THE POWER OF SPEED, ENERGY, CONFIDENCE AND STRENGTH
“Students, line up (yes sir!) Cha Ri-Ut! Jung-Ja! Kuk-Ki Dae Kyung-nea Ba-ro! Won-Ki Dae Kyung-nea, (Kuk Sool) Ba-ro! Kuk Sa Nym Dae Kyung-nea (Kuk Sool) Ba-ro! Kwan Jang Nym Dae Kyung-nea (Kuk Sool) Ba-ro! Kyo Sa Nym Dae Kyung-nea (Kuk Sool) Ba-ro! Jo Kyo Nym Dae Kyung-nea (Kuk Sool) Ba-ro! Bu-Tak Ham-Ni-Da (Bu-Tak Ham-Ni-Da) Ba-ro!” (Sareyvoth). These are the first sounds of the Kuk Sool class starting; the instructor and students are ready to begin. The feeling of everyday stress has gone away now the students can become one with themselves and experience true confidence! Kicking techniques, pressure points, board breaking, the feeling of confidence and more, all can be found in the Korean martial art of Kuk Sool Won.
Thousands of years ago different styles of Korean martial arts where combined to create Kuk Sool Won (Tan). However, it was not until the war of World War II that Kuk Sool Won really came into affect (Hallander, “Come” 20).
The outlawing of guns caused criminals to carry knifes; and therefore, law enforcement officers in Korea were taught Kuk Sool Won as self-defense (20).
There are over 3,600 different techniques in Kuk Sool Won (Tan). “Two things determine the techniques: ranking and how the martial artist is being attacked”, Tan explains. Ranking is the color of the belt and the advancement of the belt color. Many popular techniques are the soft fighting techniques, such as joint locks, pressure points, grabbing techniques and throws (Hallander, “Come” 20).
Defense submission techniques, also called “Yun Hang Sool,” are some of the most powerful techniques in Kuk Sool Won (Hallander, “Come” 22).
Yun Hang Sool translates into the phrase “connect” (Yun), “go” (Hang) and “technique” (Sool). The Yun Hang Sool techniques are referred to as “come-alongs”, meaning the opponent follows against their will without choice (22).
One technique in Yun Hang Sool, is the joint lock (Hallander, “Come” 22). Joint locks are used in a circular motion, but in the opposite direction of the normal position (22). Soon after a pressure point is used to secure a joint lock, but pressure points differ on different people. The joint lock is often switched to another joint lock position so that the opponent is not seriously injured.
The most common joint locks used are on the fingers, wrist, elbow and shoulder (21).
Most joint locks are used with “Ki” internal energy (Hallander, “Kuk” 62). Sang Kim, a Kuk Sool Won expert explained this about Ki finger “The Ki finger is possibly the most important part of a joint locking technique. It increases your wrist flexibility, gives you better leverage and inflicts more pain on the opponent in joint locking techniques. The Ki finger strengthens your hand and muscle positions in relation to the opponent’s joint angle.” (Hallander, “Kuk” 64).
The different ways for Ki finger (also known as the index finger) usage to be effective all have to do with control (Hallander, “Kuk” 63). The index finger is used to control the wrist; the other three fingers are used to hold the opponent’s hand or fingers in place. When grabbing with out using Ki finger there is more pressure put on Ki finger itself (63).
With the Ki finger techniques the martial artist can easily twist the joint lock more securely (Hallander, “Kuk” 67). Ki finger leads the martial artist’s hand, arm and body in the right direction, to accomplish the joint lock technique. If the technique is not working, then the Ki finger is probably not in place (67).
By pointing with the Ki finger stress is relieved on the strong muscles in the hand and thumb, allowing Ki to flow more easily (69).
Training the Ki finger (index finger) consists of special breathing techniques, known as “Ki Cho Ja-Ki”, or special breathing techniques (Hallander, “Kuk” 69). Ki Cho Ja-Ki involves six breathing techniques that help tone the body’s internal organs and promote deep breathing. The motions start with a strong “Ki-Ahp”(a loud yell from within); Ki Cho Ja-Ki is made up of six special hand actions, done by spreading the fingers as wide as possible and extending the arms in a series of four different directions (Sareyvoth). .