“Repetition and equal attention to both sides of the body are key to instinctive reaction.”
primaries
kneeling position - seiza
Kneel on the floor with the legs folded underneath the thighs and the buttocks resting on the heels
The ankles are turned slightly outward, and the tops of the feet are flat on the floor, forming a slight "V" shape.
The right big toe should be touching or slightly overlapping the left big toe.
Keep the back straight while resting the hands, palms down, on the knees with fingers slightly spread for uninterrupted flow of ki.
contemplation position - anza
Sit on the floor with legs crossed
Keep back straight and eyes closed; hands should rest on the knees with fingers spread for uninterrupted flow of ki
Breath deeply (in through the nose and out through the mouth) from lower abdomen (itten)
standing bow - ritsu rei
From attention stance (heiko dachi) bring left foot to right foot
Place palms flat to side of thighs, arms slightly bent
Bend at waist, looking straight ahead
Straighten body, hands making circular crossing motion to chamber position
Step with left foot back into attention stance (heiko dachi)
Fists extend naturally downward as in a double groin strike, exhale
kneeling bow - za rei
Start from kneeling position (seiza)
Place palms flat on the floor with opposing thumbs and index fingers touching (i.e. to form an empty triangle space) slightly out and in front of knees
Bend from waist until upper body is parallel to floor, touch forehead to hands, exhale
Return to kneeling position (seiza)
stances (15)
Everything in the art of Cheonjikido begins with stance and ensuing foot movement and proceeds from the physical center of the body (itten). The following 14 stances appear in order of difficulty and importance; all are to be PLANTED BUT NOT ROOTED.
*denotes one of kung fu’s (chuan fa's) Eight Basic Stances **stances derived from traditional karate kata
attention stance - heiko dachi, shizentai
Place feet parallel and shoulder-width apart
Center fists in front of body, slightly below belt level at itten
Knees should be slightly bent with the back straight
Each leg should support 50% of the body’s weight
half-body stance - hanmi
Place front foot forward and angled slightly out with rear foot angled out at approximately 45-degrees (a natural position)
The distance between the front and back foot is less than shoulder-depth with stability generated from the center
Both hands are open and centered with front hand matching front foot, shoulders relaxed
Knees should be slightly bent with the back straight
Weight distribution is basically equal with perhaps a very slight concentration toward the rear leg
This stance looks non-threatening and offers ease of motion and dynamic stability
Ai-Hanmi is when the feet of uke/tori mirror each other
Gyaku-Hanmi is when the feet of uke/tori are in opposition or "same-side"
To rise into hanmi from seiza position, lift right knee and put right foot forward, rise up on the toes, lower heels to floor without shifting weight; to return to seiza, lower left leg down, then right leg down
Right / Left determined by front foot
*horse stance - kiba dachi, qi ma shi
Place feet parallel and slightly wider than shoulder-width apart, toes should be turned slightly inward
Place feet parallel and slightly wider than shoulder-width apart; toes should be turned slightly inward
Keep knees well bent and back straight; the height of this stance should be lower than one’s comfort zone, but rear end is to rest above the level of the knees
Hold fists in attention stance position
Each leg should support 50% of the body’s weight
front-forward stance - zenkutsu dachi
Place feet shoulder-width and slightly wider than shoulder-depth apart; feet should be parallel, pointing forward, and flat on the floor
Front knee should be bent so that toes of the front foot are not visible
Back leg should be straight without locking the knee
50/50 weight distribution, body should not be leaning or turned
Stepping in Front Forward Stance: back foot slides past front foot in semi-circular or c-step motion, becoming the front foot; body stays erect with back straight; center of gravity remains constant without bouncing; stepping foot glides across the floor, maintaining contact with forefront
Right / Left determined by front foot
*back stance - kokutsu dachi, si liu shi
Place feet slightly wider than shoulder-depth apart, perpendicular to one another
Heel of front foot should be in line with heel of back foot
Knees should be well bent and aligned with feet
