In the very first editions of his book Taekwon-Do, General Choi only mentioned twenty Tae Kwon Do patterns, along with some karate patterns.   In the 1970's, Choi removed the karate patterns and added four more Taekwondo patterns, moon-moo, yon-gae, So-san, and Eui-Am, for a total of twenty-four Taekwondo patterns. During the early 1980's, Choi thought some important techniques were missing from the original patterns, so he replaced one of the original patterns (Ko-Dang) with a new pattern (Juche). This kept the total number of patterns at twenty-four. The order of the patterns has changed somewhat over time, as well as the total number, but regardless of the number of patterns, Tong-Il will be always the last one. This is because it stands for the hope that North and South Korea will one day be unified.

The complete twenty-four patterns are used by the International Taekwondo Federation (ITF). Some or all of these patterns are used by various other Taekwondo organizations.

In 1971, General Choi became embroiled in political disputes with the South Korean government and left Korea and formed the International Taekwondo Federation (ITF). His original patterns with their Shotokan influence are still used by the ITF. ITF patterns are known as hyung or tul. ITF patterns are known for their stepping motion (sine wave) while moving into techniques, which applies the force of the entire body at the movement of impact. After General Choi's departure from Korea, a younger generation of Koreans who had not trained under Japanese instructors gained control of Tae Kwon Do development in Korea and formed the World Taekwondo Federation (WTF), which uses patterns known as poomse.

In Korea, Tae Kwon Do began to adopt a fighting style which was more fluid and dynamic and relied more on speed, timing, and strategic body movement. Continuous movement was encouraged, and ""point" scoring was eliminated. Taekwondo began to effectively utilize a competition as an  integral part of training structure.

The taegeuk patterns were reformulated to incorporate more realistic natural stances. These patterns differed from karate forms or the ITF style of Tae Kwon Do forms. They used stances more typically used for fighting or self-defense and their pattern of movements tended to follow a "trigram" pattern of movement, rather than the "H" pattern of ITF forms. However, these reformulated forms remained based, in both structure and theory, on karate forms.

There are several sets of patterns used by Taekwondo schools around the world, such as the American Taekwondo Association's Song-am patterns, the Jhoon Rhee Martial Ballet, the Pyong-Ahn patterns, the Taegeuk patterns, the Palgwe patterns, and the Chang-hon patterns.  Which ever set you practice, you should know its origins and its current purpose.

Similarities:

If you have experience in other martial arts you may have noticed that many of their patterns are similar to Tae Kwon Do patterns. There is a premise that Taekwondo was influenced by Shotokan karate.

General Choi, the disputed "founder" of Tae Kwon Do, who originated the Changhon pattern set used by the ITF and many other Tae Kwon Do organizations was originally a Shotokan karate black belt; for a time, he actually was a student of Gichin Funakoshi, the father of Japanese karate and founder of Shotokan. In a January 2000 issue of Taekwondo Times Magazine, Choi stated that he studied under Funakoshi while he was a student at Tokyo University. He also stated that upon receiving his 2nd Dan in Shotokan, he taught Shotokan Karate for a time at the YMCA in Tokyo.  Choi's original Taekwondo espoused many of the core beliefs, techniques, patterns, and procedures of Funakoshi's karate.

Tae Kwon Do Pyong-an patterns are exactly the same as the Shotokan Heian patterns. For example, Taekwondo Bal-sek pattern is the same as Shotokan Bassai pattern, Chul-gi is the same as Tekki, and  Kong-san-koon is the same as Kanku. Palgwe Taekwondo patterns are also similar to Heian patterns.

Although the ITF, with its Shotokan influenced patterns, was popular around the world, the WTF eventually gained control of Tae Kwon Do within Korea.  In later years, when Korea won the bid to host the Olympics, the WTF was chosen to lead the effort to include Tae Kwon Do as an Olympic demonstration sport. Korea, through the WTF, wanted to purge Shotokan 's influence from Tae Kwon Do so it would only reflect Korea's martial arts history. As a result of the effort, they developed a set of strictly Korean patterns they called Taegeuk (which is the name of South Korea's national flag).

Future Development

The original kwans taught patterns that were taken directly from Japanese and Okinawan karate styles (Shorin and Shorei).  Because of conflicts with the Japanese and Chinese, Korean martial artists wanted to distance themselves from things related to Japan and China, including patterns. Although this attitude is understandable, the change has not been accepted by all Korean masters. When you remove the traditional karate patterns from Taekwondo, you remove its roots, its art, and its soul.

