Both these young men appear to have effective (full-contact) martial arts experience - possibly MMA, Western Boxing, or similar. One low round-kick is thrown at the beginning - but the Asian man (possibly of Korean or Chinese origin) who is fight out of the South-Paw stance - unleashes a ferocious and sustained double-handed assault on his opponent! The Western (European) opponent actually takes this onslaught well - and seems to think he can win the encounter when he runs onto a blisteringly fast lead right-hook that catches him clean on the chin - shacking him to his feet! His legs become leaden - but he shows his combat experience by trying to bluff his way out of the problem by walking around (trying to re-animate his legs) and resetting his guard. As he has committed in a macho way - he also walks straight toward his opponent - and on to another ferocious lead right-hook that misses his chin due to his advancing - seems to catch him on the side of the back of his left head-neck area. The power of this shot right into the Medulla Oblongata - knocks this young man immediately out! He falls onto his right-side completely bereft of all conscious awareness! The power entering the back of head interferes with all visual stimulus and prompts the brain to switch the body off - thus relaxing the legs!
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This is a 'PS' to my earlier 'Gyaku Tsuki' article regarding the Karate-Do 'Lunge Punch' or 'Leading Forward Punch' (追 い 突 き). The last two Japanese ideograms (突 き- Tsu Ki) we may take as read. Therefore 'Oi' (追 い) can be read as follows:
a) 追 (zhui1) - Japanese Kanji (ou) = chase, follow and pursue b) い (I) - Japanese Hiragana = 'to do' (verb) as in '追い払うこと' (Oi harau koto) or to 'drive something away' This seems to suggest that an 'Oi Tsuki' is a leading punch which (fluidly) follows the movement of an enemy target (similar to - but not identical with - a Western Boxing 'Jab') - and is used to 'drive' the opponent away! There might also be an implication that this punch 'follows' the opponent and then is 'driven' through their centre of mass using immense 'penetrating' power! Within the Wado Ryu Karate-Do tradition 'Oi' (追 い) is replaced with the Chinese ideogram '順' (shun4): 1) 順 - Japanese Kanji (also written as 'じゅん') and pronounced 'Jun' - meaning 'order', 'sequence' and 'obedience' The Chinese ideogram '順' (shun4) is comprised of two constituent particles: i) Left-hand particle = '川' (chuan1) - river, flow and direction ii) Right-hand particle = '頁' (ye4) - head, top and beginning Therefore, the use of '順' (shun4) within the context of a 'Jun Tsuki' - refers to a 'leading' (as 'head' equals 'forward') and 'penetrating' punch (like a torrent of rushing water hitting and overcoming an obstacle) which follows closely the movement of the opponent. However, as with all these concepts - a play on words might be in operation. It could be that a continuously 'flowing' punch strikes at the spiritual and physical origin of an opponent ('driving' through their literal and metaphysical centre, so-to-speak) - thus rendering them useless and unable to respond. The traditional purpose of Karate-Do is said to be the development of the ‘Single Punch Precise Kill’ (一拳必殺) technique! This is because the historical origins of Karate-Do developed out of battlefield martial arts - specifically designed to kill and wound an opponent without mercy! The question for modern practitioners is whether this objective is suitable as a contemporary teaching device – and how should the technical inadequacies of the old ways be improved upon? It may well be the case that the potentially lethal elements of Karate-Do are retained (because they are inherent in the ancient martial techniques) - but that the ‘killing’ aspect should not be made the key point when teaching the public – and should be replaced by encouraging young students to develop their own minds and bodies whilst perfecting a virtuous character! Therefore, saving lives and helping others signifies a necessary shift in traditional attitudes when teaching Karate-Do to modern students. In fact, this is not a ‘new’’ attitude that