seven stars continuous striking

[PM]

hello to all,

i have been lately practicing and teaching various long hand chat sing lin waan cheui drills i learned from my sihing, both single, to the focus mitts and with a partner

as it is considered to be one of the key fighting technique sequences of most lineages of today's Hung Kyun, i wonder, what is your experience with these combos? any thoughts, tips, pieces of knowledge, remarks?

[crazedjustice888]

Since I am still new to the Hung style, are we referring to the long arm section in Fu Hok?

[PM]

yes sir!

[laukarfei]

i was taught this as my basic fighting technique, i think the best part of this techniques is the combos you can make that force the opponent to back, its hard for them to circle because if your technique is good you can cover more area and make it harder for them to attack your flanks or even clinch.. the weakness of this combos is the lower half like most hung combos i dont think you need to tighten up any of the moves besides the cup choi if thats spelled right, ive seen it done wide and i like it short and fast following a pak sao

besides what i said above if the opponent gets hit by one technique it could be a ko depending on your accuracy and it forces the practitioner to develope alot of force and strength in the hips-waist abdomen because i think they should only be used in a combo alone they are weak and leave you exposed so to do it fast you have to come forward with alot of flexibility and speed

[Asmo]

[PM]

[crazedjustice888]

[SifuYui]

[PM]

SifuYui, some good info, thnx. can you elaborate more about seven stars footwork?

one thing i really like about chat sing lin waan kyun is that all of the techniques can be used as offensive, defensive or offensive defense. also, the combo basically covers all the angles and directions: downwards, upwards (seui long paau cheui), downwards, downwards (lin waan jaak kam), upwards, upwards (lin waan kau jong) and straight (? dai jin cheui; i cannot find the pronounciation of the character). great stuff for the focus mitts.

[crazedjustice888]

I just forgot, but over this christmas break I actually used some of these techniques on a drunk friend with an ego problem... They worked wonders by the way. That is the first time I have actually used them in a bout.

[SifuYui]

PM,

The basic steps of the chat sing lin waan kyun footwork starts with where your feet are - these are the 1st 2 "steps", the two Water strikes each have their own "step", they are the next two, the Earth strike is the next "step", then Wood, followed by Fire - 7-Steps total. In other words, when doing the chat sing lin waan kyun, the techniques should always be moving with the foot work, never static - or dead as some people like to refer to it.

I've done the Water fists both as retreating blocks and as advancing strikes (they can also be reversed). I've also done the Earth strike with both the foot stepping fowards and back. The Wood strike I mostly do stepping out, sometimes leaning in, sometimes like an uppercut. The Fire punch generally sideways - with either a straight out strike, or as a rising punch.

Sorry Pavel if I'm not more concise as Hung Ga is not set in stone and I've played with it in different ways...

Yui

[ironpalm]

[indrafist]

Hi Pavel,


In Tibetan White Crane and in my lineage of Hop-Gar 'Seven Stars' refers to footwork using the Gung-Bo Faht but specifically to a seven punch combination (with one arm) called Chut-Sing-Choi. Every branch does it differently. My branches version is here: from 0.5.35 http://www.youtube.com/user/lionsroarsi ... JqT783GlUI
My branch is a blended lineage of Hop-Gar, Lama and White Crane through Chan-Tat-Fu of Hong Kong: Sai-Jong (Tibetan) Hap-Gar (One Family - different character to 'Hop'-Gar) Si-Ji-Hao (Lion's Roar) 西藏合家獅子吼

Chan-Tat-Fu 陈达夫 learned Lama and White Crane from Au-Wing-Ning 區永年 (disciple to Ng-Siu-Chung 吴肇锺 and Ng-Siu Chan 吴肇灿 and Lama from Tibetan Monks 'Tiet Sim See' and 'Ching Wai') He learned Hop Gar from Kong Tow 江涛 (disciple of Wong Hon Wing 黃汉荣) and Wong Hop Lui 黄侠侣 (disciple to Wong Yan Lum 王隐林)

Re Fu-Hok's long fists, it's often said that they come from Wong Yan Lum, but in my opinion if they did, they were altered to fit Hung-Gar's structure and energy. That said, they seem seemless to me, rather than say 'genetically modified'. Every branch of the Tibetan family is different, this diversity is in Hung-Gar too. The sources all agree that there were friendly realtions between Hop Gar and Hung Gar, which is a very good thing and long may it continue.

Respect,

Indra.

[PM]

thnx for your info, apreciated!

[SyungMo]

Cool topic... and so much to discuss based only on this small section of the form itself. I always hesitate to say this is how things are, as who am I to say firstly and of course secondly, everything is open to interpretation. I will say though that the footwork coincides directly to the fist (as Yui elaborated on) but in addition to forward and retreating one should think about stepping off and around as well. Retreating also not necessarily meaning retreating away from the opponent in all instances...I think we discussed this, albeit briefly PM through PM some time ago about the correlation to straight punch/circle step and circle punch/straight step.

One value I see in these techniques is the ability to overwhelm when they are used with confidence and heart... just like waves continuously crash on the beach, so too should these punches. To drown the opponent. These techniques when fired off from varying angles are very hard to defend against if played properly while being mindful to not expose your elbow across your body. A good fighter will find the soft spot (toi mah chin kiu I believe is correct saying) but some people also know that the real threat is the rear hand. With the scraping punch (for example), if the opponent manages to get behind your elbow after extension and to the side where your horse is weakest, this is one instance where the retreating step used in conjunction with the rear hand is useful.