GrahamB wrote:Doc Stier wrote:GrahamB wrote:The stepping is the key to the art.
The way I look at it is like this - the movement, say, "Beng Quan" is a stepping action during which you punch, it's not a punching action during which you step.
I think movement trumps power in the great scheme of things.
Agreed. Although the various basic stepping methods of Song Style Xingyiquan footwork which I practice and teach are different than what is demonstrated in the OP video, the concept is the same.
The offensive strikes of every Element and Animal form are delivered while stepping, not from a stationary position or after the completion of a step.
As such, footwork is a key factor both in generating and issuing integrated whole body power. This type of moving power is definitely something more than a crude, muscular power generated primarily through upper body movement alone.
Nice
Agree with your post Doc, although I'd add that there are some arts that don't always step while delivering force and that doesn't make then "crude" - Chen style for instance has a lot of those Fajin expressions where they don't really step anywhere. I think crude, or not, is more to do with the skill level of the person involved.
GrahamB wrote:The Choi stuff is weird, but I kind of like it
The Pao Quan video you posted is demonstrating what I label in my video as the fault of landing the foot and the hand at the same time. Too much punching air
GrahamB wrote:Hey doc, don't diss Karate, man. Mr Miyagi was my first marital arts teacher
origami_itto wrote:So in your video it appears to me that the only difference between the "wrong" hand and feet land simultaneously and the correct... not that? Is where your foot is landing.
In the incorrect version you step so that you end at the surface of the bag, in the correct version you step so that you land past the center of the bag.
Looking at the floor, on all of the incorrect versions you step to the line on one tile, and on the correct, you step to the line on the other side of that tile.
Am I missing something, or is there some fourth way beyond the foot being first, the hand being first, and them both landing simultaneously?
GrahamB wrote:origami_itto wrote:So in your video it appears to me that the only difference between the "wrong" hand and feet land simultaneously and the correct... not that? Is where your foot is landing.
In the incorrect version you step so that you end at the surface of the bag, in the correct version you step so that you land past the center of the bag.
Looking at the floor, on all of the incorrect versions you step to the line on one tile, and on the correct, you step to the line on the other side of that tile.
Am I missing something, or is there some fourth way beyond the foot being first, the hand being first, and them both landing simultaneously?
If your foot and hand make contact and stop on the surface of the target then no good. You want to step through the target, so you're hitting them with your foot still in the air. Too much form against the air with the hand and foot stopping exactly together (and the power being applied only when the foot and hand land) results in that mistake when applied to something with mass.
The best way to understand this is to get hit with it in the body - you can feel the difference. It's hard to understand otherwise. That's what we did - we never used bags. Plus, it toughens you up a bit
D_Glenn wrote:On piquan, if you look at it from the perspective of where you ideally want your strike to land, the timing of the hand and foot is important, but stepping through is not. Hitting Yintang point is the goal, then the strike continues a downward angle where if the person has a big nose, you would be on the bridge of it. But Yintang point is where the damage is.
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GrahamB wrote:It's not like Wing Chun, where you can sit on your stationary legs and practice arm movements. (I mean, you could, but I just don't think there's any point).
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