Blackbelt October November 2015

7/25/2019 Blackbelt October November 2015

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COMBATIVESWEAPONS

kkLEARNPROVENGU

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KNIFE&STICKD

EFENSE!

5 SETUPS

FOR THEARMBARJUDO CHAMPSHOWS YOUHOW TO WIN!

MARTIALARTS OFTHE U.S.

MILITARYARMY, MARINES,AIR FORCE

KellyMcCann

OCT/NOV 2015 Display until 11/17/15

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ckbeltmag.com


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Bruce Lee is a registered trademark of Bruce Lee Enterprises LLC. The Bruce Lee name, image and likeness are intellectual property of Bruce Lee Enterprises LLC. Photos Bruce Lee Enterprises.

contents10/11. 2015

DISCLAIMER: BLACK BELT COMMUNICATIONS, an Active Interest Media Publication, as publisher, does not endorse and makes no representation, warranty or guarantee concerning the safety or effectiveness of either the productsand services advertised in this magazine or the martial arts or other techniques discussed or illustrated in this magazine. The publisher expressly disclaims any and all liability relating to the manufacture, sale or use of such productsand services and the application of the techniques discussed or illustrated in this magazine. The purchase or use of some of the products, services or techniques advertised or discussed in this magazine may be illegal in some areasof the United States or other countries. Therefore, you should check federal, state, and local laws prior to your purchase or use of these products, services or techniques. The publisher makes no representation or warranty concerning

the legality of the purchase or use of these products, services and techniques in the United States or elsewhere. Because of the nature of some of the products, services and techniques advertised or discussed in this magazine, youshould consult a physician before using these products or services or applying these t echniques.

FEATURES

38EVOLUTION OF

TAEKWONDO FORMSMartial arts researcher Doug Cookhas done his homework, and hereare the results! Find out how the-DSDQHVH DUWV LQXHQFHG 7.'Vpoomsae and how the forms wenton to become distinctly Korean.

44 ARMED FOR VICTORY!Standing on the podium at the 2012Olympics was just one of Marti0DOOR\V PDQ\ LQWHUQDWLRQDOYLFWRULHV,Q WKLV DUWLFOH VKH VKDUHV YH SURYHQways to transition into the armbar,which happens to be her favorite judotechnique.

58 WARRIOR ARTS OF

THE U.S. MILITARYA Black Beltcontributing editor gives

a short history of hand-to-handcombat in the Americanarmed forces. Among thetopics he discusses: the LINEsystem, MCMAP, MACP andAir Force combatives.

66 FUNCTIONAL DOWNTIMEBlack Beltcontributing editor'U 0DUN&KHQJ WHDFKHV YHsimple exercises that willhelp you get the mostout of your trainingtime in the dojo.

For maximumEHQHW GRWKHPevery time yourinstructor givesyou a break.

52KRAVMAGA

GOESTACTICALInthisexclusiveinterview,EyalYanilov,discipleofkravmagafounderImiLichtenfeld,talksaboutthetransformationstheIsraeliself-defensesystemhasundergonefromacollectionoftechniquestoatechnicalsystemtoatacticalsystem.

COVER STORY

30 COMBATIVES VS. WEAPONSBlack BeltHall of Famer Kelly McCann teaches his provenmethod for defending against the three most common street

ZHDSRQV WKH JXQ NQLIH DQG VWLFN 3OXV QG RXW KRZ \RX FDQlearn from this renowned self-defense expert on your smartphone!


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EMAIL OR CALL FOR THE

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Toll Free: 1-866-993-0400International: +1 905-886-0483

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KNIFE IN A FIGHTSurvive and prevail in unexpected,high-speed, real knife attacks.1 hr 30 min

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H E A D Q U A R T E R S

BYVLADIMIR VASILIEV


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16

FIGHTBOOKMeet Eric Top Dog Knaus, a 6-foot-4-incher

who swings a kalistick like Babe Ruth swung

a baseball bat yet moves like a ballet dancer.

Find out what this founding member of the Dog

Brothers had to say about the one match he

fought without headgear.

18

DESTINATIONSMartial arts nomad Antonio Graceffo continues

his account of his pursuit of a martial arts

degree at Shanghai University of Sport. In

this installment: an analysis of the wrestling

program, which spans both freestyle and

Greco-Roman.

20

KARATE WAYWord to the wise: Never say wakarimasu I

understand in a Japanese martial arts

VFKRRO 5HDG WKLV FROXPQ WRQG RXW ZKDW

happened when Dave Lowry made that mistake.

22

PAYCHECKIn many respects, teaching martial arts on a

college campus is a dream job. Unfortunately,

landing such a gig is anything but easy. Dr.

Jerry Beasley, martial arts professor at Radford

University, is here to help.

24

HOW-TOInstructors often teach an escape for every choke

known to man, but if your only reason for training

LV VHOIGHIHQVH \RX GRQW QHHG WROHDUQ WKHPDOO7KDWV EHFDXVH LI\RX VWXG\ WKH VWDWV \RXOOVHH

that most attacks involve one of three chokes.

26

FIT TO FIGHT$ UHDGHUV TXHVWLRQ DERXW ZK\ FRUH VWUHQJWK

is important for punching and kicking caused

%ODFN %HOWVexercise expert to write a whole

column about the subject. Are you ready to start

developing yours?

28

SPORTS NUTRITION

Reduced fat, low fat, no fat. Most peoplelive in fear of consuming this macronutrient.

6FLHQWLFUHVHDUFKWHOOV XV RWKHUZLVH KRZHYHU

Dietary Fat and the Martial Arts Athlete tells

you what you need to know about eating for

performance.

74

COMPANY SPOTLIGHT6HOIGHIHQVH LV QRW RQH VL]H WV DOO LV D

FRUH EHOLHIDW -RKQ 3HOOHJULQLV 'HIHQVLYH

6HUYLFHV ,QWHUQDWLRQDO ,Q IDFW LWV WKH UHDVRQ

he and his instructors have been successful

developing customized martial arts programs

for disparate groups.

8 EDITORS NOTE

10 TIMES

71 ESSENTIAL GEAR

76 BLACK BELT PAGES

82 FROM THE ARCHIVES

VOL. 53 NO. 6.BLACK BELT (ISSN 0277-

3066, USPS 985-820) is published bi-monthly by Cruz Bay Publishing, Inc., anActive Interest Media company. AdvertisingDQG HGLWRULDORIFHV DW $Q]D'ULYHUnit E, Santa Clarita, California 91355.7KH NQRZQ RIFH RI SXEOLFDWLRQ LV Flatiron Pkwy, Boulder, CO 80301. Peri-odicals postage paid at Boulder, CO and atDGGLWLRQDOPDLOLQJ RIFHV 32670$67(5Send address changes to Black Belt, P.O.Box 420235, Palm Coast, FL 32142-0235.Customer service: (800) 266-4066. Sub-scription rates in the United States are oneyear $28. Canada: $40. Foreign: $52 (USfunds only). The publisher and editors willnot be responsible for unsolicited material.Manuscripts and photographs must be ac-companied by a stamped, self-addressedreturn envelope. Printed in the UnitedStates by RR Donnelley, Strasburg, VA.2015 by Black Belt Communications LLC,an Active Interest Media Publication. Allrights reserved. Reproduction without per-mission is strictly prohibited.

