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CLASSICAL FORM TRAINING
By A. Flane Walker, Jim Lacy & Rick Bauer
During the formative period of the Korean Martial Arts, a number of Chinese and Okinawan
concepts (in whole or in part), found their way into the mechanics of certain Tae Kwon Do forms.
To students of the Korean Arts, this aspect of cross-polinization is critical to understanding
the rich depth of TKD.
In certain terms, there are three types of forms which are commonly used amongst the various
TKD schools: (I) linear / single-dimensional, (II) layered / multi-dimensional, and (III) modified / hybrid.
(I) LINEAR / SINGLE-DIMENSIONAL FORMS are characteristically a collection of movements,
such as strikes, kicks and blocks, which were designed by an instructor to develop strength,
endurance, timing and/or speed. The movements of linear forms often center on one particular
aspect of physical training, such as punches or kicks. Liner forms often do not have much
additional depth, in that once learned, the performance of the form changes little over time as
the student advances in rank. Mastery of a linear form is usually achieved thru long repetition,
with the goal of increased technical proficiency, and precision and fluidity of movement.
(II) LAYERED / MULTI-DIMENSIONAL FORMS are usually what could be referred to as
pedigreed forms. For the most part, these are the older forms, such as Bassai (Passai), which
have roots outside Korea. Given Korea's rich history, this developmental influence - particularly
from China, is not surprising. In fact, clear historical evidence of the infusion of ideas can be seen
in some of the great martial works, such as the MUYE DOBO T'ONGJI (Illustrated Survey of the
Martial Arts [of Korea]) - compiled by Lee Duk Moo in the 1790s.
Many of the older forms were brought into the modern TKD curriculum by General Choi Hung Hi
(founder of the ITF), who recognized the deep benefits these forms possessed. Older, pedigreed
forms all contain three distinctive tiers of instruction, and have symmetry and purpose about them -
in terms of movement, timing and rhythm. The principle reason for the three tiers of instruction was
the infusion of advanced martial and medical information into the form itself. Pedigreed forms were
all crafted by Master Instructors, who were also gifted physicians. The forms were all intended to
install "life lessons" to the students, along with physical and internal development. The movements
of a layered / multi-dimensional form slightly and subtly changed over time. As the student grew in
proficiency and skill, the master instructor would often make subtle changes to the form itself - such
as slightly redirecting a strike, or modifying the type of strike being employed. These changes were
intentional and codified. They were revealed slowly over time, as a student grew and matured. In
the beginning, the teaching of a pedigreed form mirrors that of a linear form. The student is taught the
basic series of movements required to perform the form; and thru repetition, hard work, and long hours
of practice, they gradually improve in skill. But the Master Instructor who crafted the pedigreed form
had a deeper design and purpose in mind. This deeper purpose was the growth of the student in all
areas; physical, mental and internal. The second tier of information was normally taught to a student
after they had sufficiently progressed within the arts. This second tier of knowledge was the Chinese
aspect of Dim Mak contained within the form.
Dim Mak is an extremely complex and difficult aspect of the martial arts. It was a refinement and
expansion of technique, which required years of hard work and training - both mental and physical,
to properly develop and master. In essence, it was the infusion of medical science into the art. In part,
it was the teaching of the cause and effect relationships of applied trauma, and the strengths and
weaknesses of the human body. It was anything but easy. And it required studying directly under a
Master Instructor to learn it properly. Fortunately for the Korean Arts, the founding Masters of modern
TKD carefully selected and incorporated some of the best pedigreed forms into the original TKD
curriculum.
During the second tier of learning (referred to in China as the 36-Chambers), the Master Instructor
would work with the student to learn the medical undertones of the form. In addition to improving
the way certain attack patterns were delivered, the student was also taught how to treat certain
types of injuries. This second aspect of TKD training was intended to develop the student’s skill
in Herbal Pharmacology and Acupuncture methods, in the hopes it would help them become a
complete martial artist. In the traditional sense, this meant to strive to be a doctor. The third tier
of knowledge was finally taught once the student themselves had become a Master Instructor.
The third tier revealed the "life lesson" of the form; the poetry of the form itself, so to speak. For
each of these old classical forms represented the movements of an actual battle, fought sometime
in the past - and the third tier of the pedigreed form told the story of the fight - often in the form of a
poem that was recited with the movements.
(III) HYBRID / MODIFIED FORMS are essentially all or part of a classical form, which
was later reworked by an instructor, changing the original tempo and movement patterns. There
can be many different variations of this, depending on what was changed, and to what degree the
form was modified. The problem with a modified form is the inherent risk of loss of the second and
third tiers of skill and knowledge. These deconstructed forms can still be useful, dependent on what
was changed, and why.
