"Get the habit of analysis - analysis will in time
enable synthesis to become your habit of mind."
-Frank Lloyd Wright
No
exploration of a Black Belt Curriculum, or any traditional martial arts
curriculum, should fail to include an analysis of hyung. Hyung is at the heart of our art; it is the
synthesis of all we do in Tang Soo Do. Again,
as we did with “the basics”, we should start with our Ideal Concept of becoming
one with nature, and examine the nature of hyung
through the principles of Um and Yang. Grandmaster Shin tells us:
When a person is
performing hyung, they must utilize
the aspect of Um and Yang in nature. The Um and Yang must me
combined to the point where the individual becomes one with nature.[i]
It is difficult to isolate a
single set of characteristics as they apply to hyung, because a hyung
is, at its very nature, a union of many different characteristics in
balance. The basic characteristics of hyung have been documented and discussed
in numerous publications, and as such, a list of these characteristics becomes
somewhat redundant here. Instead, we
will look at what actually defines hyung,
a word that we have already used to describe its nature: synthesis. Dictionary.com
defines synthesis as “the combining of the constituent elements
of separate
material or
abstract entities
into a single or unified entity.”[ii]
So, if hyung is truly synthesis, we
must identify both the “unified entity” and the “separate material or abstract
entities” involved. In order to do so,
we need only to look to the English words we use to categorize Tang Soo Do and
similar disciplines: martial art.
Fortunately, this is one time that English actually does a passably acceptable
job in translating an Asian idea. If the
unified entity is “martial art”, then
the separate entities are “martial”
and “art”. Interestingly enough, we see
that one of these entities is “material”, while the other is “abstract.” This is the essence of Um and Yang, and
therefore the essence of Tang Soo Do, of nature, and of hyung.
Step
1: Identify an Advanced Concept
We
have put forth that the nature of hyung
is that it effectively combines all of the characteristics of Tang Soo Do. While true, this remains too close to the
Ideal for us to deconstruct and analyze in a practical manner. In order to develop and explore an Advanced
Concept regarding hyung practice, we
must accept a scope that, while still quite broad, is, in the end, a bit more
limited. We have actually already
identified this Advanced Concept, and merely need to put it into words:
Hyung is the synthesis of “martial” and “art.”
We have defined synthesis, but
must also define each of the separate pieces to be synthesized before we can
begin our deconstruction of this concept.
In so doing, we will once again determine a point from which we can
guide our students towards developing their own habits of analysis and
synthesis.
Numerous
dictionaries and online resources define the word martial as: “of, relating to, or characteristic of war,
warriors, soldiers, or the military.”[iii] This
is, unfortunately, where the English language fails us somewhat, and why the
term “martial art” itself is only passably acceptable. The Korean word for martial is “moo” or “mu”
(Chinese: wu, Japanese: bu), and is depicted in hanja, or the pictorial/ideographical form of Korean writing, as:
This character is actually a
combination of two different, yet equally important concepts, once again
pointing to the duality at the core of Asian thought which cannot be separated
from our practice of Tang Soo Do. The
first idea represented in this character is that of a spear, sword, or polearm,
connoting the ideas of war, military, conflict, or violence. The second idea, which is critical to
understanding the concept of “martial” in the Asian sense, is represented by
strokes that mean to stop, prohibit, or
bring to an end, as in the suppressing of a revolt.[iv]
Thus, “martial” as it relates to our
practice of Tang Soo Do, should actually be defined as: of, relating to, or characteristic of methods to stop violence,
conflict, or war.
In
defining the word martial, we have a
starting point, but only a starting point that will cover half of our Advanced
Concept. In order to truly reach a
starting point for our curriculum, we must define what we mean by art as well. This, in some ways is just as difficult as
defining martial. As a more abstract entity, the human race has
been trying to find an acceptable definition for art since the word first came into use. What art is, and what it isn’t, has sparked
debate and argument that we do not pretend will be resolved here. We can, though, arrive at a workable
definition that will fit our goal of relaying our Advanced Concept to our black belt students. Somewhat loosely defined, art is defined as “the quality, production, expression, or realm, according to aesthetic
principles, of what is beautiful, appealing, or of more than ordinary
significance.”[v] While
this definition may seem broad, it actually once again fails to convey the true
meaning of the word as it is meant to be understood in Asian terms.
