Kung Fu,China Shaolin Kung Fu,Chinese Kung Fu,China Shaolin Kung Fu School
Duel is the essence of Chines Kung Fu. The categories of duel now in practise are: Sanshou ( free sparring ), and weapon fighting.

(1) Sanshou ( free sparring )
Sanshou is a new modern Kung Fu variety which is based on the tradition of martial arts. Attack is the essence of kung Fu. In ancient times, there were combative contests. In view of the development of kung Fu both at home and abroad, the Chinese Kung Fu Association made extensive investigations and practices before making Sanshou an official competition event. The first international Sanshou invitational tournament was staged at the 1988 International Wushu Festival. In Sanshou the contestants compete with such techniques as kicking, hitting and wrestling under certain regulations. They are permitted to use both hands and feet, which facilitates flexible moves and tricks. to keep themselves safe, they have to wear safety gear ( head gear, boxing gloves, groin cover and shin guards ).

(2) Hand Pushing
Hand pushing is one type of grappling which depends upon pushing, shoving, elbowing, leaning against, pressing, shouldering, thrusting and jamming, to get the better of ones opponent. Hand pushing can enhance the combative ability of hand pushers and increase their combative insight and flexibility. Hand oushing usually means the hand pushing of Taiji Quan. Some other fist fighting styles also have hand pushing exercises.

(3) Weapon Fighting
In weapon fighting, combatants use various long and short weapons to fight in accordance with certain regulations. At present, weapon fighting is not as popular as Sanshou or hand pushing. Major programs of weapon fighting include duels between short weapons sucg as sabre and sword, and between long weapons like spears and cudgels

Sparring [top]

Sparring is one participates in by two or more Kung Fu practitioners either unarmed or armed. The routines for sparring include such offence and defence techniques as kicking, wrestling, holding, beating, thrusting, chopping, lifting, axing, finger-hitting at certain parts of the body, jumoing and leaping. Sparring can help participants to further understand the implication of the acts they have learned through solo practice and promote their standards of martial arts. Because they demand real combative atmosphere and skillfulness as well as close cooperation, sparring helps practitioners to cultivate bravery, intelligence, agility and cooperation. Sparring falls into three categories: unarmed, armed and unarmed versus armed.

(1) Sparring Without Weapons
Sparring without weapons is a sparring routine of fist, hand, leg and body movements and actions of the same style as in the solo practice. The combative arrangements include offence, defence and counterattack. The Chang Quan (long-style boxing) sparring includes in its program, jumps, leaps, hops and rolls, and the program requires practitioners to be quick and agile. The holding practice is an exerise which uses catching, seizing, holding, locking, moving and pointing at certain parts of the body to arrest, control, or extricate oneself, by forcing the opponent to maneuver their joints in reverse directions.

(2) Armed Sparring
Armed sparring is one in which two participants exercise together, using similar or different weapons. Different weapons result in different styles. Sabre sparring displays the characteristics of valour, resolve and speed. Sword play stresses the combination of hardness and softness as well as gracefulness. The sparring between spear and long-handed sabre demonstrates braveness and intrepidity. The sparring between three-section articulated cudgels requires compactness and speed, which make the practice intense and exciting. Weapon sparrings also include such sparrings as broad sword versus spear, dagger versus spear and cudgel versus spear. These sparrings are between long and short, single and twin weapons.