CONTENTS

BLACKB

ELT-OCTOBER/NOVEMBER

2015-V

OLUME53-NUMBER6

($/--$0*.$)**0

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8 BLACK BELT I OCTOBER/NOVEMBER 2015 BLACKBELTMAG.COM

VOLUME 53, NO. 6 OCTOBER/NOVEMBER 2015

GROUP PUBLISHERCheryl Angelheart

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EDITOR-IN-CHIEFRobert W. Young

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VIDEO/PHOTO EDITOR -RVK%UXPHOG

MARKETING MANAGERLaureen OBrien

CONTRIBUTING EDITORSFloyd Burk, Mark Cheng, Antonio Graceffo, MarkHatmaker, Mark Jacobs, Dave Lowry, Kelly McCann,

Keith Vargo

CONTRIBUTORSJerry Beasley, Doug Cook, Joel Kupfersmid, IanLauer, Peter Lueders, Jason William McNeil, RobertReiff, Melissa Rodriguez, S.D. Seong

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10 BLACKBELT I OCTOBER/NOVEMBER2015 BLACKBELTMAG.COM

PhotosCourtesyofAlLeong

MARTIAL ARTS NEWS YOU CAN USE. READ IT - KNOW IT - LIVE IT

Al Leong is an instructor

under Ark Yuey Wong.


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15/84


16/84


The only information available

about the Dog Brothers camefrom word-of-mouth testi-

monials delivered by prac-

titioners of the Filipino martial arts.

The group was apparently composed

of a bunch of guys whose idea of spar-

sticks and almost no protection just

light headgear until someone was

knocked senseless. The best (or worst,

depending on your outlook) of the pack

was a tall New Yorker who called him-

self Top Dog.

FOR THOSE WHO happened to see

day, the image is indelible. Here was a

6-foot-4-inch-tall man who could swing

a stick like Babe Ruth swung a baseball

bat but who also had the footwork of

a dancer. Knaus would pull off things

supposed to be done only in kata

like dropping into a low cross-legged

stance to slip beneath an attack, then

whipping his stick forward to take out

his opponents knee. He also did things

that werent supposed to be done in

kata or anywhere else in the Filipino

arts like slamming his opponent to

the ground and pummeling him.

Knaus did all this with no protection

except an old-fashioned fencing helmet,

essentially a thin wire mesh that served

only to keep his facial features from be-

ing mangled. Meanwhile, many of his

opponents would wear heavy helmets

and padding.I wanted to know the truth, Knaus

said. I wanted to know what works in

about what works when they spar cov-

ered in padding.

KNAUS BEGAN

York in the 1970s with Tom Bisio and

Bisios instructor Leo Gaje Jr.

Leo saw I loved to engage when I

-

er, Knaus said. Hed tell me, Learn

power thats what everyone else islacking. And he was right.

When I went to California, I found all

these masters who didnt realize how

much theyd dialed back their styles

because theyd never fought for real.

It was in California in the 1980s when

Knaus began visiting local martial arts

schools, offering to spar with anyone

who used weapons. He wasnt picky

about which weapons hed go against.

In various encounters, he faced the

nunchaku,staff, tonfa,bokkenand even

a bullwhip. In Knaus hands was noth-

ing but one or occasionally two

kalisticks.

KNAUS STYLE

when he began sparring with another

transplanted New Yorker named David

Wink. Although less experienced in stick

judoka as

large as Knaus and with an equal love of

combat. He found the best way to deal

with Knaus superior weapon skills was

to simply charge him and try to turn the

Knaus saw the value in Winks wayand began using it himself, steam-

rolling unsuspecting opponents and

-

though many FMA stylists criticized

this approach, saying it wouldnt work

-

ing to test the theory against Knaus.

Instead, Knaus had to coax less-expe-

fewer preconceived notions, into be-

coming his sparring partners. Among

them were Marc Denny and Arlan San- P h

C

f M

D

Still the Top Dog!Twenty years ago, advertisements started appearing in Black Beltto marketinstructional videos from a group that called itself the Dog Brothers. The VHSWDSHVIHDWXUHGIRRWDJHRIUHDOFRQWDFW VWLFNJKWLQJ

by Mark Jacobs

FIGHTBOOK


17/84

ford, who, with Knaus, would form the

core of the Dog Brothers.

Under Dennys direction, the group

-structional videos. The most memora-

-

ons battles, including Knaus encounter

with bullwhip specialist Tom Meadows.

Knaus initially fought against a

10-foot-long whip, which proved easy.

He stayed outside its range, and when

Meadows unloaded, it took so long to

bring the whip around for another blow

that Knaus was already inside its arc,

crashing into his opponent and taking

him to the ground. But then Meadowschanged to a shorter whip, which en-

pop, pop, pop! Knaus said. I kept

doing abbreviated roof blocks to de-

fend and got on my bicycle to stay away.

Finally, he hesitated, and I was able to

get inside. But if anyone really wants a

THE ONE CHALLENGE Knaus said he

always regretted never getting the op-

portunity to meet was perhaps the most

headgear whatsoever. He thought the

opportunity would never come up

-

er been able to resist sparring at semi-

nars. When he found an opponent in

without headgear (just protective gog-gles), Knaus couldnt pass up the chance.

While he says the two-minute match

was the most intense one of his life, he

also said it was, ironically, among his

least-punishing bouts.

Without the headgear, I found myself

really focusing on defense, said Knaus,

was more hesitant to close because he

didnt have headgear. So I proved to my-

youre wearing just a little bit of head-

gear. Doing it with nothing at all takes

just a little bummed I had to wait to this

While Top Dog doesnt recommend

anyone engage in full-contact sparring

without headgear on a regular basis, he

does advocate keeping as much realism

as you can safely tolerate in training.

works, he said.

When I was in school, the teachertaught us that Saturn had seven rings,

Knaus said. But eventually, we sent a

probe there and saw it has many more.

Fighting is like that. You dont know

whats really there til you go and see

for yourself.

The one challenge Knaus said he always regretted never gettingthe opportunity to meet was perhaps the most outrageous: an

8~ O ot| | |b8Ytb8 |8bb


18/84


Pursuing a Martial Arts Degree atShanghai University of Sport: WrestlingIn the April/May 2015 issue of Black Belt,I discussed san daand the way itstaught at Shanghai University of Sport, where Im a student. In the June/Julyissue, I delved into Chinese wrestling. Here, I focus on Western wrestling, bothfreestyle and Greco-Roman.

E\ $QWRQLR*UDFHR

A

lthough Shanghai University

of Sport doesnt offer free-

style wrestling, most of my

teammates have some experi-

ence in it, so they spar with me often.Its liberating to wrestle without the

shuai chiaojacket and to be able to use

while completing a throw. Its also nice

to not have people kicking and punch-

ing me, like they do in san da, while Im

doing that throw.

Much of our wrestling time consists

of learning to roll an opponent onto his

back and pin him. Although Id never

-

ANOTHER PART of my coursework

consists of Greco-Roman wrestling.

Contrary to what the name implies,

it has nothing to do with ancient

Greece or Rome. The wrestling that

was practiced in the ancient Olympics

was closer to catch wrestling in that

it allowed chokes and submissions.

Greco-Roman was invented in Francein the mid-19thcentury. Legend has it

that when selecting a wrestling style

for the first modern Olympics in 1896,

the committee chose Greco-Roman

simply because of the apparent con-

nection the name had with the an-

cient Olympics.

In many ways, Greco-Roman is the

most restrictive form of wrestling here.

The rules forbid you from attacking

your opponents legs with your hands

or legs. That means no leg hooking,

no sweeps, no singles, no doubles. Youcant even do a high crotch because you

arent allowed to attack any part of the

body below the waist.

Nearly all Greco-Roman throws

come from underhooks, body locks

and head-and-arm grabs. In both

Greco and freestyle, youre forbidden

to grab just your opponents head or

neck. Youre forced to seize the head

and one arm together. Interestingly,

because of this rule, Ive learned to

do chokes and neck cranks with an

arm in. Now, I like this position better

than the guillotine, in which you wrap

your arm around only your opponents

neck. Its much harder for a person to

escape this way, and it takes less en-

ergy to put pressure on his neck.