The Korean word for art, as we mean it in the term “martial
art”, is pronounced as “sul” or “sool” (Chinese: shu, Japanese: jutsu) and is
traditionally depicted as:
According to prolific martial arts writer Dave Lowry, this
character is “written with the radical element for ‘road’ along with a
character that acts phonetically to mean ‘twisting’ and simultaneously
‘adhering.’”[vi] Thus, in order to truly create art in an Asian
sense, and therefore to truly crate art from our practice of hyung, we must adhere to a twisting road, or, in more
simple terms, we must have unwavering dedication
to that which is difficult, but ultimately necessary in order to reach a
desired goal. Finally, we can define
the word art, for our purposes, as:
the quality, production, expression, or
realm, according to aesthetic principles, of what is beautiful, appealing, or
of more than ordinary significance, created only through unwavering dedication
to that which is difficult, but ultimately necessary in order to reach a
desired goal.
This may be a difficult definition to fully comprehend, but
it is nonetheless necessary in order for us to begin our analysis of how to
begin training our black belts in hyung.
Ultimately, even this will not serve to help us realize the
full synthesis of hyung, for Tang Soo Do is not simply a martial art, it is a
martial Way. Way, in the
sense we mean it here, refers to our path or direction throughout all aspects
of our lives, and is in Korean pronounced as “Do” (Chinese: Tao, Japanese: Do),
and is traditionally represented by the following character:
True understanding of
this character may be beyond our human ability, as it represents not only a
person walking down a path, but The Path, that leads towards ultimate
understanding and enlightenment. We
cannot truly create a definition for this, because Do represents nature itself,
and therefore the fundamental characteristics that comprise the entire universe. However, if we bring this back to a human
scale, we can say that, ultimately, one is on The Path, or is following The
Way, when one reaches a state of harmony and balance between mind, body and
spirit. This is what we truly attempt to do when we practice hyung.
Step
2: Uncover Basic Concepts
Before we begin to deconstruct our
Advanced Concept and start to discuss the execution of hyung, I feel it is
important to first discuss a common misconception that many new black belts
seem to have: that they “know” a form simply because they have memorized its
movements and performed it many times. Recently, I conducted an experiment in
my own classes in which the following question was asked:
“What is the highest
form you know?”
Unsurprisingly, many
of the black belts answered with the name of the most advanced hyung to which
they had memorized the movements.
Perhaps this is because they have been conditioned to answer this way,
so the question was rephrased and presented as:
“What is the most
advanced form with which you are reasonably comfortable?”
Again the majority of
the black belts responded in the same way.
One black belt, though, responded with “Sae Kye Hyung Il Bu”, the first
form. This black belt had been paying attention. As
Grandmaster Hwang Kee said:
It would be
disrespectful to consider that one knows a form simply by virtue of having
memorized a series of individual movements.[vii]
Grandmaster Shin
echoes this sentiment, and goes on to emphasize that:
Knowing
a specific number of hyung and their
movements does not necessarily assign any value of excellence to the arts.[viii]
and
Anyone can learn the
simple movements of the hyung, but we
cannot call it a hyung simply because
someone has learned a pattern of movements.[ix]
Despite the
consistent reminders of this truth, many black belts still seem to fall into
the trap of believing they “know” a hyung
once they have memorized the pattern, and do not seem to want to be bothered
with a deeper analysis. Some of this is
due to the natural development of ego that comes with advancement in rank, and
is something that every instructor must at some point face. However, it is possible that some fault lies
with the instructor as well, if he or she does not to more than tell students they don’t yet understand
the form. If we are to develop our black
belts’ understanding of hyung, we
must show them how much they still
don’t know, and, in so doing, teach
them to not resent hyung training,
but instead embrace and appreciate it.