Thigh and hip of rear leg should be turned slightly outward
Body should face the same direction as the back foot
60-70% of weight on back foot; 30-40% of weight on front foot
Transition in Back Stance: back leg pivots 90-degrees on the heel to become front leg; front foot follows suit to become rear leg
Stepping in Back Stance: rear leg pivots 90-degrees on ball of foot, then slides straight through to become front leg; front leg pivots 90-degree on the heel to become rear leg; shift weight
Right / Left determined by back foot
With a 50/50 weight distribution, this stance has been referred to as a T Stance or an L Stance
side stance - yoko dachi
Place feet parallel and slightly wider than shoulder-width apart; toes should be turned slightly inward
Keep knees well bent and back straight; the height of this stance should be lower than one’s comfort zone, but rear end is to rest above the level of the knees
Hold fists at approximately shoulder and solar plexus height over the leading foot
Right / Left determined by leading foot
**sochin dachi - planted stance
Place feet shoulder-width and slightly wider than shoulder-depth apart; feet should be parallel with the front foot pointed inward at a 45-degree angle and the back foot pointed outward at a 45-degree angle; feet flat on the floor
Both knees should be bent and over the toes, exerting force outward with the center of gravity positioned slightly toward the front leg
50/50 weight distribution, body should not be leaning or turned
Stepping in So-chin Dachi Stance: back foot slides past front foot in semi-circular motion, becoming the front foot; body stays erect with back straight; center of gravity remains constant without bouncing; stepping foot glides across the floor, maintaining contact
Hand positioning: front hand performs a downward block while rear hand performs a rising block as the feet slide into place
Right / Left determined by front foot
This stance, a cross between a front-forward stance and a straddle stance, is featured in So-chin, a traditional Shotokan form that consists of solid and robust technique strong both in front and on the sides
*cat stance - nekoashi dachi, xi shi
Rear leg turns 45-degrees to the outside and assumes nearly all of the body’s weight
Front leg, or “empty leg,” rests slightly on the toes, facing forward
Front leg rotated slightly in at the hip to cover the groin
This is a narrow stance which trains the student to maintain stability on one leg
Hand positioning: upper hand (opposite of empty leg) extends at nose level to slightly bent position; lower hand reaches to below the elbow of the upper arm; both arms should be in line with the forward knee and toe
Right / Left determined by planted rear leg
*low-leg stretching stance - pu tui chi
This stance is primarily a balance and stretching stance whereby the student slowly crouches on one leg while the other leg slides the foot along the ground until the leg is completely straight
Both feet must remain absolutely flat upon the ground
Back remains straight without leaning forward
Hand positioning: when the right leg is crouched, the right hand is positioned above the head, palm out; the left hand then is placed in front of the groin, palm down; when the left leg is crouched, the hand positioning falls opposite
If this stance cannot be accomplished without the student leaning forward or being able to move the stretched leg in and out smoothly as he transitions from or back to horse stance, or from one low leg-stretching stance to another, the student’s legs are not strong or flexible enough
Right / Left determined by stretched leg
The stance appears in lines 3, 4, and 6 of Tan-Tui, a Kung Fu form (Northern Islamic Longfist style) that is undoubtedly similar to the chuan fa forms that In Yoon Byung originally brought into Chang Moo Kwan from his training in Manchuria
**hangetsu dachi - half-moon stance
Place feet shoulder-width and slightly wider than shoulder-depth apart; feet should be parallel with the front foot pointed inward at a 45-degree angle and the back foot pointed outward at a 45-degree angle; feet flat on the floor
Both knees are bent and drawn inward as if being pulled together toward the groin (i.e. as opposed to the outward exertion of sochin dachi stance)
50/50 weight distribution, back should be straight
Stepping in San-chin Dachi Stance: back foot slides past front foot in semi-circular motion, becoming the front foot; body stays erect with back straight; center of gravity remains constant without bouncing; stepping foot glides across the floor, maintaining contact
