Taekwondo Student Handbook Green Stripe 7 th Kup Copyright James Seaman 2017
Contents Belt Meaning... 1 Pattern Meaning... 1 Do San... 1 Advanced Pattern Meaning (for information only)... 1 Do San (Advanced)... 1 Theory... 2 Turning (dolgi)... 2 Motion... 4 Normal motion... 4 Continuous motion... 4 Fast motion... 4 Connecting motion... 4 Slow motion... 4 Stamping Motion... 4 Consecutive kick (Yonsok Chagi)... 4 Strikes, Thrusts and Pushes... 5 Stances... 6 Body Parts... 6 Hand Parts (Sang Basin)... 6 Dung Joomuk... 6 Foot Parts (Habansing)... 6 Dwitchook... 7 Dwit Kumchi... 7 Techniques... 7 Bakat Palmok Haevhyo Makgi... 8 Kicks(Chagi)... 9 Reverse Turning Kick... 9 3 Step Sparring (Sambo Matsoki)... 10 Defence 5... 10 Defence 6... 11 Defence 7... 12 Do San... 13 Grading Revision Sheets... 27
7 th Kup (green stripe)... 27 Yellow Belt (8th Kup) Grading... 28
Belt Meaning Yellow Green Yellow signifies earth from which the plant sprouts and takes root as the Taekwon-Do foundation is being laid Green signifies the plant s growth as Taekwon-Do skills begin to develop Pattern Meaning You must learn this pattern meaning for your grading: Do San (24 moves) Do San is the pseudonym of the patriot Ahn Chang-Ho (1876-1938). The 24 movements represent his entire life which he dedicated to furthering the education of Korea and it s independent movement Advanced Pattern Meaning (for information only) Do San (Advanced) Ahn Ch i-sam (1878 to 1938) changed his name to Ahn Chang Ho and was a Korean activist who fought against Japanese occupation. 1876 is defined in the pattern, this is the date that Korea signed a treaty leading to the occupation by Japan. Ahn saw two Korean s fighting in America which triggered his desire to strengthen the Korean nation in the US. He became a prominent leader in the Korean-American community forming the first Korean village in Southern California, arranging employment of many Koreans in America and improving the national pride and self-worth of the Korean people. Ahn returned to Korea in 1926 leaving his family for the last time, never having seen the youngest of his 5 children, Ralph. Ahn was arrested at least five times (firstly in connection with the assassination of Hiro Bumi Ito) and fought for spiritual and moral renewal through education Page 1
Theory Turning (dolgi) Spot turning - gujari dolgi Allows a 180 degree turn to face an opponent behind, with this method both feet move to complete the turn. Generally the front foot will move first but on occasion the back foot can be moved first. The turn is executed after moving one foot onto the centreline of the stance and can be clockwise or anti-clockwise. Start position Position foot on centre line (could be front or rear) Shift weight onto one foot Pivot and chamber next move Execute move in new stance 180 degrees from start position Page 2
Step turning - omgyo didimyo dolgi Allows any change in direction from 1 to 360 degrees. Can be executed with either foot moving forward, backward, clockwise, anti-clockwise and can be combined with double steeping, shifting and / or sliding Pivot turn is mostly used in walking, sitting or diagonal stance and is executed when pivoting on both feet at the same time (e.g. Toi-gye numbers 35 & 36). Page 3
Motion You should know all the following verbatim Techniques are performed in different types of motion; most are governed by your breathing. Normal motion requires a breath in followed by a breath out at the end of the technique, with a slight pause before the next technique. Continuous motion is used when combining several hand techniques without pausing. Still one breath in and out per technique. Fast motion is used when combining several techniques. But in this type of motion the one breath is exhaled proportionately between techniques. Connecting motion is used when a no tension on impact technique is connected to a tension on impact technique. Hooking blocks are no tension on impact, these are executed by inhaling through the whole of the block and then exhaling before moving on. In pattern Yul Gok a hooking block is connected to an obverse punch, this is executed by inhaling on the block and exhaling on the punch. Slow motion is used solely in pattern to demonstrate the theory of power. The element of speed being the only element that is omitted. Stamping Motion is used in both attacking and blocking, this increases the power and effectiveness of either the attack or the block Although stamping motion is slower, it increases the effective weight by accelerating more of your mass than you normally would. Consecutive kick (Yonsok Chagi) is when combining several foot techniques without lowering the kicking leg Page 4
