Contents

Which Martial Art?

Moo Duk Kwan Tang Soo Do
The Charter of Moo Duk Kwan
Ten Articles of Faith
Five Requisites
Conception—Characteristics
Five Requisites
Matters That Demand
Basic Knowledge for Practice
History
Physical Conditioning
Flexibility and Stretching Exercises
Stances
Basic Motions
Weapons
Hand Weapons
Arm Weapons
Knee Weapons
Foot Weapons
Basic Kicking Techniques
Three Step Sparring
Forms (Hyungs)
Giecho Hyung Il Bu
Giecho Hyung Yi Bu
Giecho Hyung Sahm Bu
_ Rules and Regulations
Rules of the Club
Terminology

Promotion Requirements
Uniform Standards
Color Trim
 CANG SOO DO
The Way of the China Hand
VOLUME I

Tang Soo Do d
The Way of the China Hand, Vol. I
by Henry Murphy
Copyright © 1980 by Henry Murphy

ISBN 0-87364-202-3
Printed in the United States of America

Published by Paladin Press, a division of

Paladin Enterprises, Inc., P.O. Box 1307,
Boulder, Colorado 80306, USA.
(303) 443-7250

Direct inquiries and/or orders to the above address.

All rights reserved. Except for use in a review, no

portion of this book may be reproduced in any form
without the express written permission of the publisher.

Neither the author nor the publisher assumes

any responsibility for the use or misuse of
information contained in this book.
 Which Martial Art?
The first question a prospective student asks himselfiswhich one
is the best. The answer is not one he would like to hear, but the truth
is, it is up to the man or woman themselves. Some styles are better
suited for some body structures or the age of the persons involved.
But for some unknown reason students usually look for fancy
techniques, the easy way to get a Black Belt, and the highest ranking
instructor around. But the truth is the Black Belt should be earned
through hard work on the’student’s part, and in no way comparing
himself or herself to anyone or level, but to the highest ability of the
student and after the recommended time in grade. That’s a Black Belt,
but some people use a physical scale to judge students; it’s not really a
good one for you end up with fighting ability and, as a rule, minds of
even less than a white belt.
The student must look for an overall equilibrium of mind and
body. While the rank of the instructor should be respected, it must
not be assumed that the higher the rank the better the instructor. But
the case is that it takes someone that can communicate to the student
to help him or her excel in the art and to improve the character of the
student. Some instructors have good techniques but cannot relate to
the student and it is usually an ego problem stemming from
competition and it ends up instructor versus student. And the old
saying holds true, ““Knowledge withheld is Knowledge wasted.’ So
this all boils down to the fact that the best way to judge a school, style
or instructor is to look at the students (final product or overall
picture) of the gym you are interested in to see if that is what you are
after. Do not be fooled by the so-called National Champions, high
ranking belts or any one style. A person naturally is going to be biased
to his own style, and this must always be kept in mind. My particular
style is Tang Soo Do Moo Duk Kwan; while it is suited for me, it may
not be for others. You must judge for yourself.

ae

-2-
 Moo Duk Kwan
Tang Soo Do

Moo Duk Kwan—Translated literally means:

the Institute of Martial Virtue.

Tang Soo Do—Way of the China Hand.

Moo Duk Kwan was founded by Mr. Hwang Kee on November 9,

1945. Hwang Kee started training in the martial arts in 1936 at
ManJoo China, north of Korea, although he is said to have trained in
So Bahk Do before going to China. Later he formed the Moo Duk
Kwan after Korea was liberated from Japanese rule in 1945. It must
be noted that all martial arts training was stopped during the
Japanese occupation. Many of the Korean martial arts’ leading men
were forced to go to Japan and Okinawa to school or work where
some learned the different Karate styles. Others went to China where
they were taught the different arts of China, later to form their own
styles upon returning to Korea.

<38
Grand Master Hwang Kee Mr. C.I. Kim
The Charter of Moo Duk Kwan
The Charter of
Moo Duk Kwan

Reverence for life is as important as offense and

defense within the Moo Duk Kwan.
Our basic charter charges all members to
protect life, even that of an enemy. Developing rever-
ence for nature, with emphasis on beauty, speed, and
rightness of action, are training goals held forth by the
charter.

Ten Articles of Faith

On Mental Training
Be loyal to your country.
Be obedient to your parents.
Be cooperative between brothers.
Be lovable between husband and wife.
Be faithful between friends.
Be respectable to your elders.
Be faithful between teacher and students.
Be discreet in killing.
Oe Never retreat in battle.
ee
et
©
ht Always finish what you start.
ae
Five Requisites and Eleven Points
Of Emphasis
On Mental Training
Requisites

Oneness with nature.

Complete awareness of environment.
Experience.
Conscience.
wR
wn Culture.

EMPHASIS

Reverence for nature.

Physical control (Ki-Aup)
Courtesy.
Modest Heart.
Thankful Heart.
Self-sacrifice.
Cultivate courage.
Chastity.
Cm
PWN
NDABe strong inside and mild outside.
Endurance.
— (ae)
—. Desire for Education.
 Conception
of
Tang Soo Do
You may misunderstand Tang Soo Do, thinking it means only
breaking a board or bricks; however, it is only a sign of physical
power which can be attained through a few hours of practice at Tang
Soo Do.
Our real purpose in practicing Tang Soo Do is to train our
physical and mental spirit. Training with pride as men of the martial
arts, we will adopt the principles of Tang Soo Do.
Constantly thinking ofjustice, effort and faith, while in mental
training, we can only learn this by practicing Tang Soo Do.
In the defense and attack of the art, one finds a systematic
martial art, using scientifically applied punches, kicks, strikes, and
defenses, which make full use of your body, arms and legs.

Characteristics
Of
Tang Soo Do
1. It is natural and reasonable to practice Tang Soo Do as a martial
art.
2. It combines civil and military arts, which are strong and
submissive.
It is good practice, for mental and physical well being.
You can practice anywhere, and it is inexpensive.
You can practice as an individual or group.
Anyone can learn with a little effort and faith.
wIDw
It develops your body and sense of balance.

“Us
Five Requisites and Ten Points
Of Emphasis
On Physical Development
Requisites

Contact with natural surroundings.

Contact with diverse physical conditions.
Suitable nourishment.
Suitable exercise.
aA
—
&
WN Suitable rest.