Right / Left determined by front foot
By tightening the sides of the upper body and constricting the anus while positioned in this half- moon stance, it is possible for male practitioners to develop muscles that will retract the testicles into the lower abdomen as a means of protection from a groin attack
Hangetsu-dachi is utilized in Hangetsu, a traditional Shotokan form known for its semi-circular half- moon movement and advanced techniques
*crossed feet stance - kosa dachi, zuo pan shi
Rear leg steps behind stationary leg, locking the knee against the front calf for support
Rear leg rests on ball of foot at a 45-degree angle toward the stationary foot
Knees well bent, with rear leg acting as a rudder to determine angle
Hands assume on-guard position while upper-body can shift within 90-degrees of front foot
This stance allows one to quickly change position without weakening defensive posture by shifting the stationary leg
Right / Left determined by front foot
*crane stance - du li shi
The crane stance promotes balance and stability
Pivot at the waist 45-degrees to the inside of the supporting leg
Supporting leg is slightly bent, acting as a shock absorber (i.e. as opposed to a rigid and off-balance straight leg)
Empty leg comes up to protect the groin with the respective foot covering the knee of the supporting leg
Hand positioning: when the right leg is supporting, the right hand reaches over the empty leg to cover the exposed ribs, palm down; the left hand (same side as empty leg) is the positioned as a rising block, palm up
Right / Left determined by supporting leg
*bow & arrow stance - gong jian shi
This stance is formed from a horse stance as the leg that is to become the front leg pivots OUTWARD ON THE HEEL OF THE FOOT while the leg that is to become the rear leg pivots INWARD ON THE BALL OF THE FOOT
Feet are slightly angled so that if a line were drawn laterally between the legs, it would touch the toes of the front foot and the heel of the rear foot
60-70% of the weight is on the front leg
If pivot is executed correctly from horse stance, the student should have a good base; incorrect pivoting the stance may become too narrow, lacking balance and stability
When transitioning back to horse stance from the bow & arrow position, the student must use the same pivot points; correcting pivoting motion will result in a correct horse stance
Hand positioning: when the right leg is forward, the left hand is extended forward at nose level and in line with the forward knee and toes; the right hand is approximately two palm spans above the head; when the left leg is forward, the hand positioning falls opposite
Right / Left determined by front foot
Repetitious shifting with correct pivot points between a horse stance and a bow and arrow stance is an effective means of teaching opposite sides of the body to respond simultaneously and with disparate movement
*70-30 stance - san qi shi
This stance, though similar to a back stance, involves more of an extreme twist in the waist and both feet are less than perpendicular, in more of a natural position; spacing less than shoulder-depth
70/30 weight distribution
Thigh and hip turned of rear leg are turned slightly inward
Pivot at the waist 45-degrees toward the outside of the front leg
Hand positioning: the forward arm (same side as rear leg) is extended and slightly bent at nose level, palm up; the rear hand (same side as forward leg) is pulled back behind the eye, palm facing out
Right / Left determined by back foot
**sanchin dachi - hourglass stance, dynamic tension stance
This stance is formed by placing the heels together to form a V-shape; from this position, pivot on the balls of the feet, pushing the heels outward to form inward-facing 45-degree angles; maintaining this angle, one foot the takes a half-step forward
Both knees are bent and exerting force inward, back is straight, 50/50 weight distribution
From the outside heels, the feet should only be shoulder-width apart
Stepping in San-chin Dachi Stance: back foot slides past front foot in semi-circular motion, becoming the front foot; body stays erect with back straight; center of gravity remains constant without bouncing; stepping foot glides across the floor, maintaining contact
Right / Left determined by front foot
This tight isometric stance is featured in Sanchin, a traditional Isshin-ryu form that is designed to develop ki and strengthen the body’s ability to to absorb attack
The V-shaped chamber position of this stance is utilized at the beginning and ending of Cheonjikido’s Sam-Geup Kata (Tekki-Sho) and is termed “V-Stance”
