Yong Chun: Chun: Same Source

Written by: Lin Ai Wei

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The section of the “Xiao Nian Tou” commentary was written in 2004, and revised in 2013 by the author. Author: Erik J. Oliva (Lin Ai Wei) guizhenhui@yeah.net guizhenhui.net

Yong Chun Tong Men

and all Yong (Wing) Chun Families. seeds. roots nor the leaves. Oliva a. Our Yong Chun came from the same source.a. my Yong Chun brothers old and new.” – Lin Ai Wei Erik J.Dedicated to my son. It is in how they are personally cultivated. Lin Ai Wei 林愛偉 .k. “The seeds of a flower inevitably sprout roots. Though we may practice in a different way. Yet tradition is neither in the soil. students and disciples.

About The Author Founder and head teacher of Gui Zhen (Gway Jen) Philo-Cultural Society. 2001. Lin Ai Wei took discipleship under his Yong Chun teacher in 2004 yet has formally/personally disassociated from that line in 2011 due to internal politics. In 1999 he began Yong Chun Quan practice. he started Taiji Quan and Bagua Zhang Practice which focused on application and internal cultivation. previously called Jing Xin Yuan. and two years later. . He learned his Taiji Quan from Shifu Rudy Curry Jr. In 1993 he began Qigong practice and study of Qigong and Tui Na Therapy.. Black Taoist). which he learned in a 1 day workshop in 2002 and maintains his practice till this day. 8 Mother Palms of Yin Style Bagua Zhang from Shifu Novel Bell (a. teachings were received via meditation. China PRC under the founding of Jing Xin Yuan in the middle of 2006.k.a. Lin Aiwei began his practices in 1988 in Chan and Daoist meditation. Lin lived in China for several years teaching English and privately teaching Yong Chun Gong Fu and Taiji Quan in Shandong Province.

lying. both domestic and international. he became a Lay Disciple of the Buddha Dharma through Master Xuan Hua's guidance and teachings. Puerto Rican and American Indian. he returned to New York and re-opened his school as a Lay Buddhist cultivation center. and his mother born in Brooklyn NY. and became a Lay Disciple under Liu Shifu of Wang Mu Chi Daoist Nunnery of the Hua Shan Sect of Quan Zhen Daoism (Complete Reality Sect of Daoism) in Taian City Shandong China. and sometimes in the founder's home.While in China. At that time it was a center for martial arts where students. -Some HistoryIn 2006. and Wu Dang Sword. By the time he was 22. various methods of Zhan Zhuang (Standing practices). emotional and societal problems as well as solutions to these conditions. It is comprised of 3 chapters with each chapter consisting of over 40 sub-chapter-like paragraphs covering everything from energetic cultivation to mental. He was fortunate enough to meet cultivation practices of meditation and guidance at the young age of 8 years old by his second oldest sister. or in its rented premises. Yin Style Bagua 8 Mother Palms. Gui Zhen Society was founded under the name "Jing Xin Yuan" by Lin Ai Wei. would come and learn Taiji Quan. After the closing of his first two locations in China. In 2005 he received Buddhist Pure Land and Chan teachings which thrust his Daoist cultivation to a higher level. Qigong and Yong Chun. His father was from Italy and immigrated to America. Most classes were held in the local city parks. Between the years 2003 and 2005. As a young child he learned various Daoist cultivation practices of sitting. Lin wrote a manuscript on cultivation called "Shen Yi Zhi Dao". to the name Erik Oliva. which were semi public classes. walking and standing meditation. Taiji Quan. one's intent of cultivation. in China. "The Way of Spiritual Intention". . Lin was born in Brooklyn NY. privately. he received Daoist practices such as Yi Jin Jing. At that point he realized both Buddhist and Daoist cultivation are truthfully no different except for one thing.

it developed to not just be a martial arts center. and could not pass up such a chance to do so. and was established in Bensonhurst Brooklyn. immigration advice (basic). but also take on minor community service roles like street clean ups. as well as personal services to the residents of Bensonhurst Brooklyn.In 2009. but were not limited to. Buddhist and Daoist studies in terms of cultivation of mind and Qigong, as well as establishing a clinic of Chinese Medicine. The founder. which meant that he would always be available for them to guide them in their spiritual and personal growth. began teaching. At the end of 2011. The first was the founder had been offered opportunities in China to lecture on Chinese Culture and Taiji Quan. From 2009-2011. Lin further sought a change of his organization and not only changed the name. social security paperwork. translations of bills. independently through the Confucius Institute. delving into Confucian behavioral practices. Acupuncture. Jing Xin Yuan began working on Chinese cultural projects with both the Confucius Institute at Pace University and the Chinese Consulate in Manhattan. Lin also gave a lecture as a guest to one of Pace University's classes on Buddhism in 2009. upon returning to China. The second reason was internal conflicts of interest with his Yong Chun teacher. Lin accepted 5 students of Buddhist and Daoist cultivation to be his disciples in those teachings. Lin Ai Wei. which included. Soon. Jing Xin Yuan evolved to not only include the above activities. but also the . and in 2011 accepted another 4 as his 1st generation disciples in Yong Chun. During its years in China. Taiji Quan. Tui Na and Qigong. Later. local assemblyman festivals and services. but a Chinese Cultural center. Herbal Formulas. Jing Xin Yuan began connecting with local community organizations to offer more help and also learn more about service in the community vector. Jing Xin Yuan closed its doors and moved out of its premises in Bensonhurst for 2 reasons. Jing Xin Yuan came to NY. Such actions during that time period were the catalyst for Jing Xin Yuan to change its name to Jing Xin Tang. In 2010. and housing services all for free. Yong Chun and Basic Wushu. representing stability and growth.

from 1991-2013. and it is through said conflicts the realization of one's true strengths and visions can mature and manifest.mannerism in which his organization was to go in. Thus. It is such that through conflict and pressure. has a history of 7 years of development from 2007-2013. Lin’s organization. growth is realized. as well as 22years of conceptualization. Gui Zhen Philo-Cultural Society. and still progressing. . Gui Zhen Philo-Cultural Society was born.

left the location. In short. a week after he decided to not recognize me as a “Sifu” under his line. one does not have to sit back and not speak up when things are unjust. Note. In my Wing Chun line. I write this short statement to open any dialogue between any one who gets caught up in the politics of my past affiliation with my previous Yong Chun lineage. along with several interviews issued by him with the .Clarifying Statements In preparation for the inevitable criticisms for writing this book. that at the end of 2011. and offered and prepared the premises for my old teacher. as well as permission to take disciples in 2009. and wants to know what I have experienced and the factual story I have to tell. reasonable. fair and beneficial to their students as well as peers and short/long term acquaintances. and began a character assassination campaign against me. there has been. What I may say is that just because one is a “Sifu”. so much inner politics. and deceit. as well as for my history with Yong (Wing) Chun. as well as paid his first month’s rent for his commercial concession time. that doesn’t mean what ever one says is always true. I will not go into full details. I already had taken disciples with his “blessings” in July of 2011. and had been given the “Sifu” title to use when I opened 2 locations for teaching Wing Chun in China in 2006. as well as various others. Even though one's "Sifu" is always their "Sifu". and various other influences. and just plain out wrong. I resigned out of my teacher's line. for everyone is welcome to contact me and ask me personally what had transpired within my experience. Due to inner conflicts. after I had closed my previous school. is. I am not a recognized “Sifu” by my old teacher as per late November 2011. unfair.

Respectfully. I write this statement in order to make sure it is publicly known that this is the situation. Of course. along with one’s personal attachments to status and recognition. Oliva a. I have saved those articles and would gladly share them to anyone who asks for them in light of researching this situation. respect and character. should anyone in the future who studies with me. Lin Ai Wei . and or replaced with “status of rank unverified”. but about principle. understand that this situation is common amongst western martial arts schools due to the misunderstanding of Chinese Martial Arts Culture. or even misconstrued. Chinese language and Martial Arts lifestyle. may attain a written reference to work from. many stories of various martial artist’s history become embellished. as I always was and tried to.k. after certain situations in late 2011. Thus.a. those articles have been taken off the internet. but for public eyes. Any inquiries you may have will be gladly responded to by me personally. and or is curious of my statements. Hence. I write this as a way of maintaining clarity as to my history. My problem with this situation is not about a title. it’s not necessary. I don't fight for things that have already been given to me.. Erik J. There is much more to go into. that I have nothing to hide and am very willing to confront this issue if need be. In this light.reference of me “being” a “Sifu”. Understand that in the past.

C. I will not use the actual names or pictures of my old teacher of Yong Chun. we basically end adhering to that person’s every whim. (since 1999) I encountered many different types of characters. I learned that when we “surrender” our humility and judgment. To make sure they do not fail in questioning and researching what I tell them. I figured not to let my own students become a follower. to adhere to every beckon call. which westerners have developed when observing how students treat their teachers in China. Who knows. (Yong Chun) generally. and much more. an un-biased perspective on Y. building a “name” isn’t one of them. or anyone I learned from or studied with within the pages of this book. Let them learn through me and take only what they need to push themselves further. In this book I will present my own personal history and experiences in practicing Y.C. but at least we can make our own decisions when we have understood what kind of culture and behaviorisms lay as the foundation of Chinese Martial Arts. both in myself and those around me. and place it with another’s.C. Maybe it was an observance of some egotistical mannerisms from various schools of martial arts. for I did not ask their permission to use their identities as a reference in this publication. especially of me. One of the reasons I write this book is to contribute to the growth of those who practice Yong (Wing) Chun and those who are interested in practicing. In my years training Y.. . and then believed to be the right way.-Foreword- I write this book for many reasons. (Yong Chun). Perhaps it’s a misunderstanding that student almost act as though they are worshipping their teacher. and it is not a book dedicated to specific people. western/eastern comparison of the title “Sifu” and its meanings.

for every martial art out there deals with close quarter combat in some manner or another. or any other system. to be proficient (not mastered) in a short amount of time. any one can gain a basic understanding and be very proficient in their basic skills. I don’t understand it. one’s development isn’t based on how Yong Chun is as a system. The capacity of these practitioners varied then. the basic guiding principles of Yong Chun. Its not confusing. Many also try to speak so simply as to almost make understanding Yong Chun a bit of a mysterious journey. nor is it complicated or too simple. I still felt something was just incomplete with that. the more fluff gets spoken. with little or no academic education. Firstly. those who began practicing Yong Chun were not scholars. I still say the same thing. approximately 3-4 years? Also. Many would love to say Yong Chun is so simple that its sheer simplicity presents a complexity of principles and thus one will never really understand its true uses until they spent years upon years of practicing and contemplating Yong Chun. So really. Saying things that way may have worked when I was 19 and just starting Yong Chun. stability. policemen. and still do to this day. but now. or even government officials. Some were singers. I say. There are so many types of views people have about Yong Chun. I always figured that no matter the method being practiced. at least the majority. then how was it promoted back after it was created as a “fast to learn” art. Yong Chun is not exclusive to this. at 33. but rather . and in the west it has gotten to a point that the more one tries to simplify their explanations.I never found Yong Chun to be confusing. coordination. Many were rebels. or even speak in reference of scientific expressions to almost prove that the principles of Yong Chun are true and can not be proved wrong. if that was the case. distance and placement. learning anything regarding movement. create and or emphasize with their own insight. and application martially will always revert to understanding anatomy. Though I was told many times that if it is not confusing.

