Taekwon-Do Patterns E-Book

Jim Hogan

• Herausgeber: Crowood
• Kategorie: Lebensstil
• Sprache: Englisch

Seitenzahl: 251

Veröffentlichungsjahr: 2014

Beschreibung

For the first time, all fifteen patterns [tul] of the Korean martial art of Taekwon-Do that are taught within the black belt syllabus of the International Taekwon-Do Federation are presented here in a single volume. This landmark book shows every single move of each pattern executed by the internationally renowned Taekwon-Do exponent and instructor, Master Jim Hogan. Each movement is clearly illustrated with a full-length photograph accompanied by a detailed commentary, a diagram showing the position of the move within the pattern, an overall description of the pattern, and the Korean translation for every single technique.Together with the authors' earlier volume, Taekwon-Do Patterns from Beginner to Black Belt, all twenty-four Taekwon-Do patterns are now described and analysed in remarkable detail. The books are clearly focused on the needs of the Taekwon-Do practitioner, and are an invaluable resource for every Taekwon-Do student. Superbly illustrated with 1500 colour photographs, including full-length photographs and diagrams illustrating every single move of each pattern.

Leseprobe

TAEKWON-DOPATTERNS

FROM 1ST TO 7TH DEGREE BLACK BELT

TAEKWON-DOPATTERNS

FROM 1ST TO 7TH DEGREE BLACK BELT

Master Jim Hogan and James Home

THE CROWOOD PRESS

First published in 2011 by

The Crowood Press Ltd

Ramsbury, Marlborough

Wiltshire SN8 2HR

www.crowood.com

This e-book published in 2014

© Jim Hogan and James Home 2011

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publishers.

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

ISBN 978 1 84797 920 9

Disclaimer

Please note that the authors and the publisher of this book are not responsible in any manner whatsoever for any damage or injury of any kind that may result from practising, or applying, the principles, ideas, techniques and/or following the instructions/information described in this publication. Since the physical activities described in this book may be too strenuous in nature for some readers to engage in safely, it is essential that a doctor be consulted before undertaking any training or sparring.

Dedication

To the memory of our fathers, James Hogan and George Home.

Acknowledgements

Our thanks to Samuel Brown (III Degree), John Vernazza (III Degree) and Peter Yip (I Degree) for their assistance in the applications photographs. All the photographs in this book were taken by Tim J. Rumble of Britannia Photographic Ltd.

Contents

Preface

1

Introduction

2

Kwang-Gae Tul

3

Po-Eun Tul

4

Ge-Baek Tul

5

Eui-Am Tul

6

Choong-Jang Tul

7

Kodang Tul

8

Sam-Il Tul

9

Yoo-Sin Tul

10

Choi-Yong Tul

11

Yon-Gae Tul

12

Ul-Ji Tul

13

Moon-Moo Tul

14

So-San Tul

15

Se-Jong Tul

16

Tong-Il Tul

Glossary

Index

Preface

This book completes the project that began with the publication in 2006 of Taekwon-Do Patterns: From Beginner to Black Belt: the production of a comprehensive manual of ITF Taekwon-Do patterns focused on the practical, self-defence application of the techniques and combinations they contain. The response from Taekwon-Do practitioners, both students and instructors, to that first book has been extremely positive and has further encouraged the authors in the production of this second book covering the remaining fifteen ITF Taekwon-Do black-belt patterns.

As with the earlier book, our goal continues to be to help the reader perform the patterns with greater realism and commitment by thinking more closely about their possible self-defence applications, as well as providing a clear and concise reference book. We have therefore continued with the same format and approach, the only slight differences being in brevity and tone – a readership of largely black-belt martial artists requiring less detailed explanation and being more self-motivated.

Master Jim Hogan, VII Degree

James Home, IV Degree

1 Introduction

Content and Readership

This book documents the fifteen ITF (International Taekwon-Do Federation) Taekwon-Do patterns (tul) taught at 1st to 7th Degree black-belt level, the initial nine patterns taught at coloured-belt level having been covered in Master Hogan’s earlier book, Taekwon-Do Patterns: From Beginner to Black Belt. The intended readership is therefore primarily ITF Taekwon-Do practitioners holding the rank of 1st Degree black belt and above.

