Its pretty similar to the expression that I've seen. Except the performer did the horse stance with the heels of the ground and they repreated each posture 18 times before moving on to the next posture.Originally Posted by shaolindoiscool
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Daper Dan Man
Its pretty similar to the expression that I've seen. Except the performer did the horse stance with the heels of the ground and they repreated each posture 18 times before moving on to the next posture.
Registered User
hi jp,
some practices i have my heels up high and other as seen in the clip. i was taught heels up standing as high as you can on the balls of your feet.
regarding the counts i have learned 2 ways of doing it and i alternate between them from practice to practice.
#1 each posture 1 x repeating the whole thing 18 times
#2 each posture 18 x ... repeating the whole thing once.
best,
bruce
best,
bruce
Happy indeed we live,
friendly amidst the hostile.
Amidst hostile men
we dwell free from hatred.
http://youtube.com/profile?user=brucereiter
Has anyone seen any of these forms of Master Hiang's? I'm just curious as to whether their anything like our white crane or bird forms.
Registered User
What belt level are you?? Have you not seen Tai Peng Sin Kuen??
I'm a black belt. Yes i've had tai peng sin kuen. I'm talking about the 17 or 18 tai peng forms that master hiang teaches.
Daper Dan Man
That makes sense. Thanks for sharing.
Daper Dan Man
Couldn't say about the other tai peng forms. I've only seen the first tai peng form. I'm sure some of the "old timers" can comment if they were around when Hiang The was teaching with Sin The.
Registered User
I learned 1-4 Tai Peng all are similar but I like the 3rd the best KC
A Fool is Born every Day !
Registered User
Cool.
Master of Chu Bagua
Someone who'd seen them and done them once told me they were very alike. Don't recall who. I have to imagine that there's great variation with 18 or so forms that Hiang teaches, but who knows? Tai Peng Sin Kune is great for the legs, but I don't like it for me, anyways (but I love the other 3 animal forms you get off the bat).
Master of Chu Bagua
It's cool to learn stuff from the outside sometimes, but I'd have to say, from the standpoint of teaching a certain art, you ought to keep it to that art. I might learn principles of movement in capoeira that I can relate to CMA in general (especially in the function of bow stances and kicking transitions), and some of these principles will be of benefit to peers, but teaching capoeira outright would be kind of funny (and sometimes, to be honest, I find outside arts actually are to the detriment of my SD. You have to learn it as is, and not try to impose too much "stereotypically Shaolin" stuff onto it.). If you want to teach an outside art, then you ought to teach it outside the art, as its own art.
Some of you guys on here (SD/non-SD alike, but mostly the latteR) are kind of funny. You learn from one teacher a more "traditional" art, with small forms, from a guy that's probably never stepped far from his own tradition. But you're always going to get his perspective, full of his prejudices, full of his interpretations. It's basic psychology and biology. You're going to be fascinate by the exotic (different) approach) and feel it's better bassed on that association. I have a capoeira teacher that can rifle off spinning kicks in less than half the blink of an eye, and never lose sight of you for a second, because he knows where to look (under the arm), even though he's bent over and touching the floor. And he can transition out of it if he doesn't like the way it's going without losing any advantage. But do that kick in a CMA class, and you'll get ridiculed.
Hey, do what you like, but everything, at some point, has value. Did you work it enough, is the thing. Just like ex-SD'ers who find edification outside the art. I hear the stuff some of you say, regarding stances, etc. Hell, I've got my stances. Saw 'em in Longfist, wing chun, etc. They're all there in SD. The difference is how your teacher focuses. Does he hold your hand for an hour so you can step correctly, or will he let you feel what you're doing. Generally, you get one or the other, but a blend of them would be better I think. My stances were good from SD, and my Longfist teacher commented on their strength. But he also said I wasn't coordinated at certain periods of my transitions. Then I watch my friend Richie run through a form, and I see great coordination, with no strength......
That's the value of looking around. So now when I help peers with their stuff, when they ask for advice, I have a well-rounded perspective. But it's not really an outside art. It's just a well0rounded opinion. Some of the ex=SD guys I've aked this question: "did you learn nothing of value in SD?" They say. "Not really, in retrospect." I think in reply: "Probably didn't try hard enough."
Now, for that Arizona school teaching BJJ and SD, I'd have to imagine the guy teaches with a different structure for days/material, and that's cool, so long as he doesn't blend them altogether. That's the determination the student should make, not the teacher.Like teach SD. Teach BJJ. Not BJJSD. Teachers in SD should pretty much just stick to teaching SD. Know what I mean? It has tai chi, pakua, drunken, hua, and a multitude of other things. It doesn't really need anything other than what it has. If anything, it's too big already. But if certain people, like myself, mess around on the outside, why not jsut respect the arts and keep them separate? Sure, I warm up sometimes with some capoeira stuff, and I might break into a negativa here or there in sparring, but it's my volition, my practice, and nobody else's. When I do a form, I don't break into capoeira. When I do capoeira, I don't break into crane.
I don't even know if what I said makes sense. Does to me.
Say, if I was asked to assist in teaching an elementary crane form, I wouldn't describe it with capoeria terminology. I'd describe how it felt, it's function, its flow....I suppose that's where the unity of the MA's really is. Might be a feeling I got in capoeira or Longfist, but it's still SD material. MAybe that makes more sense.
Last edited by Shaolin Wookie; 09-05-2007 at 05:37 PM.
Master of Chu Bagua
Ah, sounds to me like you're doing fine. Everyone picks a path, deals with it, and hopefully learns from it. Doesn't sound like your negative experiences got the best of you. Disregard the BS stuff these other guys are saying. I'm sure you did anyways.
Loud City
I disagree. Teach everything you know. If that changes the purity of the art, just be honest about it to your students.
That is the original CMA philosophy, after all. Blend and adapt.
Registered User
Originally Posted by Shaolin Wookie
It's cool to learn stuff from the outside sometimes, but I'd have to say, from the standpoint of teaching a certain art, you ought to keep it to that art. .MasterKiller is right.
Master of Chu Bagua
I agree, I guess. Maybe I'm just too self-conscious about styles. I guess I'm a little hesitant to influence peers in mixing the arts, b/c there's a business side to it, and I don't wanna lead someone away from any school. I do talk about one art to people in the other school, just because I like to note many similarities, and help give tips (capoeira sometimes needs tips in power generation for spinning kicks, b/c they don't know how it feels to try and kick through something, or regroup after your foot hits and stops), and sometimes SD peeps need a tip on how to keep flow going in a series of spinning kicks, or maybe even just one.
I do like MK's philosophy, but I'm not a teacher, so I don't want to be disrespectful to my schools and teachers, since I'm a student.
Last edited by Shaolin Wookie; 09-07-2007 at 10:37 AM.
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