Handbook - Taekwon Do

STUDENTS HANDBOOK
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SEVERN TAE KWON-DO PAGE 2
FOUNDATION OF TAE KWON-DO..................................................................................................................5 WHAT IS TAE KWON-DO .......................................................................................................................................5 THE TENETS OF TAE KWON-DO ......................................................................................................................6 BELT ORDER AND MEANINGS ...........................................................................................................................7 INTERNATIONAL TAE KWON-DO OATH ...................................................................................................7 TAE KWON-DO OATH ..............................................................................................................................................8 TIMES BETWEEN GRADINGS ...............................................................................................................................8 CONDUCT IN THE DOJANG..................................................................................................................................8 TEN POINTS TO BECOMING A GOOD STUDENT..................................................................................9 RULES OF THE DOJANG........................................................................................................................................10 YOUR TAE KWON-DO ASSOCIATION .......................................................................................................11 RULES AND REGULATIONS................................................................................................................................11 THE OFFICIALS OF THE TAGB..........................................................................................................................11 MAIN TARGET AREAS.............................................................................................................................................12 THE PHYSICS OF STRIKING...............................................................................................................................13 FLEXIBILITY...................................................................................................................................................................16 SAJO JIRUGI - NUMBER ONE.............................................................................................................................18 SAJO JIRUGI - NUMBER TWO ............................................................................................................................19 WHAT IS A PATTERN (TUL)? ..............................................................................................................................20 WHY DO WE PERFORM PATTERNS?............................................................................................................20 POINTS TO BE CONSIDERED WHEN PERFORMING PATTERNS .............................................20 WHY ARE THERE TWENTY FOUR PATTERNS?.....................................................................................21 THE MEANINGS OF PATTERNS .......................................................................................................................21 CHON-JI.............................................................................................................................................................22 DAN GUN ..........................................................................................................................................................23 DO SAN ..............................................................................................................................................................24 WON-HYO .......................................................................................................................................................25 YUL GOK ..........................................................................................................................................................26 JOON GUN .......................................................................................................................................................27 TOI GYE .............................................................................................................................................................28 HWA RANG .....................................................................................................................................................29 CHOONG MOO.............................................................................................................................................30 BLACK BELT PATTERNS - 1ST DAN .............................................................................................................31 GWANG-GAE .................................................................................................................................................31 PO-EUN ..............................................................................................................................................................34 GA-BAEK ..........................................................................................................................................................37 BLACK BELT PATTERNS - 2ND DAN ...........................................................................................................40 KO-DANG.........................................................................................................................................................40 EUI-AM ...............................................................................................................................................................43 CHOONG-JANG ...........................................................................................................................................46 BLACK BELT PATTERNS - 3RD DAN ............................................................................................................50 SAM-IL................................................................................................................................................................50 YOO-SIN ...........................................................................................................................................................52
CHOI-YONG ...................................................................................................................................................55 BLACK BELT PATTERNS - 4TH DAN ............................................................................................................57 YON-GE .............................................................................................................................................................57 UL-JI .....................................................................................................................................................................57 MOON-MOO ..................................................................................................................................................57 BLACK BELT PATTERNS - 5TH DAN ............................................................................................................58 SO-SAN ..............................................................................................................................................................58 SE-JONG............................................................................................................................................................58 TONG-IL ............................................................................................................................................................58 THREE STEP SPARRING (SAMBO MATSOKI).........................................................................................59 TWO STEP SPARRING (IBO MATSOKI) IN KOREAN ........................................................................60 TWO STEP SPARRING (IBO MATSOKI) IN ENGLISH........................................................................61 ONE STEP SPARRING (ILBO MATSOKI) ....................................................................................................62 THREE STEP SEMI-FREE SPARRING .............................................................................................................62 ONE FOR ONE SPARRING....................................................................................................................................62 FREE SPARRING ..........................................................................................................................................................62 TOURNAMENT FREE SPARRING.....................................................................................................................63 TAE KWON-DO TERMINOLOGY.....................................................................................................................64
FOUNDATION OF TAE KWON-DO THE FOUNDER OF TAE KWON-DO IS MAJOR GENERAL CHOI HONG HI 9th DAN Tae Kwon-do is a Korean martial art, which although having roots in the ancient orient, was developed as a modern art from the eight Kwans of Korea. Tae Kwon-Do was inaugurated on April 11th 1955 following extensive research and development by the founder. It was introduced into the United Kingdom by Master Rhee Ki Ha in 1967. The TAGB (Tae Kwon-Do Association Of Great Britain) was formed in 1983 and was the founder member of the British Tae Kwon-Do Council (BTC) on April 21st 1988. The BTC is recognised by the Sports Council. The TAGB is a member of Tae Kwon-do international, a world wide body with representation in every continent of the globe. TKD International was inaugurated on November 13th 1993. WHAT IS TAE KWON-DO It is a version of an ancient form of unarmed combat practised for many centuries in the Orient. Tae Kwon-Do became perfected in it's present form in Korea. Translated from Korean, 'Tae' literally means to jump, kick or smash with the foot. 'Kwon' means a fist - chiefly to punch or destroy with the hand or fist. 'Do' means art, way or method. Tae Kwon-Do indicates the techniques of unarmed combat for self-defence, involving the skilled application of punches, kicks, blocks, dodges and interception with the hand, arms and feet to the rapid destruction of the opponent.
To the Korean people Tae Kwon-Do is more than a mere use of skilled movements. It also implies a way of thinking and life, particularly in instilling a concept and spirit of strict self-imposed discipline and an ideal of noble moral re-armament. In these days of violence and intimidation, which seems to plague our modern societies, Tae Kwon-Do enables the weak to possess a fine weapon to defend himself or herself and defeat the opponent as well. When wrongly applied it can be a lethal weapon.
THE TENETS OF TAE KWON-DO COURTESY (Ye ui) - To be polite to ones' instructors, seniors and fellow students. Tae Kwon-Do students should attempt to practice the following elements of etiquette: To promote the spirit of mutual concessions. To be ashamed of one's vice contempting that of other's. To be polite to one another. To encourage the sense of justice. To distinguish the instructor from student and senior from junior. INTEGRITY (Yom chi) - To be honest with oneself. To be able to define right and wrong. In Tae Kwon-Do, the word integrity assumes a looser definition than the one usually presented in Weber's dictionary. One must be able to define right from wrong, and have the conscience, if wrong, to feel guilt. Listed are some examples where integrity is lacking: The instructor who misrepresents himself and his art by presenting improper techniques to his students because of lack of knowledge or apathy. The student who misrepresents himself by 'fixing' breaking materials before demonstrations. The instructor who camouflages bad techniques with luxurious training halls and false flattery to his students. The student who requests rank from an instructor, or attempts to purchase it. The student who gains rank for ego purposes or the feeling of power. The instructor that teaches and promotes his art for materialistic gains. PERSEVERANCE (In nae) - To achieve a goal, whether it is a higher grade or any technique, one must not stop trying; one must persevere. There is an old Oriental saying "Patience leads to virtue or merit. One can make a peaceful home by being patient for 100 times." Certainly, happiness and prosperity are most likely brought to the patient person. To achieve something, whether it is a higher degree or the perfection of a technique, one must set his goal then constantly persevere. Robert Bruce learned his lesson of perseverance and tenacity that finally enabled him to free Scotland in the fourteenth century. One of the most important secrets in becoming a leader of Tae Kwon-Do is to overcome every difficulty by perseverance. SELF CONTROL (Kuk gi) - To lose ones' temper when performing techniques against an opponent can be very dangerous and shows lack of self control. To be able to live, work and train within ones' capability shows good self control.
This tenet is extremely important inside the Dojang, whether conducting oneself in free sparring or in one's personal affairs. A loss of self control in free sparring can prove disastrous to both student and opponent. An inability to live and work within one's capability or sphere is also a lack of self control. INDOMITABLE SPIRIT (Baekjul boolgool) - To show courage; when you and your principles are pitted against overwhelming odds. "Here lie 300 who did their duty." A simple epitaph for one of the greatest acts of courage known to mankind. Although facing the superior forces of Xerxes, Leonidas and his 300 Spartans at Thermopla showed the World the meaning of indomitable spirit. It is shown when a courageous person and his principles are pitted against overwhelming odds. A serious student of Tae Kwon-Do will at all times deal with the belligerent without any fear of hesitation at all with indomitable spirit, regardless of whosoever and however many the number be.
BELT ORDER AND MEANINGS WHITE Signifies innocence, as that of the beginning student who has no previous knowledge of Tae Kwon-Do. YELLOW is being laid. GREEN Signifies Earth, from which a plant sprouts and takes root as Tae Kwon-Do foundation
Signifies the plant's growth as Tae Kwon-Do skills begin to develop.
BLUE Signifies the heaven towards which the plant matures into a towering tree as training in Tae Kwon-Do progresses. RED stay away. Signifies danger, cautioning the student to exercise control, and warning the opponent to
BLACK Opposite to white, therefore, signifying the maturity and proficiency in Tae Kwon-Do. Also indicates the wearer's imperviousness to darkness and fear.
INTERNATIONAL TAE KWON-DO OATH As a student of Tae Kwon-Do: I shall observe the tenets of Tae Kwon-Do I shall respect the instructor and seniors I shall never misuse Tae Kwon-Do I shall be a champion of freedom and justice I shall build a more peaceful world
TAE KWON-DO OATH As a student of Tae Kwon-Do I do solemnly pledge to abide by the rules and regulations of the Tae Kwon-Do Association, to strive always to be modest, courteous and respectful to all members, in particular my seniors, to put the art into use only for self defence or in defence of the weak and never to abuse my knowledge of the art. TIMES BETWEEN GRADINGS 10th Kup to 4th Kup - Three months each grade. 3rd Kup to 1st Dan - Six months each grade. 1st Dan to 2nd Dan - Two years. 2nd Dan to 3rd Dan - Three years. 3rd Dan to 4th Dan - Four years. 4th Dan to 5th Dan - Five years. 5th Dan to 6th Dan - Six years. CONDUCT IN THE DOJANG Every student must observe the following conduct in the Dojang in order to maintain an orderly and effective training hall. 1. Upon entering, bow to the national flags 2. Bow to the instructor at a proper distance 3. Exchange greetings between students 4. Bow to the instructor upon forming a line before training 5. Meditate for one minute, sitting crossed legged after training 6. Bow to the instructor upon forming a line prior to dismissal 7. Bow to the national flags before leaving the dojang
TEN POINTS TO BECOMING A GOOD STUDENT 1. Never tire of learning; a student must always be eager to learn and ask questions. A good student can learn anywhere, anytime. This is the secret of knowledge. 2. A good student must be willing to sacrifice for his art and his instructor. Many students feel that their training is a commodity bought with monthly fees, and are unwilling to take part in any demonstrations, teaching or work around the Dojang. An instructor can afford to lose this type of student. 3. Always set a good example to lower ranking students. It is only natural that they attempt to emulate their seniors. 4. 5. 6. Always be loyal and never criticise the instructor, Tae Kwon-Do or the teaching methods. If an instructor teaches a technique, practise it and attempt to utilize it. Remember that a students conduct outside the Dojang reflects on the art and the instructor.
7. If a student adopts a technique from another Dojang and the instructor disapproves of it, the student must discard it immediately, or train in the Dojang where it was learnt. 8. Never be disrespectful to the instructor. Although a student is allowed to disagree with the instructor, he must first follow the instruction, then discuss the matter later. 9. Always arrive before training is due to start, and ensure that you have a good attendance record. 10. Never break a trust.
RULES OF THE DOJANG No smoking inside the Dojang. No gum chewing. No jewellery may be worn during class. No shoes to be worn in the dojang at any time. Students should never leave class for a break, water or an early dismissal without permission. Never lose your temper in the Dojang - especially during sparring. Never lean on walls or lay spread out on the floor unless while exercising. Students must keep finger and toe nails clipped short and clean. Keep your uniform clean at all times. No horse-play, whistling or loud talking in the Dojang. No talking during class except to ask a question. Before asking a question raise your right hand to attract the instructor's attention. While in the Dojang, always address the instructor as 'Sir' or 'Mr' using the instructors surname. Students should behave in a disciplined manner while training. Bow to the flag before entering or leaving the Dojang. Respect all members of senior grade. While fixing your Dobuk or belt do not face your instructor. Any student who is late for class must get the instructor's permission and bow to the instructor before joining the class.