Emphasis

Vocal exhalation, for thoracic strength (Ki-Aup).

Eye-line of Sight (Glance).
Continuous balance during movements.
Flexibility of the body.
Correct muscle development for maximum power.
High and low speed techniques.
Exactness of techniques.
Adjustment for proper distance.
ee Proper breathing for endurance.
ee
© Conditioning hands and feet.
 Matters That Demand
Special Attention
While Training In
Tang Soo Do
Purpose of training should be enhancement of the mental
and physical self.
Sincerity is necessary.
Effort is necessary.
Consistent schedule during practice.
Do one’s best when training.
It is necessary to train in the basic spirit of Tang Soo Do.
Regularly spaced practice sessions.
Obey without objection the word of instructors or seniors;
look and learn.
Don’t be overly ambitious.
Pay attention to every aspect of your training.
Pay attention to the order of training.
Get instruction step by step in new form and techniques.
Try to conquer when you feel idleness.
Cleanliness is desired after practice is finished.
 Basic Knowledge For Practice

Techniques of hand and feet

a. Hand; Jung Kwon (fist), Soo Do (side of hand), etc.
15 other kinds of strikes.
b. Foot; Chun Choo (front foot), etc.
10 different kinds.
Posture (Step)
a. Chungul Step, Hugul Step, etc.
30 other kinds.
Basic Movement
a. Hand technique; low protect, middle attack, etc.
30 other kinds.
b. Foot technique; Front-kick, side kick.
20 other kinds.
Form (Hyung)

a. Pyung Ahn form, Taeguk-kwon, etc.

50 other kinds.
Sparring (Dae-Ryun)
. Basic sparring; beginner-preplanned.
. 3-step sparring.
. l-step sparring.
. Preplanned sparring; techniques are preplanned.
aaagpL
ie). Free sparring; it takes about one year to learn.

Conditioning hands and feet

Self-defense.
Study about Tang Soo Do—Academically
(history and meaning)

-10-
 History
Over the last ten years, I have witnessed continued arguments
about the origin of the Martial Arts, especially the different Karate
styles. Years ago it was an accepted theory that Bodhidharma, a sixth
century Buddhist patriarch, introduced a form of Zen Meditation and
the eighteen hands of Lo Han to the Monks of the Shaolin Temple,
located in Horan, prefecture of China, and from here spread over the
Orient in the years that followed. Some say that it was developed in
Okinawa and from there introduced to Japan in the early twentieth
century. The Japanese, on the other hand, have their own theory. But
we are mainly concerned with the Korean theory.
During the reign of the 18th King of Kourye, King Ui Jong
adopted a bodyguard by the name of Lee Ui Moon, who excelled in
the art of Soo Balk Ki. There is written verification on him. However,
many Koreans claim the Martial Arts were started by a Kim Yoo Sin,
a commander of the knights of the Sin Ra Dynasty of Korea.
There is very little documented information on the history of
Martial Arts. Many arts were kept within the family and passed on
from father to son, and only recently exposed to the non-oriental.
Although some were kept secret, there were Arts known throughout
Korean history native to Korea. These systems are known as Soo Bak
Do and Kwan Bop. They emphasized kicking but refrained from
using their hands, because the hands were felt to be of more
importance, through artistically and scholarly pursuits. And with the
passing of time, various styles were developed and refined into highly
sophisticated forms of self-defense.
When did the Martial Arts start? While there is little documented
information on the Martial Arts, there is about man himself and it
follows thus:
A. The Instinctive Action Age, the dawn of man; at this time there
was no conscious action involved in self-defense.
B. Conscious Action Age; during this age man acted consciously
to develop methods of protecting himself.
C. Early age of systemization, approximately 3,000 years ago
when man started to consciously develop and systemize the
self-defense arts. This brings us several thousands of years to
the present.
If you ask several different masters about the martial arts history
you get several different answers and theories, although every country
has its own theory. The Chinese theory is usually the most accepted
because China is the cradle of Oriental culture. And for this reason
the Chinese Martial Arts are considered the Grandfather to all pre-
sent day martial arts systems.

oils
-12-
 Physical Conditioning
Before we can get into any martial arts techniques, we must first
prepare the body by building up endurance and strengthening the
body long with stretching and building flexibility. For it is my belief
that if the body is in good physical condition and limber, not only will
you have better endurance, but your body can take more strain along
with a faster healing process. It is also a well known fact that a healthy
person tends to be a much more happy and alert being.
First of all, while I am talking about building strength, I am not
referring to the muscle man stereo type, but rather to a person who is
physically and mentally proportioned for his or her height, weight
and frame, and considering the age. For it is of utmost importance
not to rush into physical conditioning; it could be very hazardous for
a person who has been out of contact with any kind of exercise. He
could certainly defeat the very purpose of getting in shape by over-
doing physical conditioning too soon or without the proper
supervision. So, it is of the utmost importance to follow a well
planned training routine and with the proper instruction.

If the person is a little out of shape, he should begin by

strengthening the entire body, with mild weight lifting, push-ups and
pull-ups. He should, if possible, run or jog as much as his time will
allow him to. If not, substitute this with jumping rope. These
exercises, along with a formal training class, will allow the student to
bring himself into condition fairly easily. But he must understand that
in order to stay in shape he must continue some kind of formal
exercise throughout his or her life. This can be accomplished by
taking walks, riding a bike, training regularly and following a proper
diet.

Then, he or she should be able to maintain proper

conditioning.

Ee
 Flexibility and Stretching
Exercises

It is my firm belief that flexibility is just as important as physical

conditioning. This type of training will require much more patience
on the part of the student, but it is well worth the effort. Many times
you see someone who appears to be healthy, but is very rigid and stiff.
It is more than likely brought on by age, lack of exercise and nervous
tension. A student can start out his training routine by spending time
just sitting down and relaxing, and from there going into a mild
warm-up by stretching slowly.
First of all, you must remember that the human body is made up
with joints and ligaments along with muscle, so I feel that a student
must limber up his joints as well as stretching the muscles. For
regardless of how stretched muscles are, the hips, knees and ankles
must be just as limber and flexible as the muscles. At this point we will
go into a regular warm-up and conditioning program.
 1. To start out with, begin in a sitting position, spreading the legs,
toes up, the heels off the floor, reaching either to the left or right,
grasping the ankle with both hands and stretching forward until your
forehead is resting on your knee. Maintain this position for a few
seconds and then rotating to the opposite side, continue in the same
manner. After doing this several times (the more the better,) then
continue by holding your head for a longer period of time, to the
knee.

