Chum Kiu: Thrusting and Turning
Sun, Nov 27 2011 07:23
| rules, kung fu, form, technique, hitting, practice, footwork, siu num tao, chum kiu, strikes, martial arts, power, Wing Tsun Kung fu, flexibility, martial arts Altrincham
| Permalink
For those of you that remember my last blog entry about the Chum Kiu you'll realise that words can rarely do justice to something as complex and fundamental as form to a martial art such as Wing Tsun. I'm doing my best to have a go though!
However it is important to recognise that the first "new" section in the form is one which equips a student with the ability to understand the defensive capabilities of the system whilst improving the relationship between moving the arms and body correctly within the IRAS.
A double jum sau allows one to sink not just the arms but the centre of gravity into the stance with the realisation that Chum Kiu operates on two lines not just one as in Siu Num Tau. Using the undualtion of the spine to lift the jum saus along with your centre of gravity parctices balance and structure, particularly when thrusting the arms out into Biu Tze saus.
The relaxtion needed not to uproot the student during Biu Tze sau promotes good balance and control. Usually thought of as an eye strike the technique offers a student solutions to drawing an attackers arms down to the centre of mass.
This is followed by a very tricky idea within Wing Tsun forms. The arms must be folded into double lan sau - elbows kept at 90 degrees in front of the solar plexus, and the full range of motion within the stance is needed to allow you to sink into a 90 degree turn. "Sitting" on the back leg places you into a very traditional Wing Tsun stance with the front leg free to step/kick as necessary. It also reminds us to draw all of your power in and down so you are not floating in a precarious position.
From an application point of view the technique offers various uses. Conceptually it teaches us to turn with power, speed and balance. When grappling this can be useful to shake off attackers looking to grapple the upper body or pin the arms. It also teaches us to move around a solid object or force without pushing against it or into it - this allows the Wing Tsun exponent to be soft and difficult to track by an attacker. It also implies that from the Biu Tze saus you can pull an opponent's head sharply down and to the side destroying their stance and leaving them incredibly vulnerable to counters.
By building up a solid base which can move, the Chum Kiu emphasises the need for balance and keeping the arms moving in proportion to the body. If one moves without the other your power and structure is broken. This leaves you weak and twisted in structure. While this may be less of a problem in more advanced systems and emergency techniques it is important to establish good practice amongst beginners.
From here the opening of the arms with double fook saus invites us to expand the chest and lever apart both our arms and those of our attackers. The three pak saus with tok saus have simple applications to break the balance of an attacker using the disruption of their joints. Followed by three palm strikes the student is given a clear message to attack back in using quick and powerful strikes whilst an assailant is off balance.
Drawing the arm back across the body it is important that as the student splits the arms into a lan sau and sau chong that they return to neutral stance. Skipping this point encoruages bad habits and poor structure. Pausing albeit briefly demonstrates great control. It also reminds the student to focus on holding the lan sau at chest height and not towards the throat or even chin as some people will commonly do.
Moving all the way over to the other 90 degree turn with a lan sau teaches the student the depth of IRAS and our ability to move. The split amongst the lan sau and sau chong as well as the sink into the stance is crucial in teaching the student how to keep out an opponents force. Turning the forearm upwards slightly allows the lan sau to become stronger and more resillient.
Forming a double tan sau reminds the student that Chum Kiu also uses one line and nods towards the lessons of the previous Siu Num Tau. Compression of the double tan into the hip allows the student to push themselves around the own centre and make a bong sau wu sau at a 45 degree angle. It is crucial the student understands to face "forwards" looking over the bong sau and in line with their wu.
These steps are teaching us how to move around a changing attacker not multiple attackers or one which can teleport! Constant referral to the direction of an attack is necessary in all aspects of Wing Tsun. Moving between the double tan and bong sau wu sau three times emphasises the use of three repetitions throught the Wing Tsun forms to teach an important idea. It also shows how we can change easily between very defensive and deep 90 degree turns and more attacking 45 turns which help us slip and evade attacks rather than contain them like the former.
The punch over the top of the final lan sau reminds us to keep our arms over the lan sau to avoid them being trapped by being pulled down and develops power and range whilst in the 90 degree stance. Likewise when drawing the arm across into the fak sau it is important the legs are pulled back into neutral stance and the "whip" of the fak sau is then achieved using the softeness in the shoulder joint to make the technique powerful.
The arm is withdrawn and sunken back into the hip. This ensures the following strike is at eye height but launched from a solid and stable base. Be careful that the hand finishes on the centre line as crossing it will pull the shoulders apart and destroy your structure. The heun sau and return to sau chong signifies the end of the section as inkeeping with the Siu Num Tau.
The fact this is repeated on the other side shows how important the lessons contained within these movements are. Likewise it teaches us to train both sides with the mechanics and spatial awareness handed down by the section. Overall it is an important preparation not just for learning to defend and move coherently but for assigning the weight and balance onto one leg allowing us the ability to kick and step in the subsequent sections. That however is another long and complex blog post for another time!
Happy training!
However it is important to recognise that the first "new" section in the form is one which equips a student with the ability to understand the defensive capabilities of the system whilst improving the relationship between moving the arms and body correctly within the IRAS.
A double jum sau allows one to sink not just the arms but the centre of gravity into the stance with the realisation that Chum Kiu operates on two lines not just one as in Siu Num Tau. Using the undualtion of the spine to lift the jum saus along with your centre of gravity parctices balance and structure, particularly when thrusting the arms out into Biu Tze saus.
The relaxtion needed not to uproot the student during Biu Tze sau promotes good balance and control. Usually thought of as an eye strike the technique offers a student solutions to drawing an attackers arms down to the centre of mass.
This is followed by a very tricky idea within Wing Tsun forms. The arms must be folded into double lan sau - elbows kept at 90 degrees in front of the solar plexus, and the full range of motion within the stance is needed to allow you to sink into a 90 degree turn. "Sitting" on the back leg places you into a very traditional Wing Tsun stance with the front leg free to step/kick as necessary. It also reminds us to draw all of your power in and down so you are not floating in a precarious position.
From an application point of view the technique offers various uses. Conceptually it teaches us to turn with power, speed and balance. When grappling this can be useful to shake off attackers looking to grapple the upper body or pin the arms. It also teaches us to move around a solid object or force without pushing against it or into it - this allows the Wing Tsun exponent to be soft and difficult to track by an attacker. It also implies that from the Biu Tze saus you can pull an opponent's head sharply down and to the side destroying their stance and leaving them incredibly vulnerable to counters.
By building up a solid base which can move, the Chum Kiu emphasises the need for balance and keeping the arms moving in proportion to the body. If one moves without the other your power and structure is broken. This leaves you weak and twisted in structure. While this may be less of a problem in more advanced systems and emergency techniques it is important to establish good practice amongst beginners.
From here the opening of the arms with double fook saus invites us to expand the chest and lever apart both our arms and those of our attackers. The three pak saus with tok saus have simple applications to break the balance of an attacker using the disruption of their joints. Followed by three palm strikes the student is given a clear message to attack back in using quick and powerful strikes whilst an assailant is off balance.
