Tae Gi Sword Culture
A key tenant of Mr. Garland’s legacy rests on the principals of sword culture. The sword and other bladed instruments serve as extensions of Mr. Garland’s body. Mr. Garland’s dedication to Tae Gi sword techniques represents how his legacy pays respectable tribute to the ancient and more recent sword art practitioners in Korea and Japan particularly the Sam Rang who gave rise to the samurai. The Korean message captured on the plaque in his school demonstrate his years of dedication to swordsmanship with the literal translation of 100 times to learn and then 1000 times to practice.
For demonstration purposes, other swordsman instructors volunteer themselves and their loved ones to serve as beta test subjects for Mr. Garland’s feats with the sword and other bladed instruments. In 2014 demonstrations, Mr. Garland cut paper from a consenting participant’s stomach demonstrating his true mastery of specific sword and edged weapon cutting techniques. To learn more about Mr. Garland’s dedication to sword techniques please see the videos within the Training page.
Feet Placement and Movements within the Tae Gi Sword Technique of Sam Rang Do
Tae Gi Sam Rang Do sword art movements emphasize different cutting techniques all originating from the draw position. The draw initiate Sam Rang Do sword practitioner’s movements above a square and below a square always moving within a circle. Sam Rang Do sword practitioners do not begin drawing or cutting techniques from the position of the blade outside the saya or scabbard of the sword. Mr. Garland’s distinguished, unique drawing technique enhances the speed and accuracy of cutting while mirroring the identical motion of drawing a pistol from a holster or a knife from a sheath. The Sam Rang Do Tae Gi drawing and cutting techniques augment instinctual shooting. Mr. Garland translates the Tae Gi drawing and cutting into shooting style capabilities video. Illustrations of Mr. Garland’s drawing and cutting while shooting.
Tae Gi Leg Stances
Feet placement through proper stances predicate the beginning of all katas, or forms, for Sin Moo Sam Rang Do sword movements. Mr. Garland’s Tae Gi sword movements and techniques encapsulate the square, circle, and triangle. The Tae Gi sword movements
accomplished through feet and body placement align in the shapes of the square, circle, and triangle. Mr. Garland derives energy within the circle reminiscent in all of his feet movements beginning with properly placed stances.
This stance, the cornerstone for all sword movements, begins with front leg, the right leg, bent at the knee with weight forward and the back leg, the left leg straight making an “L” within the circle. Look at Mr. Garland’s feet placement of the sword stance as he begins this kata.
Practitioners slide into a front stance from the sword stance for the different draw, cuts, and strikes with the sword or other edged weapons. The left foot moves from a perpendicular orientation behind the right foot’s heal to the same directional alignment as the right foot facing towards the opposing individual. To accomplish this orientation directional shift, the sword practitioners shifts pressure to ball of the left foot pivoting from the heal of the left foot. Watch Mr. Garland’s fee stance changes in this video.
Tae Gi Feet Movements
Balance, efficiency, and purpose all within a circle above the square and below the square embody the movements within the Sam Rang Do Tae Gi sword art. Again, Tae Gi sword techniques and associated movements by Sin Moo Sam Rang Do practitioner’s primarily occur within a circle. Practitioners slide their feet across surfaces reducing friction between techniques and movements to accomplish distances rather than taking individual steps. Notice Mr. Garland’s feet movement here as he practices various Tae Gi sword katas.
Shifting Feet Placement
To generate additional momentum for draws, cuts, and strikes, a practitioner slides their front foot backward while simultaneously sliding their back foot forward in the circle in conjunction with the draw, cut, or strike movement. This alternating feet movement, switching feet, enhances the forward inertia of the practitioner’s upper body and creates elevated energy for the delivery arm for the draw, cut, or strike above the square and below the square all occurring within the circle.
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