A New Approach to Basics - very important please read...

Makalakumu

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A New Approach to Basics

For those of you who know me and are my students, you know that I am always thinking about our class objectives and how to structure our curriculum and learning to meet those objectives. I've deviated a little from what my teacher taught, but up to this point, other then rearranging some concepts, I've remained consistent.

I want to put out an idea that may change alot of how our class is run. It will definitely create more work for those of you who have been with me for a long time, but in the end, I think it will make us better martial artists.

Here is some background info that will help put this idea into context.

Kara-te is originally an Okinawan art. The art was called Te. Tangsoodo took that art after it had been imported to Japan and infused some Chinese concepts into the training. When Te moved to Japan, it was undergoing some major changes. One of them was the inclusion of Te into the school curriculum. Our Pyung Ahn hyungs are a direct of this! In Okinawa, these were called the Pinan Katas and they were created by a Master of Te who also happened to be a schoolteacher. Master Itosu wanted to teach Te to children in order to prepare them for the military. So he adapted a number of the classical forms (Channan and Kusanku mostly) in order to accomplish this goal. The bottom line is that the Pinan forms were the physical education curriculum for a generation of students in Okinawa.

One of Master Itosu's students was a man named Gichin Funikoshi. He learned Itosu's Te at an early age in Okinawa. Jigoro Kano, the founder of Kodokan Judo, happened to meet Funikoshi in Okinawa. Kano watched Funikoshi perform Te and immediately saw that this art had merit so he urged Funikoshi to move to Japan and teach it. Gichin Funikoshi's school in Japan became known as the "House of Shoto" (Shotokan in Japanese) which was named after Funikoshi's pen name. This is how the Japanese started practicing Kare-te.

When concepts move from culture to culture, they often change in order to fit the circumstances of that culture. Te moving to Japan was no different. In Japan, the concept of Te as a physical education curriculum was taken to a new level because Japan is so much more populous when compared to Okinawa. Te was changed again in order to serve massive amounts of people. Shotokan eventually became this art. The Japanese recognized that their art was different then Te so they changed the ideogram for Kara-te, which means to China Hand, to Empty Hand.

This Japanese derivation of Kara-te was eventually imported to Korea...where it underwent more changes. Korea had its own martial arts Taekyon and Subak which came from China. These martial arts were infused into Japanese Kara-te and Tang Soo Do was the result. Our kicking is a direct result of this cultural blending (the ideogram was changed back to China Hand by the Koreans).

Tang Soo Do was taught by Hwang Kee at his school, the Moo Duk Kwan, and passed to Lawrence Seiberlich...who was serving in Korea at the time. He brought Tang Soo Do to Minneapolis, Minnesota. Master Seiberlich was the teacher of Bill Nelson and he opened a school in St. Cloud, Minnesota. Master Nelson taught Dan Knoll Tang Soo Do and eventually Mr. Knoll passed Tang Soo Do to me...and now I'm passing it to you.

I'm telling you this story, because I want you to see something. Alot of things have happened on the journey that brought Tang Soo Do to us. It has changed alot from the original form of Okinawan Te. This is very important to understand in order to understand the idea that I've been toying with.

How many times have I told you that "the root of our art is the hyung"? Hwang Kee said this all of the time and wrote it in his book about Tang Soo Do. I've taken this to heart in my practice of Tang Soo Do and one of my goals in our dojang is to make sure my students really understand the hyung. This comes directly from my teacher and it is one of the reasons why he added all the locking and throwing and pressure points. This separates us from the bulk of the Tang Soo Do community and much of the Shotokan community because traditionally Kihon (basic hand and foot techniques), Kata (forms), and Kumite (sparring) were all that is done (some dojos do more, but in my experience and from what I've read, this is generally the case).

The theory behind the Kihon/Kata/Kumite concept is relatively simple. Basics prepare one to do the forms. The forms teach one how to spar. Sparring prepares you for self-defense. This comes directly from the Okinawan Te, but it has been changed as it was passed along. In Japan, for instance, the grappling techniques were taken out of the basics lists because they didn’t want it to compete with Judo. Another change was the mass marketing of Te to many people. Okinawan dojos are small and family orientated like ours. In Japan, however, Karate became big business.

