Poomsae Kumgang conveys the idea of ​​strength and nature. Its name Kumgang is due to the Keumgang mountain located in present-day North Korea. This interesting mountain is a symbol of greatness and strength, it also has great spiritual significance for the Korean people, for this reason the Poomsae Kumgang is named after him to enhance the beauty of Korean geography and the strength of that land relief.

    Likewise, it owes its name to the great warrior Keumgang Yeoksa, who was named by Buddha as the strongest of warriors.


    The Kumgang poomsae embodies qualities such as toughness and strength. Similarly, the word kumgang, in its beginnings, referred to that which fragments mental suffering through the union of wisdom and virtue.


    KUMGANG or KEUMGANG means something too hard or resistant and that does not break. It is also translated as mountain. KUMGANG is also the name given to the most beautiful mountain in Korea, in the Taebek Mountains.

    What movements take place in the poomsae Kumgang?

    Techniques such as: batangson teok chigui, han sonnal montong an makki, keumgang makki, santeoul makki, kheun dol tzogi and hakdari seogi appear in the poomsae Kumgang. These techniques are developed throughout the sections and movements with quite a lot of power.

    This poomsae also symbolizes the diamond, consists of 27 sequences and has 35 movements in total.


    • Sequence: 27
    • Movements: 35

    Various attack movements are also used such as the front kick or direct punches (Montong baro jirugui)


    Sequence scheme

    Every poomsae begins and ends with a greeting whose objective is to convey respect through a bow that consists of bowing the torso and the head, sliding the hands down the thigh and staring briefly towards the feet. It begins in Chumbi which signals a position of attention before beginning with the sequences and movements of the poomsae. The description is as follows:

    • Sequence 1 (Ap kubi sogui – An palmok Gechio montong maki): This position is normally used for attack. The distance between both feet will be one and a half steps, and they must be shoulder width apart. The front foot stays at a right angle while the back foot rotates out at a 30 degree angle. On the other hand, the knee of the leg that is positioned behind must remain straight. Meanwhile, a weight is exerted on the front leg. Then, make a double defense to the center and cross the arms with the inner forearm.
    • Sequence 2 (Ap kubi sogui – Batangson tok chigui): perform Ap kubi sogui again but with the only difference that it will be performed with extremities contrary to the previous sequence. In the case of Batangson tok chigui, you must point your fingertips upwards and then perform the frontal attack.
    • Sequence 3 (Ap kubi sogui – Batangson tok chigui): Same as the previous sequence but with the attack made with the opposite arm, as well as a change of support leg.
    • Sequence 4 (Ap kubi sogui – Batangson tok chigui): repeat the movements in sequence number two.
    • Sequence 5 (Tuit kubi – Jansonnal montong maki): leave a foot distance of one and a half steps. The front foot should be in front, and the back foot should be focused to the side at a 90 degree angle. You must take into account that both knees have to be flexed, and most of the body weight centered on the leg located behind. Making a movement from the inside to the outside with the arm.
    • Sequence 6 (Tuit kubi – Jansonnal montong maki): same as the previous sequence but using opposite hands and feet.
    • Sequence 7 (Tuit kubi – Jansonnal montong maki): repeat sequence number five.
    • Sequence 8 (Jakdari sogui – Kumgang maki): one of the legs must support the weight of the body, keeping the knee partially flexed. While, the other foot will rest on the inner part of the knee belonging to the foot that supports the body. Jakdari sogui, represents a position that is surprising for the opponent. That is, with the right foot fixed, raise the foot to the knee (Jakdari sogui); perform slowly, but with force enough in the right hand, an Olgul maki and with the right hand an Are maki. Remember to fix your gaze on the left side.
    • Sequence 9 (Chuchum sogui – Kun dol chogui): perform Chuchum sogui, also known as “horse position”. To perform this movement you must open your legs in a parallel position (moving your left leg). The two knees must be flexed so that the weight of the body is balanced on one leg and the other. In the case of Kun dol chogui it is a movement of both defense and attack, to perform this technique you must place your fist up at waist height; and the other fist should be lower at the level of the belly.
    • Sequence 10 (Chuchum sogui – Kun dol chogui): turn to the right 360 degrees and perform the same execution as the previous sequence.


