KUNG FU

Benefits Gained are Priceless"

 

Techniques Demonstrated within the Classes
"Take every opportunity"
Chin Na
"Seize and control"
Consisting of
Dim Mak (Meridian Point/Press)
Dim Mak is a traditional martial art technique That originated in China, where specific pressure points on the body are used for self-defence purposes and also for healing. Approximately 350 points are learnt.
CAO GU (Misplace Bone)
Cao Gu generally means to bend bones the way they are not supposed to go. You will see the techniques used a lot in wrist locks and arms locks. Pressure is applied to the joints and pain is experienced by trapping the nerves on these joints.
FEN JIN (Divide Muscle/Sinew)
Fen Jin is a technique where muscles are split open to expose the nerves and arteries. This gives you a good chance to disarm opponents by attacking nerve structures.
Under the essential principles of our Tai Chi Chuan Syllabus you will see the following which explains about Fen Jin.
FENG CHIU SHU (FEN JIN) – This is well known as muscle splitting skills. It is used in conjunction with the above to restrain an opponent once they are trapped.
The cavities that are opened with Fen Jin techniques are called Tien Hsuen, and explanation is as follows:
TIEN HSUEN – This is the art of striking vital points on the body using the body’s cavity. In the Tai Chi Chuan Chi Sao we will use these techniques to trap the opponents hands.
BI CHI (Seal Breath/Air)
BI in Chinese means to seal. QI means airway, breath.
This technique is related to the circulatory system.
Sealing the breath does not have to be as accurate as Dim Mak or dividing the muscle techniques.
BI QI is separated into two methods:
Disrupting Breathing

The main organs used for breathing are the lungs. Constricting the lungs can be complex. To constrict the lungs, the martial artist must have knowledge of the nervous system running near the lungs.

By using power to strike the nerves, the muscle will contract with such force that the person will be rendered unconscious by the pain and the resulting inability to draw oxygen.

Disrupting Artery/Vein
n this method the martial artist attacks the Carotid Artery or Jugular Vein on both sides of the neck to seal them shut. This lowers the blood flow and pressure to the brain therefore rendering them unconscious.
SEALING THE BREATH OR VEIN is for knowledge purposes only. These are dangerous techniques and should not be practiced. There are several techniques of sealing the breath or vein. Techniques will only be shown to advanced senior students within the class.
CAO MAK (Misplace Meridian)
Disrupting meridian flows is a method mainly using the Tai Chi Chuan Six Chi Gung work to knock an opponent off their centre line.
Dim Ching (Nerve Gate System)
"Nerves are the human weakness"
 
Tien Hsuen (Blood Gate System, Cavity Press)
The anatomy of Kung Fu"
 
Animal Forms
Tiger Dragon Crane Snake Eagle
     
  Leopard   Mantis  
 
 
Chi Sao
"Every moment is another chance"
The well known fancy translation of CHI SAO is “sticking hands” or "sticking bridges"
The direct translation of CHI (MANDARIN MEANING ‘AIR/SOUL’) – SAO (CANTONESE MEANING ‘HAND’)
For full Cantonese pronunciation the CHI would be replaced with HEI i.e., HEI SAO
Chi Sao is an advanced martial arts technique to develop close range fighting skills, enhance eye focus and contact reflexes. Contact reflexes can be 3 to 5 times quicker in response than eye reaction time. Eye reflexes react in about 0.3 to 0.5 seconds and above. Contact reflexes take between 0.15 and 0.3 seconds to react. Hence, we can see the advantages from learning this unique skill.
hi Sao teaches us to find openings by flowing with forward intention (chi or energy) through the point of contact, (when the arms from both participants touch), to find the path with the least resistance and not fight force against force through an opponent's guard along the centre line. At the point of contact an opponent's intended move is transmitted as a vibration and our response is a contact reflex action. Also, when someone blocks, the opponent's intention can be sensed through directional forces. Force can only travel in one direction, at any given time. At the point of contact, the force will remain stationary, (we deal with it), the force will push forward (we yield to it), or, off the centre line, (we go around it) or, the force retracts, (we follow or stick to it).
DAN CHI SAO – Single sticking hands

an Chi Sao is the first exercise you learn. The partners face each other in the C Back position. You connect arms: one partner placing their left Tan sao forward, and the other partner placing a right Fok sao on top of the Fok sao arm.

