Xing Yi Academy Showreel

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Re: Xing Yi Academy Showreel

Postby mrtoes on Tue May 19, 2015 2:56 pm

Yeah that makes sense to me.

It's worth noting that some distinguish between the terms "upper" and "lower" dan tien, with the lower dan tien being a few finger widths below the navel and is associated with health practice, and the upper dan tien, which is further up and more in the upper waist area, being developed for power generation. According to this theory you still need to build a dan tien... it's just not where most people think it is.

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Re: Xing Yi Academy Showreel

Postby dspyrido on Tue May 19, 2015 6:45 pm

There are reasons where it makes sense to separate the body coordination. Power generation is not one of them.

In order to get maximum power the unified mass and the coordinated engagement of the body are vital. The fundamental phrase/song of xy that relates to the 3 external harmonies (hand-foot, elbow-knee, shoulder-hip) is the guideline for starting to learn the coordination of total body power. Without this then power is disconnected and not maximised.

Just learning to "punch with the legs" means automatically increasing the power applied by several times and is by far the most effective coordination that can be added to striking.

Later come the refinements with bows, use of the core/dantien and more subtle coordination's which relate to releasing tension from antagonist muscles. But even the well published dantien is a useless topic to most who have no idea how to apply it in a strike other than the view that it feels more powerful.

So xy at the fundamental is about the manic pursuit of total body coordination. It does not mean that xy never disconnects but it means that it is more important to build the connectivity first before learning when and how to disconnect.
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Re: Xing Yi Academy Showreel

Postby Andy_S on Wed May 20, 2015 1:07 am

Nice. Cool tune, too.

In terms of content, I'd suggest you add:
(1) Two-man work;
(2) Applied work;
(3) Bag or other equipment work
If ye please!

On thing that many masters don't show - particularly when they show the Ah Shan Pao two-man form - is the way HsingI takes an angle that compromises, shuts down and these blasts through/over an opponent.

In terms of style:
If you have a decent cameraman and editor, I'd suggest:
(1) Some more close-up footage, and
(2) Leveraging the slow-motion function, so that the power train and detail in the movements is clear.

RE; Separating the upper body and the legs
I would GUESS that what Paul is talking about is isolation training of these two power-generation engines (ie shen fa and bu fa). Once you have develope them separately, you apply them together.

Just a guess, of course.
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Re: Xing Yi Academy Showreel

Postby Bao on Wed May 20, 2015 4:15 am

Upper and lower body can move independently from each other, yet be coordinated together. There's no conflict here. Think about juggling, the arms must move independently, there's no other way to coordinate juggling. For power generation, disengagement between Upper and lower in the IMAs is usually not really about disconnection but about "keeping the Mountain on one place" or about opposite or complementary directions of movement like "drawing the bow" (gathering energy, wind up or stretching a rubberband. Upon contact/releasing energy the structure and support is still there, in XY the angles will still match according to santi principles.

About the clip.... Personality is always a good thing and I understand the focus was more on visual expression. Nothing wrong with that. Making videos that focus on body expression is really hard. The camera never lies and and always tell where a person suck. So I think you did a good job (can't see that you suck), though I Imagine that the film only show a fraction of your repertoire.
Last edited by Bao on Wed May 20, 2015 4:17 am, edited 2 times in total.
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Re: Xing Yi Academy Showreel

Postby Wanderingdragon on Wed May 20, 2015 9:56 am

Love your work space, The final sequence reminded me somewhat of some of my own free play

http://youtu.be/uiK50JPUg0k

I understand the need for upper and lower to work independently while maintaining connection, but for me it is not in singular muscular action creating other muscular action. For me it is in connecting the dantiens and knowing the center. Simply stated the three dantiens in fighting and force are lead, breath and express. In unison the greatest force using the least energy.
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Re: Xing Yi Academy Showreel

Postby Marko on Wed May 20, 2015 11:50 am

mrtoes wrote:Yeah that makes sense to me.

It's worth noting that some distinguish between the terms "upper" and "lower" dan tien, with the lower dan tien being a few finger widths below the navel and is associated with health practice, and the upper dan tien, which is further up and more in the upper waist area, being developed for power generation. According to this theory you still need to build a dan tien... it's just not where most people think it is.

Matthew


Yes, I agree with you, it's just that we prefer not to talk about the solar plexus as dan tien in the beginning since it makes it clearer for the new people.

About three, four years into my training I got a distinct feeling that the upper waist/solar plexus area has become more elastic and taut than the lower abdomen, so yes, you definitely build up a dan tien - not that mine is built up in any significant way :D
Last edited by Marko on Wed May 20, 2015 11:50 am, edited 1 time in total.
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Re: Xing Yi Academy Showreel

Postby GrahamB on Thu May 21, 2015 1:50 am

Zhongwen:

Image

Image

Dantien:

Image

It's not as sexy, but it works. ;)
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Re: Xing Yi Academy Showreel

Postby Pandrews1982 on Sun May 24, 2015 1:03 am

I feel like I explain this every week or two here.

I meant that the legs pushing into the ground doesn't generate the force in our strikes, the force comes from 2 things.

1. from the whole body mass moving into the opponent (you get hit by the mass and the structure)

2. The "Jin" which is created from the movement around the upper waist.

The legs move and coordinate with the whole body to support the movement, yet there is no direction of force from the legs to the hand when striking.
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