How many of you have seen the old movies where hundreds of people are doing techniques and forms in perfect unison in these seemingly endless lines? That is the image of Karate that westerners have because that is what we inherited. In order to accomplish this, teaching the meaning behind the movements took a back seat to just practicing the movements themselves. A low block was just a low block and it wasn’t all of the things that I have shown you that it is. This, in my opinion, is how the basics became disconnected from the forms. The physical movement choreographed a piece of the form but the meaning behind that movement was lost.

One of my goals in our dojang is to reconnect the basics and the forms. My teacher provided a platform that helped me understand the forms and now I’m going to jump off and take it a step further. The line drills that we practice were created with the assumption that a low block is just a low block and a front punch is just a front punch. There is nothing wrong with this assumption, that is how basics should work, but the movements themselves have been disconnected from there meaning.

This begs the question…what are basics? My answer is that they are striking, blocking, grappling, and throwing. We practice all of these with partners and with resistance, but with two of these we also practice old traditional line drills. These take a lot of time to learn and one of the things that I’ve noticed is that our blocking and striking skills often take a back seat to this. Line drills are important because they teach one the fundamental techniques in the form, but sometime a block is just a block, a kick a kick, and a punch a punch. I believe we need to get back to that.

The idea that I would like to discuss with you is this…

How would you feel if we only used line drills to learn the techniques in the forms and we replaced our entire striking and blocking lists with two person drills done with resistance pads? Line drills would no longer be required material for tests and actual striking, blocking, grappling, and throwing an opponent would. Please reply to this and let me know how you feel because this is a major change in how we would do things. I would need to completely rework our requirement sheets in order to make this happen. The more I think about this, however, I think that it is important. It could help us better meet the goals of our dojang and I believe that it would take us closer to our martial arts roots.

Please think about this. Think about the context that I provided. Think about the consequences such a change would have. I value your opinions as my students. Lets discuss this…

upnorthkyosa

ps – I would like to open this idea up to the MT community in order to get all sorts of feedback. Thanks for reading this and please respond.
 

UpNorthMum

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I believe this is an excellent approach to basics. As a student, one of my least favorite parts of the Art is going back and forth doing basics. Actually using those skills in productive ways would not only be motivating but practical as well.
 

IMP

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I think that it's amazing how far back Tangsoodo goes. I thought that it started in Korea. It's a great approach to it.
 

The Kai

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There is a benefit to practing the line drills in conjunction with pad or bag work. Line drills are excellent for cementing the basics into your muscles. Too mauch bag work can make you sloppy and too "pushy". Too much line drills have negative consequences too, chiefly being too static.

Try line drills that incorporate the feel and mechanics of bag work
 
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Makalakumu

Makalakumu

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IMP said:
I think that it's amazing how far back Tangsoodo goes. I thought that it started in Korea. It's a great approach to it.

It's very important that you understand where the roots of our system come from. As you learn more about martial arts, it will help you form a broader picture of what it is that you are doing.

With that being said, it can be tempting to beleive that our art started 2000 years ago in Korea. This just is not the case.
 
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Makalakumu

Makalakumu

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The Kai said:
There is a benefit to practing the line drills in conjunction with pad or bag work. Line drills are excellent for cementing the basics into your muscles. Too mauch bag work can make you sloppy and too "pushy". Too much line drills have negative consequences too, chiefly being too static.

Try line drills that incorporate the feel and mechanics of bag work

I agree. That is why I wouldn't ever totally get rid of line drills. I would use them to teach techniques in our hyung. I would, however, like to make more time for and require some more practical basics practice. The main thing is that I want to make sure that basics are actual basic techniques and not some misrepresented and disconnected movement.
 

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Since I am not a Tang Soo Do or Japanese Karate stylist I cannot comment directly with regards to the curriculum or techniques or drills that you use since I have no experience with them. However, in the general sense I would say that if you are developing changes in your methodology that you believe will lead to a better understanding of your material, and a better ability to use your material effectively, then by all means go for it. Be careful and thoughtful and consider your changes deeply and get other opinions on your ideas, but I think it is a really good idea to do it.

