TAE KWON DO HYUNGS : Putting the ART in Martial Art - Eric Heintz

        "The Principle of Strategy is having one thing, to know ten thousand things."  Miyamoto Mushasi

    "It looks like dance movements.  It's beautiful."

    "When will I learn how to defend myself?  That's what I'm here for."

    "I've practiced this one for a month, I know it and I want to learn a new one."

    These reactions are typical of the comments one might hear from beginning students about the hyungs or forms which they are observing and learning for the first time.  Each student responds differently on a physical and aesthetic level to forms practice, but over time, every serious student realizes the importance of hyungs to the art of Tae Kwon Do.

    Tae Kwon Do may be considered science, sport and art.  Sang Kyu Shim defines the scientific aspect of Tae Kwon Do in this way:

    Indisputably a science, Tae Kwon Do abstracts forms, and from these forms deduces theories, hypotheses, formulas.  As a science, it is demonstrable, can be analyzed as is practical and functional.  It stresses both quantitative and qualitative factors.  It is scientific, too, in its use of anatomical data as well as in the organic nature of its development.  It is intelligible, logical and highly structured in both form and content.  Its techniques are precisely definable both spatially and temporally.  Finally, its progress can be measured in terms of its effectiveness and the fulfillment of its aims.

    Thus, the body movements of Tae Kwon Do are based on scientific principles and may be analyzed and measured scientifically.  The punches, kicks and blocks are designed to provide maximum efficiency with economy of motion and energy.  The laws of physics provide the contour map by which the student finds his way.

    Tae Kwon Do is a sport in which one strives to complete primarily on a physical level with others to establish ranking or placement at  a specific time.  Improvements of physical and technical skills, which may be demonstrated and tangibly measured, is the primary goal of sport.  Physical fitness, camaraderie and a sense of fair play are by-products of the sport aspect of Tae Kwon Do.

    But most important, Tae Kwon Do is an art.  Philosophers, painters, sculptors, dancers, poets and other might disagree on a definition of art, but there are certain qualities which may characterize art.  Art provides a form for expression of one's innermost desires, thoughts and beliefs.  Art taps the creativity of the performer to demonstrate those innermost feelings in a unique and special way.  The form of self-expression is done in a peaceful setting with beauty as an ideal to be realized in execution.  An art channels the energy of the performer to the interested observer in a measurable way.  Another quality is "open-endedness", according to Mr. Shim.  "The artist is never fully satisfied with his creations because he feels there is always room for improvement.  Because he is competing with himself rather than outside himself, his ideals keep receding as he approaches it so that his potential is never exhausted."

    Forms are the essence of art in the martial art in Tae Kwon Do.  Forms practice provides the unique medium for self-expression for each student.  Within that medium, each student may mold his body and mind into an icon of beauty.  Tremendous energy is required in their performance, energy which is palpable to the observer.  Spirited execution is not an energy drain on the performer since the performance recharges the student long after his practice time at the dojang.  The forms may be practiced for the remainder of one's life, continuing to offer glimpses of the possibility of perfection to the dedicated student.  A hung, or "body poem", is a prescribed set of blocks, punches and kicks which each student learns at a particular point in his training.  Each student, at each belt level, works on one or two forms so that by the time he reaches the first black belt dan, he has often learned fifteen or more forms.  As he progresses in his training to higher dan rankings, he will continue to learn more difficult forms.  Even after decades of training, however, a serious Tae Kwon Do student will continue to practice not only the most advanced of forms but the very basic beginning forms as well. 

    Forms practice enhances the practitioner's sense of well-being on three levels : physical, mental and spiritual.  On the physical level, the martial artist develops stamina and strength, together with speed, grace, balance, coordination and flexibility.  On a mental level, untiring forms practice molds desirable personal characteristics, which include discipline, patience, perseverance and a strong spirit.  On a spiritual level, the martial artist learns to unify his mind and body in the present moment, concentrating all his energies in the form, living the spirit of each gesture.

    Each student, whether a beginner or a lifetime practitioner, may work on a form and continue to learn from that practice.  Each form must be learned technically, i.e., the sequence of movements, creating a sense of grace and balance.  During this process, each student must ponder hip and upper body movements to add the element of power.  The form must be more than a conglomeration of dance steps since the form has specific martial or self-defense technique.

