Defending oneself from kicks can be a totally safe practice. I say “can” because all too many times I have seen what should have been an easy block turn into a gross tactical error.
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Defending oneself from kicks can be a totally safe practice. I say “can” because all too many times I have seen what should have been an easy block turn into a gross tactical error.
When attacking the ankle or foot, the primary point to inflict pain is the ankle, either by twisting it or stretching it. An exception is the heel hook where you control and attack the heel of your opponent, but in reality, this is a variation of an ankle twist. The three most often used foot submissions are the straight ankle lock, the toehold and the heel hook.
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Kicking takes more energy than striking. This is because the legs are heavier than the arms. Energy, when kicking, is conserved by relying on principles of physics that allow you to use as little effort as possible. Energy is also conserved by kicking when your opponent is moving into the kick’s path of power. This allows you to use less of your own momentum to achieve an overall stronger momentum.
Body mechanics for energy conservation:
1. The side kick takes less effort to land when your opponent is slightly toward your back rather than your front. This is because the kick is usually thrown with your lead leg, with your opponent lined up with your hips.
2. The spinning back kick should be thrown when your opponent is moving into its path of power. Energy is conserved by spinning less than 180 degrees. If you spin more than 180 degrees, you will be chasing your opponent with the kick.
3. If your opponent moves toward your front, it would be economical to throw a round house kick.
4. Energy can be conserved by dropping an axe kick on your opponent’s guard and bringing his upper body forward and into your follow-up strike.
Q: In addition to martial arts, Han also practices calligraphy in the movie. Are the two related?
SHK: I'm glad you asked that, because you're right, they are related. Traditional calligraphy is a significant method of mental practice. Taoists believe that writing is a reflection of the mind. Like martial arts, it requires total concentration. Each stroke in calligraphy is like a basic movement in taekwondo, a kick or punch or block. Once you learn the basics, you can combine them freely and create art. Ultimately, the goal is to write whole heartedly but without attachment to the individual strokes just as in sparring or defending yourself, you need to concentrate fully on the moment but be free from your environment. Calligraphy is a kind of moving meditation. It focuses and calms the mind.
Q: There is also a scene in the movie that makes it seem like there is something hidden in the characters that Han writes.
SHK: Many of the characters that he practices, including the one that he teaches Antonio, are actually striking techniques that can be used to attack with the short stick or sword. So while it appears that Han is a man of peace, he is secretly preparing for war.
Q: It's interesting how martial arts are part of everything in the movie, even when people are not fighting.
SHK: For a martial artist, I think our training is part of everything we do in life. I particularly found three elements that were the same in filmmaking and taekwondo. The first is fitness. I trained for over a year specifically for this movie. By the time we started shooting I literally felt like I was in the same shape as when I was competing in my teens and early twenties. Not only was I training for the fight scenes but for the long days on the set and the many repetitions of every scene. Fitness is the foundation – something solid to build everything else upon. The second is techniques or knowledge. Understanding the basic techniques and being able to apply them in a real life situation is essential. So techniques are like wings that give us the ability to fly as high and as far as we desire. And finally there's discipline, which ironically allows us to be free. Some people ask me how can you be free and be disciplined at the same time, but when you think about it, it makes perfect sense.
Q: What is it that you'd like viewers to take away from this movie?
SHK: That true revenge is not accomplished by avenging something but by resolution within yourself.
Q: Tell us a little about your martial arts background, especially before you came to the
SHK: I began training when I was four years old. I was the fourth of five brothers, so all of my older brothers were already training in wrestling, judo and hapkido. At first I mimicked their movements and tried to fight with them. My serious training began in middle school as a member of Dalsung Taekwondo team, competing against other middle school teams. In high school, when I was a fourth dan black belt, I was very reckless in my training. I had so much energy and athletic ability that I constantly challenging myself but often I ended up injured. For example, when I was training at a Jidokwan school in Daegu, I was practicing jumping spinning whip kick by kicking a piece of bicycle tire inner tube that I'd hung from the ceiling. It was very high and I tried and tried and finally kicked it but at the same time, I got my foot tangled in the tubing and I landed upside down, hitting my head on the concrete floor. Later, some of my fellow black belts found me and rushed me to the hospital.