I believe that we often inherit an art that we then become afraid to change. Somehow we think that this stuff was developed by ancient geniuses and supermasters and it is sacred. But we must remember that whatever it is that we practice, it is just something that someone else made up once upon a time. These people who created the arts were talented and intelligent and skilled, but not divine. None of it is sacred. It is OK, and sometimes even crucial, to change it.

I am currently on the second round of revisions in the Tracy's Kenpo that I learned. I too felt the system had some serious problems that should have been changed, and it took me 20 years to decide to do something about it. I made serious changes about a year ago and am doing it all again in hopes of making more improvements. I kept my instructor informed of what I have been doing and his reaction was extremely positive. In fact, his reponse was: "well it's about time someone decided to do something about this."

I think making changes like this will make your art more meaningful for yourself and not just for your students. Good luck and keep up the good work!

michael
 
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Makalakumu

Makalakumu

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With this new philosophy in mind, here is a possible draft of our beginning curiculum. Please take a look at this and comment.

Green Belt Requirements


General Requirements


Sound Moral Character (Respectful, Responsible, Honest, Caring) _____
One hour of practice outside of class per week _____
A willing learner and good student _____

1. Basics


Jaseh – Stances

Chung Gul Jaseh – front stance _____
Ki Mah Jaseh – horse stance _____
Hu Gul Jaseh – back stance _____
Sa Ko Rip Jaseh – open stance _____

Soo Gi – hand techniques

Closed hand striking – jab, cross, hook, uppercut, backfist, hammerfist _____
Open hand striking – Palm cross, palm rake, palm slap, knife hand _____
8 Arm parries _____

Jok ji – foot techniques


Ahp Cha Nut Gi – Front kick _____
Ahneso Pakuro Cha Gi – inside outside kick _____
Pakeso Ahnuro Cha Gi – Outside inside kick _____
Yup Podo Cha Gi – side kick _____
Dul Ryo Cha Gi – round kick _____
Yup Hu Ri Gi – Hook Kick _____
Chit Pal Gi – stomp kick _____
Moo Ruep Cha Gi – Knee Kick _____

Tuite – joint locks


Koto geye osh _____
Eekyo _____
Nikyo _____
Sankyo _____
Ude Garame _____
Ude Tori _____
The Three Deprivations _____
Three theories of Joint locking, pain compliance, throwing, breaking _____

Nage - throws


Dashi Barai _____
Sotogama _____
Hosoto Gari _____
Suquee Nage _____
Knowledge of Kusuri and Kusushi _____



Newaza – Ground work


Basic positions – superior mount, open and closed guard, rear mount, side mount _____
Escapes from the Mounted Position _____
Escapes from the guard Position _____
Striking from the ground _____

Ukemi – falls

Side fall _____
Back fall _____
Front fall _____
Roll fall _____

Kyusho – pressure points, location, direction of strike, and application

Gall bladder 20 _____
Spleen 21 _____
Bladder Strike _____
Stomach 9 _____
Stomach 5 _____
Large Intestine 18 _____
Lung 8 _____
Heart 6 _____
Stomach Plexus _____

2. Hyung


Gi Cho Hyung Ill Boo _____
Gi Cho Hyung Ee Boo _____
Gi Cho Hyung Sam Boo _____
Gi Cho Jok Ji Hyung _____
Chil Sung Ee lo _____

3. Ee An Sol Cha Gi – kicking in multiple directions

Ill Bon _____
Ee Bon _____
Sam Bon _____

4. Ill Soo Shik – Applications of the Forms

5 bunkai from strikes _____
2 bunkai from wrist grabs _____
2 bunkai from lapel grabs _____
1 bunkai from lunging grab _____

5. Ho Sin Shul – Self Defense


Demonstration of defense against random hand techniques _____
Demonstration of defense against random foot techniques _____
Proper distance, timing and control _____

6. Deh Ryun – Sparring


Demonstration of Block/Counter in Sparring Situation _____
Demonstration of one on one sparring _____
Demonstration of sparring someone of equal rank _____
Demonstration of sparring someone of higher rank _____

