Oh, sure. The falling step is very nearly universal. I think bengquan is somewhat distinguished by the fact that the weight returns to the rear foot almost immediately.Kosokun said:Eyebeams,
Thanks for stepping up to the challenge and actually talking about physical differences in the two methodologies. Good on you!! Far too often, people simply say that the methods are just different or that karate emphasizes external strength and internal arts emphasize chi, and leave it at that.
You mention a falling step, and I think of tobi komi kizami zuki. The stepping and delivery is very, very similar to the Hsing-i animal set "Horse".
I'll give that a definite maybeBeng chuan's punch is very similar in most every respect to the punch in Kosokun (Kushanku) and in Unshu, where one is punching from a cat stance. In both of these the waist generates the power along with the forward shifting of the body to commit ones entire weight into the punch.
The flexion of the muscles in the side of the torso causes the striking-side shoulder to drop just a bit.As for a tilt, I've not encountered that element in the punch. Rather it was a rotation of the waist and shoulder without intentionally changing the horizontal plane of the shoulder.
True enough, but I think it wouldn't be too much of a generalization to say that since they are understood as one unit, you don't often get the same kind of coiling that occurs due to the relationship between the hips and waist. What you *do* get is a distinct and powerful technique in its own right.Karate uses the waist, and not just a rotation of the pelvis. In Japanese, Koshi is more of a general area comprising the pelvis as well as the waist and lower back. The focusing on the pelvis alone, from my experience is a misunderstanding.
No, they aren't static. But they do not push directly into the punch. The hips move from an angled position to a square position within a track determined by proper technique and your level of flexibility. Karate (and many external arts) tend to drive the hip more directly into the blow, and with an emphasis on testing one's athletic limits in the execution of the technique. This is why an external style is such a great personal physical challenge.Are you saying, below that the hips remain static while the waist rotates in the Hsing-i movement? That certainly wasn't my experience in Hsing-i, Tai Chi or karate.
You generally keep a curved line to your back instead of a straight back. It isn't really "slouching," because the torso muscles are engaged.My internal arts teachers specifically told me not to slouch in practice, so I'm not following your comment about curved torso.
Anything signature to one art is probably going to have presence in another, but the level of emphasis is likely to dffer quite a bit.Could you elaborate more? You see, from my experience and from interviewing a number of different tai chi and hsing-i instr's where the rubber meets the road the mechanics of the movements are the same. This would make sense, since we're talking about the human body, which would be the same, regardless of the art.