Thinking about writing a book...

[cdunn]

I am inclined to look at things this way:

If you write the book, the worst that can happen is that you cannot sell it, but you learned something from the research required to write the book. If you do not write the book, the best that can happen is that you will wonder how it would have gone. Which do you want to have happen?

 

[MBuzzy]

How important do you think an MLS citation format would be for this book? Would you as a reader appreciate this style of research or would you prefer a reading list or maybe a footnote style of research format? What do you think?

Whether you use MLA or APA or what style of reference isn't really important to me at least, although I prefer SOME sort of citation....even if it is just the book name, author, and year in a footnote, but it will provide credibility to what you say and more importantly, allow readers to go read the source material for themselves.

 

[exile]

MLS is OK; I personally prefer the University of Chicago format. It's the one that's common in most of the journals and books I use as sources, and my main text formatting program, LaTeX, is set up to do it automatically. But as others have said, more important than the style is that there is careful and consistent citation in the first place. Far too many books in the MAs include very specific claims that imply reference to either primary or secondary sources, without ever giving those sources. It's very frustrating, particularly given the frequent unreliability of the 'facts' that show up in MA writing. As long as you document your claims with full citations, any format in your book will be the right one, in my book!

 

[Montecarlodrag]

I don't know what your rank is, but don't worry too much about it.

If you want to write a book, just back everything you write with your sources and your own research/experience, and you'll be fine.

Just define the purpose of the book (Help students, be the bible of MA, impress other Martial Artists, etc.).
I have read books from high ranked guys and they failed to put their knowledge on paper. Too much flowers but very little of use.

Keep it simple, focused and practical. Include enough photos and diagrams. You may even include a CD with videos demonstrating things written in the book.

 

[Lynne]

If you don't write it, who will?

 

[bluemtn]

If you don't write it, who will?

Exactly! Personally, I think it would be a great help, and now I've thought on it more, I'd buy it. Just as long as you include your sources and how you came to your conclusions on certain things, it's good.

 

[Makalakumu]

I'm going to post the completed essay for people to read. I can see some areas that could be expanded if I were to turn this into a book. What can you see? I'm interested in your feedback.

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 opponent’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 student’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 student’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.

 

[Makalakumu]

Well, I'm going to go for it. I've got a pretty good outline in my head and I'll get that down on paper in the next couple of days. Then I'll put together some resources and start writing. I'll update some things on this thread and let people know about any really cool ideas I have.

 

[Makalakumu]

This is a list of TSD curriculum as I know it. I've rearranged it so that it looks at the totality of what a student would learn without dividing it by rank. This is what I'll use for the book because we are talking about the big picture in regards to Tang Soo Do. This list presents what the system teaches in totality.

Check it out and comment.

The Art of Tangsoodo
Full Curriculum List

Kicho - Basics

Basic Stances - Jaseh

Front stance _____
Horse stance _____
Back stance _____
Open stance _____
Fighting stance _____
90 degree stance _____
Cross legged stance _____
Short stance _____
Crane Stance _____
Low Stance _____

Hand Techniques – Soo gi

Basic punches _____
Palm strike _____
Knife hand _____
Back fist _____
Hammer fist _____
Fore arm strike _____
1-8 basic TSD blocks _____
Spear hand_____
Ridge hand _____
Elbow strikes _____
Leopard palm _____
Spinning strike _____
One finger strike_____
Wrist strike _____
Short rib punch_____
Soft fist ____
One knuckle strike _____
Basic Hubbad (open hand, fist, elbow) _____

Foot Techniques – Jok gi

Front kick _____
Inside outside kick _____
Outside inside kick _____
Side kick _____
Roundhouse kick _____
Hook kick _____
Stomp kick _____
Knee kick _____
45 degree groin kick _____
Push Kick _____
Low sweeping block kick_____
Low instep kick _____
Low jamming kick _____
Double kicking _____
Spinning kicks _____
Jumping kicks _____
Jumping with a fake kicks _____
Sliding up kicks _____
Jumping spinning kicks _____
Same side punch kick _____
Iron Broom sweeps _____

