Techniques outlined below represent classic Taekwondo style. These techniques designed for power, speed and balance. These basic moves are combined into sequences or Katas, each enacting a complete fight with one or more opponents. All of the moves should be executed with a maximum power and intensity possible.
Feet Shoulder-width apart, holding both Fists in front of yourself at the belt level.
From Ready Stance, Right leg drops back about one and a half shoulder length; Back leg straight, front leg slightly bent in the knee.
From Ready Stance, Right leg moves back behind left; Back leg slightly bent in the knee - bearing two third of the body weight.
Both legs far apart, parallel to each other and bent in the knee, bearing equal amount. Back straight.
Punches and Strikes
The punching fist is pulled to its corresponding hip (knuckles downward) with elbow directly behind the fist. Leg on the same side as the punching fist steps forward. As leg touches ground, fist is punched straight ahead to the full extent, at a point at the shoulder level. Knuckles upwards pointing in line with a forearm. Other hand is retracted back to the hip at the same time.
The punching fist is pulled to its corresponding hip (knuckles downward) with elbow directly behind the fist. Without stepping, fist is punched straight ahead to the full extent, at a point at the shoulder level. Knuckles upwards pointing in line with a forearm. Other hand is retracted back to the hip at the same time.
Blocking arm is bent in the elbow and moved to the front, opposing side of the body at shoulder level, while other arm covers groin area. Blocking side leg steps forward, while extending blocking arm with sweeping motion to a position right above the knee. Other arm retracts to the hip at the same time.
Blocking arm is positioned near the shoulder, with knuckles pointing backwards. As leg steps forward, forearm moves inward as fist rotates counterclockwise until inner forearm and palm of the blocking arm face your body. At the same time other arm is retracted back to the hip area.
From hip, while stepping forward, blocking hand moves inwards and up, and then is rotated to the outside, untill fist comes to the shoulder level, with knuckles facing opponent.
From hip, while stepping forward, blocking arm moves upward, in front of the face and above forehead, Elbow is then rotated outwards, so that forearm rests infront and above forehead, at 45 degree angle.
First Arm is moved in similar motion as in Inside forearm block to the shoulder, but then its punched forward, while rotating fist counterclockwise. Purpose of the punch is to strike the neck of the attacker, while snaking around blocking hands.
From Iron Horse stance, both hands are raised above back shoulder, with fists open, fingers held tight against each other, fingertips slightly bent and thumb bent and held tight agains palm. With sweeping motion, hands are moved forward, fron hand's palm facing downwards and other hand held upwards.
Striking hand grabs throat of imaginary opponent with thumb and forefinger, then retracts back to the hip. Striking hand is thrust forward and up, while rotating palm with clockwise corkscrew motion, and strikes jaw of imaginary opponent with the bottom of the palm.
Knee is raised towards chest, with foot right below the knee. Foot is then thrust forward, bending toes backwards, using hip power, striking opponent with the heel or a ball of the foot. Immidiately foot is retracted towards chest, and then lowered down.
Striken arm is raised towards chest, holding fist open with palm upwards. Fingers are held tight agains each other, fingertips slightly bent, thumb bent and held tight agains the palm. Using counterclockwise corkscrew motion, hand is thrust forward, hitting opponent with fingertips.
Strike opponent with two fingers held apart while knuckles are facing downwards. Retract hand back to the hip, and strike opponent with same fingers, with knuckles facing upwards. The purpose is to get opponent to tilt his head backwards, and poke eyes out with the second strike.
Regular Punch immidiately followed by Reverse Punch and another Regular Punch. Shout Kia-Kia-Kia.
Step into low Iron Horse stance, while striking forward with the fist of the lead hand.
Step forward turning foot so it points backwards, turn around while striking opponent with side kick with the other foot.
Raise back leg towards chest, jumping over it, and executing front snap kick with the other foot.
Similar to Grab Throat - Break Jaw, but second strike hits opponent while palm is facing downwards.
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Kata is the sequence of basic Taekwondo moves, representing a complete fight with one or several opponents. Students must learn Katas in sequence, never attempting to learn a new kata, untill achiving proficiency with previous one.
When practicing Katas, student must perform all the Katas he/she had learn so far, during each practice. It is essential that student is proficient with all katas for his/her belt level at the time of examination.
Many color belts, and even some black belts, think that pattern training is a waste of time because it is not practical in sparring. Since sparring is exciting to perform and to watch, it has become a major part of today's Taekwondo training. Because of this concentration on sparring, many students look at sparring as a method of self-defense. Since sparring is basically a long-range method of fighting, many students forget that self-defense is usually a close-range, hand-to-hand situation.
