Tag: punch

Why do we practise forms in Taekwondo?

Forms are practised in all styles of Taekwondo, and they are practised by students of all grades and degrees. Clearly they are central to Taekwondo training. Some people (like myself) like forms, and like practising them, but a number of people dislike forms. I’ve met a number of people over the time I’ve been training in Taekwondo who strongly dislike forms, and who vastly prefer to do other kinds of training such as sparring and self-defence training, and who wonder why we train in forms at all in Taekwondo. It is to those people that this post is written – I aim to show that even if you don’t like forms, there are good reasons why they’re such a big part of Taekwondo.

1. Body Control

This, I think, is THE most important reason to practise forms. Body control is just the ability to move your body into a specific position and know, without looking to check, that your body is in the correct position. It’s the ability to perform a punch and to know that your wrist is straight and that the opposite hand is on your waist without having to look to check, or without having an instructor come along and adjust the position.

This might sound like a very basic ability – and it is – but a lot of people, when they first start training in martial arts, do not have this ability. This is especially true with older students (30 years and older), who – if they have never done any physical activity that requires precise movements of the body, such as martial arts or dance – will have become used to a certain way of moving. When they first start training in martial arts they have to unlearn the way they have learnt to move over the first few decades of their life.

Forms are excellent for teaching body control, because they are a choreographed sequence of movements, and they should be performed in a very precise way. Importantly, the transitions between movements in forms are very specific – you have to move a specific foot, you have to turn a specific direction, you have to start the next technique at the correct point, and you have to maintain balance throughout. All of this forces you to think about how you are moving, and this is how forms train you in body control.

(This point isn’t so relevant if you’ve been training in Taekwondo or another martial art for several years. After a few years of training, you will have learnt body control, and it’s not an ability you will forget quickly. However, for beginners, learning body control, and hence practising forms, is essential.)

2. Competitions

Some people dislike the ‘sport’ side of Taekwondo: the style of fighting that’s used for competition sparring – which is often criticised as unrealistic – and the performance of forms. However, Taekwondo practitioners want to be able to compete, so there should be a part of Taekwondo which allows them to do that (even if it doesn’t completely emulate a real fight).

Forms are an excellent way of judging a Taekwondo practitioner’s ability. They are a test of balance, flexibility, and just the ability to accurately perform any given technique. Since everyone in a given style of Taekwondo will learn the same forms, they are a standardised way to compare the abilities of a group of practitioners. Indeed, so useful are forms for competitions, Kukki-won created a set of 10 new forms specifically to be used in competitions.

3. Forms are the lexicon of a martial art

This is another very important reason for practising forms. The forms of a particular style of a martial art contain all of the techniques that are part of that martial art. They are a dictionary of techniques – if you learn all of the forms, then you have learnt all of the techniques taught in that martial art.

This idea is arguably somewhat undermined by the fact that people like Choi Hong-hi and Hwang Ki wrote encyclopaedias for their styles of Taekwondo, and those encyclopaedias are far more detailed and specific than the forms are. Nevertheless, it is still the tradition, in the martial arts that are related to Karate, that each generation of students teaches forms to the next generation, and that knowledge is passed down through those forms, which encapsulate all of the knowledge of that style. Forms form a kind of ‘oral history’ – a ‘choreographic history’ or a ‘choreographic lexicon’ – and passing that from one generation to the next is part of the traditions of Taekwondo.

4. Fitness

Forms are not performed particularly fast, but practising them does improve your fitness. Forms often involve performing low stances and various different kicks, which improve your flexibility and strength. They often also involve one-leg stances, which together with any high kicking techniques improve your balance.

One could argue that there are plenty of general exercises you could do to improve these aspects of fitness, but forms do all of them at the same time. Forms are excellent for improving your general fitness.

Forms do not teach you how to win a fight, but they’re not supposed to. They’re supposed to be a foundation of training from which other forms of training – free sparring, self-defence training – develop.

New Kukki-won forms: a break from tradition?

What is a form? In a literal sense, it is a sequence of movements designed to be instructive or useful in some aspect of Taekwondo training. Forms have many uses. They teach correct stances and stepping, posture and balance, timing. Most importantly they teach you the basic form of each movement: how to punch in an offensive stance, how to maintain a defensive stance.

But there are some exercises in Taekwondo which also have all of these attributes, but which are not considered forms. Set sparring would be an example of this. (There is a broader point here as to whether a set sparring exercise could be considered a form, but that’s a topic for another post.) However, there are some differences between set sparring and forms that would allow us to define what a form is more narrowly. Set sparring is generally practised with an opponent; forms are an individual activity. A form could be defined as an instructive sequence of movements that is performed by one person. But then, in Changheon-yu Taekwondo, there is the exercise called 사주 지르기 Saju Jireugi, which also fits this definition but which is universally not considered a form (sometimes to the confusion of white belt students).