The  International Taekwondo Federation (ITF) uses Chang Hon patterns (hyung) developed by General Choi in the 1950's. The patterns express much of the influence that karate had on Taekwondo. The founding members of the Korean Tae Kwon Do Association (KTA) agreed to favor none of the patterns of the participating schools, and instead to create an entirely new set of patterns to ensure agreement among the different schools. The KTA adopted the Palgwe and Taeguek patterns (poomse) on January 30, 1967, later the Palgwe patterns were discarded. Although the Taegeuk patterns were designed especially for Taekwondo, the karate training of the developers still found its way into the patterns. About 40 percent of the techniques in Taebek pattern comes from two Pinan (Heian) katas, nidan and sandan.

Modern Taekwondo has been changing patterns to reflect its competition techniques and emphasis on kicking. It may be expected that future pattern changes will continue reflect the increasing emphasis on the competition kicking aspects of Taekwondo. As Taekwondo continues to stray from its roots as a "martial" (combat) "art" (way of life), it may gain popularity as a sport, but it will continue to lose favor as a martial arts, just as Judo did in the late 1900's.

Early Taekwondo (1954–1971) was basically a variation of Shotokan karate , incorporating Shotokan "Heian" patterns into its "Pinan" patterns. Although other patterns were developed during this time, they retained an intrinsic karate character in technical style, use of stances, and overall purpose.

From the beginning, Taekwondo practitioners have attempted to justify patterns based upon the idea that they represent an authentic training tool for sparring. Patterns supposedly teach the fundamentals of attack and defense. Jhoon Rhee, the “father” of American Taekwondo, considers patterns a link between Taekwondo training and actual fighting.

In 1971, Choi Hong Hi’’s departure from mainstream Korean Taekwondo was a turning point in its development. Choi's influence, as someone trained in Shotokan karate , was to preserve both a Shotokan style and philosophy in Taekwondo. However, a younger generation of Koreans who had not trained under Japanese instructors was coming into power. Beginning with the formation of the World Taekwondo Federation in 1973, Taekwondo began to adopt a more fluid and dynamic fighting style that relied more on speed, timing, and strategic body movement. It began to stress competition as an integral part of its training. Competition rules were extensively modified to encourage a higher level athletic skill development and to remove techniques that had no particular athletic development potential.

Patterns began to change to incorporate more realistic fighting techniques. Movements followed a "trigram" pattern of movement rather than the traditional "H" pattern. However, the patterns remain based, in both in structure and theory, on karate forms. While Taekwondo has evolved into a rather unique martial art, the essence of Taekwondo is poorly reflected in any of the commonly recognized Taekwondo patterns, whether they be Pinans, Chon-ji, Palgue, or Taegeuk. These patterns are basically nothing more than an arbitrary series of movements that use relatively few variations of combinations of a very few kicking and punching techniques. They do not represent any correlation with the overall skill level of the belt level to which they are assigned. Taekwondo patterns still fail distinguish Taekwondo from karate style patterns. They also fail to provide a mechanism for the preservation of either historical movements or a repository for non-competition skills, such as self-defense. The only skill that patterns seem to develop is perseverance in overcoming the boredom of performing uninspiring patterns.

Page 1 - Page 2

Growth

As Taekwondo has grown in popularity, the effectiveness of pattern training in increasing technical prowess or in fulfilling some philosophical or teaching purpose has been questioned. Since pattern movements and techniques seem to be geared to the abilities of the lower ranked students, they are boring to perform and many students do not want to do them. As other cultures practice Taekwondo and impose their values upon it, Taekwondo has changed to accommodate them, such as developing into more of a sport. These changes have and will affect the traditional practice of patterns.

Proposed Pattern Changes

Jigoro Kano, the founder of Judo, was the first to incorporate patterns into modern martial art training in 1882. His Judo patterns integrated technical expertise with an understanding of Judo’s historical significance. One pattern, Randori-no-kata, defines and preserves the competition aspects of Judo that distinguish it from other martial arts. It has two parts: Nage-no-kata, which uses throwing and sacrifice techniques in increasing degrees of difficulty; and Katame-no-Kata, which uses mat work, arm-bar, and choking techniques. Each pattern is organized into a highly formalized, stylized ritual that demonstrates techniques and stresses Judo’s oriental foundations, while still being aesthetically pleasing and entertaining. Judo patterns have continued to evolve as its popularity has spread.

Judo has patterns that demonstrate all aspects of the martial art, such as Ju-no-kata, which demonstrates fundamental movements; Kime-no-kata, which demonstrates kicking and punching techniques that are not permitted in competition Judo; Koshiki-no-kata that preserves ancient Jujitsu technical skills that are not found in the competition Judo, and a highly unusual, philosophical pattern, Itsutsu-no-kata, which seeks to identify natural movements that describe the fundamental theory of Judo without using combative movements. So, even as Judo as evolved, the official Kata of Kodokan Judo provides a core of technical skills and philosophical expression that contain the fundamentals of competition Judo and a framework for the study Judo as a martial art. No other martial art has such a well-defined expression of itself through its patterns.

