Techniques
Hand techniques and kicks as defined in the Condensed Encyclopedia of Taekwon-Do (1999). Click any technique to expand its description.
The 6 Factors of Power are defined in Chapter 2 of the Encyclopedia of Taekwon-Do by General Choi Hong Hi (1999). Together with the Sine Wave (natural motion), they form the scientific foundation of all ITF Taekwon-Do technique. Understanding and applying these principles separates ITF Taekwon-Do from superficially similar martial arts.
6 Factors of Power
Six scientific principles that, together with the sine wave motion, form the foundation of all ITF Taekwon-Do technique. Mastering these factors is what separates technical mastery from mere muscular strength.
Sine Wave Motion
The sine wave — a natural up-down movement of the body generated by bending and straightening the knees — is the movement principle that links all 6 power factors together. It is the most visible difference between ITF Taekwon-Do and other styles.
The motion follows three phases: (1) DROP — bending the knees slightly at the start of a technique loads gravitational energy; (2) RISE — straightening and lifting generates upward momentum; (3) DROP + IMPACT — a final downward drive adds the practitioner's full body weight to the technique at the exact moment of contact.
This natural wave motion increases effective mass (Factor 5) at impact, contributes to the speed of the technique (Factor 6), and requires precise equilibrium throughout (Factor 3). General Choi Hong Hi developed this principle from the natural movement patterns of the human body — it is not an artificial addition but a refinement of how the body naturally generates force.
The sine wave motion is the most visible technical distinction of ITF Taekwon-Do from other styles. It is not an aesthetic feature but a biomechanical principle derived by General Choi Hong Hi from the natural movement patterns of the human body.
9 Training Secrets
General Choi Hong Hi set out nine training secrets in the Encyclopedia of Taekwon-Do. They are not techniques but the habits of mind and body that make technique correct — read alongside the Theory of Power, which the first secret points straight back to.
To study the theory of power thoroughly.
Every other secret rests on this one. Without reaction force, concentration, equilibrium, breath control, mass and speed, a technique is only movement.
To understand the purpose and method of each movement clearly.
Know what each movement in a pattern defends against or attacks. A block performed without knowing what it blocks becomes a gesture.
To bring the action of eyes, hands, feet and breath into one single coordinated action.
The eyes lead, the body follows, and the exhale lands with the technique. When one of the four arrives late, power is lost.
To choose the appropriate attacking tool for each vital spot.
The tool must suit the target: a fore fist to the solar plexus, a knife-hand to the neck, a footsword to the ribs. See the Vital Spots and Tool Reference sections.
To become familiar with the correct angle and distance for attack and defence.
A correct technique at the wrong distance or angle fails. This is what step sparring is for — it trains judgement of range against a real opponent.
Keep both the arms and legs bent slightly while movement is in motion.
Slightly bent limbs stay relaxed and fast, and protect the elbow and knee joints from hyperextension at full stretch.
All movements must begin with a backward motion with very few exceptions. However, once the movement is in motion it should not be stopped before reaching the target.
The small preparatory withdrawal loads the technique. Once committed, the technique travels through to the target without checking or hesitating.
To create a sine wave during the movement by utilising the knee spring properly.
The knee spring drives the sine wave — down, up, then down onto the target — adding body weight at the moment of impact.
To exhale briefly at the moment of each blow excepting a connecting motion.
A short sharp exhale tightens the abdomen and transfers force. In a connecting motion the two techniques share one breath.