Disclaimer: The opinions in this blog are entirely my own, as an individual—Leanne Lolley. They do not represent the views of my club, organisation, or National Governing Body (NGB).
Unless you’ve been hiding under a rock, you’ve likely heard the ongoing discussions about renaming Tong-Il, the 24th and final pattern in Taekwondo, to Chang-Hon. This issue has sparked intense debates across the Taekwondo community, with strong opinions on both sides. Personally, I’m deeply conflicted. Writing this is my way of working through my own thoughts and trying to make sense of the situation.
Taekwondo's Rich History and Development
Taekwondo is a Korean martial art and Olympic sport with a rich history that can be traced back to the 600s AD. Its origins are linked to the fighting systems of the Silla kingdom’s Hwarang warriors, known for their martial prowess. Early precursors to Taekwondo include Soo Bahk, Tae Kyun, and Kwon Bup, which shaped the foundational techniques of modern Taekwondo.
In the 1940s and 1950s, Korean martial artists, influenced by Japanese karate and Chinese kung fu, developed the modern version of Taekwondo. The name "Taekwondo" itself was coined in 1955, with General Choi Hong Hi playing a crucial role in this decision. The name combines the Korean words "tae" (foot, leg, or to step on), "kwon" (fist or fight), and "do" (the way or discipline), symbolising the martial art's emphasis on using the feet and fists in a disciplined manner.
The Korea Taekwondo Association (KTA) was founded in 1959, followed by the creation of the International Taekwon-Do Federation (ITF) in 1966, also by General Choi. Later, the Kukkiwon and World Taekwondo (WT) were established in 1972 and 1973, respectively. WT became a pivotal organisation for sport Taekwondo, particularly as Taekwondo made its Olympic debut in 2000, with Gyeorugi (full-contact sparring) as the event.
In 2018, the South Korean government officially recognised Taekwondo as Korea's national martial art, further solidifying its cultural and global significance.
The Evolution of Taekwondo Patterns
Taekwondo’s pattern system has evolved significantly over the years, starting with the original 24 patterns developed by General Choi Hong Hi. These patterns, which were influenced by Karate Kata introduced to Korea during the Japanese occupation (1910–1945), were adapted to fit Taekwondo’s distinct philosophy and principles.
The name Chang-Hon, which is General Choi’s pen name, means "Blue Cottage" (Chang meaning blue and Hon meaning cottage). It reflects his humble beginnings and personal connection to the martial art. The name symbolises both the cultural and philosophical roots of Taekwondo, emphasising its foundation in General Choi’s life and work.
The Meaning of Tong-Il
The 24th pattern, Tong-Il, symbolises the unification of Korea, an enduring aspiration of the Korean people. The pattern consists of 56 movements, which represent the year 1956 when the movement for Korean unification began to take shape. The meaning of Tong-Il is as follows:
"Tong-Il denotes the resolution of the division of Korea and the establishment of a unified nation, symbolising the Korean people's unending desire for unification."
This theme of unity is a fitting conclusion to the 24 patterns, which collectively tell the story of Korea’s history, its struggles, and its dreams. The journey begins with Chon-Ji, which symbolises the creation of the world and humanity, and progresses through significant moments in Korea’s history. In Tong-Il, the hope for unification is symbolically realised, providing a sense of closure to the pattern system.
The Formation of World Taekwondo (WT) in 1973
A pivotal moment in the history of Taekwondo occurred in 1973, when the World Taekwondo Federation (WT) was established after General Choi left for Canada. At this point, Taekwondo faced significant political and organisational divides. General Choi had spent many years promoting Taekwondo globally, but as his influence grew, so did the political tensions within the martial arts community, particularly regarding his leadership over the International Taekwondo Federation (ITF).
In the early 1970s, disagreements between General Choi and the South Korean government, as well as with other Taekwondo groups, intensified. This led to General Choi’s departure to Canada, where he continued to champion Taekwondo worldwide. Meanwhile, the South Korean government supported the creation of the World Taekwondo Federation (WT), which aimed to standardise and promote the sport, particularly with the goal of Taekwondo’s inclusion in the Olympic Games.
The formation of WT marked a split within the Taekwondo community, with the ITF and WT moving in different directions. While the ITF focused more on traditional Taekwondo and its philosophical aspects, WT embraced a sport-oriented approach. Despite these differences, both organisations traced their origins back to General Choi’s vision for Taekwondo.
Why Change to Chang-Hon?
