Warrior-Scholar Magazine Issue 2

Warrior-Scholar Magazine www.warriorscholarmagazine.com

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Kwon Bup

Moo Sa Do’s

Fighting Combinations

Secrets of the

Ship Sam Seh Part 2

Peet Cha Gi

the Diagonal Kick


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Welcome to issue two! We’ve gotten lots of great feedback about out inaugural issue and I am excited

that issue two is now available to you.

If you are interested in sharing an article, review of a book, movie or product please contact me at

[email protected] because this magazine is free writers are not financially compensated for

their contributions. But it is an opportunity to reach a wide audience.

I am excited to share with you this month part one of a three part article that was featured in Europe's

number one magazine Combat. This was an interview by Tang Soo Do Master David Allerton of the

U.K asking me about my training, background. It actually caused a bit of a stir in the Tang Soo Do

community. I don’t look at my views and opinions as controversial just practical and traditional . I hope

you enjoy the first part.

The second part Secrets of the Ship Sam Seh part 2 followed by an article on how to learn to do the

Peet Cha gi (Diagonal Kick) one of the more challenging kicks.

And finally Moo Sa Do’s unique Kwon Bup or Fighting combinations.

I’d also like to take this opportunity to apologize for the gap between issues and content. It’s seems a

monthly magazine is a lofty goal for one person and life gets in the way of creating the content, so the

warrior-scholar magazine will be published every three months to give me time to put together a qual-

ity publication as I get more submissions I will publish the magazine on a bi monthly then hopefully

monthly basis.

Baby steps.

Welcome By Master Daniel R. Segarra (7th Dan)

mailto:[email protected]


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Interview By Master David Allerton (7th Dan)

Moo Sa Do the Evolution of Tang Soo Do?

Tang Soo Do’s Warrior-Scholar Speaks out!

Originally published in April 2010 Combat Magazine

It should come as no surprise that historically the Tang Soo Do prac-ticed in the U.S. has been technically more advanced than in the UK largely due to the influence of GrandMaster H.C. Hwang. After all it was Kwan Jang Nim Hwang Kee and H.C. Hwang who travelled from the U.S. to first introduce the Chil Sung and Yuk Ro hyung to the UK in the mid 1980's. I have to say that those seminars were out-standing and represent the most memorable moments in my Tang Soo Do career. I am now privileged to have the opportunity to discuss Tang Soo Do matters with U.S. Master Instructor Daniel Segarra who holds the rank of 5th Dan in Tang Soo Do after completing the legendary 8 day Masters grading test in 1999. He has received personal instruction from GM H.C Hwang for many years and has been consis-tently training for over thirty years. He now teaches his unique version of Tang Soo Do called Moo Sa Do Kwan. Master Segarra is acknowledged as a highly respected innovator and historian. A rare breed

indeed and so I sought him out for an interview and this is what transpired.

What does Tang Soo Do mean to you ?

First I’d like to thank you David for your kind words. Tang Soo Do to me is the method to make us not just better and safer people but to explore our full potential as human beings. I think most of the organi-zations out there focus on just the techniques and wrap them in a nice sounding philosophy but when it comes down to the nuts and bolts they fall short of laying out a step by step methodology to help every-one attain their full potential. Many Tang Soo Do practitioners in their heart know there is more to the art but are stuck within the constraints of out dated thinking. My mission is to change that by taking Tang

Soo Do to the next level.

Perhaps we could now discuss the art generally and later move on to discover the developments you have made in your own school. Apart from the Okinawan forms can you confirm when, why

and how the Chil Sung forms and Yuk Ro forms were created. What influences are present ?

The Chil Sung Hyung (7 star forms) are the sum result of Grandmaster Hwang Kee’s training in Chinese martial arts and his self study in Korean and Okinawan methods. He began developing them in the early 1950’s. The most obvious aspects of the Chil Sung series are the Tai Chi movements he has incorpo-rated and to a lesser extent Dam Toi (Long fist form) and So Ho Yun (Little Tiger Swallow form) hyungs as well as some movements from So Rim Jang Kwon. The Chil Sung are considered a combination of Neh Ga Ryu (internal styles) and Weh Ga Ryu (external styles). He classified them as Joong Ga Ryu (Middle way style). Around 1957 GM Hwang Kee discovered the Moo Yei Do Bo Tong Ji (Korea’s oldest


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surviving military manual). From there he interpreted the Yuk Ro forms. I believe he saw a similarity to the long fist forms he learned in China (Dam Toi Hyung) under Master Yang Kuk

Jin and incorporated that into his interpretation.

