Side Kick Challenge | How to get the best Side Kick for Taekwondo and Ka...

blake kathryn

Kaledo Art

No title available
ojovivo
One Nice Bug Per Day

#extradirty

Discoholic đȘ©
Peter Solarz
AnasAbdin
DEAR READER

ç„æ„ / Permanent Vacation

oozey mess
wallacepolsom
Sade Olutola
h
Today's Document

JVL
Sweet Seals For You, Always
trying on a metaphor
NASA
seen from Vietnam

seen from Switzerland

seen from Singapore

seen from Argentina
seen from United States
seen from United States
seen from United States
seen from United States

seen from United States
seen from United States
seen from United States

seen from United States
seen from United States

seen from United States

seen from United States

seen from United States

seen from Pakistan
seen from Malaysia

seen from Malaysia
seen from United States
@sangrok-blog
Side Kick Challenge | How to get the best Side Kick for Taekwondo and Ka...
How To Use The Front Stance In Martial Arts | FREE Martial Arts, Taekwon...
How to be Motivated for Martial Arts | FREE Martial Arts Lesson
2 Ways to Tie your Belt - Taekwondo and Karate
How to use the Fist in Martial Art
How to use the Knifehand in Martial Arts - Taekwondo / Karate
Basic Boxing for Martial Arts
Can you learn Martial Art from Videos and Books?
Hip Hop in Martial Arts - Popping for Taekwondo and Karate
Taekwondo for life! Physiological principles for movement in Taekwondo, and martial arts in general.
Taekwondo is like a dish consisting of several different ingredients. These include sparring/kyourugi, forms/poomsae, self defence/hosinsul, applications/haesul, theory, philosophy and others. This richness makes Taekwondo an activity that you can develop throughout your life. As a martial art it has evolved in step with knowledge, science and society, yet keeping its deep roots in old traditions. It is now also a sport encompassing the entire world. In this process it has acquired an international quality, but the culture of its place of origin, Korea, still plays a strong influence upon it.
In our daily lives we perform a number of actions without giving them much second thought. Simple tings like picking stuff up from the floor, grab something out of the fridge etc. Our focus when we go for the milk in the fridge is not the route we take, but rather the milk as a goal. Without thinking about it, we normally do a whole series of actions to achieve a result, whereas the movements leading up to this goal remains unimportant and without conscious planning, or a specific learning process.
In martial arts the emphasis on executing the technique correctly is often so strong that we loose the quality of the end result. For example, in blocking or punching; our gaze, the way we build up the move, or perhaps the angle of our elbow, is what occupies our mind, rather than the actual expected effect of the technique, which is to repel an attack with the utmost effectiveness and force.
It is obviously important that students learn the basic patterns of bodily movement, not least methods to increase the effectiveness of techniques. The problem arises when the intent of executing a certain technique in such and such a way becomes more important than the actual goal and meaning behind the move. In so-called traditional martial arts, a lot of time is spent punching the air. Many students thus experience a surprise the first time they encounter a punching bag, sparring pads, and not least an opponent. Â
A master I have had the pleasure of being taught by, used the concept of âgrab the tie,â rather than punching. The upshot of having this frame of mind when executing the move is a great impact on the point of contact. Being at the right place at the right time, just a few centimeters through the target, and not just in front or too far. In blocking, punching, kicking and so on; -think the thought and be in the goal instantly. Thus we may perform the techniques with more natural movements, we move more rationally, and we remove one of the chief delaying factors in being martially effective, called thinking too much.
Now, it is not my intention to say that you do not need basic instruction and long practice in training to achieve correct movements, but rather that after one has reached a certain level, one should also practice in the âjust be there mode. By this I mean a mental focus on the target already prior to the execution of the technique. Using this concept you automatically utilize the body`s natural movement and physiology, but as an unconscious tool to achieve maximal acceleration and strength. Furthermore, it is easier to get a natural (and necessary) collapsing, or relaxation in the movement, thus avoiding muscle tension that would otherwise hamper its speed. Study the moves of the fighter Mohammed Ali, and observe that this is exactly the way in which he moved. Combining naturalness and seeming ease, he delivered exploding punches.
Relaxing creates a pulse in the movement, like going to sleep and waking up, from stillness to instant explosion. Along with it follows a better utilization of the breath, with enhanced health benefit, and a proper foundation for a kihap that actually works. It is precisely this pulse and feeling of turning on and off, which constitutes a meaningful concept in discussing yin and yang principles in poomsae. The more we are able to return to our equilibrium and relax in between techniques, the more powerful our explosions will be in executing blocks, punches and kicks.
Whether we are able to master total relaxation in the moment when we prepare for a technique, will define whether or not we master the breaking and smashing of materials like rock and wood.
Hitting without arms
