Theory, Practice, and Kata - The Thesis of my Practice - In Progress...

[Makalakumu]

Layers in Application

Many people have incorrectly interpreted kara-te (and by default Tang Soo Do) to be strictly a striking art. This is plainly not true. A cursory examination of the hyung shows a multitude of techniques that directly show some kind of grabbing technique.

The truth of the matter is that the hyung in our syllabus were designed as complete systems for life protection. These systems did not just deal with defending and delivering strikes, because in many self defense situations, striking isn't the best response.

The hyung contain many different kinds of tools and this has wide ranging import on how one would structure their curriculum.

In order to understand the tools that are contained in hyung, one has to understand the hierarchy in which these tools are organized. This hierarchy arose out of the neccesity to differentiate and compartmentalize various techniques so that they could be passed on easier.

There are three layers of understanding in our hyung.

1. Atemi - striking - this layer of understanding is the most basic. This layer is concerned with blocking and countering with hand techniques or foot techniques. This layer of understanding makes full use of strike points and other anatomical knowledge.

2. Tuite - joint locking/projection - this layer of understanding is more complex because it incorporates aspects of Atemi and combines them with the grappling component that is extant in all kara-te based systems. Tuite techniques include joint locks, take downs, throws, pins, and traps. As one can see, this layer of understanding is very complex and it takes a long time to learn correctly.

3. Kyusho - life protection - in the United States and around the world, this has commonly been misinterpreted as the use of strike points. However, as one can see, the use of strike points is part and parcel of Atemi. The real meaning of kyusho is more ephermal and far deeper the just the use of strike points in atemi. Kyusho is about life protection. These are techniques that incorporate every tool in the karateka's syllabus for the sole purpose of protecting one's life. Kyusho incorporates atemi and tuite into the brutal and efficient combinations that would need in order to end a serious conflict quickly. Many of kara-te's deepest techniques are found at this level.

It should be noted the the traditional practice of Kara-te assumed that the practicioner had some skill in wrestling. In Okinawa, where many of the sensei who created the forms lived, the native wrestling art was called Tegumi. This art was ubiquitous in the island chain with nearly all youth taking part in this national pastime.

Kara-te techniques are markedly different then those practiced in Tegumi. It is assumed that the karateka will remain on his feet while fighting and has the foreknowledge of wrestling in order to do so. This is not to say that many kara-te techniques cannot be performed from the ground, it just means that the focus is on remaining on one's feet.

With that being said, a Modern Kara-te syllabus should contain basic instruction in wrestling. Most practicioners are not engaged in wrestling from an early age and need the instruction in order to fully be engaged in the original context that the hyung were created.

 

[Makalakumu]

Basic Kata Principles

Closely aligned with the layers of understanding in kata are the basic kata principles. In a hyung based curriculum, these principles are taught concurrently with the differing layers of understanding. The connection is not unilateral, however. Each principle can apply to all three levels of understanding.

These basic principles are meant to help one understand the movements in the kata. By viewing the movements through these lenses, one is teaching oneself how to properly see different techniques in the kata.

1. Strikes are blocks and blocks are strikes. In order to gain a full understanding of how to perform atemi shown in kata, one must understand that many movements that look like "blocks" or "strikes" are, in fact, blocks and strikes. This principle is often misinterpreted to mean that blocks should be performed in order to strike what they are blocking. While not wholley incorrect, this is just one aspect of this axiom. Often, what looks like a block is a legitimate strike to a vulnerable target of the opponents body.

2. Strike to grab and grab to strike. This principle gives the karateka information on how to perform some atemi techniques as well as tuite techniques. Setting up tuite techniques with strikes and grabbing an opponent to strike them are ubiquitous throughout the karate syllabus of kata.

Related to this principle is the concept of hiki-te or retracting hand. In kata, the withdrawing hand is always taking some part of the opponent's body with it. This is very insightful because it will help a student understand the full depth of tuite within our kata.

3. Instinctual movement. In Korean, this is known as Mushin or fighting spirit/mind. This is the deepest level of principle in the tangsoodoin's hyung. The practice of every technique in a hyung can help a student develop mushin.