I invented – but an idea taught to me by my father Miyagi Chojun. In-turn, this was an attitude inherited from Higaonna Kanryo (and his Chinese teachers). Although exactly the same ‘killing’ techniques are retained (and certainly not ‘removed’ from the art) - what is emphasised is character development so that clever ways of resolving conflict in the environment is utilised as a type of ethereal Karate-Do – that precedes any need to deploy potentially devastating physical techniques! The lethal reality of Karate-Do techniques, therefore, is ‘hidden’ within a deep and stratified approach to Goju Ryu Karate-Do, which is now embedded in the grading system involving coloured belts. If the practitioner does not suitably develop their mind (psychology) and body (physicality) - then they do not gain access to the ‘lethal’ nature of the genuine Goju Ryu Karate-Do techniques! Each practitioner must develop ‘trustworthiness’ before they are permitted to gain access to the deepest aspects of this ancient martial art! My father – Miyagi Chojun – maintained the emphasis of the ‘Hard’ (Go) aspect of Goju Ryu through the ‘Sanchin’ Kata which had been passed on to him by Higaonna Kanryo – but he felt the opposite element of ‘giving way’ was missing in the Style, or at least not very well represented. To remedy this, Miyagi Chojun developed the ‘Tensho’ Kata from a set of movements he had been taught in China from a White Crane Fist teacher in Fuzhou related in lineage to the Chinese teacher of Higaonna Kanryo. Bear in mind that ‘Tensho’ is NOT exactly the same as the Form (六機手 - Ro Ku ki Te) he learned in China and that Miyagi Chojun chose to modify its structure to assist the ‘balance’ of Goju Ryu Karate-Do methodology. This is where Miyagi Chojun developed the ‘Soft’ element of Goju Ryu which saw the Tensho Kata counter-balance the Sanchin Kata. When practiced together – the Yin (Soft) and Yang (Hard) energy within the mind and body is perfectly ‘balanced’! ‘Weaving Hand’ (機手 - Ki Te) is a principle found within the ‘Southern Fist’ martial system of China, and which relates to all the upper body movement of the extremities and the combat techniques which are expressed therein. Within the book entitled ‘Bubishi’ (武備志) (transmitted China to Okinawa) - there is an explanation of where the vital pressure points (経穴 - Kei Ketsu) are on the opponent’s body – and how the hand – used in the ‘open palm’ (開掌 - Hiraki Tenohira) position – can be used to ‘pierce’ these points and cause catastrophic damage to the opponent’s health! Higaonna Kanryo taught Miyagi Chojun how to ‘stand’ and ‘move’ through the ‘Sanchin’ Kata – and then Miyagi Chojun then developed ‘Tensho’ Kata to emphasis ‘Softness’ - but a ‘Softness’ with a lethal ‘hidden’ central element (involving pressure-point hitting)! The ‘Sanchin’ and ‘Tensho’ Katas are unique to Goju Ryu Karate-Do and are not found within ‘Shuri-Te’ (首里手) derived-traditions! These are foundational Katas that are taught to express the beginning and the end of the Goju Ryu Karate-Do training method! As this is the case, there are definite ‘breathing’ methods used when performing these Katas. The ‘Sanchin’ Kata employs what is referred to as a formalised ‘Yang Breath’ (陽の息吹 - Yō No Ibu Ki) - which sees the practitioner maintaining the ‘tightening’ of all the muscles around the bones throughout the entirety of the body – with the instructor continuously ‘testing’ to ensure this process is being adhered to correctly! Through these training methods, the practitioner learns how to shift and lower the centre of gravity, how to smoothly transition between various and different fighting techniques - all performed whilst breathing deeply and fully! Both myself and my father, however, teach preparation exercises which loosen and strengthen the body and focus the mind BEFORE any of these profound exercises are taught. This is important as students require a means of ‘entering’ the Style so that the Goju Ryu techniques are not experienced as a shock to the system. Correct preparation prevents unnecessary injury and conditions the mind and body so that the structures and processes become suitable for further