Most martial arts will advertise themselves as an activity with a philosophical foundation, thus providing the adept with health in body and soul. Students will reflect on this to a varying degree, yet many end up simply accepting this as a truism. One is taught about an energy called ki; this is to be developed, giving the practitioner an increased feeling of wellbeing and exceptional powers. When we start learning taekwondo it is common to be explained all the advantages for our health embedded in this practice, not least in the poomsae. As mentioned, it is also common to accept this as a truism, and so we practice and practice to reach this feeling of wellbeing, energized and harmonious inside. Furthermore we have been repeatedly been told that patience is a virtue, and so we ignore bodily joints aching, a back complaining loudly, inflammations and the rest. All the while waiting for the final enlightenment⊠which may never come.
This may start to sound like a warning against taking up taekwondo, but my hope is that this introduction has aroused your further interest, and that you have asked yourself whether I find the whole idea a charade.
I do not. The philosophical foundation, from which the ethics and core values of taekwondo flow, is superb. Achieving harmony is possible, and so is wellbeing and the feeling of ki-power. Yet as with everything else that one is to learn, its necessary to understand how best to approach the activity both mentally and physically. Jogging for instance, can be directly harmful to the body if you have no clue as to what makes for a good running style, nor been equipped with the right shoes. Being in deep water without swimming skills is dangerous. Likewise, training martial arts without understanding the basics can be unhealthy.
The concept of ki is central in much of East Asian philosophy and medicine, fully accepted as an energy that permeates everything alive. It can be harnessed through practice of both a physical and mental nature. Its concentration in the individual can be strengthened, and its flow can be directed. Taekwondo is a splendid activity to achieve this.
The bodyÂŽs ki-center is situated just below the navel and slightly inside the belly. Called danjeun in Korean, it goes by the name of tantien in China. (The Indians call it the Hara-chackra in yogic practices.) Its incidentally where we tie the classic belt knot while donning martial arts suits, and its function should also be as a point of reference for our mind, and an activator in initializing movements. Every breath we take should be in the danjeun. It can be helpful to visualize it as three-dimensional wheel of eight, creating a constant flow of movement which in turn can be channeled into the upper body and into the limbs. Â Â
Every move we do with the arms, whether its blocking or punching, should come as a consequence of the whole body movement, rather than as an isolated move using solely the biceps and triceps muscles. Of course we must make full use of the arms also, but it is important that the movement originates in the body. Say for instance that I want to perform a low block to the left (area makgi): First I must collapse and sink in the inner thigh muscles, somewhat more on the left, making the body turn a little in that direction. If my arms are relaxed, this move will send my left arm a little bit upwards, and whilst moving forward I can drop the arm down again into the block. Creating a much stronger force on arrival at the target than I would otherwise have managed using raw muscle power. By relaxing the breath, Danjeun is activated, thus facilitating the flow of qi out through the body. This way of performing the techniques is beneficial in many ways: The breathing is natural, and the overall movement is healthy because it follows the bodyÂŽs inherent principles in moving. If we do the same basic move using only muscles, throwing the body into a block whilst letting the limitation of the joints stop the movement, it goes without saying that we would eventually create harm to ourselves. Practicing like this in the long run will wear down the joints, create tension in the body and so on.
The message in this is that all movement should be dynamic; a sequence of movements that originates in danjeun, using the breath as fuel. To turn on the light means that it must be switched off first, just like we have to alternate between collapsing and waking up in every technique we do. Becoming conscious of our movement in this way, we will notice that the correct way to perform the techniques is slightly circular. Utilizing the bodyÂŽs natural pattern of movement and breathing rhythm. Everything in nature moves in cycles, and our practice must follow this principle.
The philosophy behind taekwondo is present in the practice of poomsae. Taekwondo is based on Zen Buddhism, and a key concept here is to be totally present in the moment. By being aware of this moment and this movement, every training session will bring us closer to the perfect way of performing it. This is how we develop concentration, clear our minds, and are able to give 100% in the effort. Ultimately it will also reduce our stress level.
Some people may be put off by all this, thinking that it is too advanced and demanding. Suspecting that practicing martial arts is too difficult for them. It need not be: The first step in the right direction is to focus on relaxation in the movements, then to be in one movement at the time, and let the move create the power for you, rather than basing the technique on raw muscle force. Over time, the other bits and specifics will fall into place, both in our understanding and thus in the movement.
Taekwondo for life
