OP
- Thread Starter
- #41
Interesting. Let me think about it. What are you so keen to have the Korean culture included? I'm curious...
Thinking about writing a book...
- Thread starter Makalakumu
- Start date
As I say at work..."Which answer do you want?" You can have the "official" answer or the truth.
Official answer: The Korean culture is an essential part of Tang Soo Do and should be included in any reference regarding the art. The terminology and Korean culture pays tribute to the history and creation of the art.
Truth (My answer): I lived in Korea for a year and their culture, language and history interests me very much!
I enjoyed studying and researching it...plus I learned to read and write Hangul, so I like having validation that my time and effort wasn't wasted! I also personally conduct classes in Korean and use the original terminology, although philosophically, I have slightly different opinions on that.
OP
- Thread Starter
- #43
As I say at work..."Which answer do you want?" You can have the "official" answer or the truth.
Official answer: The Korean culture is an essential part of Tang Soo Do and should be included in any reference regarding the art. The terminology and Korean culture pays tribute to the history and creation of the art.
Truth (My answer): I lived in Korea for a year and their culture, language and history interests me very much!
Like I said, interesting. I'll ponder both of those points. Personally, I've never been big on the terminology. It never seemed right because I knew the translations were wrong and the pronounciation was off. I found this out in a very interesting way...
I took a group of Korean kids on a canoe trip in Northern Minnesota and "attempted" to "impress" them with my learned ways. I wanted to show them that I wasn't a just another redneck with hay in the hair that just so happened to get into university. It didn't work out like I had planned.
Anyway, Craig, maybe you need to write a book that teaches people proper usage, pronounciation, cultural significance of TSD terms. Ever think of that?
Yea you should use some of the termonology in the book just as a reference.
Only you know what you need to include in your book. I use Korean terminology and love it. I, too, learned to write Hangul...like a Korean kindergartner!
But I have a korean terminology book for martial artists. I think what you are planning is unique and it is OK for it to be just what you want it to be. It doesn't have to be everything.
I think the topic is exciting and I am really glad you plan to use English. I would be in a world of hurt if you used the Japanese!
But I have a korean terminology book for martial artists. I think what you are planning is unique and it is OK for it to be just what you want it to be. It doesn't have to be everything.
I think the topic is exciting and I am really glad you plan to use English. I would be in a world of hurt if you used the Japanese!
OK, the first paragraph I get.
The second paragraph...it means that only up to 2 or 3 of the moves we would teach as "basics" are strung together in one defense.
If that is what you mean, then I get that, too. Thanks!
Also, I want to say that I appreciate that you are not using the pressure point references, but instead are planning to use anatomy. Sounds to me like you are making it more accessible, which makes it easier for me to read and appreciate your work as a practitioner ofTKD, not TSD.
OP
- Thread Starter
- #48
Good to go on both points I made above. I'm glad that it came out clearly.
As far as the TCM method of labeling strike points, I am a bit embarressed to write that up in a serious book for an American martial artist audience. George Dillman has completely destroyed the credibility of anyone who names strike points in this manner because so many people will associate you with this known fraud.
The sad fact is that in any style of karate where kyusho is legitimately taught, using the meridian names is just what is done. I don't know if I want to make a large effort to separate the two. That might detract from the overall point that I am trying to make with this book.
As far as the TCM method of labeling strike points, I am a bit embarressed to write that up in a serious book for an American martial artist audience. George Dillman has completely destroyed the credibility of anyone who names strike points in this manner because so many people will associate you with this known fraud.
The sad fact is that in any style of karate where kyusho is legitimately taught, using the meridian names is just what is done. I don't know if I want to make a large effort to separate the two. That might detract from the overall point that I am trying to make with this book.
I can only imagine. The pronunciation that I've run into here is pretty atrocious. Although many of our terms don't mean anything to your average Korean, since they are Chinese derived and not standard terms. Kind of like if you were to get into certain types of Horse riding....even though they are English words, since they are derived from a different language and not common outside the sport, the average American has no idea what a piaffe, passage, schwung, uberstreichen, etc. Just like your average Korean won't know words like bahk, ahn, dan, chook, etc...since they aren't Korean....they are Hanja.
I don't know, I'm really not qualified to write any kind of book. Maybe in another 5 years or so!
Also, please don't think that I would presume to tell you what to write, I have 100% confidence that what you choose will be the right thing and very much look forward to any book that you put out. You have a few guaranteed sales here!
It is true that some of the ideas have been "tarnished" in the eyes of most people, but you're right. As long as it is framed in the context of Anatomy, I think that you're ok. Maybe just a foreward explaining that the terms you use are simply "industry standard" and shouldn't be related to any other previous uses by less reputable people....only more eloquently.
There is certainly no argument that aiming for a vulnerable point between muscles or pressing nerves against bones is not an effective method of pain compliance.
Well, here I go. Now I am going to tell you to put it in the glossary! You made me do it!
Seriously, I if you had both, I would find it helpful.
I have attended some Japanese style seminars where this type of terminology was used, but I do not know enough about it to use it myself.
John,
I just found this....it may be old news to you, but it seems PERFECT for this project! Maximum availability to the community, although less profit for you. I might consider writing something now that I know this exists!
http://www.lulu.com/
I just found this....it may be old news to you, but it seems PERFECT for this project! Maximum availability to the community, although less profit for you. I might consider writing something now that I know this exists!
http://www.lulu.com/
OP
- Thread Starter
- #53
That is a great site to get your foot in the door when it comes to publishing. You can use it to build your reputation and to get some sales under your belt before you look for an agent. Also, there are some authors who start there, write something magnificent, and are picked up directly by a major publisher. It's America, anything is possible!
astrobiologist
Brown Belt
I've been reading and I have to say that I am excited to read your book... I hope your work is challenging yet fun. Though we have never met in person, I must say that you seem like a very knowledgable and respectful martial artist. I know it can take time and hard work to properly get a book out, but make sure you let everyone know when you do so that we can run to our local book shops and demand that they carry a few copies!
