THE HISTORY OF TANG SOO DO MOO DUK KWAN
Tang Soo Do Moo Duk Kwan is one of the most popular of Korean martial arts. Hundreds of thousands of martial artists practice the art around the world. The following is a brief history of Tang Soo Do Moo Duk Kwan. We compiled this information from the many writings of the Grand Master of Tang Soo Do Moo Duk Kwan.
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Grand Master Hwang Kee
The modern martial art of Tang Soo Do is more than 50 years old. It began when Grand Master Hwang Kee began teaching it in Seoul, Korea in the fall of 1945. He mastered Soo Bahk Do and Tae Kyun 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. He studied the Tang Method of Kung Fu from 1936-1945 and combined it with Soo Bahk Do to develop what he would call Tang Soo Do. Grand Master Hwang Kee has been the driving force behind the spread of Tang Soo Do throughout the world. He continues to head the Moo Duk Kwan from his headquarters in Seoul, Korea.
The Moo Duk Kwan was one of the main schools of martial arts at the end of the Japanese occupation of Korea in August of 1945. Hwang Kee was the founder. Other major Korean martial arts schools in 1945 were Yon Moo Kwan, YMCA Kwon Pup, Chung Do Kwan and Song Moo Kwan. Member styles of the original schools expanded to many in Korea by 1950. They included Mook Duk Kwan, Ji Do Kwan, Yon Moo Kwan, Han Moo Kwan, Kang Duk Won, Kang Moo Kwan, Cheong Moo Kwan, Chong Do Kwan, Chong Kyong Kwan, Kuk Moo Kwan, O Do Kwan and Song Moo Kwan.
Tang Soo Do (also called Soo Bahk Do) is the name Hwang Kee uses for the original form of weaponless fighting. The Grand Master wrote, "The history of Tang Soo Do is perpetual. It is difficult to indicate where it was started or who was the first person who originally practiced it." Tang Soo Do was practiced during the Kokuryo Dynasty (37-668 A.D.), the Silla Dynasty (668-935 A.D.), the Koryo Dynasty (935-1392 A.D.) and Yi Dynasty (1392-1907 A.D.) The Japanese occupied Korea from 1907-1945 and did not allow the open practice of Korean martial arts. Tang Soo Do was practiced in private during the Japanese occupation. Hwang Kee introduced a modern version of ancient Tang Soo Do in 1945. Modern Tang Soo Do derives its hardness from Soo Bahk Do and its softness from northern Chinese Kung Fu. Grand Master Kee said his art is 60% Soo Bahk Do, 30% northern Chinese Kung Fu and 10% southern Chinese Kung Fu.
Hwang Kee also incorporated some of the foot techniques of Tae Kyun in modern Tang Soo Do. Tae Kyun was a style of fighting that developed toward the end of the Yi Dyansty. It employed only foot techniques. Hwang Kee wrote that Tae Kyun was a form of street fighting and lacked mental discipline.
Other martial arts practiced at the end of the Yi Dynasty included Sip Pal Ki, Sam Sip Yuk Ki, Sip Pal Ban, Sip Pal Jip, Sam Sip Yuk Jip, Sip Pal Jong, Sam Sip Yuk Jong and Tang Soo Do. The martial art of Sip Pal Ki included 18 military weapons which included the staff, sword and spear.
Ancient Tang Soo Do was practiced in China as well as Korea. It was widespread during the age of Chun Chu (about 2,700 years ago). The ancient document "Moo Yei Do Bo Tong Ji" called the martial art of China "Soo Bahk Ki." Chun Chu preceded the Han Dynasty. Soo Bahk Ki expanded during the Han Dynasty (206 B.C.-220 A.D.), the Yang Dynasty (220-618 A.D.), the Tang Dynasty (618-907 A.D.), and the Song Dynasty (907-1126 A.D.).
Tang Soo Do Moo Duk Kwan means "a brotherhood and school of stopping inner and outer conflict and developing virtue according to the way of the worthy hand." Some have shortened the definition to "Art of the knife hand." Here is what Grand Master Kee said about his art: "It is not a sport. Though it is not essentially competitive, it has great combat applications. It is a classical martial art, and its purpose is to develop every aspect of the self, in order to create a mature personality who totally integrates his intellect, body, emotions, and spirit. This total integration helps to create a person who is free from inner conflict and who can deal with the outside world in a mature, intelligent, forthright, and virtuous manner."