=I5=
 2. Continuing the stretching exercise from the same sitting
position with legs spread, grab the ankles and stretch forward till the
head is resting on the floor. Continue this in the same manner as the
first exercise.

=fGs
 3. The next stretching exercise, we will bring the feet together and
stretch forward, again by touching our forehead and chest to the
thighs and knees and holding for several seconds. Follow the same
procedure as before.

-17-
 4. In the same leg and body position, the student will roll over
and touch his toes to the floor with his arms extended to the sides,
palms down. Stretch as in the previous exercises. The preceding
exercises are good for stretching the lower back and legs.

-18-
 5. From here we will go into a well-known exercise but, with one
variation, this will be the sit-up position. We will start from the sitting
position with the bottom of the feet touching, knees down and pulled
in. From here, the student will lay back and begin by sitting up as he
stretches forward; he will then bring his elbows through the knees as
far forward as possible.
 6. Now we will go into the full lotus position, and just rest while
the joints are relaxing and stretching themselves. If the student can
not accomplish this, then he should attempt at least the half lotus
position,

-20-
 7. Beginning again, in the full lotus position, roll forward on the
hands and knees and then pushing downward with the hips to the
floor with the arms, push upward, as if doing push-ups. This exercise
is for the hips and knee joints, and ligaments.

pPAlc;
 8. Now the student will assume a regular push-up position—only
on the first two knuckles. Not only will this exercise be good for the
arms and shoulders, but it will also benefit the wrist and knuckles.
The wrists must be locked and on the first two punching knuckles
only. Twenty or more push-ups to start with will be fine, eventually
working up to more.
 9. From here we will go into the splits. Many people overlook the
benefits of the splits, but they must be well looked into and practiced
if the student would like to become limber and improve his kicking
ability, which is very important in the art of Tang Soo Do. First, do
the front splits with the rear foot to the side, and the front foot
straight ahead. Again, practice stretching as in the previous stretching
exercises.
 10. Also, there is a front split that is basically the same, only
harder. From here, the front foot is pointed straight ahead and the
rear foot is pointed to the rear, resting on the in-step. Continue by
reaching back and grabbing the ankle, pulling the leg up, at the same
time trying to keep the heel of the front foot off the floor.
 11. Next, there is another form of splits and it is the most
impressive of all—the side split. Begin in a horse-back stance and
straightening the legs, gradually lower the body to the floor, if
possible. Hold and stretch as in previous exercises.

=25=
 12. Now the student will begin from the horse-back stance and
spreading the legs moderately and coming forward in a push-up
position, he will lower one hip at a time to the floor, keeping the other
hip raised with arms extended. Continue by alternating the hips and
stretching as before.

These exercises taught in formal class, if done properly, will

prepare the body for the strenuous kicking techniques. Also, if a
student expects to have good punching technique, he should not
overlook these exercises, for all power and speed will come from the
hips if properly done.
Ys.
 Stances
The-Stances are the foundations of all forms. Without a good
stance the technique will be weak and of no value. An old saying
holds true here: No matter how pretty a building may appear or well
built, it will neither
stand nor last without a strong foundation. So
you can see the importance ofa good stance; there is just no substitute
or excuse—it is a must. Many students overlook the importance and
try to rush on to something advanced, not realizing that not only will
the advanced technique be harder to learn, but more than likely will
have many flaws in it. Thereis nothing quite so funny as to see
someone wind up and swing a hay-maker punch and upon contact fall
down themselves. What they failed to realize was a solid blow in the
upper area, regardless if you threw it or whether you received it,
would cause your feet to be kicked from under you because of a poor
stance. You must not overlook the stances.

-28-
 1. Ready position stance: Chun Be, standing with both feet,
pointing straight ahead about shoulders width apart, both arms
extended with fists closed and tight, one fist width apart.
 2. Horse-back stance: Ke Ma Chase, feet are spread wide apart,
but not beyond the point that the knees are inward, but rather with
the knees over the feet and pointing upwards with bending the thigh
part down as low as you can go, keeping the back straight, and
shoulders square with the weight distributed evenly.

0c
 3. Front stance: Chungo Chase, feet must be long from toe to
heel and shoulder width from side to side, with knee over front foot
and the back leg locked, with shoulders square and the weight evenly
distributed.

=o
 4. Side stance: Hugo Chase, feet are heel to heel in line, but the
front foot is facing straight ahead and the rear foot to the side. Only
the side of the body is facing the front. The weight is distributed 70%
on the back leg and 30% on the front leg.

There are other stances, but these are the basic and must be’
mastered first. Later, upon advancement, you will be taught more |
variations.
232:
 Basic Motions
Low Block: Ha Dan Mahkee

Start from the (Chun Be) ready position, stepping forward with
the left leg. At the same time cross the left arm over the right, the left
hand slightly around the neck. The right hand will be extended,
protecting the groin area. Now pull the left arm downward, bringing
the hand over the knee. At the same time pull the right hand and arm
back to the side, keeping the arm parallel with the floor. While all this
arm motion is going on, the hip also must be rotated by turning it
inward at the start of the motion and rolling it back when the arm and
foot lock in place. Note: to perform the opposite side, you go through
the same motions, only using the right side.

2340
High Block: Sahng Dan Mahkee
Start from a (Chun Be) ready position, stepping forward with the
left leg. At the same time bring the right arm up, palm facing you,
hand closed in a fist and looking over the first two knuckles of the
hand. At the same time the left arm is brought under the right,
reaching way back under. Also, the left hip should be turned inward
to the right. Now pull the left arm up and stop just above the head
and a few inches forward, palm away from you. At the same time as
you are pulling the left arm up, you are simultaneously pulling the
right arm back, to the side of the body, parallel to the floor, palm up.
While stepping forward, you will pull the hip back to the left as you
are moving the arms; this will cause a snapping motion. Note: do not
meet the blow head on, but rather deflect the blow.