YOUR TAE KWON-DO ASSOCIATION There are over 400 schools in the Tae Kwon-Do association of Great Britain (TAGB). The TAGB is a founder member of the "British TKD Council" (BTC). The BTC is the only organisation recognised by the Sports Council as the governing body for TKD in the United Kingdom. RULES AND REGULATIONS 1. All students must complete and sign the relevant application forms prior to commencing training. 2. All students must be in possession of a TAGB membership and record card after their first four weeks of training. 3. Subscriptions to be paid in the first week of every month. Failure to do so will incur a penalty fee. 4. The build up of arrears is not accepted. 5. One month's prior notice must be given for adjustment of fees owing to holidays etc. 6. Any student not attending lessons and not paying fees for a continuous period of two months or more, shall pay a re-enrolment fee before being allowed to re-commence training. 7. No smoking, eating, drinking or wearing of jewellery, rings etc. in the dojang is permitted. 8. Whilst wearing a dobuk NO SMOKING is permitted regardless of the place. (Dojang, tournament, demonstration etc.) 9. When eating or drinking whilst wearing a dobuk your belt must be removed. 10. After the first grading a dobuk must be worn during training in the dojang, wearing tracksuits or outside clothes is not permitted, unless prior permission has been obtained from the instructor. 11. The most senior member present will commence training sessions promptly until the instructor arrives. 12. Misuse of the Art will result in disciplinary action. 13. Grading will depend on attendance and the instructors discretion as well as technical ability. 14. No student may officially change schools without completing a transfer form and obtaining prior permission from both instructors concerned. 15. All students should be in possession of a Students Handbook from the TAGB after their first grading. THE OFFICIALS OF THE TAGB CHAIRMAN: VICE CHAIRMAN: TREASURER: NATIONAL SECRETARY: LIASON OFFICER: NATIONAL COACH: Mr D. Oliver Mr M. Dew Mr R. Sergiew Mr D. Atkins Mr P. Donnelly Mr K. Walton
MAIN TARGET AREAS HIGH SECTION (NOPUNDE)
1 2 3
Eyes Philtrum Jaw (point)
4 5 6
Jaw (hinge) Side of neck Throat
7 8 9
Base of skull Bregma Temple
MIDDLE SECTION (KAUNDE)
10 11 12
Solar plexus Heart Kidneys
13 14 15
Spinal cord Stomach Armpit
16 17 18
Ribs Collar bone Between shoulder blades
LOW SECTION (NAJUNDE)
19 20
Groin Coccyx
21 22
Knee Shin
23 24
Instep Achilles tendon
THE PHYSICS OF STRIKING When you strike an object or person (either by punching or kicking) what exactly are the factors controlling how much force that strike will have ? The physics of this process are well understood and agree perfectly with the techniques used and recommended by martial art instructors in Tae-Kwon-Do and Karate. The basic technique is : 1) With the least possible muscle tension, accelerate the striking surface towards the target as quickly as possible. 2) Just before impact, tense all the muscles concerned with the body framework so that as the impact happens the body is as rigid as possible. How does this technique result in enough destructive force for a trained person to break pieces of ice the size of breeze blocks ? What is the difficult part of this technique that prevents even the strongest novice from performing the same feats ? Part of the answer to these questions lie in areas such as physical strength in the right muscles, confidence and the ability to use these attributes efficiently due to superior concentration and will. Questions on these aspects can only really be answered by an experienced martial artist and those answers will probably involve at least four years of hard training! The rest of the technique is down to physics and muscle control. Newton's Second Law : The rate of change of a body's velocity is proportional to the net force acting on it and takes place in the direction of that force. Force = Mass x Acceleration (Mass is the constant of proportionality) Newton's Third Law : Forces acting between bodies in contact are equal and opposite. (Newton's first law is really only a special case of his second law) With integration we can rewrite Newton 1 as :- F x dt = M x dv where : F is the average force applied during the time interval dt is the time interval M is the mass dv is the difference in velocity before and after the time interval When the fist (of mass M) collides with a target that cannot move away quickly (either because it is very heavy like a person or because people are supporting it with their bodies), that object must decelerate the fist from whatever velocity it had before it came into contact with the target (say V) to rest in a very short time (dt). To do this it must provide a force (F) which is equal to (M x V) / dt . If the target cannot provide this force, the fist will continue on until F x dt finally adds up to M x V some time later.
In the case of wooden boards this 'continuing on' simply bends them. If they have to bend too far however, the back surface (which is then under tension) will split and the board will break. In the case of person's body, this 'continuing on' will probably cause internal damage as organs are forced to move out of the path of the fist. If the target was a 40 ton block of steel however, it would have no problem providing the necessary stopping force instantly and by Newton 3 that force would have only the contact points on the fist to act on. This would probably result in damage to the fist. The three factors resulting in possibly damaging force being demanded from the target are therefore: 1) 2) Mass of the attacking object. Velocity (speed) of the attacking object on impact.
3) The amount of time the object takes to stop the attacking object from continuing. In most cases this can be measured as a distance before damage occurs. The basic technique of striking in terms of these factors will be explained using the example of a forward punch. At the moment of impact we want maximum mass and speed. To achieve the speed, we accelerate the fist from rest towards the target by applying a force F with the muscles. Newton 2 tells us that F = M x A so A = F / M. In other words, for a set force F (which we can only improve by getting stronger) we will get a larger acceleration (and thus impact speed) if the mass M is low. On impact though, as we have stated, we want the maximum possible mass for the target to have to decelerate. How can the mass of the striking object be changed from small (while the body accelerates it) to large (while the target decelerates it) ? If the fist, forearm, shoulder etc. were made from a solid material such as metal and welded together, the mass of the striking object would simply be the masses of each of these parts added together. If however, these parts of the body were only connected by string or wires, the mass of the striking object would be that of the fist alone. In reality, the body is connected by bones, joints and muscles which is a situation between the two extremes. When the muscles are tensed, the body acts more like one solid object. When the muscles are relaxed, the body acts more like separate parts. What happens in a correct punch is this : 1) The body is kept as relaxed and 'disconnected' as possible to keep the effective mass of the fist down while it is accelerated towards the target. 2) 'Just before impact' the whole frame is tensed to get as close as possible to the 'one solid unit' state with maximum effective mass and hopefully the same velocity of the striking surface. If the tension is applied to early, the effective mass of the fist rises early which reduces the acceleration and, thus, final speed on impact. If the tension arrives too late, the effective mass of the fist is low and it will have less effect. To achieve the most efficient timing, strength, tension and posture to exploit this
technique (which only lasts a fraction of a second) is not something that is learnt easily. Without the evidence of destruction demonstrations, the fact that it could be learnt at all would, I think, be in doubt. Some other strikes used in martial arts exploit the two other factors - speed and impact time - more than the 'strongest' attacks such as the side kick and forward punch which rely on the above technique very strongly. Extra speed on impact can be achieved in some cases by extending the limbs in rotation much like a sling-shot or golf swing. Other strikes exploit the very short time of impact caused by hitting with a part of the body which is very rigid such as the elbow or head. `THE PHYSICS OF STRIKING' Written by John Davies
FLEXIBILITY Skeletal muscle consists of many muscle fibers (cells) arranged in parallel bundles. Muscles can grow in length and diameter, have the ability to contract and if relaxed, are very elastic. When a muscle contracts, two kinds of protein (actin and myosin) in its cells slide along one another. As a muscle is stretched beyond its normal resting length, its force of contraction gradually drops to zero at 175% of resting length. Diminishing strength of contraction is caused by decreasing amount of overlap between actin and myosin. Cutting off the flow of blood to the muscle reduces elasticity. Flexibility improves with increased flow of blood in stretched muscles. Whole muscle is encased in a connective tissue sheath (epimisium), bundles and even single cells are also surrounded by the same tissue (perimisium and endomisium). Tension generated by muscle cells is transferred to the fibers of connective tissue. Tendons are cordlike extensions of this tissue. Collagen fibers, a major element of connective tissue, have great strength, no elasticity and cannot contract. These fibers are arranged in wavy bundles allowing motion until the slack of these bundles is taken up. Extension of a tendon beyond 4% of its length causes irreversible deformation. Improper use of isometric or eccentric tensions can put too much stress on collagen fibers damaging them and causing muscle soreness -a result of disintegration of collagen and release of hydroxyproline, one of its components, into the muscle. With age molecules of collagen change becoming more rigid and this is reflected in general body stiffness. Joint capsule is a connective tissue sleeve completely surrounding each movable joint. Immobilisation for a few weeks causes chemical changes in collagen fibers of the joint capsule that will restrict flexibility. Ligaments holding joints together are made primarily of collagen fibers. They have more elastic fibers, made of protein elastic, than do tendons. Stretching ligaments leads to loose-jointness and can be effectively applied only with children. In adults, age related increase in rigidity of collagen fibers makes any stretches aimed at elongating ligaments hazardous. When children stretch ballistically or statically, their muscles do not contract as strongly as adult's and ligaments can be stretched. If a ligament is stretched more than 6% of its normal length it will tear. There is no need to stretch ligaments to perform even the most spectacular Tae Kwon-Do kicks. Natural range of motion is sufficient. If stretching was started past the age when elongating ligaments was possible then difficulty can be encountered in touching the ground with the front of the thigh of the rear leg in a front split. This is not muscle but a ligament (lig. iliofemorale) running in front of the hip joint that is tightened by extension of the hip (posterior tilting of the pelvis or moving the thigh to the back while keeping the pelvis straight) that stops the thigh touching the ground. Flexing the hip (tilting the pelvis forwards or moving the thigh to the front) relaxes this ligament. To achieve a nice, flat split the hamstring of the front leg and the muscles of the lower back need to be stretched so that the pelvis can tilt forward while keeping the trunk upright. A person unable to perform a complete side split but who can bring one of the thighs into the position it would have in relation to the hip in a side split, or at least get it much closer to this position than when spreading both legs at the same time should be able to perform a proper side split because no muscles run from one leg to the other. A simple test is to stand next to a chair and to rest one leg on the back of the chair in side split position whilst the other leg stays on the floor. Only reflective contraction of the
muscles prevents a complete split with equal ease. Our reflexes are so arranged as to be useful in normal circumstances and when the legs slide sideways, tension of adductors and their synergists on both sides of the body is needed to maintain a good posture. In a side split not only do the legs spread sideways but the pelvis tilts forwards (push buttocks to the rear). In a side split with the feet pointing upwards, the pelvis is kept straight but the thighs rotate outwards. Alignment of the hips and thighs in both types of side split is the same. This split is not possible without either rotating the thighs outwards or tilting the pelvis forwards. This forward tilt (hip flexion) unwinds capsular ligaments of the hip, among them the pubofemoral ligament that resists excessive abduction. Spreading the legs without these additional movements twists and tightens ligaments of the hip and jams the thigh bones against the pelvis. Relieving tension of muscles around the joint increases its range of motion. This means that only muscular tension prevents a person from doing the splits. Muscular tension has two components: tension generated by the contractile elements (muscle fibers) and the tension, present even in an inactive, denervated muscle, exerted by the connective tissues associated with it. The nervous system regulates tension and thus length of muscles by influencing the contractile element. The cells whose nerve fibers conduct signals to the muscles are called motoneurons. Other neurons contact and influence motoneurons. When motoneurons of one set of muscles are stimulated, motoneurons of muscles opposing them are inhibited. This is called reciprocal inhibition. It allows a person to move. Muscles are usually long enough to allow for full range of motion in joints. It is nervous control of their tension that has to be reset for the muscles to show their full length. It is possible to use the inhibiting functions of the Golgi organs (located in the tendon at its junction with the muscle) by contracting a muscle before stretching it. This increases the amount of possible stretch. After reaching maximal stretch (maximal for the person at a given stage of training) tensing the muscle improves static strength in it. DYNAMIC STRETCHING: Moving parts of the body, gradually increasing reach and/or speed of movement. There should be no bouncing or jerky movements. STATIC ACTIVE STRETCHING: Moving the body into a stretch and holding it there by tension of muscles-agonists in this movement. Tension of these muscles helps to relax (reciprocal inhibition) muscles opposing them. STATIC PASSIVE STRETCHING: Relaxing your body into a stretch and holding it their by the weight of your body or by other external force. ISOMETRIC STRETCHING: Using positions similar to static passive stretching but adding strong tensions of the stretched muscles. Golgi organs are stimulated causing reflexive relaxations and subsequent increases of the stretch.
SAJO JIRUGI - NUMBER ONE Four Directional Punching: MOVEMENTS: - 15 READY POSITION: - Parallel ready stance
1. Move right foot forward towards A to form right walking stance, obverse mid section punch. 2. Bring right foot back to left then move right foot back to form left walking stance towards B, perform obverse low section outer forearm block. 3. Move right foot forwards towards B to form right walking stance, perform obverse mid section punch. 4. Bring right foot back to left then move right foot back to form left walking stance towards C, perform obverse low section outer forearm block. 5. Move right foot forwards towards C to form right walking stance, perform obverse mid section punch. 6. Bring right foot back to left then move right foot back to form left walking stance towards D, perform obverse low section outer forearm block. 7. Move right foot forward towards D to form right walking stance, perform obverse mid section punch. 8. Bring right foot forward to parallel ready stance towards A. 9. Move left foot forward towards A to form left walking stance, obverse mid section punch. 10. Bring left foot back to right then move left foot back to form right walking stance towards D, perform obverse low section outer forearm block. 11. Move left foot forwards towards D to form left walking stance, perform obverse mid section punch. 12. Bring left foot back to right then move left foot back to form right walking stance towards C, perform obverse low section outer forearm block. 13. Move left foot forwards towards C to form left walking stance, perform obverse mid section punch. 14. Bring left foot back to right then move left foot back to form right walking stance towards B, perform obverse low section outer forearm block. 15. Move left foot forward towards B to form left walking stance, perform obverse mid section punch. BRING LEFT FOOT BACK TO PARALLEL READY STANCE FACING A.
SAJO JIRUGI - NUMBER TWO Four Directional Punching: MOVEMENTS: - 15 READY POSITION: - Parallel ready stance
1. Move right foot forward towards A to form right walking stance, obverse mid section punch. 2. Bring right foot back to left then move right foot back to form left walking stance towards B, perform obverse mid section inner forearm block. 3. Move right foot forwards towards B to form right walking stance, perform obverse mid section punch. 4. Bring right foot back to left then move right foot back to form left walking stance towards C, perform obverse mid section inner forearm block. 5. Move right foot forwards towards C to form right walking stance, perform obverse mid section punch. 6. Bring right foot back to left then move right foot back to form left walking stance towards D, perform obverse mid section inner forearm block. 7. Move right foot forward towards D to form right walking stance, perform obverse mid section punch. 8. Bring right foot forward to parallel ready stance towards A. 9. Move left foot forward towards A to form left walking stance, obverse mid section punch. 10. Bring left foot back to right then move left foot back to form right walking stance towards D, perform obverse mid section inner forearm block. 11. Move left foot forwards towards D to form left walking stance, perform obverse mid section punch. 12. Bring left foot back to right then move left foot back to form right walking stance towards C, perform obverse mid section inner forearm block. 13. Move left foot forwards towards C to form left walking stance, perform obverse mid section punch. 14. Bring left foot back to right then move left foot back to form right walking stance towards B, perform obverse mid section inner forearm block. 15. Move left foot forward towards B to form left walking stance, perform obverse mid section punch. BRING LEFT FOOT BACK TO PARALLEL READY STANCE FACING A.