Compared to the other wrestlers

here, the Greco-Roman guys are by far

the strongest. The techniques require

lots of muscle power from the upper

body. My 175-pound wrestling coach is

easily twice as strong as my 175-pound

san da coach. When I go for a takedown

against the san da coach, I can feel the

strength differential, and its heavily inmy favor. But when I tangle with my

wrestling coach, often unless he lets

me I cant move him. Hes 22 and has

been living in a training facility since he

was 10, working out two to three times

a day.

This mans strength is legendary

around here. Sometimes, the guys will

Thai-clinch with me to see whos stron-

ger, and because I trained in Cambodia

and Thailand for many years, I can

prevail against most of them but h

f

f f

late and otherwise dominate an oppo-

nent on the ground.

Of all the arts I do in Shanghai, free-

style is the closest to MMA wrestling.

Just add some chokes and submis-sions, and youre basically there. For

example, a wrestling pin is really just

a side control. Learning to pin an op-

ponent is the same as learning to

control him for a ground and pound.

Some freestyle pins can be tweaked to

become pain submissions. Example:

The cradle involves holding your op-

ponents leg and rolling him onto his

shoulder blades for a pin. Push it a bit

farther and you have a painful neck

crank/choke.

DESTINATIONS


19/84

ABOUT THE AUTHOR:$QWRQLR *UDFHIIRVERRN :DUULRU 2G\VVH\ LV DYDLODEOH DW ERRN-VWRUHV DQG QXPHURXV RQOLQH UHWDLO RXWOHWV

not against the Greco-Roman coach.Clinching with him is like clinching

with a tree trunk.

DURING THE FIRST few weeks of my

Greco-Roman education at Shanghai

University of Sport, I learned at most

one technique per day. The rest of each

session was spent drilling that tech-

nique over and over. I didnt start spar-

ring until I was a month in. During that

absolutely no offense. I couldnt sweep,

leg-hook, shoot I simply got body-slammed again and again.

Now that Im further along, things

are better, even though I still dont

profess to be good at it. What I have

noticed is that both Greco-Roman

and Chinese wrestling are helping my

MMA game because theyre the least-studied grappling arts among MMA

hailed from a Greco background, in-

cluding Randy Couture and Dan Hen-

derson, but most people who learn

their wrestling at an MMA gym get a

Roman and Chinese-wrestling tactics

and techniques can give MMA enthu-

siasts the advantage of sneakiness,

enabling them to pull moves their

opponents probably havent even

thought of.In particular, Greco-Roman is useful

for throwing from the clinch. It makes

your clinch extremely powerful, which

is a huge advantage in MMA. This is

why Couture was renowned for his

dirty boxing. Hed lock his opponent

in his Greco clinch and then punch andknee him until he crumbled.

And, of course, the Greco-Roman

wrestler is trained to throw from the

clinch. Case in point: On one of the

da coach, he clinched. He quickly found

himself on the ground under me. It

doesnt matter if you grab me or if I

grab you, I explained in an effort to

console him. With Greco-Roman wres-

tling, I can still throw you.

It was one of the few times Ive been

able to get the drop on him.

(To be continued.)

Several MMA champs have hailed from a Greco background, includingRandy Couture and Dan Henderson, but most people who learn their

bt8 8 t tb 8 YobY b nnbbb


20/84


However, this is a word you

should never use in the dojo.

Chances are good that

if youre reading this, you

have at least some kind of intellectual

leaning. For you, karate and the other

budoarent entirely physical. You also

want to know about their history and

philosophy. You want to grasp them

on an intellectual plane, as well as a

physical plane. Theres nothing wrong

with this. It should be encouraged.

I cant see much of a future for thosewho have no curiosity about their art

or those who dont want to learn any

more than what they might hear their

teacher say in the dojo.

Wait, you might say. There are

plenty of professional ball players

who know nothing of the lore of their

sport. There are expert plumbers who

couldnt tell you anything about the

history of plumbing. True, but budo

is not a sport, and its not a technical

profession. It is, at its fullest, an art.

and action. He noted that having legs

doesnt allow a person to see, nor does

having eyes allow one to walk. Too,

for mastering it.

One of Zhu Xis descendants, Wang

Yang Ming (14721529), took this ideafurther. He postulated that knowing

and not being able to actualize that

knowing in doingis proof one does not

really know at all. To know and not to

act is not yet to know, Zhu wrote.

Wangs notion should lead to some

contemplation, especially for martial

artist s. If I know what is right, what is

moral, what is good, but I do not act on

these, then I do not really understand

them at all, according to Wang. If we

narrow this down to the realm of the

dojo, we see that having an intellectualgrasp of a front kick is one thing. Being

able to do that kick competently, of

course, quite another.

IF YOUVE BEEN in budo very long,

you know a few kuchi bushi, mouth

warriors whose lectures and opinions

danexperts at least. These types are

certainly examples of those who know

but cant do. However, there are also

budoka who dont want to

An artist who has no grasp of or

appreciation for the past is not much

of an artist.

THERE IS A SERIOUS problem,

intellectually inclined, and it comes

when they allow their curiosity, their

desire to learn academically, to get out

of balance with their commitment to

physical effort. Karate, like all budo,

is at its core a physical expression

of mental volition. Its realized notthrough intellectual effort but through

action. To forget this, or to minimize

it, is to sabotage any effort to master

karate as an art.

The matter of intellectualizing over

physically internalizing is not new

or unique to our age. Its a danger

long recognized. In the Asian martial

disciplines, we have a legacy handed

down to us from two Confucian

scholars. Zhu Xi (11301200)

described the interplay of knowledge

KARATE WAY

A Word to Banish From the DojoIn Japanese, the most common way to politely acknowledge something youve

been told is wakarimasu. I understand.by Dave Lowry


21/84

025( )520%/$&.%(/76

6(1,25&2/801,67

Many of the articles and books Dave

Lowry has written are available at

amazon.com. Simply enter his name

in the search box.

impress others, who arent interested

opinions. They are simply peoplewho really want to understand what

so they pose questions. Why do we lift

The problem isnt the questions they

The student who relies too heavily

knowing and doing

wider unless he addresses this issue

DO YOU UNDERSTAND? is

Wakarimasu.

sensei

his head.

the expression karada de oboeru,

thousand times, youll have a real

in the sense of the word my sensei

The student who relies too heavily on his intellectual grasp ofkarate is apt to believe hes got it. Unless he can translate that

grasp into action, however, he does not.


22/84


This dream job actually exists

on college campuses, and its

one thats enjoyed by many

martial arts instructors. Most

were hired to serve as club instruc-

tors or self-defense seminar providers,

while others are coaches for collegiate

teams. A few have managed to earn fac-

ulty status. The path to this type of em-

arrive at your destination, its a place

youll want to stay.

START BY ACCUMULATINGthe neces-

sary college degrees. On campus, youll

martial artist second. Building a port-

folio of martial arts rank, publications

and presentations is important, but youalso must have your bachelors degree

and possibly a masters or Ph.D.

Note that currently, no public Ameri-

can universities offer an academic

degree in martial arts. Therefore, the

most applicable majors for the degrees

youll need include physical education,

kinesiology, and health and human per-

formance. Use caution while planning

your higher education. The Internet

has opened the door for scammers to

offer phony college degrees. More than

IN 1973 I TAUGHT

college students through the Radford

University Karate Club in Virginia. The

Kung FuTV show, as well as movies like

Billy Jackand Fists of Fury,had ginned

up interest in martial arts on campus.

When I entered the classroom, the

place was packed. I thought, This is a

job Im going to like.At the time, I was a 22-year-old com-

pleting a bachelors degree in philoso-

phy. To maximize my marketability on

campus, I made martial arts the theme

of every research paper I did. To aug-

ment my knowledge base, I studied

Asian religion, as well as sociologi-

cal theories that might pertain to how

groups form and disband within the

dojo. I surveyed Eastern and Western

philosophy, including many of the same

texts Bruce Lee used.

