The Value of Patterns (Part 2): Kinaesthetics (Part 1: Relaxation, Body Awareness, and Spacial Awareness)

Me practicing Fundamental Movements

In previous posts I shared my opinion about the value of the ITF patterns. First I said that the patterns are not foremost fighting templates, nor are they primarily dallyeon (i.e. strength & fitness training). Then what is the primary reason for training in the patterns?

The main purpose, I believe, is Kinaesthetics. The patterns teach us a way of moving and understanding movement that is difficult to isolate and acquire through other drills.

The following comment by Master Manuel Adrogué's provides a good abstract to much of what this discussion will be about: “In ITF patterns there are no physical conditioning exercises, no applicable combat strategies, there is no hurry to conform to fast combat rhythm, just perfectly balanced, powerful techniques using all [the] time they may need.  Additionally, the emphasis on relaxation in ITF Taekwon-Do, to the point of completely shunning muscular force, educates students in correct habits of motion.”¹

I will discuss what I consider the kinaesthetic values of the ITF patterns over three posts. In this one I will look at conditioning relaxation; creating an awareness of one's equilibrium and body movement; including ingraining balanced and appropriate stances and basics; as well as creating spacial awareness. In the second post I will look at the value of learning how to accelerate one's body mass sequentially. In the final post post I will discuss training rhythm and breathing.

Relaxation

First, the ITF patterns, with their relatively slow tempo and emphasis on the sine wave motion, teaches the practitioner to relax. The full sine wave motion starts with deliberate relaxation. To perform a pattern correctly you must move from a state of relaxation, or as Grandmaster Rhee Ki Ha puts it: "relaxed, light, and fluid"². Any unnecessary tension, except at the moment of impact, makes the movement lose its "relaxed, light, and fluid" quality. Unlike some Karate kata where muscular tension is encouraged for the purpose of strength conditioning, in the ITF patterns muscular friction is particularly avoided. The only time muscles are tensed are at the final moment of the technique just before impact with it's target.

A primary function, then, of the ITF patterns is to condition one to move in a "relaxed, light, and fluid" manner. Using the pre-arranged sparring drills, the practitioner is guided to transfer such relaxation into combative activities. In the basic pre-arranged sparring exercises, such as three step-sparring, the practitioner will apply the same relaxed tempo to this drill. The practitioner therefore learns to stay relaxed even when facing an opponent (training partner).

As the practitioner progresses in level and skill, the complexity, difficulty and tempo of the drills are increased, moving along a continuum of very predictable drills with a low amount of variables, towards much less predictable (chaotic) drills with an increased amounts of variables that more closely reflect a real combat situation. (Read more on how this is supposed to work in my post on The Value and Purpose of Prearranged Sparring.)

If properly practised, the sense of relaxed movement that are continuously instilled through pattern practise is transferred into the other aspect of the system. This means that skilled practitioners are able to move with a similar relaxedness, lightness and fluidity that were instilled from the patterns, but at much quicker tempos as are required in more realistic combative training.

To me, this point—moving from a state or relaxation—is probably the most important reason the ITF patterns are performed the way they are.

Equilibrium and Body Awareness

The second kinaesthetic value of the ITF patterns is that their relatively slow tempo allows the ITF practitioner to become aware of both their static and dynamic balance. Because the ITF patterns are not considered combat-ready templates that mimic actual real combat, there is no need to rush them as if one were actually fighting. In fact, the tempo of the patterns are deliberately slowed down to allow the practitioner to become aware of the body mechanics and physics of each technique individually.

In other words, by doing the patterns so slowly, compared with the urgency with which the forms are performed in some other martial arts, the ITF practitioner has the time to really "feel" how their centre-of-gravity changes, how their weight shifts from one foot to another, how their mass moves through space, how the different parts of the body is sequentially activated to create a whip-like motion.