NOTE: Sajo Jirugi is the first exercise given to all Tae Kwon-Do students to help develop coordination, direction changing, and breathing control. IT IS NOT A PATTERN. WHAT IS A PATTERN (TUL)? A pattern is a set of fundamental movements, mainly defence and attack, set in a logical sequence to deal with one or more imaginary opponents. Patterns are an indication of a student's progress - a barometer in evaluating an individual's technique. WHY DO WE PERFORM PATTERNS? We practise patterns to improve our Tae Kwon-Do techniques, to develop sparring techniques, to improve flexibility of movement, master body-shifting, develop muscles, balance and breath control. They also enable us to acquire techniques which cannot be obtained from other forms of training. Tae Kwon-Do is an art. When first developed the only way to train was by performing patterns. POINTS TO BE CONSIDERED WHEN PERFORMING PATTERNS 1. Patterns should begin and end on the same spot. This will indicate the performers accuracy. Correct posture and facing must be maintained at all times. Muscles of the body should be tensed or relaxed at the proper critical moments in the exercise. The exercise should be performed in a rhythmic movement with the absence of stiffness. Each pattern should be accelerated or decelerated according to instructions. Each pattern should be perfected before moving to the next. Students should know the purpose of each movement. Students should perform each movement with realism.
2. 3.
4. 5. 6. 7. 8.
WHY ARE THERE TWENTY FOUR PATTERNS? The reason for twenty four patterns in Tae Kwon-Do is because the founder, Major General Choi Hong Hi, compared the life of a man with a day in the life of the earth and believed that some people should strive to bequeath a good spiritual legacy to coming generations and in doing so gain immortality. Therefore, if we can leave something behind for the welfare of mankind, maybe it will be the most important thing to happen in our lives, as the founder says: "Here I leave Tae Kwon-Do for mankind as a trace of a man of the late 20th Century. The twenty four patterns represent twenty four hours, one day or all of my life."
THE MEANINGS OF PATTERNS We learn the meanings of patterns to draw inspiration from the people in the pattern who have dedicated and sacrificed themselves for what they believe is right. They have applied one or more of the tenets of Tae Kwon-Do and have fought for their own ideals. We should learn to show the same dedication in doing what we feel is right. They also give us a brief description of the history of Korea.
CHON-JI NUMBER OF MOVEMENTS: - 19 READY POSITION: - Narani Chunbi Sogi Chon-Ji means literally the 'Heaven and Earth'. It is, in the orient interpreted as the creation of the world, or the beginning of human history. Therefore it is the initial pattern played by the beginner. This pattern consists of two similar parts - one to represent Heaven and the other the Earth. STEP 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 MOVE To left Fwd 180? turn Fwd L 90? Fwd 180? turn Fwd L 90? Fwd 180? turn Fwd L 90? Fwd 180? turn Fwd Fwd Bwd Bwd STANCE L Gunnan R Gunnan R Gunnan L Gunnan L Gunnan R Gunnan R Gunnan L Gunnan R Niunja R Gunnan L Niunja L Gunnan R Niunja R Gunnan L Niunja L Gunnan R Gunnan L Gunnan R Gunnan TECHNIQUE Najunde bakat palmok makgi Kaunde baro ap jirugi Najunde bakat palmok makgi Kaunde baro ap jirugi Najunde bakat palmok makgi Kaunde baro ap jirugi Najunde bakat palmok makgi Kaunde baro ap jirugi Kaunde an palmok makgi Kaunde baro ap jirugi Kaunde an palmok makgi Kaunde baro ap jirugi Kaunde an palmok makgi Kaunde baro ap jirugi Kaunde an palmok makgi Kaunde baro ap jirugi Kaunde baro ap jirugi Kaunde baro ap jirugi Kaunde baro ap jirugi
END: Bring left foot back to ready stance.
DAN GUN NUMBER OF MOVEMENTS: - 21 READY POSITION: - Narani Chunbi Sogi
Dan Gun is named after the Holy Dan Gun, the legendary founder of Korea in the year 2333 BC. STEP 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 MOVE To left Fwd 180? turn Fwd L 90? Fwd Fwd Fwd 270? turn Fwd 180? turn Fwd L 90? Fwd Fwd Fwd 270? turn Fwd 180? turn Fwd STANCE R Niunja R Gunnan L Niunja L Gunnan L Gunnan R Gunnan L Gunnan R Gunnan R Niunja R Gunnan L Niunja L Gunnan L Gunnan L Gunnan R Gunnan L Gunnan R Gunnan R Niunja R Gunnan L Niunja L Gunnan TECHNIQUE Kaunde sonkal daebi makgi Nopunde baro ap jirugi Kaunde sonkal daebi makgi Nopunde baro ap jirugi Najunde bakat palmok makgi Nopunde baro ap jirugi Nopunde baro ap jirugi Nopunde baro ap jirugi Sang palmok makgi Nopunde baro ap jirugi Sang palmok makgi Nopunde baro ap jirugi Najunde bakat palmok makgi Palmok chookyo makgi Palmok chookyo makgi Palmok chookyo makgi Palmok chookyo makgi Kaunde sonkal taerigi Nopunde baro ap jirugi Kaunde sonkal taerigi Nopunde baro ap jirugi
END: Bring left foot to ready position. NOTES: Moves 13 and 14 done in continuous motion.
DO SAN NUMBER OF MOVEMENTS: - 24 READY POSITION: - Narani Chunbi Sogi Do San is the pseudonym of the patriot Ahn Ch'ang-Ho (1876-1938) who devoted his life to furthering the education of Korea and it's independent movement. STEP 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 MOVE To left Spot turn L 90? Fwd 360? turn Fwd 270? turn Spot turn L ft 120? Fwd Land in R ft 60? Fwd Land in L ft 30? Fwd 270? turn 180? L-R STANCE L Gunnan L Gunnan R Gunnan R Gunnan R Niunja R Gunnan L Gunnan R Gunnan L Gunnan L Gunnan R Gunnan R Gunnan L Gunnan R Gunnan R Gunnan R Gunnan L Gunnan L Gunnan L Gunnan R Gunnan Annun Annun TECHNIQUE Nopunde bakat palmok makgi Kaunde bandae ap jirugi Nopunde bakat palmok makgi Kaunde bandae ap jirugi Kaunde sonkal daebi makgi Kaunde son sonkut tulgi Release (Japiyo Soltay) and Nopunde dung joomuk taerigi Nopunde dung joomuk taerigi Nopunde bakat palmok makgi Kaunde bandae ap jirugi Nopunde bakat palmok makgi Kaunde bandae ap jirugi Nopunde hechyo makgi Kaunde ap chabusigi Kaunde baro ap jirugi Kaunde bandae ap jirugi Nopunde hechyo makgi Kaunde ap chabusigi Kaunde baro ap jirugi Kaunde bandae ap jirugi Palmok chookyo makgi Palmok chookyo makgi Kaunde sonkal taerigi (wen) Kaunde sonkal taerigi (orun)
END: Bring right foot back to ready stance.
WON-HYO NUMBER OF MOVEMENTS: - 28 READY POSITION: - Moa chunbi sogi A Won-Hyo was the noted monk who introduced Buddhism in the Silla dynasty in the year 686 AD. STEP 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 MOVE L Slip fwd Bring l-r Slip fwd R to L Land in Fwd Fwd Fwd Turn 270? Slip fwd Bring l-r Slip fwd r-l & fwd Fwd Land in Land in R up to Turn 270? L to R STANCE R Niunja R Niunja R Gojong L Niunja L Niunja L Gojong R Guburyo R Niunja L Niunja R Niunja R Gunnan R Niunja R Niunja R Gojong L Niunja L Niunja L Gojong L Gunnan R Gunnan R Gunnan L Gunnan L Guburyo R Niunja L Niunja TECHNIQUE Sang palmok makgi Nopunde anuro sonkal taerigi Kaunde yop jirugi Sang palmok makgi Nopunde anuro sonkal taerigi Kaunde yop jirugi Palmok daebi makgi Kaunde yop cha jirugi Kaunde sonkal daebi makgi Kaunde sonkal daebi makgi Kaunde sonkal daebi makgi Kaunde son sonkut tulgi Sang palmok makgi Nopunde anuro sonkal taerigi Kaunde yop jirugi Sang palmok makgi Nopunde anuro sonkal taerigi Kaunde yop jirugi Dollymio makgi Najunde ap cha busigi Kaunde bandae ap jirugi Dollymio makgi Najunde ap cha busigi Kaunde bandae ap jirugi Palmok daebi makgi Kaunde yop cha jirugi Kaunde palmok daebi makgi Kaunde palmok daebi makgi
YUL GOK NUMBER OF MOVEMENTS: - 38 READY POSITION: - Narani chunbi sogi Yul Gok is the pseudonym of a great philosopher and scholar Yi I (1536 to 1584 AD) nicknamed the confucius of Korea. The 38 movements of the pattern refer to his birthplace on the 38? latitude and the diagram represents the scholar. STEP 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 MOVE To L L to R R 45? Fwd Land in L 90? Fwd Land in R 45? Fwd Fwd L to R Fwd Land in Spot turn Land in L 90? Fwd Spot turn Fwd L 90? Fwd Jump fwd Turn 270? Turn 180? STANCE Annun Annun Annun Annun Annun Annun R Gunnan L Gunnan L Gunnan L Gunnan R Gunnan R Gunnan R Gunnan R Gunnan R Gunnan L Gunnan L Gunnan L Gunnan R Gunnan R Guburyo L Gunnan L Guburyo R Gunnan R Niunja R Gunnan L Niunja L Gunnan L Gunnan L Gunnan R Gunnan R Gunnan Kyocha R Gunnan L Gunnan TECHNIQUE L hand focus jirugi Kaunde ap jirugi (R) Kaunde ap jirugi (L) R hand focus jirugi Kaunde ap jirugi (L) Kaunde ap jirugi (R) Nopunde an palmok makgi Najunde ap cha busigi Kaunde baro ap jirugi kaunde bandae ap jirugi Nopunde an palmok makgi Najunde ap cha busigi kaunde baro ap jirugi Kaunde bandae ap jirugi Nopunde golcho makgi Nopunde bandae golcho makgi Kaunde baro ap jirugi Nopunde golcho makgi Nopunde bandae golcho makgi Kaunde baro ap jirugi Kaunde baro ap jirugi Kaunde yop cha jirugi Kaunde ap palkup taerigi Kaunde yop cha jirugi Kaunde ap palkup taerigi Sang sonkal makgi Kaunde son sonkut tulgi Sang sonkal makgi Kaunde son sonkut tulgi Nopunde bakat palmok makgi Kaunde bandae ap jirugi Nopunde bakat palmok makgi Kaunde bandae ap jirugi Nopunde dung joomuk taerigi Nopunde doo palmok makgi Nopunde doo palmok makgi
END: Bring left foot back to ready stance. NOTE: Perform moves 2,3 and 5,6 in fast motion.
JOON GUN NUMBER OF MOVEMENTS: - 32 READY POSITION: - Moa chunbi sogi B Joon Gun is named after the patriot An Joong-Gun who assassinated Hiro Bumi Ito, the Japanese Governor-General of Korea, known as the man who played the leading part of the Korea-Japan merger. There are thirty two movements in this pattern to represent Mr. An's age when he was executed in the Lui-Shung prison (1910). STEP 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 MOVE L Fwd About turn Fwd L 90? Slip front Fwd Slip front Fwd Fwd Spot turn L 90? Slip front l-r mve r Slip R ft r-l fwd to Pull l ft Fwd Land in Pull r ft Fwd Land in Slip l ft Fwd Slip r ft l-r trn 90? R fwd r-l turn STANCE R Niunja L Dwit bal L Niunja R Dwit bal R Niunja L Gunnan L Niunja R Gunnan L Gunnan R Gunnan L Gunnan R Niunja L Gunnan L Gunnan L Niunja R Gunnan R Gunnan L Gunnan R Niunja R Gunnan L Niunja R Niunja L Gunnan L Niunja R Gunnan Moa R Gojong L Gojong TECHNIQUE Kaunde sonkal dung makgi Najunde ap cha busigi K.Ollyo son badak makgi Kaunde sonkal dung makgi Najunde ap cha busigi K.Ollyo son badak makgi Kaunde sonkal daebi makgi Wi palkup taerigi Kaunde sonkal daebi makgi Wi palkup taerigi Nopunde sang sewo jirugi Sang dwijibo jirugi Chookyo kyocha makgi Nopunde dung joomuk taerigi Release move Nopunde bandae ap jirugi Nopunde dung joomuk taerigi Release move Nopunde bandae ap jirugi Nopunde doo palmok makgi Kaunde yop jirugi Kaunde yop cha jirugi Nopunde doo palmok makgi Kaunde yop jirugi Kaunde yop cha jirugi Kaunde palmok daebi makgi Noollo makgi Kaunde palmok daebi makgi Noollo makgi Kaunde dollyo jirugi (slow) Digutja makgi Digutja makgi
END: Bring left foot back to ready stance. NOTE: Move 30 is a posture move and should be performed slowly.
TOI GYE NUMBER OF MOVEMENTS: - 37 READY POSITION: - Moa chunbi sogi B
Toi Gye is the pen name of the noted scholar Yi Hwang (16 AD) an authority on neo confucianism. The 37 movements of the pattern refer to his birthplace on the 37? latitude, the diagram represents the scholar. STEP 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 MOVE L Slip l ft L to R R Slip r ft R to L Fwd Fwd Land in L to R R 90? L 180? L 180? R 180? L 180? L 180? r-l & fwd Slip l ft Fwd Spot turn Fwd Land in Fwd Fwd Land in Bwd Fwd jmp Slip r ft Turn 270? Slip l ft L to R Slip r ft Reverse Reverse Move r ft STANCE R Niunja L Gunnan Moa L Niunja R Gunnan Moa L Gunnan L Gunnan R Gunnan R Gunnan Moa Annun Annun Annun Annun Annun Annun R Niunja L Gunnan R Niunja L Gunnan L Niunja R Gunnan R Niunja Kyocha R Gunnan R Niunja L Gunnan L Niunja R Gunnan L Gunnan R Gunnan Annun TECHNIQUE Kaunde an palmok makgi Naj. dwijibun son sonkut tulgi Naj. bak. pal. makgi & nop dung joomuk taerigi (slow) Kaunde an palmok makgi Naj. dwijibun son sonkut tulgi As move 3 (opposite hands) Najunde kyocha joomuk nollyo makgi Nopunde sang sewo jirugi Najunde ap cha busigi Kaunde baro ap jirugi Kaunde bandae ap jirugi Posture move (hands on hips) Orun san makgi Wen san makgi Wen san makgi Orun san makgi Wen san makgi Wen sang makgi Najunde doo palmok makgi Double hand grasp Ollyo moorup (pull down) Kaunde sonkal daebi makgi Naj. ap cha busigi (front leg) Nopunde sonkut tulgi Kaunde sonkal daebi makgi Naj. ap cha busigi (front leg) Nopunde sonkut tulgi Nopunde dung joomuk & naj bakat palmok makgi Najunde kyocha joomuk nollyo makgi Nopunde doo palmok makgi Najunde sonkal daebi makgi Dollimyo makgi Najunde sonkal daebi makgi Dollimyo makgi Dollimyo makgi Dollimyo makgi Orun kaunde ap jirugi
HWA RANG NUMBER OF MOVEMENTS: - 29 READY POSITION: - Moa chunbi sogi C
Hwa Rang is named after the Hwa Rang youth group which originated in the Silla Dynasty about 600 AD. This group eventually became the actual driving force for the unification of the three kingdoms of Korea. The 29 movements refer to the 29th infantry division where Tae Kwon-Do developed into maturity. STEP 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 MOVE Mve l ft l Pull r ft Slide both Pull r ft Mve fwd Trn l 90? Fwd Pull l ft fd Land in L leg fwd R leg fwd Turn 270? Step fwd Spot turn Using r ft Using l ft Land in L ft 90? Pull r ft Step fwd Step fwd Slip l ft Slide fwd Trn l 90? STANCE Annun Annun Annun L Niunja L Niunja Gojong Soojik L Gunnan L Gunnan R Gunnan L Soojik L Niunja L Gunnan R Gunnan R Niunja R Gunnan R Niunja R Niunja L Gunnan R Niunja L Niunja R Niunja L Gunnan R Niunja Moa TECHNIQUE Kaunde son badak miro makgi Kaunde orun ap jirugi Kaunde wen ap jirugi Sang palmok makgi Wen ollyo jirugi Kaunde orun yop jirugi Naeryo sonkal taerigi Kaunde baro ap jirugi Najunde bakat palmok makgi Kaunde baro ap jirugi (Grasp r fist with l hand) Kaunde yop cha jirugi Kaunde sonkal taerigi Kaunde baro ap jirugi Kaunde baro ap jirugi Kaunde sonkal daebi makgi Kaunde son sonkut tulgi Kaunde sonkal daebi makgi Nopunde dollyo chagi Nopunde dollyo chagi Kaunde sonkal daebi makgi Najunde bakat palmok makgi Kaunde baro ap jirugi Kaunde baro ap jirugi Kaunde baro ap jirugi Najunde kyocha joomuk nollyo makgi Orun yop palkup taerigi Orun kaunde an palmok & wen najunde bakat palmok makgi Change position of hands Kaunde sonkal daebi makgi
Moa L ft fwd R Niunja Pull l ft Mve 29 L Niunja Kaunde sonkal daebi makgi r opp END: Bring right foot back to ready stance. NOTES: Moves 2 & 3 in fast motion. Moves 26 and 27 in continuous motion.
CHOONG MOO NUMBER OF MOVEMENTS: - 30 READY POSITION: - Narani chunbi sogi
Choong moo was the given name to the great Admiral Yi Sun Sin of the Yi Dynasty. He was reputed to have invented the first armoured battleship (Kobukson) which was the precursor of the present day submarine in 1592 AD. The reason why this pattern ends up with a left hand attack is to symbolize his regrettable death having no chance to show his unrestrained potentiality checked by the forced reservation of his loyalty to the King. STEP 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 MOVE L ft to lft Fwd 180? l ft Fwd l ft 90? Trn 180? Use r ft Low. r ft turn 180? Jmp fwd r ft land Trn 270? mve l ft Slip l ft Use r knee Low. r-l trn 180? R ft fwd Low. r-l Trn 180? Use l ft Low. l-r mve r 90? Jmp turn Fwd Pull l ft Fwd 270? trn R ft fwd 180? trn Low. r ft Low. l ft Opp. dir. Fwd Spot turn STANCE R Niunja R Gunnan L Niunja L Gunnan R Niunja L Guburyo R Niunja L Niunja R Niunja L Gunnan L Niunja Gojong L Niunja L Gunnan R Niunja R Gunnan L Gunnan Annun L Niunja L Gunnan R Gunnan R Gunnan TECHNIQUE Sang sonkal makgi Nopunde ap sonkal taerigi & left backhand in frnt of forehead Kaunde sonkal daebi makgi Nopunde sonkut tulgi Kaunde sonkal daebi makgi Kaunde yop cha jirugi Kaunde sonkal daebi makgi Dwimyo yop cha jirugi Kaunde sonkal daebi makgi Najunde bakat palmok makgi Grab opponent head with hands Ollyo moorup chagi (pull hands) Nopunde ap sonkal dung taerigi (Bring l backhand under elbow) Nopunde dollyo chagi Kaunde dwitcha chagi Kaunde palmok daebi makgi Kaunde dollyo chagi Digutja makgi Kaunde sonkal daebi makgi Ban. naj. dwijibun sonkut tulgi Nopunde dung joomuk taerigi & Wen naj. bakat palmok magki Kaunde son sonkut tulgi Nopunde doo palmok makgi Kaunde ap bakat palmok makgi & Nop. yop dung joomuk taerigi Kaunde yop cha jirugi Kaunde yop cha jirugi Kaunde kyocha sonkal yop momchau makgi Ollyo sang sonbadak makgi Palmok chookyo makgi Kaunde bandae ap jirugi
END: Bring left foot back to ready stance.
BLACK BELT PATTERNS - 1ST DAN GWANG-GAE No. OF MOVEMENTS : 39 Gwang-gae is named after the famous Gwang-Gae T'o-Wang, the 19th King of the Koguryo Dynasty, who regained all the lost territories including the greater part of Manchuria. The diagram represents the expansion and recovery of lost territory. The 39 movements refer to his reign for 39 years. READY POSITION: Feet shoulder width apart, arms bent above and in front of head, form a triangle with thumb and first finger on both hands. Pull both hands quickly to the side describing a straight line and then bring them slowly to form a close ready stance B. 1. Bring the left foot to the right foot, forming a close ready stance B, at the same time bringing both hands in a circular motion. 2. Move the left foot to D, forming a left walking stance, at the same time executing an upset punch with the right fist. Perform in a slow motion. 3. Move the right foot to D, forming a right walking stance while executing an upset punch with the left fist. Perform in a slow motion. 4. Move the left foot to the side front of the right foot and then move the right foot to D, forming a right walking stance, at the same time executing a high hooking block with a right palm. Perform in a double stepping motion. 5. Move the right foot to C in a sliding motion, forming a right L-stance while executing a low knife hand guarding block. 6. Move the right foot to the side front of the left foot and then move the left foot to D, forming a left walking stance, at the same time executing a high hooking block with a left palm. Perform in a double stepping motion. 7. Move the left foot to C in a sliding motion, forming a left L-stance while executing a low knife hand guarding block. 8. Move the left foot to D forming a right rear foot stance while executing a high knife hand guarding block. 9. Move the right foot to D forming a left rear foot stance, at the same time executing a high knife hand guarding block. 10. Move the left foot to D and then turn counter-clockwise, pivoting with the left foot to form a left walking stance towards C, at the same time executing an upward block with a right palm. Perform in a slow motion. 11. Move the right foot to C, forming a right walking stance while executing an upward block with a left palm. Perform in a slow motion. 12. Bring both backhands in front of the abdomen in a circular motion, hitting the left palm with the right knife-hand, at the same time bringing the left foot to the right foot to form a close stance towards C. 13. Execute a pressing kick to E with the left foot keeping the position of hands as they were in 12. Perform in a double kick. 14. Execute a middle side piercing kick to E with the left foot. Perform in a double kick. 15. Lower the left foot to E forming a right L-stance, at the same time executing a high inward strike with a right knife hand and bring a left side fist in front of the right shoulder. 16. Execute a downward strike to E with a left side fist while forming a close stance towards C, pulling the left foot to the right foot. 17. Execute a pressing kick to F with the right foot keeping the position of hands as they were in 16. Perform in a double kick.