. we can also find that different styles of Yong Chun have different mannerisms of practice. So. world views and capacity to apply the techniques in sparring. but it most certainly requires the practitioner to learn how to put down what they assume to be true. simple to apply and its concepts are not difficult to understand. What brings complexity to the table is one’s own character. rather than being taught and sticking to fixed technical practices. How one chooses to practice Yong Chun is totally based upon their own lifestyle and understanding. fear. Given this. Using fixed technical practices is the first step. All you need is an imagination. then understanding their practicality and how to augment it to certain changes that occur in application. It is such that they may have specificity to their focus as their difference. personal views. Thus is the dichotomy of the relative world. thus offering different views of application. What may seem complicated to one may be extremely simple to another. There are myriad ways to combine and apply the hand techniques of Yong Chun. One can learn much from observing and trying to understand the why’s and how’s of others explanations and concepts. at least on of them. and we can come to understand that no one person’s understanding of Yong Chun is superior to another’s. If Yong Chun was a maze of complexities. We can see that Yong Chun is more about discovering the transitional combinations. open mind and the guidance to learn how to apply them. is where discovery begins. we can say here that it doesn’t take much to truly learn Yong Chun. and if it were completely a mass of simple applications. and re-learn the application of movement done daily all over again. it most likely wouldn’t have lasted too long. Yong Chun’s movements are amazingly easy to learn. This point is their commonality. emotional state. and last but not least different philosophical principles. there would be much more to understanding it.the individual’s capacity to understand and apply what they are learning. different positioning for the various hand techniques. Yet they all seem to have the fundamental concepts of Yong Chun’s positioning to a degree.

the words “同门“ literally mean “same door”. no matter how far into the lineage tree we want to travel. and then moved on to various regions for further development. A history filled with untraceable origins and legendary people. but were enough to thrust me into deeper contemplation of my character in terms of finding something which fits for my personal lifestyle. for we can easily find such information online. To ease the journey of climbing a mountain. practice methods and philosophical principles which may aid the fellow Yong Chun practitioner on their journey. I decided to work with what I had. Besides that. The reasons vary.Yong Chun faces a history many are familiar with. Each practitioner of Yong Chun in the past made their own changes to the system. and most likely we will not get a deep or profound explanation. and augment it to fit my development. and we all use them to enter and exit from a house or building. . “Yong Chun. Actually. The title of this book. Yong Chun must be one of the most confusing arts to understand in terms of its history. and make the “door” mean “source” due to the fact that all houses have doors. one must leave behind the unnecessary in order to not add extra burden along the path. Same Source”. yet we can translate it contextually. In that. adding information that is simply “stuffing” will take away from the main idea of this book which is to share some views. and contextually. Instead of going out and learning another style altogether. we are all one family. Because of this. many begin with Liang Zan (Leung Jan) as their origin. We need to understand that Chinese language can be translated literally. comes from the realization that all types of Yong Chun come from the same people. not all houses look the same. and felt some things I learned were just touching the surface. of the same source. Since all Yong Chun practitioners share this same origination of the art. for he has a traceable history. Its development basically began in the same place as well. I will not go into the various Yong Chun origins. but most of the times contextually. I have made some changes due to my own development in this system. or even one that we can research. but they all have doors.

It. changing the appearance of several hand techniques and sequences. and possible guidance. through my experiences and contemplations. Also.C. . and or a changing of the meanings of literal aspects. I have revised the first. It is only what I have come to understand. What is more important is that the foundational teachings of the practitioner were that of what Y. We will see this with the term “Shifu/Sifu”.C.. resulting in the same exact result. later on. Chan (Zen). music. When a cultural art passes to another region of the world. Qigong. it is mostly not based on my previous training in my Y. art. This is prevalent in martial arts. form. or at least what we have come to know as its foundational influence. Hence a watering down of.C. Buddhism and Daoism. as well as combining various transitions from another Y. but rather my own idea based on my understanding of the Chinese language. is not like English at all.. I hope those who read the following pages understand that what is presented here is my understanding of how things are. remember that there are so many different ways to practice the same exact thing. the Chinese language. By all means. and cultivation practices involving the mind. and so a translation would be impossible if it weren’t for behaviorisms and context. will be different from another. take what you find useful.C. as well as a manipulation of contextual aspects of the imported cultural art. and some variations. Hopefully what I write may be used as a reference. that region’s socio-cultural mannerisms do not change to fit the cultural art. when it comes to descriptions of the first form name translation. and Yong Chun is not excluded. Lastly. adjusting other hand techniques and positions. One person’s “style” of Y. and will indeed change as the years go by. was influenced by. Hopefully some things presented here can be of use to those who are cultivating Y.C. Many cultural aspects of Traditional Chinese Culture are not present in western culture at all. and disregard what doesn’t. etc. The cultural art’s characteristics change to fit the socio-culture of the region it moves into.C. philosophy. yet not to take place of an actual in-person teacher. second and third forms of Y.

and am still learning. Erik Oliva a.k. but nothing new.I did this because I felt what I had learned. breath and qi. as well as the internal cultivation as to the application of mind. 林愛偉 Lin Ai Wei .a. It is thus my own expression. was missing a more in depth aspect to the physical cultivation of the issuance of force.

A Martial Artist’s Greatest Misconception (Understanding the Title. “Shifu/Sifu”) An article written by Lin Ai Wei in 2012. revised in 2013 .

. The martial aspects are what catches people’s eyes at first glance. driver. window/dish washer. Shifu (Sifu) 师父: Wrongfully translated to mean “Master”. in Cantonese. “Shifu/Sifu”) In the last hundred years we have seen much from international trade and cooperation. and then we can further realize the misconception that has been rooted deep in western culture. a computer technician. empowering ego. One such idea is the title of “Shifu. Let’s investigate what it is. has two very distinct meanings. the first aspect that is seen as “special” is the fighting applications. Sifu” 师傅、 师傅、师父. This root-thought further breeds thoughts of superiority. Refers to one who teaches what they are skilled at. dog walker. or Sifu. or many. doctor of medicine. 1). and thus manifests a culture of misconceived notions which points back to egotistical lifestyles and behaviors. chef. and what is the reason for its use? The title “Shifu”.A Martial Artist’s Greatest Misconception (Understanding the Title. separation. and accepts an apprentice. and becomes rooted in their minds as the most important aspect. in the Chinese National Language. What does this title mean. One such culture is that of martial arts. empowering ideas of various social levels. etc. When martial arts are introduced to a society. 2). For example. This “bridging of cultures” has brought much traditional culture to the fore-front of our “modern-era”. Shifu (Sifu) 师傅: Refers to one who is skillful at what they do.

a lifetime a father. In regards to the second translation of Shifu. In this case. and just for respect. Calling one a Shifu at . greed. there is a saying in Chinese culture. we are stating that they are our teachers of the BuddhaTeachings for this lifetime. not just in regards to martial arts. the monk would be seen as doing something that is very hard to conceive of to non monks. it is used to insinuate that the person is proficient in their practice. anger and ignorance. most people in society bestow the title out of respect. we see that it is a respectful title offered by people as a way of having proper manners. Obviously. and the modern movie idea of it is taken as fundamentally true. Traditionally. we would be better off using the term 主人. a teacher and father. Unfortunately. being nice to the person. Yet. the title of Shifu has nothing to do with the word master. Using the term Shifu to mean one who is in mastery of their skills would insinuate that the person called Shifu would be undefeated in a fight. anyone who teaches a martial art. someone who takes you in and takes care of you. When looking at the term Shifu being used to refer to Buddhist monks. “一日为师, 一日为师,终 生为父”: One day a teacher. not many can do that at all. In comparison to martial artists. if you are an orphan. When calling a Buddhist monk. and in a state of great wisdom to assist those he has fate with in studying the Buddha’s teachings. A whole cultural context behind the use of this title is disregarded. If we were to say master in terms of how it is used today by martial artists. That is. Shifu. a majority assume that this title means one is indestructible. having put down sexual desires. or at least almost undefeatable. ( Zhu Ren) which would best be described as an overseer of one’s life.Both terms in Chinese carry the same intonation. The monk would be in a high skill of control over their mind. is called a “Shifu” out of respect. Referring to the first description of Shifu. there is no such thing. meaning one skilled at what they do. we must understand the culture behind its use. Whether or not their teacher gave them the title or not. for example. In Yong Chun in the west. but to anything one teaches. I bought the groceries. An example of its use would be: Master.

