bushido_man96

I think my point is that one shouldn't be bound by a particular "classification". I am not suggesting that the way your school teaches the kick you are describing is not good, or correct for that matter, but the OP's question was "what is the correct way to perform side kick". I knew what he/she was alluding to, but the whole thread has rung a bell with me because you, (bushi, joe, tg) seem to have to have a rather "fixed” idea of what a side kick / kick to the side is, and therefore always performed. That doesn’t sit too well on my karate register. I don't see anything wrong with having a "fixed" idea as to what a specific kick is. I just like to have a streamlined terminology so as not to develop confusion in training. What many styles have labeled a "round" kick, Bruce Lee coined as a "hook" kick in his styles. I don't like the change, and if I trained in JKD or the like, I would have a hard time calling a round kick a hook kick, because I already do a hook kick, and to me, it isn't a round kick. Just because I don't identify the "front kick to the side" as a side kick, doesn't mean that I don't find it functional, or that I don't use it. Our style has the kick in several of our forms; its just called a front kick. But, its a front kick to the side. Just because I don't choose to delve into the language of a style, doesn't mean that I have only degraded myself to "punching and kicking," nor does it mean that if one chooses to study to learn soley how to punch and kick is doing a disservice to everything that an art has to offer. Reasoning, theory, and understanding of an art can come from just the physical practice and exchange with oneself or other practitioners, as much as it can from learning a small segment of a foreign language. I could look up the term "mordstreich" and find out what it is, but I can't tell you off the top of my head, although the translation "murder strike" coming to the front of my mind. I'm not so concerned about the German name of a strike, but more of the applications and uses of the strikes and blocks of Medieval Combat. Therefore, I haven't delved into language study, but combat study.

Congrats!

4-30-09 TKD class: 6:00 - 7:30. Good class tonight, especially at the end where we got to do some sparring work, working into a clinch and then working angles and footwork. It was some good focused drilling. Then, we had time to spar. The extra half hour of class is going to be very beneficial.

I would kind of fall along the lines of tallgeese's assumption, but be a bit more specific; the creators were likely right-legged, and thus, and perhaps accidentally, created the forms this way. I thought that the article was very interesting. Thanks for sharing it. I thought the breakdowns of the number of kicks per leg, and then the difficulty ratings, were a nice touch. I had never really thought about the mismatch. I did notice it in Choong Moo, but never put it together much more in the other forms. That is one thing that I did like about the ATA forms, that they were designed to be symmetrical. A jump kick on one leg was usually done on the other leg. In some of the black belt forms, there was a difference, but only by one kick, usually.

I guess if that is the way it is done in Karate, then I can understand what you are saying. However, in any of the material I have read, I haven't noticed these discrepancies in the capacity that you explain them here. From what I have seen in my TKD practices, the technique classifications are more specific. Side kick is done with the foot horizontal, parallel to or pointing slightly down toward the floor. Front kicks are with the knee held vertically, and lower leg down below. However, the tool used can be the heel, the instep, or the ball of the foot. As for whether using the language of the mother country that an art comes from, and whether or not it enriches your time there, is for each to decide. There are lots of practitioners out there that claim that the language is an essential part of learning the art, and that it gets one more in tune with the culture it comes from, etc. I don't really buy into it, because you are only learning a very small part of a much larger language, and a much larger culture than is offered from attending a Martial Arts class two to three times a week, for maybe two hours at a time.

Well, I emailed them, and alas, they don't ship to the States. But, they did mention that they will be opening an outlet across the pond in the near future, so I asked them to contact me when such an event took place.

That's nuts...

Now, how would that not fly?...

