the rum soaked fist: internal martial arts forum

wuwei sifu wrote:Hi folks ,
i have never seen or heard of this yang style teacher until today. does anyone know anything about him ?(Zhu Chun Chuan)
can anyone say how he accomplishes the finger to nose kung fu/skill

Bao wrote:Addressing the last vid only. Some things that looks abstract or fake are based on real methods....

...

Here, a Wu style Tai Chi teacher, a student of Wang Peisheng, show how to use "yanshen", or eye spirit. (Some might just call this "yi", or "intent".) He speaks about how he travels with his eyes, look far away and just let his body follow. He keeps his body connected, structured and move it as a whole letting the eyes lead and the body follow.

He doesn't say it right here, but as his opponent grabs his left hand, his hand is Yin and must stay Yin, so he can not move it as it would be force against force. He makes a cross connecting from right foot to left hand and step into his right foot following his eyes while his left side follows.

https://www.youtube.com/watch?v=CUDoVJF4bmw

bailewen wrote:

wingchun wrote:Perhaps you can explain what's going on internally in the old man's body at 1:09, 1:39 and 1:55 in the clip to create that type of reaction in his partners? https://www.youtube.com/watch?v=KZdtM5p6ZkA

. . . 1:39 - The students left wrist is being locked. Students right hand has an overly firm grip locking it in place. The right hand can't change because it's being used to push on the mans elbow. But when he pushes, the man turns his elbow to deflect the push while simultaneously locking the students left wrist. That's why the student jumps. He gets stuck on the right and wrist locked o the left.

1:55 - He's is explaining a single palm change application. He says, "So how do we use a single palm change?" as the student approaches and grasps the teachers arm at the wrist and elbow. He continues, "For a single palm change, this hand goes over here (referring to his right hand, the one under his armpit), When this arm (bottom) moves, actually the push his here (referring to his free arm as he pushes the air with his fingertips extended)."He then invites the student to come and push him again but this time he says, "This time I push with this other arm (gets pushed off his base) Right? It's this arm over here that does the pushing. (again, emphasizing the free arm)"

That last bit, from 1:55 on, is just pure gold. I learned a lot from that that I was able to take back and apply in push hands and then later, I even used that trick in my leitai fight to throw a guy out of bounds and onto the ground. That old man's lesson taught me how to use "Brush Knee Twist Step" in an entirely different manner. Sometimes, the "pushing hand" is not striking the person at all. It is used to unify the body and lead the intent. In my case, it was the so called "blocking" hand, the "brush knee" part. That old man's video there was instrumental in me learning to do this:

https://www.youtube.com/watch?v=jyn3Z-kDes4

taiwandeutscher wrote:

C.J.W. wrote:The old Bagua teacher is showing IMA body mechanics and principles with a cooperative partner; it's a learning process known as "feeding energy," or 餵勁 in Chinese, and certainly should not to be viewed as fighting applications. The idea is to have a training partner apply proper amount pressure to your body (analogous to a mother feeding a child) while you learn how to internally connect to his center and control his frame.

IMO, he's mainly demonstrating how to shift between the substantial and the insubstantial (i.e., avoiding double-heaviness) by placing the energy (or intent) in the right place.

(For people who have not been exposed to similar methods, I can understand how this video is pretty much meaningless.)

Trur that! Nowadays this concept of Weijin seems to fade away, but I find it highly important of "baby stepping forward".

meeks wrote:earlier he's saying "doesn't matter how you get me, you can't move me (single opponent).

later at 1:09 he's saying in a thick beijing accent "lia ri lai" which is his thick accent for "liang ren lai" (2 people come) and he's using 'cheng jin' (expanding force) to repel them as a demonstration of his root - he also mentions earlier that he doesn't even need to move his feet to offset his opponents.

I'm usually pretty quick to close a video on chinese bagua - too much flowery crap that's mostly contrived... but I'd say this guys got the chops. Might not have the power he had 30 years ago, but he still is a slippery opponent and can show it.

Zhang Xia Xin wrote:It can be easy to practice the Chen style or other styles of Tai Chi Chuan but the internal
power they offer can be hard to get, according to Zhang Xia Xin.

The top senior student of the famous Feng Zhiqiang, Zhang said Tai Chi jing, or internal
power, is an essential part of the art and that a number of different practices are required to
get the pure Tai Chi power that combines softness and hardness. . . .

Zhang said the teacher sometimes has to show the student how to issue the different kinds of Tai Chi Chuan jing and to issue power on the student's body to show him if the power is used rightly or wrongly.

He said this is called wei jing, or feeding the jing, to help the student understand the jing. "The teacher gives you jing by issuing it on your body and you try to give it back by
issuing it on the teacher so the teacher can tell if you are issuing it right or wrong."

Zhang said Chen fake was famous for his high kung-fu and pure Tai Chi Chuan power.

He said that in 1957, just months before he dies, he was seated in a chair and a student
came over to try and test him, pushing on his hand. Chen, who was president of the Tai Chi
Chuan society, used his peng (ward off) power to throw the student out the door.

Another story involves a Mongolian wrestler, whose arms were as big as his legs and who
was egged on to challenge at a national Tai Chi Chuan tournament in Tianjin City.

The wrestler thought he could lift Chen, who was over 70 and throw him a few feet away.

Then when Chen Fake was sitting, the wrestler went over to grab him to pull him up, but
Chen used one technique, Parting the Wild Horse's Mane, and broke the wrestler's arm
and threw him a few feet away. The wrestler had to go to the hospital. . . .

At that time all of the Yang style practitioners came to welcome him to Beijing and a lot of famous Yang style teachers had a welcoming party for him. But they didn't think he was a great master because he looked like a farmer.

After dinner, some of them asked to push hands with him. One of them was Li Jing Wu, now around 80 years old and still teaching in northern China. Chen Fake used a technique and threw Li very far away and he hit a second person and both fell down.

Li's wrist was injured.

Chen also demonstrated the Chen form movement and when he did the first movement, stamping on the floor, he broke the floor. This surprised all the people at the party and they all wanted to become his student, including many famous Yang stylists.

Zhang said another time, an army soldier came up with an unusual challenge which Chen Fake agreed to. Chen's hands were tied and he was to stand in a circle while the soldier used a broadsword to chop at him.

Chen was not allowed to use his hands and he couldn't go out of the circle. When the soldier attacked with the broadsword, Chen used his foot to kick the soldier's wrist and break it, making him drop the broadsword.

In order to get internal power, Zhang, who has studied the Chen style for 28 years, said it is important to focus on eight key concepts when practicing the form.

They are: 1. opening, 2. closing, 3. moving up and extension, 4. moving down and shrinking, 5. empty, 6. full, 7. rolling, and 8. circling.

Zhang, who is 65, said opening is from the inside to the outside and is like a flower opening its petals.

Closing, on the other hand, is from the outside squeezing to the inside.

Both these concepts have functions in self-defense as well as in form practice. . . .