(3) Sparring Between the Unarmed and Armed
The sparring between the armed and unarmed are ones which are often programmed for the unarmed to try to deprive the armed opponent of his weapon. Such sparring programs include unarmed versus sabre, unarmed versus spear, unarmed versus twin spears, unarmed versus sword etc.. The practices require that the armed side should be good at using his weapon. These practices also require that the unnarmed side should be quick at dodging the attacks by the armed side, and look for chances to counterattack. The technical programming of weapon practices generally takes into consideration the following points: Rational offence and defence. Army side of the duet must wait for the attack launched by the other side to decide what defence to use and how to counterattack, otherwise he has to act aimlessly and may even disrupt the duet program. Correct moves and tricks. Kung Fu sparring are simulated combats, not real ones. All attacks, defences and counterattacks are symbolic. This point is very important in weapon practices. The spear man is required to use his weapon as in real combat but has to be sure that he will not injure his partner. to do so, the spear man has to be sure as to where to direct his weapon so as to make the duet look exciting but safe. Identical rhythm. The two sides must cooperate by tacit understanding. If one side is faster than the other, the rhythm of the duet may be broken while the partners may sustain injuries or even get killed by mistake. The participants, therefore, are required to act in perect time either in attack or defence. Appropiated distance. The participants must adjust the width of their steps, for if they stand too far away from each other, the attack and defence will not look real and the actions and movements will be sloppy, but if they are too close to one another, neither can move freely and their acts will be affected.

acticeChin Na [top]
Capture skills ( Chin Na ) are a kind of close combat skills used to subdue the enemy with skillful movements and ingenious exertion of strength. The basic principle in capturing the enemy is to seize, with either or both hands, a certain joint in the enemy,s limbs in order to have total control not only of a part of his body but also of his entire body, before you finally tie him up. Sucessful capture depends on daily and prolonged pr on the part of the combatant because, as the Kung Fu manual has it, "methods may be acquired from without, but ingenuity is achieved from within.". Only through repeated practice can the combatant make a correct judgement of the situation, seize the best opportunity and reach the acme of perfection in an actual combat. The following is a brief introduction to the eight essential points for the employment of capture skills.

(1) Being as Sharp-Eyeed as an Eagle
It is common knowledge that one should be sharp-eyed and quick-moving in boxing. This is all the more

true for the employment of capture skills. A pugilist should keep his eyes and ears wide open, use the sharp and stern eyesight to pierce into the enemys intentions and be well prepared to quickly react to the possible movements of the enemy. The sharpness of the eye has a special significance if you wish to catch a fast-moving enemy in a fierce combat. This is because only when your eyes are sharp enough to detect the instantaneous opening in the enemys body will it be possible for you to effect a successful break-in and capture.

(2) With Handwork as Quick as a Flying Arrow
This analogy tells of the speed of the handwork involved in effecting a capture. The combatant mainly uses his hands in capturing the enemy, with coordinated movements of his wrists, elbows, shoulders, as well as some other parts of the body. The importance of handwork can be seen from the fact that all the 36 techniques used in the capture skills, namely, Chan, Bie, Ban, Pi, Rao, An, Diao, Kou, Nie, Cuo, Tie, Kao, Fen, Duan, Dun, Ya, Cuo, He, Dian, Tao, Jia, Wa, Quan, Wo, Jiao, Shi, Shun, Ni, Feng, Yin, Gu, Qian, Suo, Gua, Ti, Hua are techniques of the hand. The speed of the handwork should, therefore, be so quick that it looks like an arrow taking off from a bow. The "arrow" can hit the target as soon as the "string" rings, and the enemy does not have time to parry or stop your capture movements.

(3) With Step as Steadfast as a Crouching Tiger
Capture skills require that the combatant has as solid a Zhuang gong (the skill to be steadfast under push or kick) as that of a crouching tiger. The stableness of stepwork reflects the basic skills of a combatant. Ann effective capture can hardly be realized for lack of steadfastness or Zhuanggong in the lower part of the body. If you display an unsteady Zhuanggong in the combat, the enemy might take advantage of the situation and make a sudden counterattack to turn the tables. The employment of capture skills requires, therefore, that the combatant have correct stepwork and solid Zhuanggong, just like a crouching tiger awaiting its prey. Also required are the coordinated movements of the upper and lower parts of the body, the timely advance and retreat and the other appropriate movements of the body to assist in the capture.