Link: http://www.combat-tkd.com/ This book tends to take an Iain Abernethy-esque approach to the form system of Kukki Taekwondo. As with so many books on TKD, O’Neill begins with an introduction of the art, beginning with its history. However, its similarity with the history section of any other TKD book ends there. He writes what is one of the most accurate and truthful accounts of TKD’s history, second only to that written by Alex Gillis in A Killing Art. O’Neill dispels the 5000 year lineage of TKD, depicting its actual roots in various forms of Karate. He also provides good information on the establishment of the Kwans and the later federations and associations that began to fragment TKD. The author also describes three models of TKD: 1. Hard style, consisting of power striking and hard blocking, and basic kicking skills consisting of front, side, round, and spin side kicks for power, with less of the intricate footwork of today’s WTF style of sparring. 2. Modern sport TKD is what is more recognizable as today’s tournament-style of TKD, propagated by both the WTF and the ITF. Even the ATA has added an Olympic-style sparring portion to its competitions, the last I had heard. High kicking, counter-kicking, intricate footwork, and very little use of the hand techniques (even for blocking!) are the hallmarks of this sport variation of TKD. 3. Patterns-based TKD is the focus of O’Neill’s book. The author uses the patterns to explore the self-defense aspects of TKD. The second part of O’Neill’s history section delves into the history of TKD forms themselves, and the influences on their design. Mentioned in this section are influences from: 1. Okinawan lineage 2. “Korean Karate” forms 3. Chang Hon forms 4. Kukki poomses In describing the TKD patterns as self-defense methods, the author lists: 1. The Shotokan influence 2. The Shudokan influence 3. The Shito-Ryu influence 4. The Yudo influence 5. The Taekyon influence 6. The Quan Fa influence O’Neill then goes into the fundamentals of his interpretations of the patterns, and different elements of self-defense. At this point, O’Neill’s work isn’t much unlike that of Abernethy’s approach to Karate forms interpretation. For the forms interpretation section of the book, O’Neill divides the patterns into three sections: 1. The Preliminary Exchange – Taegeuk 1, 2, 3 2. Infighting and Clinching – Taegeuk 4, 5, 6 3. Advanced Self-Defense – Taegeuk 7, 8 Each of these sets of forms, in O’Neill’s research, depicts a particular stage of a fight. After the forms interpretations, there is a section that describes some of the techniques from the pattern interpretation section. The author also gives an Abernethy-like rundown of sparring exercises, and finishes with thoughts on designing a syllabus for the Kukki TKD practitioner. Reading this book, I felt like I was getting a fresh, original (and honest) point-of-view of TKD. I have a little experience with the Kukki patterns of TKD, and I feel that this book can offer a path other than that of sport-sparring to the Kukki practitioner. The history section alone makes this book worth picking up, and I can’t say that about many other TKD titles. The section on the models of TKD was of special interest to me, seeing how TKD changed throughout the years. This book doesn’t focus on the performance or technical aspects of the forms themselves; that task is better left to other titles, like Complete Taekwondo Poomsae, written by Sang H. Kim and Kyu Hyung Lee. O’Neill lists the moves of the forms, and then gets into pictures and descriptions of form segments and how they apply to self-defense. Rather than being a one move description, the descriptions divulge into the entire sequence that he depicts. So, you get pictures of a form segment, followed by pictures of the self-defense sequence applying to that piece of the pattern, with the explanation as to what transpires written in a bullet list above the pictures. It seems kind of backwards, but it serves its purpose well enough. The pictures are black and white, with the pictures of the pattern moves set above the pictures of the interpretations. The pattern pictures (3/4” wide by 1” tall) are smaller than the interpretation pictures (1.5” wide by 2” tall), and the interpretation pictures are still smaller than would be desirable, especially with what the book is trying to relay to the reader. Each page contains anywhere from 4 to 8 pictures. With all of this crammed onto every page, seeing the interpretations can be a bit difficult at times, especially concerning hand positions and turns. At times, I found myself re-reading and re-reading the bullets, and re-looking at the pictures to try to get the author’s meaning, but I feel that a more experienced Kukki patterns practitioner can work his way around this layout a bit easier. Larger pictures with caption descriptions would have been more helpful to the lay reader, but that may not have been a concern of the author’s. Those with more experience with Kukki forms shouldn’t have too much trouble deciphering The Taegeuk Cipher.

The thing is, though, that you can't take into account what the other guy is going to do. We're fighting, not mind reading, at this point. To "assume" what they will do, and to prepare the defense in advance, is just setting oneself up for trouble, in my mind. This is why I avoid the whole "block before striking" mentality. I am not that fast, nor do I have very good reaction time, so I don't intend on putting myself behind the eight ball to start things off.

That sounds like you're started in the right direction, DWx. It should serve you well.

Try this link here: Hindu Push ups

Is there a such thing as an "easy" 2 mile run? 4-29-09 100 Push-ups Week 5, Day 2: 10, 10, 13, 13, 10, 10, 9, 26 = 101 Weights Power clean & jerk: 145x5 Power clean: 155x7 Saftey squat: 135x10, 155x8 Cardio Bike: 5 min. @ 90 rpm, 5 min. @ 100 rpm, x2. 20 minutes total. Stretch

I don't think that going from kicking to grappling will work, either. But, TKD does have the hand techniques at its disposal to close the gap, and using low kicking techniques can help to close the gap as well.

I'm with Joe on the side kick/front kick difference. Side kick would be with the foot turned sideways, and the body doing pretty much the same. If the knee chambers like a front kick, with the leg either to the front or the side of the body, I'd still say its a front kick. At this point, then, you would call any punch directed at the front of the body a front punch, whether it be a jab, cross, hook, or uppercut. I don't think that helps in technique classification in many ways.

