GGFFK Step by Step 14 to 16
Posted: Tue Feb 26, 2008 10:59 amBy request the last section of the dragon opening of GGFFK. I also have a request again, if anyone has good English translations of the moves and/or poems, please send me a private message so I can add them in the posts! There must be someone...
My input:
14) With the elbows up we move the point of the elbow through the middle, near the centerline. Both to maximize the power of an elbowstrike, but also as this can be a defensive move, for example against a punch towards the head.
I personally perform this with a slightly rising body to add power to the movement. This continues nicely in the downwards tigerclaw with sinking energy which can take the punching arm deflected by the elbow downwards, after which you perform the forwards tigerpalm while being solidly rooted due to the sinking energy. Anyone else doing it similar or has comments on this?
15) Again a personal interpretation: I see sometimes people going downwards with the palms, stop, and then continue the strike upwards as a new move. I like to perform this in one go. The downward move is a defensive move against a punch deflecting it downwards using chun kiu (wrist snap) after which the hands immediately go towards the throat for a strike. With the downwards move you don't stop the energy, but merely deflect it from the opponents arm up towards his throat. Interestingly, I've seen Bucksam Kong calling this bridge "linking bridge" instead of inch which follows this interpretation in my idea. (later in Fook Fu Kuen theres another example of this) Again: whats your idea or have any other comments?
16) Lots to say about this technique. It being a defensive, offensive or even a takedown move. What I have been thinking about is though, is why its chosen to end this (dragon) sequence. I have some idea's from a heigung point of view (elements related) but would love to hear what more experienced forum members have to say about this.
Looking forward to your input.
My input:
14) With the elbows up we move the point of the elbow through the middle, near the centerline. Both to maximize the power of an elbowstrike, but also as this can be a defensive move, for example against a punch towards the head.
I personally perform this with a slightly rising body to add power to the movement. This continues nicely in the downwards tigerclaw with sinking energy which can take the punching arm deflected by the elbow downwards, after which you perform the forwards tigerpalm while being solidly rooted due to the sinking energy. Anyone else doing it similar or has comments on this?
15) Again a personal interpretation: I see sometimes people going downwards with the palms, stop, and then continue the strike upwards as a new move. I like to perform this in one go. The downward move is a defensive move against a punch deflecting it downwards using chun kiu (wrist snap) after which the hands immediately go towards the throat for a strike. With the downwards move you don't stop the energy, but merely deflect it from the opponents arm up towards his throat. Interestingly, I've seen Bucksam Kong calling this bridge "linking bridge" instead of inch which follows this interpretation in my idea. (later in Fook Fu Kuen theres another example of this) Again: whats your idea or have any other comments?
16) Lots to say about this technique. It being a defensive, offensive or even a takedown move. What I have been thinking about is though, is why its chosen to end this (dragon) sequence. I have some idea's from a heigung point of view (elements related) but would love to hear what more experienced forum members have to say about this.
Looking forward to your input.