and advanced training. This is the systematic application of the scientific process. Science does not stand still but provides opportunities for continuous and further development. Logic and reason must be brought to bear upon the established traditions using the old techniques and is immeasurable when providing a firm and dynamic foundation for further development! When I was young, Kano Jagoro (嘉納冶五郎) visited Okinawa (in 1927) and was very impressed in the rational approach that my father had incorporated into the structure of Higaonna Naha-Te (as it transitioned into Goju Ryu)! He even took elements of my father's training regimes and incorporated them into his ‘Judo’ training patterns! He agreed that logic and reason must be used within traditional martial arts as a means to ensure that these old ways are preserved and made relevant for survival within modern society! My father explained to Kano Jagoro that the structure of Karate-Do is similar to the physical structures of material objects – such as a house, a tower or a bridge, etc. If the design principles are not sound – the building and/or structure will not stand – and will not be able to fulfil the purpose for which it was made! The house will collapse, the tower will fall, and the bridge will give way! Kano Jagoro was impressed with this thinking and congratulated my father on his progressive attitude! Indeed, Kano Jagoro incorporated this type of thinking into his development of Judo technique! As for my father – Miyagi Chojun – he would later develop the ‘Gekisai’ (撃砕) Kata (Number One and Number Two), as a means to express the entire Goju Ryu Karate-Do path in just two short sets of movements which can be elaborated extensively when an instructor so chooses to do so! This was a substantial achievement which many other lineages of Goju Ryu misinterpret as being ‘simplistic’ or ‘beginning’ only Kata – but in reality, my father intended these Katas to be something much more important than this. If the ‘Gekisai’ Kata are closely examined, a whole new world of ‘meaning’ can be clearly discerned! This does not detract from the fact that the entirety of Goju Ryu Karate-Do is defined by the ‘Sanchin’ and the ‘Tensho’ Kata! When added together – there are ‘twelve’ (12) Kata preserved within Goju Ryu Karate-Do. The two ‘Gekisai’ are known as the ‘public’ Kata which are used to prepare a student for a more profound learning experience later on! Miyagi Chojun had a deep knowledge of geography and history as well as the Chinese Classics and was well versed in the different aspects of Eastern culture. I will never forget the image of my teacher - who used a dictionary as a pillow and would constantly look-up the meaning of words and think deeply about what he found! He was particularly knowledgeable about medicines and the physiology of the human body, and always studied Karate-Do from a medical point of view. This is why many of his acquaintances were also doctors. He studied Karate-Do from a modern and scientific point of view and designed its structure as a practical system! Indeed, modern Goju Ryu Karate-Do is designed around a scientific agenda which brings logic and reason to the practice of an ancient martial art! Although the techniques can be lethal if deployed a certain way – Miyagi Chojun ensured that the health-giving component of each technique was emphasised over its destructive element. An emphasis upon building a sound mind and a strong body replaced the destructive act of confusing the mind and harming the body of an opponent! Goju Ryu Karate-Do was maintained as a traditional fighting method with modern (medical) implications! 科学的空手道へ指導体系を確立 在来の空手道は、一拳必殺といわれるように、もっぱら実戦の場での殺傷の武術として発達してきたもので、術技のうえでも、現在の教育的見地からみれば、不適当な点もあった。 このため宮城長順は基本形―剛の形(サンチン=三戦)のほかに、「六機手」というものを研究して柔の形(テンショウ=転掌)をつくった。「機手」とは中国南拳の上肢の動作および技法のことを言い、沖縄に伝わった『武備志』のなかで相手の急所(経穴)を突く際の手(開掌)の使い方が述べられている。宮城長順はこの手法を研究し、鍛錬形としてテンショウを創始した。また、東恩納寛量から鍛えられたサンチンの立ち方と運歩法をはっきりと定義づけたのである。 サンチン、テンショウは首里手派にはなく、剛柔流空手道独自のものである。この基本形の鍛錬法においては、気息の呑吐法(陽の息吹)という形式化された独特な呼吸法があり、指導者による筋骨の締め方を伴う鍛錬法がある。こうした鍛錬法を通じて、「術技の変化」「気息の呑吐」「重心の移動」を体得するのである。 さらに宮城長順の創始したものとして、基本形・開手形に入る前に行う徒手体操式の空手道術技に関連した「予備運動法」と、柔軟で強力な体力を養成しながら空手道術技の上達を側面的。 に援助する補助運動法がある。この予備運動は修練上、非常に合理的な運動法であり、その重要性は計り知れないものがある。講道館柔道の創始者嘉納冶五郎が沖縄に来られ、そのとき師父が空手道の解説をしたのだが、嘉納師範は予備運動に非常に感心され、後の柔道体操に取り入れられたのではないかということを、私は師父から聞かされた。 また、教育的観点から、剛柔流空手道の普及形として、ゲキサイ(撃砕)第一、ゲキサイ第二の形を創始した。剛柔流空手道の形は、サンチン・テンショウの基本形と、二つの普及形を含めた十の開手形とを合わせ合計十二の形がある。 宮城長順は漢籍の素養はもとより、地理・歴史の造詣も深く、東洋文化にも通じていた。辞書を枕に絶えず辞書を繙き思索していた師父の姿が忘れられない。とりわけ薬種の知識、人体の生理に詳しく、常に医学的観点から空手道を研究していた。知人にも医者が多かった。そして空手道を近代的、科学的視点から考究し、練習体系として組み立てたのである。従来の空手道指導法を理論と実際に照らして修練の順序、方法を定め、武道として体育として、また精神修養の方法、健康法として、科学的に組織体系づけたのが剛柔流空手道である。
