Thoughts on the Kukkiwon forms

Use of the reaction hand as an a pull from
a 1968 Taekwondo textbook. Source:
  Traditional Taekwondo Ramblings

This blog is mainly concerned with the ITF/Ch'ang Hon taekwondo forms. But what about the other set of taekwondo forms: those of WT/Kukki-taekwondo? In this style forms are known as "poomsae". The poomsae were invented a little later than the ITF forms, for an organization that wanted to make taekwondo a sport as well as a martial art. Hence, there is a lot of skepticism surrounding poomsae. How do taekwondoin know they aren't just random moves strung together? If they have applications, how did they become lost?

I haven't studied the Kukkiwon poomsae in any great detail (Organ Nilsen's blog Traditional Taekwondo Ramblings is a good source for that), but just from eyeballing many of the poomsae: they look like they have applications. That doesn't mean I know what the applications are, but the organization of the movements does not seem random and the movements are not just block-punch-kick.

There are three groups of traditional Kukki-taekwondo poomsae: the eight Palgwae forms, the eight Taeguek forms, and the nine (or ten) Black Belt/Yudanja forms. In this post I've briefly go over each group, and then touch on the new competition poomsae the Kukkiwon is developing.

The Palgwae Forms

The Palgwae forms were eventually replaced in favor of the Taeguek, but some WT schools still practice them. They are similar to karate kata in style, with deep stances and rigid movements. Like the lower ITF forms, they appear to be a mix of original sets and sets from the Heian/Pinan kata. There are eight Palgwae poomsae in total.

One thing I noticed about them is the frequent use of the front block (ap makki); that is, what Kukki-taekwondoin would call a middle block (momtong makki) or inward block. This movement is rare in karate kata and ITF forms, although both styles teach the movement in basics. If you look at Palgwae 1 for instance, it starts out with a low block just like Heian Shodan and Chon-Ji, but then moves into a front block instead of a lunge punch.

In fact, there are few "strikes" in Palgwae 1. I put that in quotes, because obviously "blocks" (makki) can be used as strikes. The front block makes a good hammerfist to the head (in fact, the inward knifeward strike, which is the same motion but with an open hand, is also in the form). It could also represent a grab or, if the opponent is lowered, striking with the elbow.

Striking application for the front block, using the pulling hand to control the opponent.
Source: Richard Conceicao

The forms that looks the most taekwondo-ey are Palgwae 6 and 7 due to the kicks, but they never get more complex than simple front and side kicks. All-in-all, I find these reminiscent of the lower ITF forms. The similarity to karate kata probably makes applications easier to find, but I'm not aware of any systematic study of Palgwae applications.

The Taegeuk Forms

In 1971 the Palgwae were replaced with the eight Taegeuk forms. These forms are simpler than even the Palgwae, although they do a good job of steadily increasingly in complexity. They are also similar to each other because they tend to use variants of the same sets. For example: the first two moves of Taegeuk 1 are walking stance low block followed by walking stance punch, whereas the first two moves of Taegeuk 2 are walking stance low block followed by front stance punch.

The most noticeable innovation with the Taegeuks is the frequent use of "walking stance", a high stance formed by simply taking a natural step forward. Walking stance is not used in any of the Palgwae forms; it was likely invented to distinguish the Taegeuks from karate kata, similar to the addition of the sine wave to ITF forms. Although this change is pointed to as evidence of Taekwondo's shift from a mixed grappling and striking art to a kickboxing art, deep stances are not completely absent from the Taegeuks, and we should remember that the merits of deep stances are debated even in traditional circles. I've read that Okinawan Karate used high stances, and even Gen. Choi wrote in his Encyclopedia that one's front stance must not be too deep. Chambers and the pulling hand are still present. The Taegeuks are also more strike-heavy than the Palgwae, including a wider array of kicks and elbow strikes.

Were the Taegeuks built with deeper applications in mind? Simon John O'Neil thinks so. His book The Taegeuk Cipher contains applications for all eight forms. Take this application for the end of Taeguek 5, for example, which is suspiciously similar to the end of our 5th form, Yul-Gok.

Application for end of Taegeuk 5 (left), very similar to the end of the 5th ITF form Yul-Gok (right).
Sources: Pal Kwon, Southern Minnesota Martial Arts

At the very least, the forms have some intelligent design to them. In Taegeuk 1 the first two low blocks are in walking stance, but the third low block -- performed with a 90-degree turn -- is in front stance, which singles the move out as a throw. Taegeuk 7 uses a ready position in the middle of the form. Some higher ITF forms do this as well, since ready positions have their own applications.

