If you look in Soo Bahk Do Moo Duk Kwan Volume 2 the following information is provided about Ji On:
Name of Form:
Ji-On
Origin of Name:
According to the “Sip Sam Se” (13 influences) “Ji” means development of technique and human mental character. “Om” means to build up physical conditioning and ability of sparring. Through the training of this form practitioners will enjoy the development of personal character as well as conditioning one’s body and technical abilities.
Name of Creator:
Unknown.
Date of Creation:
Approximately 300 years ago.
Place of Creation:
Yong Nam, China.
Total number of Movements:
There are 50 moves in Ji-On Hyung, excluding Jhoon Beh (ready Stance) at the beginning and Ba Ro (return) at the end of the form.
Characteristics of Form:
A combination of Kang (Hard) and Yu (Soft) characteristics.
Level of Form:
It is recommended that this form be introduced to 5th Dan practitioners who will be able to understand the hard and soft combinations of and balance of the according to the Um and Yang principles and philosophy.
Style of Form:
Southern style.
Name of Form:
Ji-On
Origin of Name:
According to the “Sip Sam Se” (13 influences) “Ji” means development of technique and human mental character. “Om” means to build up physical conditioning and ability of sparring. Through the training of this form practitioners will enjoy the development of personal character as well as conditioning one’s body and technical abilities.
Name of Creator:
Unknown.
Date of Creation:
Approximately 300 years ago.
Place of Creation:
Yong Nam, China.
Total number of Movements:
There are 50 moves in Ji-On Hyung, excluding Jhoon Beh (ready Stance) at the beginning and Ba Ro (return) at the end of the form.
Characteristics of Form:
A combination of Kang (Hard) and Yu (Soft) characteristics.
Level of Form:
It is recommended that this form be introduced to 5th Dan practitioners who will be able to understand the hard and soft combinations of and balance of the according to the Um and Yang principles and philosophy.
Style of Form:
Southern style.
A search of the internet brings up over 1 million pages for Ji-On and with the practice of this Hyung by many styles this essay will look at the philosophy of the Kang Yu Ryu, Um/Yang and Son of the Sip Seh in relation to this form and the animal.
About the Ram
We often equate the Ram with the domesticated sheep that we herd for meat or wool. However it is reasonable to assume that domesticated docile animals would not be selected as representative of a form developed to teach fighting skills to the military. In this portion the species of wild sheep in the area believed to be the origin of the Ji On is examined.
Examination of the breeds of wild sheep in the region and time that this form originated identifies one particular species that was present at the time of creation (over 300 years ago). This is the Argali (mountain sheep) Ovis ammon. It is the largest of the wild sheep in the world with the Rams (97-328kg – maximum reported as 356kg) out massing the ewes (43 to 100kg) by a significant margin. They stand at 85-135cm as measured at the shoulder. Colour of the animal is variable often dependent on geographical location that it is found. The main predator is wolves but also snow leopards, leopards, foxes and domestic dogs. Smaller predators may be chased off by the ewes but they often flee.
Rams typically fight for the right to mate using their large horns butting heads while on their hind legs to establish dominance.
Kang Yu Ryu
Kang Yu Ryu is hard soft style, so how is this presented in the Hyung and representative of the animal.
We are familiar with the concept of Neh Kang Weh Yu (inside hard, Outside Soft) and the way that applies to our training and our life skills. This concept is represented in Ji On moving from the active Weh Gung Motions to the more internal Neh Gung applications. This could be represented in the animal itself by the fact that it is a migratory animal known for covering distance quickly. Sheep are also known for being placid animals however with the right provocation will fight and defend itself in its own way.
Kang Yu Ryu is really the concept of changing from hard to soft and back again without hesitation. In the hyung this is represented by the Choon Beh at the beginning transitioning into an active strong start, instantly to move into a breathing motion. This switch between motions is characteristic throughout the hyung.
The concept of Kang Yu Ryu can be applied to our life by the way that we interact with others and preset ourselves to others. Having an approachable demeanour but then also the strength of conviction to make a tough decision. In relation to our martial arts we should be encouraging and supportive of our student members but the ability to ensure that the standards are maintained.
Effective action – in terms of physical abilities as an individual and Moo Duk Kwan Ko Dan Ja. Able to participate fully in the majority of our art, leading by example.
Effective communication – ability to communicate in a non confrontational manner while robustly advocating for our position in a discussion. Not only this but to understand the differences in how people communicate that is different to us.
Ki Bun, is a concept that is poorly understood in western circles but is of paramount importance when communicating with Korean people. The basic idea is to reciprocate the energy that the other brings to a discussion. Without knowing this then confusion occurs. The concept encourages full discussion but can leave those unaware in a position where they think that the other party to the conversation agrees with their position when this may not be the case.