23 5=
Inside To Out Block: Ahnesu Pahkoo Ro Choong Dan Mahkee
Start from a (Chun Be) ready position, stepping forward with the
left leg. At the same time bring the right arm up, palm facing you,
hand closed in a fist and looking over the first two knuckles of the
hand (same as Sahng Dan Mahkee). At the same time the left arm is
brought under the right, reaching way back and under the right arm.
Also, the left hip should be turned inward to the right. Now, pull the
left arm up and out to the left with the elbow down and in. The
forearm is at a 45°angle, palm up and a little to the left of the face. But
do not go beyond the shoulder. At the same time as you are pulling
the left arm forward, you are simultaneously pulling the right arm
back, to the side of the body, parallel to the floor, palm side up. While
stepping forward, you will pull the hip back to the left as you are
moving the arms; this will cause a snapping motion.

236.
 Outside To In Block: Pahkesu Ahnoo Ro Choong Dan Mahkee
Start from a (Chun Be) ready position, stepping forward with the
left leg. At the same time pull the left arm back to the left side, hand
and forearm up, palm away from you and as you step forward, pull it
in an arc to the front of you. (You end in the same position as Inside
To Out Block, except the hand stops right in front of you, looking
over the knuckles.) At the same time you simultaneously pull the right
hand back to the side, palm up and parallel to the floor. Note that the
hip motion is used differently in this block. At the start when you pull
the left arm back, you also pull the left hip back. Now when you step
and actually block, you pull the hip back to its normal position,
causing a snapping motion.

reyes
—
Double Fisted Block, Front Stance: Sahng Soo
Start from a (Chun Be) ready position, stepping forward with the
left leg. At the same time bring both arms to the far right side of the
body, Both hands are together at the knuckles, palm down. At this
time turn the left hip towards the right. Now, as you step, pull both
arms forward, left arm up, palm facing you at eye level, with a 45°
angle and elbow down. The right hand should be at the elbow of the
left arm and also palm up. As you swing your arms forward, pull the
hip simultaneously, forward, causing a snapping motion.

-38-
Double Fisted Block, Side Stance: Hugul Sahng Soo
This block is actually the same as Sahng Soo, except that you are
in a side stance. Just perform the same procedures as in Sahng Soo,
except step forward with your left foot into a side stance.

Middle Block, Side Stance: Hugul Choong Dan Yup Mahkee

This block also is executed in the same manner as Ahnesu
Pahkoo Ro Choong Dan Mahkee, except that you are in a side
stance. So, step forward with your left foot into a side stance. At the
same time, go through the same procedures as the block Ahnesu
Pahkoo Ro Choong Dan Mahkee.
Low Knife Hand Block: Ha Dan Soo Do

Start from a (Chun Be) ready position, stepping forward with the
left leg into a side stance. At the same time bring both arms, hand
open to the right side of the body, the left hand extended around the
neck with right hand palm down and chest level. Now, pull both arms
down, the left hand over the knee, palm down and hand open. While
the right hand ends up over the solar plexus, palm up, keep in mind
that the blocking of the arms must be simultaneously done while
stepping either forward or backward. In other words, when the block
is extended the foot will touch down at the same time, causing a
strong foundation.
Middle Knife Hand Block: Choong Dan Soo Do
This block is basically the same as the Low Knife Hand Block,
except you are blocking the middle part of the body. Start from a
(Chun Be) ready position, stepping forward with the left leg into a
side stance. At the same time bring both hands (open) to the right
side, twisting the body slightly, causing a whipping motion along with
the hip movement. The finger tips of both hands are brought together,
palms down and chest level. Now, swing both arms into blocking
position. The left arm is the arm blocking the middle, so the finger
tips are eye level and the elbow is down and close to the body. This
arm also is on a 45° angle. The right hand is brought over the solar
plexus. Again, the blocking must be done simultaneously with the
stepping, in order to have a strong foundation.

-41-
Punching From Horse-Back Stance:
Choong Dan Hweng Jin Kong Kyuk

This punch and stance is usually used to learn and perfect a good
punch, but can be used for fighting also. First, you form a good horse-
back stance, then extend the left hand in a good fist, punching only
with the first two knuckles and palm down. The right hand is pulled
back to the side as far back as possible and palm up. Now as you
punch with the right hand, you-twist and extend it, punching at the
solar plexus. At the same time rotate the hip to help cause a snapping
motion and also pull the left hand back to the side as far as possible.
You must pull back as hard as you punch, thus helping to increase the
power of the punch.

gt
ip

2455
Punching To The Arm Pit In A Horse-Back Stance:
Hweng Jin Kong Kyuk

Start from a (Chun Be) ready position, pulling the left hand back
to the side in a fist and palm up. Now step forward into a horse-back
stance with the body facing to the right. At the same time, punch to
the arm pit. You are now looking towards the punch. This punch may
be taught to start differently by some instructors. The punch has some
advantages. There is a nerve center in the arm pit. It is also the first
acupuncture spot for the Heart meridian. It also has an extended
reach over the lunge punch.
Lunge Punch: Kong Kyuk
This punch may be used either to the solar plexus or face level.
Start from a (Chun Be) ready position, pulling the left hand back to
the side, arm parallel with the floor and palm up. As you step forward
with the left foot, punch with the left fist. As you punch, you twist the
fist now palm down, and punching only with the first two knuckles. It
is important that the arm is fully extended at the same time the left
foot touches the floor. You must also keep in mind the rotation of the
hip for speed and power. Referto the Terminology section for face
and solar plexus punch.
Reverse Punch Front Stance: Kong Kyuk
This punch is the same as the Lunge Punch, but you are in the
opposite posture. In other words, if you punch with the left hand, the
right foot would be forward.
Reverse Action: Yuk Jin Kong Kyuk
Start from a (Chun Be) ready position. Step forward with the left
foot into.a side stance, at the same time crossing both arms at the
neck, the left hand open and strike out at neck level. Now, punch with
the right fist to the solar plexus. As you punch, pull the left hand back
to the side, palm up and in a fist.
Piercing To The Solar Plexus: Kwan Soo Kong Kyuk
Start from a (Chun Be) ready position. Step forward into a front
stance with the left foot, and at the same time bring your right hand
(opened) and palm down in front of the body as if blocking a low
kick or punch. At the same time pull the left hand back to the side,
hand open, palm up. Now, thrust the left hand forward to the solar
plexus; as you do this, make a half twist piercing with your finger
lips.
-48-
 Weapons
(STRIKING AND THRUSTING, KICKING)

For an attack to be effective, a student must employ the various

weapons of the body by either striking, thrusting or kicking. While it
is not necessary to build these areas up with callouses, it is necessary
to practice at least on the heavy bag and speed bags. There must be a
certain amount of strength developed in order for these weapons to be
effective. Also, it must be kept in mind that the weapon the student
chooses must be correct for the situation.