A Tai Chi Chuan practitioners usually perform their forms
in a consciously slow fashion.
Image Source

Both the previous point of conscious relaxation, and this point regarding a deliberate awareness of one's equilibrium and weight-shifting are goals the ITF patterns share with the Tai Chi Chuan forms. It would be ridiculous to suggest that a Tai Chi practitioner would engage in a fight applying the same slow motion tempo one sees them doing while performing a Tai Chi Chuan form. Obviously the Tai Chi practitioner would have to adapt his or her form to make it “combat applicable”—for one, the practitioner would definitely have to speed-up his or her movements. Why then does Tai Chi Chuan spend so much time practising their forms in slow-motion? The reason, I believe, is in part that the slow motions forces one to relax more, but also it really increases one's awareness of how your body moves through space, how your centre of gravity changes, how your weight shifts from one foot to the other. The moment you start rushing your movements it becomes exceptionally difficult to really become aware of the dynamics of such changes in one's balance and body structure. Rushed movements shift the focus from the “journey” to the “destination”. While there is much value in speed training (i.e. getting to the destination as quickly as possible), there is just as much value in understanding the variables along the path, and the latter is only truly achievable at a slower, contemplative tempo.

Ingrained Stances, Basics & Coordination 

Not only is the practitioner learning about balance and weight-shifting, but very importantly, the practitioner learns how different stances provide different types of structure and balance for different types of attacks and defences. The walking stance is strong from the front and back, but weak from the side; the sitting stance is strong from the side or when posting ("falling") against something but one can easily be pushed off balance from the front or back; the rear-foot stance (aka “cat-stance”) is good for withdrawing from an attack and counter-attacking with the leading foot, but it is not very stable as your balance is centred mostly over one foot only; and so on.

When moving through patterns, one shifts from one stance to the next stance, doing different steps and pivots; in so doing, the practitioner starts to acquaint him- or herself at a subconscious level with these stances within a dynamic context. Over time the practitioner finds that he or she almost automatically chooses the most appropriate stances for different tasks and situations. Such "automatic" responses are not accidental, but have been ingrained during years of pattern training.

(Read more about this in Dan Djurdjevic's post on “Kata, kinaesthesia, proprioception and motor learning”.)

Furthermore, certain types of movements which often uses gross motor skills become ingrained to form “basics”, which can be adjusted depending on what a situation calls for. Basics are different from Fundamental Techniques. It is rumoured that ITF Taekwon-Do has about 3200 Fundamental Techniques. Each one of these Fundamental Techniques is a specific identifiable technique using a specific stance and specific tool (e.g. attacking or blocking tool) aimed at a specific target on the opponent and which can usually be found described or is alluded to in the ITF Encyclopaedia.

A snap shot of an Intermediate Position

There are much fewer basics and one is exposed to all the important basics very early on, probably within the first few colour belt patterns. Basics are often embedded in the Fundamental Techniques and function as building blocks from which different Fundamental Techniques are constructed. An example of such basics is learning to move through the Intermediate Positions. Acquiring a sense of the intermediate positions is probably one of the most important kinaesthetic values of pattern practise. The problem with the intermediate positions is that they are dynamic, rather than static positions. In other words, unlike Fundamental Techniques that have an “end-position” in which we can pose statically, the intermediate positions are moments inside of movements and attempting to pose in them detract from their value. The only way to really get a sense for them is by practising them dynamically; i.e. while moving from one Fundamental Technique to another, and for this pattern practise is ideal.

Dan Djurdjevic compares what I call the basics, i.e. these “building blocks”, with stem cells that can change into whichever “cells” are required. Since he already explained this concept in detail, I will not repeat it here. Please read his post on “Kata Techniques as Stem Cell Movements”.

I need to also momentarily comment on coordination, which might be taken for granted, yet this is a point which is close to my heart. As a kid I had terrible coordination. Taekwon-Do, which I started as a teenager, has done much to improve my hand-eye (and foot-eye) coordination. Obviously all physical activity contributed to my improved coordination, but I believe that the patterns have a special value in this regard because of their systematic nature. I still vividly remember how difficult it was for me to master those very first forms, Saju-Jjireukgi and Saju-Makgi. It is surprising how many things occur during just one Fundamental Movement and for a beginner even something as elementary as the Saju-forms, that each consist of only two movements combined in a sequence, can prove to be quite daunting. The brain is wonderfully challenged and improved coordination is a great benefit. As a child I often missed catching something thrown at me; now, I sometimes catch things even without thinking. For instance, I'm often surprised how I would catch something that might fall from a table, without me even consciously trying to—it just happens reflexively. Whenever that happens I cannot help smiling, thinking of how far that clumsy teenager has come, and I'm certain the patterns played a part in that. The patterns are arranged according to certain levels of complexity and physical difficulty, causing a systematic development of ones coordination and other related skills.