Determination and perseverance an understated strength to continue until what is required is complete, these are the characteristics represented in this hyung.
Um/Yang
Complementary opposites or Polarities is discussed in the essay on Chil Sung Chil Ro Hyung. An example of this is the transition from one to other Male to female or Female to Male.
In the Hyung we move from Slow (internal) motions to Fast (external) motions. This is not the only manifestation of the Um/Yang philosophy on the Hyung, for example there are transitions between:
Sip Sam Seh
The Song of the Sip Sam Seh relates to the 13 influences (the 8 trigrams (4 propers and 4 corners) and the 5 elements = Sip Sam) and Posture (Seh). An analysis of the Sip Sam Seh itself is an extensive posture so here I will discuss some of the key points of the song itself and how they relate to the form Ji On.
Stillness in motion – “Stillness embodies motion, motion stillness. Seek stillness in motion.”
This sounds as though it is a contradiction, however even when remaining still (stable) there should be a perception of motion and while moving an appearance of staying still (stability).
Ji On example – Motions 35 to 38 performed in a single stance have an element of stillness in the sense that the legs remain in place (no stepping) but the arms are active, stillness in motion. The breathing motions 3, 8 and 34 although finishing and still have the feel of movement. These types of motions are present to develop skills in a practical sense as well as the shim gung aspects of our art.
Waist is mentioned several times - “Source of the will is the waist”, “at all times pay attention to the Waist”,
This relates to the fact that we should initiate motions from the action of the waist/hips and that the movement should be in the same direction of the desired technique. Circular for circular motions and linear for linear motions. If the two (Hu Ri and technique) do not match then the harmony of the bodies motion is impaired and power is lost.
Ji On example – the final two motions have a strong retraction of one arm and extension of the other. The rear hip needs to draw back and the front hip forward in a rotation that mimics the action of the hands.
Posture - “When the base of the spine is erect, energy rises to the top of the head”, “The body should be flexible. Hold the head as if suspended from a string.”
Posture should remain upright throughout the form. Correct Moo Do Ja Seh - Martial Posture – an upright posture is essential.
This reflects the proud bearing of the Argali (mountain sheep) namesake of the form.
Ki – “Let energy flow through the whole body continuously”, “Relaxed clear awareness of abdomen, the energy can be activated”, “When the base of the spine is erect, energy rises to the top of the head.”
The song of the thirteen influences is inclusive of the 5 elements and these energy types are expressed through breath and should be developed through practice of the hyung.
About the Ram
We often equate the Ram with the domesticated sheep that we herd for meat or wool. However it is reasonable to assume that domesticated docile animals would not be selected as representative of a form developed to teach fighting skills to the military. In this portion the species of wild sheep in the area believed to be the origin of the Ji On is examined.
Examination of the breeds of wild sheep in the region and time that this form originated identifies one particular species that was present at the time of creation (over 300 years ago). This is the Argali (mountain sheep) Ovis ammon. It is the largest of the wild sheep in the world with the Rams (97-328kg – maximum reported as 356kg) out massing the ewes (43 to 100kg) by a significant margin. They stand at 85-135cm as measured at the shoulder. Colour of the animal is variable often dependent on geographical location that it is found. The main predator is wolves but also snow leopards, leopards, foxes and domestic dogs. Smaller predators may be chased off by the ewes but they often flee.
Rams typically fight for the right to mate using their large horns butting heads while on their hind legs to establish dominance.
Kang Yu Ryu
Kang Yu Ryu is hard soft style, so how is this presented in the Hyung and representative of the animal.
We are familiar with the concept of Neh Kang Weh Yu (inside hard, Outside Soft) and the way that applies to our training and our life skills. This concept is represented in Ji On moving from the active Weh Gung Motions to the more internal Neh Gung applications. This could be represented in the animal itself by the fact that it is a migratory animal known for covering distance quickly. Sheep are also known for being placid animals however with the right provocation will fight and defend itself in its own way.
Kang Yu Ryu is really the concept of changing from hard to soft and back again without hesitation. In the hyung this is represented by the Choon Beh at the beginning transitioning into an active strong start, instantly to move into a breathing motion. This switch between motions is characteristic throughout the hyung.
The concept of Kang Yu Ryu can be applied to our life by the way that we interact with others and preset ourselves to others. Having an approachable demeanour but then also the strength of conviction to make a tough decision. In relation to our martial arts we should be encouraging and supportive of our student members but the ability to ensure that the standards are maintained.