blocking technique (7)
rising block - age uke
Bring blocking fist across the body at belt level, palm facing abdomen
Bring reaction-force or chamber fist across the body at shoulder level, palm facing shoulder
Raise blocking arm straight up, keeping palm-facing chest
At approximately eye level, snap blocking fist out, pull reaction-force fist to chamber position
Blocking arm stops in front of and slightly above the head at a 45-degree angle (a natural position)
Transition to opposite rising block: chamber moves across body at belt level, palm facing abdomen; blocking hand drops to position across shoulder, palm facing shoulder
outside block - soto uke
Bring blocking fist across the body at belt level, palm facing abdomen
Bring reaction-force or chamber fist across the body at shoulder level, palm facing shoulder
Snap blocking arm outward, stopping with fist level with top of shoulder, there should be a 3/4 twist (i.e. natural position) in arm with the palm facing opposite shoulder
Snap reaction-force fist to chamber position
Transition to opposite outside block: chamber moves across body at belt level, palm facing abdomen; blocking hand drops to position across chest with elbow as a hinge, palm facing shoulder
inside block - uchi uke
Raise blocking fist to ear, palm facing outward
Bring reaction-force fist or chamber across the body, palm facing abdomen
Snap blocking arm inward, stopping with fist at shoulder-level in front of opposite shoulder, palm facing opposite shoulder at 45-degree angle (i.e. natural position)
Snap reaction-force fist to chamber position
Transition to opposite inside block: bring chamber to ear, palm facing outward; blocking arm drops to belt level using elbow as hinge, palm facing inward
downward block - gedan barai
Bring blocking fist to the opposite ear, palm facing inward
Bring reaction-force fist across the body at belt level, palm-facing abdomen
Snap blocking fist down to the front knee, simultaneously pull reaction-force fist to chamber position
Blocking fist should stop approximately 4 inches above knee at a 45-degree angle (a natural position)
Body should stay erect, keep back straight
Transition to opposite downward block: chamber moves to opposite ear, palm inward; blocking arm moves from knee to position across body at belt level, palm inward
Transition to opposite downward block: chamber moves to opposite ear, palm inward; blocking arm moves from knee to position across body at belt level, palm inward
knife block - tanto uke
Blocking arm retains an unbendable arm position (i.e. slightly bent) at the side of the body with the open palm rear-facing at approximately hip level
Chamber hand moves to opposite shoulder with palm facing out to protect the face
With this block, depending upon the type and level of attack, the chamber hand can move up and down the unbendable blocking arm and/or the blocking arm can extend outward and away from the body
The slightly bent position of the blocking arm is extremely important, providing strength and shock absorption
This block is primarily used to defend against a knife, hence termed knife block; but it is also effective against a variety of armed or unarmed attacks
cross block - juji uke
Snap both fists into an "X" position, palms facing outward
Arms stop in front of and slightly above head (should be able to see out from under block)
Snap arms back to guard position
shuto block - shuto uke
Blocking arm comes to opposite ear (i.e. similar to downward block chamber), hand is open with palm facing ear and fingers slightly bent
Reaction force arm extends out and down, slightly bent with palm facing out
Snap blocking arm outward at chest level to an unbendable arm (i.e. slightly bent) position; simultaneously, open palm should twist and snap outward to an angled position whereby if contact is made, it involves the blade of the blocking hand
Pull reaction force arm inward to a chamber position just off the chest at solar-plexus level; outward- facing palm should twist inward to an upward-facing position; chamber should not be touching the body
When transitioning between right and left knife-hand blocks, chamber moves to opposite ear while blocking arm naturally extends out and down before snapping back to chamber
Hands remain open in this block with fingers together and slightly bent and thumb straight; positioning should be firm, yet relaxed, with little to no tension
This block, after the Chang Moo Kwan tradition, can also be performed with an open chamber.
