47. Kwang-Gae opening

The opening of Kwang-Gae is similar to the opening of the kata Kushanku. But when we circle our arms low, in Kwang-Gae we perform closed ready stance B, whereas in Kushanku the hands come down in front of the groin.

One of the applications for closed ready stance B is a headlock. So if we use the heaven hand to block a right haymaker, we may then strike the opponent's neck (the splitting hands) and then try to wrap our right arm around the opponent's head, placing them into a headlock as shown in the combined gif below.

You can perform this with or without overhooking the opponent's right arm.

We then apply a guillotine choke. Grab and pull in the opponent's shirt with the pulling hand while squeezing their neck against your right side with the upset punch. This is why the upset punch is performed in slow motion, to indicate either that the technique is difficult or an unusual application, not that you would perform it in slow motion against a live opponent! Usually for a guillotine choke your hands remain clasped (see the example below) so I assume the pulling hand is performing some assisting function such as pulling in the opponent's front shirt to keep them lowered.

MMA teacher miming the guillotine choke (left) as a close uppercut motion. The guillotine choke may also be done while overhooking the opponent's right arm (right). Source: HowCast

Given the follow-up movements provided by the pattern (e.g. the next set with the palm hooking block may be used as a reverse head throw), I suspect we are intended to overhook the right arm so that we still have control if the opponent backs out of the headlock.

But Does It Work?

Although this technique is taught in some self-defense and karate circles, I've read criticisms from wrestlers that no one will just let you lower their head like that. A guillotine choke is usually applied against an attempted tackle, because the opponent's head is already lowered.

This makes the technique somewhat opportunistic. If striking the opponent's neck with the splitting hands causes the opponent to lower their head, then a guillotine choke is appropriate. If they do not lower their head, then the pattern provides other options (additional strikes to the neck, a knee to the groin, etc). Additionally, the pulling hand and the drop into front stance may used simultaneously to pull down the opponent's front shirt, lowering their torso.

Kwang-Gae & The Heaven Hand, Part 4

Part 1
Part 2
Part 3

Guillotine Choke

Sources: Darren Selley, Fitness Videos

The first move in the form is to switch into closed ready stance B after splitting your hands. If the ready positions had no applications, this would be nonsensical, but lucky for us they do. Closed ready stance B can make a guillotine choke, for instance. We use this application after blocking a haymaker with the heaven hand, as shown in the right gif (two examples).

The form doesn't give you any follow up. You can continue to choke out your opponent or, if you are throw savvy, attempt to throw them.

Bent elbow crank

The upset punches in Kwang-Gae are also in slow motion, indicating body manipulation. After defending with the heaven hand, overhook your opponent's haymaker as they retract, getting the bent elbow and cranking it upwards with the upset punch. This nasty shoulder lock is called maki hiji in jujitsu. It was used a couple years back in the UFC by Jon Jones. You can use the second upset punch as a strike, as shown in the below image.

Application for heaven hand followed by two upset punches. Source: imineo, catch jutsu

Notice how the elbow crank forces the opponent to bend over backwards. To take them to the ground, perform a sweep or push back on their face with your palm.

Grasp head, guide back

The next set is:

• Double step forward into palm hooking block
• Step and slide backwards into low section knifehand guarding block

Suppose you attempt the elbow crank but your opponent straightens their arm, or they pull you in, or you overhook their shoulder instead. Use the double step forward to force them to bend over, and then strike/grasp the back of their head with the palm hooking block. Finally, use the step and slide backwards into low section guarding block as a quick throw, guiding their head backwards. See the footnote for another interpretation of this set. (ftn. 1)

Pass arm, two handed push

Source: anthrodan

Something else I thought of: if you don't wish to harm your opponent, you can use stepping back into low guarding block to pass the opponent's arm after defending with the heaven hand. Then use stepping forwards into cat stance guarding block as a two handed push (see right gif) to disengage.

Side kicks, shoulder lock takedown

The second time you perform the two side kicks, your hands are oriented differently. This suggests there may be an application that begins, rather than ends, with them.

After blocking with the heaven hand, use the low side kick (pressing kick) to kick in the opponent's knee. If they defend by turning in their leg, follow with the middle side kick to their ribs while grasping their arm. You then use the inward strike with front hand coming into chest to fold the opponent's arm back, granting you a shoulder lock. From here, pull your opponent to the ground. Note that the Hapkidoin in the example below doesn't need to kick before doing the takedown, although he does strike the opponent's side with his elbow.

Sources: imineo, expert village

Final Thoughts

That concludes Kwang-Gae. This isn't the only way to interpret the pattern, but it is a way to link all the applications together. Although the sets are all against the same attack, the locks and takedowns provided can be used in a number of situations. What a form does is teach you various ways you can control an opponent. It's unlikely you will ever use a set as literally provided in a form, due to an opponent's unpredictable reactions, but the more techniques you know the more versatile your fighting style becomes.

Po-Eun also begins with the heaven hand, but not the splitting hands. Furthermore, from my analysis Po-Eun seems to be more of a grappling form. The heaven hand can also be used as a head push, so that might be what's going on.