Strikes, Thrusts and Pushes A strike uses the body weight (knee spring, hit twist etc.) prior to the strike making contact to accelerate the body. Thrusts (such as straight fingertip thrust in the pattern) are performed at a constant speed and the body weight moves with the attacking tool. A pushing technique makes contact before the body weight is utilised fully. When pushing a car you rest your hands on it before applying force, it is the same principle. Pressing techniques are basically pushing techniques in a downward motion. And punches are essentially strikes with the fist. You should be able to recite the following two paragraphs: Punches and Strikes can be used against hard or soft targets, their aim is to smash, pierce or penetrate, this is achieved by focusing the breathing and the other elements of power to the end of the technique. Both techniques accelerate in a relaxed manner throughout their execution resulting in a dynamic twist with tension. Thrusts are only used against soft targets. This technique reaches the target under tension and at a constant speed after its initial acceleration, exhaling throughout. This means they are effective anywhere on that line. Page 5
Stances No new stances Body Parts Hand Parts (Sang Basin) Dung Joomuk Backfist Sonkut Fingertip Foot Parts (Habansing) Page 6
Dwitchook Dwit Kumchi Heel Back sole Techniques Page 7
Bakat Palmok Hechyo Makgi Outer forearm wedging block Jappyosul Tae Drive the arms up with the fists overlapping and then use the hips to help wedge the arms apart. There is no need to go beyond the shoulder line Release from a grab Twist against the attacker s thumb, allow the back leg to twist but don t pull with the body Page 8
Kicks(Chagi) Reverse Turning Kick (Bandae dollyo chagi) Attacking Tool Back heel (dwit kumchi) Ball of the foot (ap kumchi) Keep the leg straight and use speed to power this kick round Page 9
3 Step Sparring (Sambo Matsoki) Continuing on from yellow belt, we learn the next 3 defences for 3 step sparring Defence 5 Leg to move: Stance: Technique: Section: Target: 1 Right Right L stance Outer forearm block (left arm) Middle Opponent s inner forearm Leg to move: Stance: Technique: Section: Target: 2 Left Left L stance Outer forearm block (right arm) Middle Opponent s inner forearm Leg to move: Stance: Technique: Section: Target: 3 Right Sitting stance (move diagonally forwards) Outer forearm block (left arm) and punch (right arm) Middle and high Opponent s inner forearm and face Page 10
Defence 6 Leg to move: Stance: Technique: Section: Target: 1 Right Right L stance Knifehand block (left arm) Middle Opponent s inner forearm Leg to move: Stance: Technique: Section: Target: 2 Left Left L stance Knifehand block (right arm) Middle Opponent s inner forearm Leg to move: Stance: Technique: Section: Target: 3 Right Sitting stance Knifehand block (left arm) and knifehand strike (right arm) Middle and high Opponent s inner forearm and neck Page 11
Defence 7 Leg to move: Stance: Technique: Section: Target: 1 Right Right L stance Outer forearm block (left arm) Middle Opponent s inner forearm Leg to move: Stance: Technique: Section: Target: 2 Left Left L stance Outer forearm block (right arm) Middle Opponent s inner forearm Leg to move: Stance: Technique: Section: Target: 3 Both (slide back) Right L stance Forearm guarding block Middle N/A Leg to move: Stance: Technique: Section: Target: 4 Right Right walking stance Front kick then land in walking stance and perform a double punch Low then Middle Opponent s groin/bladder then solar plexus Page 12
Do San In pattern Do San you move on to some more advanced techniques including a release from a grab spot turning. Fast motion is also introduced with a double punch. 0 Parallel ready stance is the start position for pattern Do San. Narani junbi sogi 1 Just like in Dan Gun, pick the arms up straight away to the chamber position and pivot the body towards your left. Chamber the arms for an outer forearm block as you rotate one quarter turn anticlockwise. Step the left foot out into a left walking stance and perform a high section outer forearm block. Gunnon so bakat palmok nopunde makgi Page 13