Spacial Awareness

Another kinaesthetic value of the patterns is that it enhances one's spacial awareness.

Generally Asian cultures and cultures of the Far East in particular are group-orientated. An interesting feature of group-oriented cultures is that the personal space between people are often much smaller than is the case in individual-oriented cultures. This has some serious self-defence implications.

Let me make a quick detour through Thailand and then turn back to Korea again. A friend of mine, the actor and stuntman Damian Mavis who is also an ITF Taekwon-Do practitioner, resides in Thailand. On one visit with him we got to talk about personal space in Asia. He told me how easy he found it to sneak up on his Thai friends even from the side because of their sense of personal space which is so small. Similarly in Korea, standing or sitting on the subway with people's shoulders literally pressed against one another is not perceived as uncomfortable by Koreans. Likewise, when standing in a line, people often stand very close to each other. Personal space in the Far East is quite small and personal space to the rear and side is exceptionally small from Western standards. Furthermore, large, sudden movements are considered rude and improper in the conservative, group-oriented cultures of the Far East, influenced by Confucian standards of conduct.

I find it not surprising that the patterns which are based on the Japanese kata make such large movements, uses exaggerated long steps, and focus on turning at right angles and 180° pivots, forcing the practitioner to become aware of his or her sides and back just as much as his or her frontal space.

I hypothesize that the kata was, at least in part, developed to help the practitioner to break through his or her culturally induced small personal space, and actually to enlarge it. Obviously a larger and wider personal space will increase ones spacial awareness, which is a valuable skill for self-defence. If your personal space is larger, you become aware of people entering your personal space much earlier, which is very important for detecting threats earlier.

People are often narrowly focussed on what is in front of them; however, many attacks on one's person are surprise attacks launched from the side or behind. Widening one's spacial awareness to things on your sides and rear is a crucial skill for self-defence, and even more so for people from the Far East whose personal space is culturally smaller and narrower.

Although I have emphasised how the ITF patterns are used as a vehicle for bestowing Korean traditional culture, paradoxically, in this way the patterns (including the Japanese kata) seem to break with common Oriental culture by actually enlarging and widening their personal space.

Conclusion

The kinaesthetic value of the ITF patterns is concerned with teaching the practitioner to move from a state of relaxation. Furthermore, the patterns focus on body awareness (getting acquainted with one's static and dynamic balance), and spacial awareness, while also ingraining certain stances, basics, and increasing coordination.


1.  Manuel Adrogué , “ITF Taekwon-Do and Sine-Wave as 'Sequential Motion'”
2. Rhee Ki Ha, “This is Taekwon-Do”

Motion Without (Muscular) Movement

In this post I am going to discuss the way in which ITF Taekwon-Do’s sine wave motion teaches the practitioner to achieve motion without muscular movement; in other words, how to move the body—shift the body’s centre of gravity, without tensing muscles.

The full sine wave motion has three distinct phases in which the body seems to move “down-up-down”, but which is slightly better described as “relax-rise-fall”. In this post I want to speak about an unusual value of the first phase of the sine wave motion—the relax-phase—to actually initiate movement, to cause movement without using any muscular tension. This sounds paradoxical, for all human motion is achieved by tensing muscles. If I want to bend my arm, I need to flex my biceps; conversely, if I want to straighten my arm I need to contract my triceps. For movement to occur there has to be muscles that contract and so manipulate the skeleton like a puppeteer’s strings, or the cables and pulleys in a crane, or the hydraulics in heavy machinery.

Motion Through Relaxation

There is, however, another way that the body can move without any muscular contraction involved. Do this simple exercise: With your arms by your side, bend one arm up towards you as if you are lifting a dumbbell—as your biceps tenses it shortens and causes your arm to bend upwards. To lower your arm again you can go about it in two ways. First, you can contract your triceps (and relax your biceps) and in so doing actively pull your arm back to its original position. Or, second, you can merely relax your biceps  and let your arm fall to your side—instead of your triceps pulling your arm straight, it is gravity’s pull that straightens it. In so doing, you have achieved motion without any activated muscles involved; thus achieving motion without active movement.

The first phase of the full sine wave motion does something similar. The sine wave motion is initiated not by contracting any muscles, but by relaxing muscle. For instance, if you are standing in a walking stance and wish to step forward, the sine wave motion dictates that you will completely relax your front leg, causing your body weight to fall forward towards that leg. Of course, you have to “catch” yourself and activate your leg muscles again lest you completely collapse, but the interesting thing is that you have actually commenced your movement, not by using in muscular tension, but quite the opposite. You have initiated your motion by relaxing!