It seems to me that KJN Hwang Kee was following a path which didn’t really come to fruition except on a personal level. By that I mean he combined Neh Ga Ryu (internal style) and Weh Ga Ryu (external style) masterfully in the Chil Sung (7 star forms) but the completion of the circle into a wholly internal Tae Geuk hyung (Tai Chi form) seems to have been halted in transmission. For example, GrandMaster Lee never mentioned the Sip Sam Seh (13 kinetic energies) in all my years training. How do you

feel about this ?

Sadly a lot of what Grandmaster Hwang Kee planned never came to fruition. He had many projects planned. No one knows if he planned to reintroduce the Tae Gook Kwon (Tai Chi) form or not. There seemed to be a move towards using only hyungs that he created later on

instead of the traditional cannon of forms.

GM Hwang Kee was a consummate master. He studied Philosophy, Science and Nature and how it was all connected. The sad thing is I have yet to meet another Tang Soo Do master with the same level of depth. They all pretty much for the most part are waiting for their leaders to show them something they that their leaders don’t actually know themselves. They have a piece or two of the puzzle and some try to add more to their curriculum (more forms, techniques etc.), but the core basic principles are not synergistic. GM was adamant about combining Neh Ga Ryu (inner training) with Tang Soo Do, yet most organizations miss how its all connected and treat it as a separate part. This is largely in part because of big Ego’s, when you take your Ego out of the equation you can see the interrelationships

more clearly.

See they all miss the commonality between all the parts and treat them (self defence, forms, one steps etc) as separate pieces. I would often wonder why would we practice intermediate positions in blocking for example then in sparring not use them. What was their purpose? Or what was the practice use of the ready positions (Choon Bee and Pa ro). How does this fit with putting the philosophy in action? I’d ask my seniors and they would either make up an unsatisfactory answer or simply say ‘that’s just the way we do it, it’s tradition’. You should never settle for that, in order to take Tang Soo Do to the next level we must know why we do

everything we do, everything!

So eventually I figured out the connections and developed them in a more synergistic way.

Case in point you bring up the Sip Sam Seh, in the states for Ko Dan Ja (Master Level) we had to write an essay on the Ship Sam Seh (13 energies of martial arts) and everyone be-fore me pretty much just parroted what little was printed in the Tang Soo Do texts. Yet this

for the most part is basic knowledge for most Tai Chi practioners yet no one before me really


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researched this. I wrote a fairly extensive paper on it and Grandmaster said it was the best material on the subject he ever saw. It’s pretty much required reading now for Ko Dan Ja in the states before they write their essay. Has anyone really built off my work in the last fifteen years? Sadly no. The

majority wait to be spoon fed.

Why didn’t anyone before me see the same obvious Tai Chi connection? How often have Tang Soo Do practioners asked a legitimate question about something like the Ship Sam Seh only to be told they weren’t ready or senior enough for the answer, or the question was artfully dodged with some fortune cookie response? That usually is an indicator the person you asked does not know the an-

swer and they don’t want to admit it, Ego.

I think we all understand that a Weh Ga Ryu (external style) hyung should be performed in a certain way employing muscular contraction, focus, dynamic power and Ki Hap (yell) and for most this is the starting point. Can you please give some advice to students who are making the transition into Joong Ga Ryu (combined style) or for example struggling with an external-

ised form such as Seishan which according to KJN Hwang Kee contains the 13 influences ?

For the readers that are not familiar the 13 energies are the 8 ways to move your hips and the five types of steps. These create 13 different types of kinetic energy which you can transmit through your hands, feet and body. Weh Ga ryu forms tend to be quick (like Passia) and Neh Ga Ryu slow (like Tai Chi/Tae Gook Kwon), Joong Gan Ryu utilizes both. The commonality between the three types is moving from your center. The Huri (center/hips) moves everything and is the basis for the 13 ener-gies. If you understand the 13 energies then the way you move your hips is what creates the Neh Ga or Weh Ga movement. I think limiting yourself by classifying things into Neh ga or Weh Ga at this point can cause more confusion than growth. Think more along the lines of is this a defensive move-ment or and offensive one, close range or long range? Is it characteristically slow or fast? Then fi-nally how does my waist produce this energy. The Neh Ga/Weh Ga aspects will then take care of

themselves.

