Chae Dok means ‘admiral’ and it refers to a Chinese military strategist who helped Korea sometime in the past – I need to do research on this but at a later time. I have basically posted the video for my training back in the UK as I it is the required form for my dan grade.
Along with the techniques themselves, it is required that thier corresponding terminology is announced prior to their delivery (see: Chae Dok Keom Spoken Aspects).
Errata – At the start of the form, after the sword has been drawn and is resting on the right shoulder, the ‘chant’ should be ‘Dae Choek Ch’ul Keom’ (대적출검).
The form name can also be announced while in ‘ready stance’ which in this case is ‘open.’
The Ssang-Su-Do-Keom-Beop (쌍수도검법) series contains four forms (검법 – keom-beop). Basically, ‘ssang-su-do’ means ‘way of the double-handed sword.’ The series is often performed as one pattern.
Here, my teacher, Kwon Yong-Guk (5th dan) demonstrates the form at normal speed with just a short pause between each part – basically to introduce it. I have included parts that need ‘chanting’ in the subtitles.
Ssang-Su-Do-Keom-Beop 4 (쌍수도검법 四장) is the fourth form of the Ssang-So series. Basically, ‘ssang-su-do’ means ‘way of the double-handed sword.’ The series, containing four forms, are often performed as one pattern.
The form consists of 25 movements including drawing (발도) and sheathing (납도). There are 12 cuts and one thrust. Kihaps (6) are given on the usual draw (대각), on three central downward slashes to the waist (정면 내려 베기), on a piercing thrust (찌르기) and on the head stroke (정면머리치기) following the ‘half moon arc.’ Following this technique, ‘shin’ (신), ‘keom’ (검). ‘hap’ (합) and ‘il’ (일) are chanted with each stroke.
The form introduces some defensive positions in the opposite stance to former forms, a ‘half moon arc’ slash ( 반월베기 – ban wol begi) and at the very end of the form, high and low ‘cross legged stances’ are transitioned into and out of, by corkscrew movements. Personally, because of a problem with one knee, I don’t sink low and find initiating the corkscrew from the arms, easier. More on these techniques in a later post.
Ssang-Su-Do-Keom-Beop 3 (쌍수도검법 三장) is the third form of the Ssang-So series. Basically, ‘ssang-su-do’ means ‘way of the double-handed sword.’ The series, containing four forms, are often performed as one pattern.
The form consists of 23 movements including drawing (발도) and sheathing (납도). There are 14 cuts and two thrusts. Kihaps (5) are given on the usual draw (대각), on the second headstroke (정면 머리 치기), on a central downward slash to the waist (정면 내려 베기) and on the two piercing thrusts (찌르기). It seems a general rule that kihaps are made on all downward slashes to the waist (정면 네려 베기) except if they are part of a sequence and where a kihap is better suited to the final move of that sequence. For, example, a downward slash to the waist followed by a piercing thrust, as in this form, will see the kihap shifted to the thrust.
The Ssang-Su series basically take the mija begi sequence (미 (米) 베기) and incorporate it with footwork – a turn is introduced with both a headstroke (정면 머리 치기) and the final slash, a right downward slash (우내려 베기).
This is the second form (검법 – geom-beop) of four forms collectively known as Ssang Su Do Geom Beop (쌍수도검법). It is often referred to as ‘Do Geom Beop.’ As mentioned in the notes for the first form, the four forms are often strung together making one long pattern.
‘E chang’ (이장 – 2nd form) consists of 22 movements, including drawing and sheathing. There are 12 cuts and 1 thrust (찌르기). All the downward cuts or slashes, whether centre or to the left or right, cut through to the waist. There are five kihaps, the first, as usual, on drawing the sword, and then on all center line downward cuts (정면내려베기 – cheong-myeon naeryeo begi) and on the single thrust (jirugi – 찌르기).
This form introduces a turn with a defensive position which appears again in the third form but on the opposing side. This is a difficult technique and requires much practice to perform with ‘good form.’ Like forms in other martial arts, there are nuances and subtleties which go beyond the positions themselves and which vary from school to school and from individual to individual. Such subtleties and nuances mark a mediocre performance from an advanced one and are something I wish to return to in later posts when I have a better grasp of the fundamentals and have developed a ‘feel’ for individual patterns.
I often find myself watching my teacher’s performances repeatedly and perceive much in common between his performances of a sword pattern and a piece of music performed by an accomplished musician; cadence, speed, timing, posture, focus, power, precision, balance, tension and relaxation, and more, are all aspects to be considered and nurtured in bringing a performance ‘to life’ and investing it with emotional qualities.