7. Kyok Pa – Breaking (for 16 and up)

Knowledge of how to hold a board _____
Knowledge of how to break a board _____
Two hands in succession _____
Two feet in succession _____
One hand and One Foot technique in combination _____
One Patio Tile ____

8. Breathing Exercises


Moo Pal Dan Kun (1-4) _____

9. Culture and Terminology – (in notebook)

Counting to ten in Chinese and Korean _____
Commands in Class _____
Chungle Ryu_____
Knowledge of Meridian Theory _____
Oyo, Bunkai, and Tuite _____
Knowledge of Gi Cho History _____



10. Martial Arts Research (for 16 and up)


One 2-3 page paper on the history of Korea _____
One 2-3 page paper on the history of Tang Soo Do_____

11. Testing – times arranged privately with instructor


At least twelve months has passed since last grading _____
Martial Arts Notebook _____

 
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Makalakumu

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Here is a possible version of the intermediate requirements...

Red Belt Requirements



General Requirements


Sound Moral Character (Respectful, Responsible, Honest, Caring) _____
Knowledge of all lower ranked material _____
3 hours of practice outside of class per week _____
A willing learner and good student _____
Assists instructor in instruction of lower ranks _____

1. Basics


Jaseh

Pyung Rip Jaseh _____
Kyo Ch Rip Jaseh _____
Bom Jaseh _____

Soo Gi

Pyung Kwon Soo _____
Chung Kwon Soo_____
Yuk Soo Do Kun Kyuk _____
Pal Koop Kun Kyuk _____
Pal Koop Chi Ki _____
Dwi Kun Kyuk _____
Ill Chi Kwon Soo_____

Jok ji


Dwi Jok ji _____
Dwi Oh Jok ji _____
Du Bal Jok ji _____
Goolo Jok ji _____
Pandal Cha Gi _____
Peet Cha Gi _____
Bul Ro Mulkee _____
Toro Cha Gi_____
Ko Dan Cha Gi _____
Naeturo Cha Gi _____

Tuite


Yubi Tori _____
Moro Yubi Tori _____
Ankle Lock _____
Knee Lock _____
Scarf Hold _____
Blood Choke _____
Leg Choke _____
Side Choke _____


Nage


Sheho Nage _____
Ogoshi _____
Seogoshi _____
Seonage _____
Tsurikomi Goshi _____
Harai Goshi _____
Single leg takedown _____
Double leg take down _____
The Shoot _____

Newaza


Tuite from the ground _____
Chokes on the ground _____
The Eight Hold downs _____

Kyusho – pressure points, location, direction of strike, and application (for 16 and up)

Gall Bladder 24 ____
Lung Plexus ____
Triple Warmer 11 ____
Governor Vessel 26 ____
Triple Warmer 17 ____
Gall Bladder 31 ____
Pericardium 6 ____
Clavicle Notch ____
Liver 12 ____
Spleen 12 ____

2. Hyung


Pyung Ahn Cho Dan _____
Pyung Ahn Ee Dan _____
Pyung Ahn Sam Dan _____
Pyung Ahn Sa Dan _____
Pyung Ahn O Dan _____
Chil Sung Ill Lo _____

3. Ee An Sol Cha Gi – kicking in multiple directions

Sa Bon _____
O Bon _____
Yuk Bon _____

4. Ill Soo Shik – Applications from current forms

10 bunkai from strikes _____
2 bunkai from holds from the rear _____
2 bunkai from holds to the throat _____
1 bunkai from two person holds _____

5. Ho Sin Shul – self defense


Demonstration of defense against random grabs _____
Demonstration of defense against random grab/strikes _____
Demonstration of defense against random hand or foot technique _____
Proper Distance, timing, and control_____



6. Kyok Pa – Breaking (for 16 and up)

Two Patio Tiles _____
Series of Three consecutive hand strikes _____
Series of Two consecutive Kicks – one kick must be a jump kick _____
Dwi Cha Gi _____
Dwi Oh Cha Gi _____

7. Ground Fighting


Instinctual posture _____
Kicks from the Ground _____
Sweeps from the Ground _____
Getting back up _____

