In this book, Pu Gill Gwon shares his dynamic art of breaking techniques with the seriously practicing advanced tae kwon
126 78 44MB
English Pages 146 Year 1978
Art of
The Dynamic
BREAKING by Pu Gill Gwon
oOhara Publications. Incorporated 1 977 A11 rights reserved Printed in the United States of America Library of Congress Catalog Card Number: 77-89191 Tbird Prin ting 1978
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Dedrcation
I dedicare' this book to my wife, Bokhee, and to my children, especially Yise, my elder son, and Seung Chul, my second son; and to my daughters, Jung Shin and Seung Shin.
publishers note
iren. land
we must take this opportunity to caution the reader to exercise great care while practicing the techniques described in this book. The methods described and ilrustrated are based upon years of practical experience. But injuries can still occur. ott"r- injuries come through exceeding the recommended schedule, failure to go through the long, toughening phase, human error or carelessness. Make this a serious study, not a game. We recommend that the reader study the correct way to hold and strike targets in ail techniques. bbr"*u the all-important toughening techniques. Avoid breaking hard things wiih soft hands.
Pace yourself according to yotu progress. Do not exceed the recommended training schedure. scar tissue can form too quickry, trapping the tendons and causin g gteat pain. (The scar tissue builds
up around the tendons, reducing their elasticity, flexibility and function.) Be patient. Be cautious. Make sure that you use only the striking areas called for in each technique. For example, in a fist strike, use only the knuckres of the index and second finger. These are stronger, structuraily, than the other two fingers. To use *knuckles, the third and fourth fingers, or onry one of the rarge is to invite injury. The same principle applies to all ott striking
areas and techniques.
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By all means, if you have questions regarding the safety of any technique, or if you experience continuing pain after performing a technique, see your physicinn without delai !
Ahout the Author Pu Gill Gwon was born near Seoul, Korea' When he was a youngster he went with his family to live in Pusan, Korea' For In his schooling there he learned boxing-Western style' the on him set ring boxing the in work his young Pu Gill Gwon, ioaa io martial arts success. He won the Junior Boxing Championships in his tournament class.
Dae in 1954, he rnet his first Korean martial arts master'heHabegan
Young, und b"gun the study of tae kwon do' From there' to branch out into the stuhy of yudo, with Chang Hang Je' When
hehadcompletedhighschool,hecontinuedhisstudiesintae
kwon do, specializingln ji do kwan, a special style, utilizing many techniques of self-defense. tn t-9tr8, Pu Gill Gwon joined the Korean Navy's Underwater Demolition Team. His supeib physique, excellent health and agility, developed through a religiously dedicated pursuit of the martial arts, iaw him through itre ditficutt training so well that he jumped from student to instructor and was assigned to the Korean xuuutlntelligencesection.Mr.Gwonregardshistoursasateacher of and in the Intelligence division as probably the most hazardous his life. In 1964, Pu Gill Gwon started teaching yudo' The branch he of taught is Kyung Ki Do yudo, an especially popular branch Director Koiean yudo. Two years later, Pu Gill Gwon was named of the Xyrtlg Ki Do Yudo Association' In 1967, he joined the International Tae Kwon Do Federation'
PuGillGwonvisitedtheUnitedStatesinlg7ltodemonstrate
his techniques, including his dynamic breaking methods' at various martial arts expositions. The public response was enthusi_astic. He stayed o, *d opened his first dojang in Baltimore, Maryland'
lodayPuGillGwonhaseightschoolsinvariouslocationsaround theUnitedStates.Heattributesthepopularityofhisclassestothe art of dedication the students have once they get underwaV' Th9 brought has dynamic breaking, as developed by Pu GilI Gwon' at about standing ovations across the country' This began in 1975 Jones' the Martial Arts Exposition in Chicago promoted by Jimm
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In this book, Pu Gill Gwon shares his dynamic art of breaking techniques with the seriously practicing advanced tae kwon do student and all martial artists intent on expanding their arsenal of techniques. These are the same as those Mr. Gwon demonstrated in Chicago at the MaComer Convention Center in 1g7b. These techniques carried Pu Gill Gwon through countless self-defense situations and eamed him fame in this country as a martial arts superstar.