Master H.C. Hwang, son of Grand Master Hwang Kee, is a driving force in Moo Duk Kwan.
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Tang Soo Do Code of Conduct
1. 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.
2. As a classical martial art, Tang Soo Do aims to develop and express the individual's true self, not the false aggrandizement.
3. As its major focus is on interior development, competition by groups or individuals is of minor usefulness in realizing individual potential.
4. Ever practioner of Tang Soo Do must do his utmost to retain the purity of this art and not debase it in any way.
5. Man is at his best in helping others: at his worst in bettering others.
6. Every member shall: seek truth; work at developing his highest moral character; strive for humility; love his country; sacrifice himself for justice; contribute, by example, to the acceptance of Tang Soo Do as the most genuine of the martial arts; develop his endurance; and value confidence and peace of mind.
7. Set an example. Members shall conduct themselves at all times as an example of what a proper martial artist should be. The very fact that you study Tang Soo Do makes you an example of the State of the Art. It is a responsibility members shall bear seriously and proudly.
Tang Soo Do Forms
· Ki Cho Il Bu –
· Ki Cho Ee Bu –
· Ki Cho Sam Bu –
. Ki Cho Sa Bu --
. Ki Cho Oh Bu --
· Pyung Ahn Cho Dan –
· Pyung Ahn Ee Dan –
· Pyung Ahn Sam Dan –
· Pyung Ahn Sa Dan –
· Pyung Ahn Oh Dan –
· Bassai
· Naihanchi Cho Dan
· Naihanchi Ee Dan
· Naihanchi Sam Dan
· Sip Soo
· Jin Do
· Kong Sang Koon
· Lo Hai
· Jion
. E Sip Sa Bo
. O Sip Sa Bo
· Chil Sung Il Ro
· Chil Sung Ee Ro
· Chil Sung Sam Ro
· Chil Sung Sa Ro
· Chil Sung Oh Ro
· Chil Sung Yuk Ro
· Chil Sung Chil Ro
· Yuk Ro Cho Dan
· Yuk Ro E Dan
· Yuk Ro Sam Dan
· Yuk Ro Sa Dan
· Yuk Ro O Dan
· Yuk Ro Yuk Dan Hyungs (Forms) | The Five Moo Do ValuesRyu (Style)
The Hyungs of Tang Soo Do were influenced by three Ryu or styles.
· Weh Ga Ryu (outside/external house style). Weh Ga Ryu came from Southern Chinese Schools emphasizing speed, aggressiveness, and dynamic action. Examples of the Weh Ga Ryu style are the Gi Cho Hyung, Pyung Ahn Hyung, and Passai.
· Neh Ga Ryu (inside/internal house style). Neh Ga Ryu came from Northern Chinese Schools emphasizing more deliberate technique, stability, and fluid motion. Most of our advanced Hyung come from the Neh Ga Ryu, such as Nai Han Ji.
· Joong Gan Ryu (middle way style). This Ryu was a Korean influence stemming from the fact that they had to be versatile because of the threat of living between China and Japan. The traditional Tang Soo Do Hyung like the Yuk Ro Hyung and Chil Sung Hyung come from this style.
Ki Cho Hyungs
The Ki Cho Hyungs (or basic forms) were created in 1947 by Kwan Jang Nim Hwang Kee. They are designed to show a beginning practitioner's basic movements.
Ki Cho Hyung Il Bu / Basic form one
22 movements
Weh Ka Ryu
Ki Cho Hyung Ee Bu / Basic form two
22 movements
Weh Ka Ryu
Ki Cho Hyung Sam Bu / Basic form three
22 movements
Weh Ka Ryu
Ki Cho Hyung Sa Bu and Ki Cho Hyung Oh Bu
are only practiced in some Dojangs - We practice them
Chil Sung Hyungs
The Chil Sung Hyungs were created by Kwan Jang Nim Hwang Kee in 1952. The name means ‘seven stars’, referring to the stars of the big dipper constellation, the seventh of which is the North Star, used by travelers to guide their way. Like that star, these hyungs are meant to “guide the way” by teaching focus and showing the practitioner the path to becoming a better martial artist. The movements in these hyungs are based on those shown in the Moo Yei Dobo Tong Ji.