This text contains a few core principles on how we can maintain taekwondo as a lifelong activity. Our physiology goes through changes over time, and therefore it is necessary to adjust the practice accordingly. The same goes for our psychological approach. Taekwondo can meet this need as it contains several different aspects on which we can focus our attention and practice.
Elderly people who have done little physical exercise will experience a gradual stiffening of the spine, thus resulting in them moving less, which again leads to more trouble as the whole machinery gradually grinds to a standstill. By practicing taekwondo its possible to maintain good flexibility, keeping the body subtle. This in itself can help us to avoid a number of common negative side effects of aging, like back problems and aching joints due to lack of movement. There is a saying that goes as follows: âYou are as old as your spine.â I agree with this 100%. It is important that the trainer has good knowledge about both physiology and correct execution of specific techniques. Thus avoiding the potential harm mentioned above. Taking in to account that the restitution phase after training sessions takes a little longer as we get older, we should be mindful of taking pauses in our practice, and make sure to vary its content throughout the weekly doses.
Its possible for us to go for weeks without food and for some days without water, but only a few minutes without air. Focusing on correct breathing techniques is therefore of utmost importance. This will also benefit our muscles and inner organs, and the techniques are embodied in taekwondo. Presuming again that we get the right guidance from a teacher who understands the subject.
Taekwondo also contains a spiritual dimension, which tends to become more accessible to the practitioner with age. Many adepts will be drawn towards the Zen-mind as developed in Buddhism. This way of understanding the ethical philosophy in life, and hence in our practice can be summarized into eight paragraphs:
The eight manners
1.   View rightly
2.   Feel rightly
3.   Think rightly
4.   Speak rightly
5.   Order rightly
6.   Contribute rightly
7.   Use abilities
8.   Conduct rightly
These guidelines are not merely a Buddhist roadmap to a good life, but can function independently of other faiths we may have.
On the importance of Kihap and Kigong practice
Kigong is a central aspect of taekwondo and martial arts in general. It is practiced through deep abdominal breathing. The purpose is to develop ones qi, and furthermore acquire the ability to generate a power far stronger than would otherwise be possible using solely external muscle force. As mentioned earlier, the qi flows through our body in channels, and is focused in certain centers, or danjeuns. The primary one that we call Ha-danjeun is situated below the navel. Moving upwards through the body we find the next one near the solar plexus, known as Joong-danjeun, and the third one, Sang-danjeun lies in the forehead between our eyebrows.
The goal is to establish a harmony between these danjeuns, to help us evolve as spiritual human beings. The Ha-danjeun is the strongest of the three centers when we enter this world, which can be closely observed in the breath of children, their strong grip and pulling force. As we grow up we tend to focus more of our ki on the joong-danjeun, which can lead to stress related problems if too much emphasis is placed here. Serious unbalancing in the energy between the centers may result in weakness and even disease. Practicing kigong correctly helps us to cultivate and align the danjeuns, using the sang-danjeun for mental focusing.
This process is related to the concept of kihap, which is best translated as; ki=energy, and hap=coordination/balancing/focusing. There are various forms of practicing kihap. A physiological explanation of it in explosive techniques, would be that when we gather and compress air in the abdomen, a greater force is achieved in the movement when the air is released together with sound. Hence the classical shout in martial arts. It is comparable to a singer who sings from his belly to create volume in his voice and master the long notes. The feeling should be one of releasing and opening up. If we get dizzy and uncomfortable, and feel a pressure mount in the head, this is most likely due to shouting from the lungs only. Thus we do not get the strength that can be mustered when the danjeun is activated.
There is also a mental component to the kihap, in so far as it helps us to clear our minds and be present in the moment. Furthermore it can be a relieving factor if our adrenaline production becomes high and we enter a freeze-like mode. Using the kihap to break out from this mental state, it will rather let the adrenaline work with us in whatever we want to do.
The breath is the prime source for the ki. As mentioned we can manage to go on for days without water, for weeks without food, but not for even an hour without air. What is it with this breathing that is so magical to our wellbeing, our energy and our mind? And I am not just thinking of the primary function, which is the delivery of oxygen to the body so that we may live.
In times of crisis it is normal to experience a reaction to a heightened production of adrenaline in the body, which occurs as a reaction to the feeling of being threatened or in acute danger. This sets us in various states of mind, defined as the four âfÂŽsâ: Fight, flight, freeze or fold. If we have never encountered a serious threat, knowing which of these frames of mind we are most likely to enter is anybodyÂŽs guess. It is impossible to tell how we will respond until we have actually faced such a situation. As a remnant from the time when we lived in caves and wore animal hides, it is the purest form of our bodyÂŽs protection system that kicks in when needed. In a time of crisis or sudden danger, the adrenaline can be a great asset and our best resource to dealing with the challenge at hand, but it can equally be an obstacle to rapid-and/or, rational reaction. Just think of the common reaction of being so scared that it feels impossible to move. When the adrenaline production sets in, we very often reduce our sense of hearing, experience tunnel vision, the blood rushes to the inner organs, and our sense of time gets distorted. Feeling that things move in slow motion for instance. All these reactions are the bodyÂŽs own automatic responses to being threatened. Â Â