The ‘Tensho’ kata is written in Japanese script as ‘転掌’. At first glance, these Japanese language ideograms look similar to Chinese language ideograms but are slightly out of context. This is because these are written as ‘Shinjitai’ (新字体) or ‘New Character Form’ ideograms developed in Japan during the post-1946 period. They are ‘simplified’ versions of traditional Chinese ideograms altered in Japan for the exclusive use within Japanese culture. These alterations of traditional Chinese ideograms are not recognized within Mainland China (which has pursued its own ‘simplified’ ideogram development). This suggests that prior to the 1930s (and Japan’s aggressive war against China) the term ‘Tensho’ may well have been written using recognizable traditional Chinese ideograms. As matters stand, the Japanese term ‘転掌’ (Ten Sho) can be translated as:
転 (Ten) = Rotating, Turning, Moving, Shifting and Transition. 掌 (Sho) - Palm (or ‘Flat’ of the Hand), Control, Rule and Manipulate. When read together, these two Japanese ideograms suggest a ‘continuous and expert manipulation of the (transitioning) open hand with fingers extended and palm exposed’. How would these two Japanese ideograms read in traditional Chinese ideograms? Probably something like this: ‘轉掌’ (zhuan3 zhang3) 轉 (Zhuan) = Turn, Revolve, Wind, Entwine, Envelope, Encircle, Shift, Alter, Change, Seize Victory (from Defeat), Return, Contemplate (Turn-Over in the Mind), Mediate, Reconcile, Wave, Flutter, Divert, Transfer, Evade, Avoid, Support, Abandon, Leave, Arrive and Utter a Spell, etc. 掌 (Zhang) = Palm (of the Hand), Finger, Extended Fingers, Sole of the Foot, Slap, Hold, Grip (Close Fingers), Control, Support and Hold. It is clear that the Japanese transliteration process has simplified by removing essential and very important (Chinese) cultural data and information contained within the original Chinese language ideograms. This means that part of the intended ‘Chinese’ meaning conveyed in the original Chinese martial arts sequences is now ‘missing’ in the titles – where once it was included and obvious. Although the second ideogram ‘掌’ is identical in both examples – the Japanese interpretation is obviously deficient and lacking important meaning – such as the requirement for an equal emphasis being implied for the use of the hands and feet. Whatever advanced and mysterious implications are intended with the hand movements of ‘Tensho’ - exactly the same meaning is intended for the use of the feet! Perhaps the greatest deficiency of meaning lies in the difference between the Chinese ‘轉’ (Zhuan) and the Japanese ‘転’ (Ten)! The Chinese ideogram ‘轉’ (Zhuan) is comprised of the left-hand particle ‘車’ (che1) - which is an ancient carriage (or 'chariot') pulled by a set of horses (introduced into China around 1200 BCE or earlier). This was a relatively stable platform for travel, transportation of goods and as a mobile fighting platform during war. The Wheels operate by moving around and around so that the carriage and contents are transferred from one place to another according to the intent of the driver and wishes of the passengers. The horses are attached to the carriage by various ropes, straps and reins so that the driver can control them whether they move, stop or turn, etc. Sometimes, the horses are controlled by a driver who sits upon one of the leading horses and controls the movement by the ‘grip’ of his legs around the horse’s sides, etc. Usually, the platform not only has four walls and a roof – but the entire structure is covered by a large umbrella which protects the occupants, drivers and guards, etc, from the