After earning my bachelors degreein 1973, I set my sights on getting a

masters in sociology. My thesis focused

on the social-psychological role of the

Americansensei.I then entered the doc-

toral program in educational adminis-

tration at Virginia Tech. My dissertation

traced the roots of martial arts training

in Asia and explained the social rela-

as Americans adapted Eastern arts to

Western expectations.

As you can see, it helps to make your

education revolve around martial arts

when your goal is to teach on campus.

Bruce Lees mov-

ies were hot. There was so much inter-

est in martial arts that it was easy for

me to convince Radford administra-

tors of the logic of offering self-defense

classes. My collegiate karate club was

a success, I argued, and Id just earned

my bachelors degree. That didnt get

me a faculty job, but it did get me an ap-

pointment with the college president.

The president was intrigued by my

pitch. He sent me to the vice presidentof Academic Affairs, and with his en-

couragement, I met with the chair of

the Department of Physical and Health

Education to write a course outline that

would be voted on by the university

senate. It passed, and in a few months,

I was asked to serve as an adjunct in-

structor and teach a course called

PHED 150 Karate.

Because I didnt know any better, Id

started at the top and worked my way

down. A better way to launch a for-

a few people have paid for doctorates

in martial arts, martial sciences and so

on, only to receive an honorary degree

thats backed up by nothing more than

that equate to life experience. Needless

to say, college administrators are wise

to this ruse and will recognize a mail-

order degree in an instant.

When seeking employment on cam-

pus, your credentials arent the only

things you have to pay attention to.

Ultimately, the hiring of a faculty mem-

ber requires extensive planning by the

schools administrators and often

approval and funding from the state.

For that reason, timing is critical.

year, and college funding varies, as well.You may have a black belt and a Ph.D.,

but if the school lacks money for a

full-time faculty position, you wont be

landing a job. If you run up against this

wall, consider starting a college martial

arts club as a steppingstone. This can

build student interest in and, pre-

sumably, demand for your services,

thus gaining you the attention and sup-

port of administrators. The reason I

recommend this roundabout path is it

worked for me.

PAYCHECK

Martial Arts on the College CampusImagine getting paid to teach martial arts in a multimillion-dollar facility. Imaginehaving an audience that both wants and needs your instruction. Imagine nothaving to advertise or sell programs because the students come to you.

by Jerry Beasley, Ed.D.


23/84

credit martial arts class is to write acourse proposal and set about gettingit accepted by the relevant university

I continued my education while

and having completed my doctorate in

The Karate Kid to convince Radford University to hire its

IF YOU MANAGE to land a job on a

a university setting is demanding and to pursue this career path is the chance typically trying to understand their

if you want to become an associate sociate professor comes the granting university service to become a full more years of distinguished service is

FAMILIAR FACESON CAMPUS%LOO:DOODFH HDUQHG DPDVWHUV GHJUHH LQ NLQHVLRORJ\ IURP0HPSKLV 6WDWH8QLYHUVLW\ LQ 7KH XQLYHUVLW\ KLUHG KLPWRWHDFKPDUWLDODUWV IXOOWLPH EXW KHJDYH LW XSWRSXUVXH NLFNER[LQJ,Q WKH V MXGROHJHQG +D\ZDUG 1LVKLRNDHDUQHG KLV XQGHUJUDGXDWH GHJUHH

WKHQ VFRUHG DIXOOWLPH IDFXOW\ SRVLWLRQ DW /RV $QJHOHV &LW\ &ROOHJH ZKHUH KHWDXJKW PDUWLDODUWV WRXQGHUJUDGV

ABOUT THE AUTHOR:Dr. Jerry Beasleyis professor of health and human performanceat Radford University in Virginia. In 2000KH ZDV %ODFN %HOWV ,QVWUXFWRU RI WKH


24/84


T -

-

IN A PREVIOUS STUDY

(Black

Belt,

-

FOR THE SECOND SEARCH,

-

-

-

-

-

-

-

IF YOU ASSUME - -

First,

-

-

-

-

-

-

-

HOW-TO

Train Smart to Survive a ChokeIn the dojo,instructors often teach an escape for every choke imaginable.

by Joel Kupfersmid, Ph.D.


25/84

ABOUT THE AUTHOR:Joel Kupfersmid,Ph.D.,is apsychologist with athird-degreeblackbelt inkarate and jujitsu. He teachesself-defense at Kent State University.

Learning escapes from other chokes

such as those used in judo and jujitsu

tournaments and MMA for example,

the cross-choke, triangle choke and

DArce choke are not necessary.

Second, you should learn escapes

from the rear-naked choke and guillo-

tine while standing and on the ground.

For the one- and two-hand chokes,learning escapes from a standing attack

Third, if the demonstration videos

accurately portray the emphasis that

martial arts trainers give to various

choke escapes, theyve been somewhat

accurate. Almost a third of these vid-

eos showed defenses against the rear-

naked choke, about three-quarters of

which were from a standing position.

More emphasis needs to be placed on

escapes from chokes executed on the

ground, however.

Interestingly, 52 percent of the demo

videos showed escapes from one- and

two-hand chokes, which indicates that

instructors are overemphasizing the

need to learn these escapes. The ma-

jority of teachers are correct, however,

in demonstrating escapes from these

chokes when both parties are standing

and the attack comes from the front.

Theres a glaring need for martial

arts teachers to focus on escapes from

the guillotine. This attack occurred in

only 2 percent of the demo videos. Your

training should include escapes fromthe standing and ground positions for

this technique.

First, I learned

that women rarely choke but they do

pull hair a lot. Defenses against having

your hair pulled should be addressed

more often in self-defense training.

Second, in viewing more than 200

videos, I observed only two incidents

that involved a throw. One was a hip

wheel and the other a front double reap

(football tackle).

Third, I didnt come across any

videos in which common targets in

self-defense courses (pokes to eye,

strikes to throat, hits to groin, kicks

to groin or the back of the knee)

were used. The fights could be con-

sidered very clean , and likely none

of the combatants had training in

self-defense.

Fourth, 10 percent of the demo vid-

eos I reviewed involved escapes from

the bear hug. Trainers evidently think

its a relatively common attack. How-

ever, I didnt witness a single bear hug

choke videos.

THESE FINDINGS are similar to the

ones I previously discovered: When it

comes to physical altercations in real

life, only a few techniques are used by

the typical, untrained assailant.

For those who want bare-bones self-

defense, this is good news. Only a hand-

ful of escapes and counterattacks need

to be learned. This can greatly reduce

training time for anyone whos not con-

cerned with winning competitions or

mastering an art.

martialartsinsurance.com 800-900-1155

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respond to changes inyour industry because

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saw coming.

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26/84


The Core of MartialArts Training

by Ian Lauer, CSCS

Q:

I always hear my sensei talk

about strengthening the core.What exactly does that mean, and why

is the core so important for punching

and kicking? Shouldnt punching and

kicking be about the arms and legs?

A:As a practicing martial artistand avid gym-goer, Im a hugefan of resistance training for the ex-

tremities (arms and legs) as a means

to improve performance in the dojo

and on the street. All things being

equal, stronger arms and legs will

make for more powerful punches andkicks. Thats not to say you should

rely on strength training to make up

for poor form; rather, its to say that

resistance work will serve to enhance

striking power thats derived through

proper technique.

With this understanding in place, it

may seem initially that the best way to

increase power output via resistance

training would be to focus on leg and

arm work. Although this will help, its

shortsighted. It ignores the fact that

the human body acts as a complete

system. In this system, we have the

arms and the upper torso linked to the

legs by the core.