18. Execute a middle side piercing kick to F with the right foot. Perform in a double kick. 19. Lower the right foot to F, forming a left L-stance while executing a high inward strike with a left knife hand and bringing a right side fist in front of the left shoulder. 20. Execute a downward strike to F with a right side fist while forming a close stance towards C, pulling the right foot to the left foot. 21. Move the left foot to C forming a left low stance, at the same time executing a pressing block with a right palm. Perform in a slow motion. 22. Move the right foot to C forming a right low stance, at the same time executing a pressing block with a left palm. Perform in a slow motion. 23. Move the right foot to D in a stamping motion to form a sitting stance towards F while executing a high side strike with a right back fist. 24. Execute a middle block with a right double forearm while forming a right walking stance towards D, pivoting with the left foot. 25. Execute a low block with the left forearm while shifting to C, maintaining a right walking stance, keeping the position of the right hand as it was in 24. 26. Execute a high thrust to D with a right flat fingertip while forming a right low stance, slipping the right foot. Perform in a slow motion. 27. Move the left foot on line CD in a stamping motion to form a sitting stance towards F, while executing a high side strike with a left backfist. 28. Execute a middle block with a left double forearm while forming a left walking stance towards C, pivoting with the left foot. 29. Execute a low block with the right forearm while shifting to D, maintaining a left walking stance, keeping the position of the left hand as it was in 28. 30. Execute a high thrust to C with a left flat fingertip while forming a left low stance, slipping the left foot. Perform in a slow motion. 31. Move the right foot to C in a stamping motion, forming a right walking stance while executing a high vertical punch with a twin fist. 32. Move the left foot to A in a stamping motion, forming a left walking stance while executing an upset punch with a twin fist. 33. Execute a middle front snap kick to A with the right foot, keeping the position of the hands as they were in 32. 34. Lower the right foot to the left foot and then move the left foot to A to form a left L-stance towards B, at the same time executing a middle guarding block with a knife hand. 35. Move the left foot to B forming a left walking stance while executing a high punch with the left fist. 36. Move the right foot to B in a stamping motion, forming a right walking stance while executing an upset punch with a twin fist. 37. Execute a middle front snap kick to B with the left foot, keeping the position of the hands as they were in thirty-six. 38. Lower the left foot to the right foot and the move the right foot to B forming a right L-stance toward A, at the same time executing a middle guarding block with a knife hand. 39. Move the right foot to A forming a right walking stance while executing a high punch with the right fist. END: Bring the left foot back to a ready stance.
GWANG-GAE IN KOREAN STEP 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 MOVE L to R L fwd R fwd l-r r fwd R bck r-l l fwd L bck L fwd R fwd l fwd trn 180 R fwd L to R --lwr L L to R --lwr L R to L L fwd R fwd R bck Pvt on L -R fwd mve L ft Pvt on L -L fwd R fwd L ft lft -Trn 180 L fwd R fwd -Trn 180 R fwd STANCE Moa Chunbi B L Gunnan R Gunnan R Gunnan R Niunja L Gunnan L Niunja R Dwit Bal L Dwit Bal L Gunnan R Gunnan Moa --R Niunja Moa --L Niunja Moa L Nachuo R Nachuo Annun R Gunnan R Gunnan R Nachuo Annun L Gunnan L Gunnan L Nachuo R Gunnan L Gunnan -L Niunja L Gunnan R Gunnan -R Niunja R Gunnan TECHNIQUE ---Kaunde bandae dwijibo ap jirugi Kaunde bandae dwijibo ap jirugi Nopunde baro golcho makgi Najunde sonkal daebi makgi Nopunde baro golcho makgi Najunde sonkal daebi makgi Nopunde sonkal daebi makgi Nopunde sonkal daebi makgi Kaunde bandae sonbadak ollyo makgi Kaunde bandae sonbadak ollyo makgi Orun sonkal taerigi against left hand Najunde wen noollo chagi Kaunde wen yop cha jirugi Nopunde anuro sonkal taerigi Naeryo wen yop joomuk taerigi Najunde orun noollo chagi Kaunde orun yop cha jirugi Nopunde anuro sonkal taerigi Naeryo orun yop joomuk taerigi Orun noollo sonbadak makgi Wen noollo sonbadak makgi Nopunde orun dung joomuk taerigi Nopunde orun doo palmok makgi Najunde wen bakat palmok makgi Nopunde orun opun sonkut tulgi Nopunde wen dung joomuk taerigi Nopunde wen doo palmok makgi Najunde orun bakat palmok makgi Nopunde wen opun sonkut tulgi Nopunde sang sewo jirugi Sang dwijibo jirugi Kaunde orun ap cha busigi Kaunde sonkal daebi makgi Nopunde baro ap jirugi Sang dwijibo jirugi Kaunde wen ap cha busigi Kaunde sonkal daebi makgi Nopunde baro ap jirugi
END: Bring the left foot back to a ready stance.
PO-EUN No. OF MOVEMENTS : 36 Po-Eun is the pseudonym of a loyal subject Chong Mong-Chu (1400 AD) who was a famous poet and whose poem "I would not serve a second master though I might be crucified a hundred times" is known to every Korean. He was also a pioneer in the field of physics. The diagram represents his unerring loyalty to the King and country towards the end of the Koryo Dynasty. READY POSITION: Feet shoulder width apart, arms bent above and in front of head, form a triangle with thumb and first finger on both hands. 1. Move the left foot to B, forming a right L-stance while executing a middle guarding block with the forearm. 2. Pull the right foot to the left knee joint to form a left one-leg stance, at the same time lifting both fists while turning the face towards A. 3. Execute a pressing kick to A with the right foot, keeping the position of the hands as they were in 2. Perform 3 through 11 in a fast motion. 4. Lower the right foot to A to form a sitting stance, while executing a middle strike to A with a right knife hand. 5. Execute a turning punch with the left fist up to the right chest. 6. Execute a middle block with the right inner forearm, at the same time executing a pressing block with a left forefist. 7. Change the position of the hands. 8. Execute a middle wedging block with the inner forearm. 9. Thrust to C with the right back elbow, supporting the right forefist with the left palm keeping the face as it was in 8. 10. Execute a middle punch with the right fist, slipping the left palm up to the right elbow joint. 11. Thrust to C with the left back elbow, supporting the left forefist with the right palm keeping the face as it was in 10. 12. Execute a right horizontal punch. 13. Cross the left foot over the right foot forming a right X-stance, at the same time executing a low front block with the right outer forearm and bringing the left finger belly on the right under forearm. 14. Move the right foot to A, forming a left L-stance while executing a U-shape grasp. 15. Bring the left foot to the right foot forming a close stance towards D while thrusting to the sides with a double side elbow, turning the face towards B. Perform in a slow motion. 16. Move the left foot to B to form a sitting stance, while executing a high strike to C with a right back fist and a low block with the left forearm. 17. Cross the right foot over the left foot forming a left X-stance, while executing a low front block with the left outer forearm and bring the right finger belly to the left side fist. 18. Move the left foot to B to form a sitting stance, while executing a low guarding block to B with the reverse knife-hand. 19. Execute a middle guarding block with the forearm while forming a left L-stance towards A, pivoting with the left foot. 20. Pull the left foot to the right knee joint to form a right one-leg stance, at the same time lifting both fists while turning the face towards B. 21. Execute a pressing kick to B with the left foot, keeping the position of the hands as they were in 20.
Perform 21 through 29 in a fast motion. 22. Lower the left foot to B to form a sitting stance, while executing a middle strike to B with a left knife hand. 23. Execute a turning punch with the right fist up to the left chest. 24. Execute a middle block with the left inner forearm, at the same time executing a pressing block with a right forefist. 25. Change the position of the hands. 26. Execute a middle wedging block with the inner forearm. 27. Thrust to C with the left back elbow, supporting the left forefist with the right palm keeping the face as it was in 26. 28. Execute a middle punch with the left fist, slipping the right palm up to the left elbow joint. 29. Thrust to C with the right back elbow, supporting the right forefist with the left palm keeping the face as it was in 28. 30. Execute a left horizontal punch. 31. Cross the right foot over the left foot forming a left X-stance, at the same time executing a low front block with the left outer forearm and bringing the right finger belly on the left under forearm. 32. Move the left foot to B, forming a right L-stance while executing a U-shape grasp. 33. Bring the right foot to the left foot forming a close stance towards D while thrusting to the sides with a double side elbow, turning the face towards A. Perform in a slow motion. 34. Move the right foot to A to form a sitting stance, while executing a high strike to C with a left back fist and a low block with the right forearm. 35. Cross the left foot over the right foot forming a right X-stance, while executing a low front block with the right outer forearm and bring the left finger belly to the right side fist. 36. Move the right foot to A to form a sitting stance, while executing a low guarding block to A with the reverse knife-hand. END: Bring the left foot back to a ready stance.
PO-EUN IN KOREAN STEP 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 MOVE L ft lft pull R to L -lwr R --------L over R R ft rgt L to R L ft lft R over L L ft lft Pvt on L pull L to R -lwr L --------R over L L ft lft R to L R ft rgt STANCE R Niunja L Wae Bal -Annun Annun Annun Annun Annun Annun Annun Annun Annun R Kyocha L Niunja Moa Annun L Kyocha Annun L Niunja R Wae Bal -Annun Annun Annun Annun Annun Annun Annun Annun Annun L Kyocha R Niunja Moa Annun TECHNIQUE Kaunde palmok daebi makgi Lift both hands Najunde orun noollo chagi Kaunde orun sonkal taerigi Kaunde wen dollyo jirugi Kaunde orun an palmok makgi & Wen noollo ap joomuk makgi Kaunde wen an palmok makgi & Orun noollo ap joomuk makgi Kaunde hechyo makgi Kaunde orun dwit palkup taerigi Kaunde orun ap jirugi Kaunde wen dwit palkup taerigi Orun soopyong jirugi Najunde ap orun anuro bakat makgi Mondungi japki Jau palkup taerigi Nopunde orun dung joomuk taerigi & Najunde wen bakat palmok makgi Najunde ap wen anuro bakat makgi Najunde sonkal dung daebi makgi Kaunde palmok daebi makgi Lift both hands Najunde wen noollo chagi Kaunde wen sonkal taerigi Kaunde orun dollyo jirugi Kaunde wen an palmok makgi & Orun noollo ap joomuk makgi Kaunde orun an palmok makgi & Wen noollo ap joomuk makgi Kaunde hechyo makgi Kaunde wen dwit palkup taerigi Kaunde wen ap jirugi Kaunde orun dwit palkup taerigi Wen soopyong jirugi Najunde ap wen anuro bakat makgi Mondungi japki Jau palkup taerigi Nopunde wen dung joomuk taerigi & Najunde orun bakat palmok makgi Najunde ap orun anuro bakat makgi Najunde sonkal dung daebi makgi
35 L over R R Kyocha 36 R ft rgt Annun END: Bring the left foot back to a ready stance.
GA-BAEK No. OF MOVEMENTS : 44 Ge-Baek is named after Ge-Baek, a great General in the Baek Je Dynasty (660 AD). The diagram represents his severe and strict military discipline. READY POSITION: Narani chunbi sogi
1. Move the right foot to C forming a right L-stance, while executing a middle side block with an Xknife-hand. 2. Execute a low twisting kick to D with the right foot, keeping the position of the hands as they were in 1. 3. Lower the right foot to D forming a right walking stance, at the same time executing a middle punch with the right fist. Perform in a fast motion. 4. Execute a middle punch with the left fist. Perform in a fast motion. 5. Move the right foot to C forming a left walking stance, at the same time executing a rising block with the left forearm. 6. Execute a low block with the left forearm. Perform 5 and 6 in a continuous motion. 7. Execute a high block toward AD with a double arc-hand while looking through it. 8. Turn the face towards D while forming a right bending ready stance A. 9. Lower the left foot to AD to form a sitting stance towards AC, at the same time executing a scooping block with a left palm. 10. Execute a middle punch with the right fist. Perform 9 and 10 in a continuous motion. 11. Execute a front strike with a left backfist. 12. Move the right foot on line AB and then move the left foot to C forming a right L-stance, at the same time executing a middle guarding block with a knife-hand. 13. Execute a low front snap kick with the left foot, keeping the position of the hands as they were in 12. 14. Lower the left foot to C forming a left low stance, at the same time executing a high thrust with a left flat fingertip. 15. Execute a high thrust with a right flat fingertip. 16. Execute a middle side piercing kick to C with the right foot while pulling both hands in the opposite direction. 17. Lower the right foot to C forming a right L-stance towards D, at the same time executing a middle guarding block with the forearm. 18. Move the right foot to D turning counter-clockwise to form a right L-stance towards C, at the same time executing a middle guarding block with the forearm. 19. Move the left foot to D turning counter-clockwise to form a right L-stance toward D, at the same time executing a middle guarding block with a knife-hand. 20. Move the left foot on line CD to form a sitting stance toward A, while executing a right 9-shape block. 21. Move the right foot to D turning counter-clockwise to form a left walking stance toward C, while
executing a low block with a left knife-hand. 22. Execute a middle turning kick with the right foot and then lower it to C. Perform in a fast motion. 23. Execute a flying side piercing kick to C with the right foot. Perform in a fast motion. 24. Land to C, forming a right walking stance while executing a high vertical punch with a twin fist. 25. Execute a high block toward AC with a double arc-hand while looking through it. 26. Execute an upset punch with the left fist. 27. Move the right foot on line CD forming a left walking stance toward D while striking the left palm with the right front elbow. 28. Jump to D forming a right X-stance, at the same time executing a high block to D with a right double forearm. 29. Move the left foot to BC to form a sitting stance, toward BD, at the same time executing a scooping block with a right palm. 30. Execute a middle punch with the left fist. Perform 29 and 30 in a continuous motion. 31. Execute a front strike with a right backfist. 32. Move the left foot to C forming a left walking stance while executing a high front strike with a right reverse knife-hand. 33. Move the left foot to A about half a foot, at the same time executing a middle turning kick with the right foot. 34. Lower the right foot to C and then turn counter-clockwise to form a left walking stance toward D pivoting with the right foot, at the same time executing a high vertical punch with a twin fist. 35. Execute a middle punch with a right middle knuckle fist, bringing the left side fist in front of the right shoulder while forming a right L-stance, pulling the left foot, 36. Move the right foot to D to form a sitting stance toward B, at the same time executing a left 9-shape block. 37. Execute a low guarding block to C with a reverse knife-hand. 38. Execute a low guarding block to D with a knife-hand. Perform 37 and 38 in a continuous motion. 39. Move the left foot to D in a stamping motion to form a sitting stance toward A, while executing a W-shape block with the outer forearm. 40. Move the left foot to C in a stamping motion to form a sitting stance toward B, while executing a Wshape block with the outer forearm. 41. Move the right foot to C forming a right walking stance, at the same time executing a rising block with the right forearm. 42. Execute a middle punch with the left fist. 43. Move the right foot on line CD forming a left walking stance toward D, while executing a rising block with the left forearm. 44. Execute a middle punch with the right fist. END: Bring the right foot back to a ready stance.
GE-BAEK IN KOREAN STEP 1 2 3 4 5 6 7 8 9 10 11 12 MOVE R ft bck STANCE R Niunja TECHNIQUE Kaunde kyocha sonkal yop momchau makgi Najunde orun bituro chagi Kaunde baro ap jirugi Kaunde bandae ap jirugi Palmok chookyo makgi Najunde bakkat palmok makgi Nopunde doo bandalson makgi Kaunde palmok daebi makgi Wen sonbadak duro makgi Kaunde orun ap jirugi Wen ap dung joomuk taerigi Kaunde sonkal daebi makgi Najunde ap cha busigi Nopunde wen opun sonkut tulgi Nopunde orun opun sonkut tulgi Kaunde orun yop cha jirugi Kaunde palmok daebi makgi Kaunde palmok daebi makgi Kaunde sonkal daebi makgi Orun gutcha makgi Najunde wen bakaero sonkal makgi Kaunde orun dollyo chagi Twimyo orun yop cha jirugi Nopunde sang sewo jirugi Nopunde doo bandalson makgi Wen dwijibo jirugi Kaunde ap palkup taerigi Nopunde doo palmok makgi Orun sonbadak duro makgi Kaunde wen ap jirugi Orun ap dung joomuk taerigi Nopunde bandae sonkal dung taerigi Kaunde orun dollyo chagi Nopunde sang sewo jirugi Kaunde orun joongi joomuk taerigi Wen gutcha makgi Najunde sonkal dung daebi makgi Najunde sonkal daebi makgi Nopunde wen san makgi Nopunde wen san makgi Orun palmok chookyo makgi Kaunde bandae ap jirugi Wen palmok chookyo makgi Kaunde bandae ap jirugi
--Lwr R R Gunnan -R Gunnan R ft bck L Gunnan -L Gunnan -L Gunnan Lift L R Guburyo Lwr L Annun -Annun -Annun Mve R,L rgt, R Niunja then L fwds 13 --14 Lwr L L Nachuo 15 -L Nachuo 16 --17 Lwr R trn R Niunja 18 Trn R -180 R Niunja 19 Trn L -180 R Niunja 20 Mve L Annun 21 Mve R -270 L Gunnan 22 --23 Lwr R -24 Land R Gunnan 25 -R Gunnan 26 -R Gunnan 27 Trn L -180 L Gunnan 28 Jmp fwd R Kyocha 29 L ft lft Annun 30 -Annun 31 -Annun 32 Mve L L Gunnan 33 Mve L lft -34 Lwr R trn L Gunnan 35 Mve L R Niunja 36 Mve R fwd Annun 37 -Annun 38 -Annun 39 Mve L fwd Annun 40 Mve L 180 Annun 41 R ft fwd R Gunnan 42 -R Gunnan 43 Spot trn L Gunnan 44 -L Gunnan END: Bring the right foot back to a ready stance.
BLACK BELT PATTERNS - 2ND DAN
KO-DANG No. OF MOVEMENTS : 39 READY POSITION : Close ready stance C D B----------X----------A | | | | C
Diagram:
Ko-Dang is the pseudonym of the patriot Cho Man Sik who dedicated his life to the independence movement and education of his people. The 39 movements signify his times of imprisonment and his birthplace on the 39th parallel. 1. Move the right foot to AC to form a sitting stance, at the same time executing a middle pushing block with a left palm. 2. Execute a middle punch with the right fist. 3. Move the right foot on line CD, forming a right L-stance while executing a middle guarding block with the forearm. 4. Execute a low block with the right forearm and a middle side block with the left inner forearm. 5. Move the left foot to BC forming a sitting stance at the same time executing a middle pushing block with a right palm. 6. Execute a middle punch with the left fist. 7. Move the left foot on line CD, forming a left L-stance while executing a middle guarding block with the forearm. 8. Execute a low block with the left forearm and a middle side block with the right inner forearm. 9. Turn the face toward C forming a left bending ready stance B. 10. Execute a middle back piercing kick to C with the right foot. 11. Lower the right foot to C, forming a right L-stance toward D while executing a middle block with a left knife-hand. 12. Turn the face toward C forming a right bending ready stance B. 13. Execute a middle back piercing kick to C with the left foot. 14. Lower the left foot to C forming a left L-stance toward D, while executing a middle block with a right knife-hand. 15. Move the right foot to C forming a right L-stance while executing a downward thrust with a left straight elbow. 16. Move the left foot to C, forming a left L-stance while executing a downward thrust with a right straight elbow. 17. Move the left foot to D to form a left walking stance while executing a pressing block with a right palm. Perform in a slow motion. 18. Move the right foot to D, forming a right walking stance, at the same time changing the position of the hands. Perform in a slow motion. 19. Move the right foot to C forming a right L-stance, while executing a downward block with the left outer forearm.