striking technique (10)
For purposes of training, all strikes utilize a chamber position; the reaction-force hand is in chamber position when the fist is resting at the side palm just above the hip, palm facing upward.
punch - zuki
Form the fist with fingers tucked in and thumb on top of the fist or slightly covering index finger (not bent over knuckles)
Fist moves from chamber position in straight line
Wrist snaps over to 3/4 position (natural position in which bones in the arm are not crossed and therefore weakened) during the last 2 - 6 inches of punch, sinking into the target
Arm should be straight without locking the elbow
Striking surface is the first two knuckles
Opposite fist moves simultaneously from it's previous position to the chamber position as a reaction force
Keep back straight with shoulders square to center
Body relaxes during the travel of the punch, tenses at the moment of impact, and then relaxes at the end of the punch
Exhale audibly, tightening the abdominal muscles
reverse punch - gyaku zuki
Step into front-forward stance with fist in chamber position on the same side as the supporting foot
Release punch as stepping foot passes supporting foot
Punch stops as the stepping foot stops
Punching fist and reaction-force fist move simultaneously (at end of the step)
back-fist strike - uraken uchi
Cross striking arm and reaction-force arm in front of the body, palms facing inward toward the body (similar to rising block chamber position)
Snap striking fist into target, striking with back of first two knuckles
Snap reaction-force fist to chamber position
palm-heel strike - shote uchi
Striking hand moves from chamber position to the target, angled slightly upward
Striking hand should be open and slightly cupped with fingers straight but not locked; strike with the heel of the palm
Arm is straight, but elbow is not locked
Snap reaction-force fist to chamber position
hammer-fist strike - kentsui uchi
With this strike, the fist swings and sinks like a hammer
Utilizing a downward motion, the bottom of the fist acts as the striking surface
Utilizing an upward motion, the top of the fist acts as the striking surface
Utilizing an inward or side-swinging motion, the top or bottom of the fists acts as the striking surface dependent upon the direction of travel
spear-hand strike - yonhon nukite uchi
This striking technique chambers, snaps, and travels like a punch
Striking hand should be slightly cupped (i.e. for the pooling of ki), and like a ridge hand, the fingers should be straight but not locked; pinky finger should angle slightly under the ring finger; thumb should be straight or slightly bent while lining up just under the index finger.
Striking surface involves the tips of the four fingers as they sink straight inward and are reinforced by the thumb and an unbendable arm
shuto strike - shuto uchi
Striking hand moves from chamber with snapping outside wrist rotation to a palm-up position with the blade of the hand (i.e. striking surface) angled slightly downward
Fingers should be straight but not locked; pinky finger should angle slightly under the ring finger; thumb should be straight or slightly bent while lining up just under the index finger
Striking surface is the blade of the hand
Technique should snap and sink slightly downward into the target with an unbendable arm
ridge hand - gyaju shuto uchi
Striking hand moves from chamber with snapping inside wrist rotation to a palm-down position with thumb-side (i.e. striking surface) angled slightly downward
Fingers should be straight but not locked; pinky finger should angle slightly under the ring finger; thumb should be straight or slightly bent while lining up just under the index finger
Striking surface should include the outside of the index finger and the top or knuckle of the thumb
Technique should snap and sink slightly downward into the target with an unbendable arm
phoenix-fist - hooken zuki
Form the phoenix-fist with the knuckle of the middle finger protruding and the thumb covering the index and middle fingers
Striking surface is the protruding knuckle of the middle finger
Technique should snap and rotate slightly into the target with an unbendable arm
ox-jaw strike - seiyuto
Ox-jaw hand is formed by a downward bend of the wrist with fingers/thumb hanging loosely downward and touching at the tips (shape of the hand then resembles an ox jawbone); this is a relaxed gravity-friendly position
Typically, the ox-jaw strike travels at an upward angle from chamber and sinks into the opponent with the top of the hand as the striking surface