The core is composed of the abs and

the lower back. Its the part of you that

allows your upper and lower body

to work as a single unit. As a martial

artist, you know that to generate

maximum power, your entire body

must function as a system. So it stands

to reason that stronger extremities

linked by a more powerful core will

result in more powerful strikes overall.

ALTHOUGH CORE is a 21st-century

buzzword, the concept of training the

midsection to improve overall body

function is not new. In the early 1900s,

Joseph Pilates created a training method

that focused on this notion. He called

this area of the body the powerhouse

and went so far as to include the glutes

a properly orchestrated Pilates workout

as a unit. If you follow his teachings and

power into the blow, simply increase

the rotational force.

Backup mass is the power that

comes from the bodys mass as itmoves through space. For the sake of

discussion, lets consider backup mass

still plays a role in the generation of

you also have the entire weight of your

WHERE EXACTLY DOES the core

enter the picture? It plays a crucial

role in the facilitation of rotation,

incorporate a number of core exercises

into your training routine, you can expect

improved power output in your martial

arts moves as your body learns to operateas a stronger system from head to toe.

Lets take this a step further and look

at how it directly relates to traditional

martial arts. Kenpo practitioners

talk about rotational torque and

backup mass as means of generating

generated from the rotation of the

body. The power of the rotation is

expressed through a lever such as the

arm. Example: A hook punch uses a

FIT TO FIGHT

h b b f f


27/84

thereby generating massive amounts

of power by way of rotational torque.

This transfer of power from rotationthrough the core to the arm is what

creates the impressive knockout punch.

Likewise, the core is necessary to

stabilize the body so that when backup

mass is employed, the weight of the

into the opponent. The midsection is

also vital in the transfer of rotational

force from the upper body into the

lower body for kicks. Additionally, it

supports the typical counter-lever

movements seen in kicks for

example, when your upper body tiltsin the direction opposite of a ball kick.

In all these instances, a stronger core

means a stronger technique.

is that in order

for these concepts to work, your body

Bicycles (for the obliques)

Russian twists (for the obliques)

Twisting plank (for the obliques)Side plank (for the obliques)

Low-back extensions on a Roman

chair (for the lower back)

Supermans (for the lower back)

Swimmers (for the lower back)

Bird dogs (for the lower back)

CAUTION:When exercising your core,

do not try to do all the exercises in a

single workout. Pick three or four that

focus on the abs, one or two that work

the obliques, and one or two that hit the

lower back. Perform two to four sets of10 to 25 reps per exercise.

must function as a system. Your core

must be able to rotate and/or stabilize

the points at which your limbs attach soyou can transfer energy through your

the only way to generate power in the

are some exercises that develop the

components of the core:

Sit-ups (for the abdominals)

V-ups (for the abdominals)

Lying leg raises (for the abdominals)

Hanging knee raises (for the

abdominals)Ab-wheel rollouts (for the

abdominals)

Scissor kicks (for the abdominals)

Plank (for the abdominals)

Marching plank (for the abdominals)

Reaching plank (for the abdominals)

ABOUT THE AUTHOR:IanLaueris acer-

WLHG VWUHQJWKDQGFRQGLWLRQLQJ VSHFLDOLVW DQG DUVWGHJUHH EODFN EHOW LQ NDUDWH +HV FXUUHQWO\VWXG\LQJ $PHULFDQ NHQSR LDQODXHUFRP

The core is necessary to stabilize the body so that whenbackup mass is employed, the weight of the entire body is

b |t| |b o 8Y |b b


28/84


Dietary Fat and the Martial Arts AthleteOnce avoided for fear it would lead to unwanted weight gain, dietary fat is now

embraced by health-conscious martial artists.by Melissa Rodriguez

S

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LETS START

-

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FOR HEALTH

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AT THE OTHER END

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SPORTS NUTRITION


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31/84

Black BeltHall of Famer KELLY MCCANNTeaches His Proven Method for Defending

Against the 3 Most Common Street Weapons!BY ROBERT W. YOUNG PHOTOGRAPHY BY ROBERT REIFF


32/84

What are your thoughts on gun de-

fense? For military members, street

cops and others who have to deal with

essential. The military knows its spe-

cial operators need to spend time de-

-

a standard two-day combatives semi-

Then a point was made to me by

-

-

-

Whats your opinion of the gun dis-arms of the traditional martial arts?

-

with some tension already or retrac-

-

Gun defenses commonly end in one

of two ways. One, the defender getspossession of the weapon and uses

it to strike the attacker. Two, he uses

MOST MARTIAL ARTISTSwho train for self-defense regard disarms as one of the mostimportant skill sets. In particular, they strive to perfect theirability to defend against the gun, knife and stick, which are the most prevalent street weapons in the Western world. For expert

guidance along this path to proficiency, we spoke with Kelly McCann, a renowned combatives expert based in Fredericksburg,

Virginia. McCann isnt just a martial artist whos obsessed with weaponry. Hes a former U.S. Marine Corps special-missions officer

who was responsible for counterterrorism and counter-narcotics operations. In 1993 he founded Crucible, a company that trains

military, government and law-enforcement personnel and conducts security missions in high-risk environments. McCann, who was

Black Belts 2008 Self-Defense Instructor of the Year, has spent the past three decades researching and teaching combatives.

Editor

how

than whento disarm. How to disarm is

-

-

problem, and its impossible to teach.

Taking all the variables into account,can we assume that in combatives,

principles are more important than

techniques? What we do is all princi-

-

-

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TRAIN WITH COMBATIVES EXPERT KELLY MCCANN ON YOUR DIGITAL DEVICE!

Kelly McCann recently traveled from his HQin Fredericksburg, Virginia, to the Black Beltstudios in Santa Clarita, California,WROPDFXWWLQJHGJH UHPRWHOHDUQLQJ SURJUDPFDOOHG .HOO\0F&DQQV 9ROXPH &RPEDWLYHV 6HOI'HIHQVH &RXUVHAssisted

by Michelle Washington, Richard Nance and Brian Ozinga, McCann covered thePRVW LPSRUWDQW RIIHQVLYH DQG GHIHQVLYH WHFKQLTXHV DQG SULQFLSOHV KH WHDFKHV LQ KLVVWDQGLQJURRPRQO\ VHPLQDUV7KH YHYROXPH SURJUDPZLOOWHDFK\RX HYHU\WKLQJ \RX QHHG WRNQRZ LQ DORJLFDOSUR

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RWY



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it to shoot the attacker. Where doyou stand on this? Were clearly on

altogether if he attacks again to take his

Does the possibility that you will be un-

familiar with the gun you just took fromthe bad guy and wont know whetherits functional also mean you shouldntback off and say, Stay there dontmove!

Lets move on to knife defense. Whatare the main things to keep in mind?The same things that make a knife

GUN TO THE CHEST:Kelly McCan(left) is confronted by Richard Nance(1). McCann twists his right side awand uses his left hand to trap andPRYH WKH JXQPDQV DUPLQ WKH RSposite direction, clearing his body ofthe muzzle (2). McCann then makeshis body perpendicular to the threatDQG VHL]HV WKH JXQ XVLQJ DQ RYHUWKtop grip (3) %\ WZLVWLQJ WKH UHDUPcounterclockwise, McCann removesfrom his grasp (4) 7RQLVK KH FKR

downward with his left arm, both toLQLFW SDLQ DQG WRFOHDUWKH SDWKIRUKhead strike, which makes contact wthe muzzle of the weapon (5). If theassailant still poses a threat, McCancan continue striking.

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on retraction, even by accident, you

can be cut.

termine if a guy has a knife. If the thug

just sticks you, you may not know right

away that you got cut it might feel

like a punch. Remember that a knife

may not stop the person.

Finally, people who never had a single

day of training with an edged weapon

can kill you with one. All they have to

do is stab and slash it doesnt take

sophistication to murder.