BREAKING DOWN A TRADITIONAL KOREAN FORM (CHANG HON HUNG)
If we examine an older, pedigreed form, such as Bassai (Passai), an adept student will find that
the form is a rich repository of information, which extends beyond the surface choreography. As
used in the ITF, the Korean Hyung Bassai has 29 movements, and takes about one minute to
perform. The original version of Bassai is at least 400 years old (based on carbon dating of a silk
drawing of the form). In Japan, Bassai is considered a family form from Okinawa, and translates
as "Breaking down the Fortress". The Japanese / Okinawan versions of Bassai have ties to some
of the great masters of Karate; notably, Matsumura Sokon, Itosu Anku, Funakoshi Gichin and
Oyadomari Kokan. The Japanese version is longer than the Korean version, and consists of 42
technique movements.
In both the Korean and Japanese versions of the form, Bassai is characterized by a series of
movements which represent changing disadvantage into an advantage. The physical mechanics
of the form follow a precise and fast pattern, which makes use of blocks and strikes of different
degrees of power and range of motion. Coupled with shifting stances, Bassai is an effective form
for teaching fundamental progression of movement (both offensive and defensive) within a theoretical
sparring exchange.
The original Chinese version of Bassai has 62 movements, and likely comes from the Fukien
region. The form's movements were designed to break down an opponent's attack thru aggressive
counters and strikes. Similar to the Japanese / Okinawan versions, the Chinese version of the form
changes stances quickly, and attacks specific vulnerable points on the opponent. The choreographed
movements unfold in a very aggressive and progressive manner...and include two lethal Dim Mak
strike patterns, and nine Dim Hsueh (Dim Shao) incapacitation strike patterns. The Dim Hsueh
strikes in this form are intended to induce unconsciousness or loss of strength. The Old Masters
taught the actual points being attacked in the form - which included strikes to the centerline
Conception Vessel, the Stomach meridian and the Kidney meridian. An example of these Dim Mak
lessons can be illustrated as follows, with a sequence of movements taken from the form:
EXAMPLES OF SELECTED MOVEMENTS WITHIN HYUNG BASSAI
The following examples are provided for information purposes only, and for academic study.
As a general disclaimer, none of these strikes should ever be replicated. Dim Mak (“Death Point”)
and Dim Hsueh (“Blood Gate”) strike patterns can cause serious trauma and harm, and thus should
not be duplicated in any manner. They are provided here for educational purposes only.
- EXAMPLE A
| HYUNG MOVEMENT |
NOTE: |
| Bal Ba Dahk Euro Mahk Kee |
Followed by… |
| Pal Koom King Kyuk |
Followed by… |
| Yang Soo Dang Mahk Kee (right hand) |
This is a cross legged stance with the left leg
behind the right leg. |
| The attack: A Forward Punch |
Striking to Pericardium 6 (PC- 6). |
| The Defense: a right inside out snap kick
with the right foot. |
Follow that kick with an elbow strike to Liver
14 (LIV-14). Then step with the left leg behind the right and
strike Kidney 27 (K-27) (right hand). |
TRAUMA NOTE: Caution: this series of strikes can cause deterioration of the Liver over a
three month period, if the strike is done correctly, and with intent and precision. This particular
strike pattern can elevate quickly from a safe, controlled movement, to a highly dangerous movement
within the Hyung. This type of Dim Mak strike can be highly dangerous, and can cause the heart to
beat out of rhythm. Specifically, this strike will cause an immediate reaction in the opponent. He or
she will sink to their knees, their face will turn ashen grey, and they will either cough or gasp for air.
This is a classic Dim Mak strike, and is very dangerous. If left untreated by a qualified medical
practicioner, this type of strike can result in death within three months time from progressive
degeneration of the Liver itself.
- EXAMPLE B
| HYUNG MOVEMENT |
NOTE: |
| Sang Soo Ha Dan Mahk Kee |
Followed by… |
| Yang Soo Sang Dan Mahk Kee |
Followed by… |
| The attack: A Forward Punch |
Striking to the midsection |
| Defense: right forward, Left behind right low
stance, Hands in an "X" block right over left. |
This stops the snap kick and the left hand holds
the opponents foot in position and the right hand strikes Spleen
6 (SP-6), coupled with a strike to Stomach 38 (ST-38). Grab the
opponents foot, and raise up and lift the opponent's leg. In
reaction to the shift in balance, the opponents left arm will
almost always extend. At this moment,
strike the left arm with an upward punch to PC-6, followed by
a second strike to SP-6. |
TRAUMA NOTE: Caution: this series of strikes will cause the opponent to drop to
the ground. In addition, if the strikes are done with precision and intent, the recipient of the
strike will begin to bleed from the nose. This will begin almost immediately. The full outcome
of this type of strike can be extremely hazardous, and should not be attempted under any
circumstances. There are certain long term health risks that can be associated with this
striking pattern, which is further reason why it should not be attempted. Specifically, it can
cause extreme trauma to the Spleen, Liver, and Kidney organs themselves. Usually acid
indigestion will occur within 24 hours, which can progressively worsen, and lead to digestive tract
issues (such as stomach ulcers, chronic diarrhea, kidney stones, and water retention issues). In
the classical texts, this was considered a Dim Hsueh strike, with long term effects. If the strike is
hard enough, this strike pattern can elevate to a full Dim Mak strike, in which death can result from
an aneurism in about three months time.