Renaming the 24th pattern to Chang-Hon would be a way of honouring General Choi Hong Hi, the founder of the Chang-Hon system and the person responsible for creating the 24 patterns. Chang-Hon is already widely recognised within the Taekwondo community, particularly as the name of the system as a whole. Renaming the final pattern to Chang-Hon could unify the system under one name, commemorating General Choi’s legacy and acknowledging his influence in shaping the martial art.
The Precedent for Change
Changes to the Taekwondo patterns are not a new concept. In 1986, the pattern Ko-Dang was replaced by Juche, a change that was ostensibly made to accommodate technical development but is widely believed to have been politically motivated. The name Juche was linked to the North Korean ideology of self-reliance, a core principle under Kim Il-sung’s regime. This ideology, which promoted the idea that North Korea should operate independently of foreign influence, became central to the nation's political agenda, and the adoption of Juche in Taekwondo reflected this ideological shift.
The replacing of Ko-Dang to Juche stirred significant debate within the Taekwondo community. While the official reason given for the change was the development of technical movements, it is widely accepted that the decision was influenced by political considerations, particularly from the North Korean government. Juche became associated with Kim Il-sung's regime, and the change was seen by many as a politically motivated move to further entrench North Korea's influence on the international martial arts community. In recent years, some schools have returned to using the name Ko-Dang even though the pattern practice remain Juche due to the controversial nature of Juche, as it was seen to carry the weight of political ideology rather than purely martial arts tradition.
Interestingly, even the start position of Juche has been noted to resemble Kim Il-sung's posture, with the hands placed on the hips in a way reminiscent of how the North Korean leader often stood during speeches. This connection further underscored the political overtones of the pattern’s renaming, as it appeared to symbolically align the practice of Taekwondo with the North Korean regime’s image.
The situation surrounding Juche was also connected to the ongoing tension between North and South Korea, where figures like Cho Man Sik, who advocated for Korean unity, found themselves at odds with the political narrative imposed by Kim Il-sung’s regime. Cho Man Sik, a fervent supporter of a unified, independent Korea, stood in stark contrast to the direction taken by North Korea's leadership. His beliefs were rooted in the idea of national unity, while Juche was more about North Korean self-reliance, suppressing any notion of collaboration with the South.
Cho Man Sik’s opposition to Kim Il-sung’s regime became a tragic chapter in Korean history. After Korea's division, Cho continued to champion the cause of Korean unity, but his efforts were met with suppression from the North Korean government. In 1957, Cho Man Sik was arrested by the North Korean authorities under Kim Il-sung’s regime. He was imprisoned for several years, enduring harsh conditions. His eventual death in captivity, likely from the toll of his imprisonment, remains a poignant symbol of the ideological struggle between the desire for unity and the political divisions created by the Korean War. Cho Man Sik’s death under Kim Il-sung’s regime marked a tragic end to his life’s work, but his legacy as a proponent of Korean reunification continues to resonate.
The renaming of Tong-Il to Chang-Hon would follow a similar precedent, though with its own set of complexities. While such a change would certainly be contentious, it would not be unprecedented in Taekwondo’s history. The art has undergone several changes to its patterns and terminology over the years, often driven by political and technical considerations. Some may view this shift as part of the natural evolution of Taekwondo, while others may see it as a departure from the tradition and history that Taekwondo represents. Regardless of where one stands, these changes remind us of the complex relationship between martial arts, history, and the political landscape in which they are practiced.
Balancing Tradition and Change
Personally, I have a deep connection to the original 24 patterns. For me, they tell a beautiful story—from Chon-Ji to Tong-Il, they represent the creation of the world, the history of Korea, and the hope for unification. Tong-Il, in particular, feels like a fairy-tale ending, symbolising the desire for peace and unity.
However, I also recognise the importance of evolution. My husband and I have trained in both the "hip twist" and "sine wave" schools of thought, and we have found a balance that combines the strengths of both. We apply this same approach when teaching patterns.
At our club, we teach Ko-Dang as the second-degree pattern because we believe it is closer to the original 24 patterns and feels truer to their meaning. However, we also teach Juche to ensure that our students are not disadvantaged in the wider Taekwondo world, whether they change clubs or compete in different settings. We make sure our students understand the history behind these changes, allowing them to appreciate the journey of the art.
Finding Unity in Diversity
Rather than allowing the debate over renaming Tong-Il to Chang-Hon to cause further division, perhaps we should see it as another branch growing from the same tree. The roots of Taekwondo remain unchanged, no matter how the branches develop.
At its core, Taekwondo is about unity. Whether we call the final pattern Tong-Il or Chang-Hon, we all share the same foundation. By recognising both our similarities and differences, we can move closer to the ideal of unity that Tong-Il symbolises.
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