sun, wind and rain. Expert control and the ability to suddenly change direction, stop or retreat quickly is implied by this particle, which is obviously ‘martial’ in essence. The right-hand particle is ‘專’ (zhuan3) which represents the actions of an ‘expert’ who uses his or her hands to good effect. This is because the top element of this particle is ‘叀’ (zhuan1) - which represents a ‘spindle’ that is expertly controlled and directed by a human hand – this hand is represented by the bottom element of this particle as ‘寸’ (cun4). This is a drop-spindle which must be expertly controlled by the human-hand as it turns and spins – creating thread, yarn or wool, etc. Therefore, ‘轉’ (Zhuan) suggests an expert martial ability that transforms the mind, body and spirt, whilst the practitioner carefully masters the art of timing, positioning, moving and prediction, etc. All of this ability involves the mind, body and spirit, but is achieved through the expert coordination of the hands (which are emphasized) and the feet (which are foundational). Although the Japanese ideogram of ‘転’ (Ten) retains the left-hand particle of the ‘carriage’ (or 'chariot') with ‘車’ (che1) suggesting a continuous turning motion - the right-hand particle is completely altered and now stands as ‘云‘ (yun2)! Within ancient Chinese language usage this usually refers to a human mouth expressing various vocalizations which generate ‘clouds’ of water vapor around (and next to) the head that speaks! Indeed, within modern Chinese language usage, ‘云‘ (yun2 is a simplified way of referring to a ‘cloud’. Therefore, this suggests that ‘転’ (Ten) as used in the Japanese language interpretation - ‘changes’ - the intended (and original) Chinese language ideogram of ‘轉’ (Zhuan). Original Chinese Language Meaning: ‘轉’ (Zhuan) = A continuously spinning, dropping and rotating spindle device is expertly ‘controlled’ by exact movements of the human hand. Altered Japanese Language Meaning: ‘転’ (Ten) = A moving (turning) object generates ‘speech’ and ‘clouds’ of water vapor! Although the second ideogram ‘掌 is identical within both Japanese and Chinese usage, the meaning does vary between cultures. Original Chinese Language Meaning: 掌 (Zhang) = Palm (of the Hand), Finger, Extended Fingers, Sole of the Foot, Slap, Hold, Grip (Close Fingers), Control, Support and Hold. Altered Japanese Language Meaning: 掌 (Sho) - Palm (or ‘Flat’ of the Hand), Control, Rule and Manipulate. When all this analysis is combined together, the academic and intellectual implications should be clear and assist the modern martial artist understand the intended meaning behind the ancient Chinese martial arts systems and their diverse training methods, techniques training regimes, etc. Furthermore, it must be understood that the ancient Chinese scholar believed that the sheer act of ‘writing’ was a mystical undertaking whereby ‘exact’ words with ‘precise’ meanings were carefully chosen when the highly important compiling of ‘lists’ was undertaken within the Imperial Court and elsewhere. A ‘list’ once written was believed to possess the legal and moral power to bring physical (and spiritual) order throughout the world! The same methodology was used for the compiling of written lists pertaining to martial arts practice and preservation. This is why it is important to know and understand the original ‘Chinese’ language meaning and interpretation of all the martial arts terms that are practiced. This process ensures a precise and pristine transmission and assists the current generation to correctly understand the wealth of doctrinal information that is being communicated which has been gathered over the centuries in wartime and in peace! Original Chinese Language Meaning: ‘轉掌’ (Zhuan Zhang) = Within the Chinese cultural milieu, this ‘Form’ would be known as ‘Zhuan Zhuang’ - and probably understood to mean something like ‘Continuous Transitioning and Transcending Open Hands – Coordinating the Palm, Fingers and Soles of the Feet whilst Controlling the Opponent’. This may seem overly long – but from the sheer weight of intended meaning contained in the two relevant Chinese language ideograms – this is as