When patterns were first devised, sparring was not a major aspect of Taekwondo. Their emphasis was on close-range self-defense. Therefore, patterns, at least the traditional ones, tend to contain practical, close-range self-defense techniques. Patterns were not developed to support sport sparring or to be used against a warrior on a battlefield; they were developed as defensive techniques to use against violent, untrained attackers, not trained soldiers or other marital artists. Real world attackers do not use powerful kicks or intricate combinations. Real world attacks are wild "hay-maker" punches, head butts, kicks to the knees, biting, and tackling, therefore, patterns were developed to defend against these types of attacks. Patterns use such techniques as close-range strikes, throws, takedowns, chokes, strangles, arm bars, leg locks, finger locks, wrist locks, neck cranks, ground fighting etc.
Patterns are a means to an end rather than an end in themselves. Hironori Otsuka (founder of Wado-Ryu) book, Wado-Ryu Karate, stated that, "Martial arts progress from kata to kumite, kumite to combat, and so on. Kata is a fundamental aspect of martial arts and hence is unyieldingly important." Patterns techniques should be an integral part of sparring and self-defense training. By eliminating pattern techniques, such as throws, chokes, locks, etc. from sparring, we do not develop the skills and attitudes needed to execute the techniques in self-defense situations.
Not only do the patterns provide techniques, they also include the principles upon which the techniques were developed. It is important to understand why techniques work and their underlying principles, we must get beyond the mere memorization of movements. Principles are far more important than techniques. Principles may be applied in many ways, while techniques are very specific and limited. By concentrating on the principles and the various ways in which they may be applied, a single pattern may become an inexhaustible repository of martial knowledge. Understand the principles and you will be able to adapt any technique to be of use in any situation. In his eighteenth principle of Karate, Gichin Funakoshi write, "no two fights will ever be the same, but the principles upon which the kata rests never vary." Choki Motobu (one of Okinawa's most feared fighters) once said, "One must learn how to apply the principles of the kata and how to bend with the winds of adversity."
Qouted from : Hartman, R. (2003). TKDTutor. [Online]. Available: TKDTutor.com 
Students tend to overlook the mental aspects of patterns during their training, but they are just as, if not than more than, important. One of the obviously mental aspects of pattern performance is the kiai/kiyup. The kiai is not just a yell to be performed at specific points in a pattern, it is the convergence of all your energy and thought at a single instantof maximum power. When the pattern is performed correctly, you feel so good that you can not help but make a noise. An explosion will make a loud noise, but a loud noise is not an explosion, likewise, the kiai is a shout, but a mere shout is not a kiai. When you perfect a technique to the point that you know an opponent would be powerless against it and you execute the technique in a pattern, you feel exalted at its perfection. This feeling of exaltation and perfection is released through the kiai. Only perfection will bring out a true kiai. Otherwise, it will only be a yell. If you have an unshakeable belief in both yourself and your ability to apply the techniques of the kata, regardless of the circumstances, then your kata will posses Kiai.
When an opponent is helpless against your techniques, you will feel the kiai. When the opponent feels overcome by the kiai, he or she will feel "aiki." Aiki occurs when one is overwhelmed by a dominating spirit. Feeling aiki will cause an opponent to doubt his or her skills and to resign to defeat. In combat, if you break your opponents spirit so that they lose their will to fight, you are guaranteed victory. Sometimes a highly confident stare may cause aiki in an opponent. In the classic text, The art of War, Sun-Tzu states, "Achieving victory in every battle is not absolute perfection, neutralizing an adversary's forces without battle is absolute perfection." A high quality pattern performed to perfection will cause aiki in those who view it. They will feel a cold chill come over them. Arrogance, making mean faces, and overacting will not cause aiki. Aiki not a caused by a conscious effort of the performer, is something that occurs naturally when one has perfected his or her pattern to point that it viewer are awestruck by it performance.
As you perform your pattern, you should look like an robot performing programmed motions. You should appear as a alert warrior who is reacting to attacks from unseen attackers. Your performance should cause viewers to visualize your attackers. They should feel as though they are watching a real fight. Master Itsou (founder of the Pinan and Heian Karate katas), when outlining his philosophy of Karate to the Prefecture Education department wrote, "During practice, you should imagine you are on the battlefield. When blocking and striking, you should make your eyes glare, drop the shoulders, and harden the body. Now block the enemy's punch and strike! Always practice with this spirit so that, when on the real battlefield, you will naturally be prepared."
Once you bow at the beginning of the pattern, you should have "no mind," a mind that is open and not fixed upon any particular object or thought. You are not thinking about performing the pattern, you are merely reacting attackers with fearless power.
Do not exhibit arrogance during your performance. From the time you are called forward to perform you pattern, you should exhibit the quite courtesy and humility of a fearless warrior who has been called upon to do battle for the kingdom. A true warrior is confident and is to be feared, while at the same time presents him or herself as a kind, gentle and humble servant of the king.
Reference: Galloway (2001), Sol (1997). http://paperwindow.com/tkd
Qouted from : Hartman, R. (2003). TKDTutor. [Online]. Available: TKDTutor.com