When it comes to demonstrating a form, Master Rhee has always stressed the importance of contrasting dynamics: soft/hard, fast/slow, strong/gentle,...a dynamics dichotomy if you will.
It not only makes the form more fun to perform but it is also more pleasing to watch. And since most forms are simply assorted combinations linked together into some cohesive whole, this dynamics dichotomy also makes practical sense.
A combination is generally a set of techniques designed to take your opponent to a non-functional state. Often, but not always, the end of one combination and the beginning of another is signaled by a change of direction and/or a 'kee hop'. While instructing, endeavor to point out these combinations to the students (age appropriate, of course). Once a combination is identified have the students execute it several times, a dozen times even, until they know what it is for and what the targets are. I recommend having them pair up and experience what that combo will accomplish against a real person. SLOW IS THE WAY TO GO here.
The brain develops muscle memory (a sequential firing of the muscles) through repetition, not speed. If you perform a new technique too quickly then you are more apt to be off target and lack penetration. In fact, you cannot perform at combat speed and achieve the full penetration necessary without damaging your partner.
Going slow however, allows you to penetrate (step through) and displace your partner. Your partner will be able to give you the proper reaction to your attacks, i.e. a groin attack will cause them to stoop over, hands to the groin and chin up. An eye gouge will immediately bring their hands to their eyes and face down.
Granted, it may take 1/2 of your class time to adequately cover one form but I guarantee that you and your students will have a firmer grasp of the form and your enjoyment level will skyrocket.
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6 comments:
Master Crane,
What are some of your general suggestions for taking our form practice to a higher level. I think we are doing ok here, but I know there is definately alot of room for improvement. My long term goal is to get our techniques looking more like yours or Master Rhee. There is a certain quality you have that I just have not been able to identify yet. Can you shed some light here?
Thanks for the comment and the interesting observation. I guess I have been watching Master Rhee for so long that I tend to emulate his movement In fact, sometimes when doing a form I can see Master Rhee in my mind doing the form move for move.
But you mentioned form practice. I think much of what I laid out in the original post applies here. Once the purpose of a move is understood it can be refined which produces balance and function. Then is becomes art.
I think the best forms you will ever do no one will ever see. Like any artist, mood and timing produce inspiration. For me it is outside on a moonlit night around 11 or 12 and dismantling a form into its smallest elements and reassembling it a dozen times. Now that's just plain fun!
How much freedom within the movements\techniques does one have before a line is crossed and the form becomes incorrect? Can a pause between movements be too long or short? Finishing a technique closed fist rather than with a knife hand, etc...? Where does individualized style become bad form?
Good Question! I would say that speed and power would not factor in at all to the "correctness) of a form. In fact, one of Master Rhee's favorite axioms is "no speed, no power" meaning he wants you to take the form slowly with focus and not try to "be" powerful.
Even Master Rhee admits that he cannot remember every detail and that his instructors could not always remember every detail. I would say teach it as you have been taught and don't change a thing. However, in the course of teaching a form, I will frequently demonstrate several applications to one of the moves in the form which may involve both open and closed hand, to use your example. I make it clear though that this is extraneous to the actual form and the original form should be passed down intact.
There can certainly be debate as to what the original form consisted of and with the advent of such sites as You Tube we can sometimes see how they do them in Korea and elsewhere. But we must remember that Master Rhee developed a flow of movement, (big, deep, circular, dropping, 45degree stances) that won't necessarily be found in the traditional form. Master Rhee sometimes will tell us to refer back to the tapes he made in the 80's to answer form questions.
Have I muddied the waters enough?
I'm really enjoying the posts. Thank you for all for your contributions. This thread is worth printing and re-reading on occasion for the Falcon.
I believe I understand Master Crane, thank you. Artistic flexibility is allowed and encouraged with the emphasis on the moves\techniques and not with the form technique (movements) itself. That makes sense and will help me going forward.
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