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In the martial arts, breaking techniques are not goals in themselves. They must be part of the total study of the martial arts. They are for the advanced student. They are the means whereby you will perfect your mastery of the martial art. Breaking techniques produce more accuracy and control than does sparring. Power, too, comes through the perfection of breaking techniques. Sparring is fine up to a point, but I maintain that breaking is more difficult. Accuracy, speed and power are the essential elements of breakI speak of practice of the martial arts. It is a general statement. One can only speak of breaking techniques in specific terms. In breaking techniques, your use of accuracy must be exact; your aim must go for the target and be totally accurate. Properly done, you will know just how effective your strikes are. You know that if the target had been a point on an opponent's body, you would have shattered it. Breaking techniques develop confidence. Unless you are full contact at full power and without protective equipment-a practice I do not recommend-you can never really know how effective your strikes are in sparring. Yet weight is not the only factor. No matter how hard you hit something, it will not be damaged if it moves with the power of your punch. But if your punch moves faster than the target bounces away from it, the target has no choice but to break. This is demonstrated in the chapter on "Speed Breaking." The "Speed
ing techniques.
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Practice" chapter shows how
to
develop your own individual
speed.
It would be foolish to kick an opponent in the thigh and expect his knee to break. You have to focus your strike exactly on the pressure point. In breaking you have the opportunity and the obligation to strike an
r :hem.e- al'ts.
:ereby : -eelr- 1?Yt ll d
a-ques. -s
t1101'e
i'creakL- i-\ a
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exact spot. After your partner learns "How To Hold A Board," you must learn "Where To Strike A Target." If you don't hit the right spot on your target, you will be very aware of it. It simply will not break. Practice o'Control Kicking." It will help you develop focus. The words in quotes are the titles of chapters in this book. Use them as a guide. And practice, practice, practice. In many television dramas, actors pretend to break something by striking at it, and then cocking their fists in something of a swatting motion. In reality, this does not work. Again, some people believe that you should aim for the surface of your target. All materials have flexibility, some more than others. Bricks bend very Iittle; wood and bones have a great deal of flexibility. Oddly enough, it is these materials which have the mosf bend to them that are the hardest to break. Everything breaks only after it is pushed past the limit of how far it bends. You must have the power and speed to push it past that limit before it has a chance to recover. You must aim for "Penetration." You can have weight and speed behind your strikes, but without concentration you will have neither focus nor penetration. If your mind is elsewhere, your concentration wanders and your worries about injury swim into your thoughts, and you cannot fix your mind on your target. Concern yourself only with the project at hand. That is a good practice for everything, especially the martial arts. Put your whole mind to what you are doing at the moment, and you will accomplish what you start out to do. Sound philosophy and meditation for everything, as well as the martial arts. Good breaking technique demands daily practice, concentrated focus, confidence and ability. You must have a good physique and you must have many martial arts skills. Then you will find that power, accuracy and speed are your best elements in the development of expert breaking techniques.
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Pu Gill Gwon
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How To Practice The proper way
to learn each of the techniques demonstrated in this book
is
to.practice one step at a time. you want to master the first movement before going on to the second move. you want to master the first two movements before going on to the third move, and so on. when learning how to break f rom the right forward stance, for exampre, you should first practice swinging your reft fbot forward, spinning on your right foot (photo 1). Practice that movement one hundred ti mes. when you have that move mastered, practice move 1 and move 2 together one hundred times, spinning- on your reft foot and bringing your right foot around backward (photo 2). Next, add the third part ot tlre tecrrnique, iumping and breaking the target with a ridgefoot (photos 3,4,5). practice mori t,'mo-ve 2 and move 3 together one hundred times. Then you will have mastered the entire techniq ue.
Although the number of repetitions suggested is one hundred for each part and each combination, the point is to mister it before you go on to ihe next step. lf you can realry master it in fifty repetitions, thatls firie. rf it takes two hundred repetitions before you are hippy with it, then by ail means do two hundred. For a technique to be successiur, each part must be done correcfly.
13
Y
Chapter
1
STRIKING AREAS Each technique uses a specific part of the body to make the strike. The following photos illustrate the exact portion which makes
contact upon impact.
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FIST-use the f ront part of the f irst of your index and second
knuckle fi n gers.
m KNIFE HAND-use the outside edge of your hand below the f irst knuckle.
RIDGEHAND-use the inslde edge of
your hand above the
base
of
the
EL bo
thu mb.
JOINT FINGER-use the front part of the second knuckle of your index
BACKFIST-use the top of the first knuckle of your index and second
and second fingers.
fi n gers.
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Fl NG
ERTIP-use the tips
middle fingers.
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ae
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i
the
:':1e
first
:::
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:
SeCOnd
ELBOW-use the f orepart of your el-
bow.
HEEL-use the edge
your heel.
of
your
RIDGE FOOT-use the middle of the
outside edge of your foot.
of the
ball of
BALL FOOT-use the front part of
the ball of your foot.
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Chapter
2
PRACTICE BOARDS The purpose of practice boards is to harden the areas of the body used to strike and break. The best schedule is to strike 20 times with each striking area of each hand and each foot. This should be done every two to three hours throughout the day, every day. If you do not have that much time to train, strike 40 times with each area of each hand and foot during one session every day. If you practice more than the recommended schedule on any one day, your hands and feet will become too sore to practice the next day. Since you will get maximum benefits from practicing every day, it is best not to do too much in any one day.