Judo illustrates how well-designed patterns can express both technical skills and the historical and cultural identity of the art and set standards for the art. However, Taekwondo authorities continue to think that “Through practicing Taekwondo poomse, we can apply the techniques of hand and foot and the changes of stance learned from the basic techniques adaptable to actual fighting” [World Taekwondo Federation Taekwondo Handbook (Seoul: 1992) p. 35].This belief that patterns are merely tools to aid in sparring training is probably not defensible. A better approach would be to use patterns to convey technical skills and the historical and cultural aspects of Taekwondo as is accomplished by Judo patterns.

Taekwondo has developed into a unique competition martial art style, substituting rapid, precise defensive footwork and kicking movements for the more rigid blocking and punching techniques of the past. Developing an official Taekwondo self-defense pattern of core techniques would furnish Taekwondo students with self-defense training within a Taekwondo context. Other patterns could preserve important technical skills, signify the historical aspects of Taekwondo development, or stress the Korean aspect for Taekwondo that is being diluted as Taekwondo enjoys increasing universal appeal. Patterns should not reiterate technical skills found in free sparring, where such skills are best practiced, but should furnish methods of practicing the dynamic movements of the martial art.

Having patterns that are unique to Taekwondo could provide a ready-made method to demonstrate Taekwondo to the public rather than the current method of ad-hoc demonstrations of "flashy" kicking techniques, which leaves the impression that Taekwondo is almost exclusively a kicking martial art with little depth into the broader aspects of self-defense. An example of how this has been done is the way Chojun Myagi developed patterns that made his style, Gojo-ryu karate, more understandable to the public.  

If we wish to practice Taekwondo as the complete art that its founders intended it to be, then we must study our patterns in sufficient depth and include aspects of them in our regular training. If all this is true, then why did these methods of pattern training fall from grace?

Patterns are a repository of Taekwondo history that transmit the techniques and principles of Taekwondo from one generation to the next. They insure the core principles and techniques of the art are not lost. Since Taekwondo is a physical art, physical actions were incorporated into patterns to transmit this information.

The first patterns were closely guarded secrets that were only passed down to worthy students. They were constructed to deliberately conceal the techniques within them. This was done to prevent a spectator from learning the techniques of a specific master and passing the information to others who might use the  information to dishonor the master.

Like many aspects of Taekwondo, the use of patterns was influence by Karate, which began in Okinawa. In the early 1900's, Karate pattern instruction in Okinawa underwent a metamorphous. In 1901, Master Yasutsune Itsou taught Karate as a part of the physical education program at the Shuri Jinjo elementary school. He thought Karate was too dangerous to be taught to children so he taught patterns that were mostly blocking and punching techniques and disguised the dangerous aspects of the patterns. The children gained improved health and discipline from their pattern practice without recognizing the dangerous fighting techniques contained in the patterns. When teaching the patterns to adults, Itsou would give full instruction in all the deadly techniques in the patterns. Thus patterns may be performed either for better health or for increasing fighting skills. The patterns were the same, the difference was in the way they were taught.

Another reason techniques in patterns of today are not taught as they were originally conceived is because of the changes patterns underwent when Karate was introduced into Japan. To be accepted by the Japanese, Karate had to adapt to the Japanese  way of training. Because of Judo's influence, there Karate had to adopt a standard training uniform (a lightweight Judo gi was adopted). A method of competition and a standardized ranking system had to be devised. Again the Judo way of doing things was adopted and adapted. The Japanese felt Karate was too violent so the eye gouging, throat crushing, testicle seizing, and other such techniques were hidden away within the patterns and no longer taught openly.

The changes that patterns underwent did not diminish the effectiveness of their techniques, but the changes did create misunderstanding about patterns. Today, most students simply practice patterns to gain rank or win trophies, and thus are only concerned with a pattern's appearance. They tend to forget, or never learn, that the purpose of pattern's is to teach how to block an attack and inflict pain upon the attacker. Some think that the performance of a perfect pattern is more important than any meaning that may be gained from it. Gichin Funakoshi, in his book Karate-Do Kyohan states, "Once a form has been learned, it must be practiced repeatedly until it can be applied in an emergency, for knowledge of just the sequence of a form in Karate is useless."