Remember the waist does not only rotate left and right but can drop down, raise up, move forward, backward, and side to side too. Neh Ga ryu is often misunderstood as just slow motions. This is mainly because Tae Gook Kwon (Tai Chi) is slow and most of the internal arts and Chi Gong are slow moving. Neh Ga ryu is understanding the energetics of the motion, that is why most Neh ga

styles are slow. It is easier to learn that way especially if you are touching your partner.

For example of misunderstood energetics look at Choon Bee and Pa ro. Why do we do these mo-tions? They don’t serve any practical combat value. Sure you could make an application up but why

do we do them?

Choon be is used to activate your energy, Pa ro is used to calm that energy down.

If suddenly you are attacked your body makes massive amounts of natural energy, that is raw en-ergy that can then turn into fear, anger, shock or with training centeredness. If you do not practice creating similar amounts of energy and how to use it properly then who knows where it’s going to go when you are really threatened, it may turn into fear or shock and you freeze or anger and you make

a rash mistake. See many practioners are just doing the forms without activating the energy with


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proper mental training. They have the house wired but they are not flipping the switch.

We must use our choon be (ready position) as an internal training tool to create energy through activat-ing the mind. If I just told you, you just won the lottery and are a millionaire your energy level would sky-rocket, then if I said sorry I was mistaken your energy would turn to anger or would plummet. All of this in seconds! That is the way we begin to learn to activate the mind, we trick it by pretending through intense concentration. When we do choon be, we master our minds ability to create energy by activating it, then we calm that energy when finished. In other words choon bee is flipping the electrical switch and pa ro is dimming it down. In real combat your energy is activated automatically but where that energy goes is where your training comes in. Practice making energy, practice using the energy in your technique, then practice calming your energy at the end. We do that in everything; form, basics, one steps, self defence, sparring, etc. Choon be and Pa ro are one commonality that unifies every thing we do, see the connec-tion? choon bee and pa ro are not just movements, they are one of the most important aspects of your

training which are misunderstood by most Tang Soo Do practioners. That is why the Ship Sam Seh says;

“When you move give awareness and purpose to every movement, Your energy will flow through those movements

and surprising things will happen when you meet your opponent.”

All of this can be confusing, that is why I retranslated the Ship Sam Seh so it makes sense to even begin-

ners. This can be found on the warrior-scholar.com website for your readers

To be continued next issue……...


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*As always check with your doctor and instructor before beginning any physical ac-

tivity. Do not attempt a technique that is beyond your ability. You assume full respon-

sibility for any and all injuries to yourself and possibly others if trying to attempt this

technique. Always perform under the guidance of a qualified and certified Moo Sa Do

Kwan™ instructor. The following information is for educational purposes only and for stu-

dents at the Warrior-Scholar academy that have been instructed in this technique. Readers

assume all responsibility when practicing or applying this technique.

The Peet Cha Gi or Diagonal Kick of Moo Sa Do Kwan™ is one of the most unique and de-

ceptive techniques in the martial arts, it also is one of the most difficult. You must take care

to learn Peet Cha Gi at a proper pace and not rush or force the technique. Proper warm up

and preparation is a must. Eventually with much practice you can then throw it ‘cold’ for self

defense, BUT you must put the time in to learn it properly and prepare your body before this

happens.


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Combat By Master Daniel R. Segarra (7th Dan)

*Note if you feel any pain or discomfort while practicing this technique; STOP. I recommend you consult a

Sports doctor. A sports doctor understands the range of motion and can give you advice as to whether or

not this kick is healthy for you. If you have a pre-existing injury this kick could make it worse. So train

smart, be honest and don’t let your ego push you into an injury.

Flexibility

The best stretch for this technique is one that mimics it. Sit with your

feet soles together (Butterfly style) grab the heel of the foot with the

same side hand. Slowly extend the leg from the bent position to the

extended position as illustrated in the picture to the left.

