Basic Pole Gung 3

The third principle we can learn from the Arrow Pole posture is how to get the power from the ground to the tip of the pole via the use of concentric spirals.

OK, I know the lines shown are not spirals. No matter how I draw the spirals they will not be a good representation of what I want to convey across.

I shouldn’t even mention counter-spirals cause that would be even more confusing without some basic understanding of the Tao, physics and the workings of Nature.

Even then its much easier to just do it, feel it and understand it. Some things are just meant to be felt rather than puzzle over intellectually.

That’s why students who are learning the pole will need to keep practicing the Arrow Pole posture over and over again. Then the gung lik of the pole will manifest in the hand.

POLErobics

POLErobics.

I woke up with this label stuck in my mind. To get this off my mind I wrote something earlier this morning on Facebook but by evening the label is still stuck in my mind. So I shall write a post here to exorcise it from my mind.

Why POLErobics?

Well, if you look at the video below this should be obvious.

By association this is a practice using the pole. If you keep moving and moving, faster and faster, non-stop, over and over, the speed and intensity of the movements will work your lungs and before you know it you will be grasping for breath.

The aerobics part is not obvious in this video because he is only moving at medium speed. Once he is familiar with the sequence he will be able to go faster. At that time the aerobics in this practice will come to the fore, and then we will be able to clearly see how pole + aerobics = POLErobics.

The pole is the first weapon I learned from my first Tai Chi teacher, hence it is my favorite weapon. However, this sequence here is not from him.

Instead, this sequence is from my Ngok Gar Kuen teacher, the late Grandmaster Cheong Fook, whom I consider to be my best teacher on the long pole. GM Cheong said that it is important to drill this sequence daily.

After years of playing with this sequence it is my opinion that the ability to apply the long pole hinges on the mastery of these three techniques that we term Arrow Pole, Killing Pole and Flinging Pole. Of the three movements I feel that Killing Pole is the most important with Flinging Pole coming second and Arrow Pole last.

Grandmaster Cheong Fook teaching the Arrow Pole

I taught my student this sequence to help him develop the skill of using the long pole form from my first Tai Chi teacher. In addition, this sequence can help to master certain key principles from the Tai Chi Classics which in turn can be applied to the practice of push hands.

Lessons of the Pole

Its nearly 3 weeks since my last post. I thought the economy is not doing that well, not that I can tell with all the work activity.

Started a third student on learning the pole that is from my first Tai Chi teacher. Its a basic Sao Lim pole but there are useful lessons to be learned.

Lesson 1 – as with solo form we must develop awareness. The length of the pole helps to expand the awareness space.

Lesson 2 – learn the meaning of the saying when young fear the fist, when old fear the pole.

Lesson 3 – again stop being obsessed with power. In using the pole power is useless if you fail to hit your opponent. Instead, if he hits you, especially with a solid pole, the pain and damage is much worse than getting hit by a fist or palm strike. So pay attention to the movement process to understand how to use the pole properly.

Lesson 4 – though the pole is heavy you must also learn to use it as if it is light. To do this you must learn the trick of manipulating the pole using proper biomechanics.

Lesson 5 – as with pole, so be with the fist. This means that the way you learn to handle the pole can be transferred across to the way you apply empty hand techniques in push hands.

Lesson 6 – don’t be long winded when using the pole. Learn to decisively move, hit and finish the opponent in 1-2 moves. Then apply the same to empty hand techniques.

Lesson 7 – enhance your body movement from learning the pole. Learn to move quickly, precisely and control the striking zone through stepping and body angling.

Lesson 8 – understand how to extend power further. Playing the pole a lot can develop wrist and arm strength. This can boost the striking techniques that is from Master Leong’s PKK arsenal.

Contact Training 6

In this clip after we got into the groove we let our body moved a little more, gyrating and bouncing gently to an inner rhythm, akin to a dance.

But not for long because as soon as my student couldn’t keep up with the rhythm he started opening up his spaces unknowingly to attack.

In the following clip we change focus to small, tight circles before letting it morph into freer circles. This inevitably led back to the pattern of movements in the clips shown in the earlier posts in this series.

Many times how your opponent responds to your movements is how your technique will turn out. You can dictate how the movements can be but it takes less effort if you just enjoy the moment and go with the flow. Then your body will respond automatically with the pattern of movements that you have etched into your body from the form training.

Contact Training 5

We can create an opening to attack or we can wait until an opening presents itself.

In the clip below my student presented a good flow with strong, sticky movements so unless I purposely created an opening there was no getting through his defence.

But as we flowed and flowed, a slight deviation in his movement flow was detected and I seized the opportunity to attack. This is why when we play hands we put 110% awareness into it.

The clip below presents a different take on how to attack. This time instead of letting the flow of movements open up the space to attack, I used pressure to crowd in, wedge and attack.

Thereafter, I used the same attack over and over again. I didn’t need to change the technique because my student could not solve the technique.

Contact Training 3

Why we do form training so much?

This is because this is one way to train ourselves to be familiar with our own movements.

In the beginning of the clip my student is attempting to apply a technique but his movement is not filled with confidence hence the uncertain feel I was getting.

When you know the movement really well you can move so much better. It is not unusual for a student to think that a lacklustre technique is acceptable. It might be when he is training with another student but it will not be if he is doing it with someone at a higher level.

When you know your movement it is like a highly tuned and sensitive instrument, so much so that a slight deviation will set off an instant response.

Otherwise, you can run round and round in circles and still cannot find the opening for your attack.