Grading Material for 4th Kup

Requirements:

• Joong-Gun Tul
• Semi-Free Sparring Ban Jayu Matsogi
• Free Sparring Jayu Matsogi
• Power:
  Reverse Turning Kick BANDAE DOLLYO CHAGI
  Hand Technique SON GILSOOL
  
  

JOONG-GUN is named after the patriot Ahn Joong-Gun who assassinated Hiro-Bumi Ito, the first Japanese governor-general of Korea, known as the man who played the leading part in the Korea-Japan merger. There are 32 movements in this pattern to represent Mr. Ahn's age when he was executed in a Lui-Shung prison (1910). (For more about Joong Gun http://en.wikipedia.org/wiki/An_Jung-geun)

JOONG-GUN Movements - 32
Ready Posture - CLOSED READY STANCE B

1. Move the left foot to B forming a right L-stance toward B while executing a middle block to B with the left reverse knife-hand.

2. Execute a low side front snap kick to B with the left foot, keeping the position of the hands as they were in 1.

3. Lower the left foot to B and then move the right foot to B forming a left rear foot stance toward B while executing an upward block with a right palm.

4. Move the right foot to A forming a left L-stance toward A, at the same time executing a middle block to A with a right reverse knife-hand.

5. Execute a low side front snap kick to A with the right foot, keeping the position of the hands as they were in 4.

6. Lower the right foot to A and then move the left foot to A forming a right rear foot stance toward A while executing an upward block with a left palm.

7. Move the left foot to D forming a right L-stance toward D while executing a middle guarding block to D with a knife-hand.

8. Execute a right upper elbow strike while forming a left walking stance toward D, slipping the left foot to D.

9. Move the right foot to D forming a left L-stance toward D while executing a middle guarding block to D with a knife-hand.

10. Execute a left upper elbow strike while forming a right walking stance toward D, slipping the right foot to D.

11. Move the left foot to D forming a left walking stance toward D while executing a high vertical punch to D with a twin fist.

12. Move the right foot to D forming a right walking stance toward D while executing an upset punch to D with a twin fist.

13. Move the right foot on line CD and then turn counter clockwise to form a left walking stance toward C while executing a rising block with an X-fist.

14. Move the left foot to E forming a right L-stance toward E while executing a high side strike to E with the left back fist.

15. Twist the left fist counter clockwise until the back fist faces downward, at the same time forming a left walking stance toward E, slipping the left foot to E.

16. Execute a high punch to E with the right fist while maintaining a left walking stance toward E. Perform 15 and 16 in a fast motion.

17. Bring the left foot to the right foot and then move the right foot to F, forming a left L-stance toward F while executing a high side strike to F with a right back fist.

18. Twist the right fist clockwise until the back fist faces downward, at the same time forming a right walking stance toward F, slipping the right foot to F.

19. Execute a high punch to F with the left fist while maintaining a right walking stance toward F. Perform 18 and 19 in a fast motion.

20. Bring the right foot to the left foot and then move the left foot to C forming a left walking stance toward C while executing a high block to C with a left double forearm.

21. Execute a middle punch to C with the left fist while forming a right L-stance toward C, pulling the left foot.

22. Execute a middle side piercing kick to C with the right foot.

23. Lower the right foot to C forming a right walking stance toward C while executing a high block to C with the right double forearm.

24. Execute a middle punch to C with the right fist while forming a left L-stance toward C, pulling the right foot.

25. Execute a middle side piercing kick to C with the left foot.

26. Lower the left foot to C forming a right L-stance toward C while executing amiddle guarding block to C with the forearm.

27. Execute a pressing block with the right palm while forming a left low stance toward C, slipping the left foot to C. Perform in slow motion.

28. Move the right foot to C forming a left L-stance toward C while executing a middle guarding block to C with the forearm.

29. Execute a pressing block with the left palm while forming a right low stance toward C, slipping the right foot to C. Perform in a slow motion.

30. Bring the left foot to the right foot forming a closed stance toward A while executing an angle punch with the right fist. Perform in slow motion.

31. Move the right foot to A forming a right fixed stance toward A while executing a U-shape block to A.

32. Bring the right foot to the left foot and then move the left foot to B forming a left fixed stance toward B, at the same time executing a U-shape block to B.

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

After extensively practicing this exercise the student should be able to:

• React quickly to attack with appropriate defence techniques
• Move forwards, backwards, sideways, or any angle in 1-step
• Select an appropriate counter attack; match the attacking technique, tool and target.

Main points

• The distance between the players, method of attack and defence used, attacking and blocking tools used and number of steps taken are completely optional. Only one series of attack and defensive motion is exchanged, however, and then for a brief duration.
• Semi-free sparring is the last stage before the student enters into free sparring, though it can be exercised at all levels. (Taken from Gen Choi book)

Typical procedure for semi-free sparring
Bow
A) Attention stance, bow
B) Attention stance, bow
Then A and B take a parallel ready stance facing each other.

