Muki-do Puerto Rico

The 10 Basic Cuts Of Shim Soo Do

In Shim Soo Do™ there are 10 basic cuts. These "cuts" are the basis of all Korean Sword cuts and thrusts. Any other type of thrust or cut is merely a variation of these 10 basic cuts.

The 10 Basic Cuts are practiced as 2-Handed and 1-Hand Cuts or motions. These are part of Shim Soo Do's promotional examination requirements. As with all Shim Soo Do techniques, the movements must be precise, and are therefore practiced on a regular basis in Shim Soo Do™ classes. The practitioner must be able to control even the most minute movement of the sword in order to insure exactness and precision. The 10 Basic Cuts are practiced both at normal speed and in a slow-motion to help insure the accuracy of the Cuts.

The sword is worn with the sharp edge of the blade facing upward. The scabbard is thrust through the belt to hold it in place.

The following is a chart giving not only the names of the Cuts, but the order in which they are taught and should be practiced:

Cut Number Name Of Cut
Cut Number 1 Straight downward
Cut Number 2 Downward 45" to the Left
Cut Number 3 Downward 45" to the Right
Cut Number 4 Horizontal (right or left)
Cut Number 5 Straight Upward
Cut Number 6 Upward 45" to the Left
Cut Number 7 Upward 45" to the Right
Cut Number 8 Straight Thrust
Cut Number 9 Inverted Thrust
Cut Number 10 Horizontal Thrust

https://youtu.be/8vAtnGnftFU

Hankuk Mukido Estilo y armas marciales utilizadas por la organización ICAM-PR.

https://www.youtube.com/watch?v=ZxxC1f2Zod0&list=PLwU3uzaIa9oMYysrTcetzqTJ6jOrb7wPt&index=8

Gum History Historia de la Espada Coreana

Shim Soo Do: The "Way" Of The Korean Sword

There are several different styles of Korean swordsmanship. One of the major traditional styles is Shim Soo Do™. Founded by Grand Master James S. Benko (10th Degree Black Belt Founder). The art of Shim Soo Do™ is based on traditional Korean swordsmanship which stresses moral values and emphasizes fluidity, harmony, circular movements, and the theories, concepts and principles of defensive action. This led to the formation of the World Shim Soo Do Federation™ by Grand Master Benko, in 1976. The Shim Soo Do™ style of traditional Korean swordsmanship concerns itself with the development of the mind, body and spirit of its practitioners through physical, mental and spiritual training.

Korean Swordsmanship Grandmaster James S. Benko
In part, Shim Soo Do™ consists of kul-da (drawing the sword from the scabbard), chae-dan (cutting movements), se-tak (cleaning the blood from the blade), and gum-jip (sheathing the sword). Each of these four components must be perfected. The intricacies of these actions may take years to master, and even then can only be maintained through constant practice and dedication to the perfection of oneself through Shim Soo Do™.

There are 17 hyungs (patterns) which must be learned before attaining the first degree black belt level in Shim Soo Do. Another essential part of the training curriculum is gum dare ee on (sword sparring sets). Sparring sets are practiced in order to understand the physical applications of basic and combination techniques of the sword.

A na mu ui gum (wooden sword) is an integral part of sword training. The student must first learn the proper movements of the yul ki bon pe-da (10 basic cuts) of the sword. These are practiced both single-handed and two-handed until the movements are performed correctly. Only later, after the student is able to demonstrate his ability to control the movements of the sword to the finest detail, will he be permitted to use a "live blade".

The yul ki bon pe-da (10 basic cuts) are the foundation of sword practice. Students, using the na mu ui gum (wooden sword), move up and down the training floor repeating each cut over and over again. Each movement takes the student one step closer to perfecting each technique.Korean Swordsmanship - Shim Soo Do - Master John E. McDowell
The scabbard is slid into the belt, sharp edge of the blade facing upward. Some Korean sword schools require the blade face downward, but this is the "exception" and not the rule. The sword was kept in the belt in order to free the hands of the practitioner when not engaged in combat. When using two hands to grip the handle of the sword the right hand (for a right-handed swordsman), is against the hand-guard. The left hand is at the bottom of the handle. If the left hand were to grab further up on the handle the movements would lack both speed and power.

Shim Soo Do involves much more than mere physical training of techniques. The Art also focuses on the development and cultivation of nae gong (inner power) and wae gong (outer power). Shim Soo Do also stresses shim gong (mental powers and development). All of these aspects of the Art are taught in order to help the student attain a deeper understanding of himself through the study of Shim Soo Do.