All of these considerations lead to a new question: what is the defining quality of a form? What is it that makes a form a form?

Returning to the example of Saju Jireugi in Changheon-yu Taekwondo, the explanation that’s often given for why this exercise is not a ‘form’ is that it doesn’t have an interpretation. The other such exercises in Changheon-yu Taekwondo – 천지 Cheonji, 단군 Dan-gun, 도산 Dosan, and so on – all have lengthy explanations of what the name means, given by Choi in his encyclopaedia. Saju Jireugi does not have a lengthy interpretation, just a short literal translation of ‘punching in four directions’ or more commonly ‘four-directional punch’. I find this distinction arbitrary – Saju Jireugi does have an interpretation, just a short one instead of a long one. A translation is a kind of interpretation.

Saju Jireugi is ultimately very similar to the exercises above it. In fact the only real differences seem to be that it’s easier than all of the other exercises in Changheon-yu (though it’s only slightly easier than Cheonji), and that the name of the exercise has no 한자 hanja writing (지르기 jireugi only has a 한글 han-geul writing). And in fact I think this second difference is quite significant.

All of the other twenty-five forms in Changheon-yu (including both 고당 Kodang and 주체 Juche) are consistent in how they’re named. They’re all named after a person, a group of people, a place, or a philosophical concept. They all have a writing in both han-geul and hanja. And they are all exactly two syllables long. This last part perhaps reveals Choi’s intentions. There are many examples of when Choi takes a longer name or word, and shortens it for the name of a form: 연개소문 Yeon Gaesomun was shortened to 연개 Yeon-gae, 을지문덕 Eulji Mundeok was shortened to 을지 Eulji, and there are several other examples.

I think the fact that Choi chose to give the other exercises, the forms, in Changheon-yu, names that fitted these criteria, and that he did not give Saju Jireugi such a name, is what means that Saju Jireugi is not a form.

Now at this point, I would expect the reader to point out that the conventions that apply to Changheon-yu don’t necessarily apply to other styles of Taekwondo. That’s true. However, when looking at the forms that are practised in other styles of Taekwondo, it is apparent that these conventions on form names are broadly true of Taekwondo in general.

These conventions are followed for many of the forms that have been inherited from Karate. (Now, this is arguably not a valid example. Forms loaned from Karate are arguably not ‘Taekwondo’ forms, since they were not designed or named by someone who practises Taekwondo. Also, since they were not named by Taekwondo practitioners, they are arguably not relevant when discussing the naming conventions of forms in Taekwondo. However, the style of the names of Karate 型 kata almost certainly inspired the way in which Taekwondo 형 hyeong are named, and their similarity supports this idea.) 平安 Heian, 披塞 Bassai, 燕飛 Enpi, 明鏡 Meikyō, 観空 Kankū, 鉄騎 Tekki, 十手 Jitte, 半月 Hangetsu, 慈恩 Jion, and more all follow this pattern. (Hangetsu is three syllables but it’s only two 漢字 kanji characters.) In this list I have included many kata that were renamed by 船越 義珍 Funakoshi Gichin, the founder of 松濤館 空手 Shōtō-kan Karate, whom many of the early practitioners of Taekwondo are believed to have been taught by. Many of these kata appear in early editions of Choi’s encyclopaedia, as well as Hwang Ki’s textbooks, indicating that these kata, as well as Funakoshi, had an influence on the idea of what a form is, and how a form should be named, in Taekwondo.

And in Kukki-won Taekwondo, these naming conventions have been followed up until this point: 팔괘 八卦 Palgwae, 태극 太極 Taegeuk, 고려 高麗 Koryeo, 금강 金剛 Keumgang, 태백 太白 Taebaek, 평원 平原 Pyeong-won, 십진 十進 Shipjin, 지태 地跆 Jitae, 천권 天拳 Cheon-gwon, 한수 漢水 Hansu, and 일여 一如 Iryeo all follow this pattern.

In fact the only examples I can think of where this convention isn’t followed are in some of the forms that have been inherited from Karate, as well as the very obscure and very undocumented forms practised in early Changmu-kwan and Kangdeok-won. Several of the ten new Kukki-won forms depart from these conventions: most of them do not have hanja writings – they are based on native Korean words – and several have names with more than two syllables. The decision by Kukki-won to give new forms names that don’t follow these conventions is a notable break from tradition.