詠春拳系列 詠春拳體系教學六點半棍

我是Dayton Ohio的文春博物館創辦人Benny Meng 這會是第九集 主題是在葉蒙系統的六丁博物館 我用了這個詞來形容系列 因為這就是它 在葉蒙系統中我訓練的家庭大多數人 每一個人都有一些不同的六丁博物館 所以關鍵在於看哪一個系列是正確的 因為這個系列可能會有不同的 而技術也可能會有不同的 所以要了解六丁博物館 這個系列的主題就是關鍵 在這個系列中 我會把六丁博物館分成幾個步驟 基於瞭解和訓練的步驟 首先我會講解六丁博物館的基本歷史 然後是六丁博物館的基本運動 第三是六丁博物館的基本動作 你已經看到了這個系列 最後最重要的是概念 基本運動 這是基本的 因為基本運動主要是訓練正確的動作 讓我們能夠訓練正確的技術 我們會分成空手 單手運動 然後是雙手運動 首先我想要示範的是空手 傳統叫做曲重 直到現在你已經看到了 四輪頭重錶 錶節 木引裝 所有動作都涵蓋著六個關鍵的動作 但傳統的動作都是直接來自小鈴 所以我們會介紹四平排馬 大拳拳 因為要維持更長更重的武器 拳法總是最基本的 所以這個運動是訓練正確的 我們叫做曲重 曲重訓練了基本的健身 機械 並介紹了四輪頭重錶 接下來我們有一個系列基本的運動 叫做單手領冠 記住這是一步一步的進步訓練 六個關鍵的關鍵動作 所以對於初學者 主要是鍛鍊的訓練 所以我不建議用重的拳頭 做單手的訓練 因為如果你放太多的壓力 能量會被釋放 你可能無法發揮你的結構 甚至可能會影響你的身體 所以這是一個單手的訓練 注意 大約在手掌的寬度之內 單手領冠 注意手掌是向上的 手掌是向下的 你必須能夠保持手掌的尖端 手掌是封鎖的 肩膀也不是完全封鎖的 釋放能量 保持相同的水平 下一步 相同的動作 但我們會往旁邊走 第三步 我們會往前走 一二三 你可以做六個動作 或是做十個動作 或是做一個組合 往下 往旁邊 往前 這就是訓練的方法 你必須開始強化你的技術 來支援長槍 下一步 抬起 往下 這就是手掌 正確的技術 把肩膀支撐住 手掌支撐住 因為手掌已經支撐住了 下一步 相同的動作 但我們會往後走 我們會往後走 我會用我的左手 最後 最重要的是保持手掌的尖端 然後 產生能量 集中腿 我會教你發筋 能夠消耗能量 能夠產生能量 或是發射能量 這就是六個基本動作 或是單手動作 雙手動作 正如我之前提到 單手動作 可以用普通的肩膀 讓你的身體習慣 但最終 主要是強化你的身體 讓你能夠操控重型武器 一般來說 六點半棍 可以從三公斤到六公斤 這個大概是四公斤 六點半棍 叫做單頭棍 意思是 我們用一隻手 能力能夠產生四個一隻手 第一種叫做雙手 叫做單棍 類似單手 再加上肩膀的肌肉動作 如果你只用一隻手 就跟單手一樣 但這個雙手 你能夠用來表達身體 下一個叫做雙手棍 這個動作叫做 雙手棍 因爲我們在討論強度,而不是手掌 正確的計算方式 你的手永遠不會超過一個拇指 你總是會有更多的移動 所以你不要抓緊到最後 好嗎? 但是在拇指的內部 幅度 然後,這個拇指的距離有多遠? 每個人都不一樣 你可以有一個短的,一個高的 所以你用自己的手臂來計算 放在你的肩膀下 這是基本的抓住 六顛本貫 好,現在我們要回到 瞭解基本的動作 例如基本的姿勢 腳步 還有個人的技術 有幾個簡單的姿勢 這是中立的 好嗎? 大多數時候,當我們開始拇指的形式 當然 這會是以前的形式 但是你不會看到六顛本貫的形式 所以下一步 是馬步 好嗎? 這是典型的叫喊姿勢 有時你會看到人們這樣打拳 這叫做賽平臺馬 好嗎? 接下來你會有 前面的姿勢 這會讓你向前投放能量 接下來 你會有丟臺馬 好嗎? 看起來像是後面的姿勢 有些人稱之爲貓步 所以主要你會有這四個姿勢 第一個 中立 賽平臺馬 四個姿勢 這會讓你向旁投放能量 向旁投放很強的能量 接下來 前面的姿勢 這會讓你向前投放能量 接下來 這會讓你能移動 好嗎? 後面的姿勢 或者丟臺馬 所以你會有這四個姿勢 記住 你會走到這一段 如果你看到 賽平臺馬 主要是用腳步 這不像是射擊 因爲我們要 用空間 來調整距離 因爲距離會帶動武器 我們不需要太多的時間 去向前走 所以主要是用腳步 用自由的戰鬥方式 好嗎? 你看到嗎? 這叫做腳步 所以自然而然 在習近平時 腳步 也包括腳步 好嗎? 所以你會有腳步 你會有旋轉 好嗎? 所以我們稱之爲 半步腳步 而不是 全步前進 好嗎? 所以姿勢和腳步 一些非常基本的 我們稱之爲半步腳步 因爲在古代 武器和空手道 是同時學習和教導的 在基本手勢 我們有一級空擁掛 在習近平時 比較自然的 我們稱之爲 半步腳步 好嗎? 腿並不直 腿依舊向前移 支撐 身體支撐 這叫做半步腳步 前進和前進 你其實已經看到了 前進 後退 這是前進和後退 前進 或者 後退 好嗎? 還有 角度 左 右 最後 我們稱之爲 半步腳步 所以再來一次 前進 後退 角度 右 後退 在半步腳步 我們稱之爲 半步腳步 我們稱之爲 半步腳步 好嗎? 半步腳步 我們稱之爲 半步腳步 然後從這裏 我們稱之爲 半步腳步 然後 跳 第四步 我們有 躬 腹 膀 收關 這些是主要的技巧 所以你已經看到了 基本的動作 運動 腹部活動 以及其他技巧 但問題是 這個組合 每一個家庭都不一樣 所以初學者 或是學習這種組合 都會問 哪個版本是正確的 Again, as I introduce the concept of the form, the key is in the 六天本感的concept, not in the sequence or how many techniques that you have. But nonetheless, you need to know what's involved with the stances footwork as far as individual techniques. All the basic techniques, 撒關 撒關 撒關 攔關 攔關 攔關 攔關 攔關 標 標 This is upper body 功夫. Then you add the whole body. 撒關 撒關 撒關 標 攔 So you see now you can add the body, the footwork. So there are no fixed patterns. It's based on the sequence of training. So individually 撒 關 攔 攔 攔 攔 攔 標 So you can repeat those combination techniques in any sequence to really sharpen up your forms. And understand the sequence. Later, you must know the applications. Next, I want to talk about the concept. One time ago, when two movies came out, they talked about 隆平步冠 Lubdumbang. And this movie shows the master doing the pole. And when he hits the wall, he makes six holes, round holes. One of the techniques is if he hits the wall, he makes half of the hole. Therefore, the pole is called six and half point pole. But that is the movie version of what is 陸定步冠 So there are always some explanations The name is the concept It's not about techniques Hopefully in this chart We can see why we call it 陸定步冠 Let's start with the techniques of 陸冠 Look at the build The area of the weapons is basically right here So we call that D Any time you have ability to use Or circumstances When you use the tip of the pole The concept is called 定 So in other words If I build, thrust, bend, tilt All those three techniques Could be using the concept of 定 That's the first point 陸定 That's the first point So six and a half point This is the first point So let's continue Bend, tilt You could also use the middle part of the pole Tilt You could be hitting the guy's arm As he's carrying the weapons