ITF Taekwon-Do is the Korean self-defence art created by General Choi Hong Hi and spread around the world with the formation of the International Taekwon-Do Federation in 1966. It is now frequently referred to as ‘ITF’ Taekwon-Do to clearly differentiate it from its principal Taekwon-Do variant, the WTF (World Taekwon-Do Federation), which was founded in 1973. Although sharing a common foundation, the Taekwon-Do that is taught under the umbrellas of the two organizations differs in a number of areas, but most significantly in that of patterns, where each teaches a completely different pattern set. With the death of General Choi in 2002, the ITF split into three separate organizations – the authors subscribe to the ITF under the leadership of President Choi Jung Hwa, the son of the founder, and the pattern descriptions in this book conform to the teaching of that organization. Whilst there are a few differences in patterns across the ITF and other organizations teaching Taekwon-Do as formulated by General Choi Hong Hi, they are limited to a small number of similar moves, e.g. executing a reverse hooking kick instead of a reverse turning kick or applying a technique at high section rather than middle section. This book should therefore be of interest to, and hopefully of value to, all ITF Taekwon-Do practitioners, regardless of their organizational affiliations.

Structure

Chapters

The rest of this book is divided into fifteen chapters covering each of the fifteen ITF Taekwon-Do patterns in the black-belt examination syllabus. Each chapter has the same structure:

•

An opening introduction to the pattern giving its meaning, a brief commentary on the pattern, the number of moves, its place in the grading syllabus, the pattern diagram and a list of new techniques introduced.

•

Running across the top half of the remaining pages there is a move-by-move description of the pattern comprising photographs and captions for each move and for some transitions between moves.

•

Underneath the pattern description photographs on the bottom half of the page, there is a mixture of self-defence applications and teaching tips relating to the pattern moves shown on that page and comprising photographs with captions.

Throughout the book, photographs with captions are the principal medium for explaining techniques and they are formatted according to their functions as either pattern or application photographs.

Pattern Photographs

Pattern photographs run across the top of the page from left to right in strict sequence of the execution of the successive moves of the pattern. Each photograph shows Master Hogan against a white background and having completed a move, as well as some additional pictures of the transition between moves, as appropriate, e.g. as shown in these photographs and captions for moves 4 and 5 from pattern Kwang-Gae.

4 Move the left foot forward to double step into right walking stance, staying on the ball of the left foot until completing …

… right walking stance right palm high section hooking block (gunnun so sonbadak nopunde golcho makgi).

5 Step back with the right foot in a sliding motion into right l-stance knife hand low section guarding block (niunja so sonkal najunde daebi makgi).

Note that the number in bold in the caption is the designated number of the specific move in the pattern; where a move is covered by more than one photograph, as in move 4, the first photograph in the sequence shows the number of the move. Each designated move is given its full name in English in the following sequence:

•

name of stance, e.g. ‘left walking stance’, following the convention that if the stance distributes the body weight evenly across both feet (as in walking stance), and if one foot is forward relative to the other, then that foot determines whether it is a ‘left’ or ‘right’ stance; where neither foot is forward (as in sitting stance), then neither term is used; where the stance does not distribute the body weight evenly across both feet (as in l-stance or one leg stance), then whichever foot bears the most weight determines the description of the stance

•

name of the attacking or blocking tool (where appropriate), e.g. ‘right palm’

•

name of the section of the body that the technique is applied to (where appropriate), e.g. ‘high section’

•

name of the technique, e.g. ‘hooking block’.

The Korean name (in italics) follows the English and conforms to the same convention, although ‘left’ and ‘right’ are not included.

Every pattern photograph has a small black diagram, an ‘orientation icon’, in the top left-hand corner that is structured as follows:

•

Every pattern starts from a given point, progresses in various directions and ends at the starting point. The path travelled away from, and returning to, the starting point is represented by the pattern diagram that forms the unbroken lines of the orientation icon. Where the actual path travelled goes beyond the ‘formal’ pattern diagram, dashed lines may be incorporated into the pattern diagram to better illustrate the total range of the pattern.