Drawing the arm back across the body it is important that as the student splits the arms into a lan sau and sau chong that they return to neutral stance. Skipping this point encoruages bad habits and poor structure. Pausing albeit briefly demonstrates great control. It also reminds the student to focus on holding the lan sau at chest height and not towards the throat or even chin as some people will commonly do.
Moving all the way over to the other 90 degree turn with a lan sau teaches the student the depth of IRAS and our ability to move. The split amongst the lan sau and sau chong as well as the sink into the stance is crucial in teaching the student how to keep out an opponents force. Turning the forearm upwards slightly allows the lan sau to become stronger and more resillient.
Forming a double tan sau reminds the student that Chum Kiu also uses one line and nods towards the lessons of the previous Siu Num Tau. Compression of the double tan into the hip allows the student to push themselves around the own centre and make a bong sau wu sau at a 45 degree angle. It is crucial the student understands to face "forwards" looking over the bong sau and in line with their wu.
These steps are teaching us how to move around a changing attacker not multiple attackers or one which can teleport! Constant referral to the direction of an attack is necessary in all aspects of Wing Tsun. Moving between the double tan and bong sau wu sau three times emphasises the use of three repetitions throught the Wing Tsun forms to teach an important idea. It also shows how we can change easily between very defensive and deep 90 degree turns and more attacking 45 turns which help us slip and evade attacks rather than contain them like the former.
The punch over the top of the final lan sau reminds us to keep our arms over the lan sau to avoid them being trapped by being pulled down and develops power and range whilst in the 90 degree stance. Likewise when drawing the arm across into the fak sau it is important the legs are pulled back into neutral stance and the "whip" of the fak sau is then achieved using the softeness in the shoulder joint to make the technique powerful.
The arm is withdrawn and sunken back into the hip. This ensures the following strike is at eye height but launched from a solid and stable base. Be careful that the hand finishes on the centre line as crossing it will pull the shoulders apart and destroy your structure. The heun sau and return to sau chong signifies the end of the section as inkeeping with the Siu Num Tau.
The fact this is repeated on the other side shows how important the lessons contained within these movements are. Likewise it teaches us to train both sides with the mechanics and spatial awareness handed down by the section. Overall it is an important preparation not just for learning to defend and move coherently but for assigning the weight and balance onto one leg allowing us the ability to kick and step in the subsequent sections. That however is another long and complex blog post for another time!
Happy training!
Dogma is your enemy
Wed, Apr 20 2011 08:15
| MMA, bjj, martial arts, boxing, tkd, training, practice, martial arts Altrincham, escrima
| Permalink
When I was fairly 'young' in terms of my Wing Tsun learning I acquired and read GM Kernspchet's amazing book – On Single Combat. Written as a thesis that was turned into a book it is a work I've yet to see bettered (please let me know if you can think of any works that do!). Moreover some of the philosophy and approaches the book proposed really made up my mind to dedicate myself to WT.
The book talked of WT not being scared to “slay sacred cows” in order to produce better results. To train what works not what worked for someone else, somewhere else in another time just “because”. GM Kernspecht has clearly adhered to this all of his life and is continuing to do so. However the same can not be said for those of us lower down the chain.
A mix of fear and arrogance meant that often I encountered those unwilling to take risks, to try something else or accept that Wing Tsun is merely one “path up the mountain” and not the be all and all of everything martial arts related. It is in fact a well rounded system but other more exclusive arts specialise and therefore can surpass WT in it's given field.
While TKD might well be considered useless beyond kicking it is a kicking art and thus far it's worth noting this when trying to learn to deal with, or even use kicks of all shapes and sizes. Likewise with BJJ on the floor, or Escrima when it comes to facing an armed attacker. What does this all mean?
Really it means that while we can't and shouldn't train every art intensely and exclusively to avoid missing some secret or hidden gem. It is important to understand that all arts have survived for one reason or another and presumably it is because for certain people they have worked – at least in a sense to make it worth saving.
Often I hear very average students and fighters dismiss out of ignorance or fear one art or another, I've done it myself enough. However until you've taken the time and courtesy to train it then you really have no right or business denigrating the efforts and beliefs or others. Your teacher should not need you getting offended on his behalf at the arts and endeavours of others. No matter what you may think or understand of them. Nor should you need to comfort yourself and your choices with such sentiments.
When a student comes from another art or even another Wing Chun lineage I never try to compete with their art or their old teacher. It's not necessary. I am happy to answer their questions, give my own thoughts on technique XYZ or explain our approach at Altrincham. I shouldn't need to trick or confuse the student with making negative and unflattering comparisons between myself and where they've been before.
Likewise I like to train other arts and rarely do I try to tell people already there that I've done other arts and training. It's nice when after a session or two they acknowledge I have some idea/training but often it leads to them wanting to hurt me (albeit good naturedly) with overenthusiastic demonstrations and conversations on why I've finally “found the right place” etc. It is polite but more importantly better for you to “empty your cup” as the Chinese say or adopt a white belt mentality. You're in their class, their world with their rules and etiquette. I find you learn and earn more respect with ease if you do as your told.
What this really brings me back around to is the underlying fear amongst WT practitioners who never get to test themselves in competition and develop all sorts of angst about it. Simply put they can often disappear into hiding themselves in increasingly narrow minded ways of thinking and practising - often searching for how the old masters did things. Ironically Kernspecht presents many theories and evidence that WT has and was always a mixture of other arts and styles that stretch back centuries and possibly millennia!
Likewise there is an eagerness to poo-poo the methods and techniques of other arts or try to add disclaimers and caveats such as “well I'd never let them get that in, in the first place” etc. Simply put this type of thing no longer interests me. I look forward to meeting people who are keen and eager to learn and practise martial arts no matter what it is. I like to share ideas and experiences and I want to unpick their know-how to use it for myself.
Going forward I intend to try and pick and choose as many arts and training methods as I can. No matter where it comes from. It's only by doing we can learn. A thousand books on martial arts aren't worth a thousand seconds of training. It's about time we all tried to embrace this.
If you teach or train in other martial arts and would like to come down to AMAC feel free! We'd love to have you, whether it's to share knowledge, try something new or introduce us to what you do. Please let us know!
The book talked of WT not being scared to “slay sacred cows” in order to produce better results. To train what works not what worked for someone else, somewhere else in another time just “because”. GM Kernspecht has clearly adhered to this all of his life and is continuing to do so. However the same can not be said for those of us lower down the chain.
A mix of fear and arrogance meant that often I encountered those unwilling to take risks, to try something else or accept that Wing Tsun is merely one “path up the mountain” and not the be all and all of everything martial arts related. It is in fact a well rounded system but other more exclusive arts specialise and therefore can surpass WT in it's given field.
While TKD might well be considered useless beyond kicking it is a kicking art and thus far it's worth noting this when trying to learn to deal with, or even use kicks of all shapes and sizes. Likewise with BJJ on the floor, or Escrima when it comes to facing an armed attacker. What does this all mean?
