by Master Doug Cook
6th Dan
Black Belt / Chosun Taekwondo Academy
Long before the
advent of sport sparring and the invention of modern safety gear, in a time
when to fight meant to defend one’s life from almost certain death an ingenious
method of transmitting martial arts skills from venerated master to loyal
disciple was developed. Legend has it that
experienced warriors returning
unscathed from combat, a testimony in and of itself to their martial prowess,
mimicked techniques used to vanquish opponents on the field of battle for the
benefit of those less qualified in the ways of war. This ritual may have been
practiced around a campfire, in secret gardens or in the incense-filled halls
of ancient Buddhist temples lending credence to the notion that the
dynamic practice of formal exercises has existed for centuries. Several
examples demonstrating this concept can be traced back to antiquity with roots
found in primitive works of art and ancient yogic postures originally intended
to promote health and core strength in sedentary clerics.
Today, poomsae,
hyung or tul - all culturally-specific terms for Korean martial arts patterns -
can be defined as choreographed sequences of techniques aimed at defeating
multiple attackers originating from various directions. They can also be
thought of as “quality shapes of strength” representing the comprehensive
catalog of Traditional and Kukki Tae Kwon Do skills. Moreover, poomsae demonstratively
symbolize the essence of the art and can be distilled down into two discrete categories
– those created in modern times as opposed to those tracing their pedigree to primordial
practices.
In an effort to quantify
the significance of this division, we must first appreciate that the formal
exercises found in Tae Kwon Do today were not created in a vacuum. Rather, an
analysis of the historical evidence at hand reveals that empty-hand fighting
arts, in conjunction with their associated formal exercises, developed
naturally across continents as various cultures adapted to cope with the
dangers posed by increased trade and human aggression accompanied by
imperialist desire. Still, the need to practice prearranged chains of combat
tactics in a relatively relaxed environment devoid of mayhem and death was
apparently universal.
In his book, Moving Zen, Shotokan karate-do
practitioner C.W. Nicol describes forms practice as “a
dynamic dance; a battle without bloodshed or vanquished.” He further goes on to
say that, “we are somehow touching the warrior ancestry of all humanity” and
that “of all the training in karate,
none is more vigorous, demanding or exhilarating than the sincere performance
of kata.” From this we can see that poomsae training, if approached in a
traditional manner, not only cultivates defensive and offensive proficiency
coupled with ki (internal energy) development, but establishes a profound link
with masters of the past who clearly did not perform formal exercises merely
for physical fitness as some would claim, but as a means of collating
hard-earned martial skills often fostered on the field of battle or in the
supercharged atmosphere of some distant training hall, for the benefits of
students across the centuries.
In order to fully
understand the complete history, philosophy and martial applications of Tae Kwon
Do poomsae, hyung or tul, one must openly and without bias, take into account
the role Okinawan/Japanese kata and Chinese taolu played in their creation. In
1901, on the Ryukyu archipelago, Yasutsune “Anko” Itosu (1830-1915) introduced
karate into the mainstream curriculum of the Shuri Jinjo
Elementary School
and, later, throughout the Okinawan educational system as a whole with the long
range goal of cultivating physical fitness and character enrichment in
adolescents. This worthy objective was partially accomplished by practicing
sanitized versions of the Pinan
(Peaceful Mind) kata created by Itosu. Since, at least for school children,
self-defense was not the prime focus of training the practical applications of
techniques within the forms were intentionally masked in ambiguity or
eliminated altogether. This method of instruction represented a major shift in
formal exercise training that would have ramifications far into the future.
Criticized for diluting the fundamental purpose of kata, and thus karate in
general since forms represented the core of the art, Itosu later wrote, “You
must decide whether your kata is for cultivation of health or for its practical
use.” He further advised adult students to, “Always practice kata with its
practical use in mind.”
Yet, a further
endorsement that kata represented a central pillar of karate-do doctrine,
awaited the appearance of Gichen Funakoshi (1868-1957) who in his youth,
traveled the back roads between Naha and Shuri by lantern light to study with
both Itosu and one of his colleagues, Yasutsune Azato (1828-1906), sub rosa.