- EXAMPLE C
| HYUNG MOVEMENT |
NOTE: |
| Low Kwan Soo |
Followed by… |
| The attack: A Forward Punch |
To the back of the head |
| Defense: Pivot on right foot, turn 180
degrees to the rear. You are now in a left foot forward Chon
Kool Jase. |
By the time you have finished
the turn you should have struck the attackers arm at PC-6 with
your right hand, and with your left hand in a spear hand, struck
Liver 11 (LIV-11).< |
TRAUMA NOTE: Caution: this series of strikes will cause sever loss of strength in the
opponent’s legs. The recipient of the strike will need to sit down and will be unable to get up for
approximately 5-15 minutes.
Please be advised, all Dim Mak strikes have the potential for long term effects, no matter how
insignificant the striking is thought to be. They all will last at least one full diurnal cycle. Any type
of study of this aspect of the Korean Arts should only be attempted under a highly qualified,
competent instructor. Practicing without proper instruction is highly dangerous, and should not be
attempted under any circumstances. These moves were not invented to be used on friends or
neighbors; they were borne out of combat, and were designed to inflict massive trauma. They can
still work that way – which is one of the main reasons why extreme caution and proper safety
considerations must be used at all times. Be responsible and talk to your instructor about using
these points.
MATERIA MEDICA EXAMPLE
In addition to lessons on the movements, and the cause and effect of the strikes themselves, the
Old Masters also gave lessons on certain herbal formulas, which had a relationship to the lessons
of the hyung (kata). A historical example of the type of herbal formula taught along with this hyung is
as follows:
XIAO YAO WAN (Variation)
| Common Name |
Pharmacological Name |
Chinese Name |
Weight |
| BUPLEURUM |
Radix Bupleuri |
CHAI HU |
9 grams |
| ANGELICA |
Radix Angelicae Sinensis |
DANG GUI |
9 grams |
| WOLFBERRY |
Fructus Lycii |
GOU QI ZI |
9 grams |
| ATRACTYLODES |
Rhizoma Atractylodis Macrocephalae |
BAI ZHU |
9 grams |
| PEONY ROOT |
Radix Paeoniae Lactifloras |
BAI SHAO |
9 grams |
| PORIA |
Scleratium Poriae Cocos |
FU LING |
9 grams |
| GINGER |
&Rhizoma Zingiberis Officinalis Recens |
SHENG JIANG |
5 grams |
| LICORICE ROOT |
Radix Glycrrhizae Uralensis |
GAN CAO |
7 grams |
| PEPPERMINT |
Herba Menthae Haplocalycis |
BO HE |
2 grams |
Xiao Yao Wan is a very old and respected Chinese formula. It originally appeared in the TAI
PING HUI MIN HE JI JU FANG (Imperial Grace Formulas of the Tai Ping Era), circa 1085 AD.
In the historical example presented here, the scope of the classical 6-element formula has been
enhanced, to address the specific Dim Mak lessons of the form. The formula is intended to
assist the liver function thru the promotion of Chi circulation in the liver, and help disperse liver chi
stagnation. It also sooths the liver and strengthens the spleen and gallbladder, and tonifies the blood.
The formula was normally decocted and prepared as a tea. After drinking the tea, the individual also
drank lots of water to help with the liver cleanse.
In the classical arts, the progression of learning was not rushed, and it required a considerable
amount of time and skill to complete. There were no short cuts, and no fast track to learning. It was
much akin to a slow tumbler polishing stones; rush the process, and you might ruin it; give it time to
properly develop, and you may be rewarded with a sparkling agate. It was the hard path. It was the
classical path. It was the old way of the great Masters.