Really it means that while we can't and shouldn't train every art intensely and exclusively to avoid missing some secret or hidden gem. It is important to understand that all arts have survived for one reason or another and presumably it is because for certain people they have worked – at least in a sense to make it worth saving.
Often I hear very average students and fighters dismiss out of ignorance or fear one art or another, I've done it myself enough. However until you've taken the time and courtesy to train it then you really have no right or business denigrating the efforts and beliefs or others. Your teacher should not need you getting offended on his behalf at the arts and endeavours of others. No matter what you may think or understand of them. Nor should you need to comfort yourself and your choices with such sentiments.
When a student comes from another art or even another Wing Chun lineage I never try to compete with their art or their old teacher. It's not necessary. I am happy to answer their questions, give my own thoughts on technique XYZ or explain our approach at Altrincham. I shouldn't need to trick or confuse the student with making negative and unflattering comparisons between myself and where they've been before.
Likewise I like to train other arts and rarely do I try to tell people already there that I've done other arts and training. It's nice when after a session or two they acknowledge I have some idea/training but often it leads to them wanting to hurt me (albeit good naturedly) with overenthusiastic demonstrations and conversations on why I've finally “found the right place” etc. It is polite but more importantly better for you to “empty your cup” as the Chinese say or adopt a white belt mentality. You're in their class, their world with their rules and etiquette. I find you learn and earn more respect with ease if you do as your told.
What this really brings me back around to is the underlying fear amongst WT practitioners who never get to test themselves in competition and develop all sorts of angst about it. Simply put they can often disappear into hiding themselves in increasingly narrow minded ways of thinking and practising - often searching for how the old masters did things. Ironically Kernspecht presents many theories and evidence that WT has and was always a mixture of other arts and styles that stretch back centuries and possibly millennia!
Likewise there is an eagerness to poo-poo the methods and techniques of other arts or try to add disclaimers and caveats such as “well I'd never let them get that in, in the first place” etc. Simply put this type of thing no longer interests me. I look forward to meeting people who are keen and eager to learn and practise martial arts no matter what it is. I like to share ideas and experiences and I want to unpick their know-how to use it for myself.
Going forward I intend to try and pick and choose as many arts and training methods as I can. No matter where it comes from. It's only by doing we can learn. A thousand books on martial arts aren't worth a thousand seconds of training. It's about time we all tried to embrace this.
If you teach or train in other martial arts and would like to come down to AMAC feel free! We'd love to have you, whether it's to share knowledge, try something new or introduce us to what you do. Please let us know!
The 3 planes of movement
Fri, Jan 28 2011 01:01
| kettlebells, calisthenics, martial arts, weightlifting, exercise, practice, martial arts Altrincham, fitness
| Permalink
As far as I'm concerned there are (shock horror) 3 types of movement that are relevant to exercise for everyone but especially martial artists. They are as follows: pushing, pulling and rotation. The first two are perhaps the most obvious and well known in terms of lifting weights whilst the third - rotation might seem more applicable to things like stretching. However when training for martial arts it's important to recognise that we don't move in short static ranges of motion.
The true benefit of the bench press or deadlift for example, are in the bulk they add to our muscles and strain they place on our endocrine skeleton. The fact they tax more than one set of joints and release hormones into our bloodstream aiding growth and development is important, but they are not the only tools we need to add to our regimens to really succeed.
To truly test our bodies and apply more realistic challenges to our muscles it is important that every time we exercise, either in training, or the gym, we appreciate these fundamental types of movement. When we assume IRAS we 'pull' on our quadriceps and lengthen our spine, similarly we 'pull' on our lats and rotate our forearms when using tan sau. Without one the effect is lost and the structure of our shapes and movements fail.
The same concepts must be recognised when lifting weights. To truly recruit as many muscle fibres as possible and in a useful way it is important to use "multi-plane" movements. What that means in layman's terms is that we musn't just pull a dumbbell up and down, contracting our biceps to feel good and build trophy muscles.
Every week at least you should be looking to perform functional lifts. To lift a weighty object of some sort from the floor to our chest or even above our head for example. The concept of clean and press is massively taxing but works muscles and joints from toe to top whether it's a barbell, two dumbbells or something more exotic like a sandbag it matters not. As long as the lift is practised safely it will tax your body and build truly useful strength and balance over time. This is crucial for fighting - whether it's dealing with the deadweight of an adversary, or adjusting your own position under pressure and tension during conflict the benefits are obvious if you give this kind of work a chance, once a week, for a few weeks.
Similarly taking something like the humble sit up you can up the difficulty and benefits by adding a "twist". You'll probably have seen people sitting up and twisting towards one knee or using a swiss ball to challenge their core stability and wondering why. The simple answer is - it's harder! It tests your resourcefulness, strength and stability and will up your output and fitness quickly and powerfully. I like to perform a jab cross combo at the top of a sit up. With your lower body anchored it places extra stretches to the arms and upper body, increases the exercise with a slight cardio element and keeps you focussed and occupied during an endless set of ab work.
For those who are really looking for something difficult the kettlebell is a of course great place to look. It's off centre balance and abilty to be swung, pushed, pulled and flipped in a multitude of ways incorporates everything I've been talking about. However think about performing lifts with a weight in each hand. It allows the flexibilty to add rotations to a lift eg twist to one side as you perform a shoulder press and do the same on the other side. It also allows you to link lifts together eg bicep curl to shoulder press to squat. Imagine the concept of varients of a burpee with weights and you'll get the right idea.
Look to change direction, change the type of motion and finally change the muscle group or body part under tension with each link of the chain as it were. Do some research, experiment without wieghts or at least tiny wieghts at first and see how creative you can be.
If you like some ideas feel free to let me know but here's a few "chains" if you will, I really like.
Clean and press: Deadlift, clean the barbell to shoulders, pause, press above the head. Very difficult and gets the sweat pouring!
Abs-1-2: As you sit up throw a strong jab over the right knee followed swiftly by a cross over the left. Be sure to breathe out (I snort "1-2!" as I do it) and get a full twist of the torso into this one. It works the obliques which run under the ribs beside what most people think of as your abs and are criminally under worked by most.
Manmaker to press: Hold yourself in press up position. Pull the dumbell upwards in one hand as if performing a one armed row. Brace yourself on the planted arm and twist the torso 90 degrees with the rowed weight on top. Press out and directly upwards with your shoulder under the dumbell supporting it. The body should be in one straight diagonal line from the toes to the head with the weight raised directly upwards. Return the weight to the body, rotate backwards and return to the original press up position. Repeat on the other side.
The true benefit of the bench press or deadlift for example, are in the bulk they add to our muscles and strain they place on our endocrine skeleton. The fact they tax more than one set of joints and release hormones into our bloodstream aiding growth and development is important, but they are not the only tools we need to add to our regimens to really succeed.
To truly test our bodies and apply more realistic challenges to our muscles it is important that every time we exercise, either in training, or the gym, we appreciate these fundamental types of movement. When we assume IRAS we 'pull' on our quadriceps and lengthen our spine, similarly we 'pull' on our lats and rotate our forearms when using tan sau. Without one the effect is lost and the structure of our shapes and movements fail.