(If this is too difficult you can have a partner support your foot). The

idea is to keep the foot in the same position (Pointing to the outside

with the toes curled back) Repeat and hold the stretch. If you have

difficulty with this you can also place your foot in the loop of a towel

grabbing the ends with the same hand and do this stretch. You can

also use the towel method with many of your other stretches too.

The Kick

A very good exercise is to stand sideways to a wall and place the kicking

side arm on the wall for support. Let’s say you are going to kick with the

right foot. Place the Right arm on the wall for support. Then put the right

foot in front of the left (Supporting) legs knee, creating a figure

four. Then carefully and relaxed extend the right leg toward the wall with

the goal of touching the wall with the ball of the foot. As you get better

increase the height. What this exercise will to is help you with the retrac-

tion of the leg. The most common mistake is not retracing the diagonal

back after the kick is extended, which would make it look like a sloppy

inside outside kick. This is a snapping type kick which hits the target and

retracts, power is transferred to the target and then the foot comes back.

When thrown it begins very much like an inside outside kick, BUT the

strike line and foot turns inward (See the Red dot on the illustration on

your right) striking the target then retraces its path back. The upper body

moves opposite of the kick counterbalancing

Peet Cha Gi (Diagonal Kick


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.

.

.

.

Important

When performing peet cha gi you must be very careful not to rise too high on the

supporting foot. Many people artificially rise up on the supporting foot because

that is how they saw it done. The lift of the supporting heel should happen natu-

rally not artificially. You risk injuring your ankle if you force the supporting heel

up. The supporting heel should come off the floor naturally and only a few

inches. There is no need to come all the way up onto the ball of the foot it does

not enhance the kick.

Applying the kick

In sparring the kick is best thrown high to the outside, sneaking up over the opponents blindside or in-

side to the solar plexus (which is good for self defense). You should practice using Peet Cha Gi in com-

binations such as front kick then cross stepping with the same leg and using peet cha gi;

My experience with Peet Cha Gi in tournaments is that you REALLY have to hang it out there in order

for the judges to see it. If the center ref was on the opposite side of the kick it usually went unnoticed

or was interpreted as an incomplete inside outside kick. So you may want to keep that in mind when

practicing. As for self defense you REALLY must practice this technique to make it work, when you do

it’s practically invisible. The best place to kick in self defense is the Solar Plexus. I’ve unintentionally

knocked the wind out of a few people with just a tap. They don’t see it coming and are completely off

guard hence the tap catches them unaware and the wind goes out. Plus the angle of the kick fits per-

fectly into the solar plexus target. Again if you are going to use this technique in self defense and trust

your life to it, you must make sure YOU make it effective by practicing it. Peet Cha Gi is well worth the

time and effort to learn, it is one of the most deceptive and if properly done effective techniques in Moo

Sa Do Kwan™.

**Note at the time this article was

authored Master Segarra was with the U.S Soo Bahk Do Federation. In 2004 he

resigned from the federation and formed his own organization Moo Sa Do Kwan™

he is no longer affiliated with the U.S Soo Bahk Do federation or Soo Bahk Do

Position 1 Position 2 Position 3


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Philosophy By Master Daniel R. Segarra (7th Dan)

성학십도; 聖學十圖

The basis of the universe is Eternity (muguk) and, at the same time,

the Supreme Ultimate (t'aeguk).

The Supreme Ultimate moves and gives birth to Yang

(the positive and active).

When this movement reaches its peak,

it achieves serenity, which then gives birth to Um

(the quiet and passive).

Yang changes and strikes a harmony,

then gives birth to Water, Metal, Wood, Fire and Earth,

allowing the Five Spirits to play a role one by one and the Four Directions to

take their course.

The Five Elements are a kind of Um-yang,

a kind of Supreme Ultimate, and the Supreme Ultimate is, by nature, Eternity.

The Five elements can describe actual states, stages, physical elements and much more. That is why

they permeate everything in Asian culture, philosophy, medicine and thought. The Five Elements form

two basic cycles the creations cycle and the control cycle. The Creation cycle Fire creates Earth (think

of the molten earth, Volcano’s and ash), Earth creates Metal which is mined from the Earth, Metal

Secretes of the Ship Sam Seh Part 2

The Five Elements

The Five energies are elemental archetypes further expressing the dynamics of the interactions of Um

and Yang. This was expressed beautifully by the Korean scholar Yi Hwang in his poem:


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which is mined from the Earth, Metal creates Water

through condensation, Water creates Wood, which in turn

feeds Fire. The control cycle; Fire melts Metal, Metal

chops Wood, Wood eats Earth, Earth dams up

Water and Water extinguishes Fire.

