Yedo (예도) is a set of 24 sequences which come from the Muyedobotongji (藝武圖譜通志 – 무예도보통지), published in 1795. Ultimately, they are practised as one form but initially, in my kwan, they are taught as individual sequences which open with a draw and close with a return. Draws and returns are not stipulated in the MYDBTJ and are chosen by dojang or kwan masters. In my dojang, the returns tend to change quite often whereas draws, largely prescribed by the initial technique, remain fairly constant.
For blogs on Yedo 1-6 go to:
Each sequence is named after the position it employs. All Yedo sequences start from, and end in the open ready stance (junbi seogi – 준비 서기). Each sequence is announced. A kihap (기합) is made at the apex of the draw. Each sequence, after the final technique, is quitted in a similar fashion by shifting into the middle guarding position (중단셰) with the right foot leading.
Yedo 7. Yo Yak Sae (요약세)
The position Yo Yak Sae (요약세)
Yedo 7 begins with a low to high (ha-sang baldo – 하상 발도) draw but it does not stop at the usual apex, but continues straight down into the Yo Yak Sae position. The kihap (기합 – 氣合) is at this point. The face turns to look at the sword and there is a three-second pause. Note on drawing, the kaljip (칼집) is turned marginally to align it with the angle of the draw – marginally clockwise.
The first cut is a left, upward oblique followed by a piercing thrust (찌르기 – jjireugi) leading straight into a hwi du reugi (휘두르기). Hwi du reugi is a ‘clearing sweep’ rather than an attack and is designed to move an opponent back by means of a ‘big’, threatening gesture. 휘두르다 – means to flourish, brandish, and 휘두르기 means, ‘flourishing’. All three techniques follow in swift succession and the ‘clearing sweep’ (right) continues into a spin followed by a punch. When the punch is established the left and right arms form 90 degrees (12 0’clock – 3 o’clock) The return is via ‘cheug ha dae gak kama bburigi napdo’ (즉하대각감아뿌리기 납도). ‘Cheug ha‘ (즉하) means ‘outside-low.’ Koreans are fond of shortening words or combining morpehemes and ‘cheug ha dae gak’ is often simply called, ‘dae gak napdo,’ ie. ’45 degree angle draw. It is used in both a fixed back stance (측하대각) or front stance (정면대각 – the ‘측하’ is omitted here because in front stance the sword position is not ‘outside.) The ‘gama‘ (감아) element is from the verb 감다, (kamda), ‘to furl the sword in a big sweeping movement. ‘Bburigi’ (뿌리다 – bburida) means ‘to sparge, whip or wipe-off’ the blade. Be careful with the furl because the sword can come fairly close to the right ear!
Yedo 8. Eo Geo Sae (어거세)
The position Eo Geo Sae (어거세)
Eo Geo Sae opens with the usual low to high draw (하상발도). The sword is brought slowly down over the left shoulder while stepping forward. The kodeungi (코등이) should be level with the ear. The sword and torso then dip forward into the position Eo Geo Sae (어거세). A thrusting pierce and right downward oblique follow is quick succession and then, with sword guards (코등이 – kodeungi) locked together, kodeungi ssa-un mil-gi (코등이 싸운 밀기) is employed. Timing here is important. First, the hands thrust forward, pushing the opponent backwards, then, the body springs back while performing a left, downward oblique. The push and jump are not simultaneous!
Kodeungi locked together.
코등이 싸운 밀기 (kodeungi ssa-un mil-gi)
Push opponent’s sword back and up, shift body weight onto rear leg…
and spring back off the right leg…
Land in a wide stance between front and fixed back, with a left, downward oblique.
The return is via cheong myeon dae gak with an attached twirl and furl in the form of hwi-dollyeo gamgi (휘돌려감기). The complete name is thus, cheong myeon dae gak hwi-dollyeo gamgi napdo (정면 대각 휘돌려 감기 납도 – front, 45 degree angle, forward twirl and furling return). Keep the returning sword clear of the lead leg.
Yedo 9. Jeon Gi Sae (전기세)
The position Jeon Gi Sae (전기세)
The sequence begins with low-high draw (하상발도 – ha-sang baldo), with kihap (기합). The sword is then slowly brought into the Jeon Gi Sae (전기세) position without changing stance. The sword-spine rests between crux of elbow and side of shoulder. Two attacks now follow to the opponent’s neck (neck stroke – 목치기 – mok-chigi). Both are to the side of the opponent. First, the lead foot positions to the right and the left foot follows up behind it – cut. Then the left foot shifts across and forward to the left and the right foot moves across and to the rear – cut. The neck cut is simultaneous with the second part of each footwork. The body moves forward, stepping forward with the right leg but the chest remains facing 3 o’clock. The left foot follows up and a piercing thrust in front stance, is delivered. This technique is best seen watching the video. The stepping style, characteristic of the MYDBTJ, is often noted in Chinese systems.
The return is via the right knee (오른무릎납도 – o-reun (우-u) mu-reup napdo) which means stepping back, LRL, from the middle guarding position (중단세 – jung dan sae).
Video of Yedo, 7, 8 and 9.