All that said, the Taegeuks are a frequency mocked set of forms for being too simple. You can read a defense of the poomsae here if you're interested.

The Black Belt/Yudanja Forms

Unlike the Palgwae and Taegeuk forms, the nine Yudanji forms are not a consistent set which build on one another. Each one was supposedly made to represent a different Kwon school, and it shows.

The 1st Dan form Koryo relies heavily on striking: including low and high kicks, elbow strikes, and throat grabs. Its ready position is reminiscent of the Heaven Hand from Kwang-Gae, although the orientation of the palms suggests it can be used as a direct strike to the opponent's face. There is a strange portion in the middle of the form where a slow motion, circular low target hammerfist strike is used; explanations of this movement I've come across include a strike to a downed opponent, a bear hug defense, or just centering your chi.

A Danish team's interpretation of side elbow strike followed by low section hammerfist as a dual strike to the opponent's ribs and groin. But wouldn't a low block after the elbow strike be better for this?
Source: DTDT

In contrast to the fast and dynamic Koryo, the 2nd Dan form Keumgang contains a number of slow-motion movements, no kicks, and a lot of repetition. It's an interesting form and I've seen some creative interpretations for it. Take the spinning angle punch, for example. It may seem bizarre at first glance, but it makes a good spinning armbar takedown.

Source: Pal Kwon

The 3rd Dan form, Taebaek, is the most karate-inspired of the set, being clearly based on the Heian/Pinan kata. There are some curious alterations, however. For the opening set of Heian Nidan, the hammerfist is changed to a punch, which is the same alteration that ITF taekwondo uses in Won-Hyo and Hwa-Rang. In any case, because it's based on the Heians it's fairly easy to guess applications for. [1]

Beside the nine Yudanja forms, there is a retired form called the "original Koryo"[2], which despite the name bares little resemblance to the modern Koryo. In fact, this is the original 1st Dan form; it was replaced with the modern Koryo around the same time as the Taegeuks replaced the Palgwae. It is surprisingly short, only 20 moves, but seems to enjoy a good reputation among those who study applications. Richard Conceicao has two videos (one, two) on this form.

Application for a set from the original Koryo ending in a low X-fist block. Source: Richard Conceicao

Officially it was retired for being too simple, which I find unlikely since although it is short it certainly isn't a simple form. The real reason for its replacement, like the Taegeuks, may have been political.

The only textbook on applications for the Yudanja forms I know of is Taekwondo Poomsae: The Fighting Scrolls by Kingsley Umoh, but it is not comprehensive.

Competition Poomsae

In the past couple years, the Kukkiwon has experimented with new, challenging poomsae for taekwondo competitions. 13 such forms have been invented (ten back in 2016, then the three recent Bee-Gak poomsae). Their introduction has been controversial, as they are clearly developed to show off taekwondo's athletic kicking techniques. Below is a performance of Bee-Gak 2.

Proponents of the new forms point out that the traditional forms don't represent what the art has become and these forms give students a chance to practice advanced kicks. Opponents state that this is a consequence of the sportification of taekwondo and the forms were not created with any practical self-defense knowledge in mind.

The new poomsae appear to be a mixed bag of kicking and traditional hand techniques. But it's not clear that these techniques have any meaning beyond looking cool. Several of the hand techniques are done in slow motion: is that for application reasons or because they provides an aesthetic contrast to the fast flowing kicks?

I will say a few points about the new poomsae. The first is that having poomsae specifically for competitions isn't inherently a bad thing, provided you keep in mind that's what they are for. Kukki-taekwondo has 17 traditional forms; 26 if you include the Palgwae forms and the Original Koryo. That's already plenty of self-defense knowledge. Second, just because a form looks incoherent at first doesn't mean it is. Karate kata applications were lost for decades, despite the fact that they are practiced world-wide. Forms just aren't made to have obvious meaning. Juche is an example of a "flashy" ITF form, but Stuart Anslow managed to find some interesting applications for it (yes, even for the split kick). Third, for all the disparaging of block-punch-kick applications, those aren't bad things to learn. Defending against and delivering strikes are more likely to help you in a self-defense situation than a complex grappling technique. My issue is that traditional forms simply aren't good at teaching block-punch-kick. The lunge punch doesn't exist outside the dojang, and no one chambers before blocking or pulls their opposite hand down to their hip. A true block-punch-kick form would look more like shadow boxing, which the kicking sections of the new poomsae sort-of approach.



