Hyung Based Curriculum for the Tangsoodoin
By John Kedrowski
Introduction
Tang Soo Do is a popular Korean martial art that has practitioners all around the world. The art has incorporated elements of Chinese, Okinawan and Japanese martial arts in a synthesis that has produced a great art to practice.
Yet, along its syncretic lineage, Tang Soo Do has lost some things. Important elements that were part of the Japanese, Okinawan, and Chinese roots were left out of the synthesis. The purpose of this essay is not to discuss the history surrounding the subtraction of these elements. The purpose of this essay is to discuss the incorporation of these elements into the practice of Tang Soo Do so that every practitioner can deepen his/her understanding of the art.
I do not claim to be an expert in the martial arts. I am a student and I am a teacher that is all. The information I am presenting is rooted in my experience in Tang Soo Do, in other martial arts, and in the five years of research that I have put into this topic. Thus, with an open mind, we proceed...
The Missing Pieces
Tang Soo Do is like a building constructed from the materials of necessity. We have pieces of arts spackled here and there in order to fill in the cracks and hold the whole thing together. Yet, there are some common elements that most tangsoodoin share. These elements are Kicho (basics), Hyung (forms), Ill Soo Shik (One steps), Ho Sin Shul (self defense), and Deh Ryun (sparring).
These curricular elements are shared entities throughout many other Korean Martial Arts and they owe their roots to Japanese Shotokan. Kihon, Kata, and Kumite form the backbone of the immediate root art for Tang Soo Do.
The missing pieces involved all of these elements and it cannot be addressed by attempting to deal with each individually. This is because of the haphazard way in which the art came together. There is a manifold discontinuity in this edifice that needs to be addressed. The lack of a coherent thread that pulls all of this together to achieve ultimate instructional goals has lead to the general disarray in the tangsoodoin's understanding of what it is they are actually practicing, why they practice it, and how they practice.
My corrective suggestion for dealing with this problem is that we focus on our hyung when building our curriculum.
Traditionally, these objects were designed in order to transfer an art that could be used to preserve one's life in dangerous situations. As this is a central goal for many people's practice of Tang Soo Do, probing the root arts for clues as to how this was done and innovating new solutions to meet the needs of our current environment is paramount.
The following is meant to form a philosophic basis for the formation of a hyung-based curriculum. These principles will inform how we practice the traditional curricular elements that most tangsoodoin are familiar with. The end result of all this will convert the ramshackle edifice that we currently deal with into one that is focused upon clear goals and provides a clear vehicle for a student's progression towards those goals.
Kata Analysis
Before we can move forward with the construction of our curriculum, we need to learn view our hyung. The moves in our hyung are not the singular sequences we typically see practiced as gicho in most dojangs. The real "moves" are crushing strikes, breaking locks, bruising throws and takedowns, and paralyzing nerve strikes.
If this is the case, how does one view the moves in the hyung in order to "see" their real nature?
The answer to this question starts with Itosu Sensei, the man who is largely responsible for the popularization of Kara-te worldwide. If you look at modern Kara-te, the kihon, kata, and kumite pattern is ubiquitously shared amongst many styles. They basically follow the model that Itosu Sensei created for Imperial Japan's Ministry of Education. The line drills of basic techniques, sanitized kata, and a limited form of sparring were all created to be practiced safely by children in school.
Personally, I think that one of the reasons that Modern Karate is so attractive to parents and kids is because this is what Itosu's intended to create. As a teacher, I think that he had an intuitive understanding of development so that he could really go about designing something that would be appropriate for children. Kara-te was intentionally watered down and made safe and this is what was passed on to most of us originally.
Yet, Itosu left us clues so that adults who knew the key could revert the kata back into the deadly art that it once was. One of the keys that he specifically states is the way we need to look at moves in the kata. There are three qualitative statements and three rules relating directly to function that we need to keep in mind when reading kata.
Qualitative Statements
1. Every move has two parts, intermediate and end. In general, the intermediate positions are defensive. In general, the end positions are offensive.
2. Applications are no more then three moves and every sequence starts and ends on the same move.
3. All punches can be moved to the head level. Punching to the middle is less dangerous then to the head.
These statements make a marked distinction between how many karateka view moves in their kata. In other styles of karate, an entire move may be the traditional "low block" we see marched up and down the floor in many dojos. What Itosu is telling us, however, is that what looks like a single move actually has layers. You need to pay attention to the entire movement.
The second statement tells us profound things about how to read kata. The second rule gives us an idea as to how we should be looking at the structure of kata application. This is very important because kata are generally viewed as textbooks. This rule tells us how long the sentences are and how they are punctuated.
Lastly, the third statement indicates that certain moves were changed in order to make kata safer. Changing the location of a strike in order to cause more damage is something that we need to consider when pondering a kata's applications.
Itosu also gave us three rules regarding the functional purpose of each kata move.
Every move in the kata has a threefold purpose.
1. Direct Applications
2. Teaching Principles
3. Physical Fitness
Although it may seem that some kata moves have no purpose or may only fit one or two of the above, this in no way reflects what Itosu intended. Itosu specifically armed us with the qualitative statements so that we would have insight into the threefold purpose of the kata moves. We just need to work harder if we don't yet understand.
Application
Now that we have laid down a general framework in which to view hyung, we are at the point where we can begin to talk about using hyung. There are some basic terms that need to be clarified before we continue. These terms describe the nuts and bolts of hyung application.
Bunkai - analysis/application - this is what the defender is doing in the hyung.
Oyo - analysis/application - This is what the attacker is doing in the hyung.
Henka - variation - this term refers to variations in bunkai and oyo.
Oku-den - hidden - this term refers to secrets or secret teachings.
As far as the way a hyung is constructed, there are two basic parts, bunkai and oyo. Bunkai is easier to see then oyo because this is what the person performing the hyung is typically doing with the movements of the hyung. However, if one remembers that bunkai is the reaction to oyo then you can see what the oyo part of the hyung.
Henka describes variations in bunkai and oyo from what the kata is directly showing. If oyo calls for a kick and the bunkai is a defense for that kick, henka for the oyo could be to switch that kick to another kind of kick. Henka is a very deep aspect of a hyung because it relies on the principles that are being illustrated by a hyung. Typically, a student should not engage in henka until they have achieved some skill in the regular applications for the hyung.
Oku-den are moves that are not shown in the hyung. They typically are secret moves that a teacher would show when a student reached a certain level. Oku-den techniques can be found in all kinds of sequences. This essay does not deal with the Oku-den parts of kata. It is my personal belief that this aspect of hyung will not be particularly helpful to the tangsoodoin. The disconnect between the creator of the hyung, that lineage, and the syncreticism involved in the creation of our art, presents too wide of a gap for that information to cross.
This does not mean that it wouldn't be a valid area of research. I would advise caution, however. The presence of oku-den can turn a hyung into an inkblot if the researcher is not extremely careful when they examine the roots and a hyung creator's intentions as well as the teaching lineage.
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 necessity 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 ephemeral 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 traditional practice of Kara-te assumed that the practitioner 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 practitioners 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.
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 wholly 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 opponentÂ’s 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 mindset 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.
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 precedes 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.
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.
Guidelines for using hyung 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 techniques 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 categories 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 better rounded.
2. Hyung. In most Korean systems, a 10-gup-belt system is used in order to designate a studentÂ’s 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 techniques 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 students 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 exercises should flow directly from ho sin shul. The instructor should carefully remove rules and regulations until a freer flowing and randomized drill is conceived. The student as deemed by the instructor should wear various forms of protective equipment. 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 studentÂ’s 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.