-49-
 The Hand Weapons
A. The fore fist.

B. The knife-hand.
D. The back-hand.

C. The ridge-hand.

=Si=
E. Bottom-fist.

F. Palm-heel.

pee
G. Piercing with fingertips.

S585
 The Arm Weapons
A. The forearm strike.

B. The Elbow strike.

 The Knee Weapons
A. Upward knee str iayo

B. Hor 1z0on tal knee strike

e552
 The Foot Weapons
A. The instep.

B The ball of the foot .

C. The side of the foot.

D. The heel of the foot.

ES ia
-58-
 Basic Kicking Techniques
Front Stretch Kick

Start from a front stance. From here kick with the rear foot first
by scraping the ball of the foot across the floor and then upward as
high as possible; once at the highest point, pull back with just as much
effort. This kick is meant to stretch the leg muscle and is not
considered a fighting kick. Although it is not a fighting kick, the
student should still practice blocking the groin area to prevent bad
habits. (keep this in mind.)

-59-
 Front Thrust Kick

Again, start from a front stance. First, raise the kicking foot to
the knee of the supporting leg and lock the ankle at this point, plus
curl the toes back in order to kick with the ball of the foot. Now,
thrust outward, at the same time being sure to block also. After the
kick is completed, pull the foot back to the knee immediately, then
step back into a front stance.

-6l1-

a
Side Stretch Kick

This kick can be done with or without the use ofthe wall, but in
the use of the wall do not lean on it for it will throw your balance off.
Start from a horse-back stance; from here step across the kicking leg
with the supporting leg. At this point turn the body at least 45°toward
the direction of the kick. Now, scrape the kicking foot across the floor
and up to the side as high as possible. With the hip turned over and
the heel up, leg straight, from here pull the leg back to the floor. Also
practice this kick holding the leg up and locked; it will build strength
and balance. This kick is not considered a fighting kick, either. Still,
the student must look and block as if it were a fighting kick, to
prevent bad habits.

-62-
Side Kick
Start from a horse-back stance; from here slide the supporting leg
up to the kicking leg, then raise the kicking foot to the supporting leg
knee. The body is also at least at a 45°angle, facing the direction of the
kick. Now, thrust outward and lock the leg, kicking either with the
side or heel of the foot, with the toes down. Also, make sure the hip is
rolled over as you kick. Remember your blocking. From here bring
the kicking foot back to the knee of the supporting leg; this must be
done immediately to prevent the leg from being caught. Then lower to
the floor.

ae
oe
a
-65-
Round Kick

Start from a side stance; from here bring the rear leg up, knee as
high as-possible, at a 45° angle from the target. Now, pivot the
supporting foot away from the target; at the same time roll the hip
over and swing the kicking leg toward the target area with either the
ball or instep of the foot. Remember to be blocking while kicking and
focusing on the target. Now, immediately bring the kicking foot back
to the knee of the supporting leg and then to the floor in a side stance.

;
:

Note: These kicks can and should be practiced from the different
stances, and used in any combination, plus a different
level: high, middle and low. Snap kicks can be done by not
locking the leg. 7
 Three Step Sparring
Sparring is thought of in the following ways: One step, Two step,
Three step, Semi-free sparring, and Free sparring. The three step,
however, is considered a beginner’s form of sparring; it teaches a
student to block and counter with an opponent. Since the motions are
pre-arranged, it is a safe way of learning and building confidence in
the beginner. It is also good in learning to move forward, to the side
and to the rear, building speed and reflexes with special attention
given to blocking and-counter-attacks.
In the Three step sparring, one role is the defender and the other
is the attacker. To start, both students bow, showing proper respect to
each other. Then both come to the ready position. From here the
attacker steps back with the right foot, forming a left front stance. At
the same time, the attacker performs a left arm, low block and
screams at the same time. He does not move until the defender
screams, notifying the attacker that he is ready. At this time, the
attacker steps forward and punches, face level, focusing between the
eyes of the defender. This is followed by two more steps and punches
exactly the same each time. The defender, on the other hand, steps
back in a side stance, blocking with the left arm, open handed, and
pulling the right hand back to the side. This is followed by stepping
back again in the opposite posture and blocking with the right arm,
open handed. From here the defender counters the attack on the third
motion with the various techniques.
The following are the ten counter-techniques used for beginners
in Three step sparring.

-68-
 1. Block with the left arm, open hand; at the same time punch
with the right fist to the solar plexus. This technique can be done by
either stepping back and punching from a reverse stance or stepping
forward into a front stance.

-69-
 2. Block with the left arm, open handed, and at the same time,
punch with the right fist to the head, focusing between the eyes;
scream on the counter-attack. This technique can also be done either
in: the reverse stance or front stance.

a
 3. Block with the left arm, open handed, and strike with the right
hand opened, to the temple. You must step forward into front stance;
scream on the counter-attack.
 4. This technique is practically the same as the previous
technique, except the area of the counter-attack. Instead of striking
the temple, focus the blow to the side of the neck; also scream on the
counter-attack.
 5. Block with the left arm, open handed. After you have blocked
the motion, then grasp the attacker’s wrist with the left hand (only at
the wrist). Step completely back into a front stance; from here execute
a front kick to the solar plexus. Scream on the counter-attack. After
the kick, step back into a front stance.
 6. This technique starts out the same as the previous technique.
After the block and kick, you step forward into a front stance and
punch, focusing between the eyes with a right fist. Scream on the
punch.
 The previous counters have all been to the inside of the line
of attack. The following techniques deal with using the closed side
of the line of attack; but you must have better timing and blocking
and control over the attacker.

