Here’s a video response to Charlie and Keith’s last video showing a Karate and similar Kung Fu techniques. Their video reminded me a lot of a very well known move from Yang style Tai Chi, so here’s a video showing how we use it.
This is a follow up video to my previous one on Sao Choy, which addresses a few of the questions and comments it raised, particularly “Wouldn’t it be safer to do it on the outside of the arm?” and “You can also do Sao Choy after various other blocks or parries”.
The video shows a few more Choy Lee Fut techniques – Pao Choy, (which I believe translates as “cannon fist”) which is a upward strike similar to an uppercut and Poon Kui (which I believe translates as “coiling bridge”), which is a circular block that can be used as a great set up for a lot of Choy Lee Fut techniques since it should help destabilise the attacker.
In this video I use the technique called Sao Choy from the Choy Lee Fut system. Sao Choy (“Sweeping fist”), can be found in all styles of Choy Lee Fut, but seems to be particularly emphasised in the Buk Sing style I practice, along with Chap Choy.
When using the Sao Choy technique you’ll notice that the Choy Lee Fut practitioner usually performs a clearing or blocking action with the other hand first. Like most techniques in Choy Lee Fut, Sao Choy tends to be used in combination with other techniques in a fluid and circular manner, rather than in isolation. Since more attention is usually paid to the arm doing the Sao Choy when explaining the technique, I thought I’d concentrate on what the other hand is doing in my video, since there can be a lot of subtly to the technique employed, which is easy to miss. It’s also interesting to compare with similar posts on this blog that examine what the non-striking hand is doing in other arts, like Karate.
One of the features of Buk Sing CLF is a kind of “through the back” power, which connects the action of one arm to the action of the other, so that rather than operating separately, they work together to achieve their aims. A discussion of what the “other” hand is doing in the Sao Choy technique naturally leads on to a discussion of how this “through the back” power works in Choy Lee Fut in general.
It should also be noted that you are not limited to the particular clearing technique I’m demonstrating here prior to the Sao Choy – other popular options are Gwa Choy (a backfist) or Poon Kui, a circular block.
I hope you enjoy the video, and feel free to ask questions in the comments section.*
* Apologies for my slightly irreverent presentation style(!)
I’m pleased to be asked to contribute to this excellent blog created by Karateka and Tai Chi Chuan practitioner Charlie Wildish, aimed at bringing different styles of martial arts, and martial artists, together under the banner of “bunkai”, the Japanese term meaning “applications”. So much in the oriental martial arts seems vague, hidden or obscured (quite often at the behest of cultural or political reasons inappropriately transplanted from another time and place), so it’s particularly refreshing to discover a group of traditional martial artists dedicated to unearthing the treasures hidden in the arts they practice, rather than simply going through the moves by rote, in blind obedience to tradition. I think this progressive attitude is something positive that Western culture can bring to these ancient arts from the East.
While forms, salutes, uniforms, attitude, places of practice and class structures may vary wildly between “traditional” martial styles, it’s in the applications that the arts are at their closest. While the stylistic manner of execution, “body mechanics” or the strategy may differ greatly between arts, a wrist lock performed by twisting the radius and ulna bones of the forearm until they lock in Tai Chi Chuan is the same wrist lock performed by twisting the radius and ulna bones of the forearm until they lock in Karate or Wing Chun or Ju Jitsu. By looking at the applications we can start to see the similarities between styles and gain new insights into the arts we practice.
In the following clip I am performing an exercise known in Tai Chi Chuan as Tui Shou or “Pushing hands”. Practitioners of other martial styles will no doubt recognise many of the locking and takedown techniques from their own styles. Observers of Push Hands competitions would be forgiven for coming to the conclusion that Push Hands is about pushing the opponent away, hopefully in a convincing enough manner to score a point. As such it becomes a wrestling match where you’re not allowed to grab with the hands, and while not without merit, such competitions seem (to me) to have strayed from the original martial intent of the art. To gain the most benefit from Push Hands I believe the Tai Chi Chuan community needs to reclaim a lot of the elements that have been taken out under competition rules. One such element is the traditional art of Chin Na (translations vary: “Catching and locking”, “Catch-Arrest”, “Seize and Immobilise”, etc…). To perform Chin Na following the principles of Tai Chi Chuan it is important that you don’t force the situation. Instead, you adapt as it changes, without opposing it. Done correctly the technique happens of itself. The constant flowing pattern of push hands encourages this spontaneity of technique.
As it says in verse 2 of Lao Tzu’s classic of Taoism.
“Therefore the sage goes about doing nothing, teaching no-talking.The ten thousand things rise and fall without cease,Creating, yet not.Working, yet not taking credit.Work is done, then forgotten.Therefore it lasts forever.”
In future posts I hope to offer more technique-specific insights into both Tai Chi Chuan and Choy Lee Fut.