Footnotes

1) There is another application for this set I rather like: against a single lapel grab, you can grab under the opponent's sleeve (upset punch), pull it in while striking their jaw (palm hooking block), and then guide them down to the ground (step back into low guarding block). The double step can be used to get off the opponent's line of fire and strengthen the force of the hooking block. You can also use the shape of the palm to dig into the opponent's throat, although this isn't strictly necessary. Taekwondoin Colin Wee applies the same application against a wrist grab.

Source: One minute bunkai

Sources
https://www.youtube.com/watch?v=7oC8X2T0smo
https://www.youtube.com/watch?v=pL1D72Fueu4
https://www.youtube.com/watch?v=sE2nafaPCZI
https://www.youtube.com/watch?v=fy4hrfnaUqE
https://www.youtube.com/watch?v=l11drAi51HA
https://www.youtube.com/watch?v=WVG0FWe6RjI
https://www.youtube.com/watch?v=NYRy4AXQci0

Kwang-Gae & The Heaven Hand, Part 3

Previous Posts:
Part 1
Part 2

Spearhand to face, smash onto knee

Sources: imineo, one minute bunkai

The high spearhand thrust (what my club calls an "unsupported spearfinger") has three odd features in Kwang-Gae:

• It's performed in slow motion
• The footwork is the slipping of the front foot (i.e. pull it in before stepping back out again)
• It's performed in low stance rather than a normal front stance

Slow motion movements in forms indicate body manipulation. As shown in the combined gif on the left, we can use the spearhand after the heaven hand sort of like a slap: pressing out on our opponent's face while pulling in their arm with our reaction hand. We may also use the slipping footwork to get behind the opponent's leg, and then use the low stance to press out on the back of your opponent's knee. From here, you can pull the opponent downward for a takedown.

However, in both cases the next movement in the form is lifting our back leg. So if we want to get nasty, we can smash the back of our opponent's head on our knee as we take them down.

Sources: imineo, one minute bunkai

Grab ears, pull down

A different follow-up after the palm heel to to step forward and grab your opponent's ears from behind their head. Grabbing ears (or just the head) is a common interpretation of the twin vertical face punch. You can use the "stomp" to press down on the back of your opponent's knee as you grab their head.

Source: Practical Kata Bunkai (Note: perspective is mirrored)

However, if you are unable to stomp their knee, instead perform a knee strike to the spine, and then unceremoniously pull their head to floor by the ears as you land into the double upset punch. You can see pictures of this application by Iain Abernethy to the right, who is analyizing a similar set in from the kata Gojushiho.

Kick out leg, turn and lift

Turning 180-degrees into a knifehand guarding block usually indicates a head crank. But I don't think that's what's going on here, because we step back into the guarding block after turning around. Furthermore, the set ends with a high punch. Why?

To resolve this, first apply the double upset punch to grab and control your opponent. Front kick the opponent's cross-side leg, aiming for their inner thigh, with the goal of knocking back their leg.

Land, turn, and step back into knifehand guarding block per the form. Your front forearm presses out on the opponent's neck, but your back hand goes for the leg you just kicked back. Grab the leg (by the opponent's pants if they are wearing away) and lift it upwards as you walk forward into the high punch, grabbing and pulling your opponent's head down with the reaction hand. This makes a crude but simple takedown.

Sources: Practical Kata Bunkai, One Minute Bunkai

In part 4 I will backtrack to the beginning of the form and post some final thoughts.

View Part 4 here

Sources

https://www.youtube.com/watch?v=sE2nafaPCZI
https://www.youtube.com/watch?v=ynE0eX2jpXc
https://www.youtube.com/watch?v=qptCOuL0IEQ
https://www.youtube.com/watch?v=qWJlooO_4jQ
https://www.youtube.com/watch?v=UdAAB2QXEsI
https://www.youtube.com/watch?v=pfwBR7g0c6E
https://www.youtube.com/watch?v=hul42qQnTEE

Kwang-Gae & The Heaven Hand, Part 2

In my previous post, I suggested you could interpret the first third or so of Kwang-Gae as four different follow ups from the heaven hand defense. (fnt. 1) By "heaven hand defense", I mean using the tool to block a haymaker, and then splitting your hands to strike the opponent's neck.

It turns out you can do this for the whole form. So for the next three posts I will be covering these follow up techniques. Even if you don't agree with this interpretation of Kwang-Gae, it may get you to see some of the sets in a new light.

Additional strikes, puter kepala takedown

After striking the opponent's neck with the hands splitting, you can follow through with an inward strike followed by a downward hammerfist, for three strikes in total. As you strike, you want to get the opponent's head to lean downwards, so it's important to utilize the pulling hand in both cases.

Sources: Courtney White, Yin Style Bagua

Puter kepala takedown
Source: Courtney White

If smashing the back of their head with a hammerfist wasn't enough, we then use the next two moves -- the two palm pressing blocks -- as a takedown. This is shown on the gif on the right: it involves twisting up the opponent's arm while pushing their head down and in. You then continue moving your arms in a circular motion, forcing your opponent's body is to twist and tumble. In Silat this is called puter kepala.

