Tang Soo Do History

By Master David Allerton (5 th Dan)

I would like to introduce this regular column on the art of Tang Soo Do by looking back into history. This is important for new and experienced students alike because if we understand the events which brought us to our present position we are more likely to illuminate the correct path forward. Quite often misinterpretations arise due to a lack of historical knowledge.

Sometimes we hear quite spurious accounts of how a modern martial art is inextricably linked to practices dating back many thousands of years. There may be some tenuous link but in most cases the modern art bears little resemblance to the ancient. In this account I shall attempt to present the reader with fact rather than fiction. It is undoubtedly true that most cultures are steeped in military history and Korea is no exception. Worthy of note are the Hwarang warriors who helped unify the kingdoms of Korea in the Silla Dynasty (57BC – 935AD) . They practised not just warfare but also cultural skills including the five point code of ethics which you may be taught during your first few lessons.

An important landmark was in 1790 when King Jingjo ordered the compilation of martial techniques into the “Moo Yei Dobo Tong Ji”. This important military manual was more than likely based on earlier Chinese works and is heavily illustrated with spear, sword and horsemanship, however, the fourth chapter deals with empty hand and stick fighting techniques. It is correct to say that in Tang Soo Do we still practise movements interpreted from this ancient book but more of this later.

One of the greatest influences was when the founder of the Moo Duk Kwan school GrandMaster Hwang Kee went to Manchuria in 1935 to work for the railroad company. There in May of 1936 he met a Chinese master called Yang, Kuk Jin and learned Tae Geuk Kwon (or Tai Chi) form and combat application. These movements later found their way into the Chil Sung (7 star) forms widely practised in many Tang Soo Do schools.

In Korea during the period 1910-1945 all indigenous practices were forbidden and the public were introduced to Kendo and Judo. However, books on Okinawan Karate were available and GrandMaster Hwang Kee began to study them in the Seoul Railway library around 1939. Later he was able to introduce the Okinawan Pyung Ahn, Bassai and Naihanchi forms into the Tang Soo Do syllabus.

In both Okinawa and Korea the striking arts were known respectively as “tou di” (China Hand) or “tang soo”. It was Gichin Funakoshi who made the name change to “Karate” or empty hand so popular worldwide. In Seoul, after the end of the war, Hwang Kee met with others such as Mr Lee, Won Kuk who had learned Karate in Japan and was teaching under the banner of the “Chung Do Kwan”. GrandMaster Hwang Kee named his school “Moo Duk Kwan” which he established on 9th November, 1945. The very first Dan student was Mr Kim, Un Chang who later died in the Korean war. He was given the Dan Bon “one” and each successive dan grade has been consecutively numbered since that date.

As the art developed certain differences became apparent , when compared with the Okinawan style, such as extension of the hip to generate power in kicking . The system became very popular and in 1957 was first introduced to the U.S. 8th Army in Seoul. There were also publications circulated around 1958 such as the Tang Soo Do Ho Sin Sul (Self Defence) training manual.

In 1957 GrandMaster Hwang Kee discovered the Moo Yei Dobo Tong Ji and began to translate and study it’s contents. Here he found reference to the term “Soo Bahk” and interpreted the text to reveal 6 hyung (forms) which were named Yuk Ro (6 paths). These ancient movements have been preserved to this day in the art of Tang Soo (Soo Bahk) Do.

In summary, it is clear that the art adopted the Okinawan discipline in it’s early history and many schools continue to practice this to the present day. However, the introduction of Chinese arts can be seen in the Chil Sung and Yuk Ro forms incorporating Tai Chi influence. Whether it is termed Tang Soo, Soo Bahk or a combination of both the art is unique in it’s philisophical and technical progression. Any student new to Tang Soo Do should indeed be proud of the arts development and history.

I shall continue the theme next time with a closer look at the personal history of the founder GrandMaster Hwang Kee and how Tang Soo Do first arrived in the UK. Clearly, I have given emphasis to the Moo Duk Kwan school as this was the most successful in terms of expansion and development worldwide. However, I would be most interested to hear from students who follow a different lineage such as Chung Do Kwan, etc and how this has evolved to the present day. Please email with your comments using the contacts page on the website.

Yours in Tang Soo !

Master David Allerton 5th Dan (Dan Bon : 27513)

Pictures to accompany this article:

(from left to right: GrandMaster Hwang Kee; GrandMaster Hwang Kee practicing; Joong Ang Do Jang)