If the fright is strong enough, it is also normal to get trembling hands afterwards, and we may start to cry for no apparent reason. We could define this as an adrenaline-hang-over.
So what can be done to get out of the unwanted freeze-mode? If you have ever seen boxers hitting themselves in the face just before a fight, or two guys about to fight who beat their chests whilst yelling and screaming; these actions might be unconscious, automatic responses embedded in us precisely to counter the adrenaline effect on the body. If we do experience a freeze-like state, it is thus effective to activate ourselves by either doing the gorilla move, or we can hit our thighs, bite our lips etc. A good kihap will also bring us out of the freeze-mode, enabling us to regain control of ourselves. And although the adrenaline is still racing around inside us, it is now working to our advantage, with us in what we need to do as opposed to a standstill.
Poomsae Â
Every poomsae is compiled based on the gweeÂŽs from the Ijing (âThe book of changesâ -which is old daoist philosophy.) They represent the various possible combinations of yin and yang; where a whole line represents yang, and a broken line represents yin. Placed together, they constitute different manifestations of energy, giving personality to the different poomsaes. Of course, the techniques of each poomsae may be done without any feeling or attention to this, but in that case we are merely doing movements in a set order.
 As a form of training, Poomsae contains many layers of information. It is like a map where you make the road real for yourself, gaining experiences and impressions along the way. In poomsae we practice:
-Â Â Â Â Â Â The study of basic techniques and movements for martial arts.
-Â Â Â Â Â Â Self defense applications in which the same technique may serve several purposes.
-Â Â Â Â Â Â Breathing exercise (ki gong)
-Â Â Â Â Â Â Physical and mental refinement.
 Any move will alternate between yin and yang. We must be relaxed/collapse (yin) to be able to move into an explosion (yang.) If our starting point is tense, we can only generate part of our force, whereas the goal should be 100%. To use the metaphor of the light switch again; the light cannot be turned halfway off or halfway on. To understand the idea of light, we must know darkness and vice versa. By controlling our breath it is possible to change from zero tension to maximum force. In order to perform this effectively, we must dismiss the focus of muscle power and rather concentrate on the breath and the bodyŽs movement.
 Approaching the practice in this way gives meaning to the concepts of âphilosophy in actionâ and âmeditation in movement.â
 22 tips for poomsae instruction and practice:
1.   Keep the mouth slightly open. If the jaw is locked tight, this will result in stiff shoulders and tensed up movements. Letting the air run freely in and out of the lungs makes the techniques relaxed, natural and powerful.
2.   Exercise less and with more variation, but prepare yourself more prior to each session. Be conscious of what aspect of your practice you want to improve. Visualize how you will get there. Too much intense practice can result in injury. More than six hours a week on single topics is overdoing it.
3.   Taekwondo is 99% feeling. Many students train hard, work up a sweat and return happily home. This is great! But you do not necessarily improve your taekwondo. In order to excel, you must activate emotions, spirit and imagination in your practice. 99% of all improvement comes from being able to wire the body to the brain and sharpen the senses.
4.   Imagine that your body is a car. The danjeun center is the engine, the hands and feet are the wheels, and the steering wheel is in your head.
5.   Lift the knee to execute a kick, and focus on activating the powerful muscles of the buttocks.
6.   Relax the hips when turning or rotating.
7.   When executing double techniques, using both hands, imagine the body as a spring or a wave. Then you will generate energy by using the hands simultaneously.
8.   Should you be in doubt on what is the best way to perform a technique; use a punching bag or kicking pads to find out what creates the most power.
9.   The devil is in the details. Explore the micro aspects in the poomsae, and the macro will be better. A small adjustment for the better can lead to other things improving as a chain raction.
10. When doing arm techniques, forget the arms and focus on your core instead.
11. Relax the breast and shoulder muscles, as it gives more power to your punch. Tension in the breast makes for tense shoulders and locking the collarbone, restraining your potential for explosiveness.
12. If you have trouble with the balance, do not focus on balancing. Do the technique instead. Your body is smarter than you think, and instinctively it will gradually keep you balanced during hard movements. Concentrate on the technique and let the balance sort out it self.
13. Videos and books may provide useful information, but to really understand and master the poomsae, a good instructor is vital.
14. Some are of the opinion that poomsae is a sequence of postures; like A, B, C, D. This is wrong. It is how you move from A to B to C to D. The instructor and the student must place emphasis on the movement between the techniques, not just the final posture. This is what differentiates a good poomsae from bad one.