Where the other two principles are more exoteric in nature, dealing with the functional aspects of application, mushin is more esoteric. This is a mind set that you develop after years of constant drilling and practice and performing hyung. The tangsoodoin should attempt to develop mushin every time they perform a hyung.

The development of mushin is an integral part of the development of kyusho.

 

[Makalakumu]

Timing

The final area of hyung analysis that I will exposit in this essay is on the subject of timing. All hyung make use of different levels of timing. This differentiation leads to a number of interpretations for bunkai and oyo for every move in a hyung.

When the tangsoodoin looks at the movements in the hyung, they should understand that the bunkai and oyo change to meet the needs demanded by timing.

So, what is timing? Timing is when oyo and bunkai occur. Sometimes one is before the other. Sometimes they occur at the same time. It depends on which reference frame you are choosing when you read the hyung.

The three levels of timing are as follows...

1. Go no sen - this level of timing happens when bunkai immediately follows oyo.

2. Sen - this level of timing happens when bunkai and oyo happen at the same time.

3. Sen no sen - this level of timing happens when bunkai preceeds oyo.

The levels of timing are taught in the same hierarchy that other hyung principles are taught. However, all three levels of timing flow equally in each aspect of the hyung.

 

[Makalakumu]

Before I elaborate on the curriculum aspects of this design, please share your thoughts with me as to what I've written thus far.

A big thank you for all of you who have participated in this thread so far.

 

[Kacey]

Before I elaborate on the curriculum aspects of this design, please share your thoughts with me as to what I've written thus far.

A big thank you for all of you who have participated in this thread so far.

I'm still digesting all of it... but I'm quite enjoying reading it; it fits with a lot of what I've learned about TKD as I've gained a deeper understanding of what is really there.

 

[Makalakumu]

Guidelines for using kata in curriculum​

There needs to be a formalized way of teaching kata in order to use it effectively as self defense. One must practice a move repeatedly in order to improve the technique and make it automatic. One must learn how to apply this automatic technique in a random situation correctly. One must learn to adapt so they can change to other things when something doesn't work. There are training methods for all of these things.

An example of a formalized system for learning kata is the following...

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.

d. The true nature of kata is that they are sets 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.

There are many other ways of using kata and each will deliver certain results. However, if one believes that kata are a central part of an art and that they are useful for self-defense, a system that resembles what is outline above is needed in order to use them most effectively.

 

[Makalakumu]

Guidelines for using kata in a Tang Soo Do Curriculum

I am writing this next section, not as a criticism of the average tangsoodoin's curriculum, but as a road map for evolution. This knowledge represents a change of environment in which the tangsoodoin can adapt if they choose.

Traditionally, the Tang Soo Do curriculum contains the following elements. Kicho (basics), hyung (forms), Ill Soo Shik (one steps), Ho Sin Shul (self defense), Deh Ryun (sparring), and Kyok Pa (breaking). These elements are arranged differently depending on teacher and organization, but are, for the most part, ubiquitous across the Tang Soo Do spectrum.

As one learns more about hyung, taking into account the material I've written above, and/or finding out even more then what I've written, this will demand changes if one's wish is to incorporate this material. This is because the techiques and combinations used in the forms are far more comprehensive then what the average tangsoodoin practices.

With that being said, rather then throwing the baby out with the bathwater, I'm going to use the general catagories for this thesis in order to continue the common thread that all tangsoodoin share. It is my opinion that in a hyung based curriculum, the following elements should look like this...

1. Kicho - Basics should be designed so that they introduce a student to the real techniques in a form. These techniques should be functional, as in they should be exactly what you would do in a violent altercation. Techniques should be practiced so that you consistently practice with a partner and that you develop real focus, balance and power. Impact training, whether on pads and/or a makiwara should be the fundamental way striking basics should be practiced. Tuite and nage techniques should also be practiced with a partner and should include full ukemi and tapping.

Finally, basic techniques should be limited to what is actually found in the forms. This does not mean that should rigidly adhere to the oyo and bunkai found in the particular form being practiced by the student. A variety of techniques that fit the spirit of the oyo bunkai in the form should be explored so that tangsoodoin becomes more well rounded.

2. Hyung. In most Korean systems, a 10 gup belt system is used in order to designate a students skill level. In a hyung based curriculum, the intense focus and analysis upon each form demands that only one hyung be taught for each rank. This is vital because it gives the student time to really focus on what they are learning and analyze the hyung to its fullest potential.

