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Post by Colin Wee on Jan 29, 2006 21:13:28 GMT 8
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Post by Colin Wee on Feb 13, 2006 13:36:11 GMT 8
On Pyung Ahn and Chang Hon.
That opening sequence looks so much like Won Hyo - only thing is that I was taught to bring the striking hand back down to the hip before firing it off. I like it there's a side kick there. Chang Hon doesn't have any kicks until the third form, whereas this one has two kicks that I can see. The side kick is similar to the side kick in Won-Hyo but done more like the backward side kick in Hwa-rang, where we follow up in the same manner to do a shuto the other way. Spearhand looks like the one we have in Doh-san. But the scoop block, kick, and punch are the exact same ones in Won-hyo.
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Post by sbwright on Feb 13, 2006 15:09:14 GMT 8
Pyong Ahn 2 ( My school while being traditional uses very little Korean Terminology) Moves 1-7 My interpretation is that the double block is actually a block and punch. The punch being like a weird hook punch curving up and over a guard. This is then followed by a trap and straight punch to the opponents throat (standard shotokan interp.) This is then repeated on the other side. The seveth move is essentially a sidekick and punch to the south( we start the form facing north). The kick is preceeded by a slight side step(taking you off the line of attack), the punch is actually a grab of your opponents arms or clothing to anchor yourself while you attack with a kick. I have to dig up some pictures ( I don't feel I am being very clear).
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Post by sbwright on Feb 14, 2006 15:17:35 GMT 8
On Pyung Ahn and Chang Hon. But the scoop block, kick, and punch are the exact same ones in Won-hyo. We call these windmills (I think this is a club specific name though). The stance for these blocks is different for those in both the Pyong Ahn Eedan clip by Master Mac www.natkd.com/movies/Forms/Pyong_An_Forms/pyungahn2.wmvand the Won-hyo www.natkd.com/movies/NATKD_Forms/Won-Hyo.wmvIn the first block we keep the front leg facing forward and turn the right leg so that your thighs lock together. This actually has the effect of dropping your body quickly. Our block starts low like you are scooping water out of a stream. This sequence performed while escaping a wrist grab can reall crank the wrist of the attack when performed quickly.
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Post by supergroup7 on Feb 14, 2006 22:53:24 GMT 8
"In the first block we keep the front leg facing forward and turn the right leg so that your thighs lock together. This actually has the effect of dropping your body quickly. Our block starts low like you are scooping water out of a stream."
Sean, do you have a picture of this stance? Where is the weight distributed? If your thighs are locked together, then we are talking about inner tension, right?
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Post by supergroup7 on Feb 14, 2006 23:29:32 GMT 8
Comparison of “Pyung-An Yi Dan” and “Heian Nidan” One of the main differences that I find between the Shotokan performance over the Tang Soo Do performance is the way that “P” has a relaxed feel to it, where the techniques seem to wave in and out, while “H” has a sudden sharpness to it, similar to “smack... pause.. smack... pause”. 1. The opening moves of “P” look VERY different. In “P” (movement #2) the strike’s power goes up, and into the chin of the opponent like an uppercut. In movement #3 it looks like an off the shoulder punch. In “H” movement #2’s power heads across the body as a hammerfist. Movement #3 is another hammerfist. The interpretation that I was taught for these first moves is the same as this: “A standard interpretation is that the opponent on the west (presuming all katas to begin by facing north) punches at your head with his right fist. Your left hand blocks, fending off the initial punch. Your right hand goes into upblock position not as a technique but as a setup for the following action. The two arms frame your face, which seems wide open to the opponent. The left punch to the face is almost irresistable. (Matsumura was a master of psychology.) When the opponent accepts the invitation, we see Matsumura's ruthless bunkai in action. Your right hand sweeps his fist past your face and anchors it to your right shoulder. Your left fist hammers the back of his right elbow, breaking the arm. The third move is subtle but deadly: use your right hand to slide down his limp arm and catch the wrist, pulling hard toward your hip. This breaks his balance forward. Your left hammerfist strikes the side of his neck under the left ear. The strike/pull combination is sufficient to break the cervical vertebrae. “ Taken from: www.beadifulthangz.com/phpnuke/modules.php?name=Forums&file=viewtopic&t=94&sid=965c982051167fad758dbebc7894b0112. The transition from the opening movements to defending from the south is calm, and gentle in “P”. In “H” there is a suddenness to it, almost like the sudden coiling of a snake. The performer of the kata will turn their head look, shift in, and set in one swift action. 3. The ascending knife hands appear to be aimed at the opponent’s neck in “P”, in “H” the Knife hands are mid level. 4. During the first kiai point (movement #11 the spear hand) I noticed that “P” the pressing block done by the left hand will end up really close to the artists armpit. In “H” the pressing block supports the spear hand just above the elbow. Again the target for the spear hand in “P” is higher up than in “H” which is down at mid level. In fact almost all of the movements in “P” are set in the upper chudan (torso), and Jodan (head) level range in “P”. Meanwhile, in “H” I’d estimate that over 80% of the targets are down to the center of the body. I found myself asking "Why are almost all of our targets for the center of the body in Shotokan?" Then a light dawned, We are targeting the Hara.. the center of gravity of our opponent, the center of their power, and spirit. We are getting them where it hurts most! 5. The last movements. In “P” the Master executes a low knife hand strike followed by a high neck strike with the same arm, and then moves forwards to do a head “block” In “H” the artist would do a very low downblock (Hammerfist strike to the groin), set his/her left arm as cover, or grabbing hand, and then move forwards with a head “block” attack to the neck, or arm. Comparison based on www.natkd.com/movies/Forms/Pyong_An_Forms/pyungahn2.wmv performed by Master D. McHenry. Shotokan Heian Nidan can be found at: www.aokdojo.com/Video%20Clips/Heian%20Nidan%20Video%20Clip.mpeg
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Post by supergroup7 on Feb 14, 2006 23:32:48 GMT 8
"But the scoop block, kick, and punch are the exact same ones in Won-hyo. "
Yes Colin, It's true.. the Won-hyo kata seems to be so similar to Heian Nidan/ Pyung-An Yi Dan. What is the history line of Won-hyo?
