Zhai Yao Yi Lu

[MightyB]

I think it was a part of this tape and a small portion of the entire form, I believe, is found at the 8.33 mark or so:


http://www.youtube.com/watch?v=_FWnd...eature=related

Does anyone know what the original tape this is from is called? I'd like to see the whole thing.

[YouKnowWho]

I loved this form because it had a great softness to it because it had Liuhe mantis in it--now I am wondering if this didn't come from the Zhang Xiang San line--

I believe most of the Zhai Yao form in Taiwan all came from Zhang Xiang San. Zhang was Liuhe mantis master but he didn't teach it until in his later year. I believe Adam Hsu was his 1st Liuhe mantis student.

[Yao Sing]

Is that Master Shr Zhengzhong I see in there? Never met him but looks like him and definitely, from what I've seen, moves like him.

[Yao Sing]

Can anyone identify the style of Mantis starting around 6:30 in the clip? I don't recognize the set but it looks a lot like Wah Lum style of Mantis. I'll have to watch it again.

[xiao yao]

zhi yao yi lu and er lu of taiji mantis performed by my teacher - zhou zhen dong

http://www.youtube.com/watch?v=cF6rQ...ure=plpp_video

http://www.youtube.com/watch?v=9nfoi...ure=plpp_video

and my first teacher zhai yao yi lu - zhang bing dou lineage

http://www.youtube.com/watch?v=7VeHH...eature=related

[18elders]

Yep, that is Master Shr

[Yao Sing]

He has a unique movement that both John and Kevin display. Probably you and Jim move like that now too.

[yu shan]

Yea Dave, Shi ZhengZhong does have a unique energy doesnt he. I aspire to be able to achieve this someday.

[Tainan Mantis]

I believe most of the Zhai Yao form in Taiwan all came from Zhang Xiang San. Zhang was Liuhe mantis master but he didn't teach it until in his later year. I believe Adam Hsu was his 1st Liuhe mantis student.

In Taiwan Some notable teachers that taught zhai yao
Zhang Dekui taught 7 sections of zhai yao.
Li Kunshan recorded 6 sections of zhai yao. His 6th section included the 7th section that Zhang Dekui taught.
Wei Xiaotang taught 6 sections of zhai yao.
Luan Xingfu taught 4 sections of zhai yao.

This is not a complete list. Later the students of these teachers continued to teach zhai yao in Taiwan.

[Tainan Mantis]

4:03 Shi Zhengzhong performs Luan Jie. That is iat Confucious Tempe where we used to train. Now, you have to pay to get in so we don't train there anymore.

Right after that clip are the grand disciples of Jiang Hualong. Jiang Hualong's student is on the original video (forget his name) but not on this particular clip.

I don't know that guy at 6:30, he is probably the only guy on the tape that I have no clue what he is doing. I think it is something that he made up.

[mooyingmantis]

Here is one of my favorite fighting principles taught in Zhai Yao Yi Lu, though I have modified it for my fighting approach:

http://www.youtube.com/watch?v=zjm7v...ature=youtu.be

Here is a description of the traditional technique:

Movement Twenty

燕 子 掠 水 - yān zi lüè shuǐ - Sparrow Skims the Water

Note: You and your opponent are both standing with the right foot as the lead.

Execute a left inward grab to the opponent's right arm and a right overturned palm strike to the opponent's face. When the opponent blocks the palm strike with the left hand, leak the left hand from underneath to grab the opponent's left wrist and follow with a right circle strike to the head.

[mooyingmantis]

Here are the three overt kicking techniques mentioned in the quan pu of the first section of the Summary series:

Movements Five & Eleven:

鴛 鴦 腳 - yuān yang jiǎo - Mandarin Duck Leg

Note: The Mandarin Ducks Leg is the most common kick of the Zhai Yao series.

In movement five, the Mandarin Duck Kick is used as the "finishing technique". After a series of punching combinations to the head, a low lead roundhouse kick is thrown to the opponent's groin.

It is also used as a means to break contact with the opponent. After the kick, the kicking leg is placed to the rear forming a Twist stance. From here the fighter can turn to face the opponent or simply run like hell in the opposite direction.

In movement eleven, the kick is used after a right circle strike to the opponent's head.

In his book Master Zhang Bingdou explains the kick this way:

If the enemy shifts the body to dodge or lifts a hand to block, the center area will reveal an opening.
Then I take advantage of the situation and use the foot to kick his crotch or abdominal area.