As far as how a hyung should be taught, this will vary as a student increases in skill level and understanding of the hyung. The teaching the hyung should correspond to the way that various kicho techiques are introduced. Beginning students should learn predominantly striking techniques with some tuite and nage techniques thrown in so that they can learn how to fall and tap properly. As a student advances, this continuum will flip to a point where few new striking techniques will be introduced and mostly tuite and nage techniques are being practiced.

All of this will inform how a teacher teaches a hyung. At the beginning stages, the striking elements are emphasized, but as the student progresses, more tuite and nage will be introduced. At some point, the teacher should make time for students to examine earlier kata for the advanced concepts found in early forms.

The actual teaching the hyung should include a major focus on stance and technique. However, all criticism of stance and technique should somehow be tied to how that technique is actually applied against an opponent. Criticism will vary from student to student depending on their level of understanding of hyung layers.

Finally, a student should learn the entire hyung immediately so that they have time to practice the hyung and make the movements instinctual by the next time they test. This will also provide them with ample time to analyze the hyung's techniques.

3. Ill Soo Shik. One steps should come directly from applications in the hyung. The teacher should construct a series of required one steps that utilize the differing layers of understanding in regards to hyung technique. Beginning student one steps should include mostly strikes. As a student advances, more tuite and nage should be included. The teacher needs to make a concerted effort to show the various principles each hyung is attempting to teach.

The student should also be encouraged to figure out their own one steps. I would recommend that the student should be required to produce 2-5 one steps per form. This is done in order to provide the tangsoodoin an opportunity to hone their hyung analysis skills.

Finally, one steps should be drilled continuously so that they are smooth and effortless. The teacher should provide ample opportunity for this to take place. This, however, limits the amount of one steps a student can practice. A student should learn no more then 40 one steps before chodan.

4. Ho Sin Shul. Where one steps provide a student the opportunity to analyze the hyung, ho sin shul should provide a student with the opportunity to test one's skill in a more controlled environment the sparring. The teacher should use ho sin shul to introduce concepts like random attacks and varying degrees of resistance in order to move the practice the hyung's applications beyond the academic one steps and into something that has more basis in reality. Finally, a full range of attacks should be explored with ho sin shul. Pushes, pulls and strikes should be defended against with equal time being split between them.

5. Deh Ryun. Sparring excercises should flow directly from ho sin shul. Rules and regulations should be carefully removed by the instructor until a more free flowing and randomized drill is conceived. Various forms of protective equipment should be worn by the student as deemed by the instructor. All levels of distance should be explored in sparring. Striking distances, clinching, randori, and wrestling should be explored.

As part of deh ryun, a newaza (wrestling) curriculum should be introduced for students. This aspect need not be comprehensive as the study of wrestling runs counter to the spirit of hyung application. However, as mentioned above, traditionally, the study of karate assumed some knowledge of grappling. This gap needs to be filled in a well rounded Tang Soo Do curriculum.

Newaza concepts such as balance, position, escapes, pins and submissions should be taught. Striking on the ground should also be taught as many hyung specifically show how to do this. This, however, should be expanded to specifically include all wrestling positions.

6. Kyok Pa. Breaking various materials should be explored in order to test a students power and conditioning. This aspect of practice should specifically focus on strikes practiced in hyungs.

The following section will give an example of what this curriculum could look like. The above guidelines are suggestions for changes and the finished product could take many forms.

 

[Makalakumu]

The typical tangsoodoin rank structure uses a 10 gup system. I only use that with children. For my adults, I use a four belt system to get to black belt. I will post both my adult and childrens requirements for public consumption.