2 Do not step forwards but rechamber on the spot for a punch. You can break the stance during the rechamber, you only have to be in a locked stance at impact. It is common for people to step on after the block (as you do in dan gun) so practice the rechamber on the spot. Perform a middle section reverse punch. Be sure to make it clear that you understand the difference between high and middle section with a good high section block and middle section punch. Gunnon so ap joomuk kaunde bandae ap jirugi 3 Perform a spot turn, to do this you reposition the front foot onto the centre line then shift the weight forward onto this leg. Pull the back (right) leg towards the front as you pivot on the ball of the left foot to face in the opposite direction (rotate half a turn clockwise). As your feet reach approximately one shoulder width apart you should have chambered your hands for another outer forearm block. Page 14
Step the right leg forwards into a right walking stance and execute a high section outer forearm block. Gunnon so bakat palmok nopunde makgi 4 Chamber a reverse punch (note, you can break the stance when chambering). Execute a middle section reverse punch on the spot. Gunnon so ap joomuk kaunde bandae ap jirugi 5 Bring the back (left) foot forwards and pivot anticlockwise one quarter turn to face in the same direction as when you started the pattern (keeping the hips back one eighth of a turn of course), chamber a knifehand guarding block. Step the left foot forward creating a right L stance and perform a knifehand guarding block. Niunja so kaunde sonkal daebi makgi Page 15
6 Step the right foot forward and chamber for a thrust, they can all start from the same position with both palms facing inwards as shown. Move the right foot out into a right walking stance and perform a straight fingertip thrust. The left hand moves down to deflect an attack and the right hand thrusts into a soft target such as the solar plexus. Niunja so kaunde sonkal daebi makgi This should be a constant speed technique and reach the target under tension. Bend the middle finger in to make a flat 3 finger prong. There should be approximately a fist s width between the top of the bottom (left) hand and the bottom of the top (right) arm. Twist the arms and upper body to release the forearm from a grab and push towards the opponent. The twist should allow the forearm to slide away from the thumb joint of the grab. Page 16
7 Spin a full turn clockwise pivoting on the ball of the right foot and chamber for a backfist strike. Make sure you still chamber with the hips pulled back but don t stop the spin, use momentum to generate power for the attack. Step the left foot out into a left walking stance and perform a high backfist side strike. The target is the temple and the elbow should not pass the shoulder line of the body as it becomes weaker. Gunnon so dung joomuk nopunde yop taerigi 8 Step forwards with the right leg and chamber another backfist strike. Continue to move forwards into a right walking stance and execute another high backfist strike. Gunnon so dung joomuk nopunde yop taerigi 9 Page 17
Pivot on the front foot and spin clockwise three quarters of a turn and chamber a high block as you did for move 1. Don t forget to maintain one eighth of a turn angle with the hips for power generation but also use the spin to increase power. Execute a high section outer forearm block Gunnon so bakat palmok nopunde makgi 10 Rechamber on the spot for a reverse punch (you are repeating the sequence of moves 1-4 now). Perform a reverse middle section front punch. Gunnon so ap joomuk kaunde bandae ap jirugi 11 Step the front foot onto the centre line to perform a spot turn Page 18
Pivot half a turn clockwise on the left foot and bring the right foot back towards you whilst chambering for another high block. Step the right leg out into a right walking stance whilst performing a high section outer forearm block. Gunnon so bakat palmok nopunde makgi 12 Chamber on the spot for a reverse punch. Page 19
Execute a middle section reverse punch. Gunnon so ap joomuk kaunde bandae ap jirugi 13 Bring the back (left) leg forwards and pivot on the ball of the front (right) foot so you are facing off at a slight angle from the centre line of the pattern (just over one quarter turn of anticlockwise rotation). Chamber the hands with both fists facing towards you preparing for a wedging block. Both hands should come to the hips and then as you turn the hips, the hand rise up and push apart to block. Note that the hands finish now wider than shoulder width and the arms should be bent at the elbows. Gunnon so ap bakat palmok hechyo makgi 14 Leave both arms up and step forward performing a front kick with the right leg. Make sure the knee comes up high so you kick outwards not upwards. Najunde ap cha jirugi Page 20
15 and 16 As you land down, chamber the right hip back for a punch. f Step the right leg out into a right walking stance and perform an obverse punch then a reverse punch in fast motion (usually called a double punch). Note there is still a chamber even in fast motion techniques. Perform a reverse punch with the left hand. Page 21