This traditional Art of Korean swordsmanship also focuses on the development of the positive aspects of the exponent's character. The sword is not merely an extension of the practitioner's hand or movements. This is purely a physical interpretation and concerns itself with only techniques, which are only a small part of the complete Art. The individual who maintains this attitude toward Korean swordsmanship trains strictly on a physical level leading to low levels of personal character development.

The study of the Art of Shim Soo Do™ is a continuous journey, not an attainable goal. Shim Soo Do™ practitioners commit and dedicate themselves to the idea that they will be students all of their lives, each and every day. The Art becomes much more than mere physical or mental training. To the practitioner it becomes a "Way" of life.

Korean Cha-Ru (Tonfa)
byGrand Master James S. Benko
Historical Background

Cha-Ru in Korean (tonfa in Japanese) means “handle” It was believed to be used as part of millstones. The projecting k**b was inserted into a hole in the mill’s upper stone, and the longer shaft was used as a handle to rotate it against the lower stone for grinding grain and rice.

It is difficult to know for sure where the tonfa originated, and it has many stories about its origins. Many cultures have claimed it originated in their country, and many of the claims are from around the same era, making it unclear as to which culture as a legitimate claim.

The one claim that has the most evidence is that this is a martial arts weapon used by the inhabitants of Okinawa. While it seems to be prevalent in the Okinawan martial arts, historians have traced its origins it China, Indonesia or Southeast Asia. Many martial arts were brought to Okinawa from China including weapon arts. This most assuredly included the cha-ru or weapons similar to it. The cha-ru may also be found in Thailand, Malaysia, Vietnam, and Cambodia.

The Okinawan version of the cha-ru was a traditional weapon was taken back to Japan by the Japanese martial artists as were several of the Okinawan empty hand martial arts styles. After the Japanese invaded and subjugated the people of Okinawa, and then re-named it “tonfa”. The cha-ru has since been integrated in several Japanese martial arts.

The Kingdom of the Ryukyu Islands and their governments were eventually taken over by the central Japanese authorities in 1879 forcing the Okinawans to speak only Japanese, follow Japanese customs and traditions. Only the Japanese language was to be taught in schools. It was the same tyrannical domination which had been forced upon the people of Korea since 1910, until Korea regained its independence after the defeat of the Japanese in 1945.

The Baekje Kingdom of ancient Korea was primarily the agricultural heart of Korea. Its lush plains, warmer climate and rich soil made the region a farmer’s paradise. It was generally this area from which the Korean cha-ru (handle) emerged due to the abundance of farms which proliferated this section of the country.

Strikes and Blocks

Strikes and blocks using the cha-ru are similar to martial arts movements. Blocks with the shaft of the cha-ru are similar to those performed with a forearm block. In fact, the forearm usually rest against the shaft of the cha-ru to give added support to the block. The huke yo pal moke makee (rising outer forearm block), or almost any other type of forearm block, are executed the same with or without the cha-ru, with one exception, the cha-ru practitioner holds on to the grip of the cha-ru for added power.

The punches common to the martial arts are also used with the cha-ru. A chirigee (punch) can be executed with the cha-ru by striking with the head portion of the cha-ru. A pon tay sudo ter ri kee (reverse knife-hand strike) is performed by striking with the grip head portion of the cha-ru.

The base section of the cha-ru may be used to generate backward elbow strikes to an opponent. The swinging action of the cha-ru can be compared to the kicks of a martial artist. Downward kicks, turning kicks, reverse and spinning kicks, can all be simulated by the flipping and spinning motions of the cha-ru.

Trapping Techniques

Traps and disarms are also part of the cha-ru’s arsenal for defense. Both the grips and shafts of the cha-ru may be used for trapping the opponent’s arms and restraining an opponent and/or his weapon.

X-blocks can prove quite effective in trapping a weapon or the arm holding a weapon. Once the X-block is applied, the arm and/or weapon can be re-directed creating an opening for a quick counter-attack. The X-block is formed by crossing both of the cha-ru's shafts, thus pinning the attacking arm or weapon between them.

Holding the shaft of the cha-ru, you can hook the grip around the opponent's neck, thus trapping him and cutting off his air. The wrists and arms of the opponent may be trapped by crossing the shaft of the cha-ru over them, then by applying pressure, inducing pain.