8. Deh Ryun

Demonstration of Pi – Hagi in sparring situation _____
Demonstration of sparring someone of lower rank _____
Demonstration of sparring someone of same rank _____
Demonstration of sparring someone of higher rank _____
Demonstration of Randori _____
Demonstration of submission grappling _____
Demonstration of one up, one down sparring _____

9. Breathing Exercises


Moo Pal Dan Kun (4-8) _____

10. Culture and Terminology – (in notebook)

Knowledge of the meaning of Pyung Ahn _____
Knowledge of Cycle of Creation and Destruction _____
Sun Suc Mi _____
Use of Hip _____
Knowledge of Muk Nyum _____
Knowledge of Shim Gung, Neh Gung, and Weh Gung _____
Knowledge of the Creative and Well Rounded Martial artist _____


11. Martial Arts Research (for 16 and up)


One 2-3 page paper on the Hwa-rang _____
One 2-3 page paper on the influence of Bohdidarma on martial arts _____

12. Testing – times arranged privately with instructor


At least twelve months has passed since last grading _____
Martial Arts Notebook _____
 
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Makalakumu

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Here is a possible version of the advanced requirements

Brown Belt Requirements


General Requirements


Sound Moral Character (Respectful, Responsible, Honest, Caring) _____
Knowledge of all lower ranked material _____
4 hours of practice outside of class per week _____
A willing learner and good student _____
All Red Belt students are qualified as assistant instructors _____

1. Basics


Jaseh

Han Bal Seo Kee _____
Choi Jaseh _____

Soo Gi

Son Mahk Deung Mahkee_____
Son Mahk Deung Kun Kyuk _____
Yuk Jin Kun Kyuk_____
Yoo Kwan ____
Il Chee Kwan _____
Dragon Fist _____

Jok ji


Double Jok ji _____
Dwi oh Dwi Jok Ji _____
Ee Dan Jok Ji _____
Chirumyo Cha Gi _____
Forward Iron Broom Sweep _____
Backward Iron Broom Sweep _____

Tuite


Joint lock flow _____
Fluid Lock application _____

Nage


Tai o Toshi _____
Tomi Nage _____
Kane Sute _____

Newaza


Pressure points on the ground _____
Tension and relaxation on the ground _____
Hold Flow _____
Weapons on the ground _____


Kyusho


Heart 1 ____
Heart 2 ____
Lung 1 ____
Lung 2 ____
Gall Bladder Plexus ____
Kidney 1____
Pericardium 8 ____
Kidney 1 ____
Bladder 41 ____

2. Hyung


Bassai O _____
Bassai Te _____
Chil Sung Sam Ro _____
Nai Han Chi Cho Dan _____
Creative Hyung _____

3. Ee An Sol Cha Gi

Chil Bon _____
Pal Bon _____
Cu Bon _____

4. Ill Soo Shik – Applications of the Current Forms

20 bunkai from strikes and grabs _____
2 bunkai to defend the shoot _____
Demonstration of 5 Knife defenses _____
Demonstration of 5 Stick defenses _____
Demonstration of 5 Cane defenses _____

5. Ho Sin Shul


Defense against any random technique _____
Empty hand defense against random knife attacks _____
Empty hand defense against random stick attacks _____
Proper Distance, timing, and control _____

6. Kyok Pa – Breaking (for 16 and up)

Three Patio Tiles _____
Yuk Jin Kun Kyuk _____
Speed Break _____
Dwi Oh Dwi Cha Gi _____
Flying Du Bal Cha Gi _____
Ee An Sol Cha Gi Cu Bon (4 stations 2 boards each) _____

7. Stick Defense


Heaven Six Pattern _____
Standard Six Pattern _____
Earth Six Pattern _____
Strikes 1-12 and defenses _____
Hand Switches _____
Male and female triangle footwork _____
Unig Zyow Hyung _____
Kun Tao _____
Carenza _____
Disarms _____

8. Knife defense


Five Terrors_____
Palm Stick Set _____
Ice Pick Set_____
Forward Grip Set _____
Disarms _____
Knife Tapping _____