[1] I don't mean that the Heians are inherently easier to understand, but rather that there is already a lot of online information about applications for the Heians.

[2] Some schools teach both versions of Koryo, and refer to them as "Koryo 1" and "Koryo 2". "Old Koryo" is also a common name for the original Koryo.

Hae Sul 4: Gae-Baek elbow lock takedown

12-22-2017: This post has gone through some rewrites. I now interpret the arc hand block followed by the upset punch as creating a wrist lock.

So much for the first double arc hand block in Gae-Baek. Now for the second.

Movements 25-28 of Gae-Baek can be used to create a couple wrist and arm locks. The double arc hand "block" can used to set up an S-lock, also called a Z-lock or nikkyo. The way this lock works is similar to the standing armbar (ikkyo). Both require you to pronate the opponent's arm, but whereas in the armbar the opponent's arm is straight, in the S-lock the opponent's elbow is bent. As you bend and force the opponent's wrist towards their body, this forces their elbow upwards. So all you have to do to complete the lock is prevent the opponent's elbow from rising up.

Sources: coshigould, Black Belt Magazine

The reaction hand for the upset punch pulls down the opponent's elbow while the upset punch bends their wrist in towards their body. This creates the lock. Applied literally, the movements create a Z-lock against a cross hand grab. But with minor modification you can create the lock against a same-side wrist grab as well.

There are other ways to apply the Z-lock. Rather than directly hooking the elbow with your second arc hand, you could trap the opponent's hand as you twist their wrist.

Another way of applying the S-lock. Source: ExpertVillage

Notice that in the form, we are creating the lock on the opponent's left arm. If the lock fails, we can then use move 27 (180-degree turn into horizontal elbow strike) to follow with waki gatame (also called hiji kime osae in Aikido). This lock is functionally similar to the S-lock and standard armbar. It involves pronating the opponent's arm while placing your elbow on top of theirs, locking their arm. The supporting hand pushes the opponent's hand in towards their body, getting a secondary wrist lock. From here, we can use the "leap" into the double forearm block as a takedown.

Movements 27-28 as an armlock followed by a takedown. Note that in the example the tori controls the right arm, whereas in the form we control the left arm.
Source: Budo Shingikan School, coushigould

"Leap" is in quotes because a literal leap is not necessary (although that would be a quick-and-dirty takedown). Look at the variation from Hapkidoin Alain Burrese below. Rather than leaning forward onto his opponent, he leans backwards and sits down, forcing his opponent to the ground with him.

Source: Your Warrior's Edge

Although it's not a leap, you can still see the use of the double forearm block, bending both the wrist and arm in towards the opponent's body.

Because both of these techniques follow from a wrist grab attack, the preceding move in the form -- the twin vertical face punch -- may be used as an initial strike: a quick pop to the face if an opponent grabs your wrist.

Hae Sul 3: Hwa-Rang twin block set

Hwa-Rang moves 4-6 is clearly based on the opening of Heian Nidan, but adds in an odd bit of footwork: slipping in the front foot, and then sliding out into fixed stance for the third move. Funny enough, the footwork for Heian Nidan has often changed in between different versions of the form:

• Heian Nidan: Remain in back stance for all three moves
• Pinan Shodan: First two moves in cat stance. Shift into ready stance for move 3
• Pinan Sono Ni: First two moves in cat stance. Slip front foot into riding stance for move 3

None of these are quite what we do in Hwa-Rang; it's just interesting that different karate masters felt a need to alter this set.

Slipping the front foot is not just cosmetic: it can be used to get around an opponent's leg, to create space to pass an arm, or as a sweep. Take a look at the following application for the opening of Won-Hyo from Matthew Sylvester's channel. 

Source: Practical Taekwondo

I like this application, but although he identifies it for Won-Hyo I think it works a little better for Hwa-Rang because 1) the upward punch is a better torso attack than a knifehand strike, 2) If the opponent resists the foot sweep, we can use the forward slide as a takedown.

Therefore, here is my modified version of the above application.

• Use the crossed-arm chamber for the twin block as a parry-pass. I.e. parry an attack inward with your front arm, then grab and raise up your opponent's arm with your back hand as you step forward. I noticed that in the Encyclopedia, the student performs the move with a half-turned front fist. Though this is likely an error, you can use the half-turned fist as a side backfist strike to your opponent's face or jaw as you lift their arm. Dan Djurdjevic shows something close in the image below.