Chil Sung Il Ro / Chil Sung one
38 movements
Joong Gan Ryu
Chil Sung E Ro / Chil Sung two
31 movements
Joong Gan Ryu
Chil Sung Sam Ro / Chil Sung three
57 movements
Joong Gan Ryu
Chil Sung Sa Ro / Chil Sung four
82 movements
Joong Gan Ryu
Chil Sung O Ro / Chil Sung five
108 movements
Joong Gan Ryu
Chil Sung Yuk Ro / Chil Sung six
?
Joong Gan Ryu
Chil Sung Chil Ro / Chil Sung seven
?
Joong Gan Ryu
Yuk Ryo Hyungs
The Yuk Ryo Hyungs were created by Kwan Jang Nim Hwang Kee in 1957. The name means “six-fold path”, and these hyungs are designed to develop the artist as a warrior. The movements are based on those shown in the Moo Yei Dobo Tong Ji.
Yuk Ro Cho Dan (Du Mun) / The great gate
42 movements
Joong Gan Ryu
Yuk Ro E Dan (Joong Jol) / Cutting the middle
44 movements
Joong Gan Ryu
Yuk Ro Sam Dan (Po Wol) / Embrace the moon
43 movements
Joong Gan Ryu
Yuk Ro Sa Dan (Yang Pyun) / High whip
?
Joong Gan Ryu
Yuk Ro O Dan (Sal Chu) / Killing hammer
?
Joong Gan Ryu
Yuk Ro Yuk Dan (Choong Ro) / Seize and capture
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Joong Gan Ryu
Pyung Ahn Hyungs
The Pyung Ahn Hyungs were created by Master Itosu Yasutsune from Okinawa, in around 1870. The term “Pyung Ahn” translates as “peaceful confidence”. The two characters of the word can be broken down further. Pyung is made up of characters meaning a ‘scale’ and ‘equal weight’. Ahn is made up of ‘house’ and ‘woman’. These hyungs characterize the turtle and are designed to teach balance and confidence.
The old name for the Pyung Ahn forms is Jae Nam, meaning south border or southern frontier.
Pyung Ahn Cho Dan / Pyung Ahn one
25 movements
Weh Ka Ryu
Pyung Ahn Ee Dan / Pyung Ahn two
30 movements
Weh Ka Ryu
Pyung Ahn Sam Dan / Pyung Ahn three
29 movements
Weh Ka Ryu
Pyung Ahn Sa Dan / Pyung Ahn four
31 movements
Weh Ka Ryu
Pyung Ahn O Dan / Pyung Ahn five
30 movements
Weh Ka Ryu
Nai Han Ji Hyungs
No historical record names the creator of these forms. They originate from Kang Yu Ryu, so it is reasonable to assume that they were created by the founder of that art, Jang Song Kye. If that is the case, they originate during the Song Dynasty, from Ha Buk in Northern China during the Song Dynasty (960-1279 AD). The forms emphasize straight-line movement, use of hip, and angular attacks. They characterize the horse, with movements both heavy and strong.
The forms were originally called Neh Bo Jin (inside/inward step advance), a reference to the way one moves in horse stance – stepping to the inside and advancing sideways.
Nai Han Ji Cho Dan / Nai Han Ji one
33
Neh Ka Ryu
Nai Han Ji Ee Dan / Nai Han Ji two
30
Neh Ka Ryu
Nai Han Ji Sam Dan / Nai Han Ji three
40
Neh Ka Ryu
Animal Hyungs
Bassai / The cobra
52
Weh Ka Ryu
Jin Do / The crane
44
Weh Ka Ryu
Lo Hai / The crane
34
Weh Ka Ryu
Sip Soo / The bear
27
Neh Ka Ryu
Kong Sang Koon / The eagle
67
Weh Ka Ryu
Sei Shan / The praying mantis
45
Neh Ka Ryu
Wang Shu / The sparrow
39
Weh Ka Ryu
Ji On / The ram
50
Neh Ka Ryu
O Sip Sa Bo / The tiger
77
Weh Ka Ryu
Bassai
The hyung that we know as Bassai (Passai) was originally known as Pal Che (meaning a collection of best/fast movements), a form thought to have originated in the mid to late 1500s. Its movements were refined from the most popular motions used in the So Rim Sa Kwon Bup style.
So Rim Sa Churl Kwon Bup (as it is known in Korea) is a Chinese art founded in the province of Henan during the Ming dynasty. It is a Shaolin boxing style that can trace its lineage to 1377. Versions of the Passai form appear in several other martial arts, most recognizably as Bassai Dai in the Shotokan Karate and Kung Fu styles.
