Description
If I were to express the essence of the cultural phenomenon known as
Taekwondo in a single phrase, I would not hesitate to call it the "simultaneity of
the non-simultaneous"(Gleichzeitigkeit des Ungleichzeitigen).* This term refers
to a situation where elements that cannot chronologically coexist appear
together at the same moment. It describes a phenomenon where
heterogeneous temporal elements are intertwined-much like a grandfather
and grandson sitting across from each other at the same dinner table,
sharing a meal while harboring entirely different thoughts and value systems
Today, Taekwondo is the cultural arena where this "simultaneity of the
non-simultaneous" is most vividly manifested. Unlike relatively closed
cultural domains such as religion or ritual, Taekwondo has maintained an
exceptionally open attitude throughout its historical evolution and
regional exchanges. Consequently, Taekwondo exists as a layer of
cohabiting traditional and modern values, as well as Eastern and Western
norms. Specifically, what Wilhelm Pinder described as the "difference in
generations" also appears in Taekwondo as a "difference in regions."
While Taekwondo in Korea has evolved into a modern sport integrated
with cutting-edge sports science, thousands of Dojang s across the globe
still emphasize strict martial arts hierarchy and mental cultivation,
preserving original forms from decades ago. This coexistence and
intersection of values from different timelines within the single system of
Taekwondo constitutes its unique and core cultural attribute.
The definition of Taekwondo as a "martial arts sport," as prescribed by
Kukkiwon, perfectly illustrates this attribute. This expression multi-
dimensionally implies the pre-modern value of "Oriental martial arts"
alongside the modern rationality of "Western sports." This combination,
which may seem like an oxymoron at first glance, is the very core of
Taekwondo's identity. In the Dobok(uniform), the archetype of traditional
clothing and modern functionality coexist; in the figure of the
Sabum(instructor), the strict "traditional image of a master" and the rational
"modern image of an educator" overlap. I planned the writing of this book
to academically illuminate these complex and subtle cultural layers.
Beyond my scholarly curiosity, my responsibility as an educator served
as a primary motivation for bringing this book into the world. Since around
2009, I have operated a liberal arts course titled "Taekwondo and
Traditional Korean Culture." I have strived to convey the history and
philosophy of Taekwondo, and the Korean culture embedded within it, to
non-majors in a manner that is comprehensive yet accessible. Out of the
16-week semester, I covered a new topic every week across 14 core
themes, excluding orientation and exams, communicating with students
through materials summarized from my previously published papers and
books. The moments when students, initially unfamiliar with Taekwondo,
found their eyes sparkling as they discovered the Korean spiritual heritage
within the art were deeply rewarding for me. While I always lamented the
absence of a proper textbook and postponed writing for various reasons,
my desire to compile my years of lecture notes into a single volume has
finally borne fruit as I conclude my tenure of research and teaching.
This book is organized into three major movements. Part 1 (ChaptersⅠ
-Ⅳ) theoretically investigates the cultural and historical identity of
Taekwondo. It examines the cultural context of Taekwondo's birth
through philosophical anthropology and a comparison of Eastern and
Western physical cultures. It argues for the historical legitimacy of
Taekwondo as a traditional Korean martial art by deconstructing and
reconstructing the very concept of "tradition." Furthermore, it traces the
roots of Korean empty-hand martial arts through the historical flow from
subak (手搏) to Gwonbeop ( 拳法) and finally to taekkyeon .
Part 2 (Chapters Ⅴ-Ⅺ) unfolds the specific cultural elements that
constitute Taekwondo. It sequentially addresses the relationship between
the Dobok and hanbok; the philosophy of Yin-Yang and the Five Elements
embedded in belt colors; the Kukkiwon building which embraces the
aesthetic of hanok architecture; the essence of the Dojang as a site
(madang ) that must lead from the transmission of technique (sul) to the
Way (Do); the instructor who must build an identity between the
traditional master and the modern educator; the depths of traditional
Korean etiquette; and the meaning and challenges of promotion tests as
rituals (uirye ). These chapters demonstrate how much of the Korean
cultural code is implied in the physical language of Taekwondo.
Part 3 (Chapters Ⅻ-XIV)views Taekwondo with a broader perspective.
It analyzes the layers of Hongik Ingan(broadly benefiting humanity),
Dangun mythology, Buddhism, Taoism, and Confucianism within the
Taekwondo spirit. It also surveys the history of the Taekwondo
Hallyu (Korean Wave), from civilian-led overseas dissemination in the
1950s to today's government-led soft diplomacy. Finally, borrowing the
unique theoretical framework of Invasive Biology, it explains the reasons
for Taekwondo's success in globalization through the dual concepts of
"uniqueness" and "requisite variety."
Recently, as a reaction to the rapid digitalization of our lives, our
society is once again paying attention to humanistic values. In an era
where everything is datafied and the physical body is alienated, the
physical language of Taekwondo becomes a powerful practical tool for
restoring humanity. Even within the Taekwondo community, the thirst for
humanistic reflection beyond technical proficiency is deeper than ever.
For readers accustomed to viewing Taekwondo simply as a fighting
technique or a sporting event, I trust this book will allow them to
discover that Taekwondo is a living cultural totality-embracing hanbok
and hanok , Yin-Yang and the Five Elements, rites of passage, Hongik
Ingan , and soft diplomacy within a single body. I sincerely hope this book
serves as a guide for students to broaden their intellectual horizons, a
catalyst for instructors to reflect anew on the depth of what they
transmit, and a stimulant for thought for all who love Taekwondo to feel
the essence of our culture with their entire being.