15. The moves in poomsae and in general pulsates from expansion to contraction. We contract and absorb power when we âcollectâ the technique, then we expand in a controlled explosion, only to be back in contraction a fraction of second later. Â
16. Being mindful of correct positioning in rotation, our focus should be on the âthree nailsâ; the heel, the ball of the foot and the big toe. Increasing the awareness on this will lower our center of gravity and improve balance.
17. The legs are never totally equal, one of them will at all times represent âthe leg of strength.â Understand and feel which one it is that contains  power and balance, and you will experience more strength going to the arms.
18. All martial arts make full use of gravitational force. In order to move quickly and effectively it is necessary to cooperate with gravity. Let this force pull you in to every posture.
19. When punching, sink ever so little in the body and its center of gravity. Thus you achieve more natural strength, and the body is ready for the next move as the point of balance is already as low as possible.
20. Beginners strike with their hand. Experts strike with their danjeun. Â Â Â Â - Just be there!
21. In striving for development and progression you can make excuses or you can progress. You cannot do both!
22. Breathe!
Kyurugi â sparring â fighting
The fighting part of taekwondo is an Olympic discipline, and is also the aspect that most people associate with taekwondo in general. In the old days, competition in battle used to be a method of testing skills on the battlefield during times of peace, and a preparation of warfare. Like many of the Olympic disciplines, this is strictly speaking a continuation of military drills.
 Any form of combat as a competition sport naturally demands rules, and for every rule we add, we remove ourselves a little from a realistic situation in terms of tactical defense. Practice and competition without rules would be unthinkable though, contemplating the consequences.
The fighting in taekwondo is something you practice in young age, when activities with a lot of action is appealing. Fighting requires, and develops good stamina, along with fundamental strengthening. In many ways it is like a duel, so acquiring a state of mind where we can learn to deal with fear and stress becomes a necessity. This can be a tool for us to be better prepared when facing challenges, as it is applicable to other situations in life we may encounter.Â
 Fighting gives us an understanding of both our own, and our opponents strengths and weaknesses. It demands that we learn how to read our adversaries and get to know ourselves. As society today has become more civilized, this practice can be truly groundbreaking, as most of us have never been in a real fight.
It has been said that to master the challenge of fighting, it is vital that we develop what in Korean is called âmushinâ; translated as Warriors mind/No mind. It means that we must put aside our thoughts and simply exist in the action here and now. Â
Kyekpa â breaking
Kyekpa is a physical and mental test. You break a material that is harder than the bone substance, and this requires speed, focus and explosiveness. Again it is important to master the balance of collapsing and energizing. Many simply execute breaking techniques using raw muscle power. This has nothing to do with breaking done to enhance good taekwondo.
Correct breaking should imply a synergy effect between the same factors that are present during both poomsae and fighting: Right breathing, right thought, right intention, right relaxation, and right explosion. The moment of breaking is your own âbig bang.â When all the elements are in place, the damage to the hands and feet will be small or even zero, and the technique will be experienced as effortless. Those who have been playing golf can compare it to the perfect swing; it feels like minimal strength from the club, yet the ball flies further than ever.
Correct breaking is a demonstration of converting internal energy to external energy, the connection of what in Korean is known as ne-kong and we-kong. Ne-kong can be translated as internal energy work, whilst we-kong is external/physical energy work.
The process of bodily change
Our body goes through changes energetically from dawn until dusk, just as it transforms itself as we grow older. It is therefore of great importance that we take this into consideration in our approach to practice. A morning session might vary in intensity compared with an evening session, and so our form of practice should reflect the age we are in at different stages in life.
How to define the concept of old age? It is obviously different to each individual how we face the various life stages. However, we can claim that old age is the faze in life when our organism is gradually weakened by the process of aging. A normal human lifespan can be divided roughly into three periods; growing up, maturity and old age.
Aging can be defined as the sum of all the irreversible physiological processes in each individual of a species, which eventually leads to such a weakened condition that it is no longer able to sustain life.