Joint Locks - Tuite

Wrist bending locks _____
Gooseneck _____
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) _____
Neck Breaking _____
Scarf Holds _____
Rear Naked Choke _____
Leg Triangle Choke _____
Side Choke _____
Guillotine Choke _____
Joint lock flow _____
Fluid Lock application _____

Throwing and sweeping - Nage

Side fall _____
Back fall _____
Front fall _____
Roll fall _____
Advanced foot sweep_____
Inner leg reap _____
Outer leg reap _____
Scoop throw _____
Sickle foot sweep _____
Four corner throw _____
Major hip throw _____
Shoulder hip throw _____
Shoulder throw _____
Rice bale throw _____
Single Leg takedown _____
Double Leg takedown _____
Mountain drop throw _____
Foot circle throw _____
Leg scissor takedown _____
Sweeping hip throw _____

Strike Points - Kyusho

Gall bladder 20 _____
Spleen 21 _____
Bladder Strike _____
Stomach 9 _____
Stomach 5 _____
Large Intestine 18 _____
Lung 8 _____
Heart 6 _____
Stomach Plexus _____
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 ____
Lung 1 ____
Lung 2 ____
Gall Bladder Plexus ____
Kidney 1____
Pericardium 8 ____
Bladder 41 ____

Hyung - Forms

Gi Cho Hyung Ill Boo _____
Gi Cho Hyung Ee Boo _____
Gi Cho Hyung Sam Boo _____
Pyung Ahn Cho Dan _____
Pyung Ahn Ee Dan _____
Pyung Ahn Sam Dan _____
Pyung Ahn Sa Dan _____
Pyung Ahn O Dan _____
Bassai Dai _____
Bassai Sho _____
Creative Hyung _____
Nai Han Chi Cho Dan _____
Nai Han Chi Ee Dan _____
Nai Han Chi Sam Dan _____
Chinto _____
Rohai _____
Kusanku _____
Gojushiho _____

Ee An Sol Cha Gi – Kicking Forms

Ill Bon _____
Ee Bon _____
Sam Bon _____
Sa Bon _____
O Bon _____
Yuk Bon _____
Chil Bon _____
Pal Bon _____
Cu Bon _____

Ill Soo Shik

1-6 Required Bunkai _____
6 Creative Bunkai _____
6-12 Required Bunkai _____
6 Creative Bunkai _____
13-22 Required Bunkai _____
12 Creative Bunkai _____

Ho Sin Shul – Self Defense

Demonstration of defense against random hand techniques _____
Demonstration of defense against random foot techniques _____
Demonstration of defense against random grabs _____
Demonstration of defense against random grab/strikes _____
Demonstration of defense against random hand or foot technique _____
Defense against any random technique _____
Defense against two person attacks _____
Defense against weapons _____

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 _____
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 _____
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 _____
Sparring with Weapons _____
Sparring Multiple People with Weapons _____

Kyok Pa – Breaking

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 ____
Two Patio Tiles _____
Series of Three consecutive hand strikes _____
Series of Two consecutive Kicks _____
Yuk Jin Kun Kyuk _____
Speed Break _____
Ee An Sol Cha Gi Cu Bon (4 stations 2 boards each) _____

Newaza – Grappling

Basic positions _____
Escapes from basic positions _____
Transitions from basic positions _____
Tuite from the ground _____
Strikes on the ground _____
The Eight Hold downs _____
Shooting and sprawling _____
Pressure points on the ground _____
Tension and relaxation on the ground _____
Fluid and instinctual movement _____

Weapons

Sticks

Heaven Six Pattern _____
Standard Six Pattern _____
Earth Six Pattern _____
Strikes 1-12 and defenses _____
Hand Switches _____
Male and female triangle footwork _____
Unig Zyow Hyung _____
Kun Tao _____
Carenza _____
Disarms _____

Knife

Five Terrors_____
Palm Stick Set _____
Ice Pick Set_____
Forward Grip Set _____
Disarms _____
Knife Tapping _____