Source: Dan Djurdjevic

• Grab their shirt with your front hand. Pull them in as you perform the upward punch, striking their solar plexus or driving up under their ribs.
• Sweep out your opponent's left leg with your right leg (slipping the right foot back in)
• Use the slide forward to knock out your opponent's hips as you bar the front of their body with the punch, knocking them to the floor.

This sort of hip bump or "wedge throw" is a simple takedown: by ramming into someone with the slide you take their balance. Below is a gif of Lyoto Machida using such a technique in the UFC.

Source: Bleacher Report

This is also what I think might be going on in Pinan Sono Ni, with the slipping of the front foot into riding stance.

Sources

https://www.youtube.com/watch?v=P0H57v7-1kw
https://www.youtube.com/watch?v=fll9-s8G97E

http://bleacherreport.com/articles/1960174-lyoto-machida-old-school-karate

Hae Sul 2: Gae-Baek drop takedown

In General Choi's books the double arc hand block is portrayed as catching a frisbee or throw pillow -- something that got a chuckle out of me the first time I saw it. Here I'll analyze the first time the movement appears in Gae-Baek and get something else out of it. The set is:

• Front stance rising block 
• Maintaining stance, low block
• Maintaining stance, double arc hand block
• Lift and bring in front foot to bending ready stance A

Of note, this is the first time in the ITF forms that a bending ready stance is not followed by a kick. In my club we tend to turn an extra 45-degrees as we perform the stance, in preparation for move 9.

A common interpretation for the last two moves is a two-handed "push" followed by a sweep. To avoid retreading old ground here's a different application, shown in the combined gif below:

Sources: One Minute Bunkai, Maul565

Details:

• Assume an opponent grabs you. Use the rising block as an upward strike to their jaw (not in the gif) as you grab a hold of their wrist with your reaction hand.
• Use the low block to crank their arm
• Continue the crank into the double arc hand block. The top arc hand strikes the opponent's jaw
• You can use the bending ready stance as a knee strike to the back of the head, but the interpretation I like is stepping behind your opponent and dropping to one knee, throwing them to the ground.

There are a couple other uses for the rising block. In the form you move backwards into it: it could be that your opponent is doing a grab-and-punch to the head and you are defending (a rising block, properly used, makes a good round punch defense). Another option is that your opponent is doing a double grab, and the rising block is breaking one of the grabs. Something similar is shown in the images below.

Left: rising block against a round punch. Right: rising block and low block against a double grab.
Sources: KDCombat System, Richard Moon

Edit 10-11-2017: For another, similar application, I recently stumbled across Paul O'Leary's old blog. You can read his application for the set here.

Hae Sul 1: Dan-Gun rotary throw

I've decided to try a different format for these posts. Rather than long, encyclopedic explanations of forms, I'm going to focus on single sets at a time. This will hopefully make things more digestible. For the inaugural post, let's return to Dan-Gun.

The twin outer-forearm block has changed between karate and ITF taekwondo. In both karate and kukki-taekwondo the front fist faces inward. This works well for one of it's main applications: a simultaneously rising block and strike to the jaw. The chamber is also down at the hips, meaning both arms travel upwards.

Twin block from Choi's 1965 book

Oddly, ITF taekwondo made two changes to the movement, and not at the same time. By the time Choi's 1965 book Taekwon-do: The Korean Art of Self-Defense was published, the front fist faced outward, but the trajectory of the technique was the same as in karate (right image). By the time the Encyclopedia of Taekwon-do was published 20 years later, the chamber had altered into the cross-arm setup we practice today.

Because of these two changes, the applications differ from the karate version. The orientation suggests that both hands could be grasping something. Take a look at this shoulder lock from an old Judo self-defense manual.

Source: Art of Manliness.
Originally from Modern Judo and Self-Defense by Harry Erwin

In case you can't see it, the back hand rising "block" is used to lift and turn the opponent's arm, while the front hand grabs the opponent's shoulder, pinning them. Even the initial defense looks like the low chamber from Choi's 1965 book. A common variant is to grab the head rather than the shoulder. Although the defender uses a 180-degree turn, often a three-quarters turn makes this lock easier. This brings us to Dan-Gun. The set we'll analyze is:

• Front stance high punch
• Front stance high punch
• Three-quarters turn into back stance twin outer-forearm block, sliding the back leg
• Front stance high punch

An application for the first three movements are shown in the gif by two Krav Maga instructors below:

Source: Stewart McGill

Details:

• Use the setup hand to parry a round punch as you enter and thrust your elbow over your opponent's shoulder (first high punch). Make sure you grab and pull your opponent's arm with the reaction hand
• Take another step forward, raising the opponent's arm while you pull down their shoulder (second high punch)
• Continue by stepping out with your back leg and doing a three-quarters turn into the twin outer-forearm block, raising their arm and pinning their shoulder or head. This twists the opponent's arm behind their back, putting them into a shoulder lock.