The partner holding the Tan Sao position begins the exercise by rotating the wrist to a palm forward position and then attacking with a palm strike. The second partner responds with a Jum Sao, impeding the forward movement of the strike. The second partner then attacks, punching over the arm of the first partner. This will turn the first partner into Bong Sao. Both partners then reset to the starting position.

CHI SAO – Sticking Hands

Start with the PENG/HINGE stance in C Back position. Relax.

Always stick to the Centre line.

Doors and Bridges
Doors

o strike an opponent pass through the door

 If the door is closed then wait

You can knock on the door and hope it opens

 If the keys are lost then remove the hinges

 If a spring loaded door then hold it

If a revolving door then wait for the correct time to enter

 If the door flies off its hinges then:

As he comes receive him

As he leaves escort him

Bridges

If there is a bridge in place then cross it

If there is no bridge then build one

Mistakes encountered

Fighting force with force

Seek the hands, not the opponent’s body

Missing opportunity

Not setting up a strike with another strike

Being sloppy with your strike

Forcing your strikes

Not relaxing

Not sinking

Not maintaining good structure

Allowing the mind to freeze

Guidelines
Your hands are only as good as your stance

Some people cannot find their own centre of balance. Imagine a tree, how strong would a tree be, if its roots were decaying? Obviously, it wouldn't take that much force to knock it over.

It is the same with martial arts. If you have a good stance then it will be harder to knock you over.

There are two ways to develop your stance.

The first being just sitting in your stance for about 45 minutes, if you can last an entire 45 minutes without any aches or pains anywhere, then you'll know you've found you centre.

The 2nd way is have a partner push against your chest slightly and see whether or not you can actually root against the force. If you can't handle a light push, then you aren't going to be able to handle the oncoming force with your stance during chi sao.
I'm ready to fight?

Don’t turn Chi Sao into a battle. What is the difference between Chi Sao and fighting? If you have a circular movement and force is pushed slightly against it, if you remove the force, your hand will remain in the same position and continue its circular movement. On the other hand, imagine your hand as a spring, waiting for the pressure to be removed. Once the pressure is no longer there, the hand will automatically move forward. Thus, you won't even have to think when to attack .

Equality for both sides

In the beginning when doing chi sao, picture it as if you were doing push ups against the wall. Notice in order to keep your body square you need to push equally on both sides of your arms. Well, when you start doing chi sao it’s sort of like the same thing. You want to be able to maintain equal energies on both sides when you’re rolling. Literally, regardless of what position you are in:

The wrist for the most part is lined up with each other for both arms. The importance of equal energy, well it’s because of the inequalities of the forward drill when doing chi sao, that your opponent can use that to his advantage.

Tension vs. Energy

One of the most recurring problems when doing chi sao is differentiating between tension and energy. When you use tension it involves muscle, which reduces your sensitivity significantly. Thus, have you ever rolled with someone who was really tense, then all of a sudden just pulled your arm away from his. You'll notice when its tension the hand just stays there doing nothing at all. But if it was energy, the hand automatically shoots out towards you. That's the difference between the 2, and how you can tell one from another.

Where's my centre?

I'm sure everyone has done this before. Have someone do a bong sao and place it perfectly into the correct position, and then press against his bong sau. What you'll notice is how much force that the bong sao can take, with the opponent putting very little effort in dealing with the force. Now offset that bong by either moving it slightly left or right, let's just say about 1% of the centre line, and see the huge difference. Notice how easily it is to collapse his bong sau with very little pressure at all. Well, in chi sao its key to be aware of the centreline for everything that you do.

What we aim to develop

Sensitivity/Reaction Skills

Balance

Structure and technique (stance and movements)

Timing and speed

Control of power and distance

Clean attacking, blocking, and trapping technique

Good "bridging" skills, i.e. adhering to the opponent's forearms while delivering attacks and counter attacks to precise body targets at close range.