Cane

Parts of Cane and uses _____
Cane form _____
Applications to the form _____

Staff

Holding the staff _____
Staff Form _____
Applications to the forms _____

Nunchaku

Holding the Flail _____
Kobu Nunchaku _____
Applications to the form _____

Breathing Exercises

Basic Belly Breathing _____
Moo Pal Dan Kun (1-4) _____
Moo Pal Dan Kun (4-8) _____
Internal Knowledge of Moo Pal Dan Kun _____
Standing on Stakes _____
Grand Circulation _____

Culture and Terminology

Counting to ten in Chinese and Korean _____
Commands in Class _____
Knowledge of the three theories of joint locking _____
Knowledge of Kusuri and Kusushi _____
Knowledge of the use of hyung _____
Knowledge of Gi Cho History _____
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 the meaning of Pyung Ahn _____
Knowledge of Cycle of Creation and Destruction _____
Knowledge of Kappo _____
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 _____

Martial Arts Research

Knowledge of the history of Korea _____
Knowledge of the history of Tang Soo Do_____
Knowledge of the History of Okinawa _____
Knowledge of the History of Kara-te _____
Knowledge of Dao of Jeet Kune Do by Bruce Lee_____
Knowledge of The Five Rings by Myamoto Musashi_____

 

[Makalakumu]

Here is a sample outline of what I would write...

The Lost Art of Tang Soo Do
A guide for the teaching of Bunkai
Outline

1. Introduction
a. Author’s bio
b. My martial arts CV
c. The Master Teacher – my background in education
d. Thesis – Tang Soo Do contains an effective system of self-defense within its hyungs. The way that it is currently taught does not access this information. This book will present an educational curriculum that will teach students how to use the hyung they practice.
2. A brief history of Tang Soo Do
a. Syncreticism and the transformation of Karate
b. An examination of the transformation of karate in my direct lineage.
i. Daniel Knoll – my teacher
ii. Master Nelson and Master Seiberlich – Old school KMA
iii. Hwang Kee – Learning from books, a grandmaster in reverse
iv. Gichin Funakoshi – Shotokan
v. Ankoh Itosu – Karate for everyone
vi. Matsumura Soken – What karate used to be…
3. The origin of Tang Soo Do’s curriculum
a. A serious look at Hwang Kee’s training
b. Tang Soo Do is Shotokan with more kicks.
c. The origin of Ho Sin Shul
d. The evolution of Soo Bahk Do
4. A critical examination of Tang Soo Do’s curriculum
a. What are the stated objectives of Tang Soo Do?
b. A description of Kicho, Hyung, Ill Soo Shik, Ho Sin Shul and Deh Ryun
c. The critical disconnections – the elements purpose and practice do not connect.
d. The result – Student learn each element separately. There is no reinforcement of objectives. The art’s overall effectiveness in meeting its objectives is retarded.
5. Unscrambling Tang Soo Do
a. Where do we go from here?
b. What is actually in the hyung?
c. The science of application.
d. A new approach to basics.
e. The role and types of sparring.
f. The alignment of practice and objectives.
6. The Found Art of Tang Soo Do
a. A restructured curriculum aligned with objectives.
b. A description of basics.
c. Reading the Hyung.
d. Drills – the new ill soo shik and ho sin shul.
e. Sparring – making the drills come alive by providing varying degrees of resistance.
7. Tang Soo Do
a. A full curriclum list
b. Adult requirements
c. Children requirements
d. The new yudansha – Becoming an expert on what you know.
8. Teaching Manuals
a. White Belt
b. Green Belt
c. Red Belt
d. Black Belt

Do you think this material is too hot or too political? Maybe I should skip a lot of the history and focus on the manual portion?

 

[hkfuie]

2. Applications are no more then three moves and every sequence starts and ends on the same move.

Can I ask what you mean by this? I have been trying to figure it out since I read it a few days ago...

Every sequence starts and ends on the same move? Does that mean the sequence is within what we would teach as one move...like within what we would call "low block?"

 

[Makalakumu]

2. Applications are no more then three moves and every sequence starts and ends on the same move.

Can I ask what you mean by this? I have been trying to figure it out since I read it a few days ago...