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Post by Colin Wee on Feb 15, 2006 0:07:41 GMT 8
Yes Colin, It's true.. the Won-hyo kata seems to be so similar to Heian Nidan/ Pyung-An Yi Dan. What is the history line of Won-hyo? The history line of Won-hyo? General Choi thought to create a new set of kata in the 1940s and named them after significant people (and organisations) throughout korea's history. He created 24 patterns in a span of a few years. One thinks that he heavily relied on his experience with Karate to complete this exercise. Colin
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Post by sbwright on Feb 15, 2006 7:18:04 GMT 8
Sean, do you have a picture of this stance? Where is the weight distributed? If your thighs are locked together, then we are talking about inner tension, right? When I get my home computer working I will stun you all with a picture of myself in the stance ;D
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Post by Colin Wee on Feb 15, 2006 12:01:29 GMT 8
My interpretation is that the double block is actually a block and punch. The punch being like a weird hook punch curving up and over a guard. Given that we have this move repeated several times through Chang Hon, the interpretation you use is one of the possible interpretations that we also include within Chang Hon. 'Weird'? The only thing weird about a hook punch curving up is how it feels when it lands! :-) Colin
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Post by supergroup7 on Feb 17, 2006 5:38:12 GMT 8
The only thing weird about a hook punch curving up is how it feels when it lands!
What I found most interesting about the whole block/ upper hook punch idea is that the "blocking" left arm's movement of sweeping across, and in will attract the eyes of the opponent so that they do not realize that there is an oncoming upper hook punch until it lands. The left arm seems to shield the movement of the right arm blocking the very sight of the right arm.
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Post by supergroup7 on Feb 17, 2006 5:39:37 GMT 8
When I get my home computer working I will stun you all with a picture of myself in the stance
Looking forwards to it!
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Post by Colin Wee on Feb 17, 2006 10:58:59 GMT 8
What I found most interesting about the whole block/ upper hook punch idea is that the "blocking" left arm's movement of sweeping across, and in will attract the eyes of the opponent so that they do not realize that there is an oncoming upper hook punch until it lands. The left arm seems to shield the movement of the right arm blocking the very sight of the right arm. Yeah, I've been hit by one or two of these types of techniques before. While they don't pack that much of a whallop (at least the ones that have struck me), they're certainly unpleasant. Colin
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Post by supergroup7 on Mar 1, 2006 22:01:47 GMT 8
Yeah, I've been hit by one or two of these types of techniques before. While they don't pack that much of a whallop (at least the ones that have struck me), they're certainly unpleasant.
That's the thing! It's a sudden shock that throws the opponent into a state of non-movement in their mind or body.. then comes the next technique.
The next Technique is a strong Hammerfist that knocks the now-vulnerable opponent into submission.
In other words, you set them up, and knock them down.
:-)
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Post by supergroup7 on Mar 25, 2006 22:11:01 GMT 8
I've been giving serious thought about the higher level of the spear hand in "P" as compared to "H" which is performed at the kiai point.
Would it be a possibility that the performer of the kata is targeting his/her spear hand for that space of cartilidge between the shoulder, and arm to dislocate the opponent's left arm? SURE.. you'd need speed, power, accuracy, and awesome timing to achieve this.. Is it even possible? I know that when I've had to cut up a whole chicken, it was always quite easy to pop a joint when I applied the proper pressure in the right place.
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