All that makes disarming a guy with a

account for the retraction of the hand.

lar assault method that supports the

disarm technique and actually makes

it look straightforward. For example,

the attacker attempts a stab, then his

arm just stops while the defender does

whatever he wants.

ably drive the knife out repeatedly like

a piston. In order to isolate it, youve

midsection disarm, once you contact

the arm while hes thrusting his knife

out, you know hes going to retract, so

tween your arm and his so you know

where the weapon is. Then youve got

to isolate it and control it. Thats a

learned response. Its counterintuitive,

ress and perhaps with limited visibility.

Does what you said about not being

legally able to disarm a gunman andshoot him also apply to disarming aguy who has a knife and cutting him?Absolutely.

Then how do you approach knife dis-arms? of disarm is. In combatives, a disarm

isnt necessarily the act of taking away

the weapon. It can mean that, but it

scious so he cant use the weapon. Or

on so he cant use it. Or making him

unwilling to use it hes unwilling to

come inside because you keep hitting

with muay Thaikicks.

Another way to disarm a criminal

is changing your body demeanor and

making him think he lost the element

of surprise, which causes him to decide

not to attack you. An example of this is

using situational awareness to detect

the threat and then putting a physical

shouldnt get hung up on the notion

that a disarm always means youll end

up with the bad guys weapon. Anytime

you can stop him from using it, prevent

him from using it or make him unable

to use it, its a valid disarm.

If a person always trains to disarm anattacker and then retrieve the weapon,is there a danger that in a real alterca-tion the martial artist might fixate on

gaining possession of the weapon?

Absolutely. In my book Combatives forStreet Survival,I highlight a story of one

ers with their own knives. Actually, he

killed one with his own knife and then

picked up the knife that guy dropped

and used it on the second attacker, so

sometimes that can work, but you dont

Again, if you disarm a guy and take

possession of his weapon and the guy

arm him and hes just standing there,

begging you not to hurt him, you cant

cut him or shoot him or hit him with

a stick.

When it comes to self-defense, is thethreat posed by a screwdriver thesame as the threat posed by a knife?Should you respond the same way?

guy with a Phillips No. 10 screwdriver

as by a guy with a knife. Its still a

portunity as an everyday implement

that wasnt designed to be a weaponbut can be used as one. Criminals carry

screwdrivers because they dont want

to catch a felony charge for carrying a

weapon. Both present the same level

pistol offers the same level of threat as

Whats the combatives approach tostick defense? When youre attackedby a guy with a stick, you want to get

inside so youre no longer at the range

GUN AGAINST THE WALL:When Brian Ozinga accostsMichelle Washington, she im-mediately moves her handsto a ready position as close tothe gun as possible (1). Usingher shoulders and hips, Wash-ington simultaneously gets offWKH OLQH RIUH DQG UHGLUHFWVthe muzzle of the weapon(2) 2QFH VKHV JUDEEHG WKH

DVVDLODQWV DUP VKH XVHV KHURWKHUKDQG WRWZLVW WKH UHDUPout of his grip, taking care notWRPX]]OHDVKKHURZQ KDQGin the process (3), after whichshe smashes him in the neckwith the muzzle (4). Follow-upstrikes can be effected if theattacker is still standing.

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where the power of the weapon is con-

centrated. Then, once you lock that

arm down, youve disarmed him. From

there, its just a matter of making him

unconscious. Our stick disarms are that

simple. Theyre designed just to get you

inside the arc of the weapon.

Imagine the attacker is trying to

strike you with a one-arm blow. You

move inside, and he winds up hittingyou with his wrist instead of the end

no power. You then use the principle of

simultaneity and palm-heel him in the

chin or face-mash him with the goal of

knocking him out. Whether you need to

control the stick after that depends on

the effect your strike had.

Would an untrained person on thestreet ever attack with an intricate kalitechnique, or is it always going to be

whats usually a cave-man strike?The bottom line is, you cant know, can

you? As far as technique goes, thats

pretty much what youll see unso-

phisticated, brutal attacks. But they can

be clever and sneaky before they strike.

Remember, cheating isnt in the lexicon

of thugs.

Thats why we rely on principles and

not necessarily defensive techniques.

Three of them apply here.

The principle of moving your body off

the line of attack means getting out of

the path of the swing.

The principle of perpendicularity

says that when youre blocking an at-

tack, you want to be perpendicular to

whatevers coming at you.

The principle of simultaneity says

that you want to hurt him right away, so

when you defend, you should also attack.Youre moving yourself off the line of

the attack, youre using perpendicular-

ity to make sure you really did stop the

thing thats coming at you, and youre us-

ing simultaneity to get in there and hurt

him. No matter what angle the attack

comes in on, you are OK as long as youre

in the moment. As Bruce Lee said, dont

think about anything but where you are

right now. Dont think about what he

might do, what he could have done. Just

be right there in that moment and use

his offensive action as your trigger.

Some martial artists spend their timelearning how to defend against weap-ons theyll probably never encounteron the street like the nunchakuandthe sai. Do those skills transfer to theweapons were talking about? Knowinghow to keep any weapon from touching

you transfers. Some of the techniques

KNIFE TO THE GUT:

The assailant has KellyMcCann in a no-retreatlocation (1). As soonas he attacks, McCannhollows out his midsec-tion and uses his armsWREORFNWKH PDQVweapon arm (2). With-out breaking contactwith the arm, McCannunderhooks the limbwith his left arm andoverhooks it with hisright (3). He then usesa standing armbar toimmobilize (or break)the weapon arm andcontrol the body (4).Taking advantage ofthe brick wall, McCannVODPV WKH PDQV KHDGinto it, causing him todrop the knife (5). If theman is still resisting,McCann has the optionto knock him out with aknee to the face (6).

sai or tonfaor nunchaku may not work

on the street, but the general principles

of not getting the sai in your rib cage, not

getting the nunchaku upside your head

and not getting the broadsword right

down the middle of your skull are valid.

Of course, all that has to do with moving

off the line and avoiding the weapon.

With respect to the gun, the knife andthe stick, does knowing how to usethese weapons help a person defendagainst them? On the street, you dontknow who youre standing in front of.

If a guy pulls a stick out and looks like

hes going to do a cave-man strike on

you, you cant know whether that guy

has studied arnisfor years or whether

he bought a couple of escrimaDVDs and

knows basically what to do. As a martial

artist, you need to know how all weap-

ons function because that forms your

ability to measure the threat he poses.If youre facing an attacker on the

street, you have to assume the worst:

That nitwit with the stick never went

to a martial arts school to learn how

to hit with just enough force to knock

me out, so if he hits me now, I could

end up dead.

Is there value in training to use aweapon against a person with the

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STICK AS A WEAPON OF OPPORTUNTIY:When Kelly McCannhreatens Michelle Washington, she arms herself with an objecthat will function like a short stick (1). McCann begins his cave-

man strike, and Washington steps forward so she can stop hisweapon before it attains maximum velocity (2). She reaches outwith her stick perpendicular to his to intercept the strike whileXVLQJ KHUOHIW KDQG WRLPSDFW 0F&DQQV VWLFNKDQG (3). Next, sheSODFHV KHUULJKW ZULVW RQ WRSRI0F&DQQV ZULVW XVLQJ WKH punobutt end) to hook and hold it as she slides her left hand up his

and grabs the long end of the weapon (4). With her wrist servingas the fulcrum, Washington leverages the stick out of his grasp5). She immediately strikes him in the head or neck using the

butt end of her weapon (6-7).

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same weapon in other words, doingstick-vs.-stick fights and knife-vs.-knife fights? Or are such self-defensesituations movie fantasies? You cantsay two guys with knives will never

square off because it does happen.