The Chi Sao techniques that we study
BEAU JEE SAO SPEAR HAND/THRUSTING FINGERS
BONG SAO WING HAND
CHUN SAO SPADE HAND
CUP SAO SCOOPING HAND
FAK SAO WHISKING HAND
FOK SAO BENT WRIST HAND
GUAN SAO SPLITTING BLOCK
GUM GAO GIN SAO GOLDEN SCISSOR HAND
GUM SAO TRAPPING HAND
GWAI SAO ELBOW HACKING HAND
HEUNG SAO SHOULDER TRAP HAND
HUEN SAO CIRCLING HANDS
JOM SAO INWARD CHOPPING HAND
JUM SAO SINKING ELBOWS
JUT SAO JERKING HANDS
KAU SAO HOOKING HANG
LAN SAO BAR ARM
LAO SAP SLIPPING HAND
LAP/LOP SAO PULLING HAND
MAN GENG SAO NECK PULLING HAND
MUN SAO INQUISITIVE HAND
PAK SAO SLAPPING HAND
PAI SAO ELBOW HACKING HANDS
PO PAI SAO DOUBLE PALM HANDS
SAT SAO SLICING HANDS
TAN SAO PALM UP HAND, FLIPPING, SLIDING, REVERSE, ROLLING
TOK SAO ELBOW LIFTING HANDS
YIM SAO SICKLE HAND
METHODS ESSENCES
MUN SAO (ASKING HAND) TING JING (LISTENING POWER)
JOU FAAT (RUNNING METHOD) BOH JING (DEFLECTING POWER)
TAO FAAT (STEALING METHOD) YING JING (DRAWING DIRECTION POWER)
JEET FAAT (INTERCEPTING METHOD) NA JING (CONTROLLING POWER)
SIM FAAT (EVASION METHOD) TZO JING (FOLLOWING POWER)
TOU FAAT (EXPELLING FORCE METHOD) FA JING (EXPLOSIVE POWER)
JIE FAAT (BORROWING METHOD) TEH JING (BORROWING POWER)
DAI FAAT (GUIDING METHOD)) CHUEN JING (SHORT POWER)
FOU FAAT (FLOATING METHOD) TI JING (UPROOTING POWER)
CHUM FAAT (COLLAPSING METHOD) CHEN JING (SINKING POWER)
TUN FAAT (DISSOLVING METHOD) HO JING (CLOSE UP POWER)
TOR FAAT (DRAGGING METHOD) JEH JING (TWISTING POWER)
TUI FAAT (PUSHING METHOD) DOW TIAO (VIBRATING BOUNCING POWER)
TUEN FAAT (BREAKING METHOD) TUAN JING (INTERRUPTING POWER)
JIP FAAT (LINKING METHOD) JEN JING (ROLLING POWER)
SAAT FAAT (FINISHING METHOD)
Ba Gua
"Fundamental Philosophical Concept"
Ba Gua can be viewed as the most philosophically complex of the internal styles with its focus on movements made as the practitioner moves in a circle around a central point, following the circular motion of yin and yang. Some see it as a magnificent kung fu dance, with then snake like twisting motion of the body swaying to an inaudible beat, but its power, like Xing Yi, is subtle and the application of Ba Gua moves are also highly effective in attack/defence situations. Practice of this style will increase the student’s speed of movement, all over body flexibility, and the high demands of the difficult footwork will improve balance and leg strength.
Xing Yi
"Form and Intention"
Xing Yi is one of the three major internal martial arts (Tai Ji, Xing Yi and Ba Gua). It is a very direct style designed to invade the opponent’s space with explosive footwork and combined techniques of attack. One Xing Yi principle states that "on meeting the opponent, movement is like an exploding volcano". Its movements are based on the 5 element fists and 12 animal forms, and while these techniques are taught outside China, Many Kung Fu Schools boast a range of techniques unknown to many Xing Yi practitioners. The style combines external “form” which is technical movement, and internal “Intention” whereby the practitioner focuses the mind, and energy, to direct additional power. On the surface Xing Yi movements do not appear complex, but the source of its power is an ongoing search for the student, and persistent study creates a deeper and deeper understanding of the sublime subtlety of the style. Xing Yi is suitable for students of all levels.