 

[Makalakumu]

Green Belt Requirements


General Requirements


Sound Moral Character (Respectful, Responsible, Honest, Caring) _____
One hour of practice outside of class per week _____
A willing learner and good student _____

1. Basics


Jaseh – Stances

Chung Gul Jaseh – front stance _____
Ki Mah Jaseh – horse stance _____
Hu Gul Jaseh – back stance _____
Sa Ko Rip Jaseh – open stance _____
Deh Ryun Jaseh – fighting stance _____

Soo Gi – hand techniques

Basic punches _____
Palm strike _____
Knife hand _____
Back fist _____
Hammer fist _____
Fore arm strike _____
1-8 basic TSD blocks _____

Jok ji – foot techniques


Ahp Cha Nut Gi – Front kick _____
Ahneso Pakuro Cha Gi – inside outside kick _____
Pakeso Ahnuro Cha Gi – Outside inside kick _____
Yup Podo Cha Gi – side kick _____
Dul Ryo Cha Gi – round kick _____
Yup Hu Ri Gi – Hook Kick _____
Chit Pal Gi – stomp kick _____
Moo Ruep Cha Gi – Knee Kick _____

Tuite – joint locks


Koto geye osh _____
Eekyo 1 _____
Eekyo 2
Nikyo _____
Sankyo _____
Three theories of joint locking, pain compliance, throwing, breaking _____

Nage - throws


De Ashi Barai_____
O Uchi Gari _____
O Soto Gari _____
Suqui Nage _____
Knowledge of Kusuri and Kusushi _____
Ukemi – falls

Side fall _____
Back fall _____
Front fall _____
Roll fall _____

Kyusho – pressure points, location, direction of strike, and application

Gall bladder 20 _____
Spleen 21 _____
Bladder Strike _____
Stomach 9 _____
Stomach 5 _____
Large Intestine 18 _____
Lung 8 _____
Heart 6 _____
Stomach Plexus _____

2. Hyung


Gi Cho Hyung Ill Boo _____
Gi Cho Hyung Ee Boo _____
Gi Cho Hyung Sam Boo _____

3. Ee An Sol Cha Gi – kicking in multiple directions

Ill Bon _____
Ee Bon _____
Sam Bon _____

4. Ill Soo Shik – Applications of the Forms

1-6 Required Bunkai _____
6 creative Bunkai _____

5. Ho Sin Shul – Self Defense


Demonstration of defense against random hand techniques _____
Demonstration of defense against random foot techniques _____
Proper distance, timing and control _____

6. Deh Ryun – Sparring


Demonstration of Block/Counter in Sparring Situation _____
Demonstration of one on one sparring _____
Demonstration of sparring someone of equal rank _____
Demonstration of sparring someone of higher rank _____

7. Newaza – Wrestling


Basic positions – superior mount, open, closed, and half guard, rear mount, side mount _____
Escapes from basic positions _____
Transitions from basic positions _____

8. Kyok Pa – Breaking (for 16 and up)

Knowledge of how to hold a board _____
Knowledge of how to break a board _____
Two hands in succession _____
Two feet in succession _____
One hand and One Foot technique in combination _____
One Patio Tile ____

9. Breathing Exercises


Moo Pal Dan Kun (1-4) _____

10. Culture and Terminology – (in notebook)

Counting to ten in Chinese and Korean _____
Commands in Class _____
Knowledge of Meridian Theory _____
Knowledge of Oyo, Bunkai, and Henka _____
Knowledge of Atemi, Tuite, and Kyusho _____
Knowledge of intermediate and end positions in hyung _____
Knowledge of Gi Cho History _____



11. Martial Arts Research (for 16 and up)


Knowledge of the history of Korea _____
Knowledge of the history of Tang Soo Do_____

12. Testing – times arranged privately with instructor


At least twelve months has passed since last grading _____
Martial Arts Notebook _____

 

[Makalakumu]

Red Belt Requirements




General Requirements


Sound Moral Character (Respectful, Responsible, Honest, Caring) _____
Knowledge of all lower ranked material _____
2 hours of practice outside of class per week _____
A willing learner and good student _____
Assists instructor in instruction of lower ranks _____

1. Basics


Jaseh

Pyung Rip Jaseh _____
Kyo Ch Rip Jaseh _____
Bom Jaseh _____

Soo Gi

Pyung Kwon Soo _____
Chung Kwon Soo_____
Yuk Soo Do Kun Kyuk _____
Pal Koop Kun Kyuk _____
Pal Koop Chi Ki _____
Dwi Kun Kyuk _____
Ill Chi Kwon Soo_____

Jok ji


Pandal Cha Gi _____
Peet Cha Gi _____
Bul Ro Mulkee _____
Toro Cha Gi_____
Ko Dan Cha Gi _____
Naeturo Cha Gi _____
Double Jok ji _____