The hooking of the cha-ru around the opponent's next, either from the front or back, may be used to pull him to the ground or execute a thowing technique. Once on the ground a follow up strike or joint-locking technique may be applied. The cha-ru may also be used to pin the opponent's arm behind his back to better control and/or disable him.

Disarms

Disarms are also part of the repertoire of the cha-ru’s multitude of combinations. The cha-ru may be used to strike the hand or arm of the person holding a weapon thus effectively disarming him. By using traps and then dislodging a weapon held by an opponent, the cha-ru can be useful in these types of disarms.

One of the primary rules self-defense is to "control the opponent's weapon". Disarm techniques are essential for controlling the opponent's weapon. A disarm will help ensure you will have a much better chance of defeating your aggressor.

Multiple Range Capabilities

A distinct advantage of blocking or striking with the cha-ru is that of being able to extend its range beyond the length of the arm. By swinging the cha-ru in a circular manner while holding on to the grip, the shaft of the cha-ru provides added length thus making it easier to strike or block an opponent from a distance. This “added length” also helps enable the practitioner to keep opponents at a distance.

The range of the cha-ru may be varied. Holding it close against your forearm permits defenses and counter-movements at close range. When swinging the cha-ru while holding onto the grip, the user is able to defend and attack at both medium and long ranges. This ability to rapidly alter the ranges of attacks and defenses makes the cha-ru a versatile and extremely useful weapon for self-defense.

Though the head of the cha-ru is used for punching at close range or applying pressure to vital nerve related targets, by pointing the base toward the opponent as you grasp the grip of the cha-ru, and punching with it, the punch now becomes long range. This ability to rapidly very the range of punches, strikes and blocks can be very useful in any confrontation.

Variable Height Possibilities

One of the most useful methodologies for defending with the cha-ru is its ability to block, strike and counterattack with speed and accuracy at varied heights.

A rising block to defend against a downward attack can be simultaneously executed with low-section strike to the opponent’s knee. Blocking an opponent’s kick to the groin area can quickly be followed up with a high-section swinging strike to his head and a mid-section punch with the head of the cha-ru.

By dropping down onto one knee, a flurry of rapid cha-ru blocks and strikes can catch an opponent totally off guard. On the other hand, as an opponent executes a strike toward your knee, the cha-ru practitioner can either swing the cha-ru downward to block the attack, or jump into the air moving backwards while at the same time extending the cha-ru and striking the opponent in the head or other vital target.

Using combinations of ducking, bobbing, weaving, jumping, side-stepping, and kneeling maneuvers, the cha-ru practitioner can release a barrage of techniques to confuse and overpower even the most experienced opponent. Staying in one position does not fit the techniques of the cha-ru. The defender is constantly moving in order to make it harder for the opponent to strike or entrap him. Swinging a the cha-ru in a pattern, such as a figure eight, the cha-ru practitioner forces his antagonist to be on constant guard, not knowing if any one of the swinging cha-ru will strike him at any movement.

Weapon of Last Resort

Though many martial artist see the cha-ru as a weapon used for self-defense. It must certainly have been a weapon used only as a last resort. A farmer, if threatened, could most assuredly choose a much more practical tool to be used for self-defense than the cha-ru. This is not to say that the cha-ru would not be an effective defensive weapon should the need arise.

A scythe, used to cut crops or heavy vegetation would be a much more logical choice. A sickle (nat in Korean), used to cut rice or foliage, could have been found on most any farm and it too could help the defender in a self-defense situation. A pitchfork is yet another farm implement which could double as a defensive weapon which most farmers would have readily had available to them.

It seems highly unlikely that if any of these other tools were available, that a person would not choose the cha-ru over one of them. Both the pitchfork and scythe can more easily keep and opponent at a distance during a confrontation. These tools are much more ominmous looking to a potential attacker than the cha-ru. However, amny martial artist continue to use the cha-ru as a traditional martial arts weapon.

The Korean Ji Pang E (Cane)
by Grand Master James S. Benko, Ph.D.

History of the Korean Ji Pang E (Cane)

It was almost sunset as Jong Shim made his way down the narrow street toward his home. Suddenly three men appeared in front of him and demanded his money. The bandits could see this was a man of wealth and their efforts were going to be well rewarded. So when Jong refused to give them his valuables they rushed in to teach time a lesson. However, it was the bandits who were about to receive their first lesson in the use of the deadly Korean Ji Pang E (cane).