So, once a black belt has memorized
the movements and sequence of a hyung,
what comes next? How do we deconstruct the synthesis of Tang Soo Do into
something that can be properly analyzed
by our students in a way that will lead them toward discovery of the Basic
Concepts? We have already begun in our deconstruction and classification of
Tang Soo Do as a “martial art”, and in the deconstruction of the meaning of the
corresponding hanja for “Moo Sool.” We
must then begin with the side of this dichotomy that will be more familiar and
recognizable to our students: the martial
aspects of hyung. Grandmaster Shin
again explains this process as follows:
After you
have learned to do the movements you must learn the combative purpose of the
moves. Without such understanding the form
becomes simply an exercise sequence. You
should learn where the attack or defense is being applied on the imaginary
opponent, how it is being applied, and what results could be expected from the
technique.[x]
Breaking this down,
we can begin to form a set of drills for our black belts by executing the
following steps:
1.
Identify the
combative purpose of the moves contained in hyung.
(Why
do we do the techniques in question? – Understanding)
2.
Identify ways in
which the techniques in hyung are
used against an opponent.
(How do we use the techniques in
question? – Application)
3.
Reflect upon the
expected results of the applied techniques in hyung.
(When should we use a given technique? – Improvisation)
Most instructors, and
probably most black belts, do not have a significant problem with step one
listed above. We are able to pull out
the individual techniques of the hyung, and even given sequences in the hyung and answer, at least with a basic
level of comprehension, why that given technique or sequence would be used in a
fight. This first stage of analysis will
begin to identify whether a technique is designed to function more effectively
defensively or offensively, as well as what techniques best work together in
combination, and will begin to assign some level of meaning to the hyung.
It is at the second stage where many
instructors and students begin to falter, or at least experience
difficulty. When identifying
applications for a technique, we are all often content with the instructor
demonstrating a simplistic application of the technique, then having students
execute the hyung while imagining the
demonstrated applications against imaginary opponents. If we are truly to learn how to apply our
techniques against an opponent, though, we must actually have an opponent. We must
have our students execute the techniques of the hyung with a partner, and eventually, multiple partners. We must expose black belts to the concept
that just because they know one application for a given technique, this still
does not mean they “know” the hyung,
nor even that they “know” the given single technique. They must be encouraged
to explore many different applications for each technique, and then must be
encouraged to build these upon these applications by executing a series of
techniques in the hyung in
combination. Eventually, the black belt
student should be able to string together a set of applications, with multiple
opponents, for the entire hyung. We have now uncovered a Basic Concept:
While the techniques in a hyung remain the same upon every execution of
the hyung, the applications for those techniques do not.
At this stage, then, the black belt
student will begin to feel comfortable, believing that they have successfully
conquered the Application stage of learning a hyung. At this point, we
must again force them into a state of discomfort, and teach them that which
they still do not know. In all
likelihood, even though our black belts have now identified and executed
multiple applications for each of the techniques in a given hyung, they have probably only
considered attacks and defenses from one, or perhaps two, different angles of
attack. It is time for us to now expose
them to additional drills in which we ask them to apply the techniques of the
hyung against opponents attacking from many different angles. To start, let us examine the first movement
of our first form, in which we step 90 degrees to the left and execute a left-
handed low block. When our students
first begin to work on applications of this technique with partners, they
probably consider scenario one below, and, perhaps have begun to consider
scenario two:
However, instructors should
not let their black belts limit themselves in this way. Instead they must
consider whether the same technique can still be applied in additional,
potentially more difficult scenarios that are just as likely:
As the angle of
attack changes, not only must the application change, but also the combative
purpose of the technique. What might be
a defensive block in one situation becomes an offensive attack in another, and
a defensive throw in yet another. As
instructors, we guide our black belts towards this Understanding through
Application. We also begin the early
stage of Improvisation, and students begin to identify when certain
applications are better than others, and develop their own applications. Still, we are able to demonstrate to our
black belts that there is more they don’t yet “know.” Consider the following:
In this case, we have
added even more possible angles of attack from which the student must attempt
to apply the given technique from any hyung. By illustrating a circle (with an infinite
number of points) of attackers around a single defender, this image begins to
reveal the truth, and in so doing, reveals some additional Basic Concepts:
While the techniques in a hyung remain the same upon every execution of
the hyung, the angle of attack does not.