Effective action – in terms of physical abilities as an individual and Moo Duk Kwan Ko Dan Ja. Able to participate fully in the majority of our art, leading by example.
Effective communication – ability to communicate in a non confrontational manner while robustly advocating for our position in a discussion. Not only this but to understand the differences in how people communicate that is different to us.
Ki Bun, is a concept that is poorly understood in western circles but is of paramount importance when communicating with Korean people. The basic idea is to reciprocate the energy that the other brings to a discussion. Without knowing this then confusion occurs. The concept encourages full discussion but can leave those unaware in a position where they think that the other party to the conversation agrees with their position when this may not be the case.
Determination and perseverance an understated strength to continue until what is required is complete, these are the characteristics represented in this hyung.
Um/Yang
Complementary opposites or Polarities is discussed in the essay on Chil Sung Chil Ro Hyung. An example of this is the transition from one to other Male to female or Female to Male.
In the Hyung we move from Slow (internal) motions to Fast (external) motions. This is not the only manifestation of the Um/Yang philosophy on the Hyung, for example there are transitions between:
- High and low motions
- Linear and circular motions
- Expansion and Contraction
- Tension and Relaxation
- Hard and Soft
Sip Sam Seh
The Song of the Sip Sam Seh relates to the 13 influences (the 8 trigrams (4 propers and 4 corners) and the 5 elements = Sip Sam) and Posture (Seh). An analysis of the Sip Sam Seh itself is an extensive posture so here I will discuss some of the key points of the song itself and how they relate to the form Ji On.
Stillness in motion – “Stillness embodies motion, motion stillness. Seek stillness in motion.”
This sounds as though it is a contradiction, however even when remaining still (stable) there should be a perception of motion and while moving an appearance of staying still (stability).
Ji On example – Motions 35 to 38 performed in a single stance have an element of stillness in the sense that the legs remain in place (no stepping) but the arms are active, stillness in motion. The breathing motions 3, 8 and 34 although finishing and still have the feel of movement. These types of motions are present to develop skills in a practical sense as well as the shim gung aspects of our art.
Waist is mentioned several times - “Source of the will is the waist”, “at all times pay attention to the Waist”,
This relates to the fact that we should initiate motions from the action of the waist/hips and that the movement should be in the same direction of the desired technique. Circular for circular motions and linear for linear motions. If the two (Hu Ri and technique) do not match then the harmony of the bodies motion is impaired and power is lost.
Ji On example – the final two motions have a strong retraction of one arm and extension of the other. The rear hip needs to draw back and the front hip forward in a rotation that mimics the action of the hands.
Posture - “When the base of the spine is erect, energy rises to the top of the head”, “The body should be flexible. Hold the head as if suspended from a string.”
Posture should remain upright throughout the form. Correct Moo Do Ja Seh - Martial Posture – an upright posture is essential.
This reflects the proud bearing of the Argali (mountain sheep) namesake of the form.
Ki – “Let energy flow through the whole body continuously”, “Relaxed clear awareness of abdomen, the energy can be activated”, “When the base of the spine is erect, energy rises to the top of the head.”
The song of the thirteen influences is inclusive of the 5 elements and these energy types are expressed through breath and should be developed through practice of the hyung.
Conclusion
The concept of Kang Yu Ryu is an apt description for the Ko Dan Level martial artist. We need an array of tools to become the best possible people that we can be. The goal of all traditional martial arts and specifically of the Moo Duk Kwan is to develop us as contributing members of society. To do this we need to develop all aspects of the individual including developing, a sound moral compass (lead by example), effective and varied communication strategies (learning how others communicate) and become formidable physical martial artists.
By developing in all three areas above we have a range of skills that we can use to better our society and train the future generations.
References
http://www.forestrynepal.org/images/publications/Ovis%20ammon%20hodgsoni_0.pdf Information about the Argali wild sheep.
http://www.tour-mongolia.com/travel/hunting-games-in-mongolia/
The concept of Kang Yu Ryu is an apt description for the Ko Dan Level martial artist. We need an array of tools to become the best possible people that we can be. The goal of all traditional martial arts and specifically of the Moo Duk Kwan is to develop us as contributing members of society. To do this we need to develop all aspects of the individual including developing, a sound moral compass (lead by example), effective and varied communication strategies (learning how others communicate) and become formidable physical martial artists.
By developing in all three areas above we have a range of skills that we can use to better our society and train the future generations.
References
http://www.forestrynepal.org/images/publications/Ovis%20ammon%20hodgsoni_0.pdf Information about the Argali wild sheep.
http://www.tour-mongolia.com/travel/hunting-games-in-mongolia/