I’ve finally decided that my blog is too disjointed. If you are interested in my martial arts related posts, please go to http://blog.wasatchmartialarts.com.

Finally, Wasatch Martial Arts will have a Tiger Tots class designed specifically for kids ages 4 to 6. It’s a fun program designed to teach young kids discipline, respect, coordination, and self confidence. The class will prepare them to enter the older kids class later on. If you would like to register your child click here.

I am often asked what makes Soo Bahk Do unique from other martial arts systems.  Though there are many facets of Soo Bahk Do that differentiate it from other systems, possibly the characteristic that has had more impact on the martial arts community is our unique method of hip twisting and thrusting.  Here is a small video clip of the successor of the Moo Duk Kwan founder, Hyun Chul Hwang Kwan Jang Nim as he explains the physics behind our unique use of hip:

Ryu Pa is a Korean term that means “a river flowing down divided”.  This is the term used for the word “style”.  The Moo Duk Kwan style was created by the late Hwang Kee.  To understand his style, it is important to understand his martial arts training.  Hwang Kee’s training can be divided into 4 specific areas.

When Hwang Kee was only 7, he witnessed a fight with a Tae Kyun master defend himself against a large group of men.  Hwang Kee was so impressed that he followed the man home and eventually asked to learn.  Hwang Kee was refused because he was too young.  Determined, Hwang Kee woud watch from a distance as the master would teach Tae Kyun.  Though he never received formal training in Tae Kyun, some considered him a master in his own right by the age of 22.

Later, Hwang Kee went to Manchuria to work on the railroad.  There he was able to train with Yang Kuk Jin, a master of the Chinese martial arts.  Here Hwang Kee received his only formal training which included Seh Bop (Postures), Bo  Bop (steps) and Ryun Bop (Conditioning).  He also trained in Dham Toi Sip E Ro (12 Step Tan Tui) and Tae Kuk Kwon (Tai Chi).

When Hwang Kee returned to Korea, he ready books on Okinawan Karate.  The exact titles are unknown.

After World War II, Hwang Kee opened a school teaching a new system that he created called Hwa Soo Do.  This style was heavily influenced by his training in Manchuria.  However, because of the Japanese Occupation of Korea, his art was not very well received.  One day, he spoke with the founders of Ji Do Kwan and Chung Do Kwan.  Chung Do Kwan was teaching Tang Soo Do, which had roots in Shotokan.  Ji Do Kwan was teaching Kong Soo Do, which had roots in Judo.  Both of these styles had many more students than the Moo Duk Kwan. After meeting these two founders, Hwang Kee decided he needed to integrate the art of “Tang Soo Do” into the Hwa Soo Do discipline.  At the time, Tang Soo Do was the only term for a “Karate-type” discipline that the public would recognize and accept because of their Japanese doctrinization during the past 50 years.  From the knowledge he had acquired from studying Japanese books, he began teaching Tang Soo Do while applying the Hwa Soo Do discipline of techniques.  This included a unique use of offensive and defensive hip movements in all hand techniques.  Kicks also had a unique way of extending the hips on all thrust kicks.  These along with other characteristics distinguished the Moo Duk Kwan system from others teaching “Tang Soo Do”.

In 1957, Hwang Kee discovered the Moo Yei Do Bo Tong Ji, the oldest Korean martial arts text known today.  Inside, he discovered a fighting art called “Soo Bahk Ki” or Soo Bahk Hee” which means hand striking techniques or dance.   He recognized the importance of “Soo Bahk” as a Korean traditional martial art and studied the book in depth.  The Moo Duk Kwan began another transformation as Hwang Kee implemented the Soo Bahk system into the Moo Duk Kwan.  This implementation has continued until the present day where the Moo Duk Kwan now practices forms taken from and based upon the teachings from the Moo Yei Do Bo Tong Ji.  In the 1990’s, the Moo Duk Kwan in the United States formally changed its name from the United States Tang Soo Do Moo Duk Kwan Federation to the United States Soo Bahk Do Moo Duk Kwan Federation.  The change of the name outwardly demonstrates the Moo Duk Kwan’s change of focus from the Tang Soo Do curriculum that had a strong base in the Okinawan Karate forms to the unique Soo Bahk Do forms created by Hwang Kee such as Chil Sung, Yuk Ro, and Hwa Sun.

The Moo Duk Kwan today teaches the combined knowledge that Hwang Kee left to his son and successor, Hwang Hyun Chul.  The system is largely influenced by his teacher in China and his findings in the Moo Yei Do Bo Tong Ji along with his unique findings on the execution of basic techniques (unique use of hip).  The “Tang Soo Do” forms are also taught, but less emphasis is placed on them today.