•

The performer of the pattern is represented in the icon by a solid black triangle. At the start of the pattern, the base of the triangle is placed horizontally across the start point of the pattern and the apex points in the direction that the performer is facing at the start; the lines representing the path travelled are laid out relative to this starting position and orientation (note that in a few cases, this results in the icon diagram path appearing inverted with respect to the ‘formal’ pattern diagram, where differing performer perspectives were sometimes used). As the pattern progresses, the base of the triangle continues to represent the position of both feet in a stance or movement, where they are parallel, or the rear foot, where one is forward relative to the other, or a single foot, where the other is held off the ground; the apex continues to represent the direction that the performer is facing. Movement along the path of the pattern is shown by adjusting the position of the triangle in two ways:

—

by degrees of rotation to represent changes to the direction that the performer is facing (sometimes enhanced by a directional arrow)

—

by movement along the lines of the pattern diagram to represent the performer’s advance and retreat along the path travelled in the pattern.

•

This simple device not only allows you to see instantly where a given photograph and a given move fits in the pattern, but also allows complete flexibility in the camera angle of the photograph. Rather than taking all of the photographs from a single perspective, since you know the exact position of the performer in the pattern, the photograph can be taken from whichever perspective best illustrates the technique.

Application Photographs

The application photographs run across the bottom of the page from left to right and each page contains a sequence of photographs shot in Master Hogan’s dojang; these are clearly differentiated from the pattern photographs by the presence of a red matted floor. Each sequence of photographs illustrates a self-defence application for, or a more detailed teaching tip about, one or more of the moves in the pattern photographs directly above it. Each sequence has a title describing the application or teaching tip that is shown and each photograph features Master Hogan, either on his own or assisted by one or more of his students, as necessary.

Objectives

Given that the readership of this book is likely to comprise committed Taekwon-Do practitioners, it is not the purpose of this book to motivate or offer advice on training, but rather to achieve two simple goals:

•

First, the book functions as a concise yet detailed work of reference for the black-belt patterns by providing an unambiguous description of every move in every black-belt pattern. The unique combination of best vantage photographs, captions detailing the moves and the transitions between them and the orientation icons, provides a complete narrative for each pattern in its entirety.

•

Second, and perhaps most importantly, the book seeks to provoke the reader into thinking about the self-defence applications of the moves and combination of moves in the patterns. This is the purpose of the self-defence applications that are presented underneath each pattern. They are not presented as ‘correct’ or definitive applications, but rather as possibilities for you to consider. And the purpose of your considering them is to stimulate your own views as to why one move follows another and what the practical self-defence applications of them might be. This exercise not only increases your knowledge of the patterns and Taekwon-Do, but also helps you perform the patterns as they were intended: as a series of defensive and offensive moves against one or more imaginary opponents, visualizing their myriad practical applications as you execute them.

2 Kwang-Gae Tul

Kwang-Gae

Meaning

Kwang-Gae is named after the famous Kwang-Gae-Toh-Wang, the 19th King of the Koguryo Dynasty, who regained all the lost territories, including the greater part of Manchuria. The pattern diagram represents the expansion and recovery of lost territory. The thirty-nine movements refer to the first two figures of ad391, the year he came to the throne.

Description

The first of the Taekwon-Do black-belt patterns, Kwang-Gae, reveals the range of challenges awaiting the novice black belt with a mixture of slow motion, stamping motion and more complex stepping alongside the introduction of new techniques. Yet, for all this diversity, when performed properly, the pattern flows particularly well. The foundation of this continuity is balance, not only when executing the techniques but also in the movement between them, and this should be the focus of the novice.

Slow-motion movements must be performed at a constant speed, coordinating breathing, hand and foot movement and sine wave, to finish at the same time. The double stepping in moves 4 and 6 requires good control of the body, where you must cover the ground rapidly, but avoid being carried forward by your momentum as you execute the palm hooking blocks.

There are thirty-nine moves in the pattern and its diagram is:

Grading Syllabus

Kwang-Gae is taught at 1st Dan and forms part of the grading examination for 2nd Dan.

Techniques Introduced

Stances

•

parallel stance with heaven hand (narani so hanulson)

Defensive

•

knife hand high section guarding block (sonkal nopunde daebi makgi)

•

knife hand low section front block (sonkal najunde ap makgi)

Offensive

•

upset punch (dwijibo jirugi)

•

side fist downward strike (yop joomuk naeryo taerigi)

•

pressing kick (noollo chagi).

Kwang-Gae

Ready posture: parallel stance with heaven hand (narani so hanuison).

1 As a single motion, break hands apart forcefully whilst at the same time raising the left leg sideways slightly before …

… bringing the hands down in a circular motion and the left leg to the right leg, to form closed ready stance B (moa junbi sogi B). Perform this latter part of the stance formation as a slower motion.