7. After the second punch ofthe Three step, rather than stepping
back with the right foot, step back with the left foot and
approximately at a 45° angle. At the same time block with the right
arm open handed to the outside part of the attacker’s arm.
(Remember that in the second motion, you were blocking with the
right arm, so pull it back for the third block.) At this point, shift the
weight of your body to the left leg, raising the right foot up and
focusing a right-side kick to the ribs of the attacker. You can either
hold the attacker’s wrist and pull the attacker into the kick or just
block and kick. Scream on the counter. Set the right foot down in a
right side stance.

::
 8. This technique is basically the same, except instead of a side
kick, a round kick is used, focusing to the solar plexus. Then set the
kicking foot down into a right side stance. Scream on the kick.
 9. After blocking the second punch ofthe Three step motion, pull
the right arm back and slide the right foot back to the left foot. At this
point, again block the third punch with the right arm, open handed.
From here, step forward with the left foot at a slight angle into a
horse-back stance and punch to the attacker’s kidney with the left fist
(focusing). Scream on the punch.

an
 10. This technique is basically the same as the previous, except
that after your left punch to the attacker’s kidney, pull the right
blocking arm back to the waist, palm up and punch, focusing to the
attacker’s temple with the right fist. Scream on the counter.
\ Continuing on, the students switch roles of attacker and
defender, following the same procedures. Some instructors teach the
Three step a bit differently, but basically it is the same: always with
the same goal to teach block and counter techniques.

Note: Remember that timing, distance and control are of the

utmost importance. You must think of blocking and control-
ling the attack before you can counter. Also, you must
spend time and effort to learn how to focus in order
to have control of your techniques, and for them to be
effective.
-80-
 Forms (Hyungs)
The average student overlooks the basic forms. Within these very
basic forms lie the secrets or answers to blocking and counter-attacks.
Many schools would teach many forms and within them would hide
their fighting techniques of that particular school. It is for these
reasons a student must never overlook the basic forms, for they
should contain the basics of your style, and teach a good foundation
for further techniques. Without this strong foundation, the rest of the
art would suffer. Stop and think about it; as mentioned before, no
matter how pretty or well built a building may appear, if the
foundation is weak, it will not stand for long, and will eventually
crumble.
The following forms are for the beginner.

-8l-
 Giecho Hyung Il Bu

Ready position.

Look to the left, stepping into a left front stance, turning 90°
and blocking with the left arm.

Step forward into a right front stance, punching to the solar

plexus with the right fist.
Look over the shoulder to the right and turn 180°to the right,
stepping into a front stance, blocking with the right arm
(low).
Step forward into a left front stance, and punch to the solar
plexus with the left fist.
Look to the left and turn 90°and perform a left arm low block
and step into a left front stance.
Step forward into a right front stance and punch with the
right fist to the solar plexus.
Step forward into a left front stance and punch with the left
fist to the solar plexus.
Step forward into a right front stance and punch with the
right fist to the solar plexus. At this point, scream.
Look to the left and turn three quarters of a full turn or 270°
Block a left, low block, as you step into a left front stance.
Step forward into a right front stance and punch with the
right fist to the solar plexus.
Look to the right and turn 180° Step into a right front stance
and block right, low block.
Step forward into a left front stance ave punch with the left
fist to the solar plexus.
Look to the left and turn 90% stepping into a left front stance.
Left arm, blocking low block.
Step forward into a right front stance and punch with the right
fist to the solar plexus.
Step forward into a left front stance and punch with the left
fist to the solar plexus.
Step forward into a right front stance and punch with the
right fist to the solar plexus. At this point, scream.
Look to the left and turn three quarters of a full turn or
270°. Block a left, low block, as you step into a left front
stance.
-82-
 Giecho Hyung Il Bu continued)

Step forward into a right front stance and punch with the
right fist to the solar plexus.
Look to the right and turn 180$ blocking a right, low block, as
you step into a right front stance.
Step forward into a left front stance and punch with the left
fist to the solar plexus.
Finish. Return to the ready position.
=
-85-
-87-
 Giecho Hyung Yi Bu

Ready position.
Look to the left and turn 90°. As you step into a left front
stance, perform a left low block.
Step forward into a right front stance and punch face level
with the right fist.
Look to the right and turn 180° blocking with a right arm low
block as you step into a right front stance.
Step forward into a left front stance and punch face level
with the left fist.
Look to the left and turn 90°. Step into a left front stance,
blocking left arm low block.
Step forward into a right front stance and block right arm
high block.
Step forward into a left front stance and block left arm high
block.
Step forward into a right front stance and block right arm
high block. At this point, scream.
Look to the left and turn three quarters of a full turn or 270°
Block left arm low block as you step into a left front stance.
Step forward into right front stance and punch face level
with the right fist.
Look to the right and turn 180°, blocking right arm low block
as you step into right front stance.
Step forward into a left front stance and punch face level
with left fist.
Look to the left and turn 90°, blocking left arm low block as
you step into a left front stance.
Step forward into a right front stance and block right arm
high block.
Step forward into a left front stance and block left arm high
block.
Step forward into a right front stance and block right arm
high block. At this point, scream.
Look to the left and turn three quarters of a full turn or 270°,
blocking left arm low block as you step into a left front
stance.
Step forward into a right front stance and punch face level
with right fist.

-89-
 Giecho Hyung Yi Bu (Continued)

20. Look to the right and turn 180 , blocking right arm low block
as you step into a right front stance.
21. Step forward into a left- front stance and punch face level
with left fist. -
22. Finish. Return to ready position.
 ion
1 '
998
-93-
 Giecho Hyung Sahm Bu

Ready position.
Look to the left and turn 90° blocking inside to out with left
arm as you Step into a left side stance.
Step forward into a right front stance, punching to the solar
plexus with the right fist.
Look to the right and turn 180°, blocking inside to out with
right arm as you step into a right side stance.
Step forward into a left front stance and punch to the solar
plexus with left fist.
Look to the left and turn 90°, blocking left arm low block as
you step into a left front stance.
Step forward into a horse-back stance, right foot forward,
and punch with the right fist to the arm pit.
Step forward into a horse-back stance, left foot forward, and
punch with the left fist to the arm pit.
Step forward into a horse-back stance, right foot forward,
and punch with the right fist to the arm pit. At this point,
scream.
Look to the left and turn three quarters of a full turn or 270%
blocking left arm inside to out as you step into a left side
stance.
Step forward into a right front stance and punch to the solar
plexus with right fist.
Look to the right and turn 180°, blocking inside to out with
right arm as you step into a right side stance.
Step forward into a left front stance and punch to the solar
plexus with the left fist.
Look to the left and turn 90°, blocking with the left arm low
block as you step into a left front stance.
Step forward into a horse-back stance, left foot forward, and
punch with the right fist to the arm pit.
Step forward into a horse-back stance, left foot forward, and
punch with the left fist to the arm pit.
Step forward into a horse-back stance, right foot forward,
and punch with the right fist to the arm pit. At this point, scream.
Look to the left and turn three quarters of a full turn or
270°, blocking inside to out with the left arm as you step into
a left side stance.
-96-
 Giecho Hyung Sahm Bu Continued)

