Kwang Gae
Kwang Gae marks the first black belt pattern. While the colored belt patterns drew predominantly from the Pinan/Heian series, the patterns from Kwang Gae moving forward rarely will again. While the order of the patterns has changed from 1965, Kwang Gae, Po Eun, and Ge Baek remain as the first three 1st dan patterns; they depart sharply in structure from the colored belt patterns, and, fittingly, they contain nothing from the Pinan/Heian series.
Kwang Gae is very clearly inspired by Seishan/Hangetsu, listed in Choi's 1965 book, which features a distinct slow/fast rhythm throughout. It also contains multiple sequences found in Enpi. The ending seems unique, but every slow motion technique is found in older kata.
It is highly recommended to watch the videos listed, as the similarities in the nuances of movement cannot be accurately captured in still images.
The following videos were used as reference:
ITF Legacy performance of Kwang Gae.
Hirokazu Kanazawa performing Enpi, Hangetsu, Kanku-Dai, Nijushiho (Shotokan).
Toru Arakawa performing Kushanku (Wado Ryu).
Kwang Gae's opening "Heaven Hands" sequence comes from Kushanku/Kanku-Dai, listed in 1965 as "KOUGH-SHANG-KOUGH." There are a few interesting things to note about this.
In Shotokan, the movement is performed with a sharp opening (2) to the side before slowly bringing the hands together.
In other styles, such as Wado Ryu, this motion is done smoothly and slowly from start to finish (please reference above videos)
Kwang Gae does this both ways. The opening of the pattern does the sharp outward movement as in Shotokan.
About one third of the way through the pattern, facing the other direction, Kwang Gae does this again, describing it as a "low front block in circular motion, hitting the left palm." It is preceded by two slow motion palm blocks, and though it is not noted, it is typically performed fast.
However, in 1965, Choi specified that all three, including the Kushanku movement, were done in slow motion.
While it seems odd that a pattern would contain two stylistic variations on the same movement, based on this evidence, it seems likely that this is the case. Stylistic variations are not unknown in Chang Hon patterns, after all.
Kwang Gae follows this opening circular motion with two slow punches, also found in Seishan/Hangetsu, though Kwang Gae does so while moving forward.
Kwang Gae follows with a step forward into a block, then slides back into a block. The blocks are irrelevant, but what is important here is the distinct stepping pattern, which appears later in Hangetsu.
Kwang Gae turns into a slow motion upward palm block, found in Enpi, followed by the 2nd Kushanku motion mentioned before.
This is speculative, but the following sequence partially resembles a piece of Nijushiho, performed on both sides as in Kwang Gae. This pattern also contains some slow/fast rhythm, but not to the same degree as Hangetsu, so it is likely that this could be coincidental.
Kwang Gae follows this with two slow motion palm pressing blocks (one shown), found in Enpi (both shown).
The 180 degree turn into a sitting stance appears in both Enpi and Hangetsu (Hangetsu pictured below). However, they perform the movement slowly, while Kwang Gae does it quickly and with a stomp.
Kwang Gae steps into a half-facing front stance with a block, then shifts in place to a full-facing front stance with a 2nd block. The half-to-full-facing shifts could be inspired by the foot shifts early in Hangetsu/Seishan. It is quite a different movement, but they are both abrupt, distinct movements, and I consider this a possible link due to the evidence that Kwang Gae borrows so heavily from Hangetsu.
For the record, Choi's 1965 directions for "HAN-GETSU PATTERN" make no mention of the feet shifting.
The 1965 directions for "KWANG-GYE PATTERN" make no mention of half- or full-facing, only "shifting to 'C'"