That being the case. As it is. respectful mannerism. Yet. none of these views lead to wholesome lifestyles…unless it is true that the martial art teacher has become spiritually enlightened. and plagues the “modern” culture of the western martial arts world with infighting amongst schools. with no room for error. ego. Some even have taken to the idea that because their teacher is very skilled at fighting. The term Shifu does not carry any character traits behind it. many see martial art teachers as one sees movie stars. and teaching. his own. This is a Chinese cultural behavior. a word in the Chinese language. and if so. Last but not least. and not exclusive to just martial art culture. and even in some cases a god. nor does it hold any standard of attainment. The misuse of this term has resulted in such a deeply rooted misconception. If he did. In taking on the title.what they do acknowledges that person’s hard work and shows appreciation for them in giving us their service. many have held their martial arts teachers in a high regard. and any persona attached to the title is simply just the mannerisms of those who have been called such a thing. When being in the expression of the above first example of Shifu. It only states that you have more on to do . It is simply a term in the Chinese language. the teacher most likely wouldn’t be teaching how to fight unless the student displayed mannerisms of humility and selflessness. Never has there been a martial artist who refers to another martial artist as Shifu (师父). but from principles and proper education in the way towards enlightenment. one martial artist calling another one Shifu (师傅). it most definitely wouldn’t be from learning how to beat someone up. superiority and separation. The only difference between the two is the manner of responsibility one undertakes. realize that it is just a title. then he is referring to the other as a father and teacher. is a very common. sometimes taking all they say as the golden rule. Taking a specific responsibility doesn’t make you any better than the next person. The same goes for the above second example of the term. that the teacher is some how spiritually enlightened. and there are billions of people with billions of different character traits to them. Due to the misuse of the term Shifu. the mannerisms of such a person vary.

wellmannered. Another point. all for the good of the people. or chose to tend after the teacher. conduct. most of which neglect actually having the quality of virtue and merit. and thus leads their students to focus solely on the aggressive mannerisms of martial practice. Their responsibility is to be sure their apprentices (s) are safe. We have a saying in Chinese for this manner of lifestyle. It is called to “走火入魔”: “To walk along the fiery path and enter demonic states”. Basically it means to . the persona of a person taking on apprentices is one of a serious. there are only remnants of certain behaviorisms within the martial arts.than most people. well educated. and the apprentice thus becomes a copy of the teacher. mixed with their own lifestyle and behavior. The relationship between student and teacher had Confucian ethics of Filial Piety as its foundation. Historically. Why would this be the case? Simply because that Shifu has taken in those disciples to live in his home. Usually. offer them work. a room to live in and guidance in their studies. and life 100 years ago in China isn’t what the movies depict. yet nowadays. it doesn’t mean that whatever a Shifu says is 100% correct. Usually when a Shifu took one into their home. which determines one’s personal character and level of given respect and regard. and cultured with positive principles. Yet. virtue and stands for the morality they believe in. educated according to the methods taught. the student was either an orphan. and must not be taken lightly. give them money. This kind of example is a very high standard within traditional Chinese martial arts culture as well as traditional culture generally. it is just a movie. given this would be the case. The quality of all tasks performed and all methods taught depends on the understanding of the person teaching. full of humility and good principle. the teacher’s personal character and views influence the apprentice(s). This kind of education has not been taken serious by a vast majority of western martial artists. I see this as a good reason to listen to one’s teacher. Usually it is seen in movies how a Shifu has many disciples who serve and abide by all the Shifu’s demands. food. This is an important issue. and can develop the skill to apply what they are taught.

the term Shifu is just a word in the Chinese language. This way eventually leads to violence. and develop yourself with humaneness. Choose your teachers wisely. It doesn’t matter how long you have practiced. morality. Martial Arts culture has within it an education of conduct. One must investigate the culture of what they are studying and observe the potential teacher’s character. health problems and conflicts. what does matter is how good of a person you truly are. To those who are students. Do not let the idea of a title cloud your mind. for such a person will be a big influence in your life and eventually shape how you behave and see the world. humaneness. Learning how to fight is only a small aspect of martial arts culture. do not think you are someone better than most. Because it doesn’t matter how well you fight. If one carries either of the “Shifu” terms. academics and service. . and still must do human things. In conclusion. but to be educated so as to lead an example for students in principle and righteousness towards being a humane person. virtue and conduct first. and it doesn’t matter how much other martial artists like you. it would be wise to observe the character of the person you wish to study under. Teaching requires one to not just be skilled at what they do. and it would be wrong to think that others should respect you just because you carry that title.focus only on the aggressive and controlling aspects and thus causing the mind to mature to an overpowering. egotistical one. You are still a human. virtue. What is more important is the personal character of the one using the title.

Why The Plum Flower? Flower? .

That is because in Chinese martial arts. For example. That doesn’t mean wearing Chinese style clothing and round-top cloth shoes and acting a part like in a movie. its very important to understand the culture behind it. Yet. Though many reference the plum flower in their Yong Chun. Most of the time. . is the use of such a gesture. or is it better to actually be educated about what one is doing? When I didn’t know. it didn’t. I researched to find out if anything I was told had merit to it. many in the martial arts simple place their fists and palm together as a way of greeting and saying thanks to another practitioner. Hong Quan has a form called Plum Flower Fist. In my experience. along with its cultural significance understood? Is it enough just to have “some” idea. in most of its traditions at least. Yong Chun also pays its tribute to the plum flower. knowing just the idea about something isn’t enough to gain the actual merit and virtue of truly finding out by humble inquiry. “Mei Hua Quan”. few know the cultural significance of such a flower. and usually many fail to even research. and asked my teachers and received a very basic answer.“Adversity is the catalyst of change” ---Lin Ai Wei The plum flower has been an icon in Chinese Martial Arts culture for a very long time.

Eventually one will attain a proficiency good enough to protect themselves. Well. I have heard a story stating that the Northern Shaolin Temple had five posts positioned in the shape of a plum flower which was used to practice standing and walking methods in the martial arts. If one were to take the time to research this time period. preferably those older than one’s teacher. and only to those who are actually Chinese and are well versed in Chinese cultural history. explain what you are doing.It means actually inquiring to older generations. in a confident but humble manner. then why would Shaolin utilize posts in the shape of a plum flower? Culturally. the bad out weighs the good to most. though there were some good times. that’s a big round about figure. taking a beating from the harsh cold and freezing rain. so we will have to look at the conditions of government. Martial arts practice is about “eating the bitter”. Just like the plum flower which blossoms in the winter. it stands in the face of adverse weather conditions and blossoms in the freezing cold. The time period from 1644-1911 was full of mostly internal rebellions against the Qing Dynasty (1644-1911) and foreign invasions. between 1644-1911. the plum flower is revered for its opposing the forces of winter. literature. Well. we too can endure the pain and fatigue from martial arts practice. one develops proficiency in what they do and can handle most adverse situations. then what’s the point? People do not have true respect for this kind of person. if this is true. We can look at the time that Yong Chun was said to be developed. This says a lot about how to gain skill and perseverance. snow and wind. and can not. and one will be seen as a laughing stock. why the plum flower in Yong Chun? Well. Basically. one would find an enormous amount of stories of pain and suffering. . This is important because if you are studying a Chinese martial art. As a result. society and lifestyle in order to understand the use of the plum flower in some Yong Chun traditions. behavior and lifestyle. So.

Therefore. When I mentioned it to others older than those I learned from. the plum flower represents the difficulty in enduring hardships and the perfection in the end result of successful efforts. Leung Jan. tough and they needed to break free from what they felt was oppressive. both in age and practice. For within the cold brittle weather of winter. it is safe to say that they could have utilized the plum flower as a symbol of their fight against the oppressive forces. it is best to educate oneself about the history.With this in mind. those who practiced Yong Chun. Perhaps it was a name given by my old teacher and or his . Also. there is a turning method I was taught. Maybe some would like to say that the plum flower represents the 5 elders of Shao Lin who created Yong Chun. Their winter would be the Qing Dynasty. Culturally. they never heard of it. It is said that the plum flower is revered for its endurance of the cold. yet that doesn’t change the cultural significance of the plum flower. felt that the times they were in were hard. Yong Chun has a historical tradition of being used by those who were fighting against oppressive forces. Its name was “Plum Blossom Turn”. many militias were born to fight against the government. Perhaps. we can understand why some Yong Chun uses a plum flower as its symbol. its strength in dealing with freezing weather and its beauty. In the Yong Chun I practice. culture and behaviorisms of what they are learning. the plum flower blossoms into something very beautiful and perfect. Unfortunately that didn’t happen. the story of Yong Chun Quan has no written historical record of its founding. One can basically say any story they feel they like. only oral tradition. Most traditions simply base their founder as Liang Zan. one may be at a loss for words when certain things are brought to light. but throughout the time they utilized Yong Chun for their efforts. at least those who were rebels fighting for their cause. yet when met with someone who is educated in the field. many rebellions took place. It only had two turns and had no reference to a plum flower whatsoever. Due to the Chinese society’s hatred for the Qing Dynasty. In the past. and their spring time would be the return of the Ming Dynasty.

learning the cultural significance of the plum flower helped to clear up the emptiness in what I learned. perhaps it was something specific to the tradition of Yong Chun I learned. Form of Refined Concentration “Xiao Nian Tou” Tou” . Whatever the case may be.teacher. thus leading me to remove the name from the turning method and affix something more fitting to its practice.

in order to place more care on the joints. along with . and soon was experiencing numbness in my fingers and forearm. stretching the little finger and causing the hand to be able to stretch well. slightly. I noticed after years of doing this that my wrists began to ache.“Xiao Nian Tou” Form of Refining Concentration I have augmented the original first form I learned. in the past I was taught a full circular hand which meant to run the palm totally around. For example.

I guess my old teacher didn’t know. Internal strength must be developed in order to have completed their training. you will begin to understand the use of several different types of energies: • Intention . The slightly augmented original form I learned is a basic foundational practice. which allows for a more fluid and tighter center protection. I have put together a few methods of practicing the first form in order to develop awareness of the various energies one cultivates when practicing a martial art. So this slightly augmented form which we will see below will be called “Old Form”. in and of itself. as well as offer a different perception of angles and gates. I thus changed the circular hand to something more wrist friendly. Some names in this form have been changed as well. and a prerequisite to the “revised” first form I have formulated. If one only has muscular strength applied to their discipline. The cultivation of the form in the beginning. emotions and personal views. Therefore. When I was taught Yong Chun. is the foundational practice and much effort should be used in order to remember and become familiar. These methods of practice are put into stages. not just with the sequence and techniques. the first form practice is necessary in order to develop the capacity to apply the concepts of application of all of the forms at a deeper level. I decided to adjust the names according to their function. Who would? Originally. which practicing the first form simply to control the mind. In the first form. each with 3 levels. even upon asking. relax the body from unnecessary tension as well as remember the techniques and their sequences is the first stage with no following levels.lack of strength and constant pain. names in this form may be different from other Yong Chun styles. so it’s understood some names would be lost and remembering them would be nearly impossible. Since I speak Chinese. but with one’s own mind. I was not told all the names of the techniques within the form. Therefore. yet they do the same thing. it is a Chinese art. they are only one half complete in their personal training.