Teaching Tip: Preparation for Ready Posture

The correct adoption of the ready posture is an integral part of the pattern, so always start by coming to attention – this ensures that you always start from the same position and allows you to focus on the task ahead.

Inhale as you start to move your left leg and your arms smoothly and deliberately into the ready posture, …

… coordinating your exhalation with the completion of the formation of the ready posture, e.g. moving straight into parallel stance with heaven hand (narani so hanulson).

Kwang-Gae

2 Step forward with the left foot and with both palms facing downwards into …

… left walking stance right upset punch (gunnun so dwijibo jirugi). Perform this move in a slow motion.

3 Step forward with the right foot into right walking stance left upset punch (gunnun so dwijibo jirugi). Perform this move in a slow motion.

Application for Upset Punch: Close Range Counter Attack

When defender blocks late and is at closer range to attacker …

… the reverse upset punch provides a direct and effective counter attack.

Kwang-Gae

4 Move the left foot forward to double step into right walking stance, staying on the ball of the left foot until completing …

… right walking stance right palm high section hooking block (gunnun so sonbadak nopunde golcho makgi).

5 Step back with the right foot in a sliding motion into right l-stance knife hand low section guarding block (niunja so sonkal najunde daebi makgi).

Application for Double Stepping: Reverse Punch Blitz

Attacker draws defender’s attention by sharply pulling back the front foot before stepping …

… forward with the back foot, which ‘contradicts’ the initial movement and confuses the defender, …

… setting defender up for the next step forward and reverse punch from attacker.

Kwang-Gae

6 Move the right foot forward to double step into left walking stance left palm high section hooking block (gunnun so sonbadak nopunde golcho makgi).

7 Step back with the left foot in a sliding motion into left l-stance knife hand low section guarding block (niunja so sonkal najunde daebi makgi).

8 Step forward with the left foot into right rear foot stance knife hand high section guarding block (dwitbal so sonkal nopunde daebi makgi).

Application for Sliding Low Section Guarding Block: Avoiding Kick to Groin

Low section kicks are difficult to block and …

… incorporating a backward slide into the blocking technique provides ‘insurance’ by moving further out of range.

Kwang-Gae

9 Step forward with the right foot into left rear foot stance knife hand high section guarding block (dwitbal so sonkal nopunde daebi makgi).

10 Move the left foot to the side and in front of the right foot as though continuing to step forward, but then turn 180 degrees counter clockwise, pivoting on the left foot and moving the right foot back into …

… left walking stance right palm upward block (gunnun so sonbadak ollyo makgi). Perform this move in a slow motion.

Application for Knife Hand High Section Guarding Block: Blocking Hook Punch and Rapid Counter Attack

Defender blocks hook punch to head with high section knife hand guarding block. Moving back into rear foot stance not only moves defender’s head out of range …

… but also puts defender in range for a rapid lead leg front snap kick counter attack.

Kwang-Gae

11 Step forward with the right foot into right walking stance left palm upward block (gunnun so sonbadak ollyo makgi). Perform this move in a slow motion.

12 Bring the left foot to the right to form a closed stance as both hands are raised above the head and …

… brought down in a circular motion to execute a right knife hand low section front block, with the right hand striking the palm of the left hand (moa so najunde sonkal makgi).

Application for Palm Upward Block: Blocking Side Kick and Breaking Attacker’s Balance

Palm upward block is not only effective against a middle section side kick …

… but the upward motion can be emphasized to raise attacker’s leg and break his balance.

Kwang-Gae

13 Keeping the arms in place, execute left pressing kick (noollo chagi) to the left side.

14 Then chamber the left leg in preparation for …

… left middle section side piercing kick (kaunde yopcha jirugi), keeping the arms in the same position. Perform moves 13 and 14 as a consecutive kick.

Application for Consecutive Pressing and Side Kick: Attack to Knee and Neck

Pressing kick to the knee brings opponent’s upper body lower and closer for …

… consecutive side piercing kick to neck.

Kwang-Gae

15 Step down with the left foot into right l-stance right knife hand high section inward strike (niunja so sonkal nopunde anuro taerigi), pulling the left side fist back to just below the right shoulder.

16 Pull the left foot back to the right into closed stance left side fist downward strike (moa so yop joomuk naeryo taerigi).