Of all the different advantages that the initial phase of the sine wave motion has to offer, I think this  “motion through relaxation” is probably the most interesting, and probably one of the most unique contributions the sine wave motion brought to ITF Taekwon-Do. With it you can literally effortlessly shift your body's position. Depending on your initial stance, there are four directions in which you can shift your body weight: forwards, backwards, lateral, or even diagonal.

An Example

In this post I will present an example of lateral body weight shifting achieved through this  “motion through relaxation” method, into a particular intermediate position, and I will illustrate some strategic possibilities that this position and its relation to one's opponent offers. Remember that this is just one example of lateral movement. The effortless way in which forward or backward (or even diagonal) motion can be achieved also offers interesting possibilities.

Let’s look at an example of “motion through relaxation” that is achieved through the first relax-phase in the very first movement of the pattern Chon-Ji. The pattern starts with a low forearm block towards the left. Many instructors fall directly into this block, not passing through the intermediate position. This has a strategic advantage because it is a much quicker way to perform the block than when one actually passes through the intermediate position. However, this particular “motion through relaxation” intermediate position has other benefits. For one, it shifts the body away from the danger, allowing the defender a moment to assess the situation. It also teaches a very useful and practical lesson early on in the practitioner’s training, which will be the focus of the remainder of this post.

Look at the picture in which I move from the “ready position” of the pattern into the first intermediate position. The red line that runs through the first picture is my centre line and, assuming that my opponent is standing in front of me, this is also the likely attack line of my opponent. Without any effort or muscular tension I can shift my body off of the attack line by merely relaxing my weight onto my right leg and in so doing shifting practically all my vital spots out of dangers way. Shifting one’s body weight in this relaxed way occurs surprisingly fast. My new positioning (intermediate position) relative to my opponent also opens up various counter-attack possibilities as the video shows.

The video below begins with the full first movement of the pattern Chon-Ji, then shows how one shifts your body weight into the intermediate position by merely relaxing one leg and dropping your body weight onto that leg, and lastly demonstrates different possible applications from this position.

“Animal” MacYoung's “'great secret' of fighting”

“Gravity is the fastest and most effective way to get your entire body weight in motion! . . . You can move faster by intentionally falling down than you can by trying to muscle your weight out of the way.” – Marc “Animal” MacYoung

Renound self-defence expert Marc “Animal” MacYoung calls this principle the “'great secret' of fighting”. In his book A Professional's Guide to Ending Violence Quickly, MacYoung describes, what he calls the “drop step”. MacYoung's “drop step” and the intermediate position I explored above have much in common as they share the same principle. MacYoung's version is, however, bigger—in ITF Taekwon-Do we find a similar version in other patterns, for instance in Hwa-Rang. Obviously bigger body shifting will require the use of the muscles in the form of side-steps, dodges, and so on. But, once the practitioner understand how this “falling” or “dropping” works, one can easily adjust the technique to different situations. MacYoung's book provides variations and enhancements to his “drop step”, which I'm sure sensible and/or creative students and instructors can infer on their own as well.

In my mind, the sine wave motion, primarily as it is used in the patterns and some pre-arranged sparring, is ultimately a training tool to learn how to easily “get your entire body weight in motion”, preferably with the least amount of effort, and where appropriate by using gravity for this purpose. In this regard, the initial part of the sine wave motion that moves the body into different intermediate positions is especially important as it teaches the practitioner to attain “motion through relaxation”..

Intermediate Positions

In preparation for my post on the kinaesthetic value of ITF patterns, I realised that there is something else I need to cover first, namely ITF Taekwon-Do's intermediate positions / chamber positions that exist in the fundamental movements. The  intermediate positions / chamber positions are of utmost importance in ITF Taekwon-Do as they are actually the default positions (i.e. the position from which one starts a technique) in ITF Taekwon-Do. However, because they are most often seen at intermediate intervals, in other words between the end positions of techniques, they are often missed by some practitioners, while non-ITF initiates may not even realise their existence and the emphasis that they receive in good ITF dojang.

These positions are usually referred to as intermediate positions because they exist intermediately between the impact points of techniques.