In Tang Soo Do, Bassai is associated with the cobra. The movements of the hyung are light and fast, with many quick movements and changing postures.
Jin Do
Jin Do’s creator is unknown, although it is believed to have been created in Ha Nam, the southern area of China, about 200 to 300 years ago. It belongs to the So Lim school of martial arts, and consists of many technically demanding and rapid movements.
Jin Do is derived from the thirteen basic poses or positions in the martial arts (known as the Sip Sam Seh). In the Weh Ja (the physical movements which make up half of the movement-oriented positions in the Sip Sam Seh), ‘Jin’ means to advance, and ‘Toe’ to retreat. Advancing and retreating are characteristic movements of this hyung.
Lo Hai
Lo Hai comes from Ha Nam, the southern area of China. Its main characteristics are poise and grace exemplified by the one-legged stance of the crane.
Sip Soo
Sip Soo comes from Ha Buk, the northern area of China. This hyung is not designed with active movements. Instead, like its namesake the bear, it is characteristically powerful and slower in the demonstration of techniques.
Kong Sang Koon
This form is named in honor of a Chinese missionary, Kong Sang Koon, who first introduced this form approximately three hundred years ago in the Ha Nam (southern) region of China.
The hyung is active and practical, and is often used at demonstrations and celebrations. It is designed to be both offensive and defensive against opponents from many different angles.
Sei Shan
‘Sei Shan’ means ‘thirteen’, referring to the thirteen influences of the Sip Sam Seh. The creator of the form is unknown, however, it is heavily influenced by Tae Kuk Kwon, which was created by Jang Sam Bong. Subsequently, we can assume that Jang Sam Bong was the creator of this form. That being the case, we can place its creation during the Song Dynasty, in Ha Buk, the northern area of China.
This hyung is characterized by its advancing movements, where all steps slide close to the ground in semi-circular motions. The form requires special attention to stance, breathing, balance, and tension/relaxation.
Wang Shu
Wang Shu is named after its creator, who was military personnel in the Ha Nam (southern) region of China around 200 years ago.
The form has the characteristics of a small wild bird. It is active, light, and performed with speed.
Ji On
Ji On is derived from the thirteen basic poses or positions in the martial arts (known as the Sip Sam Seh). ‘Ji’ means the development of technique and human mental character. ‘On’ means to build up physical conditioning and sparring ability. It is characterized by a combination of kang (hard) and yu (soft) movements.
The form’s creator is unknown, but it comes from Yong Nam in China, about 300 years ago.
O Sip Sa Bo
O Sip Sa Bo contains more movements than the previous animal hyung, and is characterized by the speed at which it is performed, and the accuracy required in the focus and delivery of its techniques.
The form’s creator is unknown, but it comes from Ho Nam in China, about 400 years ago.
Other Hyung
E Sip S a Bo
24
?
Hwa Sun / Pure flower
100 movements
Joong Gan Ryu
So Rim Jang Kwon / Shaolin long fist
?
Weh Ka Ryu
Hsing Kwan / Five elements
52
?
Tae Kuk Kwan / Tai Chi form
?
?
Hwa Sun
Hwa Sun hyung was created by Kwan Jang Nim Hwang Kee, from the Kwon Bup (method of using the fist) section of the Moo Yei Dobo Tong Ji. The diagram of the hyung was modified from that shown in the Moo Yei Dobo Tong Ji, basing it instead on the philosophy of Sip Sam Seh, or thirteen influences.
Hyung training discipline
· Hyung training is both a mental and physical discipline.
· Concentration is essential.
· Every attempt at a Hyung requires and should involve maximum effort.
· Perfection requires continuous practice.
· In performing a Hyung you are perpetuating the art and representing the way of Tang Soo Do.
· In learning a new Hyung:
· Learn the origin and characteristics, and then memorize the sequence.
· Study the application and cultivate an awareness of your body posture and external situation.
· Concentrate on breathing control, tension, relaxation, power, and intent.
· Take on the mental significance and Tang Soo Do meaning of the Hyung.
· Never attempt a Hyung without the advice and consent of your instructor.
· Patience is as important as physical ability in developing a perfect Hyung.
· Develop your psychological technique for overcoming idleness, inertia, distractions, and mental blocks.
· After practice, learn to relax and to appreciate the gains you have made, no matter how small.