UPRIGHT PRACTTCE BOARD The upright practice board is a board on a stant which presents one target at shoulder level and another at knee level. The targets are wrapped with material to keeP You from injuring your hand or foot. The board is tied io a base so that it can swing with
the impact. This
is the f irst practice
board for students.
(1)
Toughening the Fist Bring your fist straight back.
(2i Vove-your bodY weight forward
il6ng witn your fist and
20
(3) strike,
ARD a board e ta rget 'at knee r
with
'ed 1n ju ring
d
is tied
ing with
practlce
!L
':',,';ard
:l::'ike,
uslng your body weight to add to the force of your fist. (4) Bring your fist straight back and repeat exercise.
Toughening the Knife Hand (1) Angle your body 90 degrees to
the practice board. (2) Swing the top of your body and (3) strike with full force. (A) Close-up of knife hand strike position. (B) For ridgehand, turn hand over.
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Toughening the Ball of the Foot (A) (1) From the ready stance, (2) lift up your knee, the higher the better. and (3) kick straight out with the ball
of your foot-use full
force.
Toughening the Ball of the Foot (B) (1) Take a ready stance to the far left of the upright practice board. (2) Swing your leg up in a roundhouse kick and (3) make full-force contact. This the ball cf the
strengthens
foot from a different di
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Toughening the Heel
(l) Take a ready stance at a 90-deEee angle to the upright board. (2) Bend
your knee up as high as
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-;, possible and (3) strike as hard as possible with your
heel. (4) Take a ready
stance and repeat exercise.
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HAND.HELD PRACTICE BOARDS FLAT BOARD
The flat and round Prac' tice boards ate not wrapped and are for ad'
-&*_w '-.'M" /ffib
-;&
vanced students. TheY relY on grooves cut all the waY
through the board
and
running half the length or
more. These grooves allow the force of the imPact to be absorbed slightlY as the wood bends through the
small space of the groove
and hits the other side. The flat practice board is used to toughen the entire striking area used in a technique; the round board presents a single' point target for concen' trated toughening of a spot of the striking area. Always strike the boards hard enough to hear a
cracking noise as one side of the wood hits the other
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,,!!-
*. ,/ ..xt* %"o*ffi
side.
Toughening the Knife Hand
(1) As with the
round
board, sit and (2) bring the weight of your body down with your hand, (3) strik-
ing the board with all of
the striking area of knife hand.
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the
ra c.
not adre
ly
ilay and
0r low
1
tto
the the 'ove
Toughening
id e.
dis
ti re
ta
r nd glerd
rea. I rds
ra
rid e
the Fist
(1) Kneel direcfly a bove the flat board, holding it with your nonstrik-ing hand. (2) Bring your
shoulder and weight down,
giving extra force to your blow and (3) hit with the full striking area of the fi st.
lher
-4
. /-
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Toughening the Heel With your foot raised and your knee bent, hold the flat practice board (1) with the hand on the same side of
your body and (2) bring it
down
hard on your heel. (3) Make sure it is hard enough for you to hear a cracking sound from the board.
\Wi ri:i *W*q;::
Toughening the Ball of the Foot (1) With the flat board in the hand opposite the foot you want to toughen, raise your foot and (2) bring down the board on the ball of your outstretched foot.
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ROUND BOARD
Toughening the Knife Hand (1) ln a sitting position, raise hand over your head and (2) bring the weight of your body down with your hand, (3) striking the
rd f ull-f orce with a point of the striking area boa
of your hand.
I
The Sand Box To toughen your f ingertips, use a small box about one foot higtr, filled nearly
:.cn,
full of
't
(1) Stand direcfly over the sandbox and (2) move your body with the downward strike of youi f ingertips,
of
,,vith
'1 a
a
rea
sand.
puttrng more f orce into 5zour blow. (3) Do this as fast as you can, because ii
also develops speeci.
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chapter
3
SPEED BREAKING There are^three steps to breaking. First, you must toughen your hand or foot. Second, you must develop enough spJed to go through the object before it is hit out of ih" *uy-. If you do not have enough speed, you will simply knock it over. (AlsJ, you must hit with the hardest part of your hand or foot, or the hesh wilr cushion your blow.) Only when you have mastered the first two steps, are you ready for the third step--actually breaking atarget.
Bottle Breaking
(l) You are going to break a bottle at the neck. Get into rea dy position in front of it, kneeling on one knee. (2) Bring your
d back across your body. (3) As you strike with a knife hand, twist ha n
your body around with it give you more power.
to
Build up speed. (4) Hit the
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