20. Move the right foot to D to form a left L-stance, while executing a downward block with the right outer forearm. 21. Move the left foot to D, forming a right rear foot stance, at the same time executing an upward block with a left palm. 22. Move the right foot to D to form a left rear foot stance, at the same time executing an upward block with a right palm. 23. Move the right foot to C, forming a right rear foot stance, and then execute a middle front snap kick with the left foot, keeping the position of the hands as they were in 22. 24. Lower the left foot to D, forming a left walking stance while executing a high inward strike with both knife-hands. 25. Execute a rising block with a left knife-hand. Perform 24 and 25 in a continuous motion. 26. Execute a low guarding block with the knife-hand while forming a right L-stance, pulling the left foot. 27. Execute a downward punch with the right fist while forming a left walking stance, slipping the left foot. 28. Move the left foot to the side rear of the right foot and then slide to C, forming a right L-stance toward D while executing a middle guarding block with a knife-hand. 29. Jump to land on the same spot, forming a right L-stance while executing a middle guarding block with a knife-hand. 30. Jump to D to form a right X-stance, while executing a high side strike to D with a right back fist. 31. Move the left foot to C, forming a left walking stance, at the same time executing a high side block wth the left outer forearm. 32. Move the left foot on line CD, forming a right walking stance toward D while executing a high side block with the right outer forearm. 33. Move the left foot to D, forming a right L-stance, at the same time executing an upset punch with the right fist and bringing the left side fist in front of the right shoulder. 34. Execute a middle hooking kick to A with the right foot. 35. Lower the right foot to A, forming a left L-stance while executing a high cross cut with a right flat fingertip. 36. Bring the right foot to the left foot, and then execute a middle hooking kick to B with the left foot. 37. Lower the left foot to B, forming a right L-stance, at the same time executing a high cross cut with a left flat fingertip. 38. Bring the left foot to the right foot, and then move the right foot to A forming a left L-stance, at the same time executing a high guarding block with a knife-hand. 39. Bring the right foot to the left foot, and then move the left foot to B forming a right L-stance, at the same time executing a high guarding block with a knife-hand. End: Bring the left foot back to a ready stance.
KO-DANG IN KOREA STEP 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 MOVE R bck -----Mv R on line -----L bck -----Mv L on line -----Lift R -----Lwr R Lift L -----Lwr L R bck L bck L fwd R fwd R bck R fwd L fwd R fwd R bck Lwr L -----Pull L Slip L L bck slide R Jmp up Jmp fwd L trn 180 Spot trn L fwd -----Lwr R R to L Lwr L L to R, slde R R to L, slde L STANCE Annun Annun R Niunja R Niunja Annun Annun L Niunja L Niunja L Guburyo B -----R Niunja R Guburyo B -----L Niunja R Niunja L Niunja L Gunnan R Gunnan R Niunja L Niunja R Dwit Bal L Dwit Bal R Dwit Bal L Gunnan L Gunnan R Niunja L Gunnan R Niunja R Niunja R Kyocha L Gunnan R Gunnan R Niunja -----L Niunja -----R Niunja L Niunja R Niunja TECHNIQUE Kaunde wen sonbadak miro makki Kaunde orun ap jirugi Kaunde palmok daebi makki Najunde orun bakkat palmok makki & Kaunde wen an palmok makki Kaunde orun sonbadak miro makki Kaunde wen ap jirugi Kaunde palmok daebi makki Najunde wen bakkat palmok makki & Kaunde orun an palmok makki Look behind Kaunde orun dwit cha jirugi Kaunde wen bakuro sonkal makki Look behind Kaunde wen dwit cha jirugi Kaunde orun bakuro sonkal makki Wen naeryo son palkup tulgi Orun naeryo son palkup tulgi Orun nollyo sonbadak makki (slow) Wen nollyo sonbadak makki (slow) Wen naeryo bakkat palmok makki Orun naeryo bakkat palmok makki Wen sonbadak ollyo makki Orun sonbadak ollyo makki Kaunde wen ap cha busigi Nopunde sang anuro sonkal taerigi Wen sonkal chookyo makki Najunde sonkal daebi makki Orun naeryo bandae jirugi Kaunde sonkal daebi makki Kaunde sonkal daebi makki Nopunde orun yop dung joomuk taerigi Nopunde wen bakuro bakkat palmok makki Nopunde orun bakuro bakkat palmok makki Orun dwijibo jirugi (left fist to right shoulder) Kaunde orun golcho chagi Nopunde orun opun sonkut (cross cut) Kaunde wen golcho chagi Nopunde wen opun sonkut (cross cut) Nopunde sonkal daebi makki Nopunde sonkal daebi makki
END: Bring the left foot back to a ready stance
EUI-AM No. OF MOVEMENTS : 45 READY POSITION: Close Ready Stance D D | | X | | C
Diagram:
Eui-Am is the pseudonym of Son Byong Hi, leader of the Korean Independence movement on March 1st 1919. The 45 movements relate to his age when he changed the name of Dong Hak (Oriental Culture) to Chondo Kyo (Heavenly Way Religion) in 1905. The diagram represents his indomitable spirit displayed while dedicating himself to the prosperity of his nation. 1. Move the right foot to C, forming a left walking stance, while executing a low inward block with a right knife-hand. 2. Move the left foot to C, forming a right walking stance, while executing a high side block with the left outer forearm. 3. Execute a middle punch with the right fist. 4. Execute a low twisting kick to D with the left foot, keeping the position of the hands as they were in 3. 5. Lower the left foot to D, forming a left walking stance, at the same time executing a downward block with an X-fist. 6. Execute a rising block with a right knife-hand. Perform 5 and 6 in a continuous motion. 7. Jump to D, forming a right X-stance, while executing a high strike to D with a right back fist and bring the left finger belly to the right side fist. 8. Move the left foot to C, forming a right L-stance toward C, while executing a middle punch with the left fist. 9. Execute a middle reverse turning kick to AC with the right foot. 10. Lower the right foot to C in a stamping motion to form a sitting stance toward A, while executing a middle side strike with a right knife-hand. 11. Execute a middle side piercing kick to C with the left foot while turning clockwise, pulling both hands in the opposite direction. 12. Lower the left foot to C, forming a left walking stance, while executing a high crescent punch with the right fist. 13. Execute a middle turning punch with the left fist while forming a parallel stance toward C, pulling the right foot. Perform in a slow motion. 14. Move the left foot to D, forming a right walking stance, at the same time executing a low inward block with a left knife-hand. 15. Move the right foot to D, forming a left walking stance, while executing a high side block with the right outer forearm. 16. Execute a middle punch with the left fist. 17. Execute a low twisting kick to C with the right foot, keeping the position of the hands as they were in 16. 18. Lower the right foot to C, forming a right walking stance, at the same time executing a downward block with an X-fist.
19. Execute a rising block with a left knife-hand. Perform 18 and 19 in a continuous motion. 20. Jump to C, forming a left X-stance, while executing a high strike to C, with a left back fist and bringing the right finger belly to the left side fist. 21. Move the right foot to D, formin a left L-stance toward D, while executing a middle punch with the right fist. 22. Execute a middle reverse turning kick to AD with the left foot. 23. Lower the left foot to D in a stamping motion to form a sitting stance toward A, at the same time executing a middle side strike with a left knife-hand. 24. Execute a middle side piercing kick to D with the right foot while turning counter-clockwise, pulling both hands in the opposite direction. 25. Lower the right foot to D, forming a right walking stance, while executing a high crescent punch with the left fist. 26. Execute a middle turning punch with the right fist while forming a parallel stance toward D, pulling the left foot. Perform in a slow motion. 27. Move the right foot to D, forming a right walking stance, at the same time executing a middle wedging block with a knife-hand. 28. Execute a circular block with a left reverse knife-hand. 29. Execute a downward block with both palms while forming a left rear foot stance, pulling the right foot. 30. Execute a middle punch with the left fist while forming a left L-stance, slipping the right foot. 31. Execute a low inward block with a right reverse knife-hand while shifting to C, maintaining a left L-stance. 32. Move the left foot to D, forming a left walking stance, at the same time executing a middle wedging block with a knife-hand. 33. Execute a circular block with a right reverse knife-hand. 34. Execute a downward block with both palms while forming a right rear foot stance, pulling the left foot. 35. Execute a middle punch with the right fist while forming a right L-stance, slipping the left foot. 36. Execute a low inward block with a left reverse knife-hand while shifting to C, maintaining a right L-stance. 37. Execute a middle reverse turning kick to BD with the right foot. 38. Lower the right foot to D, forming a left rear foot stance, at the same time executing a middle guarding block with the forearm. 39. Execute a middle reverse turning kick to AD with the left foot. 40. Lower the left foot to D forming a right rear foot stance, at the same time executing a middle guarding block with the forearm. 41. Move the left foot to the side rear of the right foot and then the right foot to C, forming a right L-stance toward D, while executing a low block with a left knife-hand. 42. Execute a middle punch with the right fist while forming a left walking stance, slipping the right foot. 43. Move the left foot to C, forming a left L -stance, while executing a low block with a right knife-hand. 44. Execute a middle punch with the left fist while forming a right walking stance, slipping the left foot. 45. Execute a high punch with the right fist. End: Bring the right foot back to a ready stance.
EUI-AM IN KOREAN STEP MOVE STANCE TECHNIQUE 1 R bck L Gunnan Najunde orun anuro sonkal makki 2 L bck R Gunnan Nopunde wen bakkat bakuro palmok makki 3 -----R Gunnan Kaunde baro ap jirugi 4 ----------Najunde wen bituro chagi 5 Lwr L L Gunnan Kaunde kyocha joomuk naeryo makki 6 -----L Gunnan Orun sonkal chookyo makki 7 Jmp fwd R Kyocha Nopunde orun dung joomuk taerigi 8 Slide L R Niunja Kaunde wen ap jirugi 9 ----------Kaunde orun bandae dollyo chagi (to angle) 10 Lwr R Annun Kaunde orun bakuro yop sonkal taerigi (stamp) 11 ----------Kaunde wen yop cha jirugi (pull hands) 12 Lwr L L Gunnan Nopunde orun bandal jirugi 13 Pull R Narani Kaunde wen dollyo jirugi (slow) 14 L bck R Gunnan Najunde wen anuro sonkal makki 15 R bck L Gunnan Nopunde orun bakkat bakuro palmok makki 16 -----L Gunnan Kaunde baro ap jirugi 17 ----------Najunde orun bituro chagi 18 Lwr R R Gunnan Kaunde kyocha joomuk naeryo makki 19 -----R Gunnan Wen sonkal chookyo makki 20 Jmp fwd L Kyocha Nopunde wen dung joomuk taerigi 21 Slide R L Niunja Kaunde orun ap jirugi 22 ----------Kaunde wen bandae dollyo chagi (to angle) 23 Lwr L Annun Kaunde wen bakuro yop sonkal taerigi (stamp) 24 ----------Kaunde orun yop cha jirugi (pull hands) 25 Lwr R R Gunnan Nopunde wen bandal jirugi 26 Pull L Narani Kaunde orun dollyo jirugi (slow) 27 R fwd R Gunnan Kaunde sonkal hechyo makki 28 -----R Gunnan Wen dollimyo sonkal dung makki 29 Pull R L Dwit Bal Sang sonbadak naeryo makki 30 Slip R L Niunja Kaunde wen baro ap jirugi 31 Shift bck L Niunja Najunde anuro orun sonkal dung makki 32 L fwd L Gunnan Kaunde sonkal hechyo makki 33 -----L Gunnan Orun dollimyo sonkal dung makki 34 Pull L R Dwit Bal Sang sonbadak naeryo makki 35 Slip L R Niunja Kaunde orun baro ap jirugi 36 Shift bck R Niunja Najunde anuro wen sonkal dung makki 37 ----------Kaunde orun bandae dollyo chagi (to angle) 38 Lwr R L Dwit Bal Kaunde palmok daebi makki 39 ----------Kaunde wen bandae dollyo chagi (to angle) 40 Lwr L R Dwit Bal Kaunde palmok daebi makki 41 L bck R bck R Niunja Najunde wen bakuro sonkal makki 42 Slip R L Gunnan Kaunde bandae ap jirugi 43 L bck L Niunja Najunde orun bakuro sonkal makki 44 Slip L R Gunnan Kaunde bandae ap jirugi 45 -----R Gunnan Nopunde baro ap jirugi END: Bring the right foot back to a ready stance.
CHOONG-JANG No. OF MOVEMENTS : 52 READY POSITION : Close ready stance A D | | | B-------X-------A C
Diagram:
Choong-Jang is the pseudonym given to General Kim Duk Ryang who lived during the Yi dynasty, 15th century. This pattern ends with a left hand attack to symbolize the tragedy of his death at 27 in prison before he was able to reach full maturity. 1. Move the right foot to A to form a sitting stance, at the same time executing a high block to D with the right inner forearm and a low block to D with the left forearm. 2. Change the position of the hands. 3. Bring the right foot to the left foot forming a close stance toward D, at the same time bring the left fist in front of the right chest horizontally. Perform in a slow motion. 4. Move the left foot to D, forming a left walking stance while executing a high thrust with a right double finger. 5. Move the right foot to D, forming a right walking stance while executing a high thrust with a left double finger. 6. Execute a front strike with a right back fist. 7. Move the left foot to D. forming a left walking stance, at the same time executing a rising block with the left forearm. 8. Move the right foot to D, forming a right walking stance while executing a middle punch with the right fist. 9. Move the right foot to C, turning counter-clockwise; and then slide to C, forming a right L-stance toward D, at the same time executing a middle guarding block with the forearm. 10. Execute a low front snap kick with the right foot, keeping the position of the hands as they were in 9. 11. Lower the right foot to D, forming a right low stance, at the same time executing a high thrust with a right flat fingertip. 12. Execute a high turning kick to D with the right foot, supporting the body with both hands and the left knee. 13. Lower the right foot to D, and then execute a high punch with the right fist while pressing the ground with the left palm. 14. Move the left foot to D, forming a left L-stance toward C, at the same time thrusting to D with the left side elbow. 15. Move the left foot to C, turning clockwise to form a left L-stance, and execute a middle guarding block with the forearm. 16. Move the right foot to C forming a right L-stance, at the same time executing a scooping block with a left palm. 17. Move the left foot to C forming a left L-stance, at the same time executing a middle side strike with a right knife-hand. 18. Execute a pressing block with an X-fist while forming a left walking stance toward C, pivoting
with the right foot. 19. Execute a low front snap kick with the right knee, while pulling both hands in the opposite direction as if grabbing the opponent's leg. 20. Lower the right foot to C forming a right L-stance toward D, while executing a middle guarding block with a knife-hand. 21. Move the right foot to D in a sliding motion to form a right L-stance, while thrusting to D with the right side elbow. 22. Execute a middle guarding block with a knife-hand while forming a left L-stance toward D, pivoting with the left foot. 23. Execute a middle side piercing kick to D with the right foot, at the same time pulling both fists in the opposite direction. 24. Lower the right foot to D, forming a right rear foot stance, at the same time executing a pressing block with a twin palm. 25. Move the right foot to C, forming a right walking stance while executing a high front block with the right outer forearm and then a high side strike with a right back fist. 26. Execute a high thrust with a left flat fingertip while forming a right L-stance toward D, pivoting with the right foot. 27. Execute a low front snap kick with the right foot, at the same time bringing the right palm on the left back forearm. 28. Lower the right foot to D, forming a left walking stance, pivoting with the left foot at the same time bringing both fists slowly to the right hip. 29. Move the left foot on line CD in a stamping motion to form a right L-stance toward C, while executing a downward strike to C with the left backhand. 30. Punch the left palm with the right fist. 31. Move the right foot to C in a stamping motion to form a left L-stance while executing a downward strike to C with the right backhand. 32. Punch the right palm with the left fist. 33. Execute a middle side strike with a left knife-hand while forming a right L-stance toward D, pivoting with the right foot. Perform in a stamping motion. 34. Strike the left palm with the right straight elbow in front of the right chest while forming a left walking stance, slipping the left foot. 35. Move the right foot to D, forming a left L-stance, at the same time executing a middle side strike with a right knife-hand. Perform in a stamping motion. 36. Strike the right palm with the left straight elbow in front of the left chest, while forming a right walking stance, slipping the right foot. 37. Execute a low guarding b1ock with the reverse knife-hand while forming a right L-stance toward C, pivoting with the right foot. 38. Execute a right 9-shape block while forming a left walking stance, slipping the left foot. 39. Move the right foot to C, forming a left L-stance while executing a low guarding block with the reverse knife-hand. 40. Execute a left 9-shape block while forming a right walking stance, slipping the right foot. 41. Move the right foot to D, forming a left walking stance while executing a middle strike to the sides with both knife-hands. 42. Execute a high strike to C with a right arc-hand. 43. Execute a middle front snap kick with the right foot, keeping the position of the hands as they were in 42. 44. Lower the right foot to C, forming a right walking stance. at the same time executing a high strike to C with a left-arc hand. 45. Execute a middle front snap kick with the left foot, keeping the position of the hands as they were in 44.
