Thursday, 18 October 2018
Tuesday, 16 October 2018
combative applications from the Heian/Pinan Kata (often called Pyung Ahn in Korean). A few years back I toyed with the idea of making a book demonstrating the differences between how the different Korean Kwan (schools or styles) performed their versions of the Pyung Ahn and Chulgi series. The reason for this is that I collected and studied all kinds of older texts from Mu Duk Kwan, Chung Do Kwan, Oh Do Kwan etc and I was getting a lot of different material that is not generally seen today in my personal "library". One of these things that I found fascinating was how the Hyung was very similar, yet they had their small differences accross the different schools. When I saw that Iain Abernethy was going to hold a seminar in the south east part of Norway I knew I had to attend that seminar. I have followed his work for probably more than a decade now, articles, books, youtube, podcasts, Iain is prolific and a great sharer of knowledge, and I find his stuff to be very interesting. Since he was going to focus on the Pinan/Heian series I thought I could brush off on the forms I had collected notes on, but never finished the project so that I came "prepared" to the seminar. Since I have been working on learning the solo performance of the series, revisiting my old notes and now learned a ton of applications on them from the most best known "applications guy"across styles I thought that perhaps some of my readers might be interested in learning a little more about them, and how the versions vary among different schools. I abandoned the book project because I never managed to find a version from all of the major Kwan, and I really thought that if I were to charge money in the form of a book, it really should contain versions from all the major Kwan and not just 2-4 Kwan.
Tuesday, 2 October 2018
Sunday, 30 September 2018
Following up from my last blog post here is a clip of me performing another hybrid or personal version of Chulgi 2. These series of forms (there are 3 in the complete set) is in my view remarkable in that they most possibly represent three generations of great masters thoughts and ideas. The reason I say that is that lineages in Karate that goes back to "Tode" Sakugawa but does not go through "Bushi" Matsumura and Anko Itosu practise only the first in the series. This means that most likely Sakugawa invented or imported the form that was to become the first in the series. Again if we look to Karate lineages going through "Bushi" Matsumura (a student of Sakugawa), but not through Itosu, we see that these lineages usually practise the first two forms but not the last in the series, supporting a claim that the second form was invented as a commentary by Matsumura. The third form is practised by lineages going through both Sakugawa -> Matsumura -> Itosu making it likely that Itosu made the last one. So three forms containing the knowledge of three legendary masters and fighters. Some might it find it interesting that Othsuka, the founder of Wado-Ryu Karate who was a student of Gichin Funakoshi and Choki Motobu decided that the first form in the series was one of his absolute favorites, while the second and third one was dropped because in his view they were next to useless i I remember his words correctly. This explains why Wado-Ryu Karate only practise the first one, eventhough they come from an Itosu lineage.
Friday, 31 August 2018
I have been practising Chulgi Chudan Hyung for a few years now, and it is still giving me all kinds of ideas and lessons in mechanics. The other day the schools opened up after a looooong summer and we could finally start up formal training again, and so I met up early to do some self training and I also used the oppertunity to shoot a little video of myself performing Chulgi, Taegeuk il jang and taegeuk i jang. Taegeuk Il jang I shot from different angles etc, and I intend to make a video where the performance is done, interjected with clips of applications. For this post however I am sharing what I can only call a hybrid or personal version of Chulgi Chudan Hyung.
Saturday, 11 August 2018
traditional version of it, coloured by my teachers experiences). This post however will perhaps be an interesting read for any Korean Martial Arts practisioner as we all use horse stance no matter if you practise Taekwondo, Taekwon-Do, Tae Kwon Do (WTF/Kukki, Chang Hon/ITF or independent), Tang Su Do, Su Bahk Do, Gumdo, Gyungdang etc. It is one of those universal stances that seemingly every martial art makes heavy use of. In Norway we have a saying that goes "A loved child has many names" (Kjært barn har mange navn), and while the translation of the various Korean name for this stance is remarkably consistent as "Horse Stance" there are a number of different Korean terms used to refer to this stance. One exception that has a unique English name for the stance is ITF Taekwon-Do which translate their Korean term into "Sitting Stance". In this post I will look into several different Korean terms for the stance, re-translate them into English and give a little background. Some people complain that Korean masters all seem to have their own Korean term for this stance but I think that within the different organisations in the main we see that the Korean terms are used consistent. It is when we look at different martial arts or organisations we see different Korean terms being used for what is essentually the same stance.
Friday, 20 July 2018
I will make this into an article on a later date, but after reading a few comments from some “hard core traditionalists” saying we should never use gloves in training because there’s no gloves on “the street” I thought I should give an alternative view from another “traditionalist» :-)