Hapkido Theories

Introduction

Most martial arts place an emphasis on two or three areas of technique. Hapkido is somewhat unique as it integrates most aspects of the martial arts, internal arts, and healing arts at different levels of training. This is due to several reasons. First, martial arts have been many different things. In modern times, most emphasize the sport side of the martial arts. Second, few arts encompass the ancient use of ki in their art. This is sometimes, but not always, due to the recent development of new technique for the purposes of competition. Hapkido competition would be too dangerous to be practical. Hapkido is a defense art and a ki art, something once common and now rare; in addition; many of the 3864 techniques practiced in hapkido, are 1400 years old; these techniques have been proven in battle, time and time again over the ages.

Hapkido practice requires two partners who take turns being the attacker (kongyoksa) and the defender (makisa). In dynamic form, the makisa first moves off the line of attack (by either turning or entering) and then redirects the kongyoksa energy and motion. When attacking, one commits the energy and balance in one direction. The hapkidoin moves around the point of conflict and exploits the vulnerabilities of kongyoksa.

When asked to define the term self defense, most people have trouble with putting this concept into words. The dictionary defines self-defense as: self-defense n. 1) Defense of oneself when physically attacked. 2) Defense of what belongs to oneself, as one's works or reputation. 3) The right to protect oneself against violence or threatened violence with whatever force or means is reasonably necessary. But these define an action, not the actual concept of self-defense.

Self-defense as a concept is defined as an extension of self-control. This is based on the premise that you do not have control over someone else’s action, but you do have total control over your own. You determine your reaction to conflict. No one can make you angry without your consent. You determine your destiny and are responsible for where you are and what you do. It is easy and very tempting to blame others and circumstances for your situation, although in reality, there is no one else to blame.

Muscle Memory

You do not have time to think about a response when defending yourself. You can only rely on reflexes, a generic term for muscle memory. In order for the body to respond, the body and the mind must be relaxed. A natural instinct for an individual who does not practice the techniques of self-defense is to panic. This reflex tenses the mind and body. The goal of the hapkidoin is to practice technique to the point that the technique and the three theories of basic motion are embedded into muscle memory. Our goal in mudo is to keep the body relaxed and the mind calmed so that we can respond through muscle memory.

Muscle memory does not pick a specific technique when responding to a self-defense situation. There is no need to memorize specific techniques against specific attacks. Hapkido techniques are interchangeable. Our goal is to flow from the attack to a technique using the attackers directional force. Any technique can be used against any attack. Yes, some techniques do work better against certain attacks, as this is due to the natural flow of the techniques. Continuous practice develops muscle memory. Muscle memory will happen naturally, it only takes practice. 1500 times with a partner, 1500 times with your eyes closed, and 1500 times without a partner perfecting the detail.

 three Theories of Basic Motion

Hapkido basic motion can be divided into three parts, or "theories of basic motion"; 'balance break' (blending; breakaway, or capturing and at a more advanced level, entering or turning), a 'decreasing radius circle' (the transition; technique) and 'lowing the center' (completion; locking and pinning, throwing, or breaking). Blending is harmony, and harmony is a state in which people are working in alignment by blending, we dissipate the force of the attack and harness our power and that of the attacker. Hapkido is a dynamic art; although, in the early stages of training you may practice by setting up the kan (proper distance) and moving from static sogi (stances) and grabs, but the idea is to take active command of any attack. All hapkido techniques can be used while standing, seated, or on the ground. In addition, the techniques are effective in empty hand against weapons application and in weapon against weapon situations.

 30-Degree Theory

In this picture above we can identify the 8 major points of the compass as shown in black. 30-degree theory, for the beginning student, is the movement of direction in direct relationship to your opponent’s center in techniques such as locking and pinning techniques and throwing techniques. It is the movement of direction from your center when performing circular kicking and leg techniques. For the advanced student, one moves 30 degrees away from all 8 points of the compass as shown in the colored lines. This includes both sides of the angle. As sogi (stances) are not passive, but active dynamic moves through the technique, we are always moving our center through the technique applicable to the movement of the elements associated with the directional forces of the associated sogi.

It is taught that the movement originated from the ancient gumsul (sword) stance. The basic masogi (L or fighting stance) is moved 30 degrees by pivoting on the heals of the foot. This stance is practiced when using the sword and is used in the advanced kneeling stance often referred to as the triangulated stance unique to Hapkido and the sword arts.

The spirit of Hapki

Hapkido is a self-defense art. What separates the techniques in hapkido from other forms of self-defense and is an important aspect in defining hapkido, as an art is the use of ki, or vital energy. Pursuing a understanding and use of ki is important for every hapkidoin. In hapkido, ki is externalized by two distinct reactions:

Son Sallyo

Son sallyo (ki son / ki hand). Good hapkido technique is based on knowledge of how the body responds to certain movements and degrees of pressure. It is easy to see that relaxed shoulders and slightly bent arms generate more power than tight shoulders and stiffly extended arms, and that the economical use of physical power goes a long way. In another form of physiological hapki, son sallyo (simply spreading the fingers widely when grabbed) makes it easier to control an attack. Yet another form is pyungsul (ki strikes). This kind of blow is delivered with the entire hand. Hapkido includes a number of techniques that function on the pulley principle. Simply put, a pulley can change both the direction and the amount of a force, using the principle of zero resistance. With even a small revolution, a pulley can make it possible to move a large object. Similarly when an opponent grabs your wrist you move another part of your arm (for instance, the elbow), so that rather than moving the wrist you use it as a "fixed pulley" and present a strong counter. If the opponent pushes or pulls, or has a very strong grip, a larger circular motion of the body (known as dollyo or turning) is effective in applying the principles of non-resistance to and redirection of a force. This extension of the fingers and the hand also allows the wrist bones to open creating a opportunity for use in choking and throwing techniques at a basic level. In simple practical terms, when an opponent holds your wrist, spread your fingers with a certain amount of force, but keep the rest of your arm relaxed. If your entire arm is stiff you cannot react to sudden pushes and pulls. In short, keep calm and relaxed and abandon all use of ineffective force. This is true son sallyo.

Ki Sonkarak

Ki sonkarak (ki finger). A basic concept in hapkido performed by extending your ki finger in the direction of your movement when grabbing your opponent, or your weapon. Direction is found in a three-dimensional decreasing radius circle movement known as the second theory of basic motion. This also keeps us from relying on strength, but teaches us to rely on technique. Pressure is also added to a technique with the knuckle at the base of the ki finger. Power and speed do not come from themselves, but come from the practice of perfect detailed technique.