The signs of aging can be seen and measured. Aging leaves its mark on all inner organs. The outer appearance is perhaps the most characteristic visual exponent of aging as the skin becomes thinner and is hanging. Because the fat underneath disappears, the skin will drape itself more closely on to the bones and muscle tissue, making the facial features stand out more. The skin will also dry up and peel off more easily, and it becomes less resistant to water, soap, rubbing and other things we inflict on it. We do not become sunburnt quite as easily, but tend to develop more freckles of pigment. The muscles wear off, joints become stiffer, and the bones grow weaker due to bone marrow disappearing, causing them to break more easily. The volume of our heart muscle, along with its power and function is reduced. This leads to less blood being pumped though the system, so less oxygen is absorbed. This is enhanced by the fact that the lungs loose some of their elasticity.
 Taekwondo as your life companion and coach
Unlike many sports where you are in your prime during a short period in life, taekwondo is an activity you can keep up throughout your whole life. As long as we adapt it to our present physiology, and study all its aspects. There are many types of competition held in taekwondo. They can be great tools for setting up our goals, and then build up our potential for reaching those goals. But strictly speaking, we should always aim to be at our best physically, in order to help us maintain mental wellbeing. Thus the biggest competition of all is, and should be, with our selves. Taekwondo is a life long companion that constantly sharpens our psychological potential.
 We set our own limits. Taekwondo is a wonderful means to compete with yourself, and challenge you to expand those limits.
The understanding and approach transforms itself in step with age, time spent practicing and the resulting experience. Consequently, we tend to want to share this experience as time passes on. Taekwondo practice is in many ways structured in such a way that it makes it natural to enter the role of the instructor. It is also reflected in our system of belts and titles: Sabom, kwanjang and so forth. Unfortunately, these titles have been translated wrongly in the Western world into master and grandmaster, whereas a more correct translation would have been teacher and principal; in keeping with the educational meaning of the words.
 Lineage, traditions and development
Is our love of the traditional merely a fear of change itself? And if so, is clinging to the traditions a form of denying development to happen, causing us to live in a form of arrested development?
Or is the respect and humility towards traditions the true fundamentals for furthering our development? What we evolve now may be seen as tradition by the generations who follow.
 Are we not all of us the total sum of the experiences and learning brought down to us through the generations?
In martial arts there is a tradition which assumes a natural progress in the practitioner: From student to becoming an instructor, and gradually maturing in this role to becoming a master/mentor of the school in question. This lineage gives us clear rules and a framework of etiquette in relation to our fellow students, peers, instructors and master. At the same time though, it should be a goal to surpass your master, as his or her knowledge, and indeed all the previous masters experiences have been handed down in order for the skills to always improve and excel. This is the core of evolution, be it within art, thought and development in general. So even if you eventually achieve some kind of enlightenment and a master role, the humility and the respect shown towards your master, the lineage to which you belong, is not simply a virtue but also an appreciation and a recognition of the origins and the identity of the practice.
Taekwondo may thus provide the younger generation with knowledge and the true meaning of respect. Grasping the importance of the wisdom in those of us who have lived longer. Realizing that their collective experience is valuable. In this way, taekwondo contains many aspects of knowledge beyond the purely physical. Â
Tradisjonell eller sekterisk?
Jeg startet Ă„ trene kampkunst/sport, heretter kalt MA, i 1980. Jeg var da 10 Ă„r og Ă„ret var 1980. Jeg hadde allerede lest min fars bok "Korean Karate" omtrent i filler, og det som var Ă„ se av Bruce Lee og lignende hadde jeg sett pĂ„ super-8.Â
Jeg kan enda huske fÞlelsen av Ä fÄ min fÞrste drakt og ikke minst min fÞrste gradering. Bokhyllen min var full av permer hvor jeg hadde klippet ut alt jeg fant i aviser og blader som kunne relateres til MA. I timene pÄ skolen var kladdebÞkene mine fulle av kinsesisk, koreanske og japanske tegn som beskrev forskjellige stiler. Dette hadde jeg memorert, burde kanskje memorert noe mer av leksene.
Etterhvert som jeg har blitt eldre har mitt syn og forestillinger endret seg bÄde i takt med modenhet og bedre viten. Jeg har vÊrt gjennom alle fasene: min stilart er suveren, slik har det alltid vÊrt og derfor viker man ikke en tomme, min mester er det nÊrmeste du kommer en superhelt, mastere er moral og etikk menneskeliggjort osv osv.
Som kjent ble det et levebrÞd, og fortsatt brenner for mine aktiviteter. Som den "nerden" jeg er sÄ har jeg over Ärene bygget opp et betydelig bibliotek som inneholder MA-historie, teknikk og biografier pÄ tvers av stilarter. Pr. dags dato er det jeg kan minst om MMA, sÄ i forrige uke gikk jeg til innkjÞp av tre bÞker om temaet, og har brukt en del timer pÄ youtube for Ä forstÄ og lÊre mer om fenomenet.
Jeg har reist i snitt to ganger i Äret til Korea for Ä trene med min mentor og mester de siste 15 Ärene. I lÞpet av disse Ärene har jeg blitt introdusert for en rekke andre koreanske stilarter, dette bla ved tempelopphold. Under en av turene traff jeg min kone, som har gitt meg to vakre barn. Jeg trodde pÄ den tiden at jeg kunne det meste om koreansk kultur, men forstÄr nÄ at det Ä lÊre en kultur Ä kjenne er mer enn Ä bare praktisere en MA. Jeg vil pÄstÄ at denne ferden ogsÄ har lÊrt meg Ä vÊre mer bevist pÄ egen kultur.