They rely on the alignment of nine aspects of the body which can issue force: • • • • • • • • • Ankles Knees Hips Lumbar spine Thoracic spine Cervical spine Shoulders Elbows Wrists These 19 energies and 9 joints are cultivated in “Xiao Nian Tou”. as well as in hand to hand application. in the 2nd and 3rd stages of its practice. These energies are manifest within performing the movements of the form. and are combined in movement in the “Xun Qiao and Biao Zhi” forms. .• • • • • • • • • • • • • • • • • • Will Pressing Pushing Spiraling Sinking Rooting Pulling Bending Crashing Drilling Snapping Embracing Wrapping Sticking Grasping Controlling Cutting Expanding It isn’t till the 2nd and 3rd forms that these energies become apparent while in form practice.

such as the Upward Cutting Tuo Shou. I have thus revised it and made the revisions applicable as a 2nd level “Xun Qiao” practice. The second level Xun Qiao emphasizes continuous movement in transition from each section of the form previously taught. The first level Xun Qiao also emphasizes the basic foundation of movement for specific angles. The “Old Form” is a basic representation of the movements and their fundamental positioning of each hand technique. Angular Rotating Chen Shou. Tan Hu Shou combination.A Brief Commentary The Xun Qiao form will not be observed this time in full detail. The transitions within Xun Qiao. These methods which are . are very important. The “Old Form Xun Qiao” is a name I gave to the original form I learned. for there is so much information to display regarding transitions and positioning. It is indeed needed to move onto the 2nd level Xun Qiao form practice.Xun Qiao – Seeking the Bridge “Old Form”. stance movement and kicking posture. and Pulling and Stabilizing (done with simultaneous hand pulling and rear-foot extension). The revisions make the form more of an in depth practice providing more focus on internal cultivation and continuous movement than just a stop and go redundancy. Thus. It is important to learn the movements in a stop and go manner in the beginning so as to understand the fluidity of the techniques as applied in the revised 2nd form. Xun Qiao also lays out the positioning of a few hand techniques that weren’t emphasized in Xiao Nian Tou. Downward Thrusting Chen Shou. rather than having the revisions be the foundation. lower Bang Shou to upper-cut transition. kicking and turning methods found in Xun Qiao have been practiced prior to learning the 2nd form. The stepping. Yet we can take a brief look at what it entails and get an idea of the revisions I made. generally. Moving Bang Tan Shou. for they display a “live” expression of Yong Chun. we will save the Xun Qiao writings for another book.

no matter what level of the form you are on. Xiao Nian Tou. San Jiao Zhuan Fa. “Form of Refined Concentration” “Xiao Nian Tou” 小念头 This form should be done intending confidence in your character and skill. Kou Bu and Bai Bu. 45 degree side kick. Forward stance. Leg extension. The name of the first form is “小念头“. It is usually translated as “Little Idea Form”. Front heel kick. or how long you have been practicing the form (s). yet such a translation in English doesn’t offer a deeper sense of understanding why Yong Chun has such .not found in the Xiao Nian Tou sequence are. Zou Ma.

The word “Nian”: 念. and thus our application of our . only as reason. When adding “Xiao” to “Nian Tou” we see that applying concentration to a single thought is what is meant. without interruption. refers to the term “Hua Tou”. and strengthened their concentration to be able to hold focus on one specific thing. The word “Xiao”: 小 refers to something small. “Tou”. Not only that. We can also apply the use of the word “Xiao” to be that the application of the mind to what you are doing requires you to focus only on what you are doing at the time. through my observation. or little. Refining one’s mind means to have enough concentration power (ability) in order to not have your focus moved to something else. or idea. thus minimizing your false thinking (flippant thoughts. and the beginning of the idea.a name for a form. their thoughts are lessened. We can thus translate “Xiao Nian Tou” to “Form of Refining Concentration”. The term “Xiao Nian Tou”. daydreams) in order to not be disturbed in your practice. but also to strengthen our mind. but we are reminded that our Yong Chun comes from a background of Chan cultivation. This term is used in Chan Buddhism to refer to a stanza. which thus cultivates Qi. The last part of the name of the form. The ability to gain strength in concentration comes after a long time of practice. and remaining thoughts become so miniscule that they appear small. or to apply concentration to the act of investigating a phrase. and realize that we are to refine our movements and concentration not only to fit into our body’s range of motion. or phrase. is referring to the Chan Buddhist practice of holding to one thought. or “word head”. which is not to be taken as fact. So we can look deeply into the meaning of the first form of Yong Chun. basically to not be distracted. This occurs after practicing the methods for a long while. the Chan cultivator focuses on. due to an observation based on Chan Buddhist practice. In order to do so. thus we can see that if one has no false thinking. one must have refined their mind. when put together with “Tou”:头 means thought.

we will never know unless we go back and ask those who created Yong Chun. and a healthier body. causing the knees to be over the foot. as well as finding I n research that Yong Chun came out of the Shao Lin Buddhist monastery. Remember. permission will be granted to use the following descriptions of the first form “Xiao Nian Tou”. stronger mind. This time is no different. tail bone pulls down slightly. toes turn out. Left hand performs a Gang Shou (Downward block/cutting block) along with the right hand. meeting the elbow crease. and give an explanation as to how the following information will be used. by one of my older Yong Chun brothers in his book on Yong Chun. They have been previously used. I am only sharing some thoughts on this matter. yet if the following descriptions interest the reader. I had always made my developments available to those I associated with. bend your knees. If agreed upon. This is to be done simultaneously. this is in my opinion from my years of being unsatisfied with an explanation that seemed empty. as well as reference to where you found the information. feet together and hands at your sides. Thigh bone and knee rotate slightly (left to the left. with my permission. form a fist and lift your hands to the sidelines of your chest inline with your pectorals with the front of your fists facing forward. and they wish to use the following as a reference for students and or in any form of literary pursuits. right to the right). palm up. please ask. and have been revised throughout the years. shoulders over hips. Right or wrong. The following descriptions were written by me back in 2004.concentration will allow us to develop a clearer. then heels turn out with toes slightly pointing inwards. nor pushing out. Beginning Posture From upright position. neither pressing in. .

I prefer the first one which refers to the compression of Yang Qi into the body. remains about three to four inches from the chest. middle of chest. before extension. Then place the left hand back down to Gang Shou position over the right hand/wrist. Within executing extended punch. especially when posture dictates such a tail bone press. shoulders over the hips. performed in the first form. They are positioned where the tail bone feels pressed forward to a point in between all the way forward and all the way back. Sternum. The second meaning. and spread equally to the balls of the feet and the heels. in the above parenthesis. spine upright. They should be placed over the feet. . Extend arm forward. pushing lightly into the feet. Your knees shouldn't squeeze inward. This has two meanings. and elbow in the center of the pecs with forearm slightly angled in front of the chest/sternum.Simultaneously pull the left hand to chamber position while the right hand cuts downward to a Gang Shou. Er Zi Qian Yang Ma 二字箝阳马 All beginning students learn 二字箝阳马( 二字箝阳马(箝羊马) 箝羊马): Er Zi Qian Yang Ma. The lower back should be almost straight. let the wrist settle forward with the bottom three knuckles pressing slightly forward and up. Simultaneously pull both hands to chamber with fists facing forward (do not turn fist to have the palms upwards. or punch. slightly pulled down. the elbow guides the fist forward. The fist. means "clamping the sheep". but only on certain instances in issuance of force. which is a manner of Qi Gong. remember to let the elbow guide the fist forward into one’s center. wrist relaxed. between the nipples. Stop extension just before the elbow locks. Weight should be centered in the middle of the foot. Da Shou Punch For any Dao Shou. which I’m not too sure where it came to be used. The pelvis/tail bone does not press forward all the way.

When opening hands to perform Tan shou. and or fist and a half. the Tan sau automatically is placed in an angle to the center line. open finger pointing them forward. Quan Shou Circular Hand From above position. bring your fist back to the chambering position. . cut. Then. From the tip of the fingers. Tan Shou Dispersing Hand The Tan shou has an intention to pierce. This Tan sau alignment is proper. making a Zhi Shou like movement: see Zhi Shou transition). Since the fingers were pointed in a 45 degree angle into the center. redirect and intimidate. distance from the chest. The elbow guides the hand forward.Remember to not extend the shoulder. and stops its motion at a fist. and then rotate the hand stopping when the fingers are pointing downwards. From the Tan shou hand. fingers are open from the knuckles and are slightly pointed in the center line direction at a 45 degree angle. flex the wrist causing the fingers to point towards your chest. Deviate the wrist causing the hand to be inline with the wrist and arm. do not turn the fist. After. turn palm to face upwards. Zhi Shou Breaking /Forward Cutting Hand The Zhi Shou is performed off of the Tan shou in the first part of the form. one can measure a straight line to the top of the nose. The shoulder remains relaxed and in its fixed position. not stiff. ending with the inner side of the elbow at the side of the solar plexus and half of the forearm and hand in the center line. make sure to keep wrist in center.

for a Pai shou. is performed with an intention forward focusing on the place between one inch of the back of the hand to the wrist. This is done two more times on both hands individually. forearm and ridge hand down. finger tips at shoulder level. the wrist. following form sequence. and returns to the center. as with all techniques. and or pushing. Fu Shou Controlling Hand The Fu shou. Hu Shou Protecting Hand In following the sequence of the form. Its motion ends fist distance from the center. following Hu shou. or fist and a half. Zhi shou is performed following Fu shou. . Hu Shou will be next. The lower portion of the palm to the wrist. distance form the chest.Perform half of a circular hand (quan shou)and snap wrist downward without dropping. The motion is done smoothly to the side. and wrist remains slightly above the tip of the sternum. inline with the sternum. yet there is intention placed forward during the Zhi shou motion. The elbow guides Fu Shou forward and stops a fist. passed the solar plexus. There is no tension through out the Zhi shou. The Hu Shou returning to center constantly has a forward intention until it is placed in the center. without dropping or raising the hand. Pai Shou Parrying Hand/Slapping Hand On the last Hu shou. the wrist slightly loosens and elbow guides the palm to the side of the under arm. remains in the center of the chest.

following side Pai shou and Hu shou transition. Hou Qin Zhang (Pressing Behind). your hand will be finished turning. fist distance away from chest. the wrist loosens slightly. Elbows are now in front center. The extension of the arm does not exceed the shoulder and does not lock at the elbow. wrist positioned at the navel. and fingers are slightly pointing into the center. After palm strike. After palms press downward from the sacrum in place of the buttocks. From the first part. or forward pressing hand. Upon extension. fingers slightly angle down and forward. palms are pressing down. Elbows remain pointing backwards while wrists move to navel level. elbows do not lock. . By the time you reach your extension. behind the body. and gradually. and return to Qian Qin Zhang. wrists release their press. San Qin Zhang The 3 Pressing Palms. they do not float out to the sides.For the forward palm strike. Do not drop hand so the palm is parallel to the floor. fingers pointing inward in a triangle position. assume circular hand and return fist to chamber following center line. and rise to the hip level. To transition to Qian Qin Zhang. there is a forward palm strike and or Pai shou. Both wrists release while moving around to the sacral area. begins with a cut and simultaneous snap downward to the side of the pelvis. transition to Hou Qin Zhang. Turning the hand to execute the first section of this movement is done smoothly. forward pressing palms. and arms extend forward wrists to navel level. Qian Qin Zhang (Forward Pressing). back palm. “San Qin Zhang”: Shuang Ce Qin Zhang (2 sided pressing palms). The transition from the first part to the backwards palm is very basic. behind the sacrum. the fingers are pointed inward to form a triangle. Elbows are pressed back. This is done on both sides individually. Remember.

