Please stop by and visit our web site for all of our locations, class times, instructor biographies, event pictures, announcements, and helpful student information.

Please note that it is the responsibility of the student to check the website periodically for updates,

news and events, etc.

© 2011 1^st Edition Revised.

This Training Manual is a dynamic work in progress. It continues to grow as we share ideas and embrace new training techniques. It is a combination of original material and information collected from various Tang Soo Do sources. The information has been gathered during our 30 years of instructing and working with numerous associations

( ITF, ATA, WTSDA, SHTSD, and MTSDA).

We continually expand our knowledge base from our teaching experience and utilize technology to browse the World Wide Web for new and exciting information that can be incorporated and will enhance our students’ training experience.

We wish to thank all of the dedicated Martial Arts Instructors whose discipline and inspiration continue to challenge us to excellence.

Precision Tang Soo Do’s Instructing staff is comprised of black belts ranking from 1^st to 7^th degree Black Belts. Being appointed the titles Kyo Sa Nim, and Sah Bum Nim by Master Hile makes the following black belts more than just black belts, but teachers of the art. Over the years they have catered to people of physical and mental disability and they are willing to share the Art to anyone willing to learn.

Master Scott Hile 7^th Degree Black Belt Chief Sah Bum Nim

Master Caitlin Moore 5^th Degree Black Belt Chief Sah Bum Nim

Grandmaster Carl MacDermott 8^th Degree Black Belt Kwan Jang Nim

Grandmaster Bill Martin 8^th Degree Black Belt Kwan Jang Nim

Master Sean Peters 5^th Degree Black Belt Sah Bum Nim

Master Chris Delmonte 4^th Degree Black Belt Sah Bum Nim

Master Lori Hopgood 4^th Degree Black Belt Sah Bum Nim

Master Reynald Cantave 4^th Degree Black Belt Sah Bum Nim

Mr. Matthew Moore 3^rd Degree Black Belt Kyo Sa Nim

Mr. Dave Korbel 2^nd Degree Black Belt Kyo Sa Nim

Master Hile began studying martial arts with MacDermott’s Tang Soo Do in 1993 under Evan Lampros, 4th Degree Moo Duk Kwan, Tang Soo Do. He began teaching when he earned his Black Belt in 1997 and became the instructor of the East Bridgewater YMCA school, for Master MacDermott, for 9 years. After East Bridgewater, he went to the Middleboro YMCA for 2 years. Finally, he went to the Headquarter school and is currently still the instructor there.

He earned his 2nd Degree in 1999, 3rd in 2002, 4th in 2006, 5th in 2011, 6th Degree in 2017, and 7th Degree in 2023, all under the instruction of Grandmaster MacDermott and Grandmaster Martin. Master Hile created a Demo Team, in 1999, that is responsible for performing all demonstrations within the local communities. From 2000-2002, he was a co-instructor of a Middle School (grades 5-8) after school program that was funded by a 3 year Federal grant.

Master Hile assists Grandmaster MacDermott and Grandmaster Martin in conducting weapons seminars, self-defense seminars, and teaching women’s self-defense. He enjoys helping people of all ages, physical and mental limitations, and disabilities succeed in achieving their goals in life and martial arts.

Master Hile continued what Grandmaster MacDermott had started 30 years prior by taking over the administration of the schools, under the name Precision Tang Soo Do, as of January 1, 2011.

Master Moore began studying Tang Soo Do, along with her brother Mr. Matthew Moore (3rd degree, Kyo Sah Nym) under Master Scott Hile in 2003. She earned her 1st degree black belt in 2007 and her 2nd degree black belt in 2009, under the instruction of Master Hile and Master Carl MacDermott. She earned her 3rd degree black belt in 2012 under the instruction of Master Hile and Master Sean Peters. In 2016, she earned her 4th degree black belt under Master Hile, becoming the highest ranking female member of our school. Master Moore was promoted to 5th degree in 2021.

Master Moore and Mr. Matthew Moore became the instructors of the East Bridgewater YMCA school in February 2010 after being assistant instructors there for 2 years. In September 2010, Master Moore and Mr. Moore began teaching at the headquarters school in Bridgewater, a position they still hold. Master Moore assists Master Hile with the administration of the school.

Master Moore joined the demo team under Master Hile in 2006. In 2011, she became the head of the team, running it for the next few years. She has been teaching women’s self defense seminars with Master Hile, Grandmaster MacDermott, and Grandmaster Martin since 2006.

Master Moore enjoys working with students of all ages, pushing them to be the best martial artist and person they can be.

8^th Dan Moo Duk Kwan Tang Soo Do

Carl H. MacDermott began studying Tang Soo Do in Bridgewater, Massachusetss, in 1973 under the instruction of Thomas

Sylvester, 2^nd Dan Moo Duk Kwan Tang Soo Do. In 1980 Mr.MacDermott received his Black Belt and began teaching. He

revieved his 2^nd Degree in 1986, his 3^rd Degree in 1991, and his 4^th Degree in january of 1996 under the instruction of Master Richard Byrne, 8^th Dan Moo Duk Kwan Tang Soo Do, his 5th Degree in December 2006,  his 6th Degree in November 2010, 7th Degree in 2017 (under the instruction of Master Victoria DeMarco, 8th degree Moo Duk Kwan, Tang Soo Do ), and 8th Degree in 2023.

Mr. MacDermott was voted Black Belt of the Year in 1991, and in1992, was voted into the American Tang Soo Do Hall of Fame.

Mr. MacDermott is also an experienced teacher of the handicapped and has used Tang Soo Do as a method of improving flexibility and Coordination.

Mr. MacDermott joined the Bridgewater Police Department in 1984. He holds a Master’s Degree in Criminal Justice from Anna Maria College, a Bachelor of Science in Criminal Justice from Stonehill College, and an Associates Degree from Massasoit Community College. Prior to 1984, he was a member of the Lakeville Police Department. In 1985 and again in 1991, Mr. MacDermott was cited as Patrolmen of the year. In 1990, he was also voted Patrolmen of the Year for his department by Mothers Against Drunk Driving. In September of 1996, Mr. MacDermott was promoted to the rank of Detective on the Bridgewater Police Force and Sergeant on November 25, 2011.

8^th Dan Moo Duk Kwan Tang Soo Do

Grandmaster Martin has been involved in the Martial Arts for 40 years and has been instructing since the early 1970’s. His career began as a 13 year old student of Mr. James Mattie in the Japanese Art of Shotokan. He advanced to become an instructor for him and

remained with Mr. Mattie until the school eventually closed in the late 1970’s. Master Martin wanted to continue training in the Martial Arts and began his Tang Soo Do studies in 1978 under Mr. Tom Sylvester and then continued his advanced studies under Grand Master Richard Byrne. Master Martin was a frequent and successful tournament competitor during the 1980’s and 1990’s, retiring from competition in 1996.

He and Grandmaster MacDermott have developed specialized programs and offer seminars in street smart self-defense, self-defense classes for women, and self-defense against guns, knives, and clubs. They also offer a “High Energy” class to increase endurance and sharpen fighting skills through combination punching and kicking drills. Grandmaster Martin enjoys teaching children and adults and guiding them as their self-esteem, technical skills, and confidence grows. He is currently co-instructing at the Bridgewater Sports Complex with Grandmaster MacDermott.

Master Delmonte began studying Tang Soo Do in 1991 at the Cedar Street School in Bridgewater, under the instruction of Master Carl H. MacDermott, III 5^th Dan Master, Moo Duk Kwan Tang Soo Do. In 1994, Master Delmonte received his black belt under the direction of Grandmaster Chun Sik Kim and Master Richard Byrne. Master Delmonte then received his 2^nd degree in 1996, and his 3^rd degree in 2000. In 2006, he was promoted to the rank of 4^th Dan Master, Moo Duk Kwan Tang Soo Do.

Master Delmonte has participated in numerous demonstrations and tournaments promoting the requirements and rewards of Tang Soo Do. Tang Soo Do is a strong presence in Master Delmonte’s family as his three children have achieved rank in the Art.

It is the philosophy of the instructors at Precision Tang Soo Do that the best interest of each student be kept in mind. We believe that our students should experience life to the fullest. Involvement in other activities is important whether it be music, dance, sports, or scouts. Expanding one’s mind to understand different ideas and views helps the student mature into a well-rounded person.

All of the instructors are members of families and understand how busy life can be. There never seems to be enough time in the day. As instructors, we are concerned about our students and insist that their academic responsibilities come first. Between school and activities, “burn out” is a reality for both parents and students.

At Precision Tang Soo Do, we want students to succeed in Tang Soo Do, as well as in all aspects of life. Tang Soo Do offers many tools that will help a student realize whatever goals they set. This art requires self-discipline, mental toughness, and comprehension of complex concepts and coordination. These are also requirements for life. We, as instructors, have benefited from the study of this art in our personal and professional lives and understand how Tang Soo Do can assist people in dealing with the many facets of life.

Tang Soo Do requires a steadfast commitment on the part of the student. The maximum benefit is gained when the student places a high priority on the study of the art. However, if a student has other activities that occasionally conflict with class time, he/she can work with the instructor to arrange a schedule that will meet their needs. Attending class, even one day a week, will allow a student to keep the knowledge and technique fresh. It may require more time to progress through the ranks, but that should not be the primary focus. The most difficult part of leaving class for an extended period of time is the loss of knowledge, technique and the feeling of having to begin again upon return. Keeping involved, even minimally, will alleviate these problems. If a student attending any of our schools wants to participate in a double class to fulfill the attendance requirement, while being part of an outside activity, he/she may do so. We are flexible and will work with you to assist in any way we can, and have many locations to choose from.

It is important as practitioners of Tang Soo Do that we do not make it a job. Students should be excited about learning and trying to master new techniques. Tang Soo Do should be seen as a part of one’s life that enriches the whole.

All students and Black Belts should salute the flags and bow to the senior Black Belts on the floor. This should be done without exception. Students do not have to wait for Dan members to acknowledge the bow before entering(as long as they’re on time).The senior ranking student should immediately line up all students according to rank and seniority. Students should then begin warm up and stretching exercises. This should continue until the instructor enters the dojang. As the instructor enters the dojang, the senior student should have everyone stand, face the instructor and bow.