    Through time and with much practice, the body slims, toughens and stretches.  Each repetition, although not obvious at the time, adds coordination to hand and foot movements, fashioning a better sense of body control in the student.  Flexibility improves as the student strains his entire body for that perfect kick, block or punch.  Continuous hyung practice builds the student's stamina and lung capacity by performance, over and over, or the forms with the maximum speed and power which the student is able to summon at the moment.  The student's muscle definition and strength appear over the months of practice.  Formless arms and legs take tangible sense of well-being grows within, nurtured by the unflagging practice for hours, days, months and years of the forms which embody the art of Tae Kwon Do.

    Mere repetition of a form and its movements is not enough, however.  One must perform with strength and a positive attitude.  Repetition without these qualities will soon become boring and tedious, without meaning.  Legendary karate master, Gichin Funakoshi, advised that Kata (hyungs) be practiced in the following manner:

    True practice is done not with words but with the entire body.  Others have mastered the kata that 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.  What you have been taught by listening to others' words you will forget very quickly; what you have learned with your whole body you will remember for the rest of your life.

    Are you learning only a series of block, punches and kicks?  Of what relevance are these movements to a martial art specifically or how you live generally?  Taisen Deshimaru, a Zen Master, suggest that one's attitude during the performance of forms is of paramount importance.

    The essence of kata is not in the gesture themselves but in the attitude adopted toward them that is what makes them right or not.  You must not think, "This kata has to be performed like this or like that."  Instead, you must train the body-mind to create each time, one total gesture mobilizing the whole ki, in the instant...

    You must not dream your life.  You must be, completely, in whatever you do.,  That is training in kata...  One should live the world with one's body here and now.  And concentrate, completely, on every action.

    Zen meditation and the vital practice of forms are very similar activities.  Zazen, or sitting meditation, employs a posture, methods of breathing and certain attitude of mind.  Hyung practice seeks to reach the same state of "no-mind" with the right posture, breathing and mental attitude.  Forms practice is "moving Zen".

    That the practice of forms develops patience is a truism without question.  However, patience with a goal in mind is one thing while patience without attachment to goal is another.  Patience on one level is nothing more than gratification postponed.  "I will not go to the movie but will practice my forms for the test."  After the student has passed, he has a new belt to display.  This is one expression of patience.

    Another level of patience is exhibited by a non-attachment to the result.  You practice because you practice.  That's what you do with every fiber of your being at that time and nothing else.  You are not worried about the time of day, the state of your finances or your love life.  This type of practice teaches you patience much beyond our everyday definition of the word.

    Ultimately, the performance of hyungs is self-expression.  As a painter wields the brush or a sculptor molds the clay, a martial artist creates himself and his art in the hyung.  He is the forms and the form is he.  The behavior is influenced by the right attitude and vitality and the "dancer becomes the dance".  This attitude and sense of self should not be left behind in the dojang but should be carried with you always.  In this way the art lives beyond the physical manifestations of punches, blocks and kicks.

    In every form, the martial artist is creating with every movement the person he wishes to be.  On a physical level, the body slims, firms and toughens.  On a mental level, the mind probes and perseveres.  On a spiritual level, the spirit soars with a sense of freedom unfettered by flesh and bone.  Each movement, amidst the spray of perspiration and accompanied by a popping dobok, creates the frame of mind and posture of body which epitomize who you are and the promise of who you are becoming.

    The Western mind prizes linear thought and logical symmetry but this is not enough for true understanding of martial art.  A student may insist that he knows a particular form.  "Knowing" the series of movements, that a block precedes a punch, followed by a kick and a block, are not the same as "experiencing" the form.  Knowing is not doing, and a Tae Kwon Do student has to do it in practice every day.  One would never insist that reading books on driving an automobile would render one able to actually operate a car on a freeway during rush hour.  The wisdom-beyond mere knowledge-derived from mastery of a form is gained after years of intensive and endless practice. 

    The practice of forms will teach patience and perseverance to the student.  In the beginning, left and right are easily confused.  Body movements feel awkward and balance is lacking.  The beginner is easily frustrated with the ephemeral nature of the practice.  Over time, the movements become less awkward and a pattern of fluidity emerges.  Gracefulness develops after months or years of practice.  It is not the grace of mechanical movements strung serially together but is rather a visual concept with physical manifestations.  Both actor and spectator perceive the mental and physical aspects of a form-its completeness.

    In forms training, as well in other aspects of Tae Kwon Do training, mere technical proficiency, no matter how impressive, is not mastery.  One who wishes to know the art must strive to reach its spirit.  In order to reach that spirit.  In order to reach that spirit, one mush reach a state of simple harmony with life itself.  This state is characterized as a state of "no-mind" (mushin in Japanese, wu-shin in Chinese).  It is not characterized by reserve or laziness or idiocy.  "No-mind" is a consciousness which does not "stop" on a thought or event.  It flows as the water in a stream, never standing still.

