Introduction
In October 2017 I had the opportunity to visit a black belt test at the school attended by one of my daughter’s friends. Early in the test, the students were required to execute a series of “appreciation forms.” These looked a little goofy at first; they were almost entirely hand techniques (although the later forms included some stance changes).
After careful consideration, I came to realize that these forms actually offered a lot of value to both the student and the instructor. Their compact nature makes them suitable for use when traveling, when only a limited space may be available. They may be executed a low-energy, low-impact internal (Taijiquan-like) manner, unlike many conventional forms that depend upon dynamic balance (as for example when executing kicks or jumps); this makes them especially suitable for people who are experiencing or recovering from physical impediments. They allow a special focus on hand techniques by isolating them from the overall movement of the forms, making them suitable for remedial work with students (the distinction between low punch and low block comes most immediately to mind).
An online survey of “appreciation forms” shows that there is no consistency in the forms across schools; indeed even when two schools are doing forms that are recognizably supposed to be the same, they still differ in details of execution and even sometimes in the omission of certain moves. In addition, each school’s appreciation forms seem tailored to the techniques particular to that school (for example, whether chambering is done in a covered core, cup-and-saucer, or dynamic tension position).
Consequently, rather than present any pre-existing series of “appreciation forms” here, I am proposing a set of exercises with the same philosophical objectives as the appreciation forms, but specifically geared to the Mountain Academy techniques, and organized in parallel to the progression of our standard forms through Passai. The earlier sets principally work the techniques in isolation, but the later sets work combinations of techniques that commonly appear together in the forms. With very few exceptions, the sets involve stance changes but no motion.
Because I tend to obsess about those sorts of things, I have provided Korean nomenclature for many of the techniques.
Unless otherwise noted, in all the techniques that follow each step should begin with an inhale and be completed with an exhale timed to coincide with the block, strike, or other technique. Exceptions are specifically noted in a couple places where remedial attention has historically been needed for students who confuse the purpose of certain moves.
Set 1: Blocks (Makgi)
A drill covering the basic blocks of the Mountain Academy forms. Omits knife hand blocks and the more complicated cross, scissor, double outside, and reinforced blocks. Adds the forearm block.
Begin at ready stance (joon bi seogi).
Baro.
Set 2: Punches and Strikes (Jireugi and Chigi)
A drill covering the basic punches and strikes of the Mountain Academy forms. This drill omits techniques other than punches and palm heel strikes. Targets are: high – to opponent’s nose; middle – to sternum body; lower – to trunk directing force downward through trunk toward base of spine.
Begin at ready stance.
Baro.
Set 3: Ki Cho Hyung Techniques
A drill covering the principal blocking and punching techniques of the Ki Cho Hyung as taught at the Mountain Academy (Ech Chan Cho Bu, Ech Chan E Bu, Ech Chan Shim Bu). The particular focus in this set is proper distinction between punches and blocks in both purpose and execution. The alternation between block and strike with opposing arms early in the set is intended to help this, as is the use of the horse stance instead of the front stance. Low blocks should be carried far out to the knee (farther than would be typical in a front stance) to emphasize the difference in arm placement from a low punch. This set includes a single step left/right into front stance to emphasize a problem in Ech Chan Shim Bu needing special attention (the erroneous addition of extra punches after the inside-out blocks early in the form).
Begin at ready stance.
Baro.
Set 4: Pyong Ahn Hyung Techniques 1
This set focuses on new hand techniques introduced in Pyong Cho Dan and Pyong E Dan, as well as knife hand techniques used in the knife hand and elbow technicals.
Begin at ready stance.
Baro.
Set 5: Pyong Ahn Hyung Techniques 2
This set focuses on new techniques introduced in Pyong Sam Dan and Pyong Sa Dan, including the spear hand, the scissors block, and various forms of reinforced blocks.
Begin at ready stance.
Baro.
Set 6: Pyong Ahn Hyung Techniques 3
This set includes techniques introduced in Pyong O Dan, as well as a few techniques from Passai.
Begin at ready stance.
Baro.
Conclusion
The sets outlined here are in the way of a proposal for extra training tools. I envision them being used as a remedial tool for students having difficulty with a particular set of techniques, as a training drill for students who have limited space outside of the dojang, or as a way to work techniques without the risk of tedium that can occur when repeating the same block fifty times over. By isolating the techniques in groups based on forms, I have tried to make them more focused on varying skill levels.
The acid test is the degree to which they prove useful to other instructors. As I plan to refine these over.