So not necessarily the tip So you could have different techniques But also express different concepts Let's go into the next point We call 傻 It's basically a downward motion It's a downward motion How you destroy your opponent's weapon As well as your opponent's Applying a downward motion That again is using the middle part of the pole The next series is up, tilt When you see the forms You have up, down But this is the standard of 定, tilt Sometimes your up motion Could be both hands up Or both hands down This expresses the concept of Down and up, the point So if you go to point number four It's 起 That means the opponent's center line Or as the center line strike is coming in You parry it So we call it 起 The part of the weapon is again Is the front half of the body So you have 躺 You have 蹦 You have 松冠 All this is If you use those techniques As a way to redirect To open up To redirect Then you're expressing The key concept A lot of people are confused With the technique's name They think the six and a half point Is somewhere around here It's not in the technique It's in the concepts For example 腹關 Could be cover Which is a part of the concept Of 狼 Or it could be a running Which is 走 Then So if somebody hits my pole I run So look like you're doing 腹關 But actually that's also The concept is When you apply it What is the theory behind it So you got your 腹關 And 走關 Running pole and circle pole And then Six is a point A concept that you use Almost the full length of the pole If somehow the opponent got in I can obstruct Brace myself Using the second half of the pole Or I can obstruct Using the first half of the pole So in other words The point number six Utilize the whole length of the pole So the concept Expresses the applications What is the intent There could be much more techniques To express those concepts and intent So that's why When we practice a form You cannot say Well if you have this technique Then it's the right form If you don't have this technique It's the wrong form Each family has a different set of techniques But universally Why we call six and a half Is based on the concept So total actually there are seven concepts The last one is half The half one is called flow Or called line Now imagine you learn So many techniques But you cannot connect them You are not going to be able to Apply your technique Now if you can connect them But you cannot flow That means you get stuck For example when you practice the form The fixed pattern You get stuck because it's fixed So when you practice the form It's fundamentals Later on you got to train it with live energy Or live opponents So therefore In order to connect All the points You must have the seventh point That is the half point Now why we call half point Imagine this sixth point Is 50% of the game And then the connection Is the rest of the 50% Therefore it's called six and a half Because without this last concept 流 or flow You don't have a half point Or that means half of it is missing So that's why we call this Six and a half concept And concept Are expressed through The numbers of techniques From build All the way to learn You know this flow Is not a technique It's the ability to connect All those techniques And be able to express it Where it's not fixed So in this chart You can understand What is technique And then what area Are you using And then last one Is the name of six and a half Wenquan is a complete system We start from the empty hand Right from the beginning There is a concept In the empty hand Which I explained One of the core concepts Called center line Now if you imagine You carry a long weapon And you overshoot Your defense Or you just fast forward And doesn't have a center line reference For long weapon combat You are not going to be effective As a matter of fact It opens up your defense And there are no second chances When you carry a long weapon like that That's why In wenquan There are no two sound One move Most of the time It determines the outcome So besides the