The same concepts must be recognised when lifting weights. To truly recruit as many muscle fibres as possible and in a useful way it is important to use "multi-plane" movements. What that means in layman's terms is that we musn't just pull a dumbbell up and down, contracting our biceps to feel good and build trophy muscles.
Every week at least you should be looking to perform functional lifts. To lift a weighty object of some sort from the floor to our chest or even above our head for example. The concept of clean and press is massively taxing but works muscles and joints from toe to top whether it's a barbell, two dumbbells or something more exotic like a sandbag it matters not. As long as the lift is practised safely it will tax your body and build truly useful strength and balance over time. This is crucial for fighting - whether it's dealing with the deadweight of an adversary, or adjusting your own position under pressure and tension during conflict the benefits are obvious if you give this kind of work a chance, once a week, for a few weeks.
Similarly taking something like the humble sit up you can up the difficulty and benefits by adding a "twist". You'll probably have seen people sitting up and twisting towards one knee or using a swiss ball to challenge their core stability and wondering why. The simple answer is - it's harder! It tests your resourcefulness, strength and stability and will up your output and fitness quickly and powerfully. I like to perform a jab cross combo at the top of a sit up. With your lower body anchored it places extra stretches to the arms and upper body, increases the exercise with a slight cardio element and keeps you focussed and occupied during an endless set of ab work.
For those who are really looking for something difficult the kettlebell is a of course great place to look. It's off centre balance and abilty to be swung, pushed, pulled and flipped in a multitude of ways incorporates everything I've been talking about. However think about performing lifts with a weight in each hand. It allows the flexibilty to add rotations to a lift eg twist to one side as you perform a shoulder press and do the same on the other side. It also allows you to link lifts together eg bicep curl to shoulder press to squat. Imagine the concept of varients of a burpee with weights and you'll get the right idea.
Look to change direction, change the type of motion and finally change the muscle group or body part under tension with each link of the chain as it were. Do some research, experiment without wieghts or at least tiny wieghts at first and see how creative you can be.
If you like some ideas feel free to let me know but here's a few "chains" if you will, I really like.
Clean and press: Deadlift, clean the barbell to shoulders, pause, press above the head. Very difficult and gets the sweat pouring!
Abs-1-2: As you sit up throw a strong jab over the right knee followed swiftly by a cross over the left. Be sure to breathe out (I snort "1-2!" as I do it) and get a full twist of the torso into this one. It works the obliques which run under the ribs beside what most people think of as your abs and are criminally under worked by most.
Manmaker to press: Hold yourself in press up position. Pull the dumbell upwards in one hand as if performing a one armed row. Brace yourself on the planted arm and twist the torso 90 degrees with the rowed weight on top. Press out and directly upwards with your shoulder under the dumbell supporting it. The body should be in one straight diagonal line from the toes to the head with the weight raised directly upwards. Return the weight to the body, rotate backwards and return to the original press up position. Repeat on the other side.
8 Basic Steps
Sun, Nov 7 2010 11:50
| martial arts, form, technique, 8 basic steps, Wing Tsun Kung fu, practice, martial arts Altrincham, footwork
| Permalink
Points to Remember
Always start in IRAS. Assume the stance slowly and carefully. Ensure you are relaxed and able to move. Tightening the stance to try and be correct does more harm than good. The whole point of footwork is to teach yourself to move. Don't inhibit that before you've even gotten going! See my blog “Should it hurt like that” for a greater explanation. (http://martialstatus.blogspot.com/2010/10/should-it-hurt-like-that.html)
Never bring your feet together. You should always finish with your feet at hip width apart to allow you to be stable, balanced and have freedom to move within your stance.
Circling Step
Move your weight onto your standing leg. Keep your torso facing forwards. Bring your free foot together with the standing foot. Push the foot forwards and away from the standing leg. As it begins to circle ensure a smooth path along the floor. Keep your body sunk and head up – look forward.
For more advanced students the balance should shift from the heel going forward to the toes as it returns.
The outside of the circle should use the outside of the foot and vice versa.
45 Degree Shift
Shift your weight completely onto the standing leg. Remaining forward and square on at first. Turn your free foot slowly using the middle of the foot. Turning the body and centre line to a 45 degree angle.
Be strict not to over turn your body. Also do not allow your heel to push forward and break the line of the leg in relation to the body.
90 Degree Turn
Repeat the 45 degree shift. To continue to 90 degrees push your turning hip backwards and the standing hip forwards. This stretches the muscles creating tension and also squares the torso. Remember all of these steps are looking at the most extreme range of motion.
Advancing Step
From IRAS move the front leg onto the centreline in front of you. As you transfer the weight forward slide the back leg in behind the front foot. Sink the weight back down onto the back leg. This process will use adduction to power the step. Use the floor to transfer your centre of gravity throughout the step.
Remember to “twist” the hips back to the front in the same manner as the 90 degree turn. This stops your body pointing in a different direction to the one you're facing. Slide the front back along the diagonal followed by the standing foot to return to IRAS.
Side Step
Slide one foot laterally about six inches away from your stance. You should feel your stance stretch and your head sink. Transfer your weight onto the stepping foot. Allow the free leg to slide across using the tension created by the initial step.
DO NOT bring your feet together. Maintain the same distance as before still in IRAS.
Arrow Walk
Assume frontal stance as found in advancing step. Lift the front foot and place it in front of you. Imagine digging the toe into the ground and dragging yourself forward. Keep the back foot on the floor and do not push off the back foot and over the front one.
Maintain frontal stance and keep the hips and shoulders forward. Try not to lurch from front to back keep your head back and bum down as you step up and down the room.
Drop StepPlace one foot in front of you on the centre line. Move your weight forward onto the stepping foot. Pivot on the stepping foot and sink your weight backwards over the leg. As you sink turn the free foot to face on the angle. You should now be facing “behind” from where you started but off on a 45 degree angle.
This is a very difficult step to master so take your time and try not to be frustrated. Remember it is designed to move you away from an attacker and use the power of a sinking turn to your advantage.
Parallel Advance
The alternative name for the parallel advance is the flanking step and the clue is in the name (both of the them). Move your foot in front of you on the shoulder line – not into the centreline. As you land the other foot ensure you turn onto the 45 degree angle to complete the step.
Ensure that both feet finish parallel to each other with the toes and heels in line, and both turned to 45 degrees. Your weight should be over to one side the free foot should slide into the centreline of an opponent. This disrupts their balance and more importantly allows you to attack them on an angle by flanking up their outside.
Feel free to leave any questions or comments and ask for any clarification needed.
Always start in IRAS. Assume the stance slowly and carefully. Ensure you are relaxed and able to move. Tightening the stance to try and be correct does more harm than good. The whole point of footwork is to teach yourself to move. Don't inhibit that before you've even gotten going! See my blog “Should it hurt like that” for a greater explanation. (http://martialstatus.blogspot.com/2010/10/should-it-hurt-like-that.html)
Never bring your feet together. You should always finish with your feet at hip width apart to allow you to be stable, balanced and have freedom to move within your stance.