However, the speed at which it hap-

pens may prevent you from ever draw-

ing your weapon. Years ago, one of my

students was attacked by a man with aknife, and the student had a knife and

was trained with it. But there wasnt

time for him to pull his knife out. He

got cut badly on the forearm but man-

aged to knock the guy out with kicks

to the head once he hit him enough

to get him to the ground. The guy just

wouldnt stop trying to cut him, even

from the ground.

In the vast majority of situations,

however, you wont see a guy with a

stick. But you could be in a situation in

which a weapon of opportunity makes

the circumstances very similar to that.

For example, a guy attacks you with a

knife and you initially fend it off, then

grab something like a broken bottle and

start wielding it like a knife.

When practicing gun, knife and stickdefense, how important is it to usetraining weapons? Its important touse training weapons for safety, but

you dont want them to be too unreal-

istic. First, throw away anything made

of rubber. It doesnt have the rigidly of

the weapons youre training to defend

yourself against. A stick thats too soft

wont behave like a real, rigid stick

when you try to rip it out of your op-

keep you from disarming him.

arms. When you try to turn it or ma-

nipulate it, it might bend, at which

point the defense turns into a grab-ass

contest. Its also true with knives its

ing thrust at you.

For all weapons, make sure you

eliminate the sharp edges. A lot of

the air, those sights can cut people.

Ive seen it happen many times. If

you have one that has sights, grind

them off. The gun should be able to be

twisted and turned in the hand with-

out cutting or abrading.

A training knife should have a broad,

it might leave a bruise but there wont

be a puncture.

Finally, training weapons should

present the same problems real

weapons do. For gun disarms, dont

just get a full-frame-size trainer.

Also, get a snubbie revolver and alittle .32-caliber they present a

whole different problem because of

their size. Its the same with knives.

You dont want only large knives that

present large opportunities. You want

a range of weapons so you develop all

your skills.

For more information about Kelly

McCanns remote-learning program,

produced by Black Belt magazine, visit

STICK IN A CAVE-MAN STRIKE:Theagitated assailantconfronts Brian Ozinga(1). Before the man canunleash his full-powerblow, Ozinga rushestoward the threat, inter-cepting and immobiliz-ing the weapon arm andsimultaneously strikingKLV DWWDFNHUV FKLQ (2).He immediately followsup with additional palmheels to the chin and

knees to the groin (3),after which he shovesWKH PDQV KHDG EDFNward and then to theground (4). At this point,Ozinga has several op-tions. He can break thetrapped arm, smash theDWWDFNHUV KHDG LQWRWKHground or execute a se-ries of knee thrusts (5).

WHY WE LOVE STICKS!When you hit a bad guy with a stick in the collarbone, the elbow, the forearm,

the ribs, the knee or the head he immediately knows you hurt him, KellyMcCann says. That makes him think twiceabout what he thought he was going to do.

Also, being a blunt-trauma weapon, aVWLFNSUREDEO\ LVQW JRLQJ WRFUHDWH DSXQFture would. And obviously, you have a rangeadvantage over an edged weapon.His two faves: the expandable baton and

the pocket stick. (Psst! Part of Kelly Mc-&DQQV 9ROXPH &RPEDWLYHV 6HOI'HIHQVH

&RXUVHis a streaming-video tutorial dedicat-ed to the pocket stick. Go here for more in-IRUPDWLRQ DLPWQHVVQHWZRUNFRPEODFNEHOW

1 42 3

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As Foreign Influences Decline, the Arts Poomsae Become Distinctly Korean!

BY DOUG COOK


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In all likelihood, this ritual was

performed on countless occasions

-

dens and at Buddhist temples, lend-

martial arts exercises have existed

for centuries. In fact, scholars have

uncovered numerous works of art

-

quences of martial arts movements

play an important role in traditional

taekwondo. Whether you call them

poomsae, hyungor tul,forms are used

-

that make up the art.

In the eyes of many researchers,

taekwondo forms can be separated

created in modern times and those

that can trace their roots to the dis-

tant past.

that the formal exercises found in tra-

ditional taekwondo were not created

in a vacuum. Rather, an analysis of the

historical evidence reveals that empty-

their associated formal exercises, de-

veloped naturally across continents as

various cultures tried to cope with the

and imperialist desire. The need to

techniques in a relatively relaxed envi-ronment devoid of mayhem and death

was apparently universal.

In Moving Zen,shotokankarate prac-

titioner C.W. Nicol describes forms

practice as a dynamic dance, a battle

without bloodshed or vanquished. He

-

-

cere performance of kata.

LONG BEFOREthe advent of sport

sparring and modern

safety gear, in a time when fighting meant defending ones life,

an ingenious method of transmitting martial skills from master to

disciple was developed. Tradition holds that it started with warriors

who returned from combat and decided to re-enact techniques they

used to vanquish enemies on the battlefield in an effort to educate

those who were less experienced in the ways of war.

h f k



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From this, we can see that poomsae

training, if approached in a traditional

manner, not only cultivates offensive

ops ki,but also establishes a link with

masters of the past who clearly did not

perform formal exercises merely for

ROOTS

phy and applications of traditional

taekwondo forms, one must consider

the role that Okinawan/Japanese kata

and Chinese taolu

tary School and later throughout the

Okinawan educational system with the

plished in part by practicing sanitized

versions of the pinan

of instruction represented a shift in

rate in general because forms were said

kata is for cultivation of health or for its

that represented it as a central pillar

of karate-do,

traveled the back roads between Naha

and Shuri by lantern light to study

was required to repeat individual kata

in Funakoshi an appreciation for the

formal exercises, one that he carried

Funakoshi didnt bring his karate to

effort by him and his third son Gigo

were made to the traditional methods

ample, in an attempt to simplify the

changed the nomenclature to he-

ian while altering certain prescribed

sparring and the three taikyoku (or

kihon) kata that virtually mirror the

kicho

generally used as a precursor to the

EVOLUTION

proliferation of forms brings us one

occurred in neighboring countries

To understand the history, philosophy

and applications of traditional

taekwondo forms, one mustconsider the role that Okinawan/Japanese kata and Chinesetaolu playedin their creation.

Gichin Funakoshi


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shortly before and during the Japanese

occupation (19101945).

The practice of karate required a

deep understanding of and respect

for kata, which continues to stand as

a centerpiece of its practice. This prin-

ciple was almost certainly inculcated in

chung do kwanfounder Won Kook Lee

(19072003); Byung In Yoon (1920

1983) of the chang moo kwan;HwangKee (19142002), father of the moo

duk kwan; and Choi Hong-hi (1918

2002), creator of the oh do kwan,

while they studied in Japan under ei-

ther shudokan karate founder Kanken

Toyama (18881966) or Funakoshi. All

these innovators, who were destined

to promote martial traditions within

their native land, returned home from

abroad with practical knowledge of the

taikyoku, pinan, bassai, jitte,empi and

tekkikata that would ultimately evolve

into the kicho, pyung-ahn, balsek, sipsoo, yunbee andchul-kihyung, respec-

tively, of taekwondo.

Throughout the 1950s and early 60s,

when taekwondo still referred to as

tae soo do, tang soo do orkong soo doin

some circles was still in its infancy,

poomsae practice consisted largely of

exercises derived from these Okinawan,

Japanese and Chinese disciplines. As a

result, the founding fathers of the origi-

nal kwan(institutes) couldnt help but

transmit the formal exercises they had

learned abroad while their nation was

under the Japanese occupation.

Nevertheless, a strong desire existed

among many masters, Choi Hong-hi not

being the least, to create patterns with

in founding his style of taekwondo, Choi

by developing the chang han forms be-

tween 1955 and 1988 with the assis-

tance of Tae Hi Nam, Young Il Kong, Cha

Kyo Han, Chang Keun Choi, Jae Lim Woo,

Kim Bok Man and Jung Tae Park. They

from Chois training in karate-do.Furthermore, as a tribute, Choi based

on personalities and concepts pivotal to

Korean history. The chang han series

of International Taekwon-Do Federa-

tion forms consists of 24 patterns and

their movements describe a wave pat-

tern as the body transitions from stance

to stance and technique to technique.