The instructor will proceed to the front center of the class. The highest-ranking member will call out the following commands:

Cha Ryut Attention

Kukgi Bae Rye Salute to flag

Ba-Ro Return

Minyo Meditate

Ahn Jo Sit

Ba-Ro Return

Sah Bum Nim E Kyung Yet or Bow to Master Instructor

Kyo Sa Nim E Kyung Yet Bow to Certified Instructor

A) When the Chief Instructor or a senior ranking Dan member instructor enters the dojang, the class should be called to attention by the first student who sees the senior rank. The person who calls the class to attention should call out the command to bow to the instructor. The class should then resume training.

B) If a student arrives late for a class, he/she should wait at the entrance of the dojang until recognized by the instructor. The student should then approach the instructor, bow and ask permission to join the class.

C) If a student needs to leave the dojang during class he/she must first receive permission from the instructor. (The only exception is a medical condition that requires medication such as asthma. The student can leave immediately without waiting for permission.) The instructor should be notified of any medical condition that might require a student to leave. Once a student leaves the dojang, he/she must be acknowledged by the instructor before re-entering the dojang.

D) All questions to the instructor, during class, should be preceded by raising of the hand. When the student is acknowledged he/she should bow and ask the question respectfully. When the question has been answered, the student should bow and say; “Kum sum ni da” (Thank you), showing proper respect.

E) When the class is asked to sit on the floor, students should keep proper posture; hands placed on the knees, back straight, and legs should be crossed.

In the case of a visiting or guest instructor who is of senior rank, the regular class instructor will ask permission to begin the class. The visitor may choose to teach the class, participate in the class, or work out in the back of the class.

If the visiting senior rank notices a correction in class technique, protocol, etc., this correction will be made to the class instructor with discretion and respect.

Students are required to keep their uniforms clean and well pressed at all times. The uniform pants and tops must be hemmed and not turned up. It is important to always present a neat appearance. Plain white or MacDermott’s T-shirts may be worn under the uniform. Uniforms are to be brought to class in a bag or neatly folded with the Belt tied around it.

Personal appearance is important both for safety and respect of self. Fingernails and toenails should be clipped short to prevent injury while working in class. All jewelry must be removed including earrings, ankle bracelets, studs, etc. Long hair should be pulled back and fastened so does not obstruct the vision. All cuts and scrapes should be kept covered at all times. A person must have clean hands, fingernails, feet and toenails before attending class.

Learning the art of Tang Soo Do requires practice outside of the time spent in class. Students should learn the basic movements and then practice them until they have been perfected. All Tang Soo Do techniques are built from the basic moves and forms. Stretching, forms, basic kicking and hand techniques should be practiced daily. This requires about 15 to 30 minutes each day. Stretching should be included with the practice session to gain maximum flexibility.

Students must work hard and concentrate in order to master all of the techniques and the spirit of Tang Soo Do. Practice of the various forms as well as the basic moves enables the student to develop good technique. Dedication, respect, and discipline will develop a strong, well-rounded student.

A student must attend class twice a week. If a student misses more than three classes during a test cycle, the student will not be allowed to test until the classes have been made up. The classes may be made up at any of the school locations, but the student’s primary instructor must give permission for attendance at another class. Once classes are made up, a student is eligible to test. (Tests are given ~ three times per year)

Students are expected to participate in events planned/run by Precision Tang Soo Do. These events do count as classes and can be used to make up missed classes.

When a student attains the rank of 3rd Gup (Red Belt), he/she must begin attending Red Belt/ Black Belt classes, which are scheduled (see instructors). First Gups are expected to attend ALL Red Belt/Black Belt classes. These classes focus on the more complex techniques, forms, and conditioning required to achieve the rank of Black Belt.

If a student is absent from class for a period of more than two weeks, he/she must formally approach the instructor and request permission to join the class.

Because students often participate in varied activities such as baseball, soccer, music, scouts, religious education and dancing, conflicts can arise with scheduled classes. Students are encouraged to discuss any conflicts with their instructor and to develop a schedule that will allow them to attend class as often as possible. In this way, a student interested in continuing his/her studies may do so. It will take longer to progress, but the skills necessary to advance will be developed.

The student should always maintain a positive attitude in class. Everything that is demonstrated and taught is possible to learn with practice, patience, and persistence. The instructors will always work with you to demonstrate the proper way to deliver a technique; it is up to you to practice and master that technique.

Give yourself time to learn by not expecting too much too soon. This is an art which requires time to master. The material is divided carefully into the various requirements for each rank based on the experience of the instructors. Do not allow yourself to become bored even if it seems that too much time is being spent with the techniques for your rank. It is important to concentrate on the requirements as stated and not jump ahead. This art is cumulative. As you move up in rank, you are responsible for all of the material learned previously, and you may be called upon to demonstrate any of that material.

It is the responsibility of the student to make sure all dues, registration fees, and testing fees are paid in a timely manner.

Tang Soo Do is a martial art that means “the way of the hand of Tang”(sometimes translated as “Art of the Knife Hand.”) Different fighting styles developed in different regions of the world and took generations to evolve. People had to develop personal fighting skills in order to defend themselves against their enemies.

The history of the martial arts can be traced back almost the beginning of time. It is impossible to determine the exact birthplace of Tang Soo Do or any other martial art. The need for self-protection developed in many places and was perfected into different systems by the people who practiced the art.

As part of the general Chinese cultural invasion of the Korean peninsula, Buddhism was introduced into the Northern Kingdom of Koguryo in the fourth century.

The monks did a great deal of traveling, and to protect themselves they practiced specialized hand and foot techniques known at that time as Soo Bahk and Tae Kyun. These fighting arts were purely Korean in origin and gradually included the Chinese martial art of Kwon Bop, which was introduced to Korea in 520 A.D.

In 1934, Japanese archeologists discovered two royal tombs (Muyong Chong and Kakchu Chong). The tombs were believed to have been erected between 3 A.D. and 427 A.D., and mural paintings in the tombs portray scenes of unarmed combat. The trim on our uniforms (do bahk) is derived from the same training clothes as these ancient warriors.

In the year 540 A.D. a new monarch, 24th king of the Silla Dynasty, King Chinhung came to power. One of the most significant contributions was the creation of the art of Hwa Rang Dan.

King Chinhung called upon his greatest Buddhist monk, Won Kwang Bopsa, to develop a system of martial arts in harmony with the laws of nature and embodied in the symbol of the yin and yang. Based on Won Kwang Bopsa’s concept of the unity of opposites, the institution of the Hwa Rang Do, or the “way of flowering manhood,” nurtured young men into model warrior-intellectuals who influenced Korean history for many centuries. These models of martial chivalry lived a code that evolved into a system.

The Grand Master of Tang Soo Do is Grand Master Hwang Kee. He was a master of Soo Bahk Do and Tae Kyun Do by the age of 22. In 1936, Master Kee traveled to northern China where he encountered a Chinese variation of martial artistry called the Tang Method of Kung Fu. He studied this fighting system from 1936-1945 and combined it with Soo Bahk Do to develop what we now call Tang Soo Do. Grand Master Hwang Kee began teaching Tang Soo Do in Seoul, Korea in the fall of 1945 and has been the driving force behind the spread of Tang Soo Do throughout the world.

Tang Soo Do is a classical martial art and not a sport. It is not a game to be played solely for the sake of winning, but rather a physical and intellectual activity designed to foster physical, mental, and spiritual health. As a classical martial art, Tang Soo Do aims to develop and express the individual’s true self. Our code of conduct is divided into ten rules and nine virtues:

Stop trivial thoughts and concentrate on movement, as if facing a difficult enemy or challenge. By making the mind void of thoughts one can gain a natural meditative state. There must be concentration of spirit and will.

If one’s mind is made up to learn, then there will be success. Nothing can be learned without patience, while endurance is part of the price one must pay to gain the knowledge. Wisdom proves that nothing of value is worth learning if there is not sacrifice. Knowledge will come only to those who have the patience to sacrifice, to endure the pain and realize humility.

If one does not practice regularly, then one should not face the enemy or confront a challenge. Perfection of techniques requires deeply ingrained habits, and a mental attitude of thoroughness. The time spent in the dojang is precious little in comparison to the time spent on the outside. Perfection in the martial arts is like a jewel. It is merely a rough stone until polished. If it is not polished, no one will know its inner beauty. Training polishes the raw talent into fine movement.

Judge the chance and take the opportunity. Take the first opportunity and be quicker than the opponent. Every technique requires speed. There are counter defenses to all known offenses. Therefore, techniques must be done with great speed and efficiency. Speed is also related to calmness. With a calm mind, one is free from hesitation.

The inner force (Chi) is concealed until it is released. Perhaps the most difficult aspect of the martial arts to master is to learn how to conserve energy and to relax while under stress. Chi cannot be released if the body is stricken with inner tension and fear.

All things in nature operate according to rules. Mankind is one with nature. In every martial art there are aspects which make it dangerous. To assume the responsibility of learning martial arts requires maturity, integrity, and character. One of the most essential tests of character is whether the student is humble enough to subordinate his/her own personal ego to the rules of the dojang and respect the seriousness of his/her new powers. The martial arts are not a store-bought item that one is entitled to because the lessons were purchased. The burden is too great, the reflection larger than the individual. All martial arts schools should operate according to the ethical codes of respect and obedience.

In quiet places, reason abounds. In quiet people there is vision and purpose. Many things are revealed to the humble that are hidden from the vain. Large egos are carried by small minds. Humility is to make the right estimate of one’s self. One martial art may have 4000 techniques. Assuming a student learned one new technique every day, it would take 10 years to simply be exposed to them, let alone master them. Such a course is not likely, but it is to illustrate that when a fish is in a bowl, the bowl seems to be the whole world. We are only a microcosm in an infinite universe.

It is the responsibility of lower ranks to keep the Dojang clean.

Students should arrive 10-15 prior to the scheduled class time. Students who come to class late should bow in to the dojang and wait at the door for the Instructor to acknowledge them. Stretch out in the back of the class, if necessary. When ready to join the class, stand in the back of the room at attention, until recognized by the Instructor, at which point you should ask permission to join the class and apologize for your tardiness.