Tuite


Finger lock _____
Multiple finger lock _____
Figure four ankle lock _____
Toehold _____
Knee bar _____
Heel hook _____
Basic Armbar _____
Seated Armbar _____
Hammer lock _____
Reverse hammer lock _____
Straight arm lock (figure four) _____


Nage


Sotogama _____
Sheho Nage _____
Ogoshi _____
Seogoshi _____
Seonage _____
Yawara Gaeshi _____
Single Leg takedown _____
Double Leg takedown _____

Kyusho

Gall Bladder 24 ____
Lung Plexus ____
Triple Warmer 11 ____
Governor Vessel 26 ____
Triple Warmer 17 ____
Gall Bladder 31 ____
Pericardium 6 ____
Clavicle Notch ____
Liver 12 ____
Spleen 12 ____

2. Hyung


Pyung Ahn Cho Dan _____
Pyung Ahn Ee Dan _____
Pyung Ahn Sam Dan _____
Pyung Ahn Sa Dan _____
Pyung Ahn O Dan _____

3. Ee An Sol Cha Gi – kicking in multiple directions

Sa Bon _____
O Bon _____
Yuk Bon _____

4. Ill Soo Shik – Applications from current forms

6-12 Required bunkai _____
6 creative bunkai _____

5. Ho Sin Shul – self defense


Demonstration of defense against random grabs _____
Demonstration of defense against random grab/strikes _____
Demonstration of defense against random hand or foot technique _____
Proper Distance, timing, and control_____

6. Kyok Pa – Breaking (for 16 and up)

Two Patio Tiles _____
Series of Three consecutive hand strikes _____
Series of Two consecutive Kicks _____

8. Deh Ryun

Demonstration of Pi – Hagi in sparring situation _____
Demonstration of sparring someone of lower rank _____
Demonstration of sparring someone of same rank _____
Demonstration of sparring someone of higher rank _____
Demonstration of Randori _____
Demonstration of submission grappling _____
Demonstration of one up, one down sparring _____
Instinctual posture _____
Kicks from the Ground _____
Sweeps from the Ground _____
Getting back up _____

9. Newaza


Tuite from the ground _____
Strikes on the ground _____
The Eight Hold downs _____
Shooting and sprawling _____

10. Breathing Exercises


Moo Pal Dan Kun (4-8) _____

11. Culture and Terminology – (in notebook)

Knowledge of the meaning of Pyung Ahn _____
Knowledge of Cycle of Creation and Destruction _____
Knowledge of the use of hyung _____


12. Martial Arts Research (for 16 and up)


Knowledge of the History of Okinawa _____
Knowledge of the History of Kara-te _____

13. Testing – times arranged privately with instructor


At least twelve months has passed since last grading _____
Martial Arts Notebook _____

 

[Makalakumu]

Brown Belt Requirements


General Requirements


Sound Moral Character (Respectful, Responsible, Honest, Caring) _____
Knowledge of all lower ranked material _____
3 hours of practice outside of class per week _____
A willing learner and good student _____
All Red Belt students are qualified as assist in class_____

1. Basics


Jaseh

Han Bal Seo Kee _____
Choi Jaseh _____

Soo Gi

Son Mahk Deung Mahkee _____
Son Mahk Deung Kun Kyuk _____
Yuk Jin Kun Kyuk_____
Yoo Kwan ____
Il Chee Kwan _____
Dragon Fist _____
Basic Hubbad (open hand, fist, elbow) _____

Jok ji


Dwi Jok ji _____
Dwi Oh Jok ji _____
Du Bal Jok ji _____
Goolo Jok ji _____
Dwi oh Dwi Jok Ji _____
Chirumyo Cha Gi _____
Iron Brook sweeps _____

Tuite


Joint lock flow _____
Fluid Lock application _____
Neck Breaking _____
Scarf Holds _____
Rear Naked Choke _____
Leg Triangle Choke _____
Side Choke _____
Guillotine Choke _____

Nage


Tai o Toshi _____
Tomi Nage _____
Kane Sute _____
Harai Goshi _____

Kyusho


Heart 1 ____
Heart 2 ____
Lung 1 ____
Lung 2 ____
Gall Bladder Plexus ____
Kidney 1____
Pericardium 8 ____
Bladder 41 ____