The possible angles of attack for which any technique may be applied
are infinite.
At this point,
students truly must reflect on their various applications and their expected
results. If martial applications are meant to stop or deescalate violence or
conflict, is this in fact what the applications of our students work to do, or
they in fact increasing the amount of violence done and escalating the tensions
which arise in a fight? If the selected
applications are truly to embrace the essence of hyung, they must strive to do the former, and not the latter. The best ways in which to use our techniques
must be dynamically Improvised, based upon the nature of the attack
itself. As there are an infinite number
of possible situations in which conflict arises, there are also an infinite
number of possible ways in which that conflict can be stopped, only a few of
which may be avoidance, deflection, use of superior force, intimidation, or
immobilization. As Dave Lowry puts it:
Kata
[Japanese for hyung] does not provide
the “story” of a fight, it is rather the grammar that allows us to tell our own
stories, as varied as the encounters one is likely to meet, with fluidity and a
coherent structure that is likely to win us the battle.[xi]
Finally, we are able
to illustrate in a practical manner to our students that they will never “know”
everything about a hyung, because
even the merely martial possibilities
are endless.
We are beginning to see why true
mastery of even one hyung takes a
lifetime. Even with all of the above
analysis, we have only begun to scratch the surface. What,
then, of the art in hyung?
Previously, we have defined the word art
as it applied to Tang Soo Do to mean:
the quality, production, expression, or
realm, according to aesthetic principles, of what is beautiful, appealing, or
of more than ordinary significance, created only through unwavering dedication
to that which is difficult, but ultimately necessary in order to reach a
desired goal.
Grandmaster Shin has again already weighed in on this
concept in his analysis of hyung:
Every single movement contains feelings, meanings, spirit,
theory, and philosophy. Also, the hyung is symbolic of defense pride,
honor, and devotion to one’s goals.
Without understanding all of the above elements, hyung will simply be an exercise in physical exertion.[xii]
This quote contains
all of the ideas represented in our definition of art. It indicates that
properly executed hyung have
aesthetic beauty, qualities that are of more than ordinary significance, and
are representative of devotion (unwavering dedication) to one’s goals. How can we help our students to achieve this
level? There is only one way: through
repetition.
As Grandmaster Shin
puts it:
The idea
behind the creation of hyung is that
through constant repetition, physical movements of the form become ingrained
and automatic, and the mental battle becomes logical and calculated, to the
point that we are no longer distracted by our own emotions or physical
awareness. When this is achieved, the
unification of Body, Mind, and Spirit begins, and we move closer to true
aesthetic perfection.[xiii]
The founder of modern
Okinawan and Japanese Karate, Gichin Funakoshi, also indicates that repetition
and constant devotion to training is necessary in order to master a hyung (kata):
Others
have mastered the kata you are practicing. Why then are you unable to? Is there
something wrong with you? These are the questions you must ask yourself; then
you must train until you fall from exhaustion; then soon you must continue, using
the same strict regimen.[xiv]
Once again we are
confronted with the idea that true mastery, and true art, in the practice of hyung can come only with steadfast
devotion and unwavering dedication. To put it yet another way, as famous
American football coach Vince Lombardi once said, “Practice does not make
perfect. Only perfect practice makes
perfect.”[xv] Perfect
practice of hyung can only be achieved when one is willing to push oneself
through countless repetitions with an unyielding and unending desire to perfect
each and every movement. One must be willing
to the hyung “one more time” every time, and must be willing to
submit to the corrections of the instructor, however minute and insignificant
they may seem, for in the pursuit of true artistic perfection, nothing is
minute or insignificant.
