still using a Mok Gum, so it isn't too much of an issue right now, but once I upgrade to a heavier sword, it will be more of an issue.

My concern is that I will end up overextending my arm by doing this. Does anyone know any good tricks or tips for when to stop and how to maintain good speed, but still stopping the sword at the right time?

 

[Sukerkin]

It's a little difficult to advise without knowing what 'rank' you're at, my friend, but the core technique is where you visualise your aim point to be.

Also, you have to consider what the intent of the cut is. If it is supposed that the sword has entered the body of the opponent (rather than driving him back or cutting limbs) then you need to fix your minds-eye target further across than otherwise (because you are cutting 'into' a person and so need to 'aim' the cut accordingly else you will stop too soon).

I would suggest practising stopping the sword when your arm is extended straight out (90 degrees forward) from your shoulder. This will mean, given the curve of the sword, that the tip is at or near centre. When you have that point 'fixed' in muscle memory, it becomes easier to vary it at need, the aim being that you can stop the cut when the tip of the katana is level with your cutting-arm shoulder (and thus has exited the theoretical torso of the enemy).

Why not just practise the latter aim-point from the beginning? Because for some cuts, your intent is to have the sword stop at the body centre-line so that you can perform a thrust.

Please excuse me if all this is known to you - as I prefaced my waffle with, I have no idea of the extent of your experience so erred on the side of 'caution' .

 

[MBuzzy]

I'm sorry! Good point! It would be best to consider me a beginner. I'm in a one on one program, so my rank is 8th Gup white belt in Haidong Gumdo, but I have learned cirriculum beyond my rank.

My understanding is that the cut (Hwengdan ilgum begi) is a basic slash across the midsection or chest, extending from a point equal to the left shoulder until the right shoulder.

I'm having a very hard time stopping the blade at the proper point.

That definately helps, I realize that it is primarily muscle memory and doing many repetitions, just wondering if there is a trick to controlling your blade speed in such a way that you can stop at the proper point.

 

[Sukerkin]

Well, one thing that comes with practise is that your cutting technique improves as you begin to 'feel' the different components of a strike as they happen in sequence.

As I'm positive you've learned already, a sword cut is a much more complex thing than most non-practitioners realise as it involves rotation of the hips, torso, shoulders, movement of the elbow, wrist and finally fingers.

The thing that appears to give the most trouble in the early stages of training is getting the timing of the sequence right so that the last things at the point of impact are the hips snapping in their power as the tenouchi comes on.

Most students grip the sword strongly from the beginning of the cut and try to get the power from swinging the arm - that's what gives the 'accuracy' trouble.

Think of it like flicking a length of rope so that the shoulder moves first, then the elbow, then the wrist and finally the fingers grip at the point of greatest extension to stop it flying away.

The power of the techniques come from the movement rather than the muscles and the effect on the target from the draw-cut nature of the katana. If you try to 'muscle' it, you generally end up with a chop rather than a slice and also sacrifice your control.

An alternate visualisation, particularly useful for overhead cuts, is that you are throwing the sword away from you hilt first and catching it so that it arcs around.

Hope that that helps a little more - it's one of those things that's much easier to demonstrate than type about .

 

[thardey]

One of the first things we learn/teach in European sword cuts, is not to "swing" the sword. Again this is European Sword Work, so make sure the idea transfers, but it sounds like what Sukerkin said.

When we cut, whether one-handed or two, the end of the cut always results in being in some sort of guard position, depending on the cut. To get there, imagine snapping a towel at someone -

you don't swing the towel in a large arc - don't swing the sword in a large arc

you throw the towel "out" -- "Throw" the cut "out" (away from you).

when the towel reaches the end of it's length, snap your wrist across, to cause the "snap" -- when the sword reached it's furthest point away from you (remember, you're throwing it "out"), then you "snap" the sword across, causing the "slice" or the "draw".

as Sukerkin described:

Think of it like flicking a length of rope so that the shoulder moves first, then the elbow, then the wrist and finally the fingers grip at the point of greatest extension to stop it flying away.

after you snap the towel, you'll notice that all of the energy has been spent in snapping it, and it will sort of "float" back. -- In the same way, if you throw a cut properly, all of the momentum will have been focused on the cut, and you won't have to "stop" it from following through too hard. It will "want" to stop in the proper place, which is important for us, since we usually follow a cut with a thrust. (A wicked combination).

Again, this is for European Sword Work, I know nothing about eastern sword work, so make sure that this is appropriate to your style. On the other hand, physics of a sword don't change.

However, I have done Korean Martial arts (My Grandmaster started in Tang Soo Do, as well as my school instructor) This type of thinking also works well for round kicks, ridge hands, hooking palm strikes, chops, and heel kicks. (It even works well for splitting wood with an axe - you'll be amazed at how much more power you can generate.)

 

[howard]

As I'm positive you've learned already, a sword cut is a much more complex thing than most non-practitioners realise as it involves rotation of the hips, torso, shoulders, movement of the elbow, wrist and finally fingers.

The thing that appears to give the most trouble in the early stages of training is getting the timing of the sequence right so that the last things at the point of impact are the hips snapping in their power as the tenouchi comes on.

Most students grip the sword strongly from the beginning of the cut and try to get the power from swinging the arm - that's what gives the 'accuracy' trouble.

Think of it like flicking a length of rope so that the shoulder moves first, then the elbow, then the wrist and finally the fingers grip at the point of greatest extension to stop it flying away...


An alternate visualisation, particularly useful for overhead cuts, is that you are throwing the sword away from you hilt first and catching it so that it arcs around.

These are excellent explanations of how to properly cut for people in Japanese sword arts (and probably most Korean ones too). Very nice advice.

 

[Sukerkin]

A good way of expressing the motion with your 'towel snap' analogy, Thardey.

You emphasised well what I only implied i.e. that the technique itself will result in good 'tip' control and allow you to maintain what we call kensen in JSA.

Thank you for you kind words too, Howard - it's good to know when you've managed to put a point across in a way that is comprehensible :rei:.

 

[brad]

That particular cut, in the ssangsu forms, is frequently followed by either a step back turn and thrust to the left or a block to the right. In either case, the stopping point is when the sword is straight out to the right side with the arm fully extended. It may help a little that the lower hilt should be laying along your forearm at that point. It's important that the cut be flat with correct flat blade angle, and even more that the hips and torso are used in the motion as well, not just the arm.