compact as I can make it. Indeed, I find this compromise to be embarrassingly ‘short’. Altered Japanese Language Meaning: ‘転掌’ (Tensho) - although often translated as ‘Rotating Hands’ - the Japanese language ideograms certainly do not say (or suggest) just this idea. A rotating device vocalizes as it breathes in and out – so that the open hands can turn in any direction. What might be happening here, is that the Japanese Masters took-out the particle pertaining to a ‘hand-spinning’ device (which signifies mastery of a handicraft) and replaced it with a particle suggesting ‘breathing’. As the second ideogram already suggests that an ‘open hand’ or ‘palm’ is to be used – the Japanese Masters may have thought that the particle denoting the ‘drop-spin’ device could be removed without any great loss and a particle added that suggests that this kata involves a very special form of breathing. Even so – the original Chinese language meaning does not pay any attention to the required breathing but focuses instead only upon physical aspects and the innate level of mind-body skill that is required to master this kata. Breathing is an issue passed in person from Master to Disciple - and is often dealt with in any number of Daoist Qigong or Daoyin manuals. After-all, circulating the prenatal breath in both its micro and macro-orbits is not a great secret anymore – not even in the West! Combative interaction can occur in a myriad of ways. It can be psychological, emotional and/or physical. Intense combat can involve all three realms of existence. This is a serious situation where the ‘immediacy’ of the threat generates the inherent danger! Relaxation, awareness and superior positioning is the way to meet these challenges in the physical world. How this unfolds is dependent entirely upon an individual’s experience and the style they have been practicing for decades. Spiritual maturity is defined as the ease with which a person occupies their mind and body, and their ability to predict aggression and quickly counter ‘shock’. This is how the Master makes what is hard for most people appear to be ‘easy’. In other words, this is unhindered ability of an individual to come to terms with ‘change’ (易 - Yi4). In other words, a traditional Chinese martial artist, regardless of style or lineage, should make a point of studying the ‘Classic of Change’ (易經 - Yi Jing). This study should be ongoing, deep and profound. Furthermore, it should be free of all profit-seeking and worldly limitations. No one can ‘tell’ you how to understand this text and you must take responsibility for your own understanding of it.
What does ‘易’ (yi4) mean? The upper particle is ‘日‘ (ri4) is the Moon that lights up the Earth through its reflection of the Sun! This probably refers to a light in the darkness or a cultivated light which dispels darkness (the exact definition of the Sanskrit term ‘Guru’). The bottom particle is ‘勿’ (wu4) which composed of the left sub-particle of ‘刀’ (dao1) or ‘blade’ and the right sub-particle of ‘𠚣’ (dao1) or ‘dripping blood’. When placed together, these two sub-particles generate ‘勿’ (wu4) which literally depicts ‘blood dripping from a blade’. As a distinct character, this ideogram appears on the Shang Oracle Bones (c. 1766 to 1122 BCE) and was used as a ‘warning’ ‘not to do something’, ‘not to carry-out a specific action’, or to ‘stop doing what has already been done’. The emphasis is from ‘movement’ to ‘stillness’. Within modern (everyday) Chinese language use, ‘勿’ (wu4) is used to refer to the word and concept that denotes ‘no’ as opposed to ‘yes’. When combined, and taking all this data into consideration, ‘易’ (yi4) seems to imply a situation where once there was difficulty (勿 - Wu) - but this difficult situation is transformed into its opposite by the presence of ‘日‘ (ri4) - which is the Moon that lights-up the entire landscape through its glow! What was previously ‘hard’ is now made ‘easy’ by a ‘change’ of circumstance. When beneficial ‘change’ is experienced, it is generally the case that actions that were once ‘blocked’ or ‘hindered’ now become ‘open’ and ‘free-flowing’. This explanation demonstrates how the ideogram ‘易’ (yi4) can simultaneously mean both ‘easy’ and ‘change’. However, another version of this ideogram is ‘蜴’ (yi4). It is related and exists within the same series as ‘易 (yi4)’. The difference is that this version - ‘蜴’ (yi4) - has the extra left-hand particle of ‘虫’ (chong2) which refers to a dangerous, venomous snake, or a similar type of animal or insect. When expressed as ‘蜴’ (yi4) - this ideogram takes on the meaning of a ‘lizard’ which can adapt its outer skin to ‘blend-in’ with the ever-changing environment (I.e., a ‘chameleon’). This type of lizard knows how to ‘not stand out’ and how to ‘achieve things’ in an ‘effortless’ and ‘unassuming’ manner. As the external temperature changes – so does the pigmentation arrangement of the Lizard’s skin. As a means of temperature control – the lizard also manages to remain ‘unseen’ as an evolutionary by-product. An advanced practitioner of martial arts can adapt to the physical environment in a manner that preserves his or her life, and which removes greed, hatred and delusion from the mind (and body) of the opponent. When this type of change is mastered in every position, a practitioner literally seems to perceptually ‘disappear’ as they no longer react in a dualistic manner. There is no one to chase and no one to hit... Dear Nick A very interesting (internal) Longfist Form! Master Zhao Ming Wang forwarded this video of a Qianfeng Disciple. This is a traditional mode of practice just like our own in the Ch’an Dao School. Of course, what follows is not a discussion on the movements perse, but rather the manner in which these movements are performed. Developed insight and seasoned will-power is a matter of a good and fully-rounded ‘intent’. This is the exact opposite to what is expected in the training and technique designed found in the ‘audience-pleasing’ practicing for sport. For sporting purposes - the movements are speeded-up for dramatic effect. This changes the leg use, balance and coordination. Sporting forms are practiced 'top down' which is good for audience entertainment but sacrifices a good and effective 'root'. Proper (traditional) form training for fighting is practiced 'ground up' (like the building of a hexagram in the Book of Changes) and unfolds like an arrow fired from a bow (or a bamboo stick stuck firmly in the ground - which is pulled back and suddenly 'released'). Sporting forms push the generated power downwards whilst simultaneously denying any strong or stable leg structure for 'rooting' - so that its is wasted and dissipates into the air without effect. Traditional forms - such as seen here - generate the power from a firm and stable base and then radiate that power upwards and outwards in all directions. The 'shape' or 'technique' chosen or assumed (such as a lead straight punch front and back - or a front-kick and a palm-block, etc) - harness and directs this generated power, into a focused emission suitable for a particular self-defence requirement (expressing 'stopping-power'). Although practicing forms at lightning speed is good every now and again (whilst retaining the 'root'), it is better to practice like the practitioner in this video so as to continuously perfect the 'foundation' - as each repetition removes a layer of doubt in one's ability (from the mind and body). As the body ages, this type of 'internal' exercise ensures a constant standard of practice as the physical processes and psychological perception both mature. Notice how the drop-down stances are not as deep as those found in Taijiquan to facilitate a smooth interaction of the movements. These Longfist forms possess drop-down stances that can be performed ‘deep’, ‘moderate’ (as seen here), or ‘high’ for various adaptions of training. Each type of low-stance must be perfected by the Longfist practitioner as a preparation for the different requirements of all-round self-defence. It is best to master the low-stances when young so that this ability can be retained and applied to the body as it ages.
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AuthorShifu Adrian Chan-Wyles (b. 1967) - Lineage (Generational) Inheritor of the Ch'an Dao Hakka Gongfu System. |