46. Lower the left foot to C forming a left walking stance toward C, at the same time executing a middle punch with the right fist. Perform in a fast motion. 47. Execute a middle punch with the left fist. Perform in a fast motion. 48. Bring the right foot to the left foot forming a close stance toward C, at the same time bringing both fore-knuckle fists in a circular motion in front of the forehead. 49. Move the left foot to B, turning counter-clockwise to form a left walking stance while executing a low block with a left knife-hand. 50. Execute a high punch to B with a right open fist. 51. Move the left foot on line AB, forming a right walking stance toward A while executing a low block with a right knife-hand. 52. Execute a high punch to A with a left open fist. End: Bring the left foot back to a ready stance.
CHOONG-JANG IN KOREAN
STEP 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 MOVE R to rgt -----R to L L fwd R fwd -----L fwd R fwd Trn 360 cc -----Lwr R Drop dwn Lwr R L ft Trn 180 L ft Trn 180 R bck L bck Pvt R Lift R Lwr R 180 Slide R 180 Pvt L -----Lwr R 180 R fwd Pvt R 180 -----Lwr R 180 Stamp L fwd -----Stamp R fwd -----Pvt R 180 Slip L R fwd Slip R Pvt R 180 Slip L R fwd Slip R R bck ----------Lwr R -----Lwr L -----R to L L 270 cc -----Spot turn -----STANCE Annun Annun Moa L Gunnan R Gunnan R Gunnan L Gunnan R Gunnan R Niunja -----R Nachuo ----------L Niunja L Niunja R Niunja L Niunja L Gunnan -----R Niunja R Niunja L Niunja -----R Dwit bal R Gunnan R Niunja -----L Gunnan R Niunja R Niunja L Niunja L Niunja R Niunja L Gunnan L Niunja R Gunnan R Niunja L Gunnan L Niunja R Gunnan L Gunnan L Gunnan -----R Gunnan -----L Gunnan L Gunnan Moa L Gunnan L Gunnan R Gunnan R Gunnan TECHNIQUE Orun Nopunde An palmok makki & Wen najunde bakkat palmok makki Change the position of the hands Bring left fist in front of right chest horizontally Nopunde orun doo sankarak tulgi Nopunde wen doo sankarak tulgi Nopunde orun ap dung joomuk taerigi Wen palmok chookyo makki Kaunde baro ap jirugi Kaunde palmok daebi makki Najunde ap cha busigi Nopunde orun opun sonkut tulgi Nopunde orun dollyo chagi Nopunde orun ap jirugi & press ground with left palm Wen yop palkup tulgi Kaunde palmok daebi makki Wen sonbadak duro makki Kaunde orun yop sonkal taerigi Kyocha joomuk nollyo makki Najunde mooreup cha busigi Kaunde sonkal daebi makki Orun yop palkup tulgi Kaunde sonkal daebi makki Kaunde orun yop cha jirugi Sang sonbadak nollyo makki Nopunde orun anuro bakkat palmok makki then nopunde orun yop dung joomuk taerigi Nopunde wen opun sonkut tulgi Naj. orun ap cha busigi, bring R palm on L back forearm Both fists slowly to right hip Wen naeryo sondung taerigi Kaunde baro ap jirugi (strike left palm) Orun naeryo sondung taerigi Kaunde baro ap jirugi (strike right palm) Kaunde yop wen sonkal taerigi (stamp) Orun ap son palkup taerigi (strike left palm) Kaunde yop orun sonkal taerigi (stamp) Wen ap son palkup taerigi (strike right palm) Najunde sonkal dung daebi makki Orun gutcha makki Najunde sonkal dung daebi makki Wen gutcha makki Kaunde doo yop sonkal taerigi Nopunde orun bandalson taerigi Kaunde orun ap cha busigi (keep hands as 42) Nopunde wen bandalson taerigi Kaunde wen ap cha busigi (keep hands as 44) Kaunde bandae ap jirugi (fast motion) Kaunde baro ap jirugi (fast motion) Doo Inji joomuk taerigi Najunde wen sonkal makki Nopunde orun pyon joomuk taerigi Najunde orun sonkal makki Nopunde wen pyon joomuk taerigi
END: Bring the left foot back to a ready stance.
BLACK BELT PATTERNS - 3RD DAN SAM-IL No. OF MOVEMENTS : 33 READY POSITION : Close ready stance C D Diagram: | | B------X------A | | C Sam-Il denotes the historical date of the independence movement of Korea which began throughout the country on March 1st 1919. The 33 movements in the pattern stand for the 33 patriots who planned the movement. 1. Slide to D forming a right L-stance at the same time executing a middle guarding block with the forearm. 2. Move the right foot to D, forming a right walking stance while executing a high block with a right double forearm. 3. Move the left foot to D, forming a left walking stance, at the same time executing a high side block vith a right knife-hand and bringing the left palm on the right back forearm. 4. Execute a middle twisting kick to A with the right foot, keeping the position of the hands as they were in 3. 5. Lower the right foot to D, forming a right walking stance while executing a middle punch with the right fist. 6. Move the right foot on line CD to form a sitting stance toward B, while executing a middle wedging block with the reverse knife-hand. 7. Execute a low thrust with a right upset fingertip while forming a left walking stance toward C, pivoting with the right foot. 8. Execute a high block to D with the right outer forearm and a low block with the left forearm while forming a right L-stance, pulling the left foot. 9. Move the right foot to C to form a sitting stance toward A while executing a middle wedging block with the reverse knife-hand. 10. Execute a low punch with both fists while forming a left L-stance toward C, pulling the right foot. 11. Move the left foot to C forming a left walking stance, at the same time executing a high block toward BC with a double arc-hand. 12. Move the right foot to C, forming a right walking stance while executing a middle punch with the left fist. 13. Move the right foot on line CD to form a right L-stance toward D while executing a low punch with both fists. 14. Move the left foot to B forming a right L-stance while executing a high guarding block with the reverse knife-hand. 15. Execute a U-shape block while forming a fixed stance, slipping the left foot. 16. Execute a sweeping kick with the right foot and then lower it to B, forming a fixed stance while executing a U-shape block.
17. Jump and turn around counter-clockwise, landing on the same spot to form a left L-stance toward B while executing a middle guarding block with a knife-hand. 18. Execute a middle side piercing kick to B with the right foot. 19. Lower the right foot to the left foot and then move the left foot to A, forming a left walking stance while striking the left palm with the right front elbow. 20. Move the right foot to A, turning counter-clockwise to form a left diagonal stance toward D, at the same time thrusting to C with the left back elbow, supporting the left forefist with the right palm turning the face to C. 21. Execute a pressing block with an X-fist, while forming a right walking stance toward A. 22. Move the left foot to A in a stamping motion to form a sitting stance toward C, while executing a W-shape block with the outer forearm. 23. Execute a middle side piercing kick to A with the left foot. 24. Lower the left foot to A, forming a left L-stance toward B while executing a low guarding block with the knife-hand. 25. Move the left foot to B, forming a right rear foot stance, at the same time executing an upward block with a left palm. 26. Move the right foot to B, forming a left rear foot stance, at the same time executing a pressing block with a twin palm. 27. Move the left foot to C in a stamping motion, forming a left walking stance while executing an upset punch with a twin fist. 28. Move the right foot to C, forming a left L-stance, at the same time executing a low block with the right forearm, pulling the left fist under the left armpit. 29. Execute a middle punch with the left fist, at the same time bringing the right fist over the left shoulder. 30. Execute a middle front block with the right forearm while forming a left walking stance toward D, pivoting with the right foot. 31. Execute a high punch with the left fist. Perform 30 and 31 in a continuous motion. 32. Execute a low front snap kick with the left foot, keeping the position of the hands as they were in 31. 33. Lower the left foot to D and then move the right foot to D in a stamping motion, forming a right walking stance, at the same time executing a high vertical punch with a twin fist. End: bring the left foot back to a ready stance.
YOO-SIN No. OF MOVEMENTS : 68 READY POSITION : Left fingers on right fist by right hip D F-----------------------E /|\ | | \|/ B----------C----------A
Diagram:
Yoo-Sin is named after General Kim Yoo Sin, Commanding General during the Silla Dynasty, who unified the three separate kingdoms of Korea. The 68 movements refer to the last two figures of 668 AD the year Korea was united. 1 . Move the left foot to B to form a sitting stance, while extending both elbows to the sides horizontally. 2. Thrust to C with the right back elbow, at the same time executing a high punch to C with the left fist while sliding to A, maintaining a sitting stance. Perform in a fast motion. 3. Slide to B, maintaining a sitting stance, at the same time changing the position of the hands. Perform in a fast motion. 4. Execute a middle hooking block to D with a right palm while standing up. 5. Execute a middle punch with the left fist while forming a sitting stance. Perform 4 and 5 in a continuous motion. 6. Execute a middle hooking block to D with a left palm while standing up. 7. Execute a middle punch with the right fist while forming a sitting stance. Perform 6 and 7 in a continuous motion. 8. Move the left foot to BD forming a left walking stance, at the same time executing a high side block with the left outer forearm. 9. Execute a circular block with the right inner forearm. 10. Execute a scooping block with a left palm while forming a sitting stance toward AD. 11. Execute a middle punch with the right fist. Perform 10 and 11 in a continuous motion. 12. Bring the left foot to the right foot and then move the right foot to AD to form a right walking stance, at the same time executing a high side block with the right outer forearm. 13. Execute a circular block with the left inner forearm. 14. Execute a scooping block with a right palm while forming a sitting stance toward BD. 15. Execute a middle punch with the left fist. Perform 14 and 15 in a continuous motion. 16. Execute a high hooking block to B with a right palm while forming a left walking stance toward BC. 17. Execute a middle punch with the left fist while forming a sitting stance toward BD. 18. Execute a high hooking block to BD with a left palm while forming a right walking stance toward AD. 19. Execute a middle punch with the right fist, while forming a sitting stance toward BD, Perform 16, 17, 18 and 19 in a continuous motion. 20. Move the right foot to C, forming a left walking stance, at the same time executing a pressing block with an X-fist.
21. Execute a rising block with an X knife-hand. Perform 20 and 21 in a continuous motion. 22. Execute a middle punch with the right fist, while slipping the left palm up to the right elbow joint. 23. Execute a low front snap kick with the right foot, keeping the position of the hands as they were in 22. 24. Lower the right foot to D, forming a right walking stance, at the same time executing a middle punch with the left fist. 25. Execute a pressing block with an X-fist. 26. Execute a rising block with an X-knife-hand. Perform 25 and 26 in a continuous motion. 27. Execute a middle punch with the left fist, while slipping the right palm up to the left elbow joint. 28. Execute a low front snap kick with the left foot, keeping the position of the hands as they were in 27. 29. Lower the left foot to D, forming a left walking stance, at the same time executing a middle punch with the right fist. 30. Move the right foot to D, forming a left L-stance, while executing a middle guarding block with a knife-hand. 31. Move the left foot to D, forming a right L-stance, at the same time executing a middle guarding block with a knife-hand. 32. Move the left foot to C, forming a left L-stance, while executing a middle guarding block with a knife-hand. 33. Move the right foot to C, forming a right L-stance, at the same time executing a middle guarding block with a knife-hand. 34. Move the right foot to D, forming a right walking stance, at the same time executing a high block with a right double forearm. Perform in a fast motion. 35. Execute a low block with the left forearm, keeping the right forearm as it was in 34. Perform in a fast motion. 36. Move the left foot to D, forming a left walking stance, while executing a high block with a left double forearm. Perform in a fast motion. 37. Execute a low block with the right forearm, keeping the left forearm as it was in 36. Perform in a fast motion. 38. Move the right foot to D, forming a right walking stance, while executing a middle punch with the right fist. 39. Move the left foot on line CD and then turn counter clock wise to form a right L-stance toward C while executing a high block to C with a left reverse knife-hand. 40. Bring the right foot to the left foot to form a close ready stance C toward C. 41. Move the right foot to CF in a stamping motion, forming a right walking stance, while executing an upset punch with a twin fist. 42. Bring the right foot to the left foot and then move the left foot to CE in a stamping motion, forming a left walking stance, at the same time executing an upset punch with a twin fist. 43. Bring the left foot to the right foot and then move the right foot to F to form a left L-stance, at the same time executing a middle block with the right inner forearm. 44. Execute a middle punch with the left fist. 45. Bring the left foot to the right foot to form a close stance toward C, at the same time bringing the right fist in front of the left chest. Perform in a slow motion. 46. Move the left foot to E forming a right L-stance, at the same time executing a middle block with the left inner forearm. 47. Execute a middle punch with the right fist. 48. Bring the right foot to the left foot forming a close stance toward C, at the same time bringing
the left fist in front of the right chest. Perform in a slow motion. 49. Move the left foot to E forming a fixed stance, at the same time executing a U-shape punch. 50. Bring the left foot to the right foot and then move the right foot to E, while forming a fixed stance, at the same time executing a U-shape punch. 51. Move the right foot on line CD in a stamping motion to form a sitting stance toward E, while executing a front strike with a right back fist. 52. Execute a waving kick with the right foot and then a middle block to C with the right outer forearm, keeping the left hand as it was in 51. 53. Execute a waving kick with the left foot and then a middle block to D with the right outer forearm, keeping the left hand as it was in 52. 54. Execute a middle strike to C with the right backhand. 55. Execute a crescent kick to the right palm with the left foot. Perform in a double kick. 56. Execute a middle side piercing kick to C with the left foot. Perform in a double kick. 57. Lower the left foot to C to form a sitting stance toward B while executing a middle strike to C with the left backhand. 58. Execute a crescent kick to the left palm with the right foot. Perform in a double kick. 59. Execute a middle side piercing kick to C with the right foot. Perform in a double kick. 60. Lower the right foot to C to form a sitting stance toward A, at the same time executing a right 9-shape block. 61. Change the position of the hands. 62. Move the left foot to C, turning clockwise to form a sitting stance toward B, while executing a right 9-shape block. 63. Change the position of the hands. 64. Execute a downward strike to D with a right side fist, forming a left vertical stance, pulling the left foot. 65. Move the right foot to A forming a left walking stance, while executing a high vertical punch with a twin fist. 66. Move the right foot to B, turning counter-clockwise to form a left walking stance, while executing a high vertical punch with a twin fist. 67. Bring the right foot to the left foot and then move the left foot to BD, forming a right L-stance, at the same time executing a middle guarding block with a knife-hand. 68. Bring the left foot to the right foot and then move the right foot to AD, forming a left L-stance, at the same time executing a middle guarding block with a knife-hand. End: Bring the right foot back to a ready stance.
CHOI-YONG No. OF MOVEMENTS : 46 READY POSITION : Close ready stance C D Diagram: | | B------X------A | | C Choi-Yong is named after General Choi Yong, premier and commander in chief of the armed forces during the 14th century Koryo Dynasty. Choi Yong was greatly respected for his loyalty, patriotism and humility. He was executed by his subordinate commanders, headed by General Yi Sung Gae, who later became the first King of the Yi Dynasty. 1. Move the left foot to D, forming a right rear foot stance, while executing a middle guarding block with the forearm. 2. Execute a high punch with a left middle knuckle fist. 3. Move the left foot on line CD, forming a left rear foot stance toward C while executing a middle guarding block with the forearm. 4. Execute a high punch with a right middle knuckle fist. 5. Move the right foot on line CD, forming a left walking stance, at the same time executing a rising block with a left knife-hand. 6. Execute a circular block with the right inner forearm. 7. Execute a middle punch with the left fist. 8. Move the left foot on line CD, forming a right walking stance toward C while executing a rising block with a right knife-hand. 9. Execute a circular block with the left inner forearm. 10. Execute a middle punch with the right fist. 11. Move the right foot on line CD, forming a right L-stance toward D while executing a low guarding block with the knife-hand. 12. Execute a middle turning kick with the right foot, and then lower it to the side front of the left foot. 13. Execute a high reverse hooking kick to D with the left foot. Perform in a double kick. 14. Execute a middle side piercing kick to D with the left foot. Perform in a double kick. 15. Lower the left foot to D, forming a left walking stance, at the same time striking the left palm with the right front elbow. 16. Move the left foot on line CD, forming a left L-stance toward C while executing a low guarding block with the knife-hand. 17. Execute a middle turning kick with the left foot, and then lower it to the side front of the right foot. 18. Execute a high reverse hooking kick to C with the right foot. Perform in a double kick. 19. Execute a middle side piercing kick to C with the right foot. Perform in a double kick. 20. Lower the right foot to C, forming a right walking stance, at the same time striking the right palm with the left front elbow. 21. Move the left foot to C forming a left walking stance, at the same time executing a pressing block with a right palm. Perform in a fast motion.