Wrists lead for throat cutting hands. Fingertips and elbows are in line with each other. Elbows lead transition for Hacking elbow. hands cut inward from backwards angled fingers.. with the right hand over the left.Shuang Qiao Shou Transition to Shuang Qiao Shou (Double Bridge Hands). Shuang Tuo Shou This technique is done by causing the wrists to deviate with ridge of thumbs. from the first knuckle of the thumg to the wrist. Wrists in Zhi Shou position. elbows lift to shoulder level. There is a slight expression of forward energy when performing this technique focused at the wrists to the forearm. wrists release gradually with fingers pointing to a side angle. . This is done in a cutting motion. ending with left arm over right arm. As this is done. which lead to right arm over left to form Shuang Qiao Shou again. creating a triangle at the solar plexus level. Once both hands reach the center. Shuang Chen Shou Performing Shuang Chen Shou. wrists gradually release. Returning hands to front center. performing a throat cutting technique. elbows and wrists slightly bend to clear the center for movement. as forearms lift. and forearms and elbows fall into the center with fingers. the right and left hands cross. fingers pointing in forward center. Bai Shou and gradually straighten. turning away from the center from a Chen Shou. making the finger tips point backwards. Fingers pointing towards the “center line”.

then from Hushou. wrists lift to shoulder level. Shuang Xia Qin Zhang Shuang Xia Qin Zhang (Double Palms in Downward Press) follows after biao zhi. . begins with fingers pointing downward. elbows will be an inch away from the chest. quan shou. stopping at palms parallel to the ground. Shuang Qin Shou Upon execution of Shuang quan shou. Finger tips will be at eye-brow level. wrists release gradually. or lifting hands. The path is a forward upward angle. Shuang Ti Shou Shuang Ti Shou. Wrists will be in line with the solar plexus. as the arm extends on an upward angle towards eye level. positioned in front of the sternum. wrists press forward by extending the hand. Shuang Biao Zhi This technique is done by releasing the wrists from Shuang qin shou to be inline with the arm. with a slight angle applied to the hand and forearm. elbows fist distance from the chest. turn wrists to allow the fingers to point inwards making a Hu Shou position. settling downward at the navel level.Shuang Quan Shou Double Circular Hands Shuang quan shou: elbows and wrists stay in place while performing a circular hand.

the hand turns with palm facing slightly forward. Angle is to the direction of the hand being used. Once finger tips reach the center of the sternum. reverse the movement to return to tan shou. The elbow presses forward. Fingers lead the wrist to snap. Do not make this movement circular. After executing geng shou. Following pai shou. Geng Shou Following Tan shou. leading the arm upward to chin level. and return to chamber. gradually snapping the palm forward to the side. perform quan shou (circular hand).continue to Circular Hand. The motion ends at the sideline of the axillary border. The snap is released upon returning to hu shou. with a snap of the palm. arms are straight but not locked at the elbows. fingers are pointing in an upward angle. release wrist slightly. as the wrist is slightly relaxed. and guide it down the center of the torso. fingers should be on a side angle upon snapping to the chin level. Geng shou is a cutting hand. fingers open pointing to the center. After completing chin strike. During execution of Ti shou. Pai Shou For Pai shou. Ke Da Ke Da is a chin strike. Lei Da . Ridge of hand slightly cuts to a downward angle.

with a “140 deg” angle at the arm. return hand to tan shou. The wrist is the only part which turns. and begins as soon as the wrist is in line with the nipples. and back to Tan shou very small. fingers are directed into the center line path going forward and turning. Open fingers pointing to the center. and perform quan shou. Upon extension of the arm to bang shou. or mounding palm is executed. Keep the arm bent as though it is in a tan shou position when performing circular hand. return to chamber. Geng Shou/Jian Shou . Zhong Zhang. thus guiding the forearm to turn slightly. Once your wrist reaches your lower rib level. Lei Da is a lower rib strike. All hand sequences are to be repeated on the right hand. a lying. After bong sau is executed. The wrist pulls up from tan shou to chin level and snaps up. return to tan shou and perform quan shou without extending the arm. lead the wrist down in the middle of performing quan shou. Fingers will be pointing slightly down with arm extended slightly upward. Zhong Zhang. All movements should not be overextended. After. not locked at the elbow. to Tan Shou. slightly thrust forward with a snap. Return to chamber. the elbow drops to center in Tan shou. Bang Shou Bang Shou follows in the form sequence. The elbow leads forward. The hand turns gradually. Once this is finished. and leading the palm towards the lower rib level.In a similar motion as geng shou. Keep the transition from beginning Bang shou to full Bang shou. Zhong Zhang Following the tan shou.

the right geng shou moves to hu shou position closing to a fist at the center of the chest. Right arm in geng shou. and as the left hand follows up. San Men Da. as the left hand turns palm up. the left hand punches to the sternum level. with fist. is alternate thrust punches/chain punches. it changes to a fist and is placed at the center of the chest. palm up. you should be in Qian yang ma. the wrist is in the center of the nipples. and as you take a step to the left with your right foot. San Men Da (Punching the 3 Gates) Following from left fist in center. palm up. facing forward. Closing Xiao Nian Tou After finishing San Men Da.From chamber. performing a cutting movement. The left fist punches to the chin level. Right hand returns to chamber upon execution of the last punch. This means. Simultaneously. to punch. Left hand is in geng shou. on the last punch. The left hand now cuts down the right forearm. and follows up the right forearm to the right inner crease of the elbow. right hand punches to the mid-chest level and finally. Simultaneously. Left arms extends down in geng shou. in the center of the chest. Perform one last hand cutting technique. and right arm in geng shou. as the left arm extends. both hands open with fingers pointing towards the center. the right hand cuts down the inner left arm. . right ridge hand meets the crease of the inner part of the left elbow. both hands open and turn so palms face and press down to end at your sides. right hand turns palm up and follows up the left forearm ending at the left inner elbow crease. Turn your left foot forward. The right hand is now in geng shou.

Gradual Tension When starting the form. Without the first stage form practice. stance. tendon and posture strengthening exercises. you may be unsure when to start and end your applied tension. • Gradual tension • Ending tension • Snapping tension Each level requires breath control. your concentration may be diverted. you are to apply a gradual tension within the movements leading to the end position of your technique. one may hurt themselves performing tension application during this stage. Gradual tension application means upon beginning any technique. Only after you are in Qian Yang Ma do you begin gradual tension exercises. begin the opening sequence normally. The reason is without familiarity of the first form sequence. . one may develop stronger arms.Xiao Nian Tou Manual Written by: Lin Ai Wei 2004 Revised: 2013 2nd Stage Form Practice 2nd stage focuses entirely on developing muscle. and concentration. Without familiarity of the first form hand transitions. technique and concentration. This stage has 3 levels of practice. and your breathing will become anxious. During the second stage.

For example: . from the beginning of the arm’s motion forward. your applied tension should be at full level. Once you reach the end position of the punch. At the chambering position. apply gradual tension while moving to the chamber position where your technique started. from the beginning motion of the form: As the punch extends forward. At the end position. After the Quan shou is completed. your tension should be at full strength. maintaining the tension for 10 seconds and then release the tension gradually before applying the return motion tension. apply a slight tension which becomes stronger and stronger upon the full extension of the arm. For example. As you arrive at the chamber position. you should be performing the Quan shou transition. your tension should become stronger and stronger until you are settled at the chambering position. Applied tension should be done to every hand transition in your form except on Quan Shou and Quan Shou transitions.Once you reach the end position of your technique. This allows for the previous applied tension to release from the tendons. 2nd Level : Ending Tension The second level of the 2nd stage form practice is called “Ending Tension” because your full tension is applied at the end of your technique posture. your tension should have become stronger and stronger. This example explains the manner of your applied tension while in transition of your technique. The Quan Shou should be done with no tension at all. and your hand returns to the punch posture. Before the return motion tension. your tension should be at full strength and maintain the tension for 3 seconds due to your hand remaining in the chambering position while the other arm will be performing its technique. and free up any residual tightness in the arm.

do not jerk the hand causing it to move outside of your control. This manner of snapping tension is applied to every technique in the form except on Bang Shou. once you arrived at the Tan Shou position. This manner of applied tension is to be followed throughout the 2nd level tension application for this stage of the first form. Make sure the force you apply does not cause your hand to come out of its fixed position. which will harm your shoulder muscle and tendons. Meaning. yet when you are about to arrive at the end position of the technique. and then release to apply Pai shou. Bang Shou Snapping Tension is applied. 3rd Level: Snapping Tension The 3rd level of the 2nd stage form practice is called “Snapping Tension” for when you have reached your ending posture for the technique. and outside of the technique’s postural limitations. The snapping tension is applied quickly. NOT at the turning of the arm. apply a snapping tension to the hands. apply full tension. Once you are in Zhi Shou position. Hold the full tension on each technique for 10 seconds. there is a quick snapping tension applied to the posture. the snapping is applied only at the end of completing the bong shou movement. there is no tension on the transition. the transition is performed with no tension at all. Upon Hu Shou apply full tension. For example: When transitioning from Hou Qin Shou to Qian Qin Shou. When transitioning with Quan Shou to Zhi Shou. and with force. when in application is applied 4 inches from where your forearm and opponent’s body (or arm or whatever your bong shou is contacting with) connects. apply full tension to the Tan Shou. The snapping tension of the Bang Shou. because it will cause you to apply the snap from the shoulder. In the form. . then release to perform the movement to Hu shou.When transitioning from Tan Shou to Zhi Shou.

depending on the direction of rotation our hips and torso turn to. we can not call it actual Muscle and Tendon Cultivation of Shaolin itself. but only a variation of the actual system. The 3 levels of the 3rd stage are called: • Single Partial Continuous . maintaining a smooth transition from the beginning to the ending of your techniques. Meaning if the energy is to be in the palm. These practices focus entirely on softening your arms.Make sure you follow the form explanation of where the energy is applied within the techniques. if it is at the forearm. Due to the form techniques differing from the actual Muscle and Tendon Cultivation system of Shaolin called “Yi Jin Jing”. apply it properly to those areas. stretching the tendons. The 2nd and 3rd stages of the form practice are a manner of Qigong practice called Muscle and Tendon Cultivation. we learn that our center-line is as wide as our chest and as small as our sternum. In the first form we focus on learning a fixed center-line position which enables our body to develop a muscle-memory like function of positioning. and elbow or back of hand. and learning how to perform the first form with two hands simultaneously. The 3rd stage form practice consists of 3 levels of practice. then apply the snapping tension at the palm. 3rd Stage Form Practice Third stage form practice is a revision of the first form itself. In the third stage revised form. wrist.