2. Hyung


Bassai Dai _____
Bassai Sho _____
Nai Han Chi Cho Dan _____
Creative Hyung _____

3. Ee An Sol Cha Gi

Chil Bon _____
Pal Bon _____
Cu Bon _____

4. Ill Soo Shik – Applications of the Current Forms

13-22 Required Bunkai _____
12 Creative Bunkai _____

5. Ho Sin Shul


Defense against any random technique _____
Defense against two person attacks _____
Proper Distance, timing, and control _____

6. Kyok Pa – Breaking (for 16 and up)

Yuk Jin Kun Kyuk _____
Speed Break _____
Ee An Sol Cha Gi Cu Bon (4 stations 2 boards each) _____


9. Deh Ryun

Demonstration of Stop Hit in Deh Ryun _____
Demonstration of entering and trapping _____
Demonstration of Sparring against lower ranks _____
Demonstration of Sparring against same rank _____
Demonstration of sparring against higher rank _____
Demonstration of open technique sparring _____
Da Soo in Deh Ryun _____

10. Newaza


Pressure points on the ground _____
Tension and relaxation on the ground _____
Fluid and instinctual movement _____

11. Breathing Exercises


Internal Knowledge of Moo Pal Dan Kun _____

13. Culture and Terminology – (in notebook)

Knowledge of Kappo _____
Knowledge of the textbook nature of Hyung _____
Knowledge of Meridian elements _____
Knowledge of Diurnal Cycle _____
Knowledge of Yin (soft) and Yang (hard) in striking _____
Knowledge of basic first aid _____
Knowledge of laws concerning the use of force _____
Knowledge of other martial arts _____


14. Martial Arts Research (for 16 and up)


Knowledge of Dao of Jeet Kune Do by Bruce Lee_____
Knowledge of The Five Rings by Myamoto Musashi_____

15. Testing – times arranged privately with instructor


At least twenty four months has passed since last grading _____
Martial Arts Notebook _____

 

[Makalakumu]

My children's requirements can be found here...

http://www.martialtalk.com/forum/showthread.php?t=48896&page=2

Now that this has all been laid out in detail, please tell me what you think.

 

[Sukerkin]

Just a quick placeholder comment to commend you on the work put into this. I'll hopefully have something more informed to say later when I've had time to read and internally digest .

 

[Kacey]

Sound Moral Character (Respectful, Responsible, Honest, Caring) _____

3 hours of practice outside of class per week _____

In general - no problems at all. Specifically, however, I have to ask how you judge the ones I left from your requirements, above. I don't disagree, mind you, I just want to know how you determine these 2. Judging if someone is practicing outside of class could be easy (depending on how well the practice is done) - but how do you judge if someone is of sound moral character outside your class?

 

[Makalakumu]

It's very subjective. Basically, we just talk and learn more about each other's lives. I throw that in there as a guideline for my students and sometimes ask them to journal about it and how it relates to "do" in tang soo do. The reality is that I can never truly measure this. It's all a matter of intuition.

This requirement is actually a hold over from what my teacher expected. He is a sergeant at the county jail back where I grew up, so he told us that as long as he never saw us at work, we were doing something right. So, that was a much more concrete way of measuring this...

 

[kyosa]

I will pose a question that I would love to ask Itosu Sensei if he were alive but since he is not I have my own belief in this area, but would like to hear some other opinions.

As an instructor who has students that are themself instructors I allow my students to "change" a certain amount of their forms from the original. When I teach a form I teach the original form as it was taught to me, however, when i do a form I have changed it to fit my view of the form. Ie its not just Pyung Ahn Cho Dan but it it Kyosa Nim Pyung Ahn Cho Dan which is very similar but not the same as the original. When my students teach this form I hope they are Teaching the original version which I taught them. They certainly can and should teach many versions of the application to the movements and the students should interpret and incorperate those movements into the form and make the form "their own form."

So here is the questions I have for you:

1) Should forms be changed to fit individual perceptions of the forms or only practiced specifically as the student was taught the form?

I have already stated my view on this question

2) Should instructors only teach the original version of the form or teach their version of the form?