meaning Of six and a half Most of the core concept Is actually from weapons Center line This is one example And second If you remember All the basic exercise we've done Is to strengthen our mechanics Our structures Again through carrying a long weapon And heavy weapon You find out what is a good structure And then fully develop your body Where not only you have a high stance Within the six gate Now you have a traditional stances Which again Points back to the roots of xiaoling Ok now I'm going to go through the luodun wenquan form Step by step This is called sat guan Ok Sat is downward Expression of the pole It's a concept So that means You could be using the tip Or the body Or even this part Based on the ranges Ok so it's a concept Biu Dang tiu Ok so biu dang tiu It could be as a technique But it belongs to the concept of di First concept Now if I go dang and tiu Using the body Then it becomes a concept of ti And sat So again Try to understand the difference between technique and concept So we go to Three sequence Biu dang Dang dang Tiu Then it's xuan guan Zhou guan or Fu guan Ok Xuan and moving Is where you carry And move the pole To get the right angle So this is a concept we call zhou guan So those are the techniques So you go through three sequence On the way back Luo ma Moving back Dang tiu So with the diu tai ma From there We go off to the angle Tan This is tan Which is part of the concept of ki To open or to redirect Then same sequence Fu guan Biu guan Tan Zhou guan So that's why each sequence Or actually each teacher Might have a variation My teacher in my system And also I have a fortunate Training experience with grandmaster yi jing Grandmaster yi jing Does not do the tan Where grandmaster mu yat does the tan Again this type of small difference Is on sequence But they cover all the concepts So tan Zhou guan Biu guan Dang tiu Again here Fu guan Biu guan Dang tiu Same sequence Coming back Bong guan Fu guan Biu guan Come back Bong guan Lan guan Zhou guan So the step by step You can start to see the technique But it's important Technique is not the same as the concept But throughout the whole form It expresses all six points The connection, the flow Is the half point Let's break down the sequence again Four sequences Sa Biu Dang tiu Zhou guan Fu guan Then repeat This is the first sequence Going forward Second sequence going back Hao ma Luo ma Biu guan Dang tiu Luo ma Biu guan Dang tiu Three steps up and three steps back Third sequence Moving to my right Tan Fu Biu Dang tiu You notice Off to the corner But by the time I come back to dang tiu I'm back to center line straight again So the third sequence Now The fourth sequence moving to my left So two sequence, two steps here Then back Dang tiu Bong guan Lan guan Sa guan So completely you have Up sequence, down, moving back Right, left Finishing move Does the sequence of cheng yin matter for the full practice? This is a very good question In the modern day when cheng yin Such as the Yip Man system Most of the weapons are practiced last Such as the pole and the knife You go through Sun Yat-sen, Sun Pei Biu Ji And Mu Gen Zong before you get to the weapons There are many reasons for that Number one could be the teacher's Methodology such as the Yip Man Due to his geographical Locations And many reasons Maybe he taught the weapons last This is a methodology So it's not really right or wrong things Number two In the past This system comes from cheng yin Or any type of old fighting system That is dealing with reality of fighting That you have to really Pick up the weapons right from the beginning Just like today We join the military We don't learn hand-to-hand combat first We learn how to shoot first So most of the practical system of the past You learn weapons and hand-to-hand combat simultaneously So the way that I teach my students Is that we teach the weapons fundamentals As you see through the tape Basic exercise, basic movements Simultaneously with the Hand-to-hand combat So again, if