In martial arts there are many associations to the elements.

For example stepping forward is Fire, backward is Water,

side to side is Wood and Metal, and staying centered is

Earth. The application of the Um Yang philosophy towards

Kwon Bup (fighting) can be illustrated with the same simple

formula;

Um/Gentle陰 Yang/Strong陽

Left

Hand Foot Hand Foot

Left Right Left Right Left Right

Combat Continuum

Korean Chinese

Meaning Literal Meaning Common Trans-

lation Picto-

gram Tri-

gram Energy Type/Korean/

Chinese S A J U N G

Pong Peng

ｵ朋 To repel or bounce ‘Repelling

Hands’ Ward Off 天 ☰ Heaven/Chun/ Qián

Ree Lu

ｵ履 Rotate/Pull or lead Rotate/Pull or

Leading Hands Rollback 地 ☷ Earth/Ji/Kun

Jeh Chi

擠 To squeeze or Press

with hands Squeeze press

hands Press 水 ☵ Water/Soo/Shui

Ahn Ahn

按 To push or strike

with hands Peaceful Confi-

dent Hands Push 火 ☲ Fire/Hwa/Li

S A

W O O

Chae Tsai

採 Pluck, Seize, or

Gather with hands Take Seize

hands Pluck/Pull

Down 風 ☴ Wind/Poong/Feng

Yul Lieh

ｵ列 Split, divide or rend

with the hands Spread/divide

hands Split 雷 ☳ Thunder/Ray/Lei

Joo Chou

肘 To use the elbow Small bundle of

meat Elbow/Knee 澤 ☱ Lake/Toi/Dui

Ko Kao

靠 To use the shoulder/

Hip Bump Shoulder/Hip 山 ☶ Mountain/San/Gen

Right


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This formula can be even further refined to specific strategies and

techniques, as in the Ship Sam Seh. Basic attack and defense princi-

ples are divided into Sa Jung (四正) roughly translates to the "four

principle" directions. Sa Woo (四隅) translates to the "four corners".

Sa Jung the "four directions" are considered "external" (They are

Pong, Ree, Jeh and Ahn (See translation chart). The Sa Woo or four

corners are considered internal (or when an opponent is closer. They

are Chae, Yul, Joo and Ko. So a basic understanding of the eight

forces of the Ship Sam Seh, would be knowing which force negates

or neutralizes the other for defense and which force conquers the

other for offense,( A high block negates a high attack and a Low attack defeats a high block.)

Taking a closer look at the original pictograms and taking that into consideration, we can translate

them in a more meaningful and practical way.

ｵ朋Pong – To repel or bounce a force away with the intent to open, off-balance or create distance.

ｵ履Ree – To rotate, pull or lead with the intent redirect, off balance, open or create distance.

擠Jae – To squeeze or press with the hands with the intent to off balance or create distance.

按Ahn – To push or strike with the hands with the intent to hold, off balance, strike or create distance.

採Chae – To pluck, seize, take or gather with the hands with the intent to trap, seize, pull down or off

balance.

ｵ列Yul – To split, divide or spread with the hands using the hands as opposing forces with the intent to

lock, open or off balance.

肘Joo – To use the elbow or knee with the intent to redirect (defense) or attack.

靠Ko – To bump with the shoulder, hip or body with the intent to create distance or off balance.

Yul/Splitting


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The eight forces of the Ship Sam Seh when applied to space and direc-

tion are called the eight gates (八門/팔문) or "Pal Moon". This can be

used defensively as in protecting your eight gates or offensively as in

attacking the opponent’s eight gates. Think of the pal moon "eight gates"

as doors and windows that can be opened, closed or protected with the

eight energies and the five steps and strategies.

Not only are the Pal Gwe "eight forces divided into internal and external,

so to are the Oh Heng. O Heng (五行) "five energies" are divided into

Ohm 外internal and Hyung 形External . The internal being strategic

principles and the external being movement, position and foot work

called Oh Bo (五步) Five steps/movements/positions. The internal and the external are represented by

the elements "Heng" wood 木 , fire 火, water 水, metal 金 , earth 土. . Each element has unique attributes;

Water is adaptable, fire clinging and explosive, earth stable, wood is strong and flexible, and metal is

powerful and focused.