As I have already stated my view is that I teach my students the original version. However, I know a Master who specializes in Nai Han Chi Cho Dan and is recognized as one of the most knowledgable persons on this form. He has compared versions of this form from many different styles and systems which are mostly similar but not the same. The original form has been changed by various instructors as it was handed down in different systems for what ever reason (I can think of several). Should this be allowed to occur? Is this a natural progression/change from instructor to student or a mutation to be avoided at all cost?

I would ask that you think well about both questions before answering-and please state whether you are a student, instructor or instructor of instructors when answering.

 

[kidswarrior]

A great topic, UpNorth, and a mountain of work obviously involved. As Kacey said, I'll want to go back and read it carefully, but for now have enjoyed a sort of skim of the thread. I should ask up front, tho, whether you intend to focus specifically on Okinawan/Korean/Japanese forms, or did you also have in mind CMA as well as American/modern forms? The answer would have some impact on my involvement, as well as the way questions are phrased and how the answers develop.

For example, if we talk about (dissect, reverse engineer, put back together, etc.) a 'traditional' form, as a Pinan/Heian, the discussion is going to be rooted in history (I believe). On the other hand, if we're talking about how to understand and teach any form, the answer may be more forward looking and involve more innovation. The former I don't have either the background or interest in pursuing, which is fine. The latter is more my cup of tea, and gets my juices flowing (to mix metaphors).

 

[Makalakumu]

A great topic, UpNorth, and a mountain of work obviously involved. As Kacey said, I'll want to go back and read it carefully, but for now have enjoyed a sort of skim of the thread. I should ask up front, tho, whether you intend to focus specifically on Okinawan/Korean/Japanese forms, or did you also have in mind CMA as well as American/modern forms? The answer would have some impact on my involvement, as well as the way questions are phrased and how the answers develop.

For example, if we talk about (dissect, reverse engineer, put back together, etc.) a 'traditional' form, as a Pinan/Heian, the discussion is going to be rooted in history (I believe). On the other hand, if we're talking about how to understand and teach any form, the answer may be more forward looking and involve more innovation. The former I don't have either the background or interest in pursuing, which is fine. The latter is more my cup of tea, and gets my juices flowing (to mix metaphors).

I am mostly just focusing on kata of okinawan origin and in this discussion, I left out most of the historical context in favor of creating more of a "how-to" guide for building curriculum. Sometime down the road, I'll add a historical component that will discuss the "why" of this thesis.

 

[Makalakumu]

So here is the questions I have for you:

1) Should forms be changed to fit individual perceptions of the forms or only practiced specifically as the student was taught the form?

2) Should instructors only teach the original version of the form or teach their version of the form?

1. I am very careful about changing aspects of the forms because I do not fully understand the context and origin of certain moves. For example, one the early changes I made when I first started teaching was to take the punch in gi cho hyung ee bo and change it to a chang kwan. I reasoned that this was a good move because it would teach beginning students to strike the head with an open hand. The thinking was that a beginning student's hand was not conditioned enough to strike with the fist.

As time went on and I learned more, I discovered a very interesting aspect regarding the gichos that I never knew. I did know that Funakoshi Sensei created these forms and that Hwang Kee imported them like he did most of the original forms. What I later learned was a principle called "ki-jion" which means secrets or keys. These forms were created specifically to teach a student how to understand application and revert it to its original combative form. One peice of ki-jion was that very punch that I changed! In the first form, its a middle punch and in a lot of our other forms, middle punches are ubiquitous. In the second form, its a high punch. The ki-jion behind this is that all middle punches can be changed to high punches and that this change reverts the forms back to its more dangerous pre-phy-ed version that Itosu Sensei altered.

All of this taught me to be very careful when making any changes. Now I try to look at the historical context, the lineage, and discussions with any senseis along the way that actually teach the version of the form in which I am looking at.

There is so much about the hyung that we tangsoodoin do not know because of the way Hwang Kee went out putting this art together. Thus, we need to be very careful so we don't lose something important.

2. I almost always only teach the original version. The only exception are a few slight modification that I beleive are firmly reasoned in context and lineage. As a student advances, I will tell them what I did and why I did it in order to teach them the importance and risks involved in changing aspects of the forms before one fully understands them.