Graham
Graham
OP
- Thread Starter
- #55
Well, I'm about 100 pages in and I'm running into problems. I'm running out of sources. There is so little written about Tang Soo Do that isn't 2000 year old history crap, that its hard to find good pieces on the curriculum itself. The good news is that I'm getting to a point where I can start to draw on other Karate sources in order to support some of the changes I suggest in the book. We'll see how the rest goes...
Excellent, I'm excited! If you do run into issues of source problems, I'd be happy to help, I try to keep all of the major Organization's texts on hand as well other resources. So I might be able to offer some distance researching if it would help at all.
astrobiologist
Brown Belt
Ya, I know that many people who train in our art want to think that TSD is 2000 years old and they try to bring up all this history of martial arts in Korea, but Tang Soo Do, and even Tae Kwon Do, are very heavily rooted in Japanese and Okinawan martial arts. It is nice to know the ancient history of Korea and to see where the Masters have tried to blend remnants of historical knowledge on ancient korean fighting techniques into their systems, but we really have to accept the fact that our art is not unique to Korea.
I wish you good luck finding sources to work with in writting your book. I wish I could help, but I really am unsure of where else you could look for further insight.
Keep working hard and keep us updated...
EMST930
White Belt
- Joined
- Jun 5, 2009
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Maunakumu,
Have you ever read "Korean Martial Arts Handbook" by Glenn Jones? He is friend of my father's and his book is required reading for our association. I'll include a few excerpts that you may find interesting.
page 5-6: One of the unflattering issues surrounding the Korean martial arts is that a great number of its leaders and school founders, beginning in the early 1950's and continuing into the present, have chosen to make use of this limited ancient evidence to support historical claims with regard to their specific art, styles or schools. Literally all of these claims are completely false. There are no Korean martial arts today actually based on or moderately reflective to what was Korea's ancient arts. At the present time in new publications and web sites, reference to "Hapkido," "Tae Kwon Do" or "Tang Soo Do" as an example, being part of the 6th, 8th, or 12th century Korean martial arts landscape are found a great deal. Endless associations, federations, and publications use the historical artifacts which are left in the form of paintings, murals, and statues, from as early as the 3rd and 4th century which show martial arts poses and postures, as a part of the history of their art. They also however, cite these as evidence of the ancient legitimacy of those specific arts, all of which did not come into being in actuality until 1945 or after. The tombs of the Koguryo Kingdom, as an example, do not show "Tae Kwon Do," "Hapkido," or "Hwarang Do" or evidence of it. They do depict the indigenous arts of the time.
These consistent myths are, in the last few years, being countered by truth as more and more Korean and American-Korean martial artists are beginning to both discover and propagate the more factual details of Korean martial arts history.
Taking into consideration the subjugation of the Korean culture by the Japanese beginning in the early 1900's and the eradication of so many of its historical works, the Koreans, in the beginning of a new era of martial arts schools, styles and systems at the end of World War II, found that they could not fall back on well documented civil and military martial traditions as could the Japanese and Chinese. It was their efforts to add legitimacy to what were already very legitimate martial arts, even if based on Japanese/Okinawan civil fighting traditions and link them to Korea's history, which resulted in these inaccurate histories being presented.
page 17-18: The focus on Shotokan as the primary and as is presented by some, the only basis for the modern Korean empty-hand hard style is equally inaccurate. While Funakoshi was without question the most notable of the Okinawan to bring the art to Japan, he was by no means the only one to do so. He was the most willing to adapt his art to the Japanese way of thinking as evidenced, for example, by his renaming the traditional forms Okinawan Karate-Justu in an effort to make them more acceptable to the mainstream Japanese public. Two other prominent Okinawan instructors, Mabuni Kenwa and Toyama Kanken who had both trained under Itosu Yatsutsune and Higaonna Kanryo, would come to Japan to teach as well. These two men, Itosu and Higaonna, were considered the most promientnt instructors of the "Shorin and "Shorei" Okinawan styles. As such Mabuni and Toyama who would train Yoon Kye Byung, the Founder of Chi Do Kwan, were in many senses a grade above Funakoshi in experience and knowledge. Toyama Kanken would also train Yoon Byung In who would be responsible for the development of the Chang Moo Kwan and Kang Duk Won through two of his primary students, Lee Nam Seok and Park Chul Hee. While the styles of Shotokan, Shudokan and Shito-Ryu are primarily based on Itosu's teachings, each would develop in its own way. As such, the arts learnd by Lee, Yoo, Ro, and Yoon, four of the founders of the original Korean Kwans, were indeed different to a certain degree. Each chose a somewhat different form of physical expression for the similar arts they learned. In the same fashion that the Japanese would take the Okinawan art of Karate-Jutsu in the period between 1925 and 1940 and adapt it to the Japanese culture, the original Kwan founders took the Okinawan art they had learned in that time frame and adapted it to the Korean culture. It is more accurate to say that the modern Korean arts of Tae Kwon Do, Kong Soo Do and Tang Soo Do are the Korean evolution of Okinawan Karate just as Shotokan, as we know it today, is the Japanese evolution of the same art.
OP
- Thread Starter
- #60
Thanks for the offer, Simon. I'm almost to the point where I can put this thing out there. It's been dominating my free time. I'm sure you know what I'm talking about. LOL!
