MASTERCLASS: PART ONE
Pyung Ahn Hyung - Ho Sin Sul
IntroductionAll Tang Soo Do beginners are introduced to the Pyung Ahn hyungs after learning the basics. Likewise, Taekwondo patterns such as “Yoo-Sin” featured in the November issue derives almost half of it’s technical content from the Pyung Ahn. I am sure there will be many more such examples. The reasons for the widespread appeal of these forms are both historical and practical. They are simply the most structured, easy to learn and effective movements drawn from the best of much earlier forms of self defence. These five simple forms were created just over 100 years ago by the renowned Okinawan Master Yasutsune Itosu. In this first article we shall consider the meaning of “Pyung Ahn” to appreciate the underlying philosophy and then study some of the practical applications from the original first form. Chinese character “Pyung”: The characters can have slightly different meanings but the one I prefer is “peace and security”. The first symbol can be considered to be balanced, calm and peaceful. We should consider both mental and physical disciplines and avoid aggressive or boastful behaviour. Our aim should be to achieve victory without combat, if at all possible. Chinese character “Ahn”: The second symbol needs to be looked at in two parts. The top looks like a roof providing shelter. Beneath it is the impression of two figures, perhaps a mother hugging her child, representing security and confidence. The lesson here is to protect ourselves and family. It is no exaggeration to say that Pyung Ahn represents the core philosophy of the art. The founder of Tang Soo Do Moo Duk Kwan, the late GrandMaster Hwang Kee said that the feeling of Pyung Ahn can be attained because of the self defence ability developed by practising the forms. Furthermore he instructed us to learn the application and meaning behind each movement . Ho Sin Sul literally means “personal protection method or skill”. It is the application of the principles contained within Pyung Ahn. Ho Sin Sul can be further sub-divided into Shim Gong (spirit & awareness) Neh Gong (mental resolve) and Weh Gong (physical response) It can therefore mean avoiding or walking away from a situation, having the confidence to diffuse it or as a last resort taking action in the form of strikes and takedowns. Before we begin you should be aware that the form you presently practise as the second form was in fact originally created first. It was Gichin Funakoshi who reversed the order of the first two forms when he took his version to the Japanese mainland in the 1920’s. He did this to make them easier to teach, however, Master Itosu must have had good reason to create the forms in the order he did. My belief is that it has to do with the Ho Sin Sul applications. The original first form gives an immediate self defence fix to some of the most common types of attack; dealing as it does with a straight punch, an attack from the rear , a round punch, and a grab. |
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1st Sequence Ho Sin SulExplanation: The opening movements are executed in back stance which tells us the attack is close range. Perform a small circular parry with body evasion leading into a pull and hammerfist strike. This is immediately followed by an uppercut punch and hammerfist. Already we are learning several principles of self defence. The circular crossing motion of the hands together with body movement means that even the preparation provides an excellent initial defence. We should try to ensure the attack misses by the slightest margin and that we yield to the attackers energy in the direction it is going. This serves to make him over reach. The principles of Um/Yang teach us to parry the attack rather than use force as in blocking. The initial strike hits as the attackers arm is being pulled thereby increasing the force. The hammerfist should strike a Kup So (vital point) which in this case may be the eyebrow ridge or temple. The initial strike will disorientate and direct his attention away from the body which is then attacked with an uppercut punch. This technique can be delivered with a single knuckle for extra penetration. You remain in back stance so that the hips can be used to deliver upward energy to the target. The effect of the punch is to drop the head and body slightly to open the way for the fist to hammer the occipital nerve at the back of the neck. Notice the change in stance here to generate body weight into the final technique. It can clearly be seen that each movement is based on the principle that if performed correctly the human anatomy reacts in a certain way to pulls, pushes and strikes. It is important to unbalance the attacker and pay attention to how and where the strike is applied . The sequence is very short to reduce the number of variables but of course things may not always work out quite as you had intended and some improvisation may be necessary. As Master Choki Motubu once said “we should bend with the winds of adversity”. For example, the uppercut punch may make the attacker take a backward step in which case the follow up hammerfist would be changed to a stepping side attack. Today we think in terms of body mechanics, nerve and trigger points, however, the secret knowledge available to Master Itosu 100 years ago was the ancient five element theory. This not only influenced Chinese medicine but also the striking combinations in martial art. Therefore it makes sense to interpret the Pyung Ahn movements with these principles in mind. Let us look again at the first sequence. The attack is parried and the wrist grabbed, twisted and pulled (FIRE>METAL) ; the strike to the eyebrow ridge/temple (WOOD) is followed by an uppercut punch to the intercostal muscles (EARTH) ; and finally, hammerfist the back of the neck (WATER) All five elements have been activated in the correct order. Study how the body reacts to each strike and the cumulative effect of the disruption. There are several variations to this sequence depending upon factors such as distance and whether you parry on the inside or the outside. Remember that defence can become offence in Tang Soo Do according to the principles of Um & Yang. If the opportunity presents itself seize the initiative and counter at the precise moment the enemy is preparing to strike. Also consider the possibility of parry and uppercut delivered simultaneously. Moving on to the second sequence: The first principle here is one of Awareness. When attacked from behind take a small step forward to give yourself time to react. Use the hammerfist to deflect the attack to the side then take hold of the weapon hand as you kick. This should bring the head forward ready for follow up strikes and takedown. Warning: the neck turn takedown is a very effective but dangerous technique. Research has shown that it is described in several ancient texts and great care must be exercised whilst practising with a partner. Even in self defence do not wrench the neck for fear of causing permanent damage. The object is to take the attacker to the ground and make your escape. As always use only reasonable force. In conclusion remember to use visualisation techniques when practising the form as a solo exercise and train the sequences repeatedly with different partners until you develop reflex action. Increase speed and power so that the initial defence can be executed in a fraction of a second. Use impact drills to sharpen your technique such as focus pads for uppercut punch, kicking shield for side/back kick and makiwarra for hammerfist. With constant practise you are on your way to achieving the elusive “Pyung Ahn”. You can do it ! In the next MasterClass we shall look at the historical background and some Ho Sin Sul applications from the next form in the Pyung Ahn series. Tang Soo! By Master David Allerton (5 th Dan) |
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© 2004-2008:
L Skinner