Upon entering the dojang, all students should come to attention, salute the flags, and then bow to the Instructor’s present. Students should then bow and appropriately greet any instructors and/or seniors who are in the dojang. Students should always salute the flags and bow anytime that they enter or leave the dojang.

Jewelry should not be worn during training. This is to insure your safety as well as your training partners. The only exceptions are wedding rings and specific jewelry of religious value. Tape and/or band-aids are to be placed over earrings that cannot be removed.

There should be no unnecessary talking or noise during class. During class, students should speak only when recognized by the instructor in charge, and should pay attention to all directions given by any instructors. All directions given by a senior rank should be acknowledged by a strong “Yes Sir!” or “Yes Ma’am!”

Smoking, drinking, eating or chewing gum in the dojang is not permitted (drinks may be taken, discreetly, in one area of the dojang, but not on the main floor, and only at the discretion of the Instructor.)

Never disturb a class in progress except in an emergency.

When seated on the floor, students should sit up properly, either on their knees, or with their legs crossed.

Disagreements or problems with any instructors or students should be brought to the attention of the senior instructor in charge.

Students should never be boastful or bullying. Fighting outside of the dojang will not be tolerated, except in the case of self-defense.

When the class is ordered to line up, each student must quickly find the correct position in class according to their rank and seniority. Attention to seniority must be properly displayed during all training procedures.

Counting should be done in Korean, if a student does not know Korean counting one must take responsibility and learn them.

During sparring appropriate protective gear must be worn. No one should be sparring without the permission of an Instructor.

There will be NO horseplay in the Dojang AT ANY TIME.

Do not engage in any activities that might degrade the code of Tang Soo Do ethics, or the reputation of the school.

Minimum attendance requirements must be met before ANY student will be considered to test for their next rank.

At NO point in time should a student lean on the walls or sit down without the Instructor’s permission

When asked to proceed to a position, or lining up at the beginning of training or for some reason during training, ALWAYS move as quickly and quietly as possible. DO NOT STROLL.

After a test, please do NOT ask your instructors when you will be receiving your ranks

Bathroom breaks are not encouraged

It is not courteous to higher ranks to be secretly learning or performing higher ranking techniques. The time allotted to learn one’s material was set for a reason. Please do not attempt to learn upper materials on your own.

Fingernails and toenails should be kept clean and cut short to prevent injury to yourself and others.

Uniforms should be kept clean and neat and treated with respect. Uniforms are given to you white and unripped…they should remain that way.

Belts should NEVER touch the floor, and they should also never be washed or written on. Also, belts should NEVER be worn outside the training area.

Full uniforms are required for all classes and events, unless otherwise stated. If a student shows up with any one piece of their uniform missing they are expected to line up at the very end of the line no matter what rank they hold.

T-Shirts or tank tops should be worn under all uniforms. Colors permitted are white, the color of your rank, or any MacDermott’s/Precision TSD T-Shirt.

Upon completing a day of training, one must either fold their uniform with their belt around it, or place it in a bag or on a hanger.

Students should always address Instructors and Masters by their proper title(Kyo Sa Nim, or Sah Bum Nim) as they have rightfully earned these ranks. While regular black belts should be addressed as Mr./Ms./Mrs. followed by their last name.

Always respond “Yes, Sir / No, Ma’am ” when answering to dan members. Always obey all directions from instructors, and never question their authority.

If students have questions during class, they should raise their hands and wait to be acknowledged. Then they should walk over to the instructor, bow, and ask their question. Students should stand at attention when talking to the instructor. Students should never interrupt an instructor, or call an instructor over to him/her. Always ask senior belts questions first. If they cannot answer your question then go to an instructor.

Students should never talk out in class and should always remain quite while under instruction, especially doing partner work.

Students should never correct or argue with a senior belt. Students should never argue over techniques or procedures. If there is a question ask the senior belts or instructor. Students should obey all instructions of senior belts.

Never tie your belt or straighten your uniform while facing anyone, especially higher belts, or while facing the flags. Also, it is considered disrespectful to stand with your hands on your hips or with your arms crossed while in class.

Students must respect senior ranking members REGARDLESS OF AGE. They are your seniors and deserve ample respect.

Never teach or demonstrate Tang Soo Do outside of the dojang, without the permission of the instructor.

The first student to notice the arrival of an officially recognized Kyo Sa Nim or high rank or of a Sa Bum Nim must immediately call the class to attention. The senior student must then issue the commands to the class to bow to the Kyo Sa Nim or Sa Bom Nim.

Be prompt, do not be late.

Upon arriving, stretch out or practice quietly.

When your name is called stand up in place, respond with a loud “Yes Sir/ Ma’am, bow, and run to the spot you belong in.

Always respond to commands with yes sir/ma’am.

Drinks are not allowed. They are not necessary.

Do not bring food and do not chew gum.

Keep your uniform on at ALL times.

The only shirts worn under one’s Do Bahk are: White, the color of your belt, or a MacDermott’s/Precision Tang Soo Do T-Shirt.

Be respectful of those performing and do not talk.

If you have any problems or questions, raise your hand and the black belts helping out will come over and address your issue.

Upper ranks, please help out when you can. Ask if you can stretch out those testing or be of any other services.

ALL Black Belts and 1^st Gups are expected to be at all tests and events, in FULL uniform. It is part of your testing requirements.

Uniform should be neat, and white. You should change when you arrive, bringing your uniform on a hanger, because they should be pressed.

No Jewelry should be worn, with the exception of wedding rings and specific items of religious value. Earrings that cannot be removed must have a band-aid or athletic tape over them.

Bow in and out of the gymnasium we are testing at. All gyms we test at are dojangs.

Be respectful to everyone, especially higher ranks. Address black belts as Mr/Ms/Mrs and Instructors by their titles, Kyo Sa Nim _________ or Sah Bum Nim ___________.

It is not suggested to sit near family or friends, it promotes talking and water breaks.

Everyone participating in the test MUST stay through the whole test unless otherwise stated by your Instructor.

Essential Korean Terminology

Dan: Rank of black belt

Gup: Rank of Color Belt under black

Do Bahk: Uniform

Dee: Belt

Kukgi: National Flag

Nim: a term of respect

Choong Bee: Ready

Shi jock: Begin

Dwi Ro Tora: Turn to the rear

Kyung Yet: Bow

Ku Ryung: Command

Ko Mahn: stop/finish

Shee Hap: Competition

Gi Cho: Basic Hyung: Form

Deh Ryun: Sparring

Ho Sin Sul: Self Defense

So Kee: Hand Technique

Jo Kee: Foot Technique

Kong Kyuk: Attack

Mahk Kee: Block

Cha Gi: Kick

Soo Do: Open Hand/ Chop

Il Soo Sik Dae Ryun: One Step Sparring

Ja Yu Dae Ryun: Free Sparring

Jua Deh Ryun: One Step Sparring in sitting position

Bong Dae Ryun: stick sparring

Kyuk Pa: Breaking

E Ryo Sut: stand up

Chun Man Ae Yo: you are welcome

Ahn Yung Ha Se Yo: hello, how are you(formal)

Ahn Yung He Ke Se Yo: Good Bye

Ahn Yung: Hello, how are you(informal)

Ji Kwan: Branch school

Joong Ahn Do Jang: Headquarters school

Ku Ryung Ae Mat Cho So: By the count

Ku Ryung Op Shi: Without the count

Wen Jok: left

O Rin Jok: right

Ee Dan: Jump

Dull Ryo: with rear leg

Kyuk Pa: breaking

Ki Hap: spirit yell

(Korean Terminology Continued…)

Cha Ryut: Attention

Kukgi Bae Rye: Salute to the flag

Ba Ro: Return

Ahn Jo: Sit Down

Shio: Relax/Rest

Kyung Yet: Bow

Tang Soo Do: The Art we study. Also known as the Art of the Knife Hand.

Tang: From the Tang method of Chinese martial arts

Soo: From the ancient Korean martial art of Soo Bahk Do

Do: Way of Life

Moo: Martial art

Duk: A feeling of affection tempered with respect

Kwan: School

Soo Bahk Do: Hand Strike Way

Grandmaster: Kwan Jang Nim

Master: Sah Bum Nim

Certified Instructor: Kyo Sa Nim

Senior Student: Sun Beh Nim

Examiner/Judge: Shim Sa Kwan

Partner: Kahng Ho Kan

Choong Bee Ja Seh: Ready stance

Chun Gul Ja Seh: leaning/training stance

Hu Gul Ja Seh: fighting stance

Ki Ma Ja Seh: horse stance

Sa Ko Rip Ja Seh: open horse stance

Choi Ha Dan Ja Seh: low stance

Bahl Cha Gi Choong Be Ja Seh: Ready for kick stance

(Korean Terminology Continued…)

Kwon Do: hammer fist

Kwan Soo: spear hand

Kap Kwan: back fist

Jung Kwon: fore fist

Jang Kwon: palmstrike

Soo Do: knife hand

Yuk Soo Do: ridge hand

Ha Dan Mahk Kee: low block

Sang Dan Mahk Kee: high block

Ahneso Phakuro Mahk Kee: inside to outside block

Phakeso Ahnero Mahk Kee: outside to inside block

Ha Dan Soo Do: low chop

Choong Dan Soo Do: center chop

Sang Dan Soo Do: high chop

Ahneso Phakuro Soo Do: Inside to the out chop/Reverse chop

Phakeso Ahnero Soo Do: Outside to the inside chop

Choong Dan Kong Kyuk: center punch

Choong Dan Han Jin: side center punch

Choong Dan Yup Mahk Kee: side block

Sang Soo Mahk Kee: two-hand straight defense

Yuk Jin: knife hand defense to reverse punch in a fighting stance

Yuk Soo Mahk Kee: knife hand defense to reverse punch in a leaning stance

Sang Soo Ha Dan Mahk Kee: X-Block Low

Sang Soo Sang Dan Mahk Kee: X-Block High

Gyp Kye Sohn: Pliar Hand

E Jee Kong Kyuk: Two-finger jab

Ahp Cha Gi: front kick

Yup Cha Gi: side kick

Dwi Cha Gi: back kick

Dull Ryo Cha Gi: round kick

Ahneso Phakuro Cha Gi: inside to outside kick

Phakeso Ahnero Cha Gi: outside to inside kick

Chik Gi: ax kick

Bit Cha Gi: diagonal kick

Peet Cha Gi: reverse round kick

Moo Roop Cha Gi: knee kick

Dwi Hu Ryo Cha Gi: spinning wheel kick

Yup Hu Ryo Cha Gi: hook kick

(Korean Terminology Continued…)