Although the example gif above is against a round punch, I've also seen Krav Maga instructors use this technique against a blunt weapon -- like a bottle or club -- similar to the Judo knife defense above. Twisting the opponent's arm back in this way makes it difficult for them to hold onto their weapon.

The Rotary Throw

You have a few options from this position. You could knee strike your opponent, attempt to pin them, or you can do what in Aikido is called a kaiten nage, or "rotary throw." The latter is what the form recommends, with the final high punch.

Source: Rogue Warriors

As you walk forward into front stance, use the opponent's own arm as a lever to throw their body (remember: they are in a shoulder lock). You can also use your reaction hand to press down their head so they are forced to flip over.

There are a lot of online tutorials on this throw if you're interested in more detail. Just be warned that the entry for aikidoka is very different -- they don't really defend against punches -- but the throw itself works.

Bottom row: SouthQueensferryTKD

Sources

http://www.artofmanliness.com/2013/03/14/don-draper-judo-unarmed-self-defense-from-the-mad-men-era/

https://www.youtube.com/watch?v=JHHNPKAdE4g

https://www.youtube.com/watch?v=GX-m1KrAvqI
https://www.youtube.com/watch?v=8CzplEgtZ28

Kwang-Gae & The Heaven Hand, Part 4

Part 1
Part 2
Part 3

Guillotine Choke

Sources: Darren Selley, Fitness Videos

The first move in the form is to switch into closed ready stance B after splitting your hands. If the ready positions had no applications, this would be nonsensical, but lucky for us they do. Closed ready stance B can make a guillotine choke, for instance. We use this application after blocking a haymaker with the heaven hand, as shown in the right gif (two examples).

The form doesn't give you any follow up. You can continue to choke out your opponent or, if you are throw savvy, attempt to throw them.

Bent elbow crank

The upset punches in Kwang-Gae are also in slow motion, indicating body manipulation. After defending with the heaven hand, overhook your opponent's haymaker as they retract, getting the bent elbow and cranking it upwards with the upset punch. This nasty shoulder lock is called maki hiji in jujitsu. It was used a couple years back in the UFC by Jon Jones. You can use the second upset punch as a strike, as shown in the below image.

Application for heaven hand followed by two upset punches. Source: imineo, catch jutsu

Notice how the elbow crank forces the opponent to bend over backwards. To take them to the ground, perform a sweep or push back on their face with your palm.

Grasp head, guide back

The next set is:

• Double step forward into palm hooking block
• Step and slide backwards into low section knifehand guarding block

Suppose you attempt the elbow crank but your opponent straightens their arm, or they pull you in, or you overhook their shoulder instead. Use the double step forward to force them to bend over, and then strike/grasp the back of their head with the palm hooking block. Finally, use the step and slide backwards into low section guarding block as a quick throw, guiding their head backwards. See the footnote for another interpretation of this set. (ftn. 1)

Pass arm, two handed push

Source: anthrodan

Something else I thought of: if you don't wish to harm your opponent, you can use stepping back into low guarding block to pass the opponent's arm after defending with the heaven hand. Then use stepping forwards into cat stance guarding block as a two handed push (see right gif) to disengage.

Side kicks, shoulder lock takedown

The second time you perform the two side kicks, your hands are oriented differently. This suggests there may be an application that begins, rather than ends, with them.

After blocking with the heaven hand, use the low side kick (pressing kick) to kick in the opponent's knee. If they defend by turning in their leg, follow with the middle side kick to their ribs while grasping their arm. You then use the inward strike with front hand coming into chest to fold the opponent's arm back, granting you a shoulder lock. From here, pull your opponent to the ground. Note that the Hapkidoin in the example below doesn't need to kick before doing the takedown, although he does strike the opponent's side with his elbow.