The first bandit's head snapped backward from a blow that was delivered so fast he never saw it coming. The second bandit charged forward attempting to crush Jong's head with a staff. But the staff never found its target, and the bandit felt a hard jolt and a piercing pain in his back as the ji pang e struck a hyel do (vital point). The man dropped to his knees helpless, unable to move his legs. The third bandit drew his knife and thrust it toward Jong's stomach. The bandit saw the knife go sailing through the air just a split second before he found himself airborne. A moment later he found himself in a crumpled heap on the ground next to his friends.

The confrontation was over in just a few seconds, and Jong was unhurt as he stood looking at the bandits sprawled on the ground. They were unconsciousness and completely at Jong's mercy.

As the first man regained consciousness, he saw Jong bent over one of the other bandits. Jong was applying healing pressure to the man's back, and soon the man was able to move his legs again. Jong methodically went from one bandit to another until each was able to stand on their own. The bandits, puzzled but grateful by this act of kindness, quickly left, more knowledgeable men. They had learned what an effective weapon the Korean cane could be in the hands of an expert like Jong Shim. Only much later did they discover Jong was an instructor of martial arts for the guards of the royal family of the Korean Kingdom of Silla.

In Today's society it is against the law to carry almost any type of object which may be deemed as a weapon. The cane may very well be one of the last "permissible" weapons available which you can carry to defend yourself without violating the law. Fortunately, the cane is easy to learn, versatile and an extremely effective weapon for self-defense.

The use of the cane in not uncommon to other mu do (martial arts). Many of the Korean martial arts include some instruction in the use of the ji pang e for self-defense. To see how the cane was used as a defensive weapon in ancient times, let's take a look at its evolution in Korea.

Korean monks sometimes carried the cane during their travels. The cane served them in several different ways; it was used to help them maintain their balance climbing hills and over rough terrain, and it was also used to help the monks defend themselves from bandits and wild animals during their travels throughout the country. Some Buddhist temples had animals they raised, and the monks would used their canes to help oversee their herds and flocks. If the temple was attacked, the cane could quickly become a defensive weapon, used to drive the invaders off.

Types Of Canes

There are primarily three different types of canes. The first type was from five and one-half to seven feet in length and curved like a hook at one end, similar to the canes carried by shepherds. The second type of cane was about waist-high, straight, with either a k**b or short straight handle. The third type of cane is the type most commonly used both in the past and today. It is about waist-high, straight and has a curved (hook-type) end used as the handle. The common people favored it for its practicality.

The Shepherd's Cane

There are primarily three different types of canes. The first type was from five and one-half to seven feet in length and curved like a hook at one end, similar to the canes carried by shepherds. The curved portion of the cane was quite often used for the application of kwan jyel sul (joint manipulation techniques). This was the type of cane the monks used for herding animals and sometimes as a walking pole on their travels.

Sometimes, in order to escape from bandits, a monk would use the curved portion of this long version of the cane, to hook a high branch of a tree, climb up the cane to the branch, then pull the cane up with him. This another example of how certain monks got the reputation of being able to become invisible. The monk could remain hidden in the tree until the bandits had moved on. If it became necessary, he could use the cane to strike the bandits as they passed under the tree, or he could use the hook portion of the cane to pull them off of their horses. When the encounter was over the monk would again hook the cane to the branch, climb down, then continue on his way.

Another favorite tactic the monks used was to hook the top of a high wall with the ji pang e, then pull themselves to the top of the wall and over. A perfect example of how they could "walk through walls".

The Aristocrat's Cane

The second type of cane was about waist-high, straight, with either a k**b or short straight handle. This type of cane was not as popular with the monks because it was not as practical for their needs. However, the straight cane was used very often by the hwa rang, members of the upper classes, and members of the royal families.

The cane became not only a sign of importance and wealth, but a deadly weapon for self-defense. Many times the handle bore the crest of the family, and was made of gold or silver with jewels embedded in it. In some cases a blade was concealed in the cane. A sharp pull on the handle and the blade would be ready for action. For the upper classes the straight cane was what suited their needs for both appearance and self- protection.

During the sixth century, Korea was divided into three separate Kingdoms; Koguryo, the largest of the three, was in the north, Baek-Je, the second largest was located in the southwest portion of the Korean peninsula; and Silla, the smallest of the three Kingdoms, was in the southeast. It was in the Kingdom of Silla where a group of young warriors called the Hwa Rang (flowering youths) were created. The hwa rang were instructed in several different forms of defense were also part of Buldo mu do (Buddhist martial arts); kwan jyel sul (joint manipulation), hyel do sul (striking vital points of the body), and ji pang e sul (cane techniques). They were instructed in the use of the cane by Korean monks including the famous Won Kang. As part of their specialized training, the hwa rang trained in the application of techniques using the cane for striking, throwing, controlling, and the application of kwan jyel defenses. They also carried the cane as a sign of their social position and status.