One: Hana

Two: Tul

Three: Set

Four: Net

Five: Tasot

Six: Yosot

Seven: Ilgop

Eight: Yodol

Nine: Ahop

Ten: Yol

Eleven: Yul Ha Na

Twelve: Yul Tul

Thirteen: Yul Set

Fourteen: Yul Net

Fifteen: Yul Tasot

Sixteen: Yuh Yosot

Seventeen: Yul Il Gop

Eighteen: Yul Yodol

Nineteen: Yul Ahhop

Twenty: Sumul

Thirty: Sorun

Fourty: Mahun

Fifty: Shwin

Sixty: Yuhsun

Seventy: Irun

Eighty: Yodun

Ninety: Ahun

One Hundren: Paek

One Thousand: Chon

First: Il

Second: Ee

Third: Sam

Fourth: Sah

Fifth: Oh

Sixth: Yuk

Seventh: Chil

Eighth: Pal

Ninth: Ku

Tenth: Sip

(Korean Terminology Continued…)

Pal: Arm

Bah: Foot

Chu Mok: Fist

Mok: Neck

Hu Ri: Waist

Da Ri: Leg

Soo or Sohn: Hand

Pal Koom: Elbow

Moo Roop: Knee

Noon: Eye

I Ma: Forehead

Tuck: Chin

Myung Chi: Solar Plexus

Sang Dan: High part

Choong Dan: Middle Part

Ha Dan: Low Part

Ahp: Front

Yup: Side

Dwi: Back

Kup So: Vital Part

Nae Kong: Internal Power Exercise

Weh Kong: External Power Exercise

Shim Kong: Spiritual Power Exercise

Chung Shin: Spirit

Dan Ryun: Polishing Mind and Body

Ryun Ma: Refining Self

Him: Power Force

Shi Sun: Focus of Eyes

Chung Shim: Balance

Ki Kong: Breathing Practice

Sun: Full Session of Meditation

White, traditionally symbolic of purity and innocence, represents the student of Tang Soo Do as a seed, freshly planted in the earth (10th and 9th Gups).

Yellow and orange represent the initial growth of the seed. Yellow and orange represent the second stage of physical and mental development.

Green is the color of life and vigor. Green is symbolic of the flourishing of the plant. It is during the Green Belt level that the most rapid development occurs (6th, 5th and 4th gups).

Red is the color of energy and vitality. It represents the flowering of a strong plant. The beauty of the plant at this stage is evident for all to see (3rd, 2nd and 1st Gups).

Black is the color of the evening sky. It is a goal that the plant strives to reach yet may never attain.

Black symbolizes infinity and perfection. It is this quest for perfection that epitomizes

Tang Soo Do.

A practitioner of Tang Soo Do must never be satisfied or complacent. Rather, he/she must continually strive to be better.

The emphasis of the testing at this level is to be able to apply basic techniques, show good spirit, and to demonstrate an ability to work with a partner as well as an individual.

A) All basic line drills consisting of blocks, punches, kicks and Korean terminology for those techniques.

B) Knowledge of the general rules of class conduct, basic principles of Tang Soo Do and Philosophy and Relationships of Belt colors.

C) One step punches and kicks 1-3

D) Basic form 1 – Gi Cho Hyung Il Bu

E) Demonstration of beginning level free sparring with excellent control.

F) Philosophy and relationships of the Belt Color and training to nature.

A) All basic line drills consisting of blocks, punches, kicks and Korean terminology for those techniques.

B) General History of Tang Soo Do.

C) Meanings of the symbols of the American and Korean Flags.

D) One Step Punches and Kicks 1 – 6

E) Basic form 1 – Gi Cho Hyung Il Bu

Basic form 2 – Gi Cho Hyung Ee Bu

F) Demonstration of free sparring with excellent control and beginning combination moves.

A) All basic line drills consisting of blocks, punches, and kicks and Korean terminology for those techniques.

B) General History of Tang Soo Do.

C) Meanings of the symbols of the American and Korean Flags and of the Moo Duk Kwan Emblem.

D) One Step Punches and Kicks 1 – 9

E) Basic form 1 – Gi Cho Hyung Il Bu

Basic form 2 – Gi Cho Hyung Ee Bu

Basic form 3 – Gi Cho Hyung Sam Bu

F) Demonstration of free sparring with excellent control and additional combination moves.

A) All basic line drills consisting of blocks, punches, kicks and Korean terminology for those techniques. General knowledge and ability in all lower Gup techniques.

B) History of Tang Soo Do and culture of martial arts.

C) Intermediate self defense.

D) Basic jumping kicks.

E) All lower Gup terminology and the definition of Pyung Ahn (Peaceful Confidence).

F) One Step Punches 1 – 12

G) Basic form 1 – Gi Cho Hyung Il Bu

Basic form 2 – Gi Cho Hyung Ee Bu

Basic form 3 – Gi Cho Hyung Sam Bu

Form 4 – Pyung Ahn Cho Dan

H) Demonstration of free sparring with excellent control.

A) All basic line drills consisting of blocks, punches, kicks and Korean terminology for those

techniques. General knowledge and ability in all lower Gup techniques.

B) History of Tang Soo Do and culture of martial arts.

C) Intermediate self defense.

D) Basic jumping kicks

E) All lower Gup terminology and the definition of Pyung Ahn (Peaceful Confidence).

F) One Step Punches and Kicks 1 – 15

G) Basic form 1 – Gi Cho Hyung Il Bu

Basic form 2 – Gi Cho Hyung Ee Bu

Basic form 3 – Gi Cho Hyung Sam Bu

Form 4 – Pyung Ahn Cho Dan

Form 5 – Pyung Ahn Ee Dan

H) Demonstration of free sparring with excellent control

A) All basic line drills consisting of blocks, punches, kicks and Korean terminology for those techniques. General knowledge and ability in all lower Gup techniques.

B) History of Tang Soo Do and culture of martial arts.

C) Intermediate self defense.

D) Jumping kicks

E) All lower Gup terminology and the definition of Pyung Ahn (Peaceful Confidence).

F) One Step Punches and Kicks 1 – 18

G) Basic form 1 – Gi Cho Hyung Il Bu

Basic form 2 – Gi Cho Hyung Ee Bu

Basic form 3 – Gi Cho Hyung Sam Bu

Form 4 – Pyung Ahn Cho Dan

Form 5 – Pyung Ahn Ee Dan

Form 6 – Pyung Ahn Sam Dan

H) Demonstration of free sparring with excellent control.

1) Knowledge of and ability in all lower Gup level techniques.

2) Further development of Tang Soo Do and martial spirit and attitude.

3) Advanced Self Defense

4) Stamina training, continuation of jumping training.

5) Assistance in teaching and development of leadership qualities.

6) Contribution to the School and promotion of the art.

7) Specific terminology and knowledge (Bassai: Breaking into a Fortress)

A) All basic line drills consisting of blocks, punches, kicks and Korean terminology for those techniques. General knowledge and ability in all lower Gup techniques.

B) History of Tang Soo Do and culture of martial arts.

C) Advanced self defense.

D) Jumping kicks.

E) All lower Gup terminology and the definition of Pyung Ahn (Peaceful Confidence).

F) One Step Punches and Kicks 1 – 21

G) Basic Forms 1-3

Form 4–7(Pyung Ahn Cho Dan through Pyung Ahn Sah Dan)

H) Demonstration of free sparring with excellent control.

A) All basic line drills consisting of blocks, punches, kicks and Korean terminology for those techniques. General knowledge and ability in all lower Gup techniques.

B) History of Tang Soo Do and culture of martial arts.

C) Advanced self defense.

D) Jumping kicks.

E) All lower Gup terminology and the definition of Pyung Ahn (Peaceful Confidence).

F) One Step Punches and Kicks 1 – 24

H) Basic Form 1-3

Form 4-8(Pyung Ahn Cho Dan through Pyung Ahn Oh Dan)

Bassai So

I)Demonstration of free sparring with excellent control.

J) Attendance at Red Belt/Black Belt Class

A) All basic line drills consisting of blocks, punches, kicks and Korean terminology for those techniques. General knowledge and ability in all lower Gup techniques.

B) History of Tang Soo Do and culture of martial arts.

C) Advanced self defense.

D) Jumping kicks.

E) All lower Gup terminology and the definition of Pyung Ahn (Peaceful Confidence).

F) One Step Punches and Kicks 1 – 27

G) Basic form 1 – Gi Cho Hyung Il Bu

Basic form 2 – Gi Cho Hyung Ee Bu

Basic form 3 – Gi Cho Hyung Sam Bu

Form 4 – Pyung Ahn Cho Dan

Form 5 – Pyung Ahn Ee Dan

Form 6 – Pyung Ahn Sam Dan

Form 7 – Pyung Ahn Sah Dan

Form 8 – Pyung Ahn Oh Dan

Bassai So

Bassai Dae

H) Demonstration of free sparring with excellent control.

I) Attendance at Red Belt/Black Belt Classes

1) Knowledge of and ability in all Gup level requirements.

2) Good knowledge of martial arts philosophy, protocol, culture and history. Understanding of proper Tang Soo Do spirit, discipline, respect, and attitude.

3) Teaching ability in Tang Soo Do.

4) Contribution to the promotion of Tang Soo Do through continued leadership development (e.g. assisting teaching, helping or service).

5) Culture and terminology of all lower level requirements.

6) Regular support of all Tang Soo Do events offered.

7) Demonstration of Physical Ability.

8) No Age requirement.

The emphasis for testing at this rank is on the ability to demonstrate and teach all Gup level techniques.

Mandatory – Attendance for 1 year at Red Belt / Black Belt class prior to testing. The Red Belt/Black Belt Class tracking sheet must be completed.

Mandatory – Satisfactory scoring on 2 black belt pre-tests of the material below:

1) Knowledge of and ability in all Gup level requirements.

