I made them from the movements! I just named it from similar movements that were already in the set. I just got the chinese lyrics yesterday!! I'll be going over those next (with someone who can read Chinese of course)!!
~Jason
I made them from the movements! I just named it from similar movements that were already in the set. I just got the chinese lyrics yesterday!! I'll be going over those next (with someone who can read Chinese of course)!!
~Jason
館術國勇威 Wei Yong Martial Arts Association
戰挑的權霸統傳 The Challenge for Traditional Supremacy
http://www.weiyongkungfu.com
_________________________
What is 'traditional kung fu' ?
Chinese fighting arts developed before the advent of the modern age in China. Not to be confused with modern, post-1949, Wushu or competitive fighting such as kick boxing .
By Shanghai Jing Mo
Here is another version of Lian Bu Quan.
http://www.luhealthcenter.com/lian-bu-quan-3.html
Looks like there a few extra strikes in the beginning. At least based on the one I am learning at my current kwoon.
Ya know, I am always one to criticize forms. I think it may be time to put one up of myself.
Master of Shaolin I-Ching Bu Ti, GunGoPow and I Hung Wei Lo styles.
I am seeking sparring partner. Any level. Looking for blondes or redhead. 5'2" to 5'9". Between 115-135 weight class. Females between 17-30 only need apply. Will extensively work on grappling.
I've been doing some research into some BSL quanpu lately. Sifu Roberto Baptista sent me these and gave me permission to post them here.
The Translations are in Portuguese:
練步拳
(Lihn Bouh Kyùhn - Liàn Bù Quán – Forma de Treinar Passo)
1. 對掌陰陽�Duì zhǎng yīnyáng�Palmas se opondo Yin Yang
2. 弓步切掌�Gōng bù qiè zhǎng�Passo de arco, palma cortante1
3. 開門手�Kāimén shǒu�Mão que abre a porta
4. 順步衝捶�Shùn bù chōng chuí�Passo seguido, soco direto2
5. 腋下切掌�Yè xià qiè zhǎng�Palma cortante de baixo do braço
6. 仙人擔柴�Xiānrén dān chái�Imortal carrega lenha
7. 坐馬蓋掌�Zuò mǎ gài zhǎng�Sentar no cavalo, palma que cobre
8. 坐馬撑掌�Zuò mǎ chēng zhǎng�Sentar no cavalo, palma que suporta
9. 圈手劈捶�Quān shǒu pī chuí�Circular com a mão, soco talhador
10. 坐馬壓掌�Zuò mǎ yā zhǎng�Sentar no cavalo, palma que pressiona
11. 穿掌點侯�Chuān zhǎng diǎn hóu�Palma penetrante acerta o alvo3
12. 坐馬架打�Zuò mǎ jià dǎ�Sentar no cavalo, sustentar e bater
13. 葉下偷桃�Yè xià tōu táo�Roubar pêssego em baixo da folha
14. 丁式劈掌�Dīng shì pī zhǎng�Postura T, palma talhadora
15. 滑步圈手劈捶�Huá bù quān shǒu pī chuí�Deslizar o passo, circular com a mão, soco talhador
16. 提腿連環掌�Tí tuǐ liánhuán zhǎng�Levantar a perna, palma contínua
17. 拍地飛沙�Pāi dì fēi shā�Bater no chão para voar areia
18. 圈手劈捶�Quān shǒu pī chuí�Circular com a mão, soco talhador
19. 左右窩心肘�Zuǒyòu wōxīn zhǒu�Cotovelos que escondem coração para esquerda e direita
20. 坐馬壓掌�Zuò mǎ yā zhǎng�Sentar no cavalo, palma que pressiona
21. 撞膝旋身�Zhuàng xī xuán shēn�Colidir com o joelho, virar o corpo
22. 雙捧掌�Shuāng pěng zhǎng�Dupla palma que segura
23. 葉底偷桃�Yè dǐ tōu tão�Roubar o pêssego debaixo da folha
24. 丁式劈掌�Dīng shì pī zhǎng�Postura em T, palma talhadora para baixo
25. 滑步圈手劈捶�Huá bù quān shǒu pī chuí�Deslizar o passo, circular com a mão, soco talhador
26. 七星掠翅 (左式)�Qīxīng lüè chì (zuǒ shì)�Sete estrelas, saquear asa (Postura esquerda)
27. 七星掠翅 (右式)�Qīxīng lüè chì (yòu shì)�Sete estrelas, saquear asa (Postura direita)
28. 退步圈手劈捶�Tuìbù quān shǒu pī Chuí�Passo para trás, circular com a mão, soco talhador
29. 退步圈手劈捶�Tuìbù quān shǒu pī Chuí�Passo para trás, circular com a mão, soco talhador
30. 撞膝旋身�Zhuàng xī xuán shēn�Colidir com o joelho, virar o corpo
31. 雙捧掌�Shuāng pěng zhǎng�Dupla palma que segura
32. 撞膝旋身�Zhuàng xī xuán shēn�Colidir com o joelho, virar o corpo
33. 雙捧掌�Shuāng pěng zhǎng�Dupla palma que segura
34. 對掌陰陽�Duì zhǎng yīnyáng�Palmas se opondo Yin Yang
35. 收式�Shōu shì�Postura de juntar
Gene Ching
Publisher www.KungFuMagazine.com
Author of Shaolin Trips
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was gonna ask the same question, Dr. Yang's variation was the first I saw of it, and in mandarin lol, Lian Bu Quan. Ironically I had Sifu Lam's Moi Fah book at the same time, and never made the connection between them having similar curriculum in terms of classical BSL. Also had not made the distinction between BSL and Songshan curriculum at the time. I was streaming all "Northern Shaolin" under the same umbrella. South Shaolin was Hung Gar only to me back then also. So it all made sense later why I gravitated toward certain teachers in my seeking, and strayed away from others. I'm thankful for Sifu Lam, and Dr. Yang for sharing the way they do.
Now speaking of sitting on the butt kung fu training lol, I'm seriously gonna go train now
Reading Shaolin Trips early on you make a clear description of how the kids in Shaolin village train (24/7), as opposed to the western hobbyist. Since reading that part of the book, I'm trying my best to train more frequently at any chance I can, rather than just a specific time of day.
and I know I will be tested. :P
Amituofo
"色即是空 , 空即是色 " ~ Buddha via Avalokitesvara
Shaolin Meditator
Read my Latest Feature for YMAA: Why my Lianbuquan is Different from Yours
Gene Ching
Publisher www.KungFuMagazine.com
Author of Shaolin Trips
Support our forum by getting your gear at MartialArtSmart
I find the form "differences" very interesting as well.
My background is in Okinawan Karate, and there are variations on forms as well. In Okinawa, the forms were modified by the teacher based on the student's attributes etc. After WW2, karate was taught for very good money in Okinawa and that is when things started to really get cemented in and "the way" of doing things".
I wonder if a form like this was also taught a little bit differently by each instructor and their emphasis and then "cemented" as the tradition was passed on.
I also agree that in the variations we can also see potentials of what the form can teach and show us.
"God gave you a brain, and it annoys Him greatly when you choose not to use it."
The "cemented" tradition you mention may be in part because of film and video became available but were expensive to start with. Now it may be the opposite, because one can now see all over the internet how forms tend to mututate. Overall its made the study of forms a lot more interesting. Now all this makes it easier to understand a form's structure and applications, and also compare to written and musical sources connected to them.