Impact Points and Final Positions

Walking Stance Front Fore Fist
Middle Obverse Punch

Heavy emphasis is placed on the “final positions” of techniques—the impact points, i.e. those points of a technique's motion when the attacking or blocking tool engages the target [1]. These impact points, or final positions, are usually what defines a technique. They are usually what we see pictures of in Taekwon-Do books, and are the names that describe a technique. So when I say “Walking Stance Front Fore Fist Middle Obverse Punch,” I'm literally describing the final position of a motion: I'm describing the impact point where I hit an opponent at a middle height with the front of my fore fist of my obverse (leading) arm, from a walking stance. What this description fails to do is explain where I came from (what my previous position was) and how I got to the final position (what the intermediate motions involved). While the description locates the final position, it lacks to locate the beginning position.

Where do techniques end? Where do techniques begin?

Most people are inclined to think that the beginning position of one technique is merely the final position of the previous technique. In a manner of speaking this is true, because techniques are done sequentially, one following (and flowing into) the other. However, the end position of the previous technique is not authentically the start of the new technique, nor is the end position authentically the end of the previous technique.

Let me quickly explain what I mean by this. What we usually consider as the “end position” is not really the end position. Take for instance these quotes from the ITF Encyclopaedia: “Relax the muscles immediately after the fist has reached it's target” and “The moment the attacking tool reaches the target, pull it back to allow it to be ready for the next action while preventing a grab by the opponent.” (Vol. 3, p. 29 & 17). From this it is clear that the end position of a technique is not the moment of impact with the opponent, but actually the relaxation of the muscles and the pulling back of the limbs into a chambered position, ready for the next technique.

This relaxed chamber is the actual, authentic end position, it also becomes the authentic starting position for the next technique. This position is rightly called an intermediate position because it is the position directly after one technique's goal is reached (hitting the target) and before the next technique commences, but it is also rightly referred to as a chamber position because it is the default position from where the next technique is launched. It is never really referred to as the “start position”—even though this would be an appropriate description—in part because ITF Taekwon-Do is at its most advanced level not performed in steps, in singular techniques. Instead, at its advanced level ITF Taekwon-Do is a flow of elastic motions where a clear distinction between one technique and another is hard to identify.

In this sense the ITF Taekwon-Do patterns that plot singular techniques, conveniently stopping at the so-called end-position of each technique, should not be viewed as “advanced” Taekwon-Do. The patterns are a training tool that teaches specific skills; they are not a depiction of Taekwon-Do when performed at its highest, unfettered, combat level. The patterns are not actual mock fights. Yet, paradoxically, a mastery of the patterns often reveal a practitioners ability in higher level Taekwon-Do.

The patterns of ITF Taekwon-Do's mother art Taekkyeon [2] are probably much more representative of the type of unfettered flow I'm talking about. Looking at the fluid Taekkyeon pattern demonstration at the beginning of the video below, notice how there are hardly any “frozen” moments of impact, similar to the forms in Tai-Chi Chuan where there are no Karatesque end-position “stops”.



That these so-called end-positions that we see in the ITF patterns and other basic training should not be considered the actual final position of a technique we see in another practise that ITF Taekwon-Do is famous for—power breaking.

Power breaking is an actual separate category in ITF Taekwon-Do tournaments. (I don't know of any other martial art where power breaking is one of the main competition categories. Most martial arts compete only in sparring and forms.) In power breaking competitions there is a curious rule: the competitor has to demonstrate a guarding posture both before and after the break. If the guarding posture is not assumed both before and after the break, the competitor is disqualified! One would think that the actual breaking of the boards are all that matters, yet this rule brings home a very important lesson: the impact point—hitting and breaking the target—is not the end of the overall technique in ITF Taekwon-Do. These guarding postures before and after the breaking technique act as the intermediate positions, the default positions.

Examples of Two Intermediate Positions

So let's look at examples of intermediate or chamber positions. Up until now I have used the terms “intermediate position” and “chamber position” interchangeably, although there are actually differences between the two. The intermediate position is much better understood as the “relaxed ready” position, while the chamber position is the “charged ready” position. The “relaxed ready” position has almost no tension in the muscles and the centre of gravity is relatively low. On the other hand the chamber position often has the muscles “charged” with potential energy (the muscles are somehow comfortably pulled or compressed so as to take advantage of their elastic potential), and the centre of gravity is often slightly raised to charge it with extra potential energy, which is to be converted into kinetic energy. The kinetic energy is released when the body weight free falls into the technique, towards the impact point.  “Intermediate position” and “chamber position”  are therefore not synonymous, although they are often used interchangeably as they usually occur so closely together. For convenience sake, I will henceforth focus on the intermediate position.