2) One step sparring: Candidate for Black Belt should demonstrate the ability to develop his or her own one step punches and kicks in addition to punches 1-30 and kicks 1-30.

3) Hyungs: Required performance of:

4) Free Sparring: Concentration on stamina and control.

5) Breaking requirements: Specific techniques at the discretion of the board of examiners. (3 stage break)

6) Time requirement: Minimum of 12 months of active participation as a 1st Gup. Any and all time off taken in this year must be made up.

7) Jumping Kicks: Demonstration at face level of:

8) Self Defense: Knowledge of and ability in all Gup level self defense.

9) Stamina test: 100 punches in 30 seconds

1) Knowledge of and ability in all Gup level requirements.

2) One step sparring: Black Belt punches and kicks.

3) Hyungs: Required performance of:

4) Free Sparring: Against two opponents.

5) Breaking requirements: Double jump front (split) through 1 board with each leg

6) Time requirement: Minimum of 2 years of active participation as a 1st Dan. Any and all time taken off in those two years must be made up.

7) No Age requirement.

8) Jumping Kicks: Demonstration at face level of:

9) Self Defense: Knowledge of and ability in all Gup level self defense and self defense against a knife.

10) Stamina test: 50 front kicks in 30 seconds.

11) A formal written paper is required on some aspect of Tang Soo Do (Topic assigned by Instructor or Master).

12) Candidate must have conducted formal classes.

1) Knowledge of and ability in all lower rank requirements.

2) One step sparring: Black Belt punches and kicks.

3) Hyungs: Required performance of:

4) Free Sparring: Discretion of judges.

5) Breaking requirements: Flying side kick, 2 boards over 3 people

6) Time requirement: Minimum of 3 years of active participation as a 2nd Dan. Any and all time taken off in those two years must be made up.

7) Age requirement: 18 years of age.

8) Jumping Kicks: Demonstration at face level of:

9) Self Defense: Self defense against a sword.

10) Stamina test: 60 jumping front kicks in 30 seconds.

11) Candidate must have conducted formal classes and have experience with administration of a school.

(Black Belt w/3 Stripes to Black Belt w/Red Stripe through center)

1) Knowledge of and ability in all lower rank requirements.

2) One step sparring: Seated punches and kicks.

3) Hyungs: Required performance of:

4) Free Sparring: Discretion of judges.

5) Breaking requirements: Discretion of judges.

6) Time requirement: Minimum of 4 years of active participation as a 3rd Dan. Any and all time taken off in those two years must be made up.

7) Age requirement: 21 years of age.

8) Jumping Kicks: Demonstration at face level of:

9) Self Defense: Discretion of judges.

10) Stamina test: 30 jumping crescent kicks in 30 seconds with each leg or 15 squat thrusts/push up/front kick in 30 seconds.

11) Candidate will have conducted formal clinic on a subject mutually agreed upon with his/her instructor.

12) Candidate must have conducted formal classes and have experience with administration of a school.

13) Demonstration of a high degree of loyalty to Tang Soo Do and to Precision Tang Soo Do.

1) Knowledge of and ability in all lower rank requirements.

2) One step sparring: Seated punches and kicks.

3) Hyungs: Required performance of:

Performance of additional forms may be requested at the discretion of the board of examiners.

4) Time requirement: Minimum of 5 years of active participation as a 4th Dan.

5) Demonstration of a high degree of loyalty to Tang Soo Do, and to Precision Tang Soo Do.

6) Active involvement in the administration of all events.

1) Knowledge of and ability in all lower rank requirements.

2) Hyungs: Required performance of:

Performance of additional forms may be requested at the discretion of the board of examiners.

3) Time requirement: Minimum of 5 years of active participation as a 5th Dan.

4) Demonstration of a high degree of loyalty to Tang Soo Do, and to Precision Tang Soo Do.

5) Active involvement in the planning and administration of all events.

The fourteen leaves on each side represent the fourteen states of South Korea and the advancement of peace.

Three on each side indicate the world and represent the six continents in which, Tang Soo Do is studied.

Represents power and justice and might for right.

The character in the center of the circle means “Moo” for Moo Duk Kwan. Moo means “Stop Conflict” or “Power and Justice”.

The character to the left of Moo means “Tang,” and the character on the right of Moo means “Soo”.

As a whole, the emblem symbolizes the spreading of Moo Duk Kwan throughout the world. Moo Duk Kwan is an international institution, and, as the emblem symbolizes, it aims to achieve the objectives of peace and human advancement.

The flag of the United States of America stands for the land, the people, the government, and the ideals of the United States no matter where or when it is displayed. Each individual section of the flag has a particular meaning as well.

The thirteen alternating red and white stripes represent the thirteen original colonies. The union, located in the upper left corner, is comprised of white stars on a blue field symbolizing a new constellation in the heavens. In general, the stars on the American flag depict unity, and the American flag displays one star for each of the fifty states.

The three colors on the flag were also chosen for their meaning. Red signifies courage and hardness; white stands for purity and innocence; and blue symbolizes vigilance, perseverance and justice.

The U.S. flag should occupy a place of prominence when being displayed. No other flags displayed with it should be larger or hung higher than the U.S. flag. In addition, the U.S. flag should not be allowed to touch the ground, nor should it be dipped to any other flag, person or object.

When displayed on a wall, the flag should be placed with the union in the upper left corner as the audience faces the flag and should be above and behind the speakers’ podium.

Place the American flag to the right of any podium (the Audience’s left) when displaying the U.S. flag in the Dojang – Place the Korean flag to the left of any podium (Audience’s right)

The Korean flag represents many ancient philosophies of the oriental culture. The circle located in the center of the flag is the symbol for infinity. The upper red section is called the Yang while the lower blue section is called the Yin.

Yin and Yang represent opposites as in night and day, male and female, good and evil, life and death, etc. Within this sphere there is constant movement with the positives and negatives continuously replacing each other. Throughout this never-ending cycle, balance and harmony are achieved.

In each corner of the flag a set of three lines further exemplify opposites and balance. The three unbroken lines in the upper left corner represent heaven. In the lower right hand corner, the three broken lines represent earth. The two broken lines surrounding a solid line in the upper right corner symbolize water. The two solid lines surrounding a broken line in the lower left corner symbolize fire.

Animal- Tiger

Season- Winter

Element- Metal

Meaning- New, Potential

Animal- Dragon

Season- Spring

Element- Wood

Meaning- Starting To Grow

Animal- Bird

Season- Summer

Element- Fire

Meaning- Hot, Energetic, Agile

Animal- Turtle

Season- Autumn

Element- Water

Meaning- Maturity, Wisdom

Tang Soo Do Hyungs (Forms) begin with basic movements and build carefully through months and years to some of the most advanced techniques in martial arts. Gi Cho Hyungs (Basic Forms) are a series of movements that include a block and punch at each of four corners of the Hyung.

Kwan Jang Nim Hwang Kee created the Tang Soo Do Gi Cho Hyungs (Basic Forms) in 1947. Each basic Hyung has 22 movements.

***Note: The Root endings of the Korean terms change due to them being apart of a series. The only time in which the root endings change is when the term is followed by another term.

Perform all IL Soo Sik Dae Ryun techniques with very light contact when blocking and no contact when striking or kicking, but exhibiting good control by coming close. The student should ki hap (shout of spirit) while performing their technique. (All techniques should be performed from the right and left sides) One steps should begin with the two partners “matching up” by touching knuckles to get the correct and safe distance they need to perform each of the techniques.(Note: This should be done every time you do a one-step punch or kick technique.) Also when doing kicking, the partner that steps back in a low defense should take an extra, half step back before going into a low defense.