Circling Step
Move your weight onto your standing leg. Keep your torso facing forwards. Bring your free foot together with the standing foot. Push the foot forwards and away from the standing leg. As it begins to circle ensure a smooth path along the floor. Keep your body sunk and head up – look forward.
For more advanced students the balance should shift from the heel going forward to the toes as it returns.
The outside of the circle should use the outside of the foot and vice versa.
45 Degree Shift
Shift your weight completely onto the standing leg. Remaining forward and square on at first. Turn your free foot slowly using the middle of the foot. Turning the body and centre line to a 45 degree angle.
Be strict not to over turn your body. Also do not allow your heel to push forward and break the line of the leg in relation to the body.
90 Degree Turn
Repeat the 45 degree shift. To continue to 90 degrees push your turning hip backwards and the standing hip forwards. This stretches the muscles creating tension and also squares the torso. Remember all of these steps are looking at the most extreme range of motion.
Advancing Step
From IRAS move the front leg onto the centreline in front of you. As you transfer the weight forward slide the back leg in behind the front foot. Sink the weight back down onto the back leg. This process will use adduction to power the step. Use the floor to transfer your centre of gravity throughout the step.
Remember to “twist” the hips back to the front in the same manner as the 90 degree turn. This stops your body pointing in a different direction to the one you're facing. Slide the front back along the diagonal followed by the standing foot to return to IRAS.
Side Step
Slide one foot laterally about six inches away from your stance. You should feel your stance stretch and your head sink. Transfer your weight onto the stepping foot. Allow the free leg to slide across using the tension created by the initial step.
DO NOT bring your feet together. Maintain the same distance as before still in IRAS.
Arrow Walk
Assume frontal stance as found in advancing step. Lift the front foot and place it in front of you. Imagine digging the toe into the ground and dragging yourself forward. Keep the back foot on the floor and do not push off the back foot and over the front one.
Maintain frontal stance and keep the hips and shoulders forward. Try not to lurch from front to back keep your head back and bum down as you step up and down the room.
Drop StepPlace one foot in front of you on the centre line. Move your weight forward onto the stepping foot. Pivot on the stepping foot and sink your weight backwards over the leg. As you sink turn the free foot to face on the angle. You should now be facing “behind” from where you started but off on a 45 degree angle.
This is a very difficult step to master so take your time and try not to be frustrated. Remember it is designed to move you away from an attacker and use the power of a sinking turn to your advantage.
Parallel Advance
The alternative name for the parallel advance is the flanking step and the clue is in the name (both of the them). Move your foot in front of you on the shoulder line – not into the centreline. As you land the other foot ensure you turn onto the 45 degree angle to complete the step.
Ensure that both feet finish parallel to each other with the toes and heels in line, and both turned to 45 degrees. Your weight should be over to one side the free foot should slide into the centreline of an opponent. This disrupts their balance and more importantly allows you to attack them on an angle by flanking up their outside.
Feel free to leave any questions or comments and ask for any clarification needed.
Complete Siu Num Tao Form
Tue, Nov 2 2010 11:32
| martial arts, form, Wing Tsun Kung fu, practice, martial arts Altrincham, siu num tao
| Permalink
Section 0: The Opening
Section 1
Section 2
Section3: Three Prayers to Buddha
The 3rd section of SNT is often cited by GM Kernspecht as the most important and therefore it is seen as the most complicated and profound by many students. However here's an easy check-list to help walk you through this section.
Section 6
Section 7
Like much of Wing Tsun this section maybe incredibly short but the subtle level of detail is amazing and incredibly effective.
Section 8
There it is, the complete synopsis of the form. Please take your time to read it carefully. If you have questions, suggestions or any of it is unclear – do not hesitate to ask. Happy training!
- Stand up tall with the feet together and pointing forwards. Inhale deeply through the nose and exhale through the mouth at least three times. This is to help focus and relax you
- Pull your fists up under your armpits making double sau chong – You should make two “wings” and feel a stretch across your chest however be relaxed it should not be that tight. Bend your knees keeping the head up and facing forwards.
- Slide feet outwards opening from the heels making a V-shaped stance. Keeping the feet on the floor slide them apart on the toes making making the feet slope inwards. Do not “bounce” in the stance. Lifting the feet off the floor also ruins the alignment and accuracy of the stance.
Section 1
- From IRAS make a double tan sau (upward facing palm) meeting at the wrists on the centreline in front of you. Ensure arms a straight and hands aligned with the forearms. Leave a small gap between the hands so that they are not elongating the shape. The left arm must ALWAYS be on top of the right arm.
- Drop the arms straight down into a double gan sau (splitting hand) directly beneath the previous position. Wrists should meet on the centre line and the arms should cover the lower portion of the body. Again left over right in terms of the arms and keep them away from the body.
- Rotate the arms inwards slightly and draw both arms back up into the initial double tan sau (upwards facing palm) position. Check it is of the same standard as before. Withdraw the arms to double sau chong to complete the section.
Section 2
- Take the left arm and move the fist down over the solar plexus. Keep the fist vertical and the knuckles facing towards their intended target (outwards and slightly upwards). Try to feel a stretch across the shoulder blade and the muscles storing energy for the punch
- Release the fist outwards and upwards. Keep the arm relaxed and focus on using the tricep to power the punch. Advanced exponents will feel a sinking backwards to counter balance the force forwards from the punch
- Repeat on the other side to complete the section
Section3: Three Prayers to Buddha
The 3rd section of SNT is often cited by GM Kernspecht as the most important and therefore it is seen as the most complicated and profound by many students. However here's an easy check-list to help walk you through this section.
- First of all make a tan sau straight and direct out in front of you, check the wrist is in line with your centre and the elbow is about a fist's distance from the ribs.
- Drop your fingers down and pull them up and round into a wu sau. Let this wu sau sink down and back towards the solar plexus. DO NOT bend the elbow but try to pull your shoulder blade down and back and keep the fingers vertical.
- Relax your hand and push forward with a fook sau. Using the wrist as a guide and the elbow following in tight to the body – use the same line as the punch in section two.
- Drop the fingers again to make a wu sau pushing the forearm out and up to command the space on the centre line. Draw the arm back towards the solar plexus. Repeat the fook sau process until you have made 3 fook saus in total (hence the name of the section).
- On the last (and fourth) wu sau returning to the solar plexus, pak sau across and bring the hand back to the wu sau position. Palm straight down the centre line fingers pointing upwards. Drop the hand so it lays flat and huen sau (rotate the wrist right round as in section 2) bringing the arm back to sau chong.
- Repeat this process on the right arm too to complete the section.
- Push a gum sau straight down your left hand side parallel to the thigh and then do the same with your right hand gum sau. Push directly down from sau chong do not raise the hands up or aim away from the body.
- Draw the back of the hands up until the rest in the small of your back – strike directly away from your body with double long bridge gum saus. Do not push “out” and cause the arms to become disconnected from the body remain in a straight line. Draw the arms back and around to the front striking with double long bridge gum saus in front of you this time.