9. The Cane


Parts of Cane and uses _____
Cane form _____
Applications to the form _____


10. Deh Ryun

Demonstration of Stop Hit in Deh Ryun _____
Demonstration of entering and trapping _____
Demonstration of Sparring against lower ranks _____
Demonstration of Sparring against same rank _____
Demonstration of sparring against higher rank _____
Demonstration of open technique sparring _____
Da Soo in Deh Ryun _____
Tanto in Deh Ryun _____

11. Breathing Exercises


First apparent closing of Yang Lu Chan Hyung _____

12. Culture and Terminology – (in notebook)

Knowledge of light force knockouts and revival techniques _____
Knowledge of the textbook nature of Hyung _____
Knowledge of Meridian elements _____
Knowledge of Diurnal Cycle _____
Knowledge of Yin (soft) and Yang (hard) in striking _____
Knowledge of good teaching practice _____
Knowledge of basic first aid _____
Knowledge of laws concerning the use of force _____
Knowledge of the Creative and Well Rounded Martial artist _____


13. Martial Arts Research (for 16 and up)


One 2-3 page paper on Shoalin monastery _____
One 2-3 page paper on Dao of Jeet Kune Do by Bruce Lee_____
One 2-3 page paper on The Five Rings by Myamoto Musashi_____
One 2-3 page paper on how training in another martial art has affected your martial arts growth _____

14. Testing – times arranged privately with instructor


At least twenty four months has passed since last grading _____
Martial Arts Notebook _____
Completion of Written Exam _____
 
A

Amy

Guest
John,
The very fact that you are putting so much thought into the curriculum you teach gives me great faith that you will lead us in the right direction with your teachings. I trust your experience and knowledge of Tang Soo Do and know that if you make a change it is only to enhance our learning.

Personally, I am very excited about this idea of incorporating more of the practical applications of the movements we learn into our training. I myself am a kinetic learner and the more I can practice something the way it is meant to be used, the more proficient I will become and the deeper my understanding will be.

I also believe, it is one thing to be able to kick and strike in the air, and a completly different thing to be able to kick and strike a surface with the correct technique and distance and then be able to recover (balance) after doing so.

I can only speak for myself but I think others will agree. Looking forward to a fun new adventure in learning!

Amy
 

IMP

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Mr. K, are you saying that ALL martial arts started in Okinawa?!
 
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Makalakumu

Makalakumu

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IMP said:
Mr. K, are you saying that ALL martial arts started in Okinawa?!

Not at all. Only certain martial arts started in Okinawa. Kara-te systems are Okinawan based.
 

jdwindsurfer

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John,

Your rationale for changing the curriculum seems very well conceived to me and I look forward to the new drills. I like that you are balancing the traditional respect with a learner-centered approach. I'm very open to trying this.

Jason
 

Touch Of Death

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Kenpo has a more micro look at that same concept in that all your basics are built from natural motion; and, from that a block becomes a strike, strike triggers a manuever, a maneuver culminates in a stance which in turn is a new transition.
Sean
 

IMP

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upnorthkyosa said:
Not at all. Only certain martial arts started in Okinawa. Kara-te systems are Okinawan based.

Then where did other martial arts like Jujitsu or Judo start?

Ian

TANG SOO!
 
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Makalakumu

Makalakumu

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IMP said:
Then where did other martial arts like Jujitsu or Judo start?

Ian

TANG SOO!

Jujutsu encompasses many forms of fighting the Samurai would use to defend themselves without a weapon. Judo is a modern interpretation of a couple of jujutsu schools techniques. It's main purpose is for use in the sports arena. Here is some more info...

Jujutsu and Judo
 

Novitiate

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Not having seen the changes in person
I passed the idea by my Girlfriend who took a few classes when we had little to no students and were still doing the line drills.
she was excited to actually start learning applicable skills rather then working on esoteric movements which mean nothing to a beginner.
This may turn out to be a better way to teach women
as they will learn how to defend themselves at a quicker pace
and may get hooked as a result.

Tangentially
as the student who has seen the most change I agree it has been frustrating
however I feel that in the end It will only make me that much more rounded
and effective
 

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