Check it out: http://www.amazon.com/Total-Aikido-Master-Bushido-Warrior/dp/4770020589/ref=sr_1_1?ie=UTF8&s=books&qid=1240992029&sr=1-1 Total Aikido, the follow-up to Shioda’s Dynamic Aikido, takes a very in-depth look at the art of Aikido. The book is divided into 5 sections: Section 1: The Principles of Aikido Section 2: The Basics of Body Movement Section 3: Basic Techniques Section 4: Self-Defense Techniques Section 5: Hidden Techniques Section 1 touches on principles involved with the center-line, focused power through unification of the whole body, breath power, “ki”, entering and turning, using your partner’s energy, and striking. These principles form the basic concepts of Aikido; absorbing and yielding to energy, using angles to create the circular/spiral motions, and applying energy to break balance. There is also an explanation of a training system along with some terminology. Section 2 covers basic body movements that come into play when doing the techniques. The importance of using the hip in the movements to keep the body moving as a unit is displayed, along with the circular nature of the techniques. Descriptions and photos show how to do these with and without a partner. Striking methods, as well as methods for receiving the strikes and entering are depicted. Methods for unbalancing the partner from the various gripping attacks are shown, as well as break falls. Section 3 covers the basic techniques: Four-Direction Throw (Shiho-Nage) First Control (Ikkajo) Second Control (Nikajo) Third Control (Sankajo) Fourth Control (Yonkajo) Front Entering Throw (Shomen Irimi-Nage) Side Entering Throw (Sokumen Irimi-Nage) Return-The-Wrist Throw (Kote-Gaeshi) “Hitting Elbow” Breath Throw (Hiji-Ate Kokyu-Nage) Heaven and Earth Throw (Tenchi-Nage) Elbow Lock (Hiji-Shime) Breathing Method (Kokyu-Ho) Front Strike; Breath Throw (Shomen-Uchi Kokyu-Nage) Each technique in the list is shown with at least one variation, and some with as many as five variations. Most of the techniques are introduced with a page or two of descriptions on the important aspects of the technique, like important motions, proper grips and pins (where applicable), positions of the thrower and where the throwee should go when done properly, and common mistakes made for each. This section takes up the bulk of the book, and it is quite detailed. It is set up in numbered picture sequence, not unlike what you would see in Black Belt Magazine, but with more explanation and attention to detail. Section 4 follows the same pattern as Section 3, but is titled Self-Defense Techniques, showing techniques performed against a knife, sword, or other grips and strikes. Section 5 is titled Hidden Techniques, but it is more of a section on some of the underlying principles and philosophies of Aikido. The depth and breadth of this book is quite extensive. I feel that this book has something to offer the beginner, and also offers the advanced student helpful information. As a beginner myself at the time of this writing, I see helpful points in throughout, along with spots that appear to be above my level. But as I advance, I feel that those blank spots will fill in, and this text will benefit me then, as well. A good addition to any Aikidoka’s reference library.

Welcome aboard! What is Kixa?

Hehe, that's a great trick. You can never escape the Konami code!

Fantastic! I need one of those!

Congrats! And don't worry about the nerves; it happens to the best of us.

When I type in my amounts, I put reps and sets. The goal of the 100 push-up routine that you see floating around is to get to the point that one can do 100 consecutive push-ups. As for testing requirements, I think it depends on the school. But, when someone writes out 80 push-ups, I take it as 80 consecutive.

Hot dogs, did someone say hot dogs???....oh, sorry, back on track here... I would add that it might depend on what the grab is accomplishing. If one is breaking balance with it, then I think at that point, a degree of control is achieved.

I haven't seen this topic woke up in a while. Thanks for the contributions, guys.

You've hit on here what is known in MA parlance as the "10% stat." Basically, when you start out in MA training, you can look around you and count the students in your rank. About 10% of those will stick around to make it to black belt. After that, you can continue to see a 10% drop off in those that keep attaining ranks/experience beyond that. I can remember it happening to me when I was in the ATA. I started with around 8 or 9 in my group, and as we went up and tested higher and higher, the numbers around me dropped off. Even the guy who got me started quit before we got to black belt. 10% may not be exact, but you can see my point. I remember testing as a 2nd dan, and not having anyone from my school to test with me. I like JusticeZero's analogy of the process here. I haven't heard it put that way before, but I think it is a good way to look at it. Also, when it appears that there is no one teaching the teacher, he/she may be seeking out peers to work out with, to pick up on different things. I do this now, with DT partners and my Aikido and Hapkido practice. It is quite helpful in picking up new things, and you learn from each other, as opposed to being just the teacher.