22. Move the right foot to C, forming a right walking stance, while executing a pressing block with a left palm. Perform in a fast motion. 23. Move the right foot to D and than move the left foot to D while turning counter-clockwise, pivoting with the right foot to form a left walking stance toward D while executing a W-shape block with a knife-hand. 24. Execute a middle front snap kick with the right foot, keeping the position of the hands as they were in 23. 25. Lower the right foot to C, forming a right L-stance toward D, while executing a middle guarding block with the forearm. 26. Move the right foot to D, forming a right walking stance, while executing a W-shape block with a knife-hand. 27. Execute a middle front snap kick with the left foot, keeping the position of the hands as they were in 26. 28. Lower the left foot to D, forming a left L-stance toward C, while executing a middle guarding block with the forearm. 29. Move the left foot to C and the right foot to C, then slide to C turning clockwise to form a left L-stance toward D while executing a middle guarding block with the forearm. 30. Move the left foot to D, forming a left walking stance, at the same time executing a high thrust with a left flat fingertip. 31. Move the left foot on line CD, forming a right walking stance toward C, at the same time executing a high thrust with a right flat fingertip. 32. Move the right foot to D turning clockwise to form a parallel stance toward B, at the same time executing a middle hooking block to B with a right palm. 33. Execute a middle punch with the left fist. Perform 32 and 33 in a continuous motion. 34. Turn the face toward A forming a left bending ready stance A. 35. Execute a middle side piercing kick to A with the right foot. 36. Lower the right foot to A in a stamping motion, forming a right X-stance, while executing a high strike to A with a right back fist and bringing the left finger belly to a right side fist. 37. Execute a high reverse hooking kick to B with the right foot. 38. Lower the right foot to B in a stamping motion forming a left L-stance, while executing a middle strike to B with a right knife-hand. 39. Move the left foot to D turning counter-clockwise to form a parallel stance toward A, at the same time executing a middle hooking block toA with a left palm. 40. Execute a middle punch with the right fist. Perform 39 and 40 in a continuous motion. 41. Turn the face toward B forming a right bending ready stance A. 42. Execute a middle side piercing kick to B with the left foot. 43. Lower the left foot to B in a stamping motion, forming a left X-stance, at the same time executing a high strike to B with a left back fist and bringing the right finger belly to a left side fist. 44. Execute a high reverse hooking kick to A with the left foot. 45. Lower the left foot to A in a stamping motion, forming a right L-stance, at the same time executing a middle strike to A with a left knife-hand. 46. Move the right foot to A in a sliding motion to form a right fixed stance while executing a middle punch with the right fist. End: Bring the right foot back to a ready stance.
BLACK BELT PATTERNS - 4TH DAN YON-GE No. OF MOVEMENTS : 49 Yon-Ge is named after a famous general during the Koguryo Dynasty, Yon Gae Somun. The 49 movements refer to the last two figures of 649 A.D., the year he forced the Dang Dynasty to quit Korea after destroying nearly 300,000 Chinese troops at Ansi Sung. UL-JI No. OF MOVEMENTS : 42 Ul-Ji is named after General Ul-Ji Mun Duk who successfully defended Korea against a Chinese invasion force of nearly one million soldiers led by Yang Je in 612 A.D. Ul-Ji employing hit and run guerilla tactics, was able to decimate a large percentage of the force. The diagram represents his surname. The 42 movements represent the author's age when he designed the pattern. MOON-MOO No. OF MOVEMENTS : 61 Moon-Moo honors the thirtieth king of the Silla Dynasty. His body was buried near Dae Wang Am (Great King's Rock). According to his will, the body was placed in the sea "Where my soul shall forever defend my land against the Japanese." It is said that Sok Gul Am (Stone Cave) was built to guard his tomb. The Sok Gul Am is a fine example of the culture of the Silla Dynasty. The 61 movements in this pattern symbolise the last two figures of 661 A.D. when Moon-Moo came to the throne.
BLACK BELT PATTERNS - 5TH DAN SO-SAN No. OF MOVEMENTS : 72 So-San is the pseudonym of the great monk Choi Hyung Ung, 1520-1604, during the Yi Dynasty. The 72 movements refer to his age when he organised a corps of monk soldiers with the assistance of his pupil Samung Dang. The monk soldiers helped repulse the Japanese pirates who overran most of the Korean peninsula in 1592. SE-JONG No. OF MOVEMENTS : 24 Se-Jong is named after the greatest Korean King, Se-Jong, who invented the Korean alphabet in 1443 A.D., and was also a noted meteorologist. The diagram represents the King, while the 24 movements refer to the 24 letters of the Korean alphabet. TONG-IL No. OF MOVEMENTS : 56 Tong-Il denotes the resolution of the unification of Korea which has been divided since 1945. The diagram symbolises the homogenous race.
THREE STEP SPARRING (SAMBO MATSOKI) Three step sparring is designed for the beginner to learn the basic techniques. Three step sparring teaches the student many things, ie: proper distance, correct facing, forearm conditioning, correct blocks, correct stances, counter attacks and timing. All attacks start in left walking stance, obverse low section outer forearm block. All defenders start in parallel ready stance. ATTACK Always three middle section front punches in walking stance. DEFENCE AS FOLLOWS 1. Right leg back walking stance, middle inner forearm block to the inside three times. COUNTER ATTACK - Reverse punch (Right hand). 2. Left leg back 'L' stance, middle inner forearm block to the outside three times. COUNTER ATTACK - Right hand knife hand strike, moving back foot to left and stepping forward with the front foot. 3. Left leg back 'L' stance, middle outer forearm block to the inside three times. COUNTER ATTACK - Right hand backfist to bridge of nose. 4. Left leg back 'L' stance, middle inner forearm block to the outside three times. COUNTER ATTACK - Double middle punch in sitting stance moving left foot. 5. Right leg back 'L' stance, outer forearm block inside twice. COUNTER ATTACK - Move to right, form sitting stance execute left outer forearm block and right high punch simultaneously. 6. Right leg back 'L' stance, middle knife hand block inside twice. COUNTER ATTACK - Move to right, form sitting stance execute left knife hand block and right knife hand strike simultaneously. 7. Right leg back 'L' stance, outer forearm block inside twice. COUNTER ATTACK - Slide back right 'L' stance guarding block. Step forward front kick, double punch. 8. Right leg back 'L' stance, middle knife hand block inside twice. COUNTER ATTACK - Slide back right 'L' stance knife hand guarding block. Right leg side kick, back fist strike. 9. Right leg back 'L' stance palm heel pushing block. COUNTER ATTACK - On third block slide to left into right 'L' stance, guarding block, execute back leg turning kick, land in vertical stance, right hand knife hand strike. 10. Right leg back 'L' stance, middle knife hand block inside twice. COUNTER ATTACK - Slide back right 'L' stance guarding block. Right leg back kick, left arm reverse knife hand strike.
TWO STEP SPARRING (IBO MATSOKI) IN KOREAN Two step sparring is designed for the intermediate student to learn more advanced techniques, also using the same timing and distance as in three step sparring, but with more varied attacks, thus also allowing the attacking student to develop various combinations. All attackers start in right L stance, forearm guarding block. All defenders start in parallel ready stance. 1. Attack Defence Counter Attack Defence Counter Attack Defence Counter Attack Defence Counter Attack Defence Counter Attack Defence Counter Attack Defence Counter Attack Defence Counter Nopunde baro ap jirugi. Ap chagi. Right leg back Gunnan sogi, Palmok chookyo makgi. Left leg back Gunnan sogi, Kyocha joomuk nollo makgi. Sang sewo jirugi. Kaunde yop jirugi in Gojong sogi. Dollyo chagi. Right leg back Niunja sogi, Sonbadak ollyo makgi. Left leg back Niunja sogi, Hori makgi. Slide fwd into right Niunja sogi, Orun palkup taerigi. Ap chagi. Sang sewo jirugi. Right leg back Gunnan sogi, Kyocha joomuk nollo makgi. Left leg back Gunnan sogi, Bakat palmok hechyo makgi. Moreup chagi at the same time pull opponents shoulders. Napunde opun sonkut tulgi. Yop chagi. Right leg back Gunnan sogi, Palmok chookyo makgi. Left leg back Niunja sogi, Sonbadak miro makgi. Ap chagi to coccyx, Sang dwijibo jirugi to kidneys. Orun dwit chagi. Nopunde sonbadak taerigi. Right Niunja sogi, Sonbadak hori makgi. Left niunja sogi, Nopunde bakat palmok aneoro makgi. R. Gunnan sogi Kaunde bandae sonkal dung taerigi. Nopunde orun dollyo chagi. Nopunde bandalson taerigi. Annun sogi, Kaunde sang son palmok makgi. Right Niunja sogi Golcho makgi. (Grab arm). Wen yop chagi. (holding arm). R. Gojong sogi, Kaunde yop joomuk taerigi. Bandae dollyo chagi. Left Niunja sogi Sang palmok makgi. Right Niunja sogi Sonkal daebi makgi. Nopunde orun bandae dollyo chagi. Kaunde orun yop chagi. Anti ckwise Nopunde sonkal taerigi. Right Niunja sogi Kaunde an palmok aneoro hori makgi. Right Niunja sogi Sonkal daebi makgi. (Double stepping). Left Kyocha sogi Nopunde dung joomuk taerigi.
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TWO STEP SPARRING (IBO MATSOKI) IN ENGLISH Two step sparring is designed for the intermediate student to learn more advanced techniques, also using the same timing and distance as in three step sparring, but with more varied attacks, thus also allowing the attacking student to develop various combinations. All attackers start in right L stance, forearm guarding block. All defenders start in parallel ready stance. 1. Attack Defence Counter Attack Defence Counter Attack Defence Counter Attack Defence Counter Attack Defence Counter Attack Defence Counter Attack Defence Counter Attack Defence Counter High punch. Front kick. Right leg back walking stance, rising block. Left leg back walking stance, X fist pressing block. Twin vertical punch. Side punch fixed stance. Turning kick. Right leg back L stance, upward palm block. Left leg back L stance, waist block. Slide fwd into right L stance, right side elbow. Front kick. Twin vertical punch. Right leg back walking stance, X fist pressing block. Left leg back walking stance, outer forearm wedging block. Knee kick at the same time pull opponents shoulders. Flat fingertip thrust. Side kick. Right leg back walking stance, rising block. Left leg back L stance, inward palm block. Front kick to coccyx, twin upset punch to kidneys. Right back kick. Left stance high palm strike. Right L stance palm waist block. Left L stance outer forearm inward block. R. walking stance rev. knifehand rev. middle inward strike. Right high turning kick. Arc hand high strike. Sitting stance twin straight forearm block. Right L stance palm hooking block. (Grab arm). Left side kick. (holding arm). R. fixed stance side fist side strike. Middle reverse turn kick. Left L stance twin forearm block. Right L stance knife hand guarding block. Right high reverse turning kick. Right middle side kick. Anti ckwise knife hand high strike. Right L stance inner forearm inward waist block. Right L stance knife hand guard block. (Double stepping). Left X stance back fist high side strike.
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ONE STEP SPARRING (ILBO MATSOKI) One step sparring is the most realistic form of sparring there is, simply because the defender cannot foresee the attack coming. Therefore, the defender must have very fast reflexes, in order to defend and defeat the opponent. This form of sparring is completely different to free sparring, ie: take down techniques, arm locks, joint breaking techniques etc are practised. Both students normally begin in parallel ready stance, but this may be varied at the instructors discretion. THREE STEP SEMI-FREE SPARRING This form of sparring is designed as a step forward from basic three step sparring. It involves three consecutive attacks (hand or feet) and three blocks or evasions, plus a counter attack. Three step semi-free sparring should not be hurried, the secret is reaction force and quick, intelligent movements. This is where the true art of sparring is learnt. Defending students start in parallel ready stance. Attacking students alternate the start position between right 'L' stance, guarding block, and left 'L' stance, guarding block. BASIC: Attacker: Alternate starting position between right leg back then left leg back, executing: Three front kicks, three side kicks, three turning kicks. Defender: Two waist blocks. On third kick, step to the side executing a snap punch. INTERMEDIATE: Attacker: Any three of front, turning, side or back kick. Defender: Counters with a hand technique. ADVANCED: Attacker: As intermediate but with the option of combining hand techniques. Defender: Counters with hand or leg technique. ONE FOR ONE SPARRING This is mainly used for stamina training between intermediate and advanced students. Both students start in fighting position and when the command is given, one student will start with one technique, as soon as his technique is over, the other student attacks immediately, and so on. Because this is a stamina exercise, it does not mean that techniques should be sloppy, they should be crisp and well executed. FREE SPARRING Free sparring is basically putting what has been learnt so far into practise, with no prewarning of attack. Therefore, not as many defending techniques can be practised as in the other forms of sparring. Free sparring can be practised with no pads and should be strictly non-contact. Semi contact sparring is allowed only with adequate protection (ie: safety boots and gloves). This type of sparring must only be carried out under strict supervision of a qualified instructor.
TOURNAMENT FREE SPARRING Free sparring in Tae Kwon-Do could be said to be a combination of all the different types of sparring that the student has previously experienced eg: three step sparring, semi-free sparring and so on. To be a competent tournament sparring exponent certain skills have to be developed such as speed, timing, stamina, balance, flexibility. All these attributes must be used together as one unit. Probably the most important attribute for the student who wishes to enter competitions to possess is stamina. This must be worked on continuously using a variety of exercises over a long period of time, not just days or weeks, but months at a time. Most students when they free spar see it totally as a means of attacking an opponent with certain techniques; what many students forget is that defensive movements, learnt in earlier types of sparring and basic movements should be utilized and are just as, if not more, important than attacking movements. Even when all the skills are developed it still does not guarantee success - as with most things there is no substitute for experience. Sparring in Tae Kwon-Do must be seen purely as the sport side of the art and must not be confused with self defence, it is a completely separate concept and must be learnt and approached in a totally different manner.
TAE KWON-DO TERMINOLOGY Tae Kwon-Do terminology is based on the Korean language. However some words were developed specifically for Tae Kwon-Do, and do not otherwise appear in Korean vocabulary. Using these terms enable students to train anywhere in the world, over-riding all language difficulties. Please consult your instructor with any queries. 10th KUP General terms Dojang Dobuk Sabum Ti Jeja Stances Charyot sogi Narani sogi Annun sogi Gunnan sogi
Training hall Training suit Instructor Belt Student
Attention stance Parallel stance Sitting stance Walking stance
Commands Attention Charyot Bow Kyong Ye Ready Chunbi Start Si Jak Stop Goman (Atcho) Back to ready stance Barrol Dismiss Haessan Forwards Apro Kaggi Backwards Dwiyro Kaggi About turn Dwiyro Torro Counting Hanna Dool Seth Neth Dasaul Yosaul Ilgop Yodoll Ahop Yoll
Basic movements Inner forearm block An palmok makgi Outer forearm block Bakat palmok makgi Front rising kick Ap cha olligi Side rising kick Yop cha olligi Obverse punch Baro jirugi Reverse punch Bandae jirugi Four direction punch Sajo jirugi Sections of the body Najunde Kaunde Naponde
Low Middle High
One Two Three Four Five Six Seven Eight Nine Ten
Parts of the body Fore fist Ap joomuk Forearm Palmok Inner forearm An palmok Outer forearm Bakat palmok
9th KUP General terms Wen Orun Tul Momtong Bachia Parts of the body Ap kumchi Balkal Stances Niunja sogi Basic movements Rising block Chookyo makgi Forearm Palmok Guarding block Daebi makgi Kick Chagi Front snap kick Ap cha busigi Required pattern 19 moves
Left Right Pattern press ups
Ball of foot Footsword
Chon-Ji
L stance
Sparring (matsoki) Three step sparring Sambo matsoki
8th KUP General terms Anaero Bakaero Parts of the body Sonbadak Sonkal Dung joomuk Stances Soojik sogi Semi free Basic movements Knifehand guard blck Sonkal daebi makgi Twin F/arm block Sang palmok makgi Backfist strike Dung joomuk taerigi Knifehand strike Sonkal taerigi Side piercing kick Yop cha jirugi Required pattern 21 moves Sparring (Matsoki) Ban jayoo
Inward Outward
Palm Knifehand Backfist
Dan Gun Vertical stance
7th KUP General terms Son Tulgi Parts of the body Sonkut Stances Gojong sogi Basic movements Wedging block Hechyo makgi Straight spear finger Son sonkut Thrust Tulgi Turning kick Dollyo chagi Required pattern 24 moves Sparring Jayoo matsoki
Straight Thrust
Fingertips
Do San
Fixed stance
Free sparring
6th KUP Gene ral terms Dwit Parts of the body Habansin Sangbansin Dwit kumchi Dwit chook Stances Soojik sogi Moa sogi Guburyo sogi Basic movements Circular block Dollymio makgi Hooking block Golcho makgi Waist block Hori makgi Vertical punch Sewo jirugi Side punch Yop jirugi Reverse turning kick Bandae dollyo chagi Required pattern 28 moves
Back
Foot parts Hand parts Back sole Back heel
Won hyo
Vertical stance Closed stance Bending stance 5th KUP
Sparring Two step sparring Ibo matsoki
Jumping
General terms Twigi Parts of the body Palkup Stances Kyocha sogi As for 6th kup
Elbow
Basic movements Double F/arm block Doo palmok makgi Hooking block Golcho makgi Upset punch Dwijibo jirugi Hooking kick Golcho chagi Required pattern 38 moves
X-stance Sparring 4th KUP
Yul Gok
Forging post
General terms Dollyon joo Parts of the body Yop bal badak Bandal son Stances Dwit bal sogi Nachuo sogi
Side sole Arc hand
Rear foot stance Low stance
Joong Gun
Required pattern 32 moves
Basic movements X-block Kyocha makgi Pressing block Noollo makgi Downward block Naeryo makgi Scooping block Duro makgi Turning punch Dollyo jirugi Twin upset punch Sang dwijibo jirugi Upper elbow strike Wi palkup taerigi Downward kick Naeryo chagi Back kick Dwit chagi Pressing kick Noollo chagi Side thrust kick Yop cha tulgi Rev turn hook kick Bandae dollyo goro chagi Consecutive kick Yonsok chagi
Sparring One step sparring Ilbo matsoki
3rd KUP General terms Twimyo Basic movements U shape block Digutja makgi W shape block San makgi Waving kick Doro chagi Flying kick Twimyo chagi Front pushing kick Ap cha milgi Sparring As for 4th Kup
Flying
Parts of the body Upset fingertips Dwijibun sonkut Required pattern 37 moves
Toi Gye
2nd KUP General terms An Bakat Basic movements Sweeping block Hullyo makgi Pushing block Miro makgi Upward punch Ollyo jirugi Vertical kick Sewo chagi Twisting kick Bituro chagi Twin foot kick Sang bal chagi Flying high kick Twimyo nopi chagi Sparring More advanced
Inside Outside
Parts of the body Fingertips Sonkut Instep Baldung Reverse footsword Baldal dung Required pattern 29 moves
Hwa Rang
1st KUP Parts of the body Side fist Yop joomuk Reverse knifehand Sonkal dung Stances Wae bal sogi Basic movements Checking block Momchau makgi Downward block Naeryo makgi Double archand Doo bandalson block makgi Stamping kick Cha bapgi Sweeping kick Goro chagi Overhead kick Twio nomo chagi Flat fingertip thrust Opun sonkut tulgi Free sparring Two against one
One leg stance
Required pattern Choong Moo 30 moves Sparring Foot sparring
VERSION: word2000_v1 UPDATED: 5 June 2001 14:19 Compiled by DAVID BROWN.