Det jeg finner merkelig er at innen MA-miljĂžet finner man de mest kritiske rĂžster, hvor det kan virke som om det viktigste er Ă„ finne feil og synder hos andre. Grupperinger som under lupen har mange likhetstrekk med relgiĂžse grupper som feks scientologene. Man hĂžrer om tusen Ă„r gammel kulturarv, og dersom man viker fra den "rette mĂ„ten", sĂ„ burde man vĂŠrt stenet el.Â
Kinesiske stiler er bedre enn japanske, og koreanske er kopier av japanske mens opprinnelsen har de monopol pÄ alle sammen etc. Disse utsagnene er i verste fall kosekvens av hjernevasking, og i beste fall uvitenhet. Dersom noe hadde vÊrt sÄ suverent det andre, sÄ hadde vel Darwins lÊre slÄtt inn, og kun det suverene hatt eksistensrett.
De fleste MA, slik vi kjenner det i dag har pÄ ingen mÄte tusen Är gamle tradisjoner. Den eneste tusen Är gamle arven de har ligger i noen kulturelle innslag. Ser man nÊrmere pÄ historien sÄ har det vÊrt en enorm kulturutveksling gjennom krig, spredning av religion og handel. SvÊrt mange av de filosofiske betydningene har blitt lagt til i etterhÄnd, der hvor man har sett det nÞdvendig, og sÄ har man fordekt det under tusen Ärs tradisjon. Det Ä lese asiatisk historie mÄ ogsÄ gjÞres annerledes. Det Ä skrive om historien til sin mester var ikke sett pÄ som galt, heller enn plikt. Dette med nasjonalistisk propagande gjÞr at man mÄ ha noe andre briller nÄr man dykker ned i dette stoffet.
Alt var mye bedre fÞr har vi vel hÞrt av vÄre besteforeldre og foreldre og kanskje tenker vi det selv ogsÄ. Ting var nok ikke sÄ mye bedre fÞr, men vÄr hukomelse har en tendens til Ä vÊre selektiv.
Skulle man vÊre sÄ syndig Ä endre noe, ja da er man ingen bra mann. Jeg sliter selv med Ä forstÄ dette. Er det ikke nettopp gjennom endring at ting utvikles. Er det ikke nettopp dette stor mestere som Gichin Funakoshi, Jigaro Kano, Mas Oyama, Choi Young Sul, Choi Hong Hi, Chen Man Chang, Helio Gracie m.fl gjorde?
I en del stiler har man et beltesystem, gjerne med 9 grader fÞr sort, og 9 grader av sort. Dette er oftest regulert gjennom respektive verdensforbund, og sensor mÄ gjerne ha lisens gjennom egen grad el for Ä gradere elever. Det er populÊrt Ä si at beltene ikke betyr noe, og kun er til for Ä holde buksen oppe. Mulig det, men det er ogsÄ et godt pedagogisk system, som gir elevene mÄl Ä strekke seg etter, og man mottar et symbol pÄ oppnÄd mÄl. Dette gir mestringsfÞlelse, noe man vet er viktig for Ä utvikle seg videre. Gjerne er det de som mener at beltenes betydning er uviktig som krititserer mest.
Man Ä for all del ikke finne pÄ Ä vÊre utradisjonell. "Jeg driver med tradisjonell ditt og datt" hÞrer man ofte. Tror nok at jeg har tatt ordet i min munn en rekke ganger selv. Hva er sÄ dette tradisjonelle elementet? Man mÄ kun trene barbent er en jeg har hÞrt. NÄr jeg snakker med min instruktÞr sÄ kan han fortelle at dette var et resultat av fattigdom, for han kunne hvertfall ikke finne noen mer spirituelle grunner til Ä fryse pÄ bena. Drakten mÄ for all del ikke moderniseres er en annen. Grunnen til at de gamle draktene var stive og lite komfortable har stort sette samme grunn som skoene i tillegg til at tekstilindustrien nok har bedre mÄter Ä produsere bomull pÄ i dag. Kan sikker finne en rekke andre eksempler om Þnskelig.
Tross dette sÄ har jeg igjen begynt Ä si at jeg er en tradisjonalist, men jeg begrunner ikke dette i Ä kopiere vÊremÄte og former fra steinalderen. Det er en rekke gode tradisjoner i MA, og for meg er disse bla respekt, ydmykhet, bearbeidelse av fordommer, hÞflighet og kultivering av mennesket.
Hvordan har det seg da at de som er sÄkalte tradisjonelle utÞvere er de som rakker mest ned pÄ andre, viser liten eller ingen respekt for hva konkurrenten/kollegaen gjÞr og ikke minst pÄkrever seg den eneste sannhet?
Hvor blir det av glede, unne andre fremgang og ikke minst ha det bra med den veien man har valgt. Kanskje din nabos suksess kan hjelpe deg?Â
Jeg fortsetter Ä knyte pÄ meg beltet mitt med stolthet, kommer til Ä fortsette Ä utvikle meg, og ikke minst ta vare pÄ de tradisjonelle dydene, som har tusen Är gamle rÞtter i de fleste kulturer; hÞflighet, respekt, ydmykhet og empati. SÄ for meg er det Ä vÊre tradisjonell det Ä sÞke etter de rette verdier.
Lykke til med videre trening slik du liker det.
TjĂžme - september 2011
Utfordringen â kaste hansken
Det er mange historier bĂ„de sanne og usanne fra kampkunstens opprinnelse og âgode gamle dagerâ. Heldigvis har verden utviklet seg, og hva som er akseptabel oppfĂžrsel og markedsfĂžring har utviklet seg med.
Man trenger ikke Ă„ gĂ„ mer enn 30 Ă„r tilbake, og det Ă„ utfordre hverandre var vanlig. Da gjerne to mestere som enten hadde sine skoler i samme territorium, eller at man mĂ„tte stĂ„ opp for grad og ry. Jeg vet om en konkret mester som pĂ„ 14 dager utfordret 18 andre mestere, han tapte en av de, og det ble hans beste venn. NĂ„r jeg konfronterte han med disse historiene, som jeg fikk hĂžre av andre, sĂ„ svarte han meg: âdifferent times, different ways of marketing.â
Som sagt sĂ„ er det selvfĂžlgelig bra at man har sluttet Ă„ mĂ„tte risikere Ă„ sloss for sin klubb/skole daglig, og at nĂ„ lĂžser man tvister pĂ„ âsĂžmmeligâ vis. PĂ„ den annen side, sĂ„ var det fĂ„ som Ăžnsket Ă„ skilte med en grad de ikke kunne stĂ„ inne for, og ikke minst aktet nok de fleste seg for Ă„ spre falske rykter og âufinâ markedsfĂžring.
Systemer, stilarter og skoler gikk gjerne i arv fra mester til den beste eleven. Var det tvil om hvem arvtageren skulle vÊre, ja da var det duket til kamp. PÄ den mÄten ble det en Darwinistisk utvikling, og systemer som ikke holdt mÄl dÞde ut.
Forbund slik vi kjenner de i dag, med nasjonale hovedforbund, som var tilsluttet internasjonale organisasjoner var ikke utviklet om vi kun gÄr 50 Är tilbake. Starten pÄ dette var allianser med eldrerÄd, gjerne fra flere stiler/familier som fant ut at det var lurt med et samarbeid. Man prÞvde selvfÞlgelig pÄ en slags demokratisk ledelse, men en leder med skjulte agendaer og urent mel i posen kunne forvente seg Ä bli utfordret. PÄ den mÄten fikk man ledere som var faglige dyktige, og tross voksen alder gjorde det de kunne for Ä holde kunnskaper ved like og utvikle videre.