Ready
At the command of 'semi-free sparring ready' (Ban Jayu Matsogi Junbi)
A and B take a right L-stance, forearm guarding block, shouting 'Ya' as a ready signal.

At the command 'commence'
A and B exchange attack and defence motions, usually 3 attacks each, but it can be 2 or 1 depending on the instructors wishes.

Example:
A performs 3 attacks, not necessarily in a straight line
B perform 3 blocks, not necessarily in a straight line
After the 3rd block, B counters immediately with 3 attacks and A defends

Free sparring is essentially open combat with controlled attacking and prohibition of attacking to certain vital spots.

In a free sparring there is no prearranged mode between the players, and both are completely free to attack and defend with all available means and methods with only one exception: The attacker MUST STOP the attacking tool just before reaching the vital spot.

Because Taekwon-Do is a lethal form of self-defence, the sparring rules (unlike those of other competitive sports) count only blows focused within two centimeters of a vital spot instead of counting the number of ineffective blows by the use of sheer brute strength, In sparring focused blows, speed, power, balance, strong and accurate blocking, skillful dodging and attitude are taken into consideration.

With true Taekwon-Do style sparring, through theoretical, powerful movements that are aesthetically pleasing while avoiding "chicken fighting". Chicken fighting is caused by those students who use only stereotyped movement without any tactics and regard for the opponents position.

Main points:

1. Defence
2. Instant Attack and Counter Attack
3. Deception
4. Selection of a proper target
5. Direction of Attack and Defence
6. Technique Experimentation
7. Development of Tactic and Maneuver
8. Dodging Technique
9. Counter Attack
10. Flying Multiple Techniques
11. Position Change

Taekwon-Do is a Martial Art because it aims at a noble moral rearmament, good health and a variety of techniques to defend oneself and the weak by discriminating against political involvement and commercialisation to embody a just society. Unfortunately many instructors forgetting this true nature of Taekwon-Do, rely on showmanship and over emphases free sparring to cover up their lack of technique.

As a result, their students have a tendency toward arrogance once winning a local or national championship without trying to improve and expand their technique.

Of course free sparring is a very important part of Taekwon-Do to build courage, experience, sense of victory, ability of performance and significance of participation. However, it should not be the only focus of the training. A student will see free sparring is not real combat and is a very small part of Taekwon-Do due to the following limitations

1. Prohibition of attacking the vital spots
2. Limited number of attacking tools
3. Limited number of attacking areas
4. Limited space for fighting
5. Limited number of attacking methods
6. Safety equipment
7. No full contact

Accordingly, in free sparring the player can have a chance to exchange less than a dozen fundamental movements, compared to the over 3000 available. This is the reason General Choi emphasized correct training of fundamental movements rather than on free sparring.

Composition of Taekwon-Do

Taekwon-Do is composed of fundamental movements, patterns, dallyon, sparring and self-defence techniques that are so closely related that it is impossible to segregate one phase of instruction from another. Fundamental movements are necessary for sparring and patterns, while both patterns and sparring are indispensable for perfection of fundamental movements.

There is, in fact, like the Deity, no beginning or end. A student will find that he will have to return time and time again to the beginning fundamental movements to perfect his advanced sparring and self-defence techniques.

Each fundamental movement, in most cases, represents and attack or defence against a particular target area or definite action of an imaginary opponent or opponents. It is necessary to learn as many fundamental movements as possible and fit them into complete proficiency so the student can meet any situation in actual combat with confidence. The pattern actually places the student in a hypothetical situation where he must avail himself to defence, counterattack, and attack motions, against several opponents. Through constant practice of these patterns, the attack and defence become a conditioned reflex movement. Power and speed must be developed to such a high degree that only one single blow is needed to stop an opponent, so the student can shift stance and block or attack another opponent. Each pattern is different from the other in order to develop reaction against changing circumstances.

Once the basic patterns are mastered, the student then begins to physically apply the skill obtained from fundamental patterns and movements to sparring against actual moving opponents.

Collaterally with sparring, the student must begin to develop his body and toughen his attacking and blocking tools so he is able to deliver maximum damage in actual combat. Once a student has applied himself to fundamental movements, patterns, sparring and dallyon, then the time has arrived for the student to test his coordination, speed, balance, and concentration against spontaneous attacks: ie. self-defence. The student will constantly find himself returning, however, to his fundamentals even when he has achieved the highest possible degree of self-defence techniques. As in military training, Taekwon-Do progression follows a certain parallel:

1. Fundamental Movements = Individual soldier's basic training
2. Dallyon = Maintenance of equipment (conditioning of the body in Taekwon-Do)
3. Patterns = Platoon tactics
4. Sparring = Field exercises in simulated combat conditions
5. Self-defence = Actual Combat