Following Chois exodus from Korea

and the eventual entrenchment of the

Korea Taekwondo Association, coupled

with the establishment of Kukkiwon

and the World Taekwondo Federation

by a younger generation of practitio-

ners not directly affected by Japanese

instruction, three sets of forms were

developed over the course of eight

years in an effort to eliminate any ves-

elder palgwe and yudanja series, cre-ated between 1965 and 1967, were

or-belt (gup) students and black-belt

(dan)practitioners, respectively.

Partially inspired by the pinan/he-

ian kata, the eight palgwe poomsae

from the I Ching (Book of Changes)and

tend to emphasize low stances ampli-

Moreover, the technical component

increases in complexity as the student

progresses, thus providing a barom-eter for rank advancement.

The yudanja poomsae were crafted

concurrently with the palgwe set and

at the time included original koryo,

keumgang, taebaek, pyongwon, sipjin,

jitae, cheonkwon, hansoo andilyo.(The

latter eight of these continue to be

sanctioned by Kukkiwon, the Korea

Taekwondo Association and the World

Taekwondo Federation.) Aside from

their technical diversity, the yudanjaforms follow lines of motion described

by Chinese and Korean characters that

depict the philosophical concept char-

acterized by each poomsae and contain

advanced techniques.

The committee members participat-

ing in the formation of the palgwe and

yudanja forms consisted of Keun Sik

Kwak (chung do kwan), Young Sup Lee

(song moo kwan), Kyo Yoon Lee (han

moo kwan), Hae Man Park (chung do

kwan), Jong Myung Hyun (oh do kwan),

Soon Bae Kim (chang moo kwan) and

A strong

desire existed

among many

masters,

Choi Hong-

hi not being

the least,

to create

patterns with

a distinctly

Korean flavor.



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UPDATE

Since its inception in the mid-20th

century, taekwondo has continued to

evolve. Even today, technical enhance-

ments are evident at almost every train-

ing venue in South Korea whether at

a university offering taekwondology

as a major or at Kukkiwon. And so it

comes as no surprise that less than a

decade after the introduction of thepalgwe forms, it was decided by com-

mittee to generate an innovative series

of formal exercises in conjunction with

a revised version of original koryo.

Born in 1972, the taegeuk poomsae

effectively replaced the existing palgwe

the taekwondo curriculum of the time

is thought to have been politically ori-

ented inasmuch as the moo duk kwan

was not represented during the for-

mulation of the palgwe series. Yet in a

practical sense, the taegeuk poomsaewere exceptional in that they contained

the high-forward or walking stance and

featured a greater percentage of kick-

ing techniques than their forerunners.

Moreover, as taekwondo evolved into

a combat sport with Olympic aspira-

tions, a method was required to teach

used in sparring competition, and

If viewed from above, the pattern of

movement within the taegeuk forms

traces the Chinese character for king.

(taegeuk-

gi),the forms share philosophical prin-

ciples that run parallel to those of the

palgwe series based on the powers or

elements of the universe.

Concurrently with the creation of

the taegeuk series, the original koryo

form was superseded by an intricate

poomsae bearing the same name.

Opening dramatically with a knife-

hand block in a back stance, which is

quickly followed by two side kicks of

varying height, kukki koryo poomsae

was deemed appropriately challeng-ing for the black-belt holder and a

for promotion to second dan. Over-

seeing the developmental process of

kukki koryo and the taegeuk series

were Keun Sik Kwak (chung do kwan),

Young Sup Lee (song moo kwan), Kyo

Yoon Lee (han moo kwan), Hae Man

Park (chung do kwan), Jong Myung

Hyun (oh do kwan), Soon Bae Kim

(chang moo kwan) and Chong Woo

Lee (ji do kwan) with the addition of

Young Ki Bae (ji do kwan) and Young

Tae Han (moo duk kwan).

Over the years, other patterns were

tion grandmasters, including the seven

chil sunghyung of moo duk kwan soo

bahk doand the 18 songahmforms of

the American Taekwondo Association.

the Korean martial art.

Today, the forms that Korean styl-

ists are required to learn vary greatly

from organization to organization and

school to school. Based on the 1970s

edict by Kukkiwon that the taegeuk

series should eclipse the palgwe series

completely, a vast majority of master

instructors sadly jettisoned the latter

in favor of the former. Likewise, the

original iteration of koryo was replaced

by the radically different version cur-

rently sanctioned by the WTF, Kukki-

won and the KTA.

Nevertheless, schools support-

ing a classical approach to training

frequently include both the palgwe

forms and what has come to be known

as original koryo in their syllabus.

Moreover, as an adjunct to the tra-

ditional curriculum, many poomsae

with a direct lineage to their Japanese/Okinawan and Chinese kin are also in-

cluded. Although theyve been altered

somewhat to suit the basic parameters

of taekwondo, we see evidence of this

fact with the inclusion of formal exer-

cises such as balsek (bassai), chul-ki

(tekki/nihanji), yunbee (empi), sip soo

(jitte) andjion,to name a few.

FUTURE

The practice of forms is a double-

edged sword: Forfeiting poomsae alto-

gether in favor of strategies that focus

on sparring represents a tragedy of

grand proportions because it denies

the practitioner a chance to experience

process. Likewise, attempting to mas-

ter every pattern in taekwondo could

be equally injurious to ones martial

education because an in-depth analysis

of the practical applications of so many

forms would require many lifetimes. As

Funakoshi was fond of saying, The old

plow a deep furrow.

In many circles today, its said that if

the traditional methods of teaching tae-

kwondo are to be preserved, it will oc-

cur in the West. This statement is based

ential practitioners no longer reside

within the borders of Korea. Moreover,

a vast number of instructors outside

the homeland of taekwondo favor the

practice of formal exercises coupled

with self-defense techniques both

hallmarks of traditional taekwondo

rather than Olympic-style sparring and

this group that will safeguard the rich

heritage of traditional taekwondo and

act as fertile ground for the conserva-tion and continued cultivation of the

forms unique to the art.

PhotoCourtesyofDougCook

ABOUT THE AUTHOR:Doug Cook holdsa sixth-degree black belt in taekwondo andLV FHUWLHG DV D PDVWHU LQVWUXFWRU E\ WKH 867DHNZRQGR $VVRFLDWLRQ +HV EHHQ UHFRJQL]HG E\ WKH :RUOG 7DHNZRQGR )HGHUDWLRQWKH 6HRXOEDVHG 0RR 'XN .ZDQ DQG WKH6RXWK .RUHDQ JRYHUQPHQW $ VWXGHQW RI5LFKDUG &KXQ &RRN RSHUDWHV &KRVXQ7DHNZRQGR $FDGHP\ LQ :DUZLFN 1HZ


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Despite the time commitmentshat stem from her pursuit of araduate degree at San Jose

State University, Marti Malloyells Black Beltthat she has

t the 2016 Olympics in Rio deaneiro. We have total faith iner. Days after the photo shoothat produced this article, sheetted off to Toronto for the 2015Pan-American Games. Malloy,

ivision, went home with theROG :HUH KRSLQJ 5LRZLOOEULQJ repeat performance.

ish translation: armbar.

pics in London.

n front of you.


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TECHNIQUE: ONE

Nutshell: Neutralize the throw,roll the opponent, lock the arm.

Her Words: In judo, one of thebest opportunities for ground

work comes when your oppo-

nent tries an attack and fails,

then ends up in front of you in the

turtle position.

Step by Step:The opponent ap-proaches you and grabs your right

sleeve (1), then begins pivotingcounterclockwise for a hip throw

(2). Because

Blackbelt October November 2015

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