Sources: imineo, expert village

Final Thoughts

That concludes Kwang-Gae. This isn't the only way to interpret the pattern, but it is a way to link all the applications together. Although the sets are all against the same attack, the locks and takedowns provided can be used in a number of situations. What a form does is teach you various ways you can control an opponent. It's unlikely you will ever use a set as literally provided in a form, due to an opponent's unpredictable reactions, but the more techniques you know the more versatile your fighting style becomes.

Po-Eun also begins with the heaven hand, but not the splitting hands. Furthermore, from my analysis Po-Eun seems to be more of a grappling form. The heaven hand can also be used as a head push, so that might be what's going on.

Footnotes

1) There is another application for this set I rather like: against a single lapel grab, you can grab under the opponent's sleeve (upset punch), pull it in while striking their jaw (palm hooking block), and then guide them down to the ground (step back into low guarding block). The double step can be used to get off the opponent's line of fire and strengthen the force of the hooking block. You can also use the shape of the palm to dig into the opponent's throat, although this isn't strictly necessary. Taekwondoin Colin Wee applies the same application against a wrist grab.

Source: One minute bunkai

Sources
https://www.youtube.com/watch?v=7oC8X2T0smo
https://www.youtube.com/watch?v=pL1D72Fueu4
https://www.youtube.com/watch?v=sE2nafaPCZI
https://www.youtube.com/watch?v=fy4hrfnaUqE
https://www.youtube.com/watch?v=l11drAi51HA
https://www.youtube.com/watch?v=WVG0FWe6RjI
https://www.youtube.com/watch?v=NYRy4AXQci0

Kwang-Gae & The Heaven Hand, Part 3

Previous Posts:
Part 1
Part 2

Spearhand to face, smash onto knee

Sources: imineo, one minute bunkai

The high spearhand thrust (what my club calls an "unsupported spearfinger") has three odd features in Kwang-Gae:

• It's performed in slow motion
• The footwork is the slipping of the front foot (i.e. pull it in before stepping back out again)
• It's performed in low stance rather than a normal front stance

Slow motion movements in forms indicate body manipulation. As shown in the combined gif on the left, we can use the spearhand after the heaven hand sort of like a slap: pressing out on our opponent's face while pulling in their arm with our reaction hand. We may also use the slipping footwork to get behind the opponent's leg, and then use the low stance to press out on the back of your opponent's knee. From here, you can pull the opponent downward for a takedown.

However, in both cases the next movement in the form is lifting our back leg. So if we want to get nasty, we can smash the back of our opponent's head on our knee as we take them down.

Sources: imineo, one minute bunkai

Grab ears, pull down

A different follow-up after the palm heel to to step forward and grab your opponent's ears from behind their head. Grabbing ears (or just the head) is a common interpretation of the twin vertical face punch. You can use the "stomp" to press down on the back of your opponent's knee as you grab their head.

Source: Practical Kata Bunkai (Note: perspective is mirrored)

However, if you are unable to stomp their knee, instead perform a knee strike to the spine, and then unceremoniously pull their head to floor by the ears as you land into the double upset punch. You can see pictures of this application by Iain Abernethy to the right, who is analyizing a similar set in from the kata Gojushiho.

Kick out leg, turn and lift

Turning 180-degrees into a knifehand guarding block usually indicates a head crank. But I don't think that's what's going on here, because we step back into the guarding block after turning around. Furthermore, the set ends with a high punch. Why?

To resolve this, first apply the double upset punch to grab and control your opponent. Front kick the opponent's cross-side leg, aiming for their inner thigh, with the goal of knocking back their leg.

Land, turn, and step back into knifehand guarding block per the form. Your front forearm presses out on the opponent's neck, but your back hand goes for the leg you just kicked back. Grab the leg (by the opponent's pants if they are wearing away) and lift it upwards as you walk forward into the high punch, grabbing and pulling your opponent's head down with the reaction hand. This makes a crude but simple takedown.

Sources: Practical Kata Bunkai, One Minute Bunkai

In part 4 I will backtrack to the beginning of the form and post some final thoughts.

View Part 4 here

Sources

https://www.youtube.com/watch?v=sE2nafaPCZI
https://www.youtube.com/watch?v=ynE0eX2jpXc
https://www.youtube.com/watch?v=qptCOuL0IEQ
https://www.youtube.com/watch?v=qWJlooO_4jQ
https://www.youtube.com/watch?v=UdAAB2QXEsI
https://www.youtube.com/watch?v=pfwBR7g0c6E
https://www.youtube.com/watch?v=hul42qQnTEE