Every sequence starts and ends on the same move? Does that mean the sequence is within what we would teach as one move...like within what we would call "low block?"

Sometimes, what we would call one "move" in a form is actually an entire self defense sequence. What we call "low block" is what I have termed as a complex technique. A complex technique is a movement that is composed of several simple techniques. Simple technique are what I teach as basics. They can be a punch, a parry, a joint lock, a throw, a grab, or a release.

As far as "sequences starting and ending on the same move" goes, that is a guideline for reading the syntax in a form. Complex techniques are never representative of one response. They always take on many forms. Also, no sequence in a form should ever be "read" more then two or three complex techniques.

Does this make any sense? When I write it up, I'll try and include some pictures and diagrams.

 

[MBuzzy]

John,

I'm curious how much of the Korean influence you intend to include. I know that we've had many discussions regarding the usage of Korean terminology, culture, and history, but I notice that you use primarily Japanese terminology. How much of the Korean influence in terms of terminology do you intend to include? (this coming from someone who is very interested in the Korean aspect of the art and who has never studied any Japanese system)

 

[Makalakumu]

I'm going to write the book entirely in English. I am not familiar enough with kanji or hangul to attempt to write in those languages and I've learned that the Romanized versions of the words leave much to be desired. The only exception will be with the name of a form...although I'll include the translations because that is important.

With that being said, there are some translations that don't really seem to capture the essence of the technique or form. This has proven difficult.

 

[terryl965]

So how is the book writing going these days.

 

[Makalakumu]

I'm just gathering sources and organizing information. I posted an outline of the book in this thread for comment. Check it out!

 

[terryl965]

On your strike points where are the vital ones like the thoart, eyes floaring ribs, knee's temple and so forth, sorry did not see them. I believe this would be an point of interest to the readers.

 

[Makalakumu]

On your strike points where are the vital ones like the thoart, eyes floaring ribs, knee's temple and so forth, sorry did not see them. I believe this would be an point of interest to the readers.

That is one of the difficulties I'm having. All of them are there, but they are referenced with TCM points. Rather then teach the reader how to "read" the points, I'm just going to refer to parts of the anatomy.

I want to make this thing go straight to the point and I don't want to spend a lot of time explaining terminology if I don't have to.

 

[MBuzzy]

That is one of the difficulties I'm having. All of them are there, but they are referenced with TCM points. Rather then teach the reader how to "read" the points, I'm just going to refer to parts of the anatomy.

I want to make this thing go straight to the point and I don't want to spend a lot of time explaining terminology if I don't have to.

It seems like between the striking points and the "Meridian theory" the ideas of pressure points and vulnerable target areas should be sufficiently covered. I've found much use in the relation of anatomy to Martial Arts as a "Force Multiplier" to techniues (e.g. a strike to the wrist is effective, but if you hit the pressure point also, it is exponentially more effective).

 

[MBuzzy]

I'm going to write the book entirely in English. I am not familiar enough with kanji or hangul to attempt to write in those languages and I've learned that the Romanized versions of the words leave much to be desired. The only exception will be with the name of a form...although I'll include the translations because that is important.

With that being said, there are some translations that don't really seem to capture the essence of the technique or form. This has proven difficult.

What about the Japanese terminology? such as Bunkai, kusuri, etc?



If you are interested or would like to add an appendix or something along those lines, I would be more than happy to offer translation and writing services. I've been on a quest to do some indepth research into the translations and words that we use - such as the eight key concepts. Our translations have come a long way from the original Chinese characters (hanja/hanmun) and hangul into our english translations.

My big project now is creating an exhaustive terminology list which includes English, Romanized Korean, Hangul, and Hanja/Hanmun for everything that I can find. I currently have 408 Tang Soo Do/Soo Bahk Do related terms and 70 Haidong Gumdo specific terms. I'm still working on some of the Hangul for the Gumdo terms and I have a lot of Hanja/Hanmun to put in. But you're welcome to it if you would like. I have an ulterior motive just in seeing the Korean culture included!