What would be the best way for the Art of TKD to deliver a set of new poomse that has more practical techniques in them than the Taegueks od the Chon Ji poomse have?
Terry
Terry
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a. The first thing a teacher must teach is a set of basics that corresponds to each kata. One that will allow a student to see and perform certain techniques therein and improve things like physical conditioning, balance, and efficiency of movement. Stances, transitions, punches, kicks, joint locks, throws, etc are all part of certain katas. This would be akin to throwing and catching a ball, swinging a bat, and running and sliding in baseball.
b. One learns the kata, memorizing the moves and details, and is able to perform it.
c. Traditional applications should be used as an example to teach anatomical knowledge and application mechanics...yet this information should be open ended. The student should eventually begin to "play" with the moves under the tutelage of the instructor, who gives insights into their multiple meanings. The teacher does not spoon-feed alternative applications, but rather gives clues and hints so that the student learns how to interpret the movements for themselves. The goal is for the student to learn the possibilities of each technique and understand their situational nature from a multifaceted point of view (this is the beauty of kata IMHO).
d. The true nature of kata is that they are a set of drills strung together by the creator so they can easily remember/transport/transfer practical knowledge regarding self-defense techniques. It is important for a student to eventually learn these because they provide a basis for understanding. Kata are not limited to these though (and I know many people who would disagree with that). Every student is different. They have different bodies and things work differently. The student must develop a set of drills that work with their body types...ones that they can practice repeatedly and relentlessly.
e. The student must learn how to apply in a "live" situation. Drills only take a student so far and eventually the student must transcend them. Application should "flow" from a student without thought and without hesitation and with no regard for "proper" context in the sense that one "waits" for certain things to happen. Drilled techniques need to be modified "on the fly" and altered to fit the situation at hand. This is a process of controlling the rules in sparring/randori/grappling and gradually removing them...but not removing so many that the training becomes overly dangerous.
The theory behind the Kihon/Kata/Kumite concept is relatively simple. Basics prepare one to do the forms. The forms teach one how to spar. Sparring prepares you for self-defense. This comes directly from the Okinawan Te, but it has been changed as it was passed along. In Japan, for instance, the grappling techniques were taken out of the basics lists because they didnt want it to compete with Judo. Another change was the mass marketing of Te to many people. Okinawan dojos are small and family orientated like ours. In Japan, however, Karate became big business.
terryl965 said:What would be the best way for the Art of TKD to deliver a set of new poomse that has more practical techniques in them than the Taegueks od the Chon Ji poomse have?
Terry
Gemini said:I guess to voice an opinion on your queston, I'd have to understand the question better.
When you say "a poomse that has more practical techniques" what exactly is practical? Practical for what level? Practical to simulate a certain aspect of the art, or the art as a whole? Remember, we're talking essentially about relative beginners here. Or do you also mean Koryo, Kungang, Taebeak, etc.
I think the Palgwe's did a much better job of representing the art as a whole, but not relative to the level they're taught, at least nowdays. Hence, the birth of the Taegueks. They're both practical, but each to a certain end. Because these are the only form sets I'm familiar with, I'm not sure I'm even qualified to offer an opinion. Maybe if I had a better understanding of what you mean by "practical".
Very good point. I like what you said. It kind of drives everything home in a nutshell.upnorthkyosa said:This entire question rests on the question..."what is the purpose of poomse?"
In my art, Tang Soo Do, they represent everything the art encompasses. Hwang Kee has written many times that the backbone of our art are the hyung. With that being said, I think that outlining your objectives is very important.
This must be the first step whenever you are trying to teach anything. If you are confused about this, then your students will also be confused. Creating a hyung should never be taken likely. It is like a haiku that describes who you are in respects to the martial arts.
upnorthkyosa
ps - the "traditional" forms are great, btw, there is nothing wrong with stepping back in order to step forward.
For a new set to be more practical you should learn the applications first before you learn the poomse. The applications should also be a part of the belt test.terryl965 said:What would be the best way for the Art of TKD to deliver a set of new poomse that has more practical techniques in them than the Taegueks od the Chon Ji poomse have?
Terry
allpet said:What is traditional?
A hundred years ago you learned the applications first and then you learned the poomse, and maybe you learned only two or three poomse.
Today you learn 15-20 poomse but you don't learn the applications.