Complete Taekwondo Poomsae

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Overview

Complete Taekwondo Poomsae is the most complete reference book available on the Taegeuk, Palgwae and Black Belt Poomsae of WTF style Taekwondo. Grandmasters Kyu Hyung Lee and Sang H. Kim have combined their extensive Taekwondo knowledge to teach you not only the 25 official Taekwondo Poomsaes, but the meaning of the forms, the principles of Poomsae performance and the philosophy that underlies the techniques. Each Poomsae is thoroughly illustrated with clear and technically precise photos. The instructional text is supplemented with information about the meaning, movement line, symbol of each form, and the correct execution of each new movement introduced in the form.

In addition to the ...

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Overview

Complete Taekwondo Poomsae is the most complete reference book available on the Taegeuk, Palgwae and Black Belt Poomsae of WTF style Taekwondo. Grandmasters Kyu Hyung Lee and Sang H. Kim have combined their extensive Taekwondo knowledge to teach you not only the 25 official Taekwondo Poomsaes, but the meaning of the forms, the principles of Poomsae performance and the philosophy that underlies the techniques. Each Poomsae is thoroughly illustrated with clear and technically precise photos. The instructional text is supplemented with information about the meaning, movement line, symbol of each form, and the correct execution of each new movement introduced in the form.

In addition to the 25 official Poomsaes, the authors explain Poomsae theory and principles to help you understand the underlying concepts of Poomsae practice. Topics covered include: characteristics of Poomsae, 13 fundamental Taekwondo techniques, stance, vital targets, bodily weapons, structural principles of Poomsae, Poomsae creation, movement principles, performance tips, mastery, terminology, origin of Taegeuk and Palgwae, meaning of the trigrams, and complete Korean and English Poomsae terminology. Much of this information has never before been translated into English.

About the Author:
Dr. Kyu Hyung Lee is a professor at Keimyung University in Daegu, South Korea

Product Details

  • ISBN-13: 9781880336922
  • Publisher: Turtle Press Corporation
  • Publication date: 2/1/2007
  • Pages: 460
  • Sales rank: 337,576
  • Product dimensions: 0.93 (w) x 8.50 (h) x 11.00 (d)

Table of Contents


Poomsae Fundamentals     19
Common Qualities of All Poomsae     21
Characteristics of Poomsae     23
Strengths and Limitations of Poomsae Techniques in Actual Combat     25
Fundamental Techniques of Tackwondo     26
How to Form a Fist Correctly     28
How to Form a Knifehand Correctly     30
Rules of Poomsae Practice     31
Junbiseogi: Ready Stance     32
Juchumseo Momtong Jireugi: Horseriding Stance Middle Punch     34
Araemakki: Low Section Block     36
Momtong Bandae Jireugi: Reverse Middle Punch     38
Apchagi: Front Kick     40
Sonnal Bakkatchigi: Outward Knifehand Strike     42
Momtongmakki: Middle Section Block     44
Yopchagi: Side Kick     46
Sonnal Momtongmakki: Double Knifehand Block     48
Olgulmakki: High Section Block     50
Sonnal Mokchigi: Knifehand Neck Strike     52
Dollyochagi: Roundhouse Kick     54
Momtong Barojireugi: Straight Middle Punch     56
Stance     58
Blocking     60
Evasion     60
Gupso: Vital Targets     61
Bodily Weapons     62
AttackingTechniques     64
The Structural Principles and Types of Poomsae     68
Principles of Poomsae Creation     69
Movement Principles of Poomsae     70
Tips for Effective Poomsae Practice     72
Emphasis in Poomsae Training     73
Mastery of Poomsae     80
Poomsae Terminology     83
Poomsae Warm-Up     91
Taegeuk Poomsae     101
What is Taegeuk?     103
Origin of Taegeuk     103
Nature of Um and Yang     103
Principles of Poomsae Practice     104
Palgwae Trigrams from Taegeuk     104
Symbols for Eight Taegeuk Poomsae     105
Poomsae Taegeuk Il Jang     107
Poomsae Taegeuk Ee Jang     117
Poomsae Taegeuk Sam Jang     127
Poomsae Taegeuk Sah Jang     139
Poomsae Taegeuk Oh Jang     151
Poomsae Taegeuk Yuk Jang     165
Poomsae Taegeuk Chil Jang     177
Poomsae Taegeuk Pal Jang     193
Palgwae Poomsae     209
What is Palgwae Poomsae?     211
Palgwae Trigrams from Palgwae Poomsae     211
Palgwae Diagram     211
Symbols for Eight Palgwae Poomsae     212
Poomsae Palgwae Il Jang     213
Poomsae Palgwae Ee Jang     223
Poomsae Palgwae Sam Jang     235
Poomsae Palgwae Sah Jang     245
Poomsae Palgwae Oh Jang     259
Poomsae Palgwae Yuk Jang     273
Poomsae Palgwae Chil Jang     285
Poomsae Palgwae Pal Jang     297
Black Belt Poomsae     315
Poomsae Koryo     317
Poomsae Keumgang     337
Poomsae Taebaek     349
Poomsae Pyongwon     363
Poomsae Sipjin     377
Poomsae Jitae     395
Poomsae Cheonkwon     409
Poomsae Hansoo     427
Poomse Ilyeo     441

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  • Posted September 11, 2010

    Good, but not perfect

    It thankfully covers all 25 forms and describes each of them. And compared to Kukkiwon's textbook, this book is devoid of the grammatical problems in the bigger textbook. It does offer some reasonable explanation about some topics, such as the reasoning for the deliberate narrowing of stances. While I don't agree with some of the explanations, I am, after all, not in possession of a PhD or a 9th degree black belt. But the explanations are there nevertheless, which is more than can be said for any other book out there. And that fosters discussion and debate. But as is typical with nearly all books written on the subject, there is missing some technical details. Some examples: 1) In palgwe 4, #8b and #18b, it doesn't explain why the palm is below the elbow. I know why it's there, but it should be explained in the book. 2) p49 shows how to execute double knifehand block. But if performed per this book in competition, the performer would lose points. Therefore, there is inconsistency between this book and official judging regulations. Maybe the book wasn't written for competition style performance, but there's no reason why it shouldn't be presented that way. 3) Unlike many of the other books out there on this subject, this book does not explain the application behind ANY of the forms' techniques. Without understanding of the application, it will not be possible for the performer to apply personal style without potentially breaking spirit of the technique. The book is interesting, and compared to many books is very complete; but in other ways, it is not as complete as I would like.

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