 Punches         

1. Step into a left front stance and simultaneously perform a left high defense. Follow up immediately with a right face punch or center punch.
2. Step into a right front stance at a 45-degree angle simultaneously performing a left inside to outside block. Pivot immediately to the opposite front stance and perform a right center punch.
3. Step with the right foot into a horse stance simultaneously performing a left chop block to the arm and a right lateral chop to the base of your opponent’s left ear.
4. Step with the right foot into a horse stance simultaneously performing a right outside to inside block. Fully load the right hand to the left hip and deliver a right backfist to the bridge of your opponent’s nose.
5. Skip to the outside of your opponent’s punch and perform a left palm strike to the elbow as you land in a horse stance. Now perform three rapid punches: a right and left punch to the opponent’s ribs and then a right punch to the base of the ear.
6. Skip to the outside of your opponent’s punch and perform a left windmill block to the wrist as you land in a horse stance. Perform a right reverse chop under the nose as you pivot into a left leaning stance.
7. Step with the right foot inside into a horse stance simultaneously performing a double chop block to your opponent’s wrist. Hold the wrist with your left hand while performing a right chop or elbow to the base of the right ear, follow with a right elbow to the base of the left ear.
8. Step into a left front leaning stance and perform a left chop block. Follow with a right lateral elbow first to the base of the opponent’s left ear and then to the right ear. Follow with a right uppercut punch to the solar- plexus.
9. Perform a right outside to inside block while balanced on the left foot. Continue by turning your back to your opponent while stepping back into a left leaning stance. Finish by performing a left backfist to the opponent’s groin.
10. Skip to the outside of your opponent’s punch and grab the shoulder with your left hand as you land in a horse stance. Pivot to a left front stance pulling your opponent into a right uppercut to the ribs. Pivot in the opposite direction into a right leaning stance and pull your opponent down to expose their back. Pivot into a horse stance and deliver a right chop to the base of your opponent’s skull.
11. Step into a left front stance and deliver a left chop block. Step through with your right leg and perform a right sweep to the back of your opponent’s right leg; simultaneously striking him/her in the left shoulder with your right hand taking him/her down.
12. Step into a left front stance and deliver a right chop block. Step through with your right leg and perform a right sweep to the back of your opponent’s right leg; simultaneously striking him/her in their left shoulder with your right hand taking him/her down.
13. Step into a left front stance and perform a left chop block. Throw a right finger jab to: a) center b) throat c) eyes.
14. Step into a left front stance while performing a left chop block to the inside of the attack. Throw a right upward palm strike to your opponent’s nose, pull back and perform a right knife hand to your opponent’s groin.
15. Skip outside into a horse stance with a left high defense and perform a scissors take down with your arms. (Left hand across the chest, right hand behind the opponent’s right knee.) ***NOTE: Do Not Take Your Partner Down.
16. Perform a right chop to the outside of the attack while stepping into a right fighting stance continuing into a right front stance. Simultaneously, perform a left chop to the outside of your opponent’s right knee.
17. Step into a left fighting stance performing a left chop block to the inside of the attack. Move your left foot into a horse stance and perform a wraparound arm lock and hold. Slide your right foot up into a Choong bee stance and throw a right uppercut to your opponent’s ribs.
18. Step back (left leg) into a right fighting stance and perform a right chop block to the outside of the attack. Grabbing the wrist and turning to lock the arm, step forward into a left horse stance throwing a left elbow smash to your opponent’s elbow. Follow through to an arm bar.
19. Step into a left front stance performing a left chop block and perform a Figure 4 arm lock.
20. Step into a left front stance performing a left chop block and perform a right chop to your opponent’s elbow joint. Then slide your arm through to apply an arm lock.
21. Step into a left front stance performing a left chop block. Grab your opponent’s wrist and step under His/Her arm and twist into a wristlock. While holding the lock perform a right front kick to your opponent’s solar plexus.
22. Step into a right fighting stance with a right chop block to the outside of the attack. Grab your opponent’s wrist with your left hand and the hand with your right hand. Step with the left foot in front of your opponent, while turning your back to your opponent and holding the arm high, land in a horse stance and drop down onto his/her elbow with your armpit to break the arm.
23. Step into a short right front stance performing a right chop block. Take a half moon step with your left foot, bracing the inside of your opponent’s right foot; slide your right hand to the shoulder and step on the outside of his/her knee with your right foot.
24. Step into a left front stance performing a left high defense; drop to your right knee and perform a right palm strike to your opponent’s knee and a left palm strike to their ankle simultaneously.
25. Step into a short left front stance performing a right chop block to the outside; step in with your right leg to a horse stance and perform a left elbow strike and then a right elbow strike to the opponent’s ribs. Slide your right leg to sweep your opponent while simultaneously striking the left shoulder with your right hand taking your opponent down.
26. Perform a right chop block to the outside while skipping outside of the punch; drop to perform a left elbow to the back of your opponent’s knee and simultaneously perform a palm strike to the front of his/her ankle, taking your opponent down.
27. Step into a left front stance blocking with a left palm strike and counter with A right punch to your opponent’s armpit.
28. Step into a right front stance and perform a double punch (Bassai) with your left hand to the bridge of your opponent’s nose and your right to their groin; pivot to a left front stance and perform a right reverse chop to the base of your opponent’s left ear.
29. Step into a right front stance while delivering a left center punch. Pivot into a horse stance and perform a left chop blockand a right center punch simultaneously then pivot into a left uppercut. Pivot back to a left stance and throw a right reverse chop to the base of your opponent’s ear.
30. Step with the right foot and perform a palm strike blocking to the outside. Simultaneously perform a left sweep to the opponent’s right leg and a right palm strike to the shoulder and follow through with a left punch to the ribs.

1. Perform a right front kick, and land into a leaning stance performing a high punch followed by an alternate punch to the solar plexus.
2. Perform a side kick to the ribs, chest, or head. Follow up with two punches.
3. Perform a right outside to inside crescent kick blocking your opponent’s punch. Return kick to your knee and then step into a right horse stance delivering a right-side center punch.
4. Jump/skip side kick. Follow up with two applicable hand techniques.
5. Downward inside to outside crescent kick blocking your opponent’s punch followed with a right uppercut.
6. Right round kick to opponent’s temple. Follow up with two applicable hand techniques.
7. Back kick with the left leg. Follow up with two applicable hand techniques.
8. Jump front kick with the front foot, land in a front stance simultaneously performing a high punch. Follow up with an alternate punch to the solar plexus.
9. Jump inside to outside crescent kick blocking your opponent’s arm down. Follow with an uppercut to the bridge of the nose.
10. Right outside to inside crescent kick blocking your opponent’s punch. Return foot to a load and perform a right-side kick. Follow up with two applicable hand techniques.
11. Right outside to inside crescent kick blocking your opponent’s punch. Return foot to floor and perform a left back kick. Follow up with two applicable hand techniques.
12. Jump front kick with the rear foot. Follow up with two applicable hand techniques.
13. Right jump round kick a) Skipping in with the front foot b) With the front foot c) With the back foot. Follow up with two applicable hand  techniques.
14. Skip in to perform a left hook kick to your opponent’s temple. Follow up with two applicable hand techniques.
15. Left reverse round kick, step forward and perform a reverse chop to your opponent’s temple.
16. Flying side kick. Follow up with two applicable hand techniques.
17. Jump back kick. Follow up with two applicable hand techniques.
18. Jump turning back kick. Follow up with two applicable hand techniques.
19. Skip to the outside of the attack, grabbing opponent’s wrist with your left hand. Chop the back of the wrist with your right hand. Swing the arm out the way performing a face high round kick to a right vertical punch.
20. Step wide into a left front stance performing a right chop block. Deliver a right round kick to your opponent’s solar plexus.
21. Lift the left knee while simultaneously performing a right chop in place. Reach forward and grab your opponent’s right shoulder and skip in throwing a lateral knee kick to your opponent’s solar plexus. Follow up with a left vertical face punch.
22. Step into a left front stance and perform a double open handed X-block, grab opponent’s wrist and perform a short side kick with the right foot to the ribs. Follow up with two applicable hand techniques.
23. Jump left front kick to right round kick. Follow up with two applicable hand techniques.
24. Outside to inside crescent kick blocking at opponent’s wrist; step in place and perform a jump outside to inside crescent kick. Follow up with two applicable hand techniques.
25. Left reverse hook kick to the open side. (Option: precede kick with a sweep) or follow up with two applicable hand techniques.
26. Left spinning back kick. (stiff legged). Follow up with two applicable hand techniques.
27. Outside to inside crescent kick to reverse hook kick or spinning back kick (Stiff-legged). Follow up with two applicable hand techniques.
28. Left inside to outside spinning crescent kick to right round kick. Follow up with two applicable hand techniques.
29. Left spinning back kick.(Stiff Legged). Follow up with two applicable hand techniques.
30. Scissors take-down. Follow up with right round left kick or left back fist.

1. From a ready stance, step into a right-angled horse stance delivering simultaneous left chop block to right face punch. Draw back left foot into fighting stance and deliver a right front kick(off the front foot); Land in a right-angled horse stance and deliver a left center punch to right face punch. Draw back into a left forward fighting stance.

2. From a ready stance, step into a right front stance delivering a left center punch. Pivot over to a right-angled horse stance simultaneously performing a left chop block to your opponent’s right wrist to a right face punch. Step back into left fighting stance delivering a right side kick. Land in a right-angled horse stance and deliver a left center punch to right face punch. Draw back into a left forward fighting stance.

3. From a ready stance, step back into a right horse stance delivering a right outside/inside chop block into a right elbow in a straight horse stance. Draw right foot back to meet the left foot delivering a left back kick, pivoting around to face opponent in a left leaning stance, delivering left center punch to right face punch, returning back to a right fighting stance.

4. From a ready stance, step back into a right horse stance delivering a right outside chop block into a right elbow in a straight horse stance, to left elbow behind; re-pivot into a left fighting stance facing opponent, deliver right round kick, landing in a right-angled horse stance simultaneously delivering left center punch to right lateral chop (palm up). Return to left fighting stance.

5. From a ready stance, step back into a right horse stance delivering a right downward palm block. Step into a straight right horse stance simultaneously delivering a right lateral chop to your opponent’s ear. Draw the right foot back to meet the left foot and deliver a right side kick with the front leg landing in a right-angled horse stance delivering a left center punch to right face punch. Return back to left fighting stance.

6. From a ready stance, step forward into a left leaning stance delivering a right inside/outside block to the wrist of your opponent. Shift to a horse stance and deliver a left punch to the ribs and a right punch to the head glide your hand down your opponents arm, grabbing at the wrist, pulling them off balance. Deliver a right round kick to the solar plexus and land in a right horse stance behind the opponent’s right leg, delivering a right lateral chop (palm down) to the base of the ear. Step into a right leaning stance and deliver a left center punch to the floating rib area. Return to a left fighting stance.

7. From a ready stance, step into a right side angled horse stance delivering a left chop block to the wrist and a right lateral chop (palm up) to the base of the ear; grab wrist with your left hand and shoulder with your right hand; perform a right behind the foot sweep takedown to downward right punch. While maintaining the opponent’s elbow locked at your knee.

8. From a ready stance, step back into a left fighting stance delivering a left chop block to the wrist of your opponent and then grab it, (right hand is loaded back); Step into right horse stance delivering a right elbow to the left side of your opponent’s jaw then to the right side of your opponent’s jaw. Still holding on to opponent’s wrist, step back into a left fighting stance and deliver a right round kick to the temple. Still holding on to opponent’s wrist, step into a right horse stance and deliver a right back fist to the temple. Finally letting go of the wrist, turn back to opponent and deliver a left elbow to the solar plexus. Return to left fighting stance.

9. From a ready stance, step back into a right horse stance delivering a right outside chop to the wrist. Step into a straight right horse stance simultaneously delivering a right elbow to your opponent’s solar plexus. Swing arm down to deliver a right hammer fist to the groin and swing hand up to deliver a right back fist to the bridge of the nose. Perform a right downward palm block sliding right foot back to left and deliver right hook kick to side of head. Step down into straight right horse stance delivering a right back fist to the temple and following with a right leaning stance delivering a double finger attack to the eyes (E Jee Kong Kyuk).

(1) #1 and #2 are from form 4 Pyung Ahn Cho Dan

A) Right front kick to high defense. Step back with right foot to fighting stance delivering left center chop block.

D) Step back with the left to leaning stance delivering right low block to hammer fist. Step forward with the left foot landing in a leaning stance and deliver a left center punch.

A) Right front kick to right face punch. Step back with right foot to horse stance delivering a left palm strike.

D) Step back with the right leg to left leaning stance delivering left low defense to left center chop. Shuffle forward with the left foot forward in a leaning stance and deliver a right center punch.