19. Step forward into a right front stance and punch to the solar
plexus with the right fist.
; 20. Look to the right and turn 180°, blocking inside to out with
= the right arm as you step into a right side stance.
21. Step forward into a left front stance and punch to the solar
plexus with the left fist.
22. Finish. Return to the ready position.
-99-
-100-
-101-
-102-
-103-
 Rules and Regulations
RULES FOR CLASS
. Upon entering the Toe Chang, students either in Toe Balk or
street clothes shall salute the flags and bow to the instructor on
the floor as soon as they enter the Toe Chang. This will be done
without exception. Students do not have to wait for the instruc-
tor to acknowledge the bow if the instructor is busy.
. When class begins, students will line up according to rank and
seniority. The highest ranking member present will be on the
right. The instructor will take a position in the front center of the
class. The highest ranking member in the class will call the
commands:
a. Call class to attention.
b. Turn to salute the flags.
c. Turn to bow to the instructor.
d. Meditation.
. When a Master Instructor enters the Toe Chang, the instructor
or highest ranking should call the class to attention and have the
class bow. Then return immediately to training.
. When a student comes to class late, he should wait until he is
recognized by the instructor, then approach him, bow, and get
permission to join the class.
. When a student must leave the Toe Chang during training, he
should first receive permission from the instructor, unless
other instructions were given at the start of the class.
. If a student has to ask the instructor anything, he must
first approach a senior member to gain permission. A chain of
command should be instituted and not broken for any reason.
A member should never approach an instructor directly.
. For dismissal of class (the same as beginning).
. While training one should esteem and pay respect to one’s
instructors, senior members, and opponents. One should not
lose prudence, self-control, patience or composition.
. Members should take care to pay-respect to their bodies and
keep themselves clean. Fingernails and toenails should be
clipped and kept short to prevent injury while fighting.

-104-
 Rules Of The Club
. No one will walk on the Toe Chang floor with shoes on.
No profane language or disorderly conduct at any time, inside
or outside of the club.
. No one who has been drinking alcoholic beverages or taking
drugs shall be allowed in the Toe Chang.
. No smoking shall be allowed in the Toe Chang.
. Members will not wear any colored belts which denote a
grade other than that which has been accepted by the club.
. All colored belts must come within the prescribed color range
which has been accepted by the club.
. No one will wear a hat in the Toe Chang at any time.
. Gum chewing during class is prohibited.
. Wearing of rings, watches, and all other jewelry is prohibited
during class.
. Class members below the rank of second Dan will not give
any demonstrations, exhibitions or lessons of any kind
without prior approval of the Director of the Moo Duk Kwan
Tang Soo Do Association.
. All instructors regardless of rank will be shown all respect
which is due an instructor.
. All instructors and assistant instructors must attend and train
no less than one full class a week.
. Every member of the club will comply with the aforesaid rules
and regulations.
. These rules and regulations are to be obeyed by members
and guests alike. Any violation of the aforesaid rules and
regulations regardless of the degree or intent shall be deemed a
serious violation and subject the violator to any penalty at
the discretion of the Director or instructor of the club, includ-
ing outright permanent expulsion from the club.

INSTRUCTOR STATUS
Regardless if you are a Dan member you must first be certified as
an instructor.
Blue Belt (Black Belt)
2nd and 3rd Dan Kyo-Sa (Instructor) if certified.
4 Dan and up Sa-bom (Instructor) if certified.

-105-
 Terminology
Cha Ry thrice gialcre oe Smee rey gee any ee re Attention
TOUR & asec steel cee ee ae se eee Turn
Sl ae Cee eR Mara Cree ete ie! Bow or Salute
Abn J0 ae ei eos cred oie oe octagon Sit
May nis & Faso. Wi ai osatane hee ee dita ehe Paneer Meditation
Gh Bee au scent ems dg data ctaaas que ae aaa Gee eee Ready
Bai RO ached ist. Dae ic AG CASS Es cleo Be, Aen eee Return
SH CHaK =© baa -0ss aus ctheuheee SOS © Sh cetek veep ee ee Begin
GusMahine 6a bya @ eels ahd iin ene cacoe Patd eee ee oe End
LOGAN Gee atta. aachtaid odedeaaelbeichs Seein 4 Bicdae oJ Bet ata oe eee! Gym
KI Gp ahs slacken cbrane cianchse ati ecar d
calla aes on National Flag
LOGBa eerie it eaten ONT Sar Sade ek el ee Training Suit
[oe
| ae eee ERA ee ee Rone eee Reber Lia ee Belt
SETine 0)1b) egee ae ne, ene Rey My Sem aggre mere eye Instructor
HOB We aeons eenieee rink Sie aN ae 7 A ree eA Sey SSS | Pupil
IBEW es ae imate ener weiter anther, 22o Aeee Peeaee Wels WS nr be om Degree
Gi)i acide Acie ae aa RR abcd messy it gtk: ALI yaa Mrs Class

Blocks
beaamiMiahkCec “ier. We cess ee er st et er ee Low Block
Salting. Dan Mankee: \opo. css obs skh eee ee High Block
Pahkesu Ahnoo Ro Choong Dan Mahkee ..... Middle Outside to
Inside Block
Ahnesu Pahkoo Ro Choong Dan Mahkee ....... Middle Inside to
Outside Block
Sa OO MEN EE wah ai okie oe eee eae Upper Block with Both Fists
FA OL LOw nn Seo ice nia ake Lower Block with Knife Hand
Choong Danisoo Do. s.4 2k Middle Block with Knife Hand
SahngOan Soo.00.... shh anu Mei ose Upper Block with Knife Hand
Choong Dan Hu Gul Ahnesu Pahkoo Ro Mahkee ... Middle Block
with Arm
Hugul.YangSoo Yiip-Mahkee <4. 4.u OR Re Middle Block ina
Fighting Stance