The external aspect of the Oh heng "Five energies” are called "Oh Bo" (the Five Steps) they are advance,

retreat, left, right, and centered. Oh Bo can be actual stepping, hopping, jumping, shuffling and simply

weight shifting. The mental or strategic aspect of the Five Heng are called "oh Mal" or five words

(strategies). The Oh Mal are; Listen, connect, adhere, redirect, and yield. (See translations chart below)

Internal Internal Internal Translation Element Element Element External Translation Translation

Chum 沾 Listen Hands

"Listen/

Fortell

Hands"

Listen Hands

"Listen/

Fortell

Hands"

Listen Hands

"Listen/

Fortell

Hands"

Fire

火 Jin

Jin

Advance

Yeon 連 Connect/Join

"Chariots in

Line"

Connect/Join

"Chariots in

Line"

Connect/Join

"Chariots in

Line"

Water

水 Toh

Toh

Yield Move

back

Jum 粘 Adhere/Stick

"Adhere-

Hands"

Adhere/Stick

"Adhere-

Hands"

Adhere/Stick

"Adhere-

Hands"

Wood Wind 木

Koh

Koh

Move Left

Turn Left

Soo 隨 Follow/Lead

redirect

"Follow/lead

hands"

Follow/Lead

redirect

"Follow/lead

hands"

Follow/Lead

redirect

"Follow/lead

hands"

Metal

金 Ban

Ban

Move Right

turn Right

Bool Joo

Hang 不丟頂 Don’t Op-

pose Force Don’t Op-

pose Force Don’t Op-

pose Force Earth

土 Jung Jung Stay Cen-

tered

Ko/Bumping


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Sparring By Master Daniel R. Segarra (7th Dan)

Kwon Bup Moo Sa Do’s Sparring Combinations

In Moo Sa Do we have 24 tactical combination’s to teach how to effectively attack and defend in a com-

bat situation. These are called ‘Kwon Bup’ Kwon means empty hand and Bup means method. Together

they mean the method of weaponsless fighting. Each combination once learned should be practiced

against the three basic fighting styles which are;

The Bull (B)

The Counter fighter (C)

The Dancer (D)

These are categorized as B,C,D for ease of memory. We must learn the various styles and transcend

them to become an ‘A‘ fighter, ‘A‘ for Adaptable.

Moo Sa Do being a synergistic martial art has these fighting styles encoded in its forms as well.

A- Adapable symbolized by the Dragon Form Sal Chu (The Dragon being the synthesis of all the ani-mals) B- The Bull symbolized by the Tiger and Bear (The Tiger and Bear attack aggressively) C- The counterfighter symbolized by the Snake and Crane (The Snake and Crane tend to wait for the

attack and counter moving in a limited space) D- The Dancer symbolized by the Monkey and Eagle (The Monkey jumps around circles and dances

out of range, the Eagle fly’s out of range and swoops in)

Note we have not classified a grappling (keum na) attack as an individual style because any of the

above styles can grapple so you must be prepared in the event of a takedown attempt, grab, clinch etc

in all styles.

The Bull is an aggressive charging attack like the way a Bull attacks a bullfighter. The counter fighter

usually stays in a small area and either waits for you to attack then counters or attacks with kick combi-

nation’s. Last but not least the Dancer constantly dances away as you attack and then zips in with their

own attack then out again. Similar to the child’s game rock, paper, scissors we use the Kwon Bup’s to

counter these three basic styles. When someone comes at us like a bull we counter fight, when like a

counter fighter we dance away then back in with our own strikes.


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Kwon Bup #1 teaches us how to effectively attack with a combination that is VERY difficult to defend

against. Honestly in 31 years I’ve never had anyone defend it successfully.

In the first picture you can see I threw a low round kick to the abdomen, this is difficult to block because

it goes under the opponents blocking hand. Now the opponent has two reactions 1- try to defend it and

leave themselves open on the highline or 2- get hit and their hands will automatically drop to cover the

area after it is hit. Either way we get one or two strikes in as seen in the photo sequence. In photo two

you can see once my opponent moved his hands I struck to the opposite side with a back fist to the

temple, what’s not pictured is the reverse punch that followed. This is Kwon Bup #4 and #3 and in this

match I struck my opponent four times before my foot hit the floor. The Kwon Bups are designed to

make the opponent react then capitalize on the opening created.