(3) #3 and #4 are from form 5 Pyung Ahn Ee Dan

A) Right face punch to left center punch. Step back with right foot to horse stance delivering left circular downward palm strike

D) Step in with the left to fighting stance delivering right high defense and left outside to inside block. (First move from form #5) Left hand blocks down grabbing opponent’s left punch. Deliver a right uppercut to ribs then deliver left side center punch as you step into a left horse stance.

A) Right high punch

D) Step out 45 degrees into a left leaning stance delivering a right chop block, grab opponent’s wrist and hold, deliver a right round kick to the solar plexus followed by a left face punch. Grab the wrist, apply wrist lock simultaneously performing a sweep with your left foot taking opponent down. Follow up with a straight down punch.

(5) #5 and #6 are from form 6 Pyung Ahn Sam Dan

A) Right face punch to left center punch. Shift to fighting stance delivering a high open X-block. Grab the arm and move it downward in front of the Belt in a circular motion stepping with the right foot under the arm while twisting the wrist into a wrist lock. Step with the left foot under the arm twice while moving the arm in a circular motion applying a wristlock at the end of the turn. Follow the wristlock, (still maintaining the lock) with a head butt.

D) Standing in a left horse stance with the knuckles of each hand resting on the Belt, deliver a right outside to inside crescent kick followed by a right shoulder block. A right hammer fist immediately follows this to the head.

A) Step into a right leaning stance delivering a right supported spear hand to the solar plexus. Turn 180 degrees to the back side with the left foot into a left horse stance delivering a left hammer fist, Step forward into a right leaning stance delivering a center punch.

D) Step back with the left foot into a left leaning stance using a sword grab to capture the spearhand. Step back with the right into a left leaning stance performing a high defense. Step back with the left foot into a horse stance performing a right circular downward block (windmill block).

(7) #7 is from form 7 Pyung Ahn Sa Dan

A) Deliver right face punch, move right foot back to a fighting stance and deliver a right low chop block. Skip back remaining in the same fighting stance delivering a right center chop.

D) Step out 45 degrees to a right leaning stance delivering a left center chop block and a right lateral chop, in place deliver a right front kick, skip forward (left foot landing behind right) delivering a right back fist.

(8) #8 is from form 8 Pyung Ahn Oh Dan

A) Deliver a right front kick, pull knee back and step into right leaning stance delivering a right hammer fist.

B) Step forward into a left leaning stance performing a double X-block down followed by a double X-block high. Block the punch away with left while performing a right vertical punch to the face.

The basic purpose of any form of Self Defense is to perform a Direct Defense Technique that meets but does not exceed your opponent’s Threat Level. Evaluating the threat level that is being presented by an aggressor is critical to your ability to create the proper response. If the aggressor’s Threat Level is to embarrass you, use a Defense Technique that demonstrates confidence. It is important not to apply a more forceful response than is necessary for the situation.

If your opponent should increase the Threat Level to the highest degree by trying to kill you, you may have to use a Defense Technique that is equal to or stronger than the aggressors to protect your life. Defense Techniques that cause severe pain or unconsciousness will subdue the aggressor and allow you the chance to escape.

Consider the seriousness of the damage you can render as a student of the martial arts. Never deliver more force than necessary. Excessive force or brutality on your part can result in serious emotional/legal/financial problems in your life. Consider this as you learn how to defend yourself.

Step forward into a right horse stance circling your right arm inside and up to your solar plexus driving the tip of your right elbow into the opponent’s solar plexus. Perform a right lateral chop to the right side of your opponent’s neck. Then step 45 degrees with your right foot into a right leaning stance, simultaneously performing a left palm strike to the chin. Pivot into a left leaning stance simultaneously performing a spear hand to the groin.

Step 45 degrees into a right leaning stance twisting your right hand toward your opponent’s thumb while simultaneously performing a left chop to the left side of your opponent’s neck. Pivot into a left leaning stance performing a right palm heel to the face. Follow by pivoting into a right leaning stance and performing a spear hand to the groin.

Step into a short right horse stance and simultaneously swing opponent’s right hand counter clockwise grabbing with your left hand (place left thumb directly on back of opponent’s hand). As opponent’s grip breaks, slide your right forearm onto opponent’s wrist applying pressure downward. Follow with a right lateral elbow to opponent’s temple.

Use both hands to grab opponent’s right hand and simultaneously step with the left foot passing under the opponent’s right arm applying downward pressure to break the wrist. As you pass under the arm, turn your body 360 degrees and land in a right fighting stance. Keeping the wrist locked, perform a head butt lifting the front foot and stomping down.

Step forward into a left horse stance punching straight down to release the grip of your opponent. Simultaneously perform a left backfist to the opponent’s face and a left bottom fist to the groin. Step into a left front stance at a 45 degree angle performing a right ridge hand to the face of your opponent.

Step into a left front stance simultaneously circling the left hand counter clockwise, (inside to outside) grabbing the opponent’s right wrist. Follow with a right chop to your opponent’s neck, grab behind the neck after the strike and snap your opponent’s head to your right shoulder, breaking the nose. Perform a right knee attack to the body while pulling the opponent toward the knee.

Grab opponent’s right wrist with your right hand swinging it inside. Step under the right arm, applying downward pressure to the opponent’s wrist, turning your body clockwise 360 degrees and landing in a right fighting stance with left hand loaded in a punch position. Follow with a left vertical face punch and a right short round house kick to the opponent’s solar plexus keeping the opponent’s arm locked in a downward position.

Grab opponent’s right wrist with your right hand, swing it clockwise (outside or to your left). Step under the opponent’s right arm, applying downward pressure to the opponent’s wrist, turning your body clockwise 360 degrees and landing in a left leaning stance and sliding the thumbs of both of your hands to the back of your opponent’s wrist pressing to lock the wrist. Perform a right front kick while holding the lock followed by a right downward elbow to the back of opponent’s neck and land in a right horse stance.

Keeping your opponent’s arm locked(at the elbow) across your chest.

Right hand swings clockwise (to your left) toward your opponent while your left-hand moves under your opponent’s right elbow pushing up and over. Simultaneously step with your left foot toward your opponent, breaking his/her balance. Follow through with:

a) an elbow smash against your opponent’s elbow with the right hand.

b) a face forward takedown to the floor.

c) a left palm strike to opponent’s elbow.

Grab your right hand with your left to gain strength and pull both hands toward your body breaking the opponent’s grip and balance while pressing on your opponent’s knee for leverage with the ball of your right foot. Follow up with a double face(or bassai) punch.

Grab your right hand with your left hand to gain strength and pull both hands toward your body breaking the opponents grip, at the same time, perform in place a jump-front kick to the chest. Follow with left and right punches.

Step to the right into a 45 degree right front stance simultaneously snapping both hands toward your opponent’s thumbs and toward your right shoulder. Follow with a left backfist and right face punch.

Right foot steps toward opponent into a right horse stance while performing an X block low ( right wrist above left wrist). Perform a right backfist to the face. Then step 45 degrees into a right front leaning stance performing a left lateral elbow to the face.

Apply pressure outward toward opponent’s wrists. Snap your right hand across and grab opponent’s right hand while releasing your left hand at the thumb. Follow with a left vertical face punch.

Perform right sidekick to pressure point of opponent’s right thigh. Grab opponent’s right hand using your left hand (place left thumb directly on back of opponent’s hand) while stepping into a short side stance. As opponent’s grip breaks, slide your right forearm onto opponent’s wrist, applying pressure downward. Follow with a right lateral elbow to opponent’s temple.

Break grip toward opponent’s thumb while taking a short step with your left foot (to meet your right), pivot into a right back kick followed by a right backfist to opponent’s face.

(Knife Self Defense)

Knife self defense is a crucial component of one’s second degree black belt test. These attacks are suggested to be defended with a block, followed by a quick-strike, to a take down or off balance move to take the weapon successfully away from your opponent without inflicting harm upon oneself. When performing your defense, it’s suggested to follow the acronym G.U.N. (Grab, Undo, and Neutralize.) The following attacks will be performed for second degree black belt self defense:

1.) Straight in attack

2.) Over hand attack

3.) Under hand attack

4.) Blade point to back(to be performed turning both left and right.)

5.) Slashing attack

6.) Blade point poised under the chin

7.) Blade edge around neck

8.) Blade edge to side of the neck

***Note: Caution should be exercised when performing knife self defense. Please note that knife self defense is to be performed in the Dojang and in the Dojang Only. Please use caution using rubber and wooden knives as both can cause serious injury.

The following is a guide to the sequence of movements of the Forms used in Tang Soo Do. To avoid confusion, we have used the term “FS” for back or fighting stance, “LS” for front leaning stance, “HS” for Horse riding stance.

Form Sequence, Power of Technique, Tension and Relaxation, Speed and Rhythm, Control, Direction of Movements, Spirit and Attitude, Precision of Movements, and Intentness

Naihanchi Choong beee – Right leg up, place left hand on top of right hand fingers pointed up chin high, turn overlapped hands pointed downward, bring right foot down while bringing hands downward to waiste – leg and hands come down together – start facing forward

Look forward still left foot drops in front of right foot, knees slightly bent, hands striking downward as one. Maintain shoulder height from this point forward, throughout form

Step into HS with Right foot, execute right hammer chop to collar bone, load left arm at left side.

Maintain HS, execute elbow strike with left elbow to contact the right open chop hand.

Look forward maintaining same HS, bring both fists to right side

Look left maintaining same HS, execute low block with left arm

Immediately execute short right hand punch to belt and load left arm while maintaining same HS

Stepping across to left right foot in front of left foot maintaining shoulder height

Load right fist to left hip twisting, Left foot loads behind right knee then stomp out to HS, at the same time executing right inside outside block.

Maintain HS, execute left hand low block/punch to north and a high right fist punch to left shoulder.

Maintain HS, execute low block to right side with right arm and right-angled high block to left side with left arm wrist turned outwards. Twist body 90 degrees bringing right shoulder to center

Maintain HS, execute outside inside block/back fist attack with left arm, and right arm middle block Left elbow rests on right knuckles. 3 moves to be done in quick sucession.