Hand Techniques
BI ISWa ego a aa! al Saas ec ee a Fore Fist
Cap. Kwani-ag.. 2 oi enn £ vata oe re ee, ee Back Fist
SOOO gs aoe ie acai ee org kisi cacao eee Knife Hand
PURER OO ee a tee a."antares ak etsceane hepn eS Ridge Hand
Welk SOO. c wy mera acai cm enkick wn@akle act ares a a Spear Hand
Kwan Soo. Kong K yukon warn ceoee ee Piercing Middle Part
Choong Dan Kong Kyuk ............... Punching Middle Part
Salting Dan Kong Kynk 93 -on ek oe Punching Upper Part
Hweng Jin Kong Kyuk ..... Horse-Back Stance Punching Arm Pit
Wak Jims Koyiain Pee nad ee a ae Reverse Action
SEAGER OWOTS nS Front Stretch Kick
WE GOING eA eae Front Bend Kick
VA MAACO EsOS, ey Side Stretch Kick
SR COE NUNS 6s he Ce Side Bend Kick
MUTA OUR ARTS Round Kick
TASTE SENSSD a RT Saat, SONU 5 AS a ee Pivot Kick
eto EG egOD SE Ea oe ae Front Jump Kick
ce UES TIS Ea Gh es a a Side Jump Kick
SOBeeh IeeR O78 alOTE coro ee Round Jump Kick
oe Oa RL eg 0 Re Pivot Jump Kick

Forms
Riieciocbi vUns Lh i ieee ce ein ck. ah. 2 ae anes Basic Form |
Criccne Hytne Yi Baia ses Gea bs wwe aac Basic Form 2
Giecho Hytng Sahin, Soaoge os. eae a os so oe Basic Form 3
Pvingahn Cho Dan Sipe. ee ai se eae Pyang Form |
WORE TNT) RN IUD AiR re er acta Sie sda cen » feoS sa castes Pyang Form 2
eat SANG LAG aie ones oie cae hoes dncaie GeerWie wo Pyang Form 3
CEPGESNVihel 118BE V9 Us 2g nn a a Pyang Form 4
Pee NS Ete alco Geen as SS as alee Pyang 5
[CES ER SS ae Bassai Form
1 NE BEG alcre 8 yee oR eg ee Nai Ahn Chi Form |
Pe OE GENES 7 7) Nai Ahn Chi Form 2
IND Oath OFCRE yy es YT Ra Nai Ahn Chi Form 3
Bere VU eee se eB a is 93) Sg sh ee es ee Free Fighting
Sant, S00 Slik Dae de RYUN nt. . crs le es Three Step
PG OO HIKL1CUs PUI ak, Se scab ino sss las hae ess One Step
Elisa tydca VANE: VA EReie 2 nn alsin oon 2 3 +t Free Fighting

-107-
-108-
Good for Ch Idren

-109-
 Promotion Requirements
Color belt testing will be held every three months if the
student is recommended by their instructor.
8th GUP: Students must be proficient in the first two forms,
three step actions.
tha GUP: Students must know the same as 8th GUP plus 3rd
form plus Korean terminology and breaking, and Basic
Free Fighting.
6th GUP: For Green Belt, students must be proficient in the first
four forms, three and one step actions, free fighting
plus breaking.
Sth GUP: Students must be proficient in the first five forms,
three and one step actions, free fighting plus breaking.
4th GUP: Students must be proficient in the first six forms,
three and one step actions, free fighting and basic
self-defense plus breaking with jump kick.
3rd GUP: Students must write an essay on their understanding,
evaluation and constructive criticism of the art.
They must be proficient in the first seven forms, three
and one step actions, free fighting, basic self-defense
plus breaking with jump kick other than front or side.
2nd GUP: Student must write an essay and must be proficient in
the first eight forms, three and one step actions, free
fighting and self-defense actions, plus breaking two
inches of wood with jump kick other than front or side.
The student must also have had experience in assisting
in class instruction.
list -GUIP: Student must have trained six months since 2nd GUP
promotion, write an essay, be proficient in the first
nine forms, three and one step actions, free fighting,
self-defense actions, weapon techniques, plus break
three inches of wood with jump kick other than front or
side, and must have a minimum of (50) hours in assist-
ing class instruction.
Blue Belt (Black Belt)
Ist Dan: First degree Blue Belt, the student must have trained
nine more months since Ist GUP, must be recom-
mended by the Head Instructor. Must have been in con-
tinuous training for a minimum period of twenty-four
(24) months. Must have a minimum of (100) hours in
assisting class instruction. Must be well versed in: the
history of the Moo-Duk-Kwan and Korean terminology.
Must write essay. Must know all forms up to and includ-
ing Bassai. Three and one step actions, free fighting
and self-defense. Must break four inches of wood with
any jump kick. Must have some understanding of other
martial arts.
-110-
 The Uniform Standards

The uniform must be white in color. The jacket shall be long

enough that a belt can be tied at the waist and long enough to cover
the hips. The sleeves should also be long, loose and must reach past
the elbows. The pants, too, must be loose fitting and long enough to
cover more than half of the calf of the leg. The belt must be tied in a
square knot, tight enough to prevent the jacket from opening up.
Also, the belt must be long enough to go around the body twice. Once
the belt has been tied, the ends have several inches protruding down
on each side. At all times, the uniform must always be kept clean and
acceptable for our style.

-111-
 Color Trim
At no time will anyone wear a belt or color other than that
awarded him. You will know when you are promoted because you
will have a certificate awarded to you. At that time, you may change
belts, plus add the trim, if need be.
All trim must be one inch to one and one-half inches in width.

Rank Color Trim

10-9 GUP White None
8-7 GUP Orange None
6-4 GUP Green Green lapel trim
3-1 GUP Red Red lapel trim
Ist—3rd DAN Dark Blue Blue lapel trim, trim on the
bottom of jacket, plus on the
cuffs of the sleeves.

It must be kept in mind that a promotion is a privilege, not a

right. It is an honor to be promoted and must not be taken for
granted.

Note: Dark Blue is used instead of Black in this style.

-112-