Note that you are rotating your opponent's head and arm in a circle, so for this application the two palm pressing blocks should be performed continuously and with arms crossing in between the blocks, similar to how the Bagua-ist performs the motions below.

Sequential palm pressing blocks in Bagua. Notice how the arms cross in between blocks. 
Source: Yin Style Bagua.

Arm Pass and Head Twist

Now we'll begin with the second palm pressing block. After blocking with the heaven hand, overhook your opponent's head (upward moving palm) and push down their arm (downward moving palm). Grab their jaw and twist out their head while passing their arm as you step backwards into backfist side strike, twisting your opponent's whole body and forcing them to fall over. Hapkidoin Alain Burrese demonstrates this technique in this video.

Source: Your Warrior's Edge

Strike Head, Shoulder Lock

Next we start with the backfist side strike after the heaven hand. After striking the neck, knee strike your opponent (lifting the leg) while pulling them downwards, then follow with the backfist side strike to their head. Depending on positioning, you might strike with your forearm or even downward with your elbow; the stomp emphasizes putting your body weight into the strike.

Next, twist their arm behind their back with your back hand as you shift into the double forearm block, creating a shoulder lock. Your front arm maintains pressure on the back of their head. From this position you can safely escort your opponent, strike the back of their head, or do a takedown.

Sources: Self Defense Tips and Tricks, Close Quarters Taekwondo, Samir Seif

(Bottom right image): Taekwondo Grappling Techniques

What if your opponent grabs your leg with their free arm before you apply the lock? We can grab their arm and use the next move in the form -- double stepping backwards into reverse low block -- to pull out their arm while lifting their other arm with your front arm. Doing this may end up flipping your opponent.

Continue to Part 3

Footnotes
1) The origin of this idea was that I noticed Kushanku, the kata that Kwang-Gae is partly based on, uses the low knifehand front block and the cat stance guarding blocks at the start of the form, directly after the heaven hand.

Sources
https://www.youtube.com/watch?v=NIhNucVI4C0
https://www.youtube.com/watch?v=Hk3WipJCwHQ
https://www.youtube.com/watch?v=SAKQ8KpcazA
http://bmsi.ru/doc/d5acaab9-0b14-4826-ad00-de89c34d135a/print
https://www.youtube.com/watch?v=OddNosOP-T8
 Taekwondo Grappling Techniques by Tony Kemerly and Scott Synder

Kwang-Gae: The Knifehand Low Front Block

This post will be a couple applications for a move that's baffled me for some time: the closed-stance knifehand low front block (Moa So Sonkal Najunde Ap Makgi) at move 12 in Kwang-Gae. The movement is performed in a circular manner -- from head to groin -- with the knifehand hitting your opposite palm. Similar movements appear in kung-fu forms, taekkyeon , kukki-taekwondo (with a hammerfist), and of course karate.

The first application uses the set:

• Cat stance high guarding block
• Double step and turn 180-degrees into front stance upward palm block
• Closed stance knifehand low front block

After defending against an attack, employ the primary grappling application of the guarding block: back arm wrapped around the opponent's arm and front forearm striking the opponent's neck. From here you can pull their arm (reaction hand) while cranking their head back and downwards (upward palm block) as you double step behind them and turn 180-degrees. Your palm continues upwards, cranking the opponent's head further and exposing the back of their neck. You then strike with the knifehand low front "block".

Source for leftmost image: mannymelgoza

In the form you practice the upward palm block on the other side before striking, so you strike with the right knifehand. But if you are holding the opponent's head with your right hand, then you would strike with the left.

The second set is:

• Closed stance knifehand low front block
• Combination low side kick (pressing kick), middle side kick to the side, keeping both hands low

Source: Karate Culture

I'm going to steal Karate Culture's application for the low circling hands: catching the opponent's head and pushing it downwards, perhaps using the other hand to press on the small of their back. Although they use this from outside the opponent's arms, I don't see why it can't be used from inside as well. From this position, simply kick out the back of both opponent's legs (the double side kick).

Application for Kwang-Gae 12-14. The two side kicks are aimed at the back of the opponent's legs.

Although these two applications may seem obvious in retrospect, it took me a long time to find something I was satisfied with. To me this is evidence that even if a section of a pattern seems mysterious or confusing, don't dismiss it outright: there might be something you're missing.

Putting it all together

One way to interpret the first four sets of Kwang-Gae is as various follow-ups from the Heaven Hand defensive position. After blocking a swinging attack, strike their neck (hands splitting). From here you can attempt a headlock (opening move); a bent elbow crank (circular upset punch), or one of the two sets described above.

Sources: Practical Kata Bunkai, Darren Selley,  Catch Jutsu, mannymelgoza, karate culture 

So rather than being a disparate set of techniques, the first third of Kwang-Gae can be viewed as an analysis of the Heaven Hand as a defensive tool.

Read more Kwang-Gae applications here.

Sources

https://www.youtube.com/watch?v=tMmnvtQsDlI

https://youtu.be/R02QC58RExo
https://www.youtube.com/watch?v=BNCYvmXlnOU
https://www.youtube.com/watch?v=7oC8X2T0smo
https://www.youtube.com/watch?v=wiAJr2l5Txg