Handbook - Taekwon Do

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Handbook - Taekwon Do

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STUDENTS HANDBOOK

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Signifies the plant's growth as Tae Kwon-Do skills begin to develop.

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MAIN TARGET AREAS HIGH SECTION (NOPUNDE)

Eyes Philtrum Jaw (point)

Jaw (hinge) Side of neck Throat

Base of skull Bregma Temple

MIDDLE SECTION (KAUNDE)

Solar plexus Heart Kidneys

Spinal cord Stomach Armpit

Ribs Collar bone Between shoulder blades

LOW SECTION (NAJUNDE)

Instep Achilles tendon

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END: Bring left foot back to ready stance.

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DAN GUN NUMBER OF MOVEMENTS: - 21 READY POSITION: - Narani Chunbi Sogi

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END: Bring right foot back to ready stance.

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END: Bring right foot back to ready stance.

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TOI GYE NUMBER OF MOVEMENTS: - 37 READY POSITION: - Moa chunbi sogi B

END: Bring right foot back to ready stance.

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HWA RANG NUMBER OF MOVEMENTS: - 29 READY POSITION: - Moa chunbi sogi C

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CHOONG MOO NUMBER OF MOVEMENTS: - 30 READY POSITION: - Narani chunbi sogi

END: Bring left foot back to ready stance.

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END: Bring the left foot back to a ready stance.

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BLACK BELT PATTERNS - 2ND DAN

KO-DANG No. OF MOVEMENTS : 39 READY POSITION : Close ready stance C D B----------X----------A | | | | C

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