17 Keeping the arms in place, look to the right and execute a right pressing kick (noollo chagi) to the right side, followed by a …

Application for Inward Knife Hand Strike and Side Fist Downward Strike: Release from Grab and Counter Attack

Defender breaks attacker’s grab by inward strike to elbow joint of grabbing arm …

… and steps back into closed stance to counter with side fist downward strike to top of attacker’s head.

Kwang-Gae

18 … middle section side piercing kick (kaunde yopcha jirugi), with the same leg and with the arms still in place.

19 Step down with the right foot into left l-stance left knife hand high section inward strike (niunja so sonkal nopunde anuro taerigi), pulling the right side fist back to just below the left shoulder.

20 Pull the right foot back to the left into closed stance right side fist downward strike (moa so yop joomuknaeryo taerigi).

Application for Inward Knife Hand Strike and Side Fist Downward Strike: Counter Attack to Neck and Head

After blocking attacker’s punch, defender pulls attacker onto …

… inward knife hand strike to the neck causing attacker to start to drop and …

… allowing defender to continue counter attack with side fist downward strike to back of attacker’s head.

Kwang-Gae

21 Step forward with left foot into left low stance right palm pressing block (nachuo so sonbadak noollo makgi). Perform this move in a slow motion.

22 Step forward with the right foot into right low stance left palm pressing block (nachuo so sonbadak noollo makgi). Perform this move in a slow motion.

23 Turn 90 degrees clockwise pivoting on the left foot and stamp down with the right foot into …

Application for Palm Pressing Block: Forcing Opponent to Ground after Kick

As opponent doubles up in reaction to front snap kick …

… palm pressing block movement targets the back of opponent’s head, forcing him to the ground.

Kwang-Gae

… sitting stance right back fist high section side strike (annun so dung joomuk nopunde yop taerigi).

24 Turn 90 degrees clockwise pivoting on the left foot and slip the right foot forward into right walking stance right double forearm middle section block (gunnun so doo palmok kaunde makgi).

25 Maintaining the same stance, shift slightly backwards into right walking stance left outer forearm low section block (gunnun so bakat palmok najunde makgi), keeping the right arm in place from the previous block.

Application for Back Fist Strike and Double Forearm Block: Attack to Head and Breaking Balance

Back fist side strike to head stuns opponent and …

… follow through with double forearm block knocks him off balance.

Kwang-Gae

26 Draw back the right foot and the right arm in preparation for …

… right low stance right flat fingertip high section thrust (nachuo so opun sonkut nopunde tulgi). Perform this move in a slow motion.

27 Turn 90 degrees counter clockwise, pivoting on the right foot and stamp down with the left foot into sitting stance left back fist high section side strike (annun so dung joomuk nopunde yop taerigi).

Application for Flat Fingertip Thrust: Using Reaction Arm to Pull Opponent onto Attack

Defender blocks attacker’s punch and grabs attacker’s arm to …

… pull attacker onto flat fingertip thrust counter attack to the throat.

Kwang-Gae

28 Turn 90 degrees counter clockwise, pivoting on the left foot and slip the right foot back into left walking stance left double forearm middle section block (gunnun so doo palmok kaunde makgi).

29 Maintaining the same stance, shift slightly backwards into left walking stance right outer forearm low section block (gunnun so bakat palmok najunde makgi), keeping the left arm in place from the previous block.

30 Draw back the left leg and the left arm and move into left low stance left flat fingertip high section thrust (nachuo so opun sonkut nopunde tulgi). Perform this move in a slow motion.

Application for Sliding Reverse Low Section Block: Blocking Close Range Front Snap Kick

Having blocked attacker’s punch with a double forearm block, defender is too close to block attacker’s follow-up front snap kick – …

… sliding back gives defender correct distance to block kick with reverse block.

Kwang-Gae

31 Step forward with the right foot in a stamping motion into …

… right walking stance twin fist high section vertical punch (gunnun so sang joomuk nopunde sewo jirugi).

32 Turn 90 degrees counter clockwise, pivoting on the right foot and step forward with the left foot in a stamping motion into left walking stance twin fist upset punch (gunnun so sang joomuk dwijibo jirugi).

Application for 90-Degree Turn and Twin Upset Punch: Defence against Two Attackers

After executing twin vertical punch, second attacker closes in to grab defender from the side, …

… defender turns to avoid/break grab and counter attack with twin upset punch.

