{"id":390,"date":"2015-02-08T12:23:34","date_gmt":"2015-02-08T17:23:34","guid":{"rendered":"http:\/\/wyvernhall.com\/wordpress\/?p=390"},"modified":"2015-02-08T16:59:10","modified_gmt":"2015-02-08T21:59:10","slug":"training-at-ltsd-refining-the-first-five-hyung","status":"publish","type":"post","link":"http:\/\/wyvernhall.com\/wordpress\/?p=390","title":{"rendered":"Training at LTSD: Refining the First Five Hyung"},"content":{"rendered":"

We spent a good deal of class last night working on refining hyung, both in performance and understanding bunkai.<\/p>\n

Miss Zaharevich worked with me on some rough spots both my Pyang Ahn Cho Dan and Chil Sung E Lo.\u00a0 I have the use of our spare room for a couple more days so I have a warm place to work on hyung at home to reinforce what was refined in class.\u00a0 Hopefully it’ll stick. Master Krantz also settled my indecision over using the “squishing the midget” or “Ralph Cramden” frame in executing soo do in Pyang Ahn Cho Dan. “Ralph Cramden” it is; “and away we go!”<\/p>\n

\"Bunkai\"<\/a>
A great illustration of how much is unseen in hyung (kata). Thanks for sharing this picture, Mr. Dingwell!)<\/figcaption><\/figure>\n

Mrs. Krantz\u00a0spent some time with a group of us (Walt,\u00a0his lovely wife Marie, and I)\u00a0talking about the bunkai of Ki Cho Hyung Il Bu.\u00a0 I always find these discussions illuminating, particularly as the hyung get more complicated.\u00a0 In the basic forms the techniques are pretty straightforward but I find that understanding the bunkai makes it easier to know where to apply the energy to techniques so that they don’t end up being a lot of meaningless arm waving.<\/p>\n

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