To register for Soo Bahk Do, go to my beta site. It’s not much, but it at least allows for online registration. Please contact me if you have any questions.

Soo Bahk!

Brian

Finally we’re making some progress in forming a legitimate Soo Bahk Do school in Utah.  Beginning next Thursday, I’ll be holding an adult class in Sugarhouse next to Salt Lake.  These classes will be held every Tuesday and Thursday.  Classes are being held in the backyard of the most senior student, Ms. Smith who is a Cho Dan until we can find a more permanent location.

Leave a comment if you are interested in joining the class.  We will be learning the traditional Korean martial art along with its history, tradition, and philosophy.  The classes will be free until the beginning of next month.

Here’s a YouTube video that explains the art I study.

A few weeks ago, I went on vacation in Santa Barbara visiting some family. I was able to meet Master Jang who is a high ranking Sa Bom in Soo Bahk Do. I had the privilege of training with him for a full week and learned many principles during that time. I hope to be able to record some of the insights I received from him.

One of the concepts taught to me was correct breathing or ho hup cho chung. Everyone with a good background in MA will tell you the importance of breathing. However, I believe most practitioners, including myself, knows one, and possibly two types of breathing–slow and fast.

Jang SBN taught me that your breath needs to reflect your action. You’ll see slow movements performed with very loud, aggressive breathing—HAAAAAAAAAAAA!!!!!!!!!!!!!!–but does this really reflect the action? The complete harmony of your body is essential to any technique and this includes breathing. Slow techniques should utilize slow, passive, relaxed breathing, whereas fast techniques should use quick, explosive, aggressive breathing. The actions are two polar opposites and your breath should be a reflection of that.

Now before training with Jang SBN, I pretty well understood this concept. What I didn’t know, is that different sounds give off a different energy. He spoke of the Yuk ja gyol 六字決, or the six natural sounds. Each sound utilizes a different part of your body and will allow your technique to have a different feeling. When performing a front kick, for example, you will probably make a sound similar to “Shuuuuu!” whereas other times you will use a “Chuuuuu!” sound. The difference will reflect your intent. As you make the two sounds, ask yourself what emotions are released and how does your body react? The Sh sound seems to be generated higher in the chest and gives a more deliberate feeling. The Ch sound is generated lower in the abdomen and is more quick and spontaneous.

Those are some of my initial thoughts any way. I’m sure others have more knowledge on the subject and I know I will continue to explore this section of moo do training.

Having a clear understanding of your style’s and instructor’s roots is vital to understanding who you are as a martial artist.  For example, having a deep understanding of a form’s history and creator can help you understand its purpose and characteristics.  The same applies for your art in general.  The history and tradition behind your martial art can not only give you a sense of pride, but also help you get to the heart of the art.

As an example, my martial arts lineage is as follows:

• Hwang Kee (Founder of Soo Bahk Do)
• Jae Chul Shin
• Chuck Norris
• Victor Martinov
• Jeff Moonitz
• Oliver Whitcomb

I attribute my lineage to Oliver Whitcomb, who issued me my Cho Dan in Soo Bahk Do.  Prior to training with Master Oliver Whitcomb, I had received my Cho Dan in Tang Soo Do under Earlene Burk while I lived in Challis, Idaho.  Del Low, who was her instructor was the one who issued me the rank.  As far as Del Low’s instructor, I’m not sure.  If anyone has information on this, that would be awesome!

Interesting, I just found a youtube clip for Yuk Ro Sa Dan Hyung, also known as Yang Pyun. This is the 4th form of 6 created by Soo Bahk Do founder, Hwang Kee. Korean subak (hand strike) is an ancient martial art that has been lost in time. One of the few remaining documents of this ancient style is found in the Moo Yei Do Bo Tong Ji, a 300 year old text on Korean martial arts, armed, unarmed, and horseback. Within the Kwan Bup (Fist Method) section, you read about Yuk Ro techniques, of which there are 6. Hwang Kee took these six movements and created a form that was based on the technique’s characteristics. Unfortunately, the text is written with Chinese characters, making it extremely difficult for scholars to translate. Even once translated, the documentation is very crude and does not give a clear explanation of techniques. Figures depict many, but not all of the movements, and unfortunately a still image does not do a physical technique justice. Though the true style of subak may be lost in time, it is through Founder Hwang Kee’s style that we can take a glimpse of what that style might have entailed.

We do know that the book has Chinese and even Japanese influence and that it comprises the Sorim (Shaolin-hard style) and Tae Kuk Kwon’s Nae Ga (Soft style). You’ll see variations of Shaolin long punch alongside Tai Chi movements in this form.