    • Sequence 11 (Chuchum sogui – Santul maki / KIAP): make a 90 degree turn to the right; perform Chuchum sogui or horse position (explained in previous sequences), additionally do Santul maki in which, you must place the forearms at head height (making sure that the palms are at the height of the face profile), the movement must be done with the fist upside down at the level of the face and you must look forward and then turn the waist to be able to perform the defense technique simultaneously; finally make the KIAP scream.
    • Sequence 12 (Chuchum sogui – An palmok Gechio montong maki): perform Chuchum sogui (described in the previous sequence), but this time to the left side by sliding the left foot.
    • Sequence 13 (Naranji sogui – Gechio are maki): run Naranji sogui, also known as Chumbi sogui; it consists of leaving the feet in a parallel position with a separation equivalent to the distance of one foot between both heels. In the Gechio are maki position, it is sought to do vigorously keeping the fists closed and crossed to the chest, then extend the arms in order to defend the two ends of the body.
    • Sequence 14 (Chuchum sogui – Santul maki): make a 180 degree turn to the left side and execute Chuchum sogui. Next, Santul should be done as it is described in sequence number 11.
    • Sequence 15 (Jakdari sogui – Kumgang maki): one of the two legs must support the weight of the trunk with the knee slightly flexed. While the inner part of the foot must rest on the inner edge of the knee of the left foot (the one that supports the body).
    • Sequence 16 (Chuchum sogui – Kun dol chogui): distance the left leg in parallel, marking two feet as the distance. Both knees should bend until the weight is balanced between the legs. Followed by Kun dol chogui, which is a preparation both to defend and to attack. Bring the fist up close to the waist and the opposite arm with the fist down, at the level of the abdomen, keeping a small distance from the body.
    • Sequence 17 (Chuchum sogui – Kun dol chogui): You must make a 360 degree turn, to the left, before repeating sequence number 16.
    • Sequence 18 (Jakdari sogui – Kumgang maki): repeat sequence number 15.
    • Sequence 19 (Chuchum sogui – Kun dol chogui): repeat sequence number 16.
    • Sequence 20 (Chuchum sogui – Kun dol chogui): perform a 360-degree turn to the left side. And repeat movements of sequence number 19.
    • Sequence 21 (Chuchum sogui – Santul maki / KIAP): make a 90 degree turn to the left side. Execute Chuchum sogui or position of the horse (indicated in previous sequences), then do Santul maki where you must position the forearms at head height, remember that the palms must remain close to the profile of the face, while the movement must be executed with the fist turned upside down at the face height, looking straight ahead. Then, rotate the waist in order to execute the defense technique and make the KIAP scream.
    • Sequence 22 (Chuchum sogui – An palmok Gechio montong maki): execute the movements of sequence number 12 again, but this time to the right side.
    • Sequence 23 (Naranji sogui – Gechio are maki): repeat sequence number 13 but to the right side. Remember to do these movements with strength and determination as it is a defense.
    • Sequence 24 (Chuchum sogui – Santul maki): make a 180 degree turn to the right to proceed to perform Chuchum sogui and Santul maki on the left side, remembering sequence number 21.
    • Sequence 25 (Jakdari sogui – Kumgang maki): Remember that Jakdari sogui, as noted in other sequences, is a position on one leg. The left foot will serve as a base and the left arm with a fist will rise to the head. With the Kumgang maki the head must be turned slowly.
    • Sequence 26 (Chuchum sogui – Kun dol chogui): Chuchum sogui or position of the rider, as mentioned above. Place the left foot on the ground.
    • Sequence 27 (Chuchum sogui. Kun dol chogui): perform a 360 degree turn. Moving the body to the left side. Place the right foot and quickly move the left.
    • Baro / Naranji sogui – Kibon chumbi: pick up left foot.


    The poomsae or pumse KUMGANG is characterized in that the defenses against attacks prevail. A curious fact is that it is the only poomsae in which not a single kick is executed.

    The scream is always carried out on the defenses.

    For the correct and harmonious execution of this poomsae, enough balance and concentration are required. It is important to impress on this poomsae the beauty and harmony that it deserves, taking care of the rhythms, the pauses, the duration of the movements, etc.

    The Poomsae or pumse KUMGANG is one of the least performed in the championships due to its great difficulty and also its lack of showiness.

    The Superior Poomsaes

    We have 9 Superior Poomsaes. These poomsaes are those required by the WT Taekwondo Federation for promotion to DAN degrees.

    1. Poomsae Koryo
    2. Poomsae Kumgang
    3. Poomsae Taebek
    4. Poomsae Pyongwon
    5. Poomsae Sypcchin
    6. Poomsae Chitae
    7. Poomsae Chungkwon
    8. Poomsae Jansu
    9. Poomsae IIyo


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