    When facing an opponent, a martial artist of "no-mind" concentrates not upon the opponent, his opponent's weapons or his movements.  Instead the martial artist perceives movements-the punches, kicks or thrust with a weapon- and allows his body to react instinctively turned the attacker's blows upon himself.  For "no-mind" does not reflect upon the duality of thought and action, you and I, attacker and defender, but transcends this dualism to unite one's being with that of the universe.  The martial artist does not attempt to concentrate the mind in one part of his body or project it upon an opponent or events.  It is nowhere; it is everywhere.  It flows freely, ready to react to circumstances.  A state of "no-mind" allows the feet to react by kicking when necessary, the hands to blow if a blow is launched.  A monitoring thought, "He is punching toward me with his right fist and I must counter it", will impede an effective and immediate response.

    Forms training, with the proper focus of spirit, will give the practitioner insight in the state of no-mind.  Typical human emotions, such as jealousy, anger and greed, must be banished from the mind so that intuition directs each movement, an intuition suffused with the spirit of the gesture.  No-mind does not mean just to be without anger, jealousy or greed, but to allow your natural faculties to act free from all thoughts, ideas and feelings.

    When no-mind is achieved, the mind knows no obstacles and does not dwell upon the duality of life and death, gain and loss, victory and defeat.

    When a novice begins Tae Kwon Do training, bowing is a new and unfamiliar activity.  For some new students bowing is very difficult and uncomfortable.  Other find to be a very natural form of expression.  Superficially, bowing is an external way of showing an internal attitude of respect for the art of Tae Kwon Do, the dojang within which it is practiced, the students and the instructors and, ultimately, for oneself.

    On another level, bowing reaches deep within the student's being to challenge his or her ego.  If the student wonders why he should bow to a child or to someone who holds an "inferior" position outside the dojang or whose technique is "not as good", the consistent practice of bowing forces the student to set aside these preconceptions.  Each practitioner is deserving of a bow by virtue of his presence; each makes a contribution to be acknowledged.

    When students bow before and after performing hyungs, they signal their respect for Tae Kwon Do, their instructor, their fellow students, any observers and themselves.  They unify the form with an appropriate opening and close.  Even more than that, by bowing they give up themselves and their discriminating thoughts.  There is no division between individual students, beginning and end, mind and body.  All are one and all have the same value, worthy of respect, and therefore are accorded a bow.  Each learns from anyone and everyone with whom he practices.

    Warriors in ancient times utilized their martial skills on a daily basis in with the knowledge that each day in battle might well be their last on earth.  Today's martial artist is less concerned with the daily struggle for physical survival than his ancestor, but self-defense in life-threatening situations remains of concern in his training.  More importantly, at this time in our civilization, Tae Kwon Do is not so much a form pf physical combat against others as it is a form of combat against one's own ego.

    The ego is the repository of many of our selfish desires.  Our ego and its involvement in our daily affairs causes us much frustration and anxiety.  We constantly worry about other people's opinions, reactions and attitudes toward us.  We become become angry too easily.  Indiscriminately, we desire material possessions and physical pleasures.  We may drink and eat too much and exercise too little.  These desires and passions push and pull us from a centered position of knowing what is really important in our lives.  This constant assault of our emotions on our true nature turns our feet from a calm path.

    Forms practice offers a path to calmness.  By living the spirit of each gesture, by practicing "as though your hair is on fire", each student will, over time, achieve a unity of mind and body which buttresses the spirit with an iron resolve.  This spirit transcends the physical limitations of each of us to pique our consciousness with new levels of awareness.  This awareness might best be described as a sense of harmony with the universe and all within it, a sense of calmness knowing one's importance as a sentient being in that universe.

    Through daily forms practice, one transcends not only one's physical limitations but the limitations of one's social roles and responsibilities.  No longer is one defined only as homemaker, teacher, accountant, clerk or delivery person.  One's consciousness transcends those labels, roles and concepts to another level of intuitive experience and a sense of unity with all living things.

    When we study our forms, we study ourselves intimately.  With that experiential knowledge, we arm ourselves not against others but against our own egos, our most difficult enemy.  By abandoning our egos, we are able to harmonize our spirit with the cosmos.  By taking a weapon-the ability to kick, punch and block-and using it against ourselves facing an exhilarating sense of freedom before unknown to us.