The
problem we tend to encounter as instructors when attempting to instill these
beliefs in our students is a difficult one to overcome. Because our students are surrounded today by
a world of instant gratification, and because the average age of our black
belts is trending younger and younger, more and more modern black belts see the
required repetition as boring. This is a concept that turns
up surprisingly often in martial arts literature. Grandmaster Shin tells us, that without the
proper guidance, “the student may misinterpret the hyung and see it as
boring or useless. Unfortunately, this
is a lament much heard by today’s students.”[xvi] Forrest E. Morgan, author of famed martial
arts manual, Living the Martial Way, says
(somewhat tongue-in-cheek), “Forms practice is probably the one feature of
martial arts training most disliked by Americans. Let’s face it, it’s repetitive, it’s boring,
and most students don’t see any point in it.”[xvii] Finally, martial arts essayist Wendell E.
Wilson tells us, “Boredom with the repetitive nature of training and practice
is a challenge facing everyone who wishes to master a skill or an art.”[xviii] We must then alter this perception, and in so
doing we establish another Basic Concept of hyung
training:
Constant
and unwavering repetition, while necessary to produce art, does not have to be boring.
In fact, it easily argued that if
something instills a feeling of boredom, there is no art in it. As this is clearly not the case with hyung, it is my belief that if a person
is bored by the practice of hyung,
than the individual is practicing hyung
wrong.
How do we ensure
that this trap does not ensnare our own students? We must make repetition interesting, fun, and
we must, at times, fool our students by ensuring that while they are, in fact,
repeating the same basic movements time after time, they actually believe they
are doing something different. This is not to say that the traditional
methods of repetition should be abandoned.
Maintaining traditional training methods is crucial to our identity as
an art, and cannot be sacrificed.
However, it is important that we also identify additional methods for
developing art in hyung, without simultaneously generating
boredom.
We must analyze the aesthetic
values of hyung, and create new drills
that emphasize these aesthetics.
The
fundamental aesthetic feature of hyung, beyond
mere physical beauty attained by perfection of technique, is rhythm. Rhythm is an essential feature in the practice of hyung, and without it,
one is neither creating art, nor truly practicing hyung. At the beginning
stages of our training, it is important that we adhere to a set, pre-defined
rhythm in our hyung that matches the prescribed count of the movements. At some point, this rhythm may not match the
individual characteristics of a student, and at this point it begins to feel
constraining and robotic. Grandmaster Shin explains this as follows:
The individual flow
of movements are different according to the conditions of an individual’s
inherent body structure, their mental and physical condition, and environmental
circumstance. Also, the individual’s
life cycle, such as breathing, pulse, metabolism, and individual habits affect
the hyung. On the other hand, the hyung demands uniformity.
In order to harmonize the two (standard requirement and individual
condition) to perform in balanced beauty, a rhythm is absolutely
necessary. This must be developed to an
individual’s own excellence. This is why
we must learn and practice by the count or command, and then again without the count
or command.[xix]
We need to discuss this with our
students, because it is actually at this point that Understanding has come to
them, and Application and Improvisation can begin. Instead of feeling frustrated by the
constraints of the traditional rhythm that was, up to this point, a completely
necessary form of practice, they must be encouraged to explore their own rhythm
and interpretation of the hyung. It is here that art is found. This is a
particularly difficult transition for a black belt to make, and one that must
be carefully monitored by an instructor who has been through this himself. As Dave Lowry puts it:
It is a
narrow road to walk. If we start
extemporizing too soon, before we truly understand the fundamentals of kata, we
are wasting our time. If we continue,
year after year, to just copy, never thinking of our individual take on these
same kata, we are spinning our wheels as well.[xx]
How then are we to
identify the students who are ready to make this transition, and how do we
assist them in doing so? Primarily, we
can do this through observation of their adaptability to changing rhythms set
by the instructor. One of the best ways
to do this is through the use of a drum, but can also be done effectively with
the modulation of an instructor’s ki hap. In the normal execution of a hyung, the
rhythm may be described as metronomic in nature, with predefined pauses between
each count, yielding a basic structure that would be numbered as: 1,2,3,4,5,6,
etc., in which the numbers indicate individual beats or techniques, and the
commas indicate pauses. At some point,
the instructor should begin to experiment with the rhythm of the hyung in order to test the student’s
adaptability and readiness for change.
