Level 1

Continued from Previous Page…

The Leader Punch can best be described in text as fundamentally the same positioning as a left handed handshake, i.e. right foot a single step forward of the left foot and the left hand extended perpendicular to the body and herein lies the 4 basic principles – 2 attacks and 2 defences that combined, form many different combinations and permutations for most situations. (See image below)

As previously written, the same training premise is used for both the psychological and the physical aspects of this style and this is based on the Yin & Yang principles. The Yin & Yang principle are based on opposites, Yin being the passive and Yang being the aggressive. A Yang student (aggressive) is seen as just as much of a handicap in martial arts as a Yin (passive) student, both have a unilateral character trait and this is very transparent.

Ultimately, a Kung Fu student is trying to achieve a balance, not too much, and not too little which is a good dogma for living socially as well? In the most simplistic explanation (more detailed in later chapters) a Yang character over stretches and has too much attack and a Yin character doesn't hit the form hard enough and waits too long. The Yin & Yang principles are opposite to each other, each perspective out of context can be dangerous yet when balanced or connected, is considered to be the most balanced or strong. If this is transposed to character, either side of the spectrum (aggressive or passive) is seen as a weakness and the student strives for a balanced perspective. Using these same principles for the aggressive/passive characters, the physical requires the same premise. Referring to (Fig #2) (Use back button to return), line–B (shoulders), there is a red arrow defining the rotation past or prior to the optimum square of shoulder. Hypothetically, if one is punching with the Leader, and B (shoulders) rotates past their square, a myriad of problems arise. Basically, one is hitting past the Centre Line and rolling past or through ones optimum range. This may throw the student off balance, a common occurrence. On top of this and more in line with the scope of an L1 student, the moment the shoulder passes the square, as any angle past the square, results in the power curve and efficiency diminishing rapidly. Therefore, past the square shoulders results in loss of balance and loss of power. Drilling these techniques to a high level is one thing, but this Kung Fu is attempting to make these techniques reflexive.

Conversely, the opposite to going past the square shoulder is not making the square. This is not a common technical problem per se and is generally, more a result of a missed timed strike or the strike being prematurely halted in mid strike by an opponent. As there is no strength in this technique, joints not locked in (not literally), the student is very vulnerable to a plethora of grapples and other problems associated with lack of power derived through no leverage. Ensuring this 'squareness' can be considered as a form of insurance for the student in as much as the square alignment being the objective where one can set the next metric. A lot of arts don't teach insurances in fighting techniques as it is considered an unnecessary overhead. An insurance can also be considered a next move in the positive, and an escape plan in the defensive. At its most simplistic level, this 'overhead' theory has some merit, however, this is an art form and is considered that one day, somewhere, somebody will block you when you are not in the perfect range, i.e. haven't gotten to the square, or, over the square and a good style instructs these assurances that with every strike or block, there is a counter move in either direction. Eventually these assurances become reflexive and no extra mental or physical energy is required thus becoming reflexive. This 'assurance' is commonly known as the intersection and is fundamental to the training. However, it is way out of the scope at this level.

(Fig #2) Line C, deals with the hips and in the same manner as the previous paragraph. This is such a major area; the (rear) foot is the foundation and the driver to the whole strike. One is trying to achieve a deliberately placed (front) foot (to the pitch of the attacker – usually aimed at and too the attackers middle–of–legs and if possible, 100 — 300 mm distance). If the hips (C) do not make the square, the rear leg that is driving doesn't generate any power and one is once again, stuck to the ground. If one is leading in this case with a right foot, the left hand side of the body is vulnerable to attack and prone to being halted in mid strike in much the same manner as not making the angle with the shoulder mentioned in the previous paragraph. The converse of over shooting the hips is not a common occurrence, but has the same affect as under punching. Over shooting the hips, tends to come into account later on in ones training when more power is trying to be achieved and one is stretching their capabilities.

This may sound like a lot of technicalities, but students reading this realise now that this is an extremely short-range and dynamic style. What we are advocating by keeping our lines and body straight is using those big leg muscles that don't tend to get used for what they were intended for. It may sound obvious that if one was to strike somebody, don't lean in or lean back, step up to the base and get within range with ones footwork and strike from there, with the usage of good footwork and the body twisting, the chances of a well timed strike/block are much better.

On top of this and a critical factor is anything over stressed is generally bad for the duration of the entity in questions lifecycle. In a human's case, over stressing the back through over stretching can prematurely wear the spine; over locking joints can damage them as well. Punching to the square is common sense and if ever told differently, questions should be asked. Good square joints, ligaments and muscles surrounding these elements are healthy and strong. Finally, the first level is completed with the first Form, this is DBW or Dan Ba Wong. DBW has a historical value associated to the name but I will not document this as I cannot validate it, there are more than enough theories on this subject on the Internet. An important factor to keep in mind is the fact that many people would use these grandiose stories for commercial reasons. Loosely though, Dan Ba Wong was an acquaintance of some note to Yueh Fei and the General named the Form after him. There is also an extension and that is named Seong Ba Wong and that too has a history. The fact that the Form was named after a person by the General should demonstrate the Forms importance. Basically, this Form is practiced every training session, for the more experienced it is the *object–jig* and a student can ensure their technique is where it is meant to be. An Instructor can monitor a student's technique through the Form, once a standard has been demonstrated; many details about the student can be observed and monitored by the Instructor. With this in mind, the Form should be attempted with the same intent and criteria as the 4–Punch theory.