Patterns are a means to an end rather than an end in themselves. Hironori Otsuka's (founder of wado-ryu) book, Wado-Ryu Karate, stated that, "Martial arts progress from kata to kumite, kumite to combat, and so on. Kata is a fundamental aspect of martial arts and hence is unyieldingly important." Patterns techniques should be an integral part of sparring and self-defense training. By eliminating pattern techniques, such as throws, chokes, locks, etc. from sparring, we do not develop the skills and attitudes needed to execute the techniques in self-defense situations.

Not only do the patterns provide techniques, they also include the principles upon which the techniques were developed. It is important to understand why techniques work and their underlying principles, we must get beyond the mere memorization of movements. Principles are far more important than techniques. Principles may be applied in many ways, while techniques are very specific and limited. By concentrating on the principles and the various ways in which they may be applied, a single pattern may become an inexhaustible repository of martial knowledge. Understand the principles and you will be able to adapt any technique to be of use in any situation. In his eighteenth principle of karate, Gichin Funakoshi write, "no two fights will ever be the same, but the principles upon which the kata rests never vary." Choki Motobu (one of Okinawa's most feared fighters) once said, "One must learn how to apply the principles of the kata and how to bend with the winds of adversity."

If you only practice patterns for rank advancement or to compete, you are missing the wealth of knowledge they may provide. Through the practice of patterns, we learn from past masters and perhaps gain a little of their understanding  of the martial arts.

Differences Between Patterns Sets

Chang-hon Pattern Set

The original Taekwondo pattern set developed by by General Choi Hong Hi, founder of the International Taekwondo Federation (ITF).  The set contains 24 patterns each named for a significant person or event in Korean history. The total of 24 patterns is maintained since 24 represents the number of hours in a day, as described above. Choi originally had only 20 patterns, but later he dropped Ko-Dang and added Eui-Am, Moon-moo, Ju-che, So-san, and Yon-gae. Ju-che is very difficult to perform so some organizations, either do not use it or allow a substitution for older students.

This pattern set is one of the most difficult for new students since it uses intricate footwork and jumping kicks for color belt rank patterns (most schools using this pattern set use the first nine patterns for color belts). The black belt patterns are long (Yu-sin has 68 movements) with numerous jumping, spinning kicks, which make them physical and mentally demanding, especially during testing and competition.

Palgue Pattern Set

Originally used by the World Taekwondo Federation (WTF) but, due to their Shotokan Karate influence, they were replaced in the 1970's by the taegeuk pattern set, which is easier to for beginners to learn.  For schools still using the pattern set, the first eight patterns plus Koryo are usually required for black belt. Patterns 1 through 4 are relatively easy to learn and then the patterns become more difficult.

Taegeuk Pattern Set  

Replaced the palgue pattern set that was used by the World Taekwondo Federation (WTF). The first eight patterns plus Koryo are usually required for black belt. For color belts, these patterns are relatively easy to learn. Since this is the pattern set used in international and Olympic competition, it is very popular. The black belt patterns are physically demanding and each is relatively unique.

Songahm Pattern Set

The American Taekwondo Association (ATA) was one of the first Taekwondo organizations in the United States (1969). It used the chang-hon pattern set until the mid-1980's when its founder, Haeng Ung Lee, developed his own forms he called songahm. The ATA has a copyright on them so they cannot be used in competitions by non-ATA members. Lee developed a symbol to represent the pattern set and each pattern in the set represents a portion of the symbol.

Heian Pattern Set

Developed from the heian patterns of Shotokan karate during the Japanese occupation of Korea (1905-1945) when many Koreans went to Japan to study or work. Many traditional schools still teach these patterns under the  Korean name pyong ahn, although many  patterns still retain their Japanese pronunciation. The set is composed of five, relatively short patterns that increase in difficulty.

Refrences:

• Galloway, J. P. (2001).  Mastering forms: The Lost World of Basic Principles.  Taekwondo Times, 21 (6),  pp.52-56.

• Sol, Kim. (1997). Learning from Kodokan Judo: a Role for Poomse in Taekwondo. The Monograph, Winter, 1997, Vol. III, University of California Martial Arts Program, pp. 161-173

• Unofficial Taekwondo Resource. [Online]. Available: http://paperwindow.com/tkd

• Abernethy, I. (2003). Kata Bunkai; The Nature of Fighting;  Brief History of Kata; and  How Fights Start (Parts 1 and 2). [Online]. Available: IanAbernethy.com [2003, August 1].

• Dohrenwend, R.E. (2005). Informal(1)  History of Chung Do Kwan Tae Kwon Do. [Online]. Available: http://www.sos.mtu.edu/husky/cdk.html [2005, December 11]

• Garen, B. (2005, Clarksville Taekwondo Academy. Available: www.geocities.com/clarksvilletkdacademy

• Sol, Kim. (2002). Taekwondo Free-Sparring Philosophy and Development. [Online]. Available: www.bstkd.com