you want to Based on more of a natural progression Based on history You can do the weapons And hand-to-hand combat at the same time Or you follow a certain family lineage If your teacher taught you A certain way You can carry on that tradition So in my mind The sequence is not so important As long as you get the complete pictures So then where does the history Of the Po originate from? This is more of dealing with the history Number one, history is not 100% Because we don't have a time machine Most of the history Is based on legends or writing That are really not historical writings So there are primarily Two sources of information That explain about the Po If we go back to the old days Where we come from, Shaolin And Shaolin Temple is known for its Po techniques But particularly in the Qing Dynasty And Ming Dynasty period There were a period of time Where the Southern Shaolin Temple Were combined force with the military people In the south to fight off the Japanese pirates Now there was well documented Where the generals and military people Have introduced many long weapons To the Shaolin monks Such as the spear So there are certain Wenchun lineage today That is based on The Shaolin spear And then change and adapt Into Po techniques So contain the elements of spear and Po So as progressively We move into modern day Such as the opera days This is in the middle of 1800s Then you see the elements Of today's Log Din Pui Guan Start taking into shape Number one, the weapon gotten heavier And then the sequence What you see today Log Din Pui Guan Start taking into shape I believe that has to do with The geographical locations Such as the Red Po Again, based on legends Long Yidai was very proficient with his Po And being in the Red Opera On the Po They used long Po to steer As well as to push the Po In shallow waters So that might be one of the reasons Where the Po got heavier So the structure and technique Have also changed So primarily there are Those two identities Of the Shaolin Wen Chen Po One is still contain The old Shaolin Identity of the Po form The second is modern day Log Din Pui Guan Where it becomes The heavy weapon what we see today But the origins still Go back to the Shaolin Why are there so many variations In the Po forms Hopefully this table Will give you the answer already As I mentioned If you go after each family And you look at their sequence You will see variations And the variations due to these techniques For example, Grand Master Yip Jing He does not have the Tan Where Grand Master Moyan Had the Tan So if you refer to a certain sequence Almost every family I come across I have seen in 2017 Yip Jing, Yip Chun Mak Bo, Moyan And many other Sifus In Wen Chen's Po form And they are all different But the difference again Is in the techniques The key is that We don't want to look at The variation of technique Is that we have to look Does the form contain The original six and a half point concept So again the key question is that As long as the concept is there You can have many variations As a matter of fact Some of the most important concepts Wen Chen created Because of the long weapon For example If you think about the center line If I carry a long weapon And if you don't have your center line Fighting a long weapon That means You really don't have a reference To be efficient If you are just going all over the places And somebody comes in with a long weapon You are not going to be able to stop that And number two Is really the gate theories So as we talk about the Wen Chen form You have the six gates But in this form here You see the body are all turned sideways So the gate theory is still there It's just that when I am holding a long weapon I turn sideways So now you have the upper, middle And the lower gates So you have the three gates facing Rather than the six gates facing So the gate theory And the center line Is one of the key concepts of the Po Which really influences The rest of the empty hand systems So I believe