PHARMACOLOGY NOTES:
- BUPLEURUM (Korean Name: Siho). In traditional Chinese Medicine (TCM), Bupleurum Root is considered a Liver herb. It is the primary (Emperor) herb in the formula, and is believed to open and relax stagnant Liver Chi (Qi), and raise the Yang Chi. The herb enters into the system via the Gallbladder, Liver, Pericardium and Triple Heater Meridians. Modern clinical studies have shown bupleurum to have an in vitro inhibitory effect against certain strains of bacteria and viruses. Certain studies have also found indicators that it may contribute slightly to lowering blood pressure, and have a very minor effect on lowering fever. In clinical studies, the major active ingredients in Bupleurum include bupleurumol, adonitol, spinasterol, oleic acid, linolenic acid, palmitic acid, stearic acid, lignoceric acid, saikosaponin, daikogenin, longispinogenin and rutin.
- ANGELICA (Korean name: Tanggwi). In TCM, Chinese Angelica Root is considered one of the premier blood tonics. It is a Deputy herb in the formula, and is believed to tonify and vitalize the blood. Clinical studies have shown that Angelica has an antibiotic effect in vitro against certain bacteria strains, as well as a mild sedative effect. The herb enters the system via the Heart, Liver and Spleen meridians. In clinical studies, the major active ingredients in Angelica include butylidene phthalide, ligustilide, sequiterpenes and carvacrol.
- WOLFBERRY (Korean name: Kugicha). In TCM, Wolfberry (Lycium) is believed to tonify the Liver and Kidneys. It is an Assistant herb in the formula. Clinical studies have shown that Chinese Wolfberry fruit can help hepatic cells recover from certain types of damage and trauma in the Liver, and can promote the production of phospholipids. The herb enters into the system via the Liver, Lung and Kidney meridians. In clinical studies, the major active ingredients in Wolfberry include betaine, carotene, physaline, thiamine, riboflavin, vitamin C and linoleic acid.
- ATRACTYLODES (Korean name: paekch’ul). In TCM, Atractylodes is believed to tonify Chi, and strengthen the Spleen and Stomach. It is an Assistant herb in the formula. Certain studies have shown that Atractylodes can have a diuretic effect, and that prolonged use may contribute to certain adverse side effects, such as mild lymphopenia and anemia. The herb enters into the system via the Spleen and Stomach Meridians. In clinical tests, the major active ingredients in Atractylodes include atractylol, butenolide A & B, acetoxyatractylon, hydroxyatractylon and vitamin A.
- PEONY ROOT (Korean name: paekchak). In TCM, Peony Root is often combined with Glycyrrhiza to help relieve spasms. It is considered one of the Deputy herbs in the formula, and believed to help tonify the blood and Liver. The herb enters into the system via the Liver and Spleen Meridians. In clinical studies, the major active ingredients in Peony Root include paeoniflorin, paeonol, paeonin, albiflorin, triterpenoids and sistosterol.
- PORIA (Korean name: pongnyong). In TCM, Poria (Tuckahoe) is believed to have a mild tonic effect on the Spleen, and helps regulate water metabolism. It is considered one of the Assistant herbs in the formula. The herb enters into the system via the Heart, Spleen and Lung Meridians. In clinical tests, the major active ingredients in Poria where shown to include pachymic acid, tumulosic acid, chitin, sterols, histamines, lecitin, lipase, choline and adenine.
- GINGER (Korean name: saenggang). In TCM, Ginger Rhizomes are believed to help promote Chi circulation in the Triple Heater Meridian, and reduce nausea. In this formula, it is considered an Envoy herb, and enters into the system via the Lung, Spleen and Stomach Meridians. In clinical tests, fresh ginger rhizome has been shown to increase gastric secretions, and may also have an effect on elevating blood pressure. Some of the major active ingredients in ginger rhizomes include phellandrene, camphene, ctral, linalool and methylheptenone.
- LICORICE ROOT (Korean name: kamch’o). In TCM, licorice root is used to tonify the Chi, strengthen the Spleen, and help distribute other herbs throughout the body. In this formula, it is considered an Assistant herb, and enters the system thru all twelve of the main Meridian channels; particularly the Heart, Lung, Spleen and Stomach Meridians). Some clinical studies have shown that prolonged use of licorice root may adversely contribute to hypertension and/or edema. The major known ingredients in licorice root include glycyrrhizic acid, uralenic acid, glycyrrhetinic acid and formononetin.
- PEPPERMINT (Korean name: pakha). In TCM, peppermint leaf is often used to promote Chi circulation in the Liver. It is considered an Envoy herb, and enters into the system thru the Lung and Liver Meridians. In clinical tests, peppermint extracts have shown an in vitro inhibitory effect on certain types of viruses. The major known ingredients of perrmint leaf include menthol, menthal acetate, camphene, limonene, isomenthone, pinene, menthenone and rosmarinic acid.
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