Let's look at the pattern Chon-Ji. We will focus on the first two movements which can be seen in the YouTube video featuring Jaroslaw Suska, at 0:04-0:08. The series of frames below shows myself performing these first two movements.

The first two steps in the pattern Chon-Ji,
depicted in seven frames. 

There are two intermediate positions—or “relaxed ready positions”—within the first two steps of the pattern Chon-Ji. Movement #1 in Chon-Ji Teul turns the body 180 degrees left, into a Left Walking Stance Low Outer Forearm Outward Block; Movement #2 is a forward step into a Right Walking Stance Obverse Front Fore Fist (Middle) Punch. In the series of seven frames above we see the “end-position” of Movement #1 at Frame #4 and the “end-position” of Movement #2 in the last frame, Frame #7. We find the intermediate positions at Frames #2 and #5.

(These were photos taken with my mobile phone. I'm moving too fast for Frames #3 and #6 to be taken properly with my mobile phone camera. I tried to pose in those positions but since they are actual moments of accelerated rise and “free fall” such posing misrepresents the body positioning too much—for one, frozen posed pictures cannot show the accelerated forward momentum of the centre of gravity. It is worthy to note, however, that the “charged” chambered positions are to be found somewhere in the early parts of these blacked-out frames.)

Forwards Offensive (Relaxed Ready) Intermediate Position

The first intermediate position, as shown in Frame #2 is a little controversial, so I'd like us to first look at the second intermediate position, seen in Frame #5, first.

Frame #5: Forwards Offensive Relaxed Ready
Intermediate Position

From our previous technique (Low Forearm Block, Frame #4), we step forward into a walking stance punch. The ITF Encyclopaedia dictates that we should relax “the muscles immediately after the fist has reached it's target” and “pull it back.” This coincides with the first “relax” part of the full sine wave motion which include three phases: relax—rise—fall. Relaxing the arms means that the obverse punching arm is relaxed backward, while the shoulder and back muscles that keep the other fist on the hip is relaxed so that the rear hand is brought forward into a comfortable relaxed position. The hands form a comfortable “sparring guard” position in front of the body. Not only do the arms relax into a comfortable “relaxed ready” position, but also the legs follow suite. The forward knee relaxes somewhat causing a forward shift in the body, while the unnaturally straightened rear leg is relaxed and allowed to comfortably shift forward, bringing the centre of gravity forward. This is the typical forwards offensive (relaxed ready) intermediate position.

A beautiful photograph of
Mohammad Ali posing in a slightly
exaggerated Boxer's Stance while sub-
merged under water.
(Image Source) 

This position can be compared to the boxer's pose or the Jeet Kune Do stance, the advancing Muay Thai stance, and even the Xingyi posture when the straight strike has landed and the rear foot is slided in.

The advancing Muay Thai stance.
(Image Source)

In this part of the pattern Chon-Ji, the intermediate position is merely a pass through point, but in actual application this is the default position, i.e. authentic starting position, for a forward stepping walking stance punch. From this position the practitioner can merely continue the forward momentum and step into a forward stepping punch, or the practitioner can use the bent rear leg to thrust himself forward into a type of lunging punch. This position also allows the practitioner to push back with the front leg if a sudden retreat is required.

Defensive (Relaxed Ready) Intermediate Position

Now for the other intermediate position we see in Frame #2. I mentioned that it is controversial, not because this intermediate position is controversial in itself, it is not; rather, in this particular position in Chon-Ji it is not used by all instructors. Many instructors teach that one ought to fall directly from the Parallel Ready Stance (Frame #1) into the block (Frame #3) in a type of “drop step”. Strategically this makes sense as it is quicker. However, I practise the motion with the intermediate position (Frame #2) because I believe practising to move through the intermediate positions is one of the purposes of pattern training in ITF Taekwon-Do.