The Everyday Cane

The third type of cane is the type most commonly used both in the past and today. It is about waist-high, straight and has a curved (hook-type) end used as the handle. The common people favored it for its practicality. Korean Buddhist monks also used this type of cane for self-defense because the hooked portion aided them in the application of kwan jyel techniques, allowing for better control of an opponent without the use of excessive force.

Today the cane may be used as a means to defend yourself. You need not use an excessive amount of force to subdue an opponent, you can use kwan jyel techniques to immobilize the opponent by using the cane to help augment the techniques. The elderly can use kwan jyel techniques with a cane for self-defense with very little training.

The cane, combined with kwan jyel techniques, is one of the most practical and useful tools for self-defense you may find today. Be sure to use extreme caution when working with cane techniques. You will be able to exert much more power than you believe you can when you use the leverage of the cane to give added strength to your techniques. Always let your instructor guide you each step of the way with your training.

Jung B**g (Middle Staff)
by Grand Master James S. Benko, Ph.D.

The Jung B**g (Middle Staff) was used in several different ways throughout Korean history. It was used as a walking stick, to help carry heavy items such as water containers and baskets of grain, and to ward off wild animals and bandits. The illusive maneuvers of the Jung B**g's defenses may be applied to all types of martial arts training.

The length of a Jung B**g varies from forty-two inches to fifty inches. The physical characteristics of the Jung B**g are quite unique. Some are made of hard wood, others of flexible bamboo. The shaft could be completely smooth or it may have notches at one or both ends to permit picking up objects. These notches may also be used to inflict damage to an opponent by cutting and slashing his face and limbs. Some Jung B**g's are tapered at one or both ends. The Jung B**g should be constructed to suit the individuals needs and specification.

To increase the effectiveness of Jung B**g strikes the hips are usually rotated in the direction of your strikes and blocks. This helps put your body-weight into the force of your strike or block. Using a "snapping" motion with your wrists increases the speed of your Jung B**g movements. This increased speed also adds to the power of your maneuvers.

Another often overlooked aspect of generating more speed and power to Jung B**g movements is the rotation of the wrists. Rather than simply shoving the tip of the Jung B**g toward the aggressor, execute the same motion but this time rotate the back hand as you slide the Jung B**g forward. This will not only greatly increase the speed of your movements but the power as well.

When retracting the Jung B**g, again use the wrist rotation action to quickly withdraw. A quick withdraw is vital to Jung B**g techniques. It lessens the chance of the aggressor grabbing the Jung B**g. Quick withdrawal also enables you to be prepared to block another attack or to be ready to execute a counter-strike.

The Jung B**g may be used at a variety of ranges; long, middle and short (close-quarters). By thrusting the Jung B**g forward with one hand as the other hand remained stationary, as the Jung B**g traveled forward, the range could be extended and quickly retracted to again vary its length.

The ends of the Jung B**g were used to strike, stab and jab an aggressor. The ends could also be used at close-quarters to trap the aggressor's arm and apply a controlling technique.

Being able to use the Jung B**g from a myriad of ranges enables the practitioner to use a wide variety of varied techniques. Positioning is an important factor when apply defensive maneuvers. By stepping to your right rear of left rear you can avoid an attack. This "distancing", while placing you beyond the reach of an aggressor, puts him into the striking range of your Jung B**g.

How far you step to the side or rear to evade an attack will be a determining factor as to the type of defense you use. You may, from one range, be able to strike the attacking arm or leg then quickly follow up with a trust with the tip of the Jung B**g.

From a slightly closer distance you might block with one end of the Jung B**g then strike with the other end to disable the aggressor. At a different range you could stun the aggressor and apply a joint-locking technique to immobilize the opponent.

Footwork is important to all aspects of martial arts physical training but perhaps even more so when working with weapons. When using the Jung B**g you should move at angles to avoid an attack while at the same time putting yourself into a position to quick counterattack your opponent. Use the forward momentum of the aggressor to increase the power of your strikes and blocks.

