WC1277
08-02-2013, 02:29 AM
Chum kiu teaches the yin/yang of movement. A balanced rotation of movement that nurtures the "sinking" of the elbow. There is a horizontal rotation, a vertical rotation, a central axis line and footwork that corresponds. This post is not meant to be a 'bible' but a general description of chum kiu movement principles.
In relation to arm movement a very simple but important principle applies. For the horizontal axis the centerline is the zero point. For every horizontal motion you go left or right of that zero point, the next motion must come back to that zero point. The vertical axis is similar but follows more of an ellipse type shape and the zero point is the intersect with the horizontal. So for every vertical motion that goes up or down, the next movement must come back to zero.
Now, the difficult part to explain. I'm only going to explain the 'active' side of the following rotation but do know that there's a passive function too.
For every "active" motion you do your central axis rotation must rotate with the active arm side so that the shoulder is forward on that side. Your footwork, to support this, must turn and slightly brace forward to the opposite side of the "active" arm. So, for instance, if your right arm is "active" your right shoulder side will come forward and your feet will turn to the left and the left foot will move slightly forward simultaneously.
Ok good, everyone got that? ;)
I challenge you to this test of Chum Kiu movement and tell me it doesn't open your eyes:
------
Do poon sau(regular chi sao motion) with a partner
You know how you can do that lop sau where you lop your partners fok underneath your bong? Try this instead.
Just like you were going to lop, instead(just for simplicity) shoot your tan into that space instead. Do it with the principles I outlined above. So that means: treat your tan as "active". Rotate the central axis line and adjust your footwork. Notice how you're kind of in a 'balanced' forward facing stance now?
Now the principle for a horizontal movement is you must return to the zero point, right? From this position you're currently in: Now switch to a lop(although just contact with the forearm is fine such as an elbow down lan sau) from your tan and rotate back into the center while flipping your footwork to support the "new" active arm, your punch.
------
Ask your partner how powerful it felt. How powerful did it feel to you? Effortless force, right? Try it with a different 'balance', not as strong, right? I guarantee there's not a person on this forum, PB boys included, that won't have a light bulb go off. This rotation does not need hand shapes to work either. While there's other "details" that can help, if you are truly "sinking" your elbow, you are following these principles of movement and can apply them any way, gloves included(Graham;))
That is Chum Kiu movement in a nutshell and I beg of you to try it. You won't be let down.;)
Here is a list of the 20 hand motions. Try them all out but remember the horizontal and vertical principles in relation. This is applies to both your "block" and "attack".
The 20 hand motions:
Tan
Pak
Lop
Bong
Lan
Biu
Jum
Wu
Huen
Inside Jut
Outside Jut
Gum
Fak
Pow
Gaan
Ding
Haan
Low Bong
Jong
Kau
In relation to arm movement a very simple but important principle applies. For the horizontal axis the centerline is the zero point. For every horizontal motion you go left or right of that zero point, the next motion must come back to that zero point. The vertical axis is similar but follows more of an ellipse type shape and the zero point is the intersect with the horizontal. So for every vertical motion that goes up or down, the next movement must come back to zero.
Now, the difficult part to explain. I'm only going to explain the 'active' side of the following rotation but do know that there's a passive function too.
For every "active" motion you do your central axis rotation must rotate with the active arm side so that the shoulder is forward on that side. Your footwork, to support this, must turn and slightly brace forward to the opposite side of the "active" arm. So, for instance, if your right arm is "active" your right shoulder side will come forward and your feet will turn to the left and the left foot will move slightly forward simultaneously.
Ok good, everyone got that? ;)
I challenge you to this test of Chum Kiu movement and tell me it doesn't open your eyes:
------
Do poon sau(regular chi sao motion) with a partner
You know how you can do that lop sau where you lop your partners fok underneath your bong? Try this instead.
Just like you were going to lop, instead(just for simplicity) shoot your tan into that space instead. Do it with the principles I outlined above. So that means: treat your tan as "active". Rotate the central axis line and adjust your footwork. Notice how you're kind of in a 'balanced' forward facing stance now?
Now the principle for a horizontal movement is you must return to the zero point, right? From this position you're currently in: Now switch to a lop(although just contact with the forearm is fine such as an elbow down lan sau) from your tan and rotate back into the center while flipping your footwork to support the "new" active arm, your punch.
------
Ask your partner how powerful it felt. How powerful did it feel to you? Effortless force, right? Try it with a different 'balance', not as strong, right? I guarantee there's not a person on this forum, PB boys included, that won't have a light bulb go off. This rotation does not need hand shapes to work either. While there's other "details" that can help, if you are truly "sinking" your elbow, you are following these principles of movement and can apply them any way, gloves included(Graham;))
That is Chum Kiu movement in a nutshell and I beg of you to try it. You won't be let down.;)
Here is a list of the 20 hand motions. Try them all out but remember the horizontal and vertical principles in relation. This is applies to both your "block" and "attack".
The 20 hand motions:
Tan
Pak
Lop
Bong
Lan
Biu
Jum
Wu
Huen
Inside Jut
Outside Jut
Gum
Fak
Pow
Gaan
Ding
Haan
Low Bong
Jong
Kau