Focusing left 90 degrees, lift left foot up to the right knee before stamping back down into HS. Execute middle double arm inside outside block/back fist to the left, maintaining arm position.

Focusing 180 degrees right, lift right foot up to the left knee before stamping back down into HS. Execute middle double arm inside outside block/back fist to the right maintaining arm position.

Preparation – Focusing forward, bring both fists to right side of waist with right palm turned up and left palm turned down, keep both fists level.

Focusing 90 degrees left, execute hammer punch to the left with the left fist, middle punch with right arm in front of chest – kee-up.

Still in HS looking left – execute left hammer chop to collar bone, load right hand to right side

Maintain HS, execute elbow strike with right elbow to contact the left open chop hand.

Look forward maintaining same HS, bring both fists to left side

Look right maintaining same HS, execute low block with right arm

Immediately execute short left hand punch to belt and right left arm while maintaining same HS

Stepping across to right with left foot in front of right foot maintaining shoulder height

Load left fist to right hip twisting, Right foot loads behind left knee then stomp out to HS, at the same time executing left inside outside block.

Maintain HS, execute right hand low block/punch to north and a high left fist punch to right shoulder.

Maintain HS, execute low block to left side with left arm and right-angled high block to right side with right arm wrist turned outwards. Twist body 90 degrees bringing left shoulder to center

Maintain HS, execute outside inside block/back fist attack with right arm, and left arm middle block Right elbow rests on left knuckes. 3 moves to be done in quick sucession.

Focusing right 90 degrees, lift right foot up to the right knee before stamping back down into HS. Execute middle double arm inside outside block/back fist to the right, maintaining arm position.

Focusing 180 degrees left , lift left foot up to the right knee before stamping back down into HS. Execute middle double arm inside outside block/back fist to the left maintaining arm position.

Preparation – Focusing forward bring both fists to left side of waiste with left palm turned up and right palm turned down, keep both fists level.

Focusing 90 degrees right, execute hammer punch to the right with the right fist, middle punch with left arm in front of chest – kee-up.

Back to Naihanchi Choong Bee.

Kwan Jang Nim Hwang Kee was born on November 9, 1914, in Jang Dan, Kyong Ki province where the DMZ is currently located. His father, Hwang, Yong Hwan, had a dream in which he saw the bright star (Sam Tae Song) before his son’s birth. He named his son “Tae Nam”, which means “star boy”. Later his name was changed to “Kee”. His father was a scholar who had achieved a high level of academic recognition from the last King of the Yi Dynasty, Ko Jong.

In May 1921, when young Hwang Kee was about seven years old, it was a time of a traditional holiday called “Dan O”, which is the national May festival. During that time he happened to visit his neighboring village, where a variety of folk plays and festive activities were held. As he enjoyed seeing a variety of folk plays such as Ssirum (traditional wrestling), archery and roadraces around the village, he happened to see a group of people in a tavern making noise that caused him to believe that some trouble was developing. He saw a group of seven or eight young men arguing with one man, and this argument soon progressed to physical fighting. The group of young men began to attempt to beat the man. The man was avoiding their attacks and countering with various kicks to the group of young men. Soon the group of young men fell one by one as a result of the man’s strange moves. After the attack ended, some onlookers said, “That is Tae Kyun”, and some said, “That is Sip Pal Ki”, as they were departing. The Kwan Jang Nim was so impressed by this man’s performance that he decided to find out what his art was about. He followed the man at a distance and discovered where he lived.

Several days later, he approached the man’s home and sat on a hill nearby and looked down at his house. He saw the man practicing some hand and foot movements with a partner. He watched their practice closely with great interest and he realized that these were the same techniques that the man had used facing the group of seven or eight young men at the May festival. After that, he often went near the man’s home to watch him practice, and he imitated and practiced what he saw from the man’s techniques.

One day he decided to learn these techniques and he asked the man to teach him. His request was refused because Hwang Kee was too young. Although disappointed, he would go to the man’s home and watch him perform whenever he could and then practice by himself what he had seen. This was the “Tae Kyun” that had been handed down from the later part of the Yi Dynasty. This experience was a major influence leading him to become a Kwan Jang Nim, who would devote his entire life to Soo Bahk Do Moo Duk Kwan.

In the country of Korea some 70 years ago, the educational system differed significantly from the present. Few students became high school graduates. The Kwan Jang Nim entered elementary school at the age of 11 and graduated high school in March 1935. Following his graduation, he went to Manchuria to work for the railroad company (May 1935).

In May 1936 he had the opportunity to meet a Chinese master, Master Yang, Kuk Jin and to visit Master Yang’s house with a friend, Park, Hyo Pil, who worked with him at the Jo Yang Station. During this visit, he learned that Master Yang was teaching a handful of private students practicing a Chinese martial art in his home.쟄e never lost his dream of learning the depth of the martial arts following his experience when he was seven years old. He had trained himself whenever the opportunity was offered and from whatever source was available during the past 20 years; however, he never had any organized or structured lessons, nor did he have access to formal instruction or any dependable literature on the subject.

Mr. Hwang Kee was overwhelmed with happiness as if he were dreaming, knowing that he was at the home of Master Yang, who was highly renowned as a martial arts Master. He was served tea by Mrs. Yang. His first impression of Master Yang was of a man with a very gentle and healthy appearance with good energy, who looked to be about 50 years old. Master Yang was taller than Mr. Hwang Kee and kept his body healthy. That same day, Mr. Hwang Kee humbly requested to be Master Yang’s student. Master Yang refused his request gently, saying that “I am not good enough to teach you.” Mr. Hwang Kee and his friend, Mr. Park, could not speak Chinese well enough to present their sincere wishes to study at that time. That evening they had a good dinner at Master Yang’s house, thanked the couple, and returned to their home.

That night Mr. Hwang Kee could not get to sleep because of the excitement that he had experienced being with Master Yang. He considered this to be once-in-a-lifetime opportunity to learn the martial art from the Master, if he were accepted. He was also concerned about what he would do if Master Yang really would not accept him as a student. He tried to get to sleep that night with mixed emotions of happiness and concern.

The next morning, he discussed things with his friend, Mr. Park, and they decided to visit Master Yang again and again until they were accepted. On their third visit, Master Yang finally accepted them as his students. They were so happy to be accepted that they practiced whenever they had the opportunity. Because of their work schedule, they trained every other day. Mr. Hwang Kee never missed practice with Master Yang. He accepted Master Yang’s instruction sincerely and his progress was exceptional due to his sincere dedication and prior martial arts experience during the previous 20 years.

Master Yang admired his dedication. Mr. Hwang Kee and four other students were training under Master Yang during this time. The training consisted of Seh Bop (method of postures), Bo Bop (method of steps) and Ryun Bod (method of conditioning) as their basic training. They also had trained in “Dham Toi Sip E Ro” and “Tae Kuk Kwon,” which were disciplines of form and its combat applications.

In August of 1937, he had to leave Master Yang and return to Seoul for personal reasons. During 1941, he went back to Manchuria for a short time to visit Master Yang for instruction. This was the last time he was able to enjoy Master Yang’s instruction. He could not communicate with or visit his Master again once China became a Communist country in 1946.

Upon his return to Seoul after leaving his instructor Master Yang, in 1937, the Kwan Jang Nim searched for an opportunity to continue his personal martial arts training and, possibly, teach. It was impossible at the time, for him to pursue his wishes in martial arts activity due to the strict Japanese influence on all facets of the Korean culture. (The country of Korea was occupied by the Japanese from 1910 to August 1945). Because of this situation, Gum Do (Ken Do) and Yu Do (Ju Do) were the only two martial arts known to the general public. People did not have any knowledge of Soo Bahk, Okinawan Karate, Chinese Wu Shu, or Kung Fu.

Because of this situation, it was impossible for Kwan Jang Nim Hwang Kee to make his long-time dream come true. He spent long hours of meditation and self-conditioning during this time.

He started work at the Survey department of the Cho Sun Railway Bureau in 1939. His working area was very peaceful and quiet because it was in a separate building a little distance from the main building. In this facility were located a lecture room, a library, and various exercise rooms.

In his employment, although he earned a low salary, he was very comfortable with the working conditions and especially his work environment. He spent most of his time reading books from the library. He particularly enjoyed reading about astronomy, philosophy, and Okinawan Karate. It was a very pleasant surprise for him to find karate books at the library, even though all the books were from Japan. (No other books were avaliable from any other country at that time and this was the first modern form of martial arts books he had seen).

This was his first encounter with Okinawan Karate and he found that he was able to study the art though books at that time. Later, this knowledge influenced the Moo Duk Kwan system when “Tang Soo Do” was adopted by Grand Master Hwang Kee during the early part of the Moo Duk Kwan history.

Although Pyung Ahn Hyungs, Passai Hyungs, and Kong Sang Kun Hyungs, etc., were practiced a little differently from the original Okinawan Karate (unique use of the application of offensive and defensive hip in all movements, and hip extension and thrust kicking techniques as well as its interpretation), these Hyungs were influenced by the Kwan Jang Nim’s study of the books on Okinawan Karate, as indicated in the Soo Bahk Do Deh Kahm (1970).

During that period of time, he had developed his high maturity as a martial artist. Because he worked for the railroad, he was able to travel without cost to anyplace where the train could reach. He traveled to most of the famous mountains and to Manchuria, which added to his experience and maturity in the martial art discipline.

During the same period, there were a number of wars initiated by Japan, which led to World War II. It was a very unstable time.

Finally, Korea became an independent country on August 15, 1945, as World War II came to an end. At the time it became possible for Kwan Jang Nim Hwang Kee to fulfill his life-long dream to dedicate himself solely to the martial arts.

During the previous 25 years, his maturity as a martial artist had been conditioned through his hard and long self-taught training of Tae Kyun and his various experiences in both formal and informal martial arts training, as well as the significant influence by his master, Master Yang, while he was in China. It was not only Master Yang’s technical influence but also his desire to improve human character, which proved an invaluable experience. The study of Okinawan Karate through the available books at the library while he was employed by the Cho Sun Railway Bureau in Seoul from 1939 to 1945 was also a great influence.

With these experiences in martial disciplines, he founded the Moo Duk Kwan and established its philosophy on November 9, 1945.