Being able to evade an attack while maintaining a safe distance from the aggressor is one of the Jung B**g's strongest features. Not only are you capable of avoiding being struck or grabbed, but you are able to place yourself in a position of safety while at the same time inflicting damage to the aggressor.

When using the Jung B**g your training should stress evasion rather than direct contact. Place yourself at angles to avoid his attack while at the same time counterattacking with a strike.

Focus your strikes on the attacking arm or leg and specifically to sensitive areas of the body. The radial nerve on the arm, the floating ribs, the head, the solar plexus, etc. If you wish to only stun the aggressor then a sharp jab or snapping blow will deter his initial attack. If the danger to you is greater, as in the case of multiple opponents or an armed aggressor, then a more forceful technique may be called for.

Evading by moving at different angles to the attacking force in and of itself may not be enough to end the encounter. It is just as important that you place yourself in a position by which vital areas of the opponent's body are exposed. These exposed targets now present you with the opportunity to stop the opponent from being a threat.

The angles of evasion are common to all forms of martial arts; Karate, Aikido, Jujitsu, Tae Kwon Do, Hapkido, Wu Shu, etc. However, training with the Jung B**g often opens our minds to the possibilities of using these angles more efficiently than we have in the past. The Jung B**g frees us from concerning ourselves with which type of hand strike or kick to counter with since the Jung B**g itself is the instrument with which we counterattack.

The ability to vary its length also contributes to the option of seeing how we are able to use long, middle and close-quarters techniques both with and without the Jung B**g. The illusive defense of the Jung B**g create a doorway for our minds to continue to refine our defenses techniques with an almost limitless abundance of variables.

Tahn B**g Sul(Short Stick Techniques)
by Grand Master James S. Benko, Ph.D.

The literal English translation of tahn b**g sul is "short staff techniques". This may seem confusing at first because we tend to associate a "staff" as something which is quite long. A more figurative interpretation of "tahn b**g" would be "short stick". However, in order to maintain the integrity of the literal translation "short staff" will be used.

Tahn b**g techniques can be found in martial arts styles in almost every country in the world. Throughout Asia it is often one of the training tools and/or weapons of fighting arts in many countries; Japan, Okinawa, Philippines, China, Viet Nam, Malaysia, Indonesia, Burma, Thailand, Korea, and many more

Tahn B**g Techniques

Though there are many types of traditional Korean martial arts weapons, one of the most practical of these weapons of self-defense is the Tahn B**g (short stick). It may be found almost anywhere. It may be a pencil, ruler, or a piece of stick found on the ground. It may be easily adapted to practically any self-defense situation.

The tahn b**g ranges in length from six inches to thirty-six inches. Tahn b**g sul (short stick techniques) are helpful in developing concentration and physical awareness of techniques, both in empty-hand and weapon training.

The tahn b**g is versatile for quick blocks, strikes, traps, disarms, and counterattack movements. It can be easily concealed, as in being hidden in a jacket or behind ones back. It is practical, since you are able to use many everyday objects to apply and take advantage of tahn b**g applications. Police and other law enforcement personnel, as well as the military, use the tahn b**g in different forms of batons, for enforcing the law and to maintain the peace.

Tahn b**g techniques and training methodologies have guidelines which are designed to direct the practitioner in order to help insure the applications are both practical and precise. Though specific training methodologies may vary from school to school and even from instructor to instructor, the basic theories, concepts and principles of tahn b**g techniques remains constant.

Once educated in these methodologies, an individual, under the guidance of a qualified instructor, is able to create an almost limitless series of techniques. How many techniques and variations to each technique is only limited by the knowledge and imagination of the individual.

Beginning To Train:

In tahn b**g training, the practitioner is first taught the twenty-four inch tahn b**g. Once the basics have been learned, the student is taught how to use the tahn b**gs of other lengths. When learning the tahn b**g, basic movements are stressed. One must master each basic movement if he is to ever create combinations which have power and are practical.

But knowing the basics is not enough. The practitioner must understand the principles of tahn b**g techniques. The principles of tahn b**g techniques instill in the individual the ability to develop his own techniques. By following these principles the student can create an almost unlimited amount of variations to the techniques he has already learned.

The techniques of the tahn b**g are almost limitless. The tahn b**g can be used to strike, punch or block with. When striking is performed, the tahn b**g is held loose and done in a snapping motion. The hand holding the tahn b**g tightens just before it impacts against its target. Using the ends of the tahn b**g, you can punch an opponent. In all types of blocking and striking with the tahn b**g, proper muscle tension, breathing, body movement and centralization of Ki power is essential.