Funakoshi’s required repetition of a single kata under the vigilant eye of
Azato day in and day out, often for months on end, to the point of humiliation,
clearly instilled an appreciation for the formal exercises that he would carry
across a lifetime.
Funakoshi did not
bring his karate to Japan until 1922 while in his early fifties. Yet through a
concerted effort by he and his third son Gigo (1906-1945), who emigrated to
Tokyo in 1923 at the age of seventeen, significant changes were made to the
traditional methods of teaching Okinawan karate. By way of example, in an
attempt to simplify the pronunciation of the Pinan kata, Funakoshi rechristened
the nomenclature to Heian while
altering certain prescribed stances and kicks. Likewise, Gigo is credited with
the creation of ritual one-step sparring and the three Taikyoku, or Kihon kata
that virtually mirror the Kicho
patterns used today in traditional Tae Kwon Do. The Taikyoku set was generally
used as a precursor to the more complex Heian kata.
Recognizing the
vital roles Itosu, Azato and Funikoshi played in the proliferation of formal
exercises brings us ever closer to the nexus of the correlation between
Okinawan/Japanese kata and contemporary Tae Kwon Do poomsae, hyung or tul. Indisputably, Korean formal exercises were
heavily influenced by events that occurred in neighboring countries shortly
before, or concurrent with, the Japanese Occupation of the nation during the
years of 1910 to 1945. Clearly, the practice of karate required a deep
understanding and respect for kata which continues to stand as a centerpiece of
its practice to this day. This principle must surely have been inculcated in
the minds of Chung Do Kwan founder Won Kook Lee (1907-2003), Byung In Yoon
(1920-1983) of the Chang Moo Kwan, Hwang Kee (1914-2002) father of the Moo Duk
Kwan and Choi Hong Hi (1918-2002) creator of the Oh Do Kwan, while studying in
Japan under the direction of either Shudokan karate founder Kanken Toyama
(1988-1966) or Funikoshi. All of these innovators, soon destined to promote
enduring martial traditions within the borders of their native land, returned
home from abroad undoubtedly with practical knowledge of the Taikyoku, Pinan, Bassai, Jitte, Empi and Tekki kata – all
considered traditional formal exercises - that would ultimately evolve into the
Kicho, Pyung-Ahn, Balsek, Sip Soo, Yunbee and Chul-Ki hyung respectively of Tae Kwon Do.
Throughout the
1950s and early 60s, when Tae Kwon Do, still referred to as taesoodo, tangsoodo
and kongsoodo in many circles, was in its infancy, poomsae practice consisted
largely of exercises derived from these Okinawan, Japanese and Chinese
disciplines. As a result, the founding fathers of the original kwans or institutes could not help but
transmit the formal exercises they learned abroad while at university as their
nation staggered under the weight of the Japanese Occupation. Nevertheless, a
strong desire existed among many masters, Choi Hong Hi not being the least, to
create patterns with a distinctly Korean flavor. Consequently, in founding his
style of Tae Kwon Do, Choi was the first to deviate from the past by developing
the Chang Han set of formal exercises
between 1955 and 1988 with the assistance of Tae Hi Nam, Young Il Kong, Cha Kyo
Han, Chang Keun Choi, Jae Lim Woo, Kim Bok Man and Jung Tae Park, that bear the
shadow of techniques culled from his training in karate-do. Furthermore, as a
tribute, Choi based the underlying definition of each pattern on personalities
and concepts pivotal to Korean history. The
Chang Han series of International Taekwon-do Federation tul currently consists
of twenty-four patterns and differs significantly from others in the fact that their
movements subscribe to a wave or sign-curve motion of the body as it
transitions from stance to stance, sequence to sequence.
Following Choi’s exodus from Korea
and the eventual entrenchment of the Korea Taekwondo Association coupled with
the establishment of the Kukkiwon and World Taekwondo Federation by a younger
generation of practitioners not directly affected by Japanese instruction,
three revolutionary sets of formal exercises were developed over the course of
eight years in an effort to eliminate any vestige of foreign influence from the
emerging art. Of these, the elder Palgwe
and Yudanja series poomsae, created
between 1965 and 1967, were intended to test the proficiency of color belt or gup level students, and dan or black belt practitioners,
respectively. Partially inspired by the Pinan/Heian kata, the eight Palgwe
poomsae reflect philosophical doctrines culled from the ancient Book of Changes or the I Ching and tend to emphasize low
stances amplified by a variety of effective hand techniques. Moreover, technical
components increase in complexity as they advance from one form to the next
providing an effective barometer for rank advancement.
Likewise, the Yudanja poomsae were crafted concurrent with the Palgwe set and
at the time included Original Koryo, Keumgang, Taebaek, Pyongwon, Sipjin,
Jitae, Cheonkwon, Hansoo and Ilyo, the latter eight of which continue to be
sanctioned by the Kukkiwon and World Taekwondo Federation today. Aside
from their technical diversity, the Yudanja set follow lines of motion
described by Chinese and Korean characters that depict the philosophical
concept characterized by each poomsae and contain advanced techniques unique to
the dan grade holder. The committee members
participating in the formation of the Palgwe and Yudanja poomsae consisted of
kwan representatives Keun Sik Kwak (Chung Do Kwan), Young Sup Lee (Song Moo
Kwan), Kyo Yoon Lee (Han Moo Kwan), Hae Man Park (Chung Do Kwan), Jong
Myung Hyun (Oh Do Kwan), Soon Bae Kim (Chang Moo Kwan) and Chong Woo Lee (Ji Do
Kwan).
Nevertheless, Tae Kwon Do is the
child of change and has continued to evolve in complexity since its inception
during the tumultuous midpoint of the twentieth century. Even today, technical
enhancements are evident at almost every training venue one visits in Korea,
the homeland of the art; whether it is at universities offering taekwondology
as a major, or the Kukkiwon, center of taekwondo operations worldwide, the
quest for modernization proceeds unabated. And so, it should come as no
surprise that less than a decade after the introduction of the Palgwe set it
was decided by committee to generate a new and innovative series of formal
exercises in conjunction with a vastly revised version of Original Koryo.
Born in 1972, the Taegeuk poomsae by decree effectively
replaced the existing Palgwe set. This significant modification in the Tae Kwon
Do curriculum of the time is thought to have been politically-oriented inasmuch
as the Moo Duk Kwan was not represented during the formulation of the Palgwe
series. Yet in a practical sense, the Taegeuk poomsae were exceptional in that
they contained the upright high forward or walking stance and featured a
greater percentage of kicking techniques than their forerunners. Moreover, as Tae
Kwon Do began to evolve into a combat sport with Olympic aspirations, a method
was required to teach and support the upright fighting stance used in sparring
competition and these new poomsae satisfied that need. If viewed from above,
the pattern of movements within these forms trace the Chinese symbol for
“king”. Bearing the namesake of the Korean flag, the Taegeuk patterns share
philosophical principles running parallel to those of the Palgwe series based
on the powers or elements of the Universe.
Concurrently with the creation of
the Taegeuk series, Original Koryo was superseded by an intricate, new poomsae
bearing the same name. Opening dramatically with a knife hand block in back
stance quickly followed by two sides kicks of varying height, Kukki Koryo
poomsae was deemed appropriately challenging for the black belt holder and a
worthy vehicle to gauge proficiency for promotion to 2nd dan. Overseeing the
developmental process of Kukki Koryo and the Taegeuk series was Keun Sik Kwak (Chung Do Kwan), Young Sup Lee (Song Moo
Kwan), Kyo Yoon Lee (Han Moo Kwan), Hae Man Park (Chung Do Kwan),
Jong Myung Hyun (Oh Do Kwan), Soon Bae Kim (Chang Moo Kwan) and Chong Woo Lee
(Ji Do Kwan) with the addition of Young Ki Bae (Ji Do Kwan) and Young Tae Han
(Moo Duk Kwan). Certainly, over the years, other patterns were created by first
and second generation grandmasters including the seven Chil Sung hyung of Moo
Duk Kwan Soo Bahk Do and the eighteen Songham formal exercises of ATA Tae Kwon
Do that reflect slightly divergent styles of Korean martial arts.
Today, the required performance of poomsae,
hyung or tul by Korean stylists, except for those engaged in the practice of
ITF Taekwon-Do, varies greatly from organization to organization and school to
school. Based on the 1970s edict by Kukkiwon that the Taegeuk series eclipse
the Palgwe set completely, a vast majority of master instructors sadly
jettisoned the latter in favor of the former altogether. Likewise, the original
iteration of Koryo was replaced by the radically different version currently sanctioned
by the World Taekwondo Federation, Kukkiwon and the Korea Taekwondo Association.
Nevertheless, schools supporting a classical approach to training frequently include
both the Palgwe set and what has now come to be known as Original Koryo in
their present syllabus. Moreover, as an adjunct to the traditional curriculum,
many poomsae or hyung, with a direct lineage to their Japanese/Okinawan and
Chinese kin are included as well. Although altered somewhat to suit the basic parameters
of Tae Kwon Do, we see evidence of this
fact with the inclusion of formal exercises such as Balsek (Bassai), Chil-Ki
(Tekki/Nihanji), Yunbee (Empi), Sip Soo (Jitte) and Jion, to name a few.
Yet, just as the eum/yang or the duality of opposites
predicts, formal exercise practice symbolizes a danger that cuts both ways;
forfeiting poomsae training altogether in favor of strategies that focus
exclusively on sport sparring represents a tragedy of grand proportions in
denying the practitioner to experience the myriad benefits associated with the
process. Likewise, attempting to master every pattern within the lexicon of
Kukki and traditional Tae Kwon Do could, potentially, be of equal disservice
since an in-depth analysis or hae sul
of the practical applications embedded in the form may become blurred or
ignored altogether. After all, as Funakoshi was fond of saying, “The old masters
used to keep a narrow field but plough a deep furrow.”
In many circles today, it is said
that if the traditional methods of teaching Tae Kwon Do are to be preserved, it
will occur in the West. This statement is partially based on the fact that
major founders of the art no longer reside within the borders of Korea, but
have long ago relocated here and abroad. Moreover, there exist a vast number of
instructors outside the homeland of Tae Kwon Do who favor the practice of
formal exercises coupled with practical self-defense techniques, both hallmarks
of traditional Tae Kwon Do, over Olympic-style sparring and martial arts practice
merely as a path to physical fitness. Clearly, it is this group who will
safeguard the rich heritage of traditional Tae Kwon Do and act as fertile
ground for the conservation and continued cultivation of the formal exercises
unique to the art.
Master Doug Cook, a 6th dan
black belt, is head instructor of the Chosun Taekwondo Academy located in
Warwick, New York, a senior student of Grandmaster Richard Chun, and author of
three best-selling books entitled: Taekwondo…Ancient
Wisdom for the Modern Warrior, Traditional
Taekwondo - Core Techniques, History and Philosophy, and his most recent
contribution, Taekwondo–A Path to
Excellence, focusing on the rewards and virtues of tae kwon do, published by
YMAA of Boston. Master Cook and Grandmaster Chun have just completed a new book
on Original and Kukki Koryo poomsae targeted for publication in July of 2013.
Master Cook can be reached for lectures, seminars or workshops at www.chosuntkd.com or
info@chosuntkd.com.
More to follow in upcoming new book;
Taekwondo Black Belt Poomsae - Original Koryo and Koryo by Richard Chun and Doug Cook, published by YMAA Publications, Inc.
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When I think back at how far I've come since I started Taekwondo, it makes me very proud. I think about when I was in kickstart, all excited about learning Taekwondo. I made many new friends, and we are still friends today.
The day that I knew I had to study
Taekwondo was the day that it called to me.
I was sitting on the sidelines waiting to drop off Timothy for class and
while I sat there, I observed three women doing Koryo. In sync, they moved gracefully and when the
form came to a cadence Master Cook said, “Koryo
Joombi.” I watched their arms and hands move strongly
yet delicately and tears came to my eyes.
I thought it was one of the most beautiful things I had ever seen. That was the moment I knew I had to
train. After that class, my son Timothy
looked at me and said, “Families train, Mommy” and that was all I needed to
hear. That very same week, I flew down
Main Street with my checkbook in hand and signed up during Spring Fest. Master
Cook said that I would remember the day I signed up for the rest of my life
because that was the day my life would change. He was right. It was that day that I chose to change and
embrace living. Three years ago, I did
not realize how greatly Taekwondo would affect my life or how greatly it would
change me.