However, an ox-jaw strike can angle downward and involve the knuckles as part of the striking surface; it can also rotate outward, thus striking with a snapping motion of the fingers and thumb
Any ox-jaw strike should terminate with a slightly bent arm
kicking technique (9)
hip kick - name gaeshi
With the hip, lift the kicking foot across the body at a 45-degree angle from the floor
Kick should sink into the target at an angle with the sole of the foot and then return with the motion of an ocean wave; the strength of the strike is in the hip
This is a low kick that typically targets the knee or vulnerable points on the inner gate of the opponent
front kick - mae geri keage
Lift the kicking leg, pointing toes toward floor and pulling knee toward chest (chamber position)
Snap kicking leg and point foot forward toward target, curling toes backward (snap kick) or turning foot back toward knee (thrust kick)
Impact should be with the ball of the foot (snap kick) or heel (thrust kick)
Keep upper body erect
Bring kicking foot back to chamber position (toes pointed toward floor and knee pulled toward chest)
Return kicking foot to floor
side kick - yoko geri
Lift the kicking foot parallel to the floor as high as the knee of the supporting leg
Angle kicking foot toward knee and open hip
Snap or thrust kicking foot from the hip, striking the target with the heel
At impact, body should be turned perpendicular to target with upper body leaning slightly away from opponent to maintain balance, supporting foot should pivot toward the rear with heel pointing at target (i.e. perpendicular to body) as the kick extends out
At full extension, the heel should be higher than the toes of the kicking foot
Supporting foot should return to position parallel with body, kicking foot returns to chamber position (foot parallel to floor at as high as knee of supporting leg)
Return kicking foot to floor
roundhouse kick - mawashi geri
Lift kicking foot and point knee toward target to open up the hip
Snap kicking foot into the target with hip, striking with either the ball or top of the foot at a slight downward angle
At impact, body should be turned perpendicular to target with upper body leaning slightly away to maintain balance, supporting foot should turn toward the rear (perpendicular to body)
Supporting foot should return to position parallel with body, kicking foot returns to chamber position (i.e. knee pointed toward target)
Return kicking foot to floor
inside crescent kick - mikazuki geri uchigawa
Assume front snap kick chamber position
Angle foot inward and with whipping motion (i.e. utilizing the hip), kick along a small inside arc (clockwise for left leg, counter-clockwise for right leg), striking through target with the sole of the foot
After striking through target, kick should continue along the same inside arc and return to front snap kick chamber position
Return kicking foot to floor
outside crescent kick - mikazuki geri soto
Assume front snap kick chamber position
Angle foot inward and with whipping motion (i.e. utilizing the hip), kick along a small outside arc (counter-clockwise for left leg, clockwise for right leg), striking through target with the blade or top outside of the foot
After striking through target, kick should continue along the same outside arc and return to front snap kick chamber position
Return kicking foot to floor
back kick - ushiro geri
Lift kicking foot with toes pointed toward the floor and heel only as high as the knee of the supporting leg (lower chamber position than front snap kick)
Look at target over the shoulder on the same side as the kicking leg
Leaning slightly forward to maintain balance, thrust kicking leg into target, striking with the heel (toes should stay pointed toward the floor)
Bring kicking foot back to low chamber position and then return to floor
hatchet kick - kakato geri
Assume front snap kick chamber position
Begin performing a crescent kick (with an inside or outside whipping motion), stopping at the top of the arc
Drop the kicking foot suddenly, striking through the target from above with the heel
Kick should descend like the blade of an axe and continue to the floor
hook kick - kagi geri
Assume side kick chamber position
Open hip and thrust kicking foot outward like a side kick but intentionally aim slightly off-target in the direction of the kicking foot’s toes
At full extension, point the toes, bend the knee, and snap foot back toward target, striking through with the heel or sole of the foot
Kicking foot should return to side kick chamber position and then to floor