shifu
Orange Belt
White Crane Principles: an Overview
By Ron Goninan ~ White Crane Research Institute
In Fuzhou crane, we are taught that techniques are just but a manifestation of our fighting principles. Forms are the ways and not the ends. Every drill / forms and 2 man sets are designed to teach the body to behