YMAA Publication Center YMAA - YMAA | A Meeting Place for ... · Kukkiwon in South Korea. He is a...

Master Doug Cook, 6th dan, is the author of four books. He is certified by the USTA and the Kukkiwon in South Korea. He is a 2006 inductee into the Budo International Martial Arts Hall of Fame. Doug Cook teaches and resides in Warwick, New York.

Grandmaster Richard Chun, Ph.D., 9th dan, is one of the highest ranked masters of taekwondo in the world. He is the president of the USTA and has been a senior WTF international referee, among other distinguished posts. Richard Chun resides in Tenafly, New Jersey.

Chun and

Cook

Tae kwon do

BlaCk BelT Poomsae

RiChaRd Chun and doug Cook

Original Koryo and Koryo

TaekwondoBlaCk BelT Poomsae

Prearranged forms, known as poomsae in taekwondo, are a primary method of transmitting martial arts skills from teacher to student. As sport preference supplanted fighting preference in taekwondo’s reason for existence, the Original Koryo was modified in kind to today’s well-known Koryo.

Written specifically for level 1 and level 2 black belt students, this book is a scholarly attempt to capture, transmit, and preserve as an inheritance the historical treasures and technical elements inherent in Original Koryo and Koryo, as well as the applications less obvious or even secretly encoded in these forms. This knowledge will benefit those seeking more than triumph in the ring or aerobic fulfillment from their taekwondo training.

In summary, students will find in this book:• History and philosophy• Technical elements for learning the basics• Detailed instruction for learning Koryo• Detailed instruction for learning Original Koryo

Over two hundred photographs, line of motion charts, stepping patterns, and martial applications are provided throughout this in-depth instructional book.

Martial Arts B2641

YMAA Publication [email protected] | www.ymaa.com

US $18.95

ISBN-13: 978-1-59439-264-1ISBN-10: 1-59439-264-1

YMAA PUBLICATION CENTER

According to the World Taekwondo Federation, there are over 90,000,000 taekwondo practitioners worldwide. Every level 1 black belt student is required to learn Poomsae Koryo.

Yet few are familiar with the ancestral form known as the ‘Original Koryo.’

PHOTOS: TIM COMRIe

9781594395641 cover layout.indd 1 6/14/13 4:37 PM

ii

YMAA Publication Center, Inc.PO Box 480Wolfeboro, NH 03894800 669-8892 • www.ymaa.com • [email protected]

Paperback EbookISBN: 978-1-59439-264-1 ISBN: 978-1-59439-260-3

All rights reserved including the right of reproduction in whole or in part in any form.Copyright ©2013 by Richard Chun and Doug CookCover design by Axie BreenEditing by Susan Bullowa

Photos by the authors unless otherwise noted.Photos in parts II through VI by Tim Comrie.

10 9 8 7 6 5 4 3 2 1

Publisher’s Cataloging in Publication Chun, Richard.

Tae kwon do black belt poomsae : original Koryo and Koryo / Richard Chun and Doug Cook. -- Wolfeboro, NH : YMAA Publication Center, c2013.

p. ; cm.

ISBN: 978-1-59439-264-1 (pbk) ; 978-1-59439-260-3

(ebook) Includes bibliographical references and index. Summary: Every 1st degree black belt student is

required to learn the Koryo kata, but few are familiar with the ancestral formal exercise "Original Koryo". Written specifically for black belt students, this book presents Original Koryo and Koryo, as well as the martial applications encoded in these forms.--Publisher.

1. Tae kwon do. 2. Tae kwon do--Training. 3. Martial arts--Training. 4. Hand-to-hand fighting, Oriental--Training. I. Cook, Doug. II. Title.

GV1114.9 .C488 2013 2013935651 796.815/7--dc23 1306

Warning: While self-defense is legal, fighting is illegal. If you don’t know the difference you’ll go to jail because you aren’t defending

yourself, you are fighting—or worse. Readers are encouraged to be aware of all appropriate local and national laws relating to self-defense, reasonable force, and the use of weaponry, and to act in accordance with all applicable laws at all times. Understand that while legal definitions and interpretations are generally uniform, there are small—but very important—differences from state to state and even city to city. To stay out of jail, you need to know these differences. Neither the authors nor the publisher assumes any responsibility for the use or misuse of information contained in this book.

Nothing in this document constitutes a legal opinion nor should any of its contents be treated as such. While the authors believe that everything herein is accurate, any questions regarding specific self-defense situations, legal liability, and/or interpretation of federal, state, or local laws should always be addressed by an attorney at law. This text relies on public news sources to gather information on vari-ous crimes and criminals described herein. While news reports of such incidences are generally accurate, they are on occasion incomplete or incorrect. Consequently, all suspects should be considered innocent until proven guilty in a court of law.

When it comes to martial arts, self-defense, and related topics, no text, no matter how well written, can substitute for professional, hands-on instruction. These materials should be used for academic study only.

Editorial Notice. In an effort to avoid confusion, the authors have chosen to conform to the Western custom of placing surnames last rather than first, which is routine in Asia. The only exception is General Choi, Hong Hi because he is universally recognized by this configuration.

iii

Table of Contents

Dedication viiAcknowledgements ixIntroduction xi

I. History and Philosophy 1The Ritual Practice of Formal Exercises 1The Influence of Korean History on Original Koryo and Koryo Poomsae 9Foreign Influences on Taekwondo Formal Exercises 13The Evolution of the Kwans 17The Globalization of Taekwondo 28The Creation of Modern Taekwondo Poomsae 37Philosophical Considerations of Modern Taekwondo Poomsae 44Attributes and Technical Performance of Taekwondo Poomsae 47Instructional Methodology 48

II. Technical Elements of Original Koryo and Koryo 53Stances 53Blocks 59Kicks 65Strikes 67

III. Original Koryo Poomsae 73Line of Technical Motion 74Ready Position (Parallel Stance)—Joonbi (Naranhi Seogi) 74Slightly Extended Left Knife Hand Middle Block – Wen Jogum Neulligi Sonnal

Momtong Makki 75Right Four Knuckle Fist Strike—Orun Pyung Chumok Jireugi 75Right Side Kick/Side Hammer Fist Strike—Orun Yop Chagi/Yop Me Chumok Jireugi 76Low X Block—Otgolo Arae Makki 77Right Hand High Block—Orun Olgool Makki 77Left Four Knuckle Fist Strike—Wen Pyung Chumok Jireugi 78Right Single Knife Hand Outside Middle Block/Reverse Punch—

Orun Bakkat Hansonnal Momtong Makki/Bandae Jireugi 79Open Hand Head Grab/Left Knee Kick—Mori Japgo/Moorub Chigi 80Low X Block—Otgolo Arae Makki 81Inner Arm Spread Middle Block—Anpalmok Momtong Hechyo Makki 81Extend Left Hand to Grab Opponent—Wen Son Neulligi 82Right Round Elbow Strike/Left Single Knife Hand Low Block—

Orun Dollyo Palgub Chigi/Wen Hansonnal Arae Makki 83

iv Taekwondo Black Belt Poomsae

Right Single Knife Hand Outside Middle Block— Orun Bakkat Hansonnal Momtong Makki 84

Right Inside Middle Block—Orun Ahn Momtong Makki 84Left Inside Middle Block—Wen Ahn Momtong Makki 85Right Back Fist Strike—Orun Doong Chumok Chigi 86Left Outside Knife Hand High Block—Wen Bakkat Sonnal Olgool Makki 87Left Front Kick—Wen Ap Chagi 88Jumping Front Kick—Twio Ap Chagi 89Double Middle Punch—Doobal Momtong Jireugi 90Ready Position (Parallel Stance)—Joonbi (Naranhi Seogi) 91

IV. Koryo Poomsae 93Line of Technical Motion 94Ready Position (Parallel Stance)—Joonbi (Naranhi Seogi) 94Barrel Pushing Ready Stance—Tong Milgi Joonbi Seogi 95Left Knife Hand Middle Block—Wen Sonnal Momtong Makki 95Double Side Kick (Right Low Side Kick/Right High Side Kick)

Right Outside Knife Hand Strike—Kodeup Yop Chagi (Orun Arae Yop Chagi/Orun Olgool Yop Chagi) Orun Sonnal Bakkat Chigi 96

Reverse Middle Punch—Bandae Jireugi 97Right Inside Middle Block—Orun Ahn Momtong Makki 98Right Knife Hand Middle Block—Sonnal Momtong Makki 98Double Side Kick (Left Low Side Kick/Left High Side Kick)

Left Outside Knife Hand Strike—Kodeup Yop Chagi (Wen Arae Yop Chagi/Wen Olgool Yop Chagi) Wen Sonnal Bakkat Chigi 99

Reverse Middle Punch—Bandae Jireugi 100Left Inside Middle Block—Wen Ahn Momtong Makki 101Left Single Knife Hand Low Block/Right Tiger Mouth Thrust—

Wen Hansonnal Arae Makki/Orun Agwison Kaljaebi 102Right Front Kick/Right Single Knife Hand Low Block/Left Tiger Mouth

Thrust—Orun Ap Chagi/Orun Hansonnal Arae Makki/Wen Agwison Kaljaebi 103Left Front Kick/Left Single Knife Hand Low Block/Right Tiger Mouth Thrust—

Wen Ap Chagi/Wen Hansonnal Arae Makki/Orun Agwison Kaljaebi 104Right Front Kick/Knee Break—Orun Ap Chagi/Moorub Kkukki 106Inner Arm Spread Middle Block—Ahn Palmok Momtong Hechyo Makki 107Left Front Kick/Knee Break—Wen Ap Chagi/Moorub Kkukki 108Inner Arm Spread Middle Block—Anpalmok Momtong Hechyo Makki 109Left Outside Single Knife Hand Middle Block—Wen Hansonnal

Bakkat Momtong Makki 110Right Target Punch—Orun Chumok Pyojeok Jireugi 111Right Forward Cross Stance/Left Side Kick/Left Low Spear Hand Strike

(Palm Up)—Orun Koa Seogi/Wen Yop Chagi/Wen Pyeonsonkeut Jecheo Jireugi 112Right Low Block—Orun Arae Makki 114

Table of Contents v

Left Palm Heel Block/Right Side Elbow Attack—Wen Batangson Nullomakki/ Orun Palgub Yop Chigi 114

Right Single Outside Knife Hand Middle Block—Orun Hansonnal Bakkat Momtong Makki 116

Left Target Punch—Wen Chumok Pyojeok Jireugi 117Left Forward Cross Stance/Right Side Kick/Right Low Spear Hand Strike

(Palm Up)—Wen Koa Seogi/Orun Yop Chagi/Orun Pyeonsonkeut Jecheo Jireugi 118Left Low Block—Wen Arae Makki 119Right Palm Heel Block/Left Side Elbow Attack—Orun Batangson Nullomakki/

Wen Palgub Yop Chigi 120Left Hammer Fist Target Strike—Wen Me Chumok Arae Pyojeok Chigi 122Left Outside Knife Hand Strike/Left Knife Hand Low Block—Wen Hansonnal

Bakkat Chigi/Wen Hansonnal Arae Makki 124Right Inside Knife Hand Strike/Right Knife Hand Low Block—Orun Hansonnal

Bakkat Chigi/Orun Hansonnal Arae Makki 126Left Inside Knife Hand Strike/Knife Hand Low Block—Wen Hansonnal Bakkat

Chigi/Hansonnal Arae Makki 127Right Tiger Mouth Thrust—Orun Agwison Kaljaebi 128Barrel Pushing Ready Stance—Tong Milgi Joonbi Seogi 129Return to Ready Position (Parallel Stance)—Joonbi (Naranhi Seogi) 129

V. Original Koryo Combat Applications 133COMBAT APPLICATION 1 133Right Side Kick/Side Hammer Fist Strike—Orun Yop Chagi/Yop Me Chumok Jireugi 133Low X Block—Otgolo Arae Makki 134COMBAT APPLICATION 2 135Open Hand Head Grab/Left Knee Kick—Mori Japgo/Moorub Chigi 135Low X Block—Otgolo Arae Makki 136COMBAT APPLICATION 3 136Extend Left Hand to Grab Elbow—Wen Son Neulligi 136Right Round Elbow Strike/Left Single Knife Hand Low Block—Orun Dollyo

Palgub Chigi/Wen Sonnal Arae Makki 137COMBAT APPLICATION 4 138Right Back Fist Strike—Orun Doong Chumok Chigi 138Left Outside Knife Hand High Block—Wen Bakkat Sonnal Olgool Makki 139Left Front Kick—Wen Ap Chagi 140

VI. Koryo Combat Applications 141COMBAT APPLICATION 1 141Left Knife Hand Middle Block—Wen Sonnal Momtong Makki 141Double Side Kick (Right Low Side Kick/Right High Side Kick) Right

Outside Knife Hand Strike—Kodeup Yop Chagi (Orun Arae Yop Chagi/ Orun Olgool Yop Chagi) Orun Sonnal Bakkat Chigi 142

vi Taekwondo Black Belt Poomsae

Reverse Middle Punch—Bandae Jireugi 143Right Inside Middle Block—Orun Ahn Momtong Makki 144COMBAT APPLICATION 2 145Right Front Kick/Knee Break—Orun Ap Chagi/Moorub Kkukki 145COMBAT APPLICATION 3 146Left Outside Single Knife Hand Middle Block—Wen Hansonnal Bakkat

Momtong Makki 146Right Target Hook Punch—Orun Chumok Pyojeok Chigi 147COMBAT APPLICATION 4 148Right Forward Cross Stance/Left Side Kick/Left Low Spear Hand Strike

(Palm Up)—Orun Koa Seogi/Wen Yop Chagi/Wen Pyeonsonkeut Jecheo Jireugi 148Right Low Block—Orun Arae Makki 149

VII. Reflections on the Maturation of Martial Skill 153

Appendices 159A. USTA Poomsae Competition Rules 159B. Glossary 171C. English/Korean Translations for Taekwondo Terms 175

Bibliography and Sources 181Organization Web Sites and Addresses 182

Index 183

About the Authors 189Grandmaster Richard Chun 189Master Doug Cook 190

xi

Introduction

This book centers on the history, philosophy, and technical attributes of taekwondo poomsae: Original Koryo and Koryo. By far the most popular poomsae performed today by the advanced practitioner, the latter of the two, Koryo, represents a gateway to the complexities of 1st dan black belt and is a necessary component for promotion to 2nd dan as advocated by the Kukkiwon and the World Taekwondo Federation (WTF). With this in mind, we feel a detailed exploration of this poomsae is overdue both in a sense of fostering an appreciation for its heritage and in cultivating an understanding of its overall combat effectiveness aside from its competitive value in the ring.

Furthermore, initially established, as we shall see, between 1965 and 1967 along with the Palgwe set of poomsae intended as a vehicle for practice by the gup holder, Original Koryo is radically different from the Koryo we know of today. Consequently, practice of this primordial iteration has been uniformly subjugated in favor of its modern mate in part due to internal politics coupled with a desire to create a poomsae with enhanced complexity. Yet, Original Koryo continues to be transmitted from venerated master to worthy disciple in various taekwondo institutes to this day, albeit with highly attenuated frequency.

Koryo, in its present state, created in 1972 in conjunction with the Taegeuk series of elementary poomsae, effectively supplanted its earlier sibling and is today actively practiced by more than 90,000,000 World Taekwondo Federation stylists in over 200 nations around the globe. Given Koryo’s popularity and its challenging characteristics, it is routinely rehearsed in preparation for tournament competition at the regional, national, and international level. Moreover, documentation of this poomsae is profuse; written and video illustrations depicting the fundamental elements and unique line of motion are plentiful.

So why add to the exhaustive collection of editorial and visual documentation already available to the martial arts community at large on this subject? Succinctly put, poomsae, hyung, and tul clearly represent more than a loose collection of basic movements strung together for aesthetic or health purposes. The tactics, carefully annotated within the time-honored sequences of offensive and defensive strategies that combine to create both poomsae, are more in tune with combat preparedness than they are to sport, as they were originally intended. Relegating the execution of these tactics to a position leading to little more than the presentation of a trophy flies in the face of their authentic martial intent. Subsequently, while true completion of technique is denied by the overarching principle of honor and compassion prescribed by the tenets of traditional, defense-oriented taekwondo, it does not imply that the practitioner need remain ignorant to the practical defensive and offensive applications associated with

xii Taekwondo Black Belt Poomsae

the kicks, blocks, and strikes unique to both versions of Koryo as mapped out in a later section of this work.1

Likewise, both Koryo poomsae, by virtue of their imprimatur, bear the stamp of pride imprinted by Korean history. These distinctive poomsae honor the technical, cultural, and philosophical innovations of the Koryo dynasty while celebrating its accomplishments with each consecutive performance. Why not then pay tribute to this golden past by awakening to the historical dimensions of these formal exercises?

Moreover, we feel Original Koryo should be recognized as an heirloom form containing many tactical strategies not found in subsequent poomsae. Therefore, it is important to note that the reintroduction of Original Koryo is not intended to subvert the practice and proliferation of Koryo as an entity for global competition in any way.

Clearly, the vast majority of us are not soldiers; if we were training in taekwondo merely to inflict injury we would enlist in the military and master the use of firearms. Yet taekwondo, at least in its orthodox form, is also not dance. So why relegate these poomsae simply to the level of physical motion within the spatial plane as is so often done in the modern dojang?

This book then is a scholarly attempt to capture, transmit, and preserve as an inheritance not only the historical treasures and apparent technical elements inherent in Original Koryo and Koryo along with their properly calibrated stances, but also applications less obvious or even secretly encoded for the benefit of those seeking more than triumph in the ring or aerobic fulfillment from their taekwondo training.

Finally, previous books we have collectively authored have been standardized as reference materials within the global taekwondo community. It is our hope that this work will also be utilized as such.

Grandmaster Richard ChunMaster Doug Cook

1 Steven D. Carpener, “Problems in the Identity and Philosophy of T’aegwondo and Their Historical Causes,” in Korea Journal 35 no. 4 (Winter 1995): 80-94.

1

I. History and Philosophy

The Ritual Practice of Formal Exercises

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 multiple opponents on the field of battle for the benefit of those less qualified in the

This mural, discovered by archeologists in 1935, appears on the ceiling of Muyong-chong, a royal tomb in southern Manchuria built during the Koguryo dynasty, between AD 3 and AD 427. The painting depicts two men engaged in a type of sparring activity. Courtesy of US Institute of Martial Arts at http://www.emporium.net/taekwondo/history.html. Courtesy of Richard Chun.

2 Taekwondo Black Belt Poomsae

ways of war.2 This ritual, performed with and without weapons, may have been practiced around a campfire, in secret gardens, or in the incense-filled halls of an ancient Buddhist temple. All of which lends credence to the notion that the dynamic process of cataloging sequential packets of defensive and offensive skills through formal exercises has existed for centuries.3 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, tul, kata, and taolu, all culturally specific terms for choreographed sequences of self-defense techniques aimed at defeating multiple attackers approaching from various directions, represent the cornerstone of any traditional martial art.

Generically defined as forms or formal exercises, the core patterns, which support the technical foundation of Korean taekwondo, Japanese karatedo, and the various

styles of Chinese gungfu, are distilled from primitive combat elements that eventually coalesced and evolved into the subsequent predetermined routines unique to these classic martial disciplines. An illustration of this linkage, particularly as it relates to traditional taekwondo, can be found in mural paintings that appear on the ceiling of Muyong-chong, a royal tomb built between AD 3 and AD 427 during the Koguryo period (37 BC–AD 668). Discovered by archeologists in 1935, these ancient images depict two warriors engaged in a type of free sparring. While these tactics in and of themselves do not constitute the prescribed combinations of techniques that comprise forms, they do confirm the existence of an organized combat discipline unique to that time and region.

Likewise, if one were to visit Sokkuram Grotto located high in the mountains of Korea surrounding the

2 C. W. Nicol, Moving Zen: Karate as a Way to Gentleness (London: Bodley Head, 1975).3 Richard Chun, Taekwondo: Spirit and Practice Beyond Self-Defense (Boston: YMAA Publishing, 2003).

Image of the Buddha. Courtesy of Doug Cook.

53

II. Technical Elements of Original Koryo and Koryo

Poomsae represent combinations of various blocks, kicks, stances, and strikes—the basic catalog of traditional taekwondo. These tactics are then linked together in a logical manner to compose strings of offensive and defensive strategies that ultimately combine to create a thematic whole. To illustrate this point, the discrete elements that comprise a particular poomsae can be thought of as the words of a sentence. Likewise, these unique sequences of movements can then be viewed as the sentences that form a paragraph. The paragraphs ultimately represent the various poomsae in their entirety. Each element must be executed fully with precision and purpose. No movement is to be abbreviated prior to its completion. The following elements are represented in Original Koryo and Koryo but by no means reflect a full representation of traditional taekwondo techniques.

STANCES

Ready Stance—Joonbi Seogi

a. Feet are placed one foot width apart, toes facing forward.b. Arms are extended in front of the body in a slightly circular manner.c. Fists are tight with palms facing abdomen.d. Gaze is straight forward.e. Weight distribution is 50% on right foot, 50% on left foot.


Attention Stance—Cha Riot Seogi

a. Left foot is drawn into right foot, heels touching.b. Feet are spread 45 degrees apart.c. Hands are placed at the sides of the body.d. Gaze is straight forward.

Bow of Respect—Kyung Ne

a. From attention stance, body is inclined forward 45 degrees at the hips.b. The neck remains in line with the back.c. Eyes look downward.d. Hands are placed at the sides of the body.e. A moment of thought is given to the object of the bow.

73

III. Original Koryo Poomsae

Hangul for “Original Koryo.” Courtesy of Richard Chun.

Original Koryo represents a technical heirloom as evidenced by the fact that it is rarely practiced, if at all, in contemporary taekwondo. This poomsae is sometimes referred to as Koryo One or Traditional Koryo. Original Koryo consists of many techniques that have been removed from modern training methods largely due to the popularity of sport taekwondo and its restrictive nature in the ring. Moreover, since Original Koryo was initially part of the Yudanja set created along with the Palgwe poomsae between 1965 and 1967, we will assign the same standards regarding chambering that apply to all KTA, Kukkiwon, and WTF formal exercises; that is, blocks originate from the outside of the non-blocking arm while strikes begin from inside the non-striking arm, a general rule that applies to all Taegeuk, Palgwe, and Yundanja poomsae.


Line of Technical Motion

104

Line of Technica l Motion

A (Starting Point)

C D

B

Ready (Para l lel) Stance G69 Joonbi (Naranhi) Sogi

a. Maintain ready stance, facing B, eyes focused straight ahead.

F irst Position: Long Left Knife Hand Middle B lock G70 Wen Sonnal Momtong Makki

a. Slide left foot forward towards B.

b. Assume Extended Left Back Stance.

c. Simultaneously execute a Long Left Knife Hand Middle Block, front arm extended.

Second Position: Right Four Knuckle F ist Str ike G71 Orun Pyung Chumok Jiluki

Joonbi

Ready Position (Parallel Stance)—Joonbi (Naranhi Seogi)

a. Maintain ready stance, facing B, eyes focused straight ahead.b. Simultaneously, place both fists in front of the abdomen, palms in.

III. Original Koryo Poomsae 75

First Position

Slightly Extended Left Knife Hand Middle Block—Jogum Neulligi Wen Sonnal Momtong Makki

a. Slide left foot forward toward B.b. Assume left back stance, slightly extended.c. Simultaneously execute a left knife hand middle block, front arm slightly extended.

Second Position

Right Four Knuckle Fist Strike—Orun Pyung Chumok Jireugi

a. Slide right foot back.b. Assume left front stance.c. Simultaneously execute a right four knuckle strike to throat.


Third Position

Right Side Kick/Side Hammer Fist Strike—Orun Yop Chagi/Yop Me Chumok Jireugi

a. Pivot 90 degrees to the left facing D into left crane stance (still facing B).b. Bring the left fist to the left hip, palm up, and the right fist on the left fist, palm in.

c. Simultaneously execute a right side kick/side hammer fist strike combination in the direction of B.Note: The motions of a, b, and c are executed as one continuous motion.

93

IV. Koryo Poomsae

Hangul for “Koryo.” Courtesy of Richard Chun.

The word “Korea” derives from the ancient Koryo dynasty. Koryo men were strong in their convictions and fought tirelessly in battle. They persistently resisted the aggressions of the Mongolians who were sweeping the world at the time. Their firm resolution and intrepid spirit, born of wisdom rather than brute strength or numbers, earned them the title “men of conviction.” The form Koryo can be a way of cultivating the strength that arises from firm conviction. With every motion, the taekwondoist must demonstrate confidence and a strong will.


Line of Technical Motion

110

KUKKI KORYO G98 Hangul for “Kukki Koryo”

The word “Korea” der ives from the ancient Koryo Dynasty The Koryo

men were people of strong convictions which were demonstrated tirelessly in

battle. They persistently resisted the aggressions of the Mongolians who

were sweeping the wor ld at the time. Their f irm resolution and intrepid spir it,

born of wisdom rather than brute strength or numbers, earned them the

title “men of conviction”. The form Koryo can be a way of cultivating the

strength that ar ises from f irm conviction. With every motion, the

taekwondoist must demonstrate conf idence and a strong will.

Line of Technica l Motion A (Starting Point) R-1 L-1 R–2 L-2 B

Ready Position (Parallel Stance)—Joonbi (Naranhi Seogi)

IV. Koryo Poomsae 95

Joonbi

Barrel Pushing Ready Stance—Tong Milgi Joonbi Seogi

a. Assume ready stance at point A, eyes focused straight ahead toward B.b. Simultaneously raise both open hands to neck and push forward, palms in, with arms

and hands tensed, as if pushing a heavy barrel.

First Position

Left Knife Hand Middle Block—Wen Sonnal Momtong Makki

a. Slide your left foot 90 degrees to the left toward L-1.b. Assume left back stance.c. Simultaneously execute a left knife hand middle block.


Second Position

Double Side Kick (Right Low Side Kick/Right High Side Kick) Right Outside Knife Hand Strike—Kodeup Yop Chagi (Orun Arae Yop Chagi/Orun Olgool Yop Chagi) Orun Sonnal Bakkat Chigi

a. After placing your left fist at waist level, palm up, and your right fist over your left fist, palm in, execute a side kick with your right foot to knee level, toward L-1.

b. Keep fist in same position as in low side kick. Then, without placing your foot on the floor, execute a side kick with your right foot to the face of your opponent. Note: Kicks should be executed slowly and fully extended, a and b are executed as one continuous motion.

IV. Koryo Poomsae 97

c. Immediately bring your right foot down one step forward toward L-1 while assuming right front stance.

d. Simultaneously execute a right outside knife hand strike to the neck, palm down.

Third Position

Reverse Middle Punch—Bandae Jireugi

a. Maintain the stance while executing a left hand reverse middle punch.

133

V. Original Koryo Combat Applications

COMBAT APPLICATION 1

Third Position

Right Side Kick/Side Hammer Fist Strike—Orun Yop Chagi/Yop Me Chumok Jireugi

a. Execute right side kick to opponent’s chest or face while simultaneously striking with a side hammer fist strike.

b. As attacker leans forward, grab after completion of strike, pulling him to ground.


Fourth Position

Low X Block—Otgolo Arae Makki

a. Defend against potential kick or strike with X block once attacker is brought to ground.

141

VI. Koryo Combat Applications

COMBAT APPLICATION 1

First Position

Left Knife Hand Middle Block—Wen Sonnal Momtong Makki

a. Execute a left knife hand middle block in response to attacker’s lunge punch from an open fighting stance.


Second Position

Double Side Kick (Right Low Side Kick/Right High Side Kick) Right Outside Knife Hand Strike—Kodeup Yop Chagi (Orun Arae Yop Chagi/Orun Olgool Yop Chagi) Orun Sonnal Bakkat Chigi

a. Execute a right low side kick to the knee.

b. After retracting the kicking leg, quickly execute a right high side kick to the face.

VI. Koryo Combat Applications 143

c. As opponent leans forward, from right stance, execute a right outside knife hand strike to the neck.

Third Position

Reverse Middle Punch—Bandae Jireugi

a. Continue with a reverse middle punch to the rib cage.

153

VII. Reflections on the Maturation of Martial Skill

By Master Doug Cook

(In Tribute to the Evolving Expertise of Grandmaster Richard Chun)

It is often said, “Those who cannot do, teach.” While this proverb may ring true in some vocations, it does not necessarily apply to the martial arts where many of the most accomplished teachers are nearly centenarians. Even though proficiency in taekwondo is not automatically pegged to age, stories abound of elderly grandmasters far outdistancing their younger disciples in aptitude based on years of experience and dedication to their art.

Yet what is it that induces men and women to forgo the deserved comforts and entitlements sanctioned by age in favor of disciplined training? Often it is an intuitive sense that destiny has consigned them the role of vessel in becoming the repository of an ancient wisdom, rich in philosophy, which must be conveyed with honor in order to preserve its integrity and effectiveness. Few individuals possess the spiritual stamina required to answer this call and even fewer can endure its hardships since one must realize that, as with any sincere pedagogical quest, financial gain is rarely the primary focus. This is not to say that the rewards are few; on the contrary, becoming an untarnished link in the great chain of martial arts knowledge, coupled with the unique ability to influence the lives of others in a positive manner through the transmission of a classical martial art, is frequently compensation enough for the enlightened few.

Living evidence of these profound principles can plainly be found in the person of Grandmaster Richard Chun, 9th dan international master instructor, who, over the decades has inspired thousands of enthusiastic martial artists worldwide. Having tirelessly contributed to the taekwondo community through personal instruction, visual aids, and the written word, he has encouraged generations of practitioners to pursue the path to excellence. Beginning well over a quarter century ago with the publication of five books focusing on traditional taekwondo, he continues even today with the disbursement of knowledge, uninterrupted.

Aside from his accurate depiction of basic technique including the blocks, kicks, stances, and strikes that compose the vast mosaic of Korean martial arts, the works of


Grandmaster Chun have faithfully acknowledged the important role poomsae play in the traditional taekwondo curriculum. Providing a vital link to warriors of the past, the individual formal exercises of taekwondo act as a roadmap in cultivating precise self-defense skill. Through his articulate documentation of the forms endorsed by the Kukkiwon, the World Taekwondo Federation, and the Korea Taekwondo Association, Grandmaster Chun has gifted the taekwondo world with a body of knowledge unequaled in its proportions. This current work is no exception.

Original Koryo, unimpeachably an heirloom poomsae, remains virtually unknown in many circles, here to be revived. Conversely, Koryo, as mentioned in the text, represents the single most popular poomsae currently performed by the 1st dan black belt, bar none. Within these pages, Grandmaster Chun faithfully shares the individual movements that compose the former, while reenacting his presentation of the latter, first depicted in his landmark work, Advancing in Tae Kwon Do, published in 1983. However, it is through his superior performance of Koryo, now, that the maturation process, owing to a lifelong practice, reveals itself to the learned eye. To the uninitiated, the sequential images may appear identical to those captured decades ago. Yet upon closer examination the wondrous phenomena of ki projection, united with pronounced intent and purpose, quickly becomes apparent. These attributes, earned by tenure, should be construed as the ideal, motivating the novice black belt as he avidly ascends the ranks to greatness. Clearly and simply, technique of this magnitude evolves with age amplified by action and is not merely a function of sincere desire.

By way of illustration, compare for a moment the skill portrayed in the following set of photographs; all exhibit, whether from the 1983 vintage or the present collection, extraordinary stances steeped in balance, weight distribution and efficacy, the elasticity that supersedes blocks, and the unmitigated power of strikes. Undoubtedly, all images expose a true mastery of the art.

But look in the eyes, principally paying attention to the more recent set of photographs. The perceptible extension of ki, the animating life force harnessed by the martial artist for the purpose of magnifying technique many times over, is largely manifest by the confidence and attitude reflected in the gaze. Miyamoto Musashi, the undefeated Asian swordsman once stated long ago: “In battle, if you make your opponent flinch, you have already won.” Consequently, if the taekwondoist is successful in short circuiting his opponent’s negative energy even before the first strike is thrown, then, through this communicative power, he has already triumphed. Fortunately, the camera was successful in catching this fearsome, ocular talent as Grandmaster Chun executes a head level front kick (Fig. 1b).

VII. Reflections on the Maturation of Martial Skill 155

Figure 1a31 Figure 1b32

Equally as fundamental to the meaningful performance of poomsae is martial intent. Since the practitioner is engaged in a battle without bloodshed then purpose becomes paramount. The blocks and strikes called for in Original Koryo and Koryo, intended to deflect the offending hand or penetrate an intended target, must be executed with remarkable precision even without the physical article being present. This is the essence of poomsae training. The depth of this intent in tandem with the relaxation that develops with increased poise, are framed in the maturing, yet ever expanding proficiency of Grandmaster Chun.

Nevertheless there remains another ally in the quest for poomsae perfection. The brand of self-assurance needed to send a shock wave of terror through the heart of an attacker lies embedded within the kihap, or spirit yell. Grandmaster Chun is no stranger to this tactic having applied it more than once in threatening situations across the years. However, since the kihap and the dread it elicits, both audibly and spiritually, cannot be captured on the printed page, one must use the imagination to judge its effect when called for in the poomsae. Make note when this occurs in the text (Fig. 2b). Perhaps, then, the reader will experience the resonance implicit in the act.

31 Richard Chun, Advancing in Tae Kwon Do. 2nd ed. (Boston: YMAA Publication Center, 2006), 151. Photo originally taken in 1983.

32 Photograph by Tim Comrie, 2012.

183

Index

ahn momtong makki, 61ahn sonnal jireugi, 70akumson jireugi, 68anpalmok momtong hechyo makki, 81, 107, 109ap chagi, 65ap seogi, 57arae makki, 59Art of War, The, 7attention stance, 54Azato, Yasutsune, 14back fist strike, 71back stance, 56Baduanjin, 6bakkat palmok hechyo makki, 63bakkat sonnal chigi, 69bandae jireugi, 67, 79, 97, 100, 143barrel pushing ready stance, 95, 129batangson makki, 63blocks, 59Bodhidharma, 5Book of Changes, The, 44bow of respect, 54capoeira, 50Chang Han set, 37cha riot seogi, 54Ch’oe family, 11cha riot seogi, 54Chang Han set, 37Chang Moo Kwan (Jung Ang YMCA Kwon Bop

Bu), 23Choi, Hong Hi, 26, 30Chosun Dynasty, 12Chosun Yun Moo Kwan Kongsoodo Bu, 25Choue, Chungwon, 36chuan fa, 7

Chun, Grandmaster Richardtribute by Doug Cook, 153

Chun, Sang Sup, 25combat applications, 130

Koryo, 141Original Koryo, 133

crane stance, 58Da Mo, 6dan/kyu ranking, 15Disorder Period, 18doobal momtong jireugi, 90doojumok jireugi, 67doong chumok chigi, 68, 69, 71double middle punch, 90double punch, 67double side kick (left low side kick/left high side

kick), 99double side kick (right low side kick/right high side

kick), 96, 142dwi koobi, 56Eight Pieces of Brocade, 6Eighteen Hands of Lo Han, 5Eight Pieces of Brocade, 6embedded strategies, 50empty-hand fighting arts, 8empty-hand self-defense, 13Ever Youthful Institute of Martial Arts, 25extend left hand to grab opponent, 82formal exercises, 13, 17four knuckle fist strike, 71front cross stance, 58front kick, 65front stance, 55Funakoshi, Gichin, 14Funakoshi, Gigo, 15


hakdari seogi, 58hansonnal arae makki, 127han sonnal momtong makki, 61Heian kata, 15hidden techniques, 50high block, 60high forward (walking) stance, 57high knife hand block, 60Hong, Il Dong, 26horse stance, 57hwarang, 8Hwa Sun, 8hyung, 16, 22, 37

Hwa Sun, 8I Ching, 44inner arm spread middle block, 81, 107, 109inside knife hand strike, 70inside middle block, 61Internal Elixir, 6International Taekwon-do Federation, 31Itosu, Yasutsune “Anko,” 14Ji Do Kwan, 25joonbi (naranhi seogi), 74, 91, 94, 129joonbi seogi, 53ju choom seogi, 57jumping front kick, 65, 89Kang, Suh Chong, 24Kano, Jigoro, 15karate, 16Karate-do Kyohan, 17kata, 13, 14, 15, 16, 17Kee, Hwang, 8, 21kenpo, 7Keumgang poomsae, 4Keumgang Yuksa, 4ki, 6, 49

using with poomsae, 9kicks, 65

Kim, Un Yong, 31, 36King T’aejo, 9knee break, 106, 108, 145knee kick, 66knife hand low block, 127knife hand middle block, 62Kobayashi Shorin ryu, 14kodeup yop chagi (orun arae yop chagi/orun olgool

yop chagi), 96, 142kodeup yop chagi (wen arae yop chagi/wen olgool

yop chagi), 99Koguryo, 7, 9Kon, General Wang, 9kongsoodo, 17Korea Kongsoodo Association, 25, 29Korean history

poomsae Koryo and, 9Korea Soobahkdo Association, 22Korea Taekwondo Association, 22, 30Korea Tangsoodo Association, 22Koryo dynasty, 9Koryo poomsae, xi, 43Koryo sovereignty, 11Kukkiwon, 27, 32kwans

unification of, 27kwon bop, 7, 8kyung ne, 54Lee, Won Kuk, 18left forward cross stance, 118left four knuckle fist strike, 78left front kick, 88, 104, 108, 140left hammer fist target strike, 122left inside knife hand strike, 127left inside middle block, 85, 101left knee kick, 80, 135left knife hand low block, 124left knife hand middle block, 95, 141

Index 185

left low block, 119left low spear hand strike (palm up), 112, 148left outside knife hand high block, 87, 139left outside knife hand strike, 99, 124left outside single knife hand middle block, 110, 146left palm heel block, 114left side elbow attack, 120left side kick, 112, 148left single knife hand low block, 83, 102, 104, 137left target punch, 117left tiger mouth thrust, 103line of technical motion

Koryo, 94Original Koryo, 74

long knife hand middle block, 62long left knife hand middle block, 75low block, 59low knife hand block, 59low X block, 77, 81, 134, 136Mabuni, Kenwa, 15meditative practice, 51Moo Duk Kwan, 8moorub chagi, 66, 80, 135moorub kkukki, 106, 108, 145mori japgo, 80, 135mural paintings, 2Muye Dobo Tongji, 6, 8, 22Muye Jebo, 7Muye Shinbo, 7nampa, 16Neo-Confucianism, 12Nicol, C. W., 8Okinawan/Japanese kata, 13Okinawan karate, 15olgool makki, 60Olympic Games (1988), 36open hand head grab, 80, 135Original Koryo poomsae, xi

orun agwison kaljaebi, 102, 104orun ahn momtong makki, 84, 98, 144orun ap chagi, 103, 106, 145orun arae makki, 114, 149orun bakkat hansonnal momtong makki, 79, 84orun batangson nullomakki, 120orun chumok pyojeok chilki, 147orun chumok pyojeok jireugi, 111orun dollyo palgub chilki, 83, 137orun doong chumok chigi, 86, 138orun hansonnal arae makki, 103, 126orun hansonnal bakkat chigi, 126orun hansonnal bakkat momtong makki, 116orun kaljaebi, 128orun koa seogi, 112, 148orun olgool makki, 77orun palgub yop chigi, 114orun pyeonsonkeut jecheo jireugi, 118orun pyung chumok jireugi, 75orun sonnal bakkat chilki, 96, 142orun yop chagi, 76, 118, 133otgolo arae makki, 77, 81, 134, 136otgolo makki, 64outside knife hand strike, 69Palgwe poomsae, 40Palgwe set, xiPalgwe Yook Jang, 49Palman Daejanggyeong, 10palm heel block, 63Pinan (Peaceful Mind) kata, 14Pinan set, 14poomsae

attributes and technical performance, 47eight trigrams, 45learning, 48self-defense techniques, 2technical elements, 53

poomsae koryo

189

About the Authors

Grandmaster Richard Chun

Grandmaster Richard Chun, a 9th dan black belt began his formal martial arts education under the direction of Ki Whang Kim and Chong Soo Hong at the famed Moo Duk Kwan or “Institute of Martial Virtue” in Seoul, Korea. By age fourteen, he received his first dan black belt. Following the outbreak of the Korean War, his family moved to Cheju Island where he attended high school. In 1954, at age nineteen, he returned to Seoul. Once there, he enrolled in Yonsei University and graduated in 1957. While at the university, he served as captain of the taekwondo club and participated in several competitions. Entering the United States in 1962 as a student, he lived in Washington, DC and began studying for his Master’s Degree in Business and Marketing at George Washington University.

In 1964, with the assistance of past-WTF president Dr. Un Yong Kim, he officially established the Richard Chun Taekwondo Center, a school that has cultivated champions, such as Joe Hayes, and catered to movie stars and sports figures including Ralph Macchio (The Karate Kid), and dancer/actor Gregory Hines. The Richard Chun Taekwondo Center became a mecca for many practitioners both locally and worldwide. During the same time period, with the help and support of General James Van Fleet, he created and organized the first Annual Universal Taekwondo Open Championships. Richard Chun earned his MBA at Long Island University. He eventually went on to obtain a Ph.D., becoming a professor of health and physical education at Hunter College in New York City.

In 1973, Grandmaster Chun was appointed head coach of the USA Taekwondo Team, leading them to a second-place victory in the first World Taekwondo Championships held in Seoul, Korea. He has traveled and lectured extensively at martial arts schools around the country as well as appearing on many popular television talk shows. He went on to establish the United States Taekwondo Association in 1980, an organization whose mission it is to promote the ancient and evolving art of taekwondo, and currently he serves as its president.

Dr. Chun played a major role in organizing taekwondo as an event in the Olympics and has served as Senior International Referee at international championships and

Photo courtesy of Henry Smith.


Olympic competitions. For his many achievements in promoting taekwondo within the borders of the United States, he received the Presidential Award from the president of Korea. In 1999, following a training and cultural tour of Korea, he was named Special Assistant to the president of the World Taekwondo Federation. He has also received many citations over the years from the Moo Duk Kwan and World Taekwondo Federation.

Grandmaster Chun shares his knowledge of taekwondo through the written word with five best-selling books to his credit, all of which have been translated into several foreign languages. All are used as reference guides by thousands of practitioners and schools worldwide. Dr. Chun has also produced a number of instructional DVDs on self-defense, sparring, and forms, available through the United States Taekwondo Association website and YMAA Publication Center of Wolfeboro, NH.

Richard Chun has been a member of the Lions Clubs International for more than four decades where he has served as District Governor of New York. He was appointed Ambassador of Goodwill by the Lions Clubs International Association for his humanitarian services worldwide and has been repeatedly honored by the president of Korea for the same. With two children both pursuing successful careers of their own, Dr. Chun his has been happily married for over thirty-five years.

Master Doug Cook

Master Doug Cook holds a 6th Dan Black Belt in the Korean martial art of taekwondo and is certified as an instructor and in rank by the United States Taekwondo Association and the Kukkiwon. He is a six-time gold medalist having frequently participated in the USTA Invitational Championships, New York State Championships, and the New York State Governor’s Cup Competitions. Master Cook has trained in Korea on multiple occasions and currently administers training and cultural tours to the homeland of taekwondo. He holds a D3 status as a US Referee and has received high honors from Korea in the form of a “Letter of Appreciation” signed by World Taekwondo Federation past president, Dr. Un Yong Kim. In 2003, Master Cook was awarded the Medal of Special Recognition from the Moo Duk Kwan in Seoul, South Korea. In 2004, while

attending a training camp in Korea, Master Cook received a Special Citation from the Korean government for forging a stronger relationship between Korea and the United

Photo courtesy of Henry Smith.

About the Authors 191

States through the martial arts. A six-page interview featuring Master Cook appeared in the May 2005 issue of TaeKwonDo Times focusing on taekwondo philosophy and his views on the role the martial arts will play in the twenty-first century. In June 2006, he was inducted into the Budo International Martial Arts Hall of Fame as “Taekwondo Master of the Year.” In 2007, Master Cook was invited on several occasions to speak as a guest lecturer at the University of Bridgeport in Connecticut. Master Cook was recently listed in Black Belt magazine as one of the Top Twenty masters of the Korean martial arts in America. In 2009, he was invited to speak at the prestigious Korea Society in New York City and will appear in Legacy, an upcoming television documentary centering on taekwondo, scheduled for release in 2013. Master Cook recently appeared on the cover of Totally TaeKwonDo magazine, an issue that also featured an eight-page in-depth interview. He was inducted into the TaeKwonDo Times 2011 Hall of Fame as “Writer of the Year.” At a ceremony honoring Grandmaster Richard Chun in 2011, he was again awarded a Special Recognition Award from the Moo Duk Kwan in Korea. In December of 2011, Master Cook received a Special Citation from the Ambassador of South Korea at the nation’s embassy in Washington, DC, in recognition of his editorial contributions to taekwondo and was recently interviewed by the ABC-affiliate, Univision, regarding the 2012 Olympics.

Master Cook is credited with the creation of the Chosun Women’s Self-Defense Course. He has also provided training for the US Army National Guard/42nd Division prior to military operations, and has instructed agents from the Department of Homeland Security, the New York Police Department, and the Bronx County Sheriff’s Department. Master Cook was called upon to demonstrate taekwondo as part of a three-man team at the annual Oriental World of Self-Defense held in New York City’s famed Madison Square Garden. There, he and the team were cheered on by martial arts legends such as Richard Chun, Henry Cho, and Chuck Norris.

Because he is a traditionalist, Master Cook places great emphasis on the underlying philosophical principles and self-defense strategies surrounding taekwondo. He demonstrates this belief by infusing meditation, breathing exercises, a strong attention to basics, and the practice of the classical forms, or poomsae, in his instructional methodology.

Aside from continuing his martial arts education under the tutelage of world-renowned, 9th Dan Black Belt Grandmaster Richard Chun, Master Cook owns and operates the Chosun Taekwondo Academy located in Warwick, New York—an institute specializing in traditional martial arts instruction and ki, or internal energy, development. Master Doug Cook currently shares his knowledge of taekwondo through numerous articles he has written for TaeKwonDo Times, Black Belt, Totally TaeKwonDo and the United States Taekwondo Association Journal, as well as various other martial arts publications. For the past twelve years, he has written a monthly column for TaeKwonDo


Times called “Traditions.” Master Cook is the author of three best-selling books focusing on taekwondo titled, Taekwondo: Ancient Wisdom for the Modern Warrior, Traditional Taekwondo—Core Techniques, History, and Philosophy, a finalist in ForeWord magazine’s Book of the Year Award, and Taekwondo—A Path to Excellence, released in 2009, a USA Book Award finalist. All editions are published by YMAA Publication Center and are available online and at booksellers throughout the world. Master Cook can be reached at [email protected] or at www.chosuntkd.com, and is available for seminars, workshops, book signings, and lectures.

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