there is to be no tension applied at all. coordinating with your breathing speed. Upon transition to the next posture. while stopping at the end posture of each technique. This completes the first level of the 3rd stage first form practice. . Movements should be very slow.O. and the M. Inhalation and exhalation is done through the nose only. causing the abdomen to expand on inhalation and contract upon exhalation. This promotes the connection of the “Ren” and “Du” meridians in the body which run down the front of the body (“Ren”) and up the back of the body (“Du”). (Micro-cosmic orbit) meditation can continue. flowing down to the genitals. which should be slow as well. Breath is focused down to the ‘Dan Tian” which is located one inch and a half down from the navel. and anal muscles should be slightly tensed. Each inhalation follows the extension of your arm completing one technique. keeping your focus on the “Dan Tian”. and an inch and a half into the body. On the inhalation. Once you reach the end posture of the technique. inhalation begins again. While performing each posture.C. The tip of the tongue should be placed at the roof of the mouth. This is called the “Micro-cosmic orbit” meditation. and you cannot take in any more air.• Double Partial Continuous • Complete Continuous Single Partial Continuous Single partial continuous means performing the first form one hand at a time. the breath is focused down the front of the body. around and up through the tail bone leading up the spine. to the top of the head and down again to the front of the body leading to the “Dan Tian”. exhalation begins. Once your breath reaches the “Dan Tian”. slowing exhale.

Pay attention to the extension of the elbow. and transition of the hands upon performing each technique. This level also shortens the time the first form is completed. This level is to be done slow. It means using both hands to perform the movements of the first form simultaneously. performed exactly as in the first level of this stage.O. The non-stop application allows your internal energy to flow freely. and application of the M. which promotes better blood and “Qi” circulation throughout the joints. Complete Continuous Complete continuous is the 3rd and final level of this stage of the form practice. It means to perform all movements with both hands simultaneously without stopping at the end posture of each technique. During this level.C. . and stopping at the end posture of each technique. muscles and extremities of the limbs. you will need to be aware of the space between the hands when performing certain transitions such as Quan Shou so as not to hit your fingers together during the transition. This level allows you to develop a flow of continuous motion. except during the punching techniques of the first part of the form.Double Partial Continuous Double partial continuous is the 2nd level of this stage. Double partial continuous allows the elbows to move in their fixed position to the boundaries of the most lateral aspect of the rib cage. piecing together all techniques within “Xiao Nian Tou”. is to be in accordance to the breathing speed.

and allows an easier transition to other techniques used during application. These transitions are from the first portion from the Hu Shou and Pai Shou: Hu Shou/Pai Shou Transition: After the sequence of Tan Shou. Some transitions within the 3rd stage require a bit of commentary.It also allows the techniques to be freed from their fixed positions of their end postures. and at an angle forward. Pai Shou and Ke Da Transition: . On the return of the lead hand to the chambering position. Therefore. Intermingling of techniques means that any one technique can change into any other technique. and that they intermingle. both hands move simultaneously in their respective patterns. the Hu Shou begins its Pai Shou at a slight forward angle from the center and proceeds to Zheng Zhang. not just flow into the sequential positioning of how the techniques of the first form are laid out. the lead hand should be 2 inches in front of the Hu Shou. both hands would be occupying the center. meditation. which is forward in center). we can see that each movement from the 1st stage are interchangeable.C.O. Commentary In observing how the transitions of the 2nd and 3rd stages are done. This final level completes the first form 3 stages practice. The first part of this level is to become familiar with continuous movement and the second part is to apply the M. Hu Shou and Fu Shou is completed. perform Pai Shou and Zheng Zhang (Palm Strike. San Qin Zhang Transition: During San Qing Zhang (3 Palms Down).

please see 1st form explanation). follow the above explanation of Hu Shou/Pai Shou transition. Technique Combinations . but replace the Zheng Zhang with a Chin Strike (for Chin strike reference.During the Pai Shou and Ke Da (Chin Strike).

if a person only learned the first form. etc. some I have put together myself. but overall. Some of these practices I have learned. they would be proficient enough to hold their own. Over the years I have found Yong Chun to be a system of specific technical combinations. the ideas of application follow similar guidelines. and overall they have been revised through my own experiences in application. yet never learned the rest of the forms.And Practice Methods Technique Combinations and Practice Methods The following technique combinations and practice methods may vary from different Yong Chun families. That being said. basic shifting and forward stance practices along with a few technique combinations. .

we can see that understanding Yong Chun isn’t in the quantity of what you learn. In 2011 I began studying Hong Quan (Hung Keun). cat stance. cat stances and a few more that really grew on me. various low stance training methods to strengthen the legs. etc. legs stronger. and ultimately changed my bridging and rooting power. as long as they practiced what they learned. Once I started practicing. a basic fist form. From that time I incorporated in my own personal practice.If a person only learned basic shifting methods. and body more awake. Training Exercises In the year 2003 I began studying basic Shaolin martial arts practices. let the following information be a reference for your own practice and feel free to adjust them according to your understanding and way of practice. they would still be proficient. root and body. I felt as though my stances in Yong Chun became more stable. and again began practicing horse stances. high kicks. and decided to teach my students such stances as part of their practice regimen in Yong Chun. Soon after. In light of this observation. . By all means. horse stance. I saw the difference in Yong Chun. Basically low stances. if some of these methods seem useful to you. but the quality of effort put into what you learn. and a few technical combinations.

Regimen: 10-15 minutes • • • • 4 Point Horse Stance (Si Ping Ma 四平马) Bow Stance (Gong Bu 弓步) Unicorn Stance ( Qilin Bu 麒麟步) Cat Stance This sequence is to be repeated for 15 minutes. Hong Quan isn’t a stiff. and their Yong Chun applications feeling more of a substance. Ridge Hand. First stage pole work • First Stage "Xiao Nian Tou" . Slightly cup the palm. Basic Conditioning and Training: • 500 Punches • Forearm conditioning training 30 each arm • 500 punches with one leg. low stance fighting. switching feet every 50 punches. Contrary to popular belief.my students reported back to me stating they felt their legs getting stronger. Don’t take my word for it. “external” only martial art.Either the 3 set palm striking( Palm. and Back of Hand) or just the palm. Feel free to also do Tan Da and or Gang Da within your 500 • 200 palm . It doesn’t hurt to go and learn things we are unsure about and come to an educated perspective. do not hit a flat palm • 80 kicks each leg • Pole Work.Up to what you are familiar with for 15 minutes . Each posture held for at least 30 seconds to 1 minute. body feeling tighter.

and Bong sao: 30 shifts • 45deg. and Triple punching: 30 shifts • 45deg. and Geng da: 30 shifts • 45deg. and Tan da: 30 shifts • 45deg. please do the following using 45 degree angles and Triangle Stepping: . and Geng da: 30 shifts • 45deg.Partner Practice Choose a partner for the following exercises and change your partner every 5 minutes: Partnering Stationary Practice: • Crossed Over Punching (connecting the outside of the forearms) • Pai Shou/Da • La Shou/Da • Bong Sao exercise • Chong Shou exercise • Tanda pad Application (shifting only) • Gengda pad Application (shifting only) • Tanda and Gengda Application (shifting only) • Ban Chi Shou (full) Shifting Practices 45 degree Shifting: • 45 degree shifting: 100 shifts switching hands • 45deg. and triple punching: 30 shifts • 45deg. and Tan da: 30 shifts • 45deg. and kick: 30 Shifts Stepping Practice If you are up to stepping practices. and kick: 30 Shifts 7 Point Shifting: • 45deg.

keeping the hips/pelvis pointing forward. Bang sao exercise • Forward and Return stepping with Piercing Palm • Continuous stepping and kicking Technique Instructions Strength Training: • • • • • • 1000 punches Thrusting Tan Da. . at a 45 degree • One foot turns out. first stage expression Geng Da. Do not let the heel touch the bench Forward Stance and Switching Feet center-line. first stage. no changing Tan da and Geng da One leg standing and switching feet One leg over bench and switching every 50 punches equaling 500 punches. away from the center• Weight then shifts over the foot.Forward and Return Stepping: (adding the following) • Stepping forward and returning • Triple punches • Front Kick • Tan Da • Geng Da Moving Partner Practice: • Kicking Pad application (forward and return stepping) • 1 leg Rooting Exercise (forward and return stepping) • Stepping Pai shou/Da. angle.

• Then take the foot with no weight on it. . • Front foot position is in position with the front of the shoulder muscle (deltoid). or at least in line to the front part of the hip of that side. knee over the ball of the foot. knee pointing outside of the body's boundary. while the previous foot shifts forward. 3 Kinds of Pai Shao When I began learning Yong Chun. • leg comes down following the first step's manner. • heel kick forward. and back to forward stance. • Both knees bent. heel in the center line. Front foot's toes slightly pointing inward. Heel replaces heel. and bring it forward with both knees bent. 4 Count Kicking From any forward position. • Weight can be felt as distributed 80% on the back. 20% on the front. one of my elder brothers told me of 3 different Pai Shou (Pak Sao) energies. • leg pulls back. Though he used slightly different terminology. I later contemplated their qualities and changed the names to the following: Penetrating. 70% on the back. left or right foot forward: • knee lifts up into the center line and curves to its opposite direction with heel in the center line. Snapping and Yielding. 30% on the front leg. toes pointing opposite from the center line.) Switching Feet: • Front foot pulls back and replaces the other foot. (Some forward and return stepping transitions may require a 50%-50% stance.

firm and forward ensures penetrating energy. penetrating Pai Shou: • Elbows follow punching elbow positioning.Pai Shou can be applied as a stable and fluid slap of the opponent’s arm. also a slight redirection of the opponent’s attack as well as receiving and seizing of the opponent’s attack. There are a few variations of the straight. elbow or arm itself. • Extension of the arm. • Hu Shou becomes Pai Shou upon contact with the partner's wrist. • Upon contact with partner's arm there is a short touch and retraction from the forearm/wrist of the partner. • Palms are pointed downward at a slight 45deg. angle. Snapping Pai shou Snapping Pai Shou. follow the punching elbow positioning. moving between the index finger and thumb area of the front hand. only with palms open and a slight angle at the palm allowing the palm to face its opposite direction at a 45 degree angle. The only difference is the snapping aspect of this manner of Pai Shou: • Hands move in the same manner forward as with penetrating Pai Shou. Below I lay out details as to performing each type of Pai Shou: Penetrating Pai Shou Pai Shou follows the punching mannerism. . Hu Shou moves straight over the front hand. as with all Pai Shou. a direct and forward trapping of the forearm.