that this concept Originated from the Po Before it got to the empty hands Which is one of the core concepts Of the Wen Chen So again, variations Due to variation in technique The important thing is to focus on the concepts Again this is the main focus Of this Di Bu Guan series For example Tiu Biu So you might say Those are three techniques But actually they express The first point If I use Biu As a spear Or Smack your feet Or break your jaw I am using the tip of the Po As the main form of attack That's the first point But it could be expressed In the form of three techniques Biu, Dang, Tiu Now if I Have a motion that goes down With the tip That becomes Di Bu Now if I have a motion that goes down But using the body of the one That becomes the second point That's the downward energy Using the body To express the techniques So sometimes we call this Point Sa So you might say Well you know I see this as more like a line Well line is the Next point Where it expresses Occupy and fence off the space So in concept it's different From where you're coming down To destroy your opponent's Limbs or weapons So again the movement Might be the same Or you might call it a different technique But the concepts are very different So again line I could have a line Where I brace off with This end of the Po To fence off to occupy space Or I could be line The first half of the Po Or I could be line down I could be line going up I could be line going down Because line expresses occupy space As long as I occupy my Areas That's more of what we call line concept So that's three points right there Okay the next point Is tight So if you have a downward motion You can attack I have an upward motion So if I hit with the body Of the Po going up That's tight So not necessarily That's where you're using The tip So again okay The movement might look similar But the concept is different So here you have four right now You have the point The very ending of the Po Then you have the body To destroy going down To destroy going up And then to brace, fence off To occupy space using the whole Po So that's the fourth point The fifth point Where you are talking about Incoming energy where you direct Okay you sweep Okay redirect So Tan, Fook, So Guan Wong Guan All those techniques are We call that Ki Or continue to parry Okay so they're Actually the same point But different techniques So that's the fifth point The last you have The sixth point Where you're dealing with a lot of motions Where you're going back and forth For example if I go Fook This is actually running Okay somebody chop my stick down I run on top and hit his hands So actually it looks like a Fook technique But actually that's called Zou Guan So it's called running Po That's the sixth concept So when you string all the six together That connection That is called a half point Because if you put Six of those concepts together That's only half of the picture The other half Is the connection So we call that six and a half So again I hope that this Gave you guys a new insight Into the Lu Ding Bu Guan 功夫文春 Or any type of martial art We get our guidance From the experienced teachers and master But one of the most important Teacher is our own experience And then our own understanding So don't forget that we have to Gain the experience Understand the concepts And be humble enough To take Have open mind To receive teaching From someone with more experience Thank you very much For watching this Lu Ding Bu Guan series This is number nine Hopefully you have Gained a new insight And with your guidance From your own Si Fu As well as your own practice I wish you the best of luck In this Lu Ding Bu Guan series The next series Which is ten I intend to do the Ba Zhang Dou And then after that Future series will be strictly on 文春 fighting applications Which includes open hands As well as the weapons The two man weapon sets As well as Qi Guan And all type of applications So again thank you And have a best of luck In training 以上言論不代表本臺立場