Q: Did you ever think about quitting after getting seriously injured like that?
SHK: No, in fact in college I became even more interested in taekwondo and began teaching CID (Criminal Investigation Division) agents at
Q: Is it true that all Korean military personnel are black belts?
SHK: Yes they are. When I was in the military, we woke up at five AM to run. Then we did taekwondo training for an hour and then in the evening we had small group training for combat specific skills. Since I was a special agent in a counterespionage unit, we trained not only in taekwondo but in firearms and lethal hand-to-hand skills. At one point during my service, I was assigned to a prison detail which was a very dangerous job. There were thousands of violent criminals held in an isolated area in the mountains. During that time, my life was threatened many times and I had almost daily opportunities to use my martial arts skills. It was during this time that I began formulating Junsado, which I used extensively in
Q: What is Junsado?
SHK: Junsado is the way you see a conflict and resolve it efficiently. The means include direct and indirect tactics to neutralize or subdue the opponent. Jun means combat, Sa means expert and Do is the way so it is literally The Way of the Combat Expert. It is about finding the right strategy to resolve the given situation.
Q: Why did you use Junsado in Zen Man?
SHK: In many of the scenes, Han fights against multiple assailants at once. He needs strategy to survive. He uses the terrain and takes advantage of range fighting. Junsado has four ranges: neutral, long, medium and short. At long range, he positions himself to manipulate the formation of the assailants to his advantage. At short range, he uses surprise tactics, for example turning his back on an assailant then thrusting to the rear with his wooden sword. He also uses his Ssang Bong (double sticks), which is a style of using two sticks in a symmetrical way that I've developed over the past twenty years. It's a uniquely Korean style, the only Korean art that uses two sticks at the same time.It's very different from Kali or Arnis because it uses two different grips: one straight grip and one reverse grip. This allows you to initiate action with one stick and then accelerate the movement of your body for the second strike and third strike and so on, making it a fast powerful versatile weapon. It's a very unpredictable way of attacking and defending. Well, if you want to see what I mean, watch the movie.
Q: This is your first movie, but you've had a lot of experience in front of and behind the camera, right?
SHK: I've produced over a hundred martial arts instructional DVDs and documentaries and I've made a few short films for classes and workshops, so I'm familiar with the technical aspects of filming but making a movie has been a great change of pace.Writing the script, designing shots, making storyboards, scouting locations, organizing the crew, auditioning actors, supervising the editing and music composition are all very complicated in film production, much more so than any other project I've done to date. It's been a great learning experience and I've gotten to work with a lot of knowledgeable and talented people.
Q: Tell us about the martial arts that you used in the film.SHK: I used a mixture of taekwondo, which has exciting kicking techniques that look impressive on the screen, and my own system called Junsado. In the beginning of the film, the villain injures Han, taking away the use of his left arm. For two years, he trains with only his right arm using a variety of weapons. For many of the film's fight scenes I was limited to using only one arm. I have been fighting all my life with two arms, so it was strange to do everything with one arm for this role. To move as fast and powerfully as the men I was fighting, I had to adjust my stance and footwork and develop a lot of unorthodox fighting skills. So in the movie, Han's fighting method is very strategic and relies on a mixture of kicking techniques and weapons.
Q: That is an unorthodox mixture.
SHK: It is but it works surprisingly well. I wanted to give the audience an idea of how a skilled martial artist can switch gears fluidly, using whatever is necessary for the situation. Han is not as big or as ruthless as some of the villains he faces, but he gets the job done in the end. A true master should be able to adapt to any situation and use what's at hand to prevail.
Sang H. Kim: Zen Man is the story of Han who is a master of martial arts and traditional calligraphy. He is living his life in seclusion, taking care of his niece, when the son of one of his former students shows up. The young man, Antonio, is seeking revenge against his father's killer and he asks Han to resume his martial arts training. When Han refuses, Antonio decides to take matters into his own hands and Han is ultimately forced to act before Antonio endangers anyone else.
TKDT: Where did the idea Zen Man come from? SHK: When I was a little boy, I was hyperactive and sleepless. My grandmother used to tell her bedtime stories to keep my four brothers and me quiet. One of her stories has stuck in my mind for a long time, the story of my grandfather who survived in a foreign and hostile environment in