Kwang-Gae

33 Keeping the arms in same position, execute a right middle section front snap kick (kaunde apcha busigi).

34 After retracting the kicking leg, bring the right foot down to the left foot and turn …

… 180 degrees clockwise, pivoting on the right foot and moving the left foot back into left l-stance knife hand middle section guarding block (niunja so sonkal kaunde daebi makgi).

Application for Front Snap Kick and 180-Degree Turn: Defence against Two Attackers

Defender stops advance of first attacker with front snap kick, as other attacker closes in from behind, …

… rapid turn and stepping back into knife hand guarding block allows defender to face and block attacker.

Kwang-Gae

35 Step forward with the right foot in a stamping motion into right walking stance twin fist upset punch (gunnun so sang joomuk dwijibo jirugi).

36 Step forward with the left foot into left walking stance left high section punch (gunnun so nopunde ap jirugi).

37 Keeping the arms in same position, execute a left middle section front snap kick (kaunde apcha busigi).

Application for Stamping Twin Fist Upset Punch: Trapping Opponent for Punch

As well as providing more impetus for the technique, the stamping motion can target the opponent’s foot …

… to both attack and trap the foot as the punch is delivered.

Kwang-Gae

38 Retract the kicking leg, bring the left foot down to the right, turn 180 degrees counter clockwise, pivoting on the left foot and move the right foot back into right l-stance knife hand middle section guarding block (niunja so sonkal kaunde daebi makgi).

39 Step forward with the right foot into right walking stance right high section punch (gunnun so nopunde ap jirugi). Shout ‘Kwang-Gae’.

Move the left foot and return to ready posture: parallel stance with heaven hand (narani so hanulson).

Application for Turn and Stepping Punch: Increasing Distance for Longer-Range Counter Attack

Attacker is advancing and closing gap on defender who pivots on lead foot and …

… steps back into l-stance, increasing distance to allow a powerful …

… high section stepping punch counter attack.

3 Po-Eun Tul

Po-Eun

Meaning

Po-Eun is the pseudonym of a loyal subject, Chong Mong-Chu (1400), 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 of the pattern represents his unerring loyalty to king and country towards the end of the Koryo Dynasty.

Description

Uniquely amongst the Taekwon-Do patterns, Po-Eun comprises only lateral movement, creating a sense of limitation of movement as the practitioner faces opponents from the front, the sides and behind with no possibility of advance or retreat. This focus on confined self-defence is reinforced with the extensive use of sitting stance to perform short-range techniques, most notably the combination of hand techniques in moves 6 to 12 and 24 to 30.

This flowing, continuous combination of blocks, elbow thrusts and punches is very much the centrepiece of the pattern, and whilst ‘flow’ must be present, try and avoid any tendency for it to take precedence over effectiveness. Although executing the techniques in a continuous motion will mean that they will performed faster than if they were executed discretely, each technique must still be performed with proper sine wave, breath control and accuracy, and not lost in a ‘blur of hands’.

There are thirty-six moves in the pattern and its diagram is:

Grading Syllabus

Po-Eun is taught at 1st Dan and forms part of the grading examination for 2nd Dan.

Techniques Introduced

Stances

•

one leg stance (waebal sogi)

Defensive

•

inner forearm wedging block (an palmok hechyo makgi)

•

fore fist pressing block (ap joomuk noollo makgi)

•

outer forearm low section front block (bakat palmok najunde ap makgi)

•

u-shape grasp (mongdung-i japgi)

•

reverse knife hand low section guarding block (sonkal dung najunde daebi makgi)

Offensive

•

back elbow thrust (dwit palkup tulgi)

•

horizontal punch (soopyong jirugi)

•

twin elbow horizontal thrust (sang palkup soopyong tulgi)

•

back fist side back strike (dung joomuk yopdwi taerigi).

Po-Eun

Ready posture: parallel stance with heaven hand (narani so hanu/son).

1 Turn 90 degrees counter clockwise, pivoting on the right foot into right l-stance forearm middle section guarding block (niunja so pa/mok kaunde daebi makgi).

2 Turn 90 degrees clockwise, pivoting on the left foot while raising the right leg into left one leg stance (waebal sogi), with the right fist placed in front of the left shoulder and the left fist at head height.

Teaching Tip: Moving into One Leg Stance