- The arms then form a double lan sau with the left hand on top. Ensure that there is a small gap between the forearms to maintain tension and allow you to move them. Your fingers should line up with your elbows. Strike outwards with a double fak sau. DO NOT push your shoulders forwards by squeezing them together or try to reach behind you. The arms are fully extended but remain IN FRONT of the chest not in line with it. You should be able to press your back against a wall and do this move and not hit the wall.
- The arms return to double lan sau this time with the right arm on top. Always ensure you keep the elbows and shoulders at 90 degrees to maintain strength and structure.
- Rotate the arms into a double jum sau – remember to keep them at half widths on the nipple line NOT the shoulder line. Rotate the palms upwards and raise the arms to shoulder height with double tok sau. Rotate the palms downwards and push down with a double jut sau. Notice that the hands stay close together and the arms are never extended but kept close to the body.
- Thrust the arms forward with a double biu tze sau to the height of your shoulders – arms should be fully extended. Push them downwards to the hips with a double long bridge gum sau – The hands should be in line with the hips now. Draw the arms up with a double ti sau to shoulder height – imagine the wrists are being pulled upwards as if on strings the hand are cocked to allow you to strike with the large surface area of the wrist.
- Return the arms to double sau chong to complete the section
This section of the form is often people's favourite as it so clearly accessible. It has the most dynamic movements and clear applications in it. The real lesson of the form is that you can strike in any direction behind you, in front of you, to the side, upwards or downwards. As you rep it think about the practicalities of each move and what it is telling you.
The first half of the form is very dynamic and moves in many directions striking imaginary opponents from all angles. But the second half (from double jum sau onwards) keeps both hands moving in parallel in front of the body. Alternating between the shoulder height and hip height with movements that control an opponent before striking them. Consider the pattern of double tok (lift their arms) double jut (pull their arms down) double biu (strike their head) double gum (control their arms) double ti (strike their head) finish.
It is clear this section has a strong martial bent isn't so esoteric but there is much depth and layers to it. From evading opponents to disarming them it also teaches the strong angles and lines we need to use to be successful and the discipline required to keep our arms in certain places to make the movements work.
Section 5
- Left Pak Sau (slapping hand) across to the shoulder line. This is the same as the Pak Sau in Section 3 and throughout Wing Tsun
- Drop the hand back onto the centre line, rotate the thumb back and down maintaining an angle. The hand should be 'bent backwards' to form a triangle with the wrist. This stretch across the fingers and wrist helps power the strike
- Strike down the centre line using the blade of the little finger keeping the hand in the same position. This is called Chen Sau (spade palm) This strike is particularly effective to the throat or eye socket and can also be used lower down into the floating ribs.
- Huen Sau back into Sau Chong
- Repeat for both sides
This concludes section 5. A very short section it teaches us a new strike in chen sau and highlights the importance of keeping within the shoulder line and attacking on the diagonals. Chen Sau is always applied with a shift to deliver maximum effectiveness.
Section 6
- Tan Sau (upward facing palm) then Jum Sau (sinking arm) onto the centre line. Drop the arm down and Gwat Sau (sweeping arm) out and down to the outside edge of the thigh.
- Rotate the hand so it faces upwards and the thumb points outwards. Lift the hand up using Tok Sau (lifting hand) to the height of the shoulder line. The elbow should be bent and the hand pointing out diagonally from the body.
- Perform a “half” Huen Sau so that the tips of the fingers are pointing away and the heel of the hand is in line with your shoulder. Palm strike down and across to the opposite hip. The heel of the hand now in line with your hip NOT your centre line.
- A complete Huen Sau here and return the arm to Sau Chong
- Repeat for the other arm to complete the section.
This section is always considered rather “fiddly” by beginners and it can be quite confusing. The arm jumps around from side to side and changes in height and relation to the body. The centre line is no longer the marker for all the moves as Section 6 uses the outside edge of the body and varying heights too.
It is therefore important to be aware of your whole body – not to let the shoulders come forward or backwards and not to let the arm drift away from the body. The most obvious application is using the tok sau onwards to deal with a high kick to the body or head. Scooping the kicker's leg up and slamming them down on the floor.
Section 7
- Left bon sau (wing arm) in front of the body. Ensure the middle of your forearm aligns with the centre-line.
- Drop the elbow and tan sau (upward facing palm). Keep the arm from straying away from the centre line.
- Drop the fingers and strike upwards along the centre-line towards the chin. Often the arm can stray down the shoulder line instead of on target. Heun Sau to finish.
- Repeat on the other side.
Like much of Wing Tsun this section maybe incredibly short but the subtle level of detail is amazing and incredibly effective.
Section 8
- Put the left arm out like a gan sau (splitting arm) BUT with the right hand laying palm side up at the elbow. The thumb of the right hand should be facing down towards your hand.
- Rotate the right hand and 'scrape' the little finger edge down the forearm. As it hits your wrist bone rotate and draw back the left arm. Swap the positions over so that the left hand is now lying flat on the elbow of an outstretched right arm. This is called tut sau (freeing arm)
- Perform tut sau (freeing arm) a total of three time. Left – right – left. When swapping sides make sure the wrist of the bottom arm is on the centre line.One the final repetition the hand must return to the centre line as a wu sau (protective hand) and not across the body to the elbow.
- Flow in to three punches down the centre line. Left – right - left. On the last punch return the right arm back to sau chong after a huen sau.
- Push both hands down your sides with gum saus (pinning hands) and bring the feet together so that you are standing upright. You have now completed the form.
There it is, the complete synopsis of the form. Please take your time to read it carefully. If you have questions, suggestions or any of it is unclear – do not hesitate to ask. Happy training!
Sections 5 and 6 SNT
Sat, Oct 16 2010 03:13
| martial arts, training, form, Wing Tsun Kung fu, practice, martial arts Altrincham, siu num tao
| Permalink
Section 5
This concludes section 5. A very short section it teaches us a new strike in chen sau and highlights the importance of keeping within the shoulder line and attacking on the diagonals. Chen Sau is always applied with a shift to deliver maximum effectiveness.
Section 6
This section is always considered rather “fiddly” by beginners and it can be quite confusing. The arm jumps around from side to side and changes in height and relation to the body. The centre line is no longer the marker for all the moves as Section 6 uses the outside edge of the body and varying heights too.
It is therefore important to be aware of your whole body – not to let the shoulders come forward or backwards and not to let the arm drift away from the body. The most obvious application is using the tok sau onwards to deal with a high kick to the body or head. Scooping the kicker's leg up and slamming them down on the floor.
- Left Pak Sau (slapping hand) across to the shoulder line. This is the same as the Pak Sau in Section 3 and throughout Wing Tsun
- Drop the hand back onto the centre line, rotate the thumb back and down maintaining an angle. The hand should be 'bent backwards' to form a triangle with the wrist. This stretch across the fingers and wrist helps power the strike
- Strike down the centre line using the blade of the little finger keeping the hand in the same position. This is called Chen Sau (spade palm) This strike is particularly effective to the throat or eye socket and can also be used lower down into the floating ribs.