June 15, 2026
Hyeong-seok Song
Taekwondo in a single phrase, I would not hesitate to call it the "simultaneity of
the non-simultaneous"(Gleichzeitigkeit des Ungleichzeitigen).* This term refers
to a situation where elements that cannot chronologically coexist appear
together at the same moment. It describes a phenomenon where
heterogeneous temporal elements are intertwined-much like a grandfather
and grandson sitting across from each other at the same dinner table,
sharing a meal while harboring entirely different thoughts and value systems
Today, Taekwondo is the cultural arena where this "simultaneity of the
non-simultaneous" is most vividly manifested. Unlike relatively closed
cultural domains such as religion or ritual, Taekwondo has maintained an
exceptionally open attitude throughout its historical evolution and
regional exchanges. Consequently, Taekwondo exists as a layer of
cohabiting traditional and modern values, as well as Eastern and Western
norms. Specifically, what Wilhelm Pinder described as the "difference in
generations" also appears in Taekwondo as a "difference in regions."
While Taekwondo in Korea has evolved into a modern sport integrated
with cutting-edge sports science, thousands of Dojang s across the globe
still emphasize strict martial arts hierarchy and mental cultivation,
preserving original forms from decades ago. This coexistence and
intersection of values from different timelines within the single system of
Taekwondo constitutes its unique and core cultural attribute.
The definition of Taekwondo as a "martial arts sport," as prescribed by
Kukkiwon, perfectly illustrates this attribute. This expression multi-
dimensionally implies the pre-modern value of "Oriental martial arts"
alongside the modern rationality of "Western sports." This combination,
which may seem like an oxymoron at first glance, is the very core of
Taekwondo's identity. In the Dobok(uniform), the archetype of traditional
clothing and modern functionality coexist; in the figure of the
Sabum(instructor), the strict "traditional image of a master" and the rational
"modern image of an educator" overlap. I planned the writing of this book
to academically illuminate these complex and subtle cultural layers.
Beyond my scholarly curiosity, my responsibility as an educator served
as a primary motivation for bringing this book into the world. Since around
2009, I have operated a liberal arts course titled "Taekwondo and
Traditional Korean Culture." I have strived to convey the history and
philosophy of Taekwondo, and the Korean culture embedded within it, to
non-majors in a manner that is comprehensive yet accessible. Out of the
16-week semester, I covered a new topic every week across 14 core
themes, excluding orientation and exams, communicating with students
through materials summarized from my previously published papers and
books. The moments when students, initially unfamiliar with Taekwondo,
found their eyes sparkling as they discovered the Korean spiritual heritage
within the art were deeply rewarding for me. While I always lamented the
absence of a proper textbook and postponed writing for various reasons,
my desire to compile my years of lecture notes into a single volume has
finally borne fruit as I conclude my tenure of research and teaching.
This book is organized into three major movements. Part 1 (ChaptersⅠ
-Ⅳ) theoretically investigates the cultural and historical identity of
Taekwondo. It examines the cultural context of Taekwondo's birth
through philosophical anthropology and a comparison of Eastern and
Western physical cultures. It argues for the historical legitimacy of
Taekwondo as a traditional Korean martial art by deconstructing and
reconstructing the very concept of "tradition." Furthermore, it traces the
roots of Korean empty-hand martial arts through the historical flow from
subak (手搏) to Gwonbeop ( 拳法) and finally to taekkyeon .
Part 2 (Chapters Ⅴ-Ⅺ) unfolds the specific cultural elements that
constitute Taekwondo. It sequentially addresses the relationship between
the Dobok and hanbok; the philosophy of Yin-Yang and the Five Elements
embedded in belt colors; the Kukkiwon building which embraces the
aesthetic of hanok architecture; the essence of the Dojang as a site
(madang ) that must lead from the transmission of technique (sul) to the
Way (Do); the instructor who must build an identity between the
traditional master and the modern educator; the depths of traditional
Korean etiquette; and the meaning and challenges of promotion tests as
rituals (uirye ). These chapters demonstrate how much of the Korean
cultural code is implied in the physical language of Taekwondo.
Part 3 (Chapters Ⅻ-XIV)views Taekwondo with a broader perspective.
It analyzes the layers of Hongik Ingan(broadly benefiting humanity),
Dangun mythology, Buddhism, Taoism, and Confucianism within the
Taekwondo spirit. It also surveys the history of the Taekwondo
Hallyu (Korean Wave), from civilian-led overseas dissemination in the
1950s to today's government-led soft diplomacy. Finally, borrowing the
unique theoretical framework of Invasive Biology, it explains the reasons
for Taekwondo's success in globalization through the dual concepts of
"uniqueness" and "requisite variety."
Recently, as a reaction to the rapid digitalization of our lives, our
society is once again paying attention to humanistic values. In an era
where everything is datafied and the physical body is alienated, the
physical language of Taekwondo becomes a powerful practical tool for
restoring humanity. Even within the Taekwondo community, the thirst for
humanistic reflection beyond technical proficiency is deeper than ever.
For readers accustomed to viewing Taekwondo simply as a fighting
technique or a sporting event, I trust this book will allow them to
discover that Taekwondo is a living cultural totality-embracing hanbok
and hanok , Yin-Yang and the Five Elements, rites of passage, Hongik
Ingan , and soft diplomacy within a single body. I sincerely hope this book
serves as a guide for students to broaden their intellectual horizons, a
catalyst for instructors to reflect anew on the depth of what they
transmit, and a stimulant for thought for all who love Taekwondo to feel
the essence of our culture with their entire being.
June 15, 2026
Hyeong-seok Song
Taekwondo, Embracing Korean Culture
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