It doesn't allow the partner's punch to penetrate the middle gate. as well the legs must has enough strength to hold and direct oncoming force into your root. Hips/pelvis must be pressed slightly forward and should be adjusted upon force. • There is no forward force pressed into the partner's wrist/forearm. Yielding Pai Shou Yielding Pai Shou is a receiving hand.• The elbow returns to a fist distance from the chest. . Firstly. • The rear (Hu Shou) hand extends forward with wrists firm and fingers pointing forward. • There is a slight forward extension. but not a thrusting forward force in this Pai Shou. you must develop a strong extended bridge by practicing first the Chong Shou. Chong Shou • Both partners stand off with left wrists touching/engaged with each other. La Shou/La Da La Shou and La Da have multiple applications within the practice drill. • Elbow returns to fist distance after receiving force. the yielding Pai Shou can receive the force and stabilize it by simple elbow and hip positioning. • Pressure/forward force is applied forward as in the over punching drills. No matter how much force the partner thrusts at you. Thus one needs to maintain their “Bu Fa”. • Elbow extends fist and a half from the chest upon application. or it is a useless hand. or foot work.

• Connecting to the wrists. and slowly pulls and turns the punching partner's arm inward. or 3 inches passed the wrist to the forearm. • Then. Eventually one will not grab. • Upon contact. La Shou partner slides hand down forearm. • One partner punches from rear (Hu Shou) hand. and simultaneously grips the wrist. and finger gripping power as well as tendon integrity. La Shou Stage 1 • Partners face off touching wrists in Qian Yang Ma. La Shou Stage 2 • Beginning the same way as stage 1 • La Shou partner thrusts Hu Shou hand forward connecting at punching partner's wrist. • The other partner extends the Hu Shou hand straight forward and upward. Yet first start with penetrating (direct forward energy) in the beginning. the La Shou partner turns palm towards the partner’s wrist and simultaneously slides down to the base of the partner's wrist. performing Chong Shou. This way develops wrist. to the chin direction of the partner. Then work the student to snapping applications. the La Shou partner grips the wrist. but slightly make an angled hook-like positioning with the hand connecting the ridge side of the small finger to the opponent’s thumb area. .• There can be applied snapping and or penetrating energies to the exercise.

the returning hand. wrist at the navel level. Then forearm turns with palm facing upward. • Return to center by placing the La Shou "hand" back to forward position. Pai Da Pai Da is both a Pai Shou (slapping hand) and a punch at the same time. at slow speed in the beginning. not down. Tan Da Following Tan Shou principles. simultaneously thrusting opposite hand in a punch along side the extending Tan Shou. Punching hand from Hu Shou position goes forward. Geng Da From extended hand position. straight forward. the arms are placed in front in a stand off position. thrusts out 3 punches. Tan Shou returns to fixed elbow position one fist distance from the chest. • Beginning the same as Pai Shou drill • Punching partner. with forearm. lead hand turns at the forearm with wrist in line. thrust forward in a punching manner. it is not applied as pretty as the practice drill. • Upon a feeling of resisted force from the punching partner.• Upon gripping wrist. hand/forearm at a slight 45 degree angle. Yet. La Shou partner applies a slight jerking motion to the punching partner's arm while pulling in. previous Pai Shou hand. which should be now connecting to the punching partner's grabbed/locked wrist. and extends forward. • The punching hand returns to Hu Shou position. the La Shou partner thus releases the arm and returns to center. while the hand begins to cut downward. not up. . Elbow fist distance from the chest. • One Pai Shou for each punch • Upon the last Pai Shou.

and to offer a close quarter awareness of continuous protection of the middle/upper gates with one hand. after the Punch. In the revised version of Xiao Nian Tou. and tendons of the forearm. Ban Chi Shou (Dan Chi Sao): First stage Ban Chi Shou (dan chi sao) begins with one partner in Tan Shou position. but stronger in close quarters. This is to be done 10-30 times each hand. Its use can be used for distance fighting. I perform the 8 directional Cuts (wrist deviations). and the other in a Fu Shou position. 8 Directional Cuts This technique is fairly “new” in that I decided to add a few more angular wrist deviations to the already present 3 directional wrist deviations of the 3rd form. The reason is two fold: To loosen and relax the wrists. the partners return to Tan Shou and Fu Shou positioning. the Fu Shou partner changes into a Zhi Shou. The Fu Shou partner waits for the Tan Shou partner to extend their hand to a palm strike.Geng Shou returns to Hu Shou and punching hand returns to forward off hand position. Upon movement. 8 Directional Cuts: . Then.

at a slight angle forward. Fifth direciton: From SE position to NE position: The forearm lifts slightly with a very slight forward extension.) Fourth direction: From NW position to SE position Wrist performs a Zhi Shou movement. or towards the center line. to the right. . We can utilize the above picture and reference the directions as a map of our movement. (It’s the only position they can be at this position. and turns where palms face right at a 45 degree angle. while wrist deviates up and outwards from the center . Wrist deviates to that direction. slightly. Placement: Begin on the left side. Ending position is likened to an angular Tan Shou. ending with fingers pointing go the right. and extend the fingers to the left. Palm is upwards. from the extended punch of the first form First direction: Wrist deviates to the right side . thrusting wrist. Thrust the wrist to the upper left hand corner. Second direction: Wrist deviates to the left side -West Simply thrust the wrist to the left. and forward.In following the directional map above. fingers facing the right at a slight angle. and the fingers point to the left. and ends in the center line. allowing the arm to almost flex into a Tan Shou position.NW Turn the forearm slightly. Third direction: Forearm turns slightly. we can at least get a better idea as to the angles which we are utilizing. hooking the thumb in towards the palm.East Turn the palm facing down.

Wrist deviates downwards and ends up at solar plexus level. Turning and Moving the Stance . The wrist deviates upwards. causing the fingers to point downwards. and end up directly on the center line. all fingers are kept close to each other. 步法, 步法,转法, 转法,走马 Stepping. but leave enough room for comfort. Deviation leaves the wrist at collarbone level. as usual. Remember. The in depth explanation of this will be further discussed in the “Revised Xiao Nian Tou” form commentary to be written at another time. ending with forearm slightly in a flexed position. try not to open them up too much. just in the middle gate at the solar plexus level. Eight Position: From North to South: This motion is a simple Chen Shou movement. Seventh direction: From SW position to North position: Forearm and hand turn together. Resembling a Geng Shou. and palms facing right.Sixth direction: From NE position to SW position: This movement is a simple Zhi Shou (Jut Sao) movement in an angle to the downward left.

The techniques of the first form are prevalent throughout the remaining 2 forms of Yong Chun. “Xiao Nian Tou”, as with any first form within Chinese Martial Arts, is the foundation of all techniques that follow throughout the rest of the system. Therefore, all there is needed to do in your Yong Chun training is to practice using your imagination when applying the techniques you learned. An outline of how to apply some techniques is given here. These, as with all outlines, are a simple theory of application. Meaning, the following outlines are combinations of techniques that give you a foundation as to how to use different techniques simultaneously, and for different applications. Since you already learned “Xiao Nian Tou”, the following outline is based on a combination of those hand techniques, and are also within the “Xun Qiao” form. After the “Xun Qiao” form outline, there will be several different hand combinations due to different positioning of certain hand postures. For example; within the “Xun Qiao” form there is a lower gate bang shou which transitions through an upper cut like motion, connecting to the lower ribs, moving up to the chin level. This is not seen in the “Xiao Nian Tou”, but it is similar to the “Lei Zhang” transition leading from geng shou to tan shou.

Technique Combinations
• • • • • • • • Middle Gate Bang Da Tuo Da Biao Da Ti Da Fu Da Qin Da Pai Da Chong Shou (Piercing Hand and Punch)

These techniques can be performed within the shifting and stepping practices for coordination between hands and feet.

Shifting and Stepping Practices
Shifting and stepping practices develop the awareness of distancing and timing, as well as issuance of force. There is a time and placement for the issuance of one’s force when applying techniques. All shifting practices can be done in a forward step or return step. Shifting and stepping allows for the awareness of the following: • Weight distribution upon the foot and its influence on the rest of the body • Hip rotation and stabilization • Hip flexing • Body height changing • Shoulder and hip alignment • 3 Aspect of Spinal flexing and extension (utilization of the 3 aspects of the spine) • Joint alignment while moving • Foot positioning and timing on transition

三角转发: “San Jiao Zhuan Fa” 45 degree Shifting
The “San Jiao Zhuan Fa”, known as Triangular Turning, or 45 degree shifting, allows one to develop short power from a close distance by stopping full movement abruptly. Shifting is initiated from the feet, weight on the middle of the foot, distributed equally to the heel and ball of the foot. Depending on which side you wish to shift to, right or left, you will push off the opposite foot of the direction you wish to end up in. Begin as follows: • Qian yang ma, either hand forward in Wen Shou, with one hand in Hu Shou • If turning to the left; push off the right foot accordingly • Keep shoulders inline with hips, knees over the ball of the feet

• Thrust Wen Shou (seeking hand) slightly, performing a short snap on the extension • Upon transitioning to the right side, and upon initiating the transition, Wen Shou, simultaneously returns to Hu Shou position, and while previous Hu Shou extends forward into a Chong Shou • Chong Shou, upon extension, initiates a short forward snap  To return to Qian yang ma, Chong Shou, upon initiation of movement, gradually returns to Hu Shou position, and Hu Shou extends forward into Chong Shou with a short forward snap

七星转发 (Qi Xing Zhuan Fa): 7 Star Shifting
7 star shifting is named after the Pleadian Star system, and this star system has its influence on many Chinese Martial Arts forms as well as Chinese Culture; “Qi Xing Bu, in Bagua Zhang, Qi Xing Jian, a sword form”, etc. 7 star shifting has 2 extended angles; angles 2 and 5. These angles offer a wider range on applying forward snapping force upon extension. Begin as follows:

• Qian yang ma, either hand forward in Wen Shou, with one hand in Hu Shou • If turning to the left; push off the right foot accordingly • Keep shoulders inline with hips, knees over the ball of the feet • Thrust Wen Shou hand slightly, performing a short snap on the extension. • Stop your turn slightly smaller than 45 degree angle position. Approx. 15-20 degree angular shift. – 1st angle • Upon transitioning to the right side, and upon initiating the transition, Wen Shou, simultaneously returns to Hu Shou position, while previous Hu Shou extends forward into a Chong Shou • Chong Shou, upon extension, initiates a short forward snap • Stop your turn a bit wider than 45degree, at approx. 70-75degree. – 2nd turn. • Follow the same transition instructions for the hands on all turning angles