Muscle Tension And Relaxation:

One factor to take into consideration when practicing tahn b**g techniques is the proper tensing of the muscles. If you tighten the muscles in your arm and try to punch as hard as you can, you will be much slower than if your arm muscles are relaxed until just before the point of impact. This same principle is applied to the application of tahn b**g blocks and strikes. You must be like a cat, relax. Then, in a split second, move quickly and relax again. This will help you conserve your energy and increase your speed. By increasing your speed you will be able to generate more power, thus making your techniques much more effective.

Correct Breathing:

Another factor which is a must for the performance of proper tahn b**g techniques is correct breathing. When you begin to move you should inhale. As you execute your block or strike you should exhale quickly through your mouth, while at the same time lowering your center of gravity and tensing your muscles. Breathing between movements should be normal. This type of breathing also helps conserve energy and increases your speed and mobility.

To breath correctly, inhale through your nose and exhale through your mouth. You should not try to fill your lungs with air. Rather, you should gently force your stomach out as you inhale. This is where your Dan Jun is located. The Dan Jun is where you store your internal energy, known as KI (pronounced Kee). By breathing in this manner you will also fill the lower third of your lungs, which is usually not brought into use when you are simply trying to concentrate on filling your lungs. Proper breathing is required if tahn b**g, or any other type of techniques are to be executed with maximum power.

Correct Body Movement:

Correct body movement is the third factor to understand in order to execute correct tahn b**g techniques. Body movement is concerned not only with evasive tactics, but how the body itself moves. Evading a direct confrontation with an on-coming blow is vital when applying tahn b**g techniques. Therefore, tahn b**g techniques are used in conjunction with evasions and counter attacks.

When a person is in an on-guard posture he is ready to defend against your attacks. However, as soon as he begins to move, openings in his defense are created which in turn expose targets the tahn b**g practitioner can attack. Also, it is hard to change direction once a person begins to move. With Tahn B**g Sul, in the beginning, the student is taught to wait for the opponent to make the first move so he will be easier to neutralize. Correct body movement is taught in order to increase the student's ability to move quickly with balance, speed and power.

Centralization Of KI Power:

The next factor to take into account when learning Tahn B**g Sul is the centralization of KI power. There are two types of power, external and internal. External power comes from developing strong muscles. A person can possess great physical (external) strength and be able to lift heavy objects or move huge obstacles. However, though Tahn B**g Sul helps build a strong body, it reaches toward the cultivation of internal strength, known as KI.

As time passes, a person's physical strength will diminish. Yet, internal strength, if proper training is maintained, will increase with age no matter how old a person becomes. Learning to centralize one's KI will greatly increase the power of the techniques of Tahn B**g Sul, giving the practitioner not only power but confidence and control.

The tahn b**g is a universal defensive weapon which can be found almost anywhere, yet by many, never seen. Its techniques are natural, fluid and practical. The traditions of this ancient Korean weapon teach the practitioner control, confidence, respect, discipline and humility. It is a weapon which will help you develop effective self-defense techniques if that is your goal. But, tahn b**g training will aid you in cultivating something much more valuable than the ability to defend yourself, family or country. Tahn b**g training gives you, continued peace of mind both in and out of the training hall.

There are many different types of tahn b**g (short sticks) used in the Korean martial arts. Some are pointed at one end, others at both ends. Some have a leather strap or rope attached at one end for wrapping around the practitioner's wrist in order to provide added speed and power to strikes and blocks. Tahn b**gs also vary in length from six inches to thirty-six inches. They are usually made from a hard wood, like oak, or a more porous material such as rattan or bamboo.

The Mini Tahn B**g:

The shorter tahn b**gs are known as the mini tahn b**gs, because they are only six to twelve inches in length. The most common mini tahn b**g is twelve inches long. When applying techniques the ex*****on of the tahn b**g's movements are done in a quick snapping action. This is accomplished by holding the tahn b**g loosely, then quickly snapping the tahn b**g toward its target with a flip of the wrist. Blocks are directed to hyel do (vital points) and sensitive areas of the body.

If an opponent is holding a weapon, the radial nerve which runs along the top of the forearm is a prime target. A sharp blow to this area could cause the opponent to drop the weapon and may temporarily paralyze his arm. While the opponent is momentarily stunned another strike to a different target could disable the opponent and give the defender the time needed to get away.