- Huen Sau back into Sau Chong
- Repeat for both sides
This concludes section 5. A very short section it teaches us a new strike in chen sau and highlights the importance of keeping within the shoulder line and attacking on the diagonals. Chen Sau is always applied with a shift to deliver maximum effectiveness.
Section 6
- Tan Sau (upward facing palm) then Jum Sau (sinking arm) onto the centre line. Drop the arm down and Gwat Sau (sweeping arm) out and down to the outside edge of the thigh.
- Rotate the hand so it faces upwards and the thumb points outwards. Lift the hand up using Tok Sau (lifting hand) to the height of the shoulder line. The elbow should be bent and the hand pointing out diagonally from the body.
- Perform a “half” Huen Sau so that the tips of the fingers are pointing away and the heel of the hand is in line with your shoulder. Palm strike down and across to the opposite hip. The heel of the hand now in line with your hip NOT your centre line.
- A complete Huen Sau here and return the arm to Sau Chong
- Repeat for the other arm to complete the section.
This section is always considered rather “fiddly” by beginners and it can be quite confusing. The arm jumps around from side to side and changes in height and relation to the body. The centre line is no longer the marker for all the moves as Section 6 uses the outside edge of the body and varying heights too.
It is therefore important to be aware of your whole body – not to let the shoulders come forward or backwards and not to let the arm drift away from the body. The most obvious application is using the tok sau onwards to deal with a high kick to the body or head. Scooping the kicker's leg up and slamming them down on the floor.
The Daily Grind
Wed, Sep 8 2010 12:01
| martial arts, training, fighting, Wing Tsun Kung fu, practice, martial arts Altrincham, fitness
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Food, Water, Air – what have they all got in common? Without a good dose of each everyday you'd be in trouble and in once case dead! As martial artists or even anyone who is vaguely athletic there is one more thing you should add to the list – practice! Too often I hear students complain they don't pick up things in training and when I ask how often they practice they usually go all shy.
It's tough finding the time and even I have days off – I get ill, and sometimes go on holiday. Life can get in the way. But what often happens is an excuse becomes a reason which becomes a habit and then a person finds themselves justifying not practising at all between sessions. But really it comes down to expectations. Yours and mine. I have come across people who presume that all of their training and learning must come in the window that is a training session.
At two hours long our sessions are as long as I can make them to accommodate as much training as possible. To incorporate the physical elements of Wing Tsun training isn't always easy just as learning it is a challenge so is ensuring people are nourished with all the elements of Chi Sau, Lat Sau and Form as well as the basics can be confusing for some people. So what can they do to answer any questions they have?
Well the first thing is ensure they can't answer it themselves first. Often after demoing something, there will be someone who doubts a specific idea or piece of information I've just given the class. But without trying it a few times first how do they know if I'm wrong or not? They don't obviously.
The same applies at the end of a session. If you are brimming with questions ensure the most important one isn't displaced by lots of lesser ones.
Often just 15 minutes per day of practising foot steps or hand-shapes as well as form can solve many problems or give you an informed idea of things you are unsure about. This is especially important if you only train once a week. The time between two sessions is vast and you can easily forget the problem you were trying to solve in the first place! A little bit of practice everyday can keep ideas fresh in your head as well as improve your knowledge, fine motor skills and understanding of your own body and its capabilities.
Of course if you're really dedicated you can stretch it to half an hour or even a full hour as often as possible! The choice is yours.
It's tough finding the time and even I have days off – I get ill, and sometimes go on holiday. Life can get in the way. But what often happens is an excuse becomes a reason which becomes a habit and then a person finds themselves justifying not practising at all between sessions. But really it comes down to expectations. Yours and mine. I have come across people who presume that all of their training and learning must come in the window that is a training session.
At two hours long our sessions are as long as I can make them to accommodate as much training as possible. To incorporate the physical elements of Wing Tsun training isn't always easy just as learning it is a challenge so is ensuring people are nourished with all the elements of Chi Sau, Lat Sau and Form as well as the basics can be confusing for some people. So what can they do to answer any questions they have?
Well the first thing is ensure they can't answer it themselves first. Often after demoing something, there will be someone who doubts a specific idea or piece of information I've just given the class. But without trying it a few times first how do they know if I'm wrong or not? They don't obviously.
The same applies at the end of a session. If you are brimming with questions ensure the most important one isn't displaced by lots of lesser ones.
Often just 15 minutes per day of practising foot steps or hand-shapes as well as form can solve many problems or give you an informed idea of things you are unsure about. This is especially important if you only train once a week. The time between two sessions is vast and you can easily forget the problem you were trying to solve in the first place! A little bit of practice everyday can keep ideas fresh in your head as well as improve your knowledge, fine motor skills and understanding of your own body and its capabilities.
Of course if you're really dedicated you can stretch it to half an hour or even a full hour as often as possible! The choice is yours.
One to One Action
Wed, Sep 1 2010 03:34
| private lessons, martial arts, pricing, training, Wing Tsun Kung fu, practice, martial arts Altrincham
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Whenever I've joined or worked with a martial arts class be it my own, another WT group or even other arts and styles you see the same thing every time amongst the students. You see the guy who is always late or skipping sessions with flimsy excuses, the guy who never listens and always practices his interpretation of the exercise set. There's also the fella who questions every detail or idea before trying it first alongside the guy who seems to pick everything up after one demonstration.
You might recognise yourself or more likely a buddy in amongst those caricatures with a laugh or wry smile. I can tell you that at one point or another I've felt like every single one of those guys and more. But it's the last fella I want to talk about here. The guy who always seems to know what's going on in class, what each exercise is roughly about and where it fits in to the rest of his training. Some dismiss it as natural talent - “he's just got the knack and doesn't need to work at it” but I would honestly say it's one in a thousand who naturally pick everything up with little reference or coaching and that's being generous.
Look at what this guy does in training – I bet you any money he turns up early every session. I bet you he phones his instructor when he's too sick and gives a week's notice when he's going away etc. so he never misses a thing and reminds his instructor when he's missed a lesson or exercise. When the teacher calls you round to demonstrate does this guy get picked out to demonstrate on or is he almost pushing forward to get as close to the demo as possible? Of course he is.
To really excel it takes it hard work, dedication and patience. You have to accept that some days aren't your days, that plateaus will come and go and these are not points at which to give up. I don't mind admitting I've contemplated packing up WT and martial arts altogether now and again. I've heard some rather pathetic excuses from quitters in passing “I didn't have the time” can be complimented by “I didn't understand it” or the ludicrous such as “I didn't like X in the club”. You'll notice that these people always look to others and external factors as being responsible for their failures. That there is no talk of what they did to fix these problems first.
The guy who walks away from my class because he “didn't understand” was also the guy that never once asked a question, or accepted help. He never acknowledged emails or asked about what he could do at home. These aren't cardinal sins but look at them as choices. How does he expect to understand something he doesn't engage in? Turning up for an hour or two a week is a great start but to achieve more you have to do more. What does our friend from earlier do when he finds himself no longer understanding?