The above is my paraphrase of Zhang Bingdou's explanation of the technique in his book, Grand Ultimate Plum Flower Praying Mantis Fist, Upper


Movement Nineteen:

反 尖 脚 - fǎn jiān jiǎo - Reverse Point Leg

This is a cross between an outside cresent kick and an inverted roundhouse kick.

To execute the leg motion:
1. Lift the knee as high as possible to the front,
2. Rotate the lower leg inward and upward so that the big toe side of the foot faces the sky,
3. Snap the kick outward and upward on a diagonal plane to strike the opponent in the lower ribs or groin with the top of the foot.

Movement Twenty-four:

鳌 鱼 侧 身 脚 - áo yú cè shēn jiǎo - Aoyu Leans Body Kick

Note: The áoyú is a mythological creature that has the head of a dragon and the body of a fish. It is featured in Chinese art and can be seen in festival parades.

In the form this is a defense against a rear attack in which the opponent attempts a punch to your head.
Your response would be to pivot 90 degrees, capture the opponent's wrist with the right hook hand, lean away from the attack and kick the opponent in the groin with the right leg.

[Tainan Mantis]

鴛 鴦 腳 - yuān yang jiǎo - Mandarin Duck Leg

THis form contains two types of Mandarin Duck kick.
In the beginning of the form, the kick where you retreat after kicking is called
'ling xing yuan yang jiao' 'To apply Mandarin duck kick while departing'

The second is immediately followed by 'tan chui' 'seeking punch', which would make the punch, not the kick the 'finish.'

In most versions of Zhai Yao one, there is an opening kick where you jump forward. This kick was taught by Jiang Hualong, but not be Cui Shoushan. WHy? I don't know.

Li Kunshan, student of Jiang Hualong wrote manuscripts that both included it and that left it out.

[mooyingmantis]

In the beginning of the form, the kick where you retreat after kicking is called
'ling xing yuan yang jiao' 'To apply Mandarin duck kick while departing'

Kevin,

Would the characters for this be: 令 行 鴛 鴦 腳 ?

The second is immediately followed by 'tan chui' 'seeking punch', which would make the punch, not the kick the 'finish.'

Oops forgot that, thank you for the correction!

The kick baits the opponent to lower his guard, thus opening him up for the searching strike.

In most versions of Zhai Yao one, there is an opening kick where you jump forward. This kick was taught by Jiang Hualong, but not be Cui Shoushan. WHy? I don't know.

Li Kunshan, student of Jiang Hualong wrote manuscripts that both included it and that left it out.

Yes, I have also seen that in Meihua and HK Seven Star versions.

I left the initial kick out of the quanpu I posted, since my sources (Zhang Bingdou, Zhang Zhenyuan and Xia Shaolong) do not teach the kick at the beginning.

Thank you for your insights!

[mooyingmantis]

Here is the quanpu for the second road of Summary #1:

Movement Twenty-Two
偷 展 斜 身 盘 肘 - tōu zhǎn xié shēn pán zhǒu - Steal Open, Slant Body with Coiling Elbow

Movement Twenty-three
急 打 燕 子 投 井 - jí dǎ yān zi tóu jǐng - Quick Strike, Swallow Jumps into Well

Movement Twenty-four
起 身 鳌 鱼 侧 身 脚 - qǐ shēn áo yú cè shēn jiǎo - Raise Body, Aoyu Leans Body Kick

Movement Twenty-five
霸 王 甩 鞭 - bà wáng shuai biān - Overlord Swings Whip

Movement Twenty-six
回 身 翻 车 至 底 - huí shēn fān chē zhì dǐ - Turn Body, Overturn Chariot to the Bottom

Movement Twenty-seven
朝 天 一 炷 香 - cháo tiān yī zhù xiāng - One Wick of Incense Faces Heaven

Movement Twenty-eight
插 肘 - chā zhǒu - Thrust Elbow

Movement Twenty-nine
崩 点 变 玉 环 - bēng diǎn biàn yù huán - Crashing Dot Changes to Jade Ring

Note: The division of a set into "roads" is not always agreed on by every Master. But what I am posting is one valid means of dividing the set.

崩 点 - bēng diǎn - crashing dot: The Chinese character 点 refers to the brush stroke in Chinese calligraphy that is used to make a "dot". An example of this is the four dots seen at the bottom of the character 点. The movement in the form is simply a beng chui/bung cheui strike. I believe the choice of the term beng dian refers to the quick, snappy action used to "dot" the opponent's face with the strike.