While the shaft of the mini tahn b**g may be used to block and strike, the ends are principally used for striking targets. The length of the mini tahn b**g dictates that it is generally used as a close range defensive weapon. The defender usually will move his body out of the line of attack while closing the distance with the opponent. At the same time, the tahn b**g is used to either block the attacking weapon (if the opponent is armed), block the attacking arm, or if the opponent is in range, strike the opponent somewhere other than the attacking arm. The tahn b**g may also be used to re-direct an attack.

Most Common Tahn B**g:

The most common length of a tahn b**g is twenty-four to twenty-eight inches. This length of tahn b**g is ideal for almost every type of both defensive and offensive tahn b**g technique. This length permits application of easy traps and disarms while at the same time allowing the practitioner to maintain a safe distance from an attacker.

This length also provides for a larger blocking area thus enabling the practitioner to protect a larger portion of his body with each block, parry, or deflection. The added length further provides longer range strikes than shorter versions of the tahn b**g, while at the same time permitting the practitioner to move to a closer range and apply disarms and immobilization techniques.

Training Methodologies:

Here are several methodologies which can be used with the tahn b**g to defend against both unarmed and weapon attacks. The following are the: "Principles of Tahn B**g Defenses":

Block the weapon.
Re-direct the weapon.
Srike the arm holding the weapon.
Re-direct the arm holding the weapon.
Strike the attacking arm.
Re-direct the attacking arm.
Strike body targets.
Trap the attacking arm.
Disarm the opponent.
Apply chokes.
Attack pressure point targets.
Let's take a look at each of these principles.
Block The Weapon: The shaft of the tahn b**g may be used to block the blade of a knife, a club, or other weapon. It is important that the block be applied as close to the opponent's hand, which is holding the weapon, as is possible. If you attempt to block the end of a long weapon, his strike may overpower your block. The end of a baseball bat which is furthest from the player's hand will generate much more power that a section of the bat which is much closer to his hands. Imagine trying to block the end of a baseball bat when it is swung full force. So, position yourself so that you are able to block an oncoming force, arm, club, etc., as close to its pivot-point as possible.

Re-Direct The Weapon: If a downward attack with a weapon, such as a club or sword, is directed toward you, you could step to the side to avoid the initial attack then, with the tahn b**g, strike or push the weapon in the direction it was initially traveling. This would tend to off-balance the opponent allowing you the opportunity to strike or disarm him.

Strike The Arm Holding The Weapon: By striking the arm which is holding a weapon you could possibly disable and/or disarm the opponent. The intensity of your strike will determine how the opponent will react to your strike. Striking the arm which is holding the weapon also includes other targets of the arm including, but not limited to, the wrist, elbow, biceps, triceps, and forearm.

Re-Direct The Attacking Arm: You can re-direct the attacking arm and maneuver the opponent into an immobilization, submission, or throw. Re-directing the attacking arm may also contribute to off-balancing the opponent, will create openings in his defense, and may lead the opponent into a disarm technique.

Strike Body Targets: Vital points of the body may be struck in order to render the opponent unable to harm you. To strike these targets you must get close enough to the opponent in order to make your strikes effective. You must be selective about the targets you choose, for once an opponent is able to get close to you, he shall be in a position to possibly grab you even after you strike him. Strikes must quickly disarm an opponent or place him in a position where he is unable to reach you.

Trap The Attacking Arm: The tahn b**g is excellent for applying traps. The shaft of the tahn b**g is used to exert pressure against joints and sensitive pressure points of an opponent. By using leverage the tahn b**g can greatly, if not completely, immobilize an opponent no matter what his size. Traps are often used to control an armed opponent while at the same time securing his weapon so it no longer poses a danger to you.

Disarm The Opponent: Disarms can be executed by striking the hand, arm, elbow or other portion of the extremity which holds and/or controls the weapon. The tahn b**g itself may be used to apply pressure to disarm an opponent or as a lever to pry or easily rend a weapon from the grasp of the opponent.

Apply Chokes: The shaft and the ends of the tahn b**g may be used to apply a wide variety of choking techniques to an opponent. Chokes are extremely effective when attempting to immobilize and control an opponent.

Attack Pressure-Point Targets: It is usually the ends of the tahn b**g which are used to exert force to pressure points. These pressure points are nerves and sensitive areas of the body which are extremely susceptible to pain. With the use of the tahn b**g, you can induce pain, paralyze portions of the body, and disable an opponent. It is attacks to these areas of the body which help make tahn b**g techniques so effective against even the largest opponent even if he is armed.