Slik dette blir fremstilt i filmer og en del bÞker, sÄ blir det lett noe romantisk og glorifiserende over dette. La oss vÊre enig om at vold pÄ ingen mÄte er bra i noen former. Men det er lov Ä spÞrre seg om det hadde vÊrt de samme ledere for de politiske organisasjonene, og om antallet klubber/skoler/institutter hadde vÊrt like mange, dersom denne tradisjonen hadde fortsatt.
Prins Johan og Sherwood â Den brutale sannhet.
Det var en gang en prins som het Johan, som etter Ä ha kvittet seg med sin bedre bror og leder, hersket i Sherwood. Hans assistent i ugjerning var den feite boaen Hiss, som alltid var til god hjelp nÄr det var behov for Ä dolke noen i ryggen, eller rett og slett hive ubehagelig borgere i kasjotten.
Hiss hĂžrte til de mindre smarte reptilene, men allikevel smart nok til Ă„ vite Ă„ fylle sin allerede vel polstrede vom. Han hadde ingen evne til Ă„ se eller elske andre enn seg selv, og hans forhold til prins Johan var kun basert pĂ„ sitt noe overdrevne nĂŠringsvett. Hissâ hemmelige drĂžm var en dag Ă„ selv sette kronen pĂ„ hodet, men feig som han var av natur, turde han knapt nok Ă„ tenke tanken, da dette skapte nervĂžse skjelvinger i hans glatte sleipe skinn. Hiss hadde i sin ungdom sett prins Johan gjĂžre en ugjerning, som ingen andre kjente til, men nok til at prins Johan ikke turde Ă„ gjĂžre seg uavhengig av sin sleipe âsidekickâ. Deres forhold var basert pĂ„ maktbalanse og gjensidig Ăžnske om makt.
Til Ä ta inn skatter hadde de Sheriffen, som fant glede i Ä sanksjonere og ikke minst sette lÄsen med statsseglen pÄ byens mange etablissement. Resten av hoffet var svÊrt monogamt. Enhver melet sin egen kake, mens de sÄ seg over skulderen i tilfelle noen sto klar med dolken.
Dessverre var Robin Hood kun en falmet myte, og ingen vÄget Ä trosse tyraniet. Med en slik prins i fÞrersete var demokrati kun et tomt ord, men fullt ut et ord prinsen brukte i tide og utide, og spesielt nÄr han trumfet gjennom nye lover, sanksjoner eller fjernet ubehagelig fiender. Var det ikke en lov som stÞttet opp om prinsens Þnsker, sÄ var det bare Ä skrive en ny eller omskrive de gamle, som hans bror en gang hadde laget i sin beste vilje.
Som i et hvert samfunn, var det viktig Ä la folket fÄ en fÞlelse av en folkevalgt leder, og hvem var vel bedre egnet til oppgaven enn en forsmÄdd byrÄkrat som ble opphÞyet til kirkens overhode? Mye staffasje og litt tid til Ä preke tomme ord for folket, og biskopen var fornÞyd.
For Ä fremstÄ som et demokratisk styre hvor folket ble hÞrt var ikke prinsen og hans lakeier dummere enn Ä utnevne en regjering. Den sÄkalte regjeringen besto av de mest enfoldige og vennlÞse i Sherwood, som enkelt lot seg manipulere. Som en hver god hersker benyttet lederen seg av herskerteknikker hvor de fikk hver og en i regjeringen til Ä fÞle seg spesiell, gjennom Ä sverte de andre. Angiveri og total hengivelse til prinsen og hans boa ble belÞnnet med sekker fulle av gull. PÄ den mÄten klarte kongeriket og fÄ sine naboland til Ä tro at i Sherwood hersket det idyll og at alle innbyggerne elsket de adelige.
SÄ hvordan endte det for kongedÞmmet? Kom Robin Hood ut fra myten og viste seg som en hÞyst reel frelser? Gjorde folket opprÞr? Kom herskerne pÄ bedre tanker? Ja, hadde dette vÊrt et eventyr for barn, sÄ kanskje.
Dessverre sÄ ingen noe mer til Mr. Hood. Historiene pÄ folkemunne var at de hadde skjÊrt ut tungen hans, og i samme sleng forkrÞplet han. Folket gjorde aldri opprÞr, da hver og en passet seg selv, og med det lukket Þyne og Þrer nÄr de sÄ sin neste bli gjort urett. Hvem vil vel fÄ gÄrd og grunn brent ned og med det miste sitt livsgrunnlag? Herskerne hadde ingen grunn til Ä endre sin kurs, da skattekistene ble fullere og fullere for hver dag, og ingen lengre snakket de i mot. Prinsen kunne speile seg i sin egen fortreffelighet, og boaen hadde midler til Ä kjÞpe en hver fristende lÞsslange i naboenes kongeriker. Og slik ble dager til uker, uker til mÄneder, mÄneder til Är og Är til evighet.
Snipp snapp snute sÄ er eventyret ute.
Martial Art Super Show er slutt for denne gang.
Da nÊrmer vÄrt opphold i Vegas seg slutten. Det har vÊrt et lÊrerikt og interessant tur. Det har samtidig vÊrt vondt Ä lese om tragedien i Norge, og vÄre tanker har hele tiden vÊrt hos vÄre kjÊre og hele Norge. Bombingen og skytingen har gÄtt jevnlig pÄ tv her, og de vi snakker med har gitt sine kondolanser til det norske folk.
Det har vĂŠrt mange kjente ansikter, og vi har fĂ„tt mulighet til Ă„ mĂžte de fleste. Jeg sĂ„ min fĂžrste Bruce Lee film da jeg var 5 Ă„r, og som kampsportutĂžver sĂ„ er han helt klart en av de store. Det var derfor en opplevelse Ă„ fĂ„ mĂžte og snakke med hans datter Shannon Lee. PĂ„ 80-tallet var "Ninja-boomen" stor, og Stephen K. Heyes 10.dan, ga ut flere bĂžker om Ninjutsu, samt var i de fleste store kampsportblader. Det Ă„ fĂ„ mĂžte han gĂ„r ogsĂ„ helt klart som en av de store opplevelsene. Andre kjente vi har mĂžtt og vĂŠrt pĂ„ foredrag med er Ernie Reyes, som er grunnlegger av West Coast Taekwondo Team mfl.Â
Det har vÊrt mange foredrag, og mye nytt Ä plukke opp, men ogsÄ mye vi allerede visste. Det er moro Ä fÄ lÊre nye ting og fÄ nye ideer, men det er ogsÄ godt Ä fÄ bekreftet at det vi gjÞr er riktig.
Mellom foredrag og workshop, tok vi oss tid til Ä besÞke et stort institutt her i Vegas, Tap-Out. Dette bÄde for Ä se hvordan andre gjÞr det, og ogsÄ for Ä fÄ en ekstra treningsÞkt.
Vegas er mye lys, lyd og overdimmensjoner. Et sted som mÄ oppleves! Det er med mange inntrykk og inspirasjon jeg nÄ setter kursen hjem til Norge og mine kjÊre.