Usually he'll pull me aside during practice time or at the end of the lesson and run his questions or thoughts by me. In some cases we might not have the time or scope to fix it there and then. Often we then look at scheduling some extra time in the form of a private lesson. “Privates” as we call them at my club are usually an hour long lesson booked at the students convenience and basically they get the use of myself to work on ideas, topics and material they feel they are lacking in or I feel will steer them in the right direction. The time spent one to one is usually like a month's worth of classes in one shot for a lot less money and time.
Before gradings I get lots of requests for my time but students requiring extra time and attention can call on me at any time. These types of lessons were a resource I used successfully with my teachers. Even when I was a student and struggling for cash I always found a way. A private once a month, a seminar, a week long course were all paid for because my training was priority number one. That's not the case for everyone. You need to to sit down and think about how much it's worth to you before embarking on private lessons.
In privates all your mistakes are analysed they can be spotted and usually fixed there and then. Or alternative ways of training can be laid out. You can get a chance to feel how every impulse and exercise is intended to be as your instructor is the person feeding you everything you need as many times as you need it. Many students arrive for a private lesson and then have no idea what they want or need to cover in the hour. Trust me, your teacher will know what you need.
The benefit of privates are numerous. You can get a feel for gaps in your knowledge, you can also get a much deeper understanding of a topic so when it pops up in class you're one step ahead. You also find it promotes a respect and trust between you and your teacher. If you spend more time and money seeking out your teacher this is not only a compliment to them but it shows a desire to learn and achieve. Something highly valued in students by instructors.
Some people will book sessions in an ad hoc fashion, some will have one session and not feel the need to have another for months some students book one every week almost always in the same time slot. It's a personal choice. In my club I offer discounts for regular bookings. The money is less important than encouraging students to train more and seek more input into their WT. A one off session costs £23 and a regular booking or a block of ten are priced at £20 per hour respectively. Compared to music lessons, or personal trainers we tend to be cheaper not because WT is worth less but because very often students are already spending money on regular class sessions and I like to focus on getting more sweat, dedication and questions out of my students than their pin numbers.
Now ask yourself, whereabouts the guy at the front of the class always watching, always asking questions in his own time fits in? How many private lessons does he take to get ahead? It doesn't really matter does it? The question is what are you doing and prepared to do to learn more? How much effort are you happy with to feel like you are progressing?
The answers across a class will vary wildly and so they should. Not everyone can excel and not everyone will. But what everyone can do is fulfil their potential. To do that they must be prepared to push on a little bit – to go to that extra session, to accept the opportunities presented to them when they can. Otherwise you're wasting my time and even worse you're wasting your own.
You might recognise yourself or more likely a buddy in amongst those caricatures with a laugh or wry smile. I can tell you that at one point or another I've felt like every single one of those guys and more. But it's the last fella I want to talk about here. The guy who always seems to know what's going on in class, what each exercise is roughly about and where it fits in to the rest of his training. Some dismiss it as natural talent - “he's just got the knack and doesn't need to work at it” but I would honestly say it's one in a thousand who naturally pick everything up with little reference or coaching and that's being generous.
Look at what this guy does in training – I bet you any money he turns up early every session. I bet you he phones his instructor when he's too sick and gives a week's notice when he's going away etc. so he never misses a thing and reminds his instructor when he's missed a lesson or exercise. When the teacher calls you round to demonstrate does this guy get picked out to demonstrate on or is he almost pushing forward to get as close to the demo as possible? Of course he is.
To really excel it takes it hard work, dedication and patience. You have to accept that some days aren't your days, that plateaus will come and go and these are not points at which to give up. I don't mind admitting I've contemplated packing up WT and martial arts altogether now and again. I've heard some rather pathetic excuses from quitters in passing “I didn't have the time” can be complimented by “I didn't understand it” or the ludicrous such as “I didn't like X in the club”. You'll notice that these people always look to others and external factors as being responsible for their failures. That there is no talk of what they did to fix these problems first.
The guy who walks away from my class because he “didn't understand” was also the guy that never once asked a question, or accepted help. He never acknowledged emails or asked about what he could do at home. These aren't cardinal sins but look at them as choices. How does he expect to understand something he doesn't engage in? Turning up for an hour or two a week is a great start but to achieve more you have to do more. What does our friend from earlier do when he finds himself no longer understanding?
Usually he'll pull me aside during practice time or at the end of the lesson and run his questions or thoughts by me. In some cases we might not have the time or scope to fix it there and then. Often we then look at scheduling some extra time in the form of a private lesson. “Privates” as we call them at my club are usually an hour long lesson booked at the students convenience and basically they get the use of myself to work on ideas, topics and material they feel they are lacking in or I feel will steer them in the right direction. The time spent one to one is usually like a month's worth of classes in one shot for a lot less money and time.
Before gradings I get lots of requests for my time but students requiring extra time and attention can call on me at any time. These types of lessons were a resource I used successfully with my teachers. Even when I was a student and struggling for cash I always found a way. A private once a month, a seminar, a week long course were all paid for because my training was priority number one. That's not the case for everyone. You need to to sit down and think about how much it's worth to you before embarking on private lessons.
In privates all your mistakes are analysed they can be spotted and usually fixed there and then. Or alternative ways of training can be laid out. You can get a chance to feel how every impulse and exercise is intended to be as your instructor is the person feeding you everything you need as many times as you need it. Many students arrive for a private lesson and then have no idea what they want or need to cover in the hour. Trust me, your teacher will know what you need.
The benefit of privates are numerous. You can get a feel for gaps in your knowledge, you can also get a much deeper understanding of a topic so when it pops up in class you're one step ahead. You also find it promotes a respect and trust between you and your teacher. If you spend more time and money seeking out your teacher this is not only a compliment to them but it shows a desire to learn and achieve. Something highly valued in students by instructors.
Some people will book sessions in an ad hoc fashion, some will have one session and not feel the need to have another for months some students book one every week almost always in the same time slot. It's a personal choice. In my club I offer discounts for regular bookings. The money is less important than encouraging students to train more and seek more input into their WT. A one off session costs £23 and a regular booking or a block of ten are priced at £20 per hour respectively. Compared to music lessons, or personal trainers we tend to be cheaper not because WT is worth less but because very often students are already spending money on regular class sessions and I like to focus on getting more sweat, dedication and questions out of my students than their pin numbers.
Now ask yourself, whereabouts the guy at the front of the class always watching, always asking questions in his own time fits in? How many private lessons does he take to get ahead? It doesn't really matter does it? The question is what are you doing and prepared to do to learn more? How much effort are you happy with to feel like you are progressing?
The answers across a class will vary wildly and so they should. Not everyone can excel and not everyone will. But what everyone can do is fulfil their potential. To do that they must be prepared to push on a little bit – to go to that extra session, to accept the opportunities presented to them when they can. Otherwise you're wasting my time and even worse you're wasting your own.