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Post by Colin Wee on Dec 5, 2005 21:29:59 GMT 8
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Post by Colin Wee on Dec 6, 2005 10:41:44 GMT 8
Chang Hon isn't noted for kicks, but in Won Hyo, you have three shutos before a check and vertical spear hand. This sequence could teach and communicate the principle of setting up the opponent before doing a disguised technique in the end to slip a strike in. This one particular kick also is done using an idea which we use in Chang Hon, but it much subtler. For intermediate and advance belts, we stress that the punch is done just before you land your foot, rather than when you step forward. THe idea is not to synchronize your hand with your leg, it is to fire the hand off as fast as possible while your legs are doing something else. In this way the opponent doesn't see your striking tool until just before you want to hit him.
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Post by Colin Wee on Dec 6, 2005 10:47:50 GMT 8
This is a variant of a hook kick that is successful because the opponent doesn't see it coming. THe opponent doesn't see it coming because it is raised up within an opponent's blind spot, either through his shoulder or under and in front of his lead hand. Chang Hon is not heavy on kicks, but you see an idea of this with Choong-moo where the user turns, performs a grab to hip and sends out a ridge hand to the attacker. If done according to the bunkai that is suggested on this forum, the ridge hand is done around the principle - your buddy - who is providing a large blind spot in front of the opponent. Next time you work with a partner, get him to go into a fighting stance and go into a kneeling position. There are spots between his eyes and your knees/hips where he can't see because he should be guarding his chest or head with his hands. You can utilise these spots to send attacks through that will 'appear' out of nowhere.
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Post by Colin Wee on Dec 7, 2005 10:44:07 GMT 8
I don't think there's a straightaway prescribed technique like that in Chang Hon. However, the mechanics of this move sound like the opening moves of Won Hyo (where you get an intro to locks and throws) when you reverse hammerfist to temple, pull back from a back stance and go into a horse stance while striking with a sideways punch.
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Post by Colin Wee on Dec 7, 2005 10:51:39 GMT 8
This is a good and logical sequence which makes use of natural body movement. Let's look at Hwarang and take a look at the kicks there - done after the knife hand. If you want to think of it, the knife hand sets up the opponent. Otherwise with both hands up, I usually 'throw' the back hand forward before doing the kick. This back hand can be performed with more emphasis or dramatic effect in order to secure an opening for the kick to go through.
This is just slightly different from the attacking side kick in Won hyo. In the Hwa rang kick sequence the counter hand winds you up so that you can pull the leg through and strike with a 'natural' movement. In Won hyo, the second side kick is done after a reverse centreline lunge punch. This may mean that the side kick is done to chase the opponent, separating the hand technique from the leg technique. Both patterns seem to suggest a upper body blitz of some sort before the kick is done.
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Post by Colin Wee on Dec 7, 2005 10:57:33 GMT 8
Well said Stu!
Beating the opponent to the punch is really important and features on the outset of Chang Hon. In our first kata, we make sure that any of our students can score with Chon-gi. This is done by keeping the punch as subversive as possible, within shoulders, performed late, no telegraph, and with straight line movement in. The mechanics of Stuarts move is not duplicated straight off in Chang Hon, however we do have the side step in Yul-kok off a horse stance. If I know Stuart well enough, he'd be doing the side kick with either a step or a skip - meaning he can cross the distance and perform the kick at the same time. The only instance of this springing type motion would be in CHung-mu where you have the user jumping up in the air with both feet. It's a bit of a stretch, but something like that can prompt you to drill other kick combos which help you cross the gap and strike at the same time. Remember this is 'sparring' drills. In a fight there may not be that distance to cross. So adjustments may have to be made for adaptation to self defence type scenarios.
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Post by Colin Wee on Dec 8, 2005 10:29:19 GMT 8
This is an interesting one, and I'll refer to Dr Clayton's Basai Bunkai where you raise your fists to your head, raise your knee up and execute two upset punches, followed by a diagonal step forward and lunge punch. Dr Clayton's bunkai is that this is an upper body attack (or feint as how Bill has portrayed it), and then a grab towards the back of the knees and a forward drilling motion which gets the opponent on his back. We have the same moves in Choong-gun where you do a double punch forward and lunge into double upset punch. Then you fold your arms and turn. This could be interpreted fairly closely with how Bill has portrayed this move.
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Post by Colin Wee on Dec 8, 2005 10:42:46 GMT 8
Nothing much out of the first 10 Chang Hon patterns comes to mind that refers to this principle. I like this because of its simplicity and it's a big part of the way I try to train my own students. Even self defence students get a dose of the idea to look one way and attack another. Sun Tzu said all war is deception - each technique if made to look like something else means the opponent is always guessing. Raise for front kick and fire a round kick. Turn for back kick and fire off a round kick. It doesn't take a lot to tell you that all combos can be patched together in order to create an effective 'hybrid' to hit the opponent. The kata is the parameter Mr Hinkley used to tell me. So if you know the parameters - everything within it is possible.
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Post by Colin Wee on Jul 20, 2007 17:00:08 GMT 8
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