You would have already learned to stand in a forward stance at this point. step out and move to the left. The 5th turning angle is approximately 70-75 degree. while repositioning the left leg into forward stance position • Once in proper forward stance position. 4th and 6th turning angles are 45 degree turns. to return to Qian yang ma: Chong Shou. “Si Xing Bu fa” 4 star Stepping Si Xing Bu Fa. and reposition the back leg under the tail bone • Once in position. create distance. • From 6th turning angle. step to the right and move to the right. Begin as follows: • From forward stance position. return step leading with back leg stepping back about a foot and a half’s distance. 4 star stepping. and Hu Shou extends forward into Chong Shou with a short forward snap 四星步伐.• 3rd. gradually returns to Hu Shou position. repositioning the back leg underneath your tail bone • Once in position. and reposition front left leg into proper forward stance position • Once in proper forward position. same as second. close distance and gain a close quarter advantage while forward stepping to the opponent. is also known as “Box Stepping” for the stepping movements seem as though it forms a square shape. take a forward step leading with the front leg (left leg). This stepping method allows for the practitioner to evade. upon initiation of movement. Starting with left foot forward. switch feet and perform the stepping method with the right leg in forward position 三星走马: San Xing Zou Ma 3 Star Stepping . with back leg (right leg).

slight turn to the left. It requires prior familiarity in San Jiao Zhuan Fa.San Xing Zou Ma or 3 star stepping. 45 degree turning method. while advancing forward • Once left foot presses the ground. the right leg advances from its fixed position making a “cutting-like” motion forward. One way is with a circular step upon forward stepping. push off the left foot and advance in the right side direction. while advancing forward • Once left foot presses the ground. making the toes point towards the right side direction • Upon advancing into the right side direction. directly into the desired angle. slight turn to the left. and second is a rooted step and thrust with the advancing leg upon forward stepping. starting on left side. turn the hips towards the right side leaving the back leg (right leg) in its position • While hips are turning. means the rear leg thrusts from its original position. shift weight completely onto that foot • Once weight is completely settled. pull in the right leg towards the left foot. ending in a forward stance while in a “45 degree” angle 2nd method. • Qian yang ma. and circularly place the right forward • As you are doing this motion. Begin as follows: 1st method. is a stepping technique which allows for evasion and angular advantage over the opponent. turn the hips towards the right side • While turning the hips. shift weight completely onto that foot • Once weight is completely settled. starting on left side. begin turning the right leg. There are two ways to performing this stepping method. ending in a “45 degree” angle on the right side . • Qian yang ma.

扣步, 扣步,掰步: 掰步:Kou Bu / Bai Bu The Kou Bu and Bai Bu stepping methods were originally taught in the Bagua Zhang system. Begin as follows: • Starting from the right angular forward position. San Jiao Zhuan Fa.Both stepping methods are to be performed on both sides continuously. swiftly thrust the left leg into a forward stance position and adjust the foot properly This method is for a “cut-like” motion of the lead leg. If choosing to apply the circular stepping method to the lead leg. Returning the angular stepping. yet its positioning and applications are slightly familiar to the a turning method found in the Yong Chun style I learned. return step leading with the left foot • Upon pressing the ground firmly with the left foot. . I changed the name to its function. the lead leg should circularly come towards the back foot and reposition itself under the tail bone accordingly as the back foot swiftly moves into its forward position. turn hips to the left side direction • While turning hips to the left side direction. detaining (kou) and breaking (Bai) turn/step. Qi Xing Zhuan Fa. which was called “Plum Blossom Turn”. These stepping methods are to be performed on the return step or stepping backwards method. San Xing Zou Ma as well as the following Kou Bu and Bai Bu can be performed while advancing forward. Since it doesn’t resemble a plum blossom whatsoever. then while hips are turning. starting from their end positions. step back swiftly with the right leg and place the right leg under the tail bone • As the right leg is positioning under the tail bone. All stepping methods.

left leg forward. left leg forward. The “Bai Bu” method allows for the opponent’s leg attacks to be deflected. adding a spiraling momentum/force to the application of your techniques. Begin as follows: 1st method. left steps diagonally into the “center-line” • Left foot toes meet the front of the right foot toes . causing the opponent to lose postural stability. The Kou Bu and Bai Bu have two methods of transitional application. Bai Bu • Upon completing first method Kou Bu. knee over the ball of the foot. circling inward left then outward right with toes pointing outward right • Foot is placed firmly onto the ground. your weight should be completely on the left foot • As weight is shifted onto the left foot. Kou Bu • Starting from a forward stance. Both “Kou Bu and Bai Bu” also offer a turning evasion away from an attack. away from the opponent as well as turning into the opponent. left leg cuts diagonally into the “center-line” • Left foot toes meet the front of the right foot toes  Kou Bu technique is to be done swiftly 1st method. This is the “Kou Bu” method. turn the hips out to the right • As the hips are turning to the right. and or for their leg to become locked and broken. Kou Bu • Starting from a forward stance. weight distributed equally on the right foot 2nd method. turn the right foot out to the right.This stepping method allows for a swift control of the opponent’s foot and knee.

ankle and heel itself. your weight should be completely on the left foot • As weight is shifted onto the left foot. Eight Directional Shifting Exercise 八方转法 Eight direction shifting exercise develops stability on the root-leg and while shifting from a closed stance (closed stance here means when feet are close together. the right leg thrusts forward and settles at the heel into a forward stance • As the right foot is settling into position. if the toes are turned away from the center. Begin as follows: • Stand with feet at a closed stance • Knees bent. This allows for the awareness of kicking from any position. left foot and hips should be simultaneously turning to the right and should abruptly stop This 2nd method Bai Bu is actually a thrust forward of the leg. It can also end as a heel strike/sweep to the opponent’s lower aspect of the leg. hands in chambering position Shift left: • Body shifts to left 45deg angle. and turning on one foot. then it can be used to lock and break the opponent’s leg and knee. The exercise focuses on keeping balance and further developing a stationary-moving root while kicking. Kou Bu technique is done with knees pressing forward and placed over the ball of the foot 2nd method Bai Bu • Upon completing second method Kou Bu. and break it. knees bent). striking with the shin of the lead leg. that is if you didn’t turn out the toes to lock the knee. turn the hips out to the right • As the hips are turning to the right. while turning. adjust right foot for the shift .

. lifting the left foot to kick at the angle turned to • Return left foot back to closed stance position Repeat on right side after having completed a full 8 shifts ending in the position you started in.• While shifting.

5 Point Pole Practice Methods .6.

These areas are very important for your martial arts practice. muscle toning and development. and have even created more exercises to work with. as well as for your physical health. spine posture. I was taught to use the long pole for strength training. You can gain all these different types of development from your form and technical practice but using a 9. tendon strengthening and power development. Though the pole form itself isn’t taught till much later. First Stage Pole Practice: Each level is to be done 10 times to complete 1 set.9. Complete 3 sets of 10 . in the beginning it is totally okay to exercise with the pole.5ft Pole Exercises When I began learning Yong Chun. shoulder and elbow positioning. Pole exercises work on several areas of strengthening: rooting.5ft pole will help speed things along in a beneficial way. I personally enjoy such exercises. along with incorporating the actual pole form positions as practice postures for developing strength for the form and structure. stance.

The hand rotates the pole and arms extend forward. The back hand rotates with force. The hand in front of the back hand holds the pole with light tension and its function is to stabilize the pole. . parallel to the ground. Upon full rotation. where you are holding. Snap upon stopping at full extension. downward to the pelvic bone level. The end of the pole should be placed at the center of the sternum. Elbows should be bent. pole held straight out. both hands snap with a forceful snap upon ending the rotation. while the front hand gradually applies force upon full rotation. Second Level: Middle Snap Rotate pole while extending your arms directly forward. To do this. The hand placed at the end of the pole holds the pole firmly. finger nails facing up. you will have to snap and rotate the end of the pole. Do not over turn the wrists for you will place too much strain on the tendons running over the wrist bones causing joint problems. The end of the pole that you are holding will only extend forward. with tip of the pole pointing straight ahead.Stand in Qian Yang Ma. First Level: Upward snap Rotate pole directing the tip of the pole upward at a 45 degree angle from the starting position. this hand is called the back hand. Place the right hand in front of the left. Return the pole back to its beginning position by rotating the held end of the pole upward to be level with the center of the chest. holding the far end of the pole with your left hand.

snap the pole in following each individual level of the first stage pole practice. tip of the pole pointed straight. Each level of the first stage is to be done in 4 sets of 10 switching legs after each set. Upon stepping forward. each step snapping the pole completing half of the stepping pole set.Return pole back to its original position: end of the pole at the center of the sternum. each step snapping the pole to complete a full stepping pole sequence. Second Stage Pole Practice: The second stage pole practice is performed on one leg. Return step for 5 steps. . Third Level: Downward Snap Rotate pole while extending the arms outward and directing the pole at a downward 45 degree angle from the starting position. done completely the same way as the first stage. Fourth Stage Pole Practice: The fourth stage pole practice is done in a moving forward stance. switching legs after each set. Stepping sequence is done forward for 5 steps. Each level is done in 4 sets of 10. Third Stage Pole Practice: The third stage pole practice is done stationary in a forward stance. Snap upon stopping at full extension. Return pole to its starting position.

In Reflection .

as well as open the lines of communication for those with questions about the training material presented. and does not go into how to apply them.a. I have purposely left out the more commonly known concepts and principles. Of course. this book isn’t for the novice to utilize as a practice guide. Lin Ai Wei 林林林 . this book only briefly covers the functions of the techniques. but feel useful and fitting. I have personally practiced these methods since 1999. Good luck on your journey in the Chinese Martial Arts… Much success in your cultivation of Yong (Wing) Chun Quan! Respectfully. have revised many of my old training exercises over and over again. in other books and from one’s own teacher. but a novice may use it as a reference for specific cultural concepts from the early chapters.) This book is intended to simply offer another perspective to some techniques. and from 2008 till the present time of writing this book. Erik Oliva a. offer some things others may not have in their Yong Chun. 2013. this book has laid out some fundamental practices for one who has already begun their journey into Yong Chun. or their transitions in application (how techniques change upon contact of another’s force.As we can see. Thus. due to loads of that information available online.k. I personally hope many can find benefit from some of the practice methods and philosophy I presented. in terms of centerline and immoveable elbow.

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