So combo one although very simple is VERY effective.

1- Round kick with the lead leg to the groin (street) or abdomen 2- Follow up with the lead hand strike to the head If the attacker changes to a Southpaw stance then instead of striking the groin we have the knee and outside thigh nerve as targets. This also goes for combo #2, and #4.


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Kwon Bup #2

Kwon Bup number one taught us to hit low then high, kwon bup number two reverses that

and we hit high then low. The idea being the opponent will cover up and defend their head

pulling their resources away and leaving their lower area exposed to attack.

Now at this point I want you to understand there are three basic hand positions you’ll find

most fighters in. Of course there are variations of this but for the most part it boils down to

three basic and two intermediate totaling five.

1. Both hands high

2. Both hands low

3. Both hands middle

4. Left hand high right hand low

Right hand high left hand low

Kwon Bup #2

Kwon bup #1 is very good if the opponent has both hands high leaving their lower targets

exposed. Kwon bup #2 good for when they have both hands low leaving the head exposed,

which brings us to Kwon Bup #3

Kwon Bup #3

When the opponent has both hands in the middle. Because this is a well guarded position

we want to attack quickly. So we use the lead backfist to attack and as the opponent raises

their hand ever so slightly to defend it we immediately go under it and attack the rib area.


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Kwon Bup #4 we use to fake the attacker. We throw a low round kick which has a very high

success rate and as they go to defend it we rechamber the leg and fire a high round kick to

the head.

Kwon Bup #5 can be used both offensively and defensively. Kwon Bup #5 starts with a side

kick then followed by a back kick. We can go after the attacker by sliding up or slide away

and attack if they rush in.

Once you’ve learned the basic five Kwon Bups you want to then learn how to use them

against the three fighting styles (Bull, Counter and Dancer). Against the Bull we want to ei-

ther intercept their attack preemptively striking (combo #5) or side step using combo #1 or

#2. So as the opponent charges we step off that line and counter attack with either a low

round kick or a high backfist. If the opponent is a counter fighter we then want to fake; Kwon

bup 1,2,3 or 4 are all good for this. We pretend to throw a low kick for example and as the

opponent tries to block it we quickly attack with the high backfist. Against the Dancer we

need to immobilize them (usually with sweeps or foot trapping) or force them to change di-

rection and catch them. The Dancer will always shadow your motion; you move forward they

move back, you move clockwise they follow. So to catch the Dancer we for example could


20

circle around clockwise fake a step in the opposite direction (counterclockwise) which usu-

ally results in the Dancer moving counterclockwise also. As the Dancer adjusts we actually

forced them in the direction we wanted them to go (counterclockwise) and throw our tech-

nique that way.

The Kwon Bups are an excellent introduction to fighting. Many practioners get caught up

with the How to do the technique and Where to strike with it (both important), but not enough

in the Why and When, in other words the strategies and tactics. The Kwon Bups teach logi-

cal attacks and defenses based on human physiological reactions. They teach basic strate-

gies and footwork, and most importantly they work.


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Final Thoughts By Master Daniel R. Segarra (7th Dan)

Thank you!

Thank you for reading issue two, I hope you enjoyed it and if you would like to contribute to future is-

sues you an email us at; [email protected] and we will review your submission.

Some idea submissions for future issues;

Story, lesson, proverb

Movie, Book, Product, DVD, Seminar review

Comments, rebuttals, feedback

Upcoming seminar, tournament, clinic or special event

Articles on any martial arts related topic with pictures. We may even use for future cover shots.

Use your imagination, we are open to your suggestions.

Next issue we will cover; the Belt ranking system, How to make and apply Warrior Balm, Secrets of

the Ship Sam Seh Part 3, and much more.

See you next issue.

D.Segarra


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In This Issue

Peet Cha Gi / Diagonal Kick (Page 8)

The Secrets of the Ship Sam Seh Part 2 (Page 11)

Combat interview (Page 3)

Moo Sa Do the Evolution of Tang Soo Do Part 1

Kwon Bup (Page 16)

Moo Sa Do’s fighting combinations

Documents

Warrior-Scholar Magazine Issue 2