(4) With Waist as Supple as a Looper
This refers to the bodywork as required for the employment of capture skills. In addition to the sharpness of the eye, swiftness of the hand and steadfastness of the step, the application of many capture skills demands a direct coordination of the waist movements. This is especially true for tumbling capture skills and capture skills involving drastic movements of the body and requiring a high flexibility of the waist. In a combat which involves all the seven methods of kick, hit, throw, pounce, push, bump and capture, the combatant has to rely on a highly coordinated bodywork to realize such tactical movements as advancing and retreating, crouching and leaning, turning and twisting, sidestepping and dodging, before he can succesfully capture the opponent. Proper and flexible waist performance is a key factor in the completion of the above movements.

(5) Using Breathing Exercises to Concentrate Strength
The practice of capture skills should be coordinated with the practice of Qigong, or breathing exercises, which forms the basis for the attainment of inner strength and skills. Without the inner cultivation of Qigong, there can be no inner skills or inner strength. Each of the seven combat methods is closely related to the practice of Qigong. The boxing manual has it that "In a combat, victory goes to the deep breathing combatant, not the shallow breathing one," and that "only when the breath circulates in the entire body can one concentrate and direct his skills and strength on an intended part of his body." These explain the importance of the inner skills and inner strength. The art of directing ones breath is the art of the concentration of ones strength, and therefore a well-trained combatant with deep breathing skills is at his ease in actual combat, devoid of any signs of breathlessness or unsteadiness that might lead to failure. When inner strength is exerted onto a charging arm, siad arm is immovable under push or pull from the opponent. Such strength may easily come and go, concentrate and disperse, combine and separate at your hearts content. The combatant who lacks the training of Qigong cannot master the quintessence of capture skills, neither can he perfect his techniques.

(6) With Force as Abrupt as Lightning
Before the exertion of ones strength in effecting a capture, the combatant has to carefully find out the enemys weakpoints or loopholes. Once such weakpoints or loopholes are accurately located, the combatant immediately makes an abrupt and unexpected explosive attack as quickly as lightning or as a bullet. The combatant should consolidate and develop, with further fierce and resolute tactics, his superiority over the target part by tightening up his grip to such an extent that the enemy is unable to retreat from or thaw, escape, and avoid the grip, thus bringing his entire body under control.

(7) Knowledge and Experience Perfects Ones Skills
"Knowledge and experience" here refers to the level of ones combat consciousness when the capture skills are used and ones skillfulness in the employment of the seven basis methods of the combat art. In actual combat, the enemy is bound to resist and make a desperate counterattack. Lack of knowledge and experience about the various changes in the combat art will render the combatant to a vulnerable position. One must have a clear understanding of the situation in a combat before he makes up his mind to capture or to fight. He should also coordinate his movements and be ready to change strategems by using any of the seven methods in order to make the enemy lose his ability to counterattack and prevent him from breaking away. No capture skills, no matter how superb they may be, can be effectively applied without the coordination of the other six combat methods. An inexperienced and short-sighted combatant does not know how to make a skillful and coordinated capture and often becomes himself a hitting target and captive.

(8) Presence of Mind is the Key to a Powerful Attack
Presence of mind in a combat is of great importance for the correct judgement of the situation and a quick decision to choose the appropriate tactics. A boxing manual has it that, "He who is highly skilled has the presence of mind; he who is not skilled loses his mind". Calmness and presence of mind are of special significance under the combat situation of one against two, of a bare-handed combatant using short weapons against an enemy with long weapons. The combatant who fails to break into the enemys loophole or retreats when it is time for him to advance is often unskilles and lacks the presence of mind. Presence of mind shows ones combat spirit and is an embodiment of not only skill but also power. With overwhelming spirit, the combatant can exert enough strength to his muscles and bones to tackle with even iron and stone. Will and spirit have the power to kill.

Please send email directly to 18766200008@163.com if you have any problems accessing the website learn kung fu in Qingdao Laoshan Shaolin Kung Fu International College
Bookmark & Share