Gunnon so ap joomuk kaunde ap doo jirugi 17 Bring the right leg back towards the left (but no closer than one shoulder width apart) and then pivot clockwise on the left foot to face slightly diagonally away from the centre line of the pattern. Chamber for another wedging block, don t forget to bring the hands back to the hips first. Step the right leg forwards into a right walking stance and perform an outer forearm high section wedging block. Gunnon so bakat palmok nopunde hechyo makgi Page 22
18 Step the left leg forwards and perform a front kick, don t forget to bring the knee up nice and high before extending the kicking leg. Pull the toes back towards you and ensure you are kicking with the ball of the foot. Najunde ap cha jirugi 19 and 20 Before landing, chamber the right hip backwards with the right hand extended and the left hand back on your hip for a punch. Step into a left walking stance whilst executing a middle section obverse punch Maintaining the left walking stance, pull the right hip back and chamber a reverse punch. Page 23
In fast motion perform the reverse punch with the right hand. Gunnon so ap joomuk kaunde ap doo jirugi 21 Bring the left foot back in and pivot anticlockwise on the right foot so that you are facing towards the centre line of the pattern. Chamber for an outer forearm block. Step the left foot out into a left walking stance whilst performing a high section rising block with the outer forearm. Gunnon so bakat palmok nopunde hechyo makgi 22 Bring the right leg forward over-rotating the hip by one eighth of a turn and chamber a final outer forearm block. Page 24 Move the right leg out into a right walking stance whilst executing a rising block.
Gunnon so bakat palmok nopunde hechyo makgi 23 Spin anticlockwise on the front (right) foot and perform three quarters of a turn to chamber a knifehand strike. Make sure you still have enough scope to use the hip twist to generate power but also utilise the spin s momentum to generate speed in the technique. Step the right leg out to the side and bend the knees into a sitting stance whilst performing a knifehand strike. Be careful to ensure that both feet face forwards then performing this technique. Annun so sonkal kaunde yop taerigi 24 Bring the left foot right up to the left foot then turn the hips one eighth of a turn into a chamber for a strike moving in the opposite direction. Page 25
Step the right leg out to the side and bend the knees into a sitting stance whilst performing a knifehand strike. Be careful to ensure that both feet face forwards then performing this technique. Annun so sonkal kaunde yop taerigi Try not to let the striking arm drop below shoulder level. Ki ap to show completion after this move. Completion When instructed to return to the ready position, bring in the last leg you moved (the right leg) to form a parallel ready stance. You should be positioned on the same point at which you started the pattern. Narani junbi sogi Page 26
Grading Revision Sheets 7 th Kup (green stripe) Patterns up to: Do San Sparring: 3 step (sambo matsoki) 5-7 Continue to practice 3 step 1-4 Theory: - Definition of consecutive kicking - Know about different types of motion - Describe stances, weight ratios and obverse/reverse techniques - Meaning of the colour green (See belt meaning ) - Palkup Elbow - Sun Straight - Sonkut Fingertip - Tulgi - thrust Advanced - Describe the difference between thrusts, strikes and pushing techniques - Dwitchook Heel Techniques - Outer forearm high section block Bakat palmok nopunde makgi - Straight fingertip thrust Sun sonkut tulgi - Release from a grab Jappyosul Tae - Backfist high side strike Dung joomuk nopunde yop taerigi - Outer forearm high wedging block Bakat palmok nopunde hechyo makgi - Sitting stance knifehand side strike Annun sogi sonkal yop taerigi - Knifehand block Sonkal Makgi (as used in 3-step sparring) - Knifehand inward high strike Sonkal anuro nopunde taerigi - The 45 degree kick should be learnt for sparring purposes Stances No new stances Page 27
Green Stripe (7th Kup) Grading State your name and grade Step forwards in a walking stance performing a middle punch Step backwards in a walking stance performing a backfist high side strike Step forwards performing a middle section turning kick landing in an L stance knifehand guard Step backwards in a walking stance performing an outer forearm wedging block Step forwards performing a middle section side kick landing in an L stance forearm guard Step backwards in a walking stance performing a straight fingertip thrust Perform pattern Do San 3 Step Sparring (5-7) Page 28