Frame #2: Defensive Intermediate Position

So let's look at the intermediate position in Frame #2. From the Parallel Ready Stance the weight is shifted to the right leg, which is also weighted (“rooted”) into a relaxed bend of the knee; simultaneously the hips are slightly turned towards the attacker and the arms are brought up into a defensive guard. This is the typical defensive (relaxed ready) intermediate position. Moving into this position coincides with the initial relax-phase of the full sine wave motion. The defensive relaxed intermediate position is the beginning position for many defensive (blocking) techniques in ITF Taekwon-Do. In this case, as a defensive pose the body's centre is shifted away from the attacker—this is not always the case, but is typical for defensive poses.

One position in Xingyi with the weight
towards the back. (Image Source)

This type of body positioning for a  “starting position” with the weight primarily towards the rear leg is also observed in most martial arts, including such styles as Xingyi. Shifting the weight to the back is often used to move one's vital spots further away from the opponent's reach. In ITF Taekwon-Do we may actually do a drop step backwards in a shifting motion, for example the first movement in the pattern Gae-Baek, in which case the position would act as an “ending position”.

The pattern Gae-Bae starts by falling
back into an L-stance X-block. This pose
is not much different from the typical
defensive intermediate position. 

However the typical defensive (relaxed ready) intermediate position need not be done in a retreating manner; there are actually examples of a forward moving defensive intermediate position in Chon-Ji Teul—it occurs, for instance in the intermediate motion towards Movement #3 in Chon-Ji Teul, as you turn around 180 degrees towards an opponent behind you.

Intermediate Position Aspects

I've only shown two examples of intermediate positions here. The elementary pattern Chon-Ji actually contains more intermediate positions. One, for instance, is the backwards offensive (relaxed ready) intermediate position which resembles the defensive relaxed intermediate position in that the weight is shifted more onto the rear leg, but with the hands brought up in a boxing chamber, rather than a defensive cross-guard.

The important thing to remember is that the intermediate positions are not kept for long periods at a time. Often intermediate positions are merely significant nodes on a path through which the practitioner moves as he or she transition from one technique to another. However, the positions are nonetheless the default positions from which most techniques are launched. The “default position” (or “neutral position” as my friend Stuart Anslow calls them) is a point in the motion where one has not over committed and can still change your technique mid-motion.

The intermediate positions are the “rooting” positions in ITF Taekwon-Do. These are the positions where our centre of gravity is preparatively lowered to root our techniques, our bodies are most relaxed, our perceptions most aware, our minds most focussed. Not that any of these things are less important elsewhere on the motion path of our techniques, yet the intermediate position is a moment of re-centring, of coming back to this default pose of internal (mental) and external (physical) balance.

It is futher more important not to miss the fact that the default position in ITF Taekwon-Do is most often not a stationary position. While the so-called “end-positions”—i.e. the impact points—where the attacking or blocking tool hits its target could be described as a stationary, momentary “frozen” point, and is therefore very easy to photograph and describe, the default position (the intermediate positions) in ITF Taekwon-Do are dynamic positions. The significance of this cannot be overemphasized! At the same time, I should not be misunderstood to mean that they cannot and do not, at times function as stationary positions. The fact that we practise our “default” or “neutral” or “chamber”—or whatever you wish to call it—position usually as a dynamic, transitory position, does not negate the fact that we often enough also come to rest in this position. As I have mentioned before, the intermediate position “is the actual, authentic end position, it also becomes the authentic starting position for the next technique” and we do at times stop our motion here. Many practitioners use the forwards offensive relaxed ready (intermediate) position not as an intermediate node, but as their default sparring stance, in the way a boxer or Muay Thai practitioner may use it. Similarly, I often find myself using the defensive relaxed ready position as my sparring stance.



Footnotes:

1. The term “impact point” is potentially misleading as it could be thought that this point merely touches the surface of the target, when in fact the attacking tool or blocking tool is usually aimed beyond the surface. The true target is not the surface, but beyond the surface, so the impact point is a point that entails the penetration of the body. Other terms such as penetration point or breaking point could possibly have sufficed better, but “penetration” and “breaking” also have other connotative meanings and not all techniques are always used to penetrate or brake—some techniques push, pull, derail, etc. For now I will settle with “impact point” and refer to the point at which the attacking or blocking tool impacts with the true target (not merely the surface of the body). Taekwon-Do students are usually taught that the actual target is about two inches beyond the surface.

2. I call Taekkyeon the “mother” of ITF Taekwon-Do, while Shotokan Karate is its “father.” See more here.