glad2bhere said:I guess I wonder why it is still Tang Soo Do. I suspect that if I was in the Phillipines and started adding Pakistani wrestling the folks in the Phillipines would wonder why I continued to use the name of their art, right? So if Tang Soo Do has a particular culture and a particular heritage and you change the culture and you change the heritage how is this still Tang Soo Do? In like manner, if your teacher wants to teach Tang So Do and then wants to teach knife-fighting, and let his students take each class and mix them together on their own, why not do it that way. Why corrupt an art? Thoughts?
Best Wishes,
Bruce
Is the art being corrupted or is it reflecting an individuals artistic expression?
In my opinion, there are always going to be individual differences between instructors. One of the teachers I met up where I live is a 4th dan in TSD and 2nd in chinese kempo. His TSD, consequently, looks very Chinese. They emphasize those characteristics. I have trained and continue to train in Japanese arts - Shotokan and Danzen Ryu Jui jutsu. In my dojang, my prior training colors my application of TSD. Consequently, my students are very good at locks and throws as well as the more "traditional" stuff.
My teacher feels that his blend of Filipino techniques into TSD is appropriate. When he began learning, the system already included them. Then it became "standardized" and the stuff was dropped in favor of dead patterns. My teacher feels that he is teaching a truer, more effective, version of the art. The art that he originally learned.
From the above, one can obviously see that I am not an advocate of standardization. I do not believe that an art can grow well at an individual level where every technique is controlled and everyone is forced to do the same thing.
upnorthkyosa