In this case, the new rhythm may be 1-2, 3-4, 5, 6-7-8, 9-10, 11-12, 13,
14-15-16, etc. Here, the dashes indicate
that a series of beats or movements is performed in rapid succession, with
little to no pause between, and the commas indicate the longer, extended
periods of rest or pauses. Rhythm may continue to become increasingly
complicated, or may be very simple, but it must always follow a pattern. Perhaps this is a pattern of similar beats,
such as 1-2-3, 4-5-6, 7-8-9, or perhaps it is a pattern of changing, yet
repeating beats, such as 1, 2-3, 4-5-6, 7, 8-9, 10-11-12. In any case, the student is performing the
same movements, but in a way that the mind and body will perceive as different.
If a student is able to keep up with, and then replicate
these changing rhythms on his own, without faltering, he has demonstrated Application,
through the ability to apply various different rhythms to the hyung.
He is now ready for Improvisation, the point at which he may develop
and interpret his own rhythm, one that fits him in terms of body mechanics,
personal philosophy, and attitude. While
the student must be truly ready before attempting this, the result is art.
We find that, at this stage,
No one hyung, as performed by each individual,
is the same. Each individual brings
their own unique beauty to each hyung. Therefore,
the perfect hyung is a manifestation
of the individual’s perfection.[xxi]
We have,
ultimately, in our exploration of hyung
as art, uncovered another of our
Basic Concepts:
True “living” hyung is an ultimate expression of the individual.
Our hypothetical black belt students
have now demonstrated proficiency with both the martial and the art in hyung.
Can it be said, then, at this point that they “know” the hyung?
Not yet. In order to truly master
a hyung, and individual must
demonstrate all this and more. The hyung
must become a tool for embracing the Do
in Tang Soo Do. He must move away from simple analysis and move towards the
synthesis of Mind, Body, and Spirit. At
this level, one cannot separate Understanding, Application, and Improvisation,
because all three concepts are one and the same. It is at this point that the student is able
to move beyond any artificial constraint, and is free to enjoy “meditation in
motion”, in which he is able to contemplate the physical, mental, and spiritual
aspects of the hyung, while not
actually dwelling on any of the three.
Step
3: Understand, Apply & Improvise
If we review the previous section of
this Chapter, we see that it was impossible to separate the discovery of our Basic
Concepts from the stages of Understanding, Application, and Improvisation. Each attempt to deconstruct the
characteristics of hyung at an advanced level ultimately resisted being pulled
apart, and instead had to be reconstructed into something new. In so doing, Understanding, Application, and
Improvisation were all required and documented. However, it is possible to now
examine the synthesis we have generated and see things at yet another level. In order to deconstruct hyung, we looked at its characteristics in terms of Moo, or martial, Sool, or art, and
Do, or The Way. Each of these
individual Advanced Concepts lends itself to a reconstruction and synthesis as
well. In these terms, Moo implies Application, Sool implies Improvisation, and Do implies Understanding in its ultimate
sense. If we reexamine our initial look at the characteristics of a black belt,
then, we get:
Hyung:
Conclusions
This post proved to be
extraordinarily difficult to write.
Attempting to deconstruct that which is the total synthesis of our art,
and is at the same time at its most basic foundation, is no easy task. I applaud those martial artists, masters, and
Grandmasters who have paved the way for me to make this attempt. I only hope that in the end I have been able
to add some of my own insight to a topic that can easily become
overwhelming. In our analysis of hyung, we have discovered the
following. Advanced Concepts appear in
bold, while Basic Concepts appear in Italics:
- Hyung is the synthesis of “martial” and “art.” (and, in being so, provides a tool for seeking The Way.)
- While the techniques in a hyung remain the same upon every execution of the hyung, the applications for those techniques do not.
- While the techniques in a hyung remain the same upon every execution of the hyung, the angle of attack does not.
- The possible angles of attack for which any technique may be applied are infinite.
- Constant and unwavering repetition, while necessary to produce art, does not have to be boring.
- True “living” hyung is an ultimate expression of the individual.
It is hoped that a deeper
analysis of this post may, in fact, cause readers to identify Additional
Advanced and Basic Concepts inherent in hyung. In so doing, they can begin to form their own
drills for their Black Belt Curricula.
Concepts of changing tension and relaxation in instead of changing
rhythms may be explored. Concepts of how
performing the hyung at different angles affects its execution might be
examined. Hyung, as the synthesis of Tang Soo Do , has much and more to offer
in terms of the Conceptual Teaching Model. While hyung is the heart of the art, and the synthesis of Tang Soo Do, it
is not all we do. The Black Belt
Curriculum must include still more.
Kick. Punch. Easy Stuff.
[i] Shin,
Jae Chul. (2000). Traditional Tang Soo Do
Volume IV: The Advanced Hyung Philadelphia, PA: Jae Chul Shin, n.pag.
[ii] http://dictionary.reference.com/browse/synthesis?s=t
[iii] http://dictionary.reference.com/browse/martial?s=t,
http://www.merriam-webster.com/dictionary/martial, http://www.thefreedictionary.com/Martial
[iv] Lowry,
Dave. (1995). Sword and Brush: The Spirit
of The Martial Arts Boston, MA: Dave Lowry, p. 20
Wilson,
Wendell E. (2010) The Meaning of Bu and
Budo: http://www.minrec.org/wilson/pdfs/Concepts-- Bu%20and%20Budo.pdf
[v] http://dictionary.reference.com/browse/art?s=t
[vi] [vi]
Lowry, Dave. (1995). Sword and Brush: The
Spirit of The Martial Arts Boston, MA: Dave Lowry, p.23
[vii] Hwang,
Kee. (1978). Tang Soo Do (Soo Bahk Do)
Springfield, NJ: Hwang Kee, p.351
[viii] Shin,
Jae Chul. (1994). Traditional Tang Soo Do
Volume II: The Basics Philadelphia, PA: Jae C. Shin, p.119
[ix] Shin,
Jae Chul. (2000). Traditional Tang Soo Do
Volume IV: The Advanced Hyung Philadelphia, PA: Jae Chul Shin, p.3
[x] Shin,
Jae Chul. (1994). Traditional Tang Soo Do
Volume II: The Basics Philadelphia, PA: Jae C. Shin, p.121
[xi] Lowry,
Dave. (2002), Traditions: Essays on the
Japanese Martial Arts and Ways Boston, MA: Dave Lowry. p. 45
[xii] Shin,
Jae Chul. (2000). Traditional Tang Soo Do
Volume IV: The Advanced Hyung Philadelphia, PA: Jae Chul Shin, p.3
[xiii] Shin,
Jae Chul. (1994). Traditional Tang Soo Do
Volume II: The Basics Philadelphia, PA: Jae C. Shin, p.115
[xiv]
Funakoshi, Gichin. (1975). Karate-Do: My
Way of Life New York, NY: Gichin Funakoshi, p. 107
[xv] http://www.brainyquote.com/quotes/quotes/v/vincelomba138158.html
[xvi] Shin,
Jae Chul. (2000). Traditional Tang Soo Do
Volume IV: The Advanced Hyung Philadelphia, PA: Jae Chul Shin, preface
[xvii]
Morgan, Forrest E. (1992). Living The
Martial Way Fort Lee, NJ: Forrest E. Morgan, p. 69
[xviii]
Wilson, Wendell E. (2010) Essays on the
Martial Arts: Boredom and Repetition,
http://www.minrec.org/wilson/pdfs/Boredom%20and%20Repetition.pdf
[xix] Shin,
Jae Chul. (2000). Traditional Tang Soo Do
Volume IV: The Advanced Hyung Philadelphia, PA: Jae Chul Shin, p.7
[xx] Lowry,
Dave. (2002), Traditions: Essays on the
Japanese Martial Arts and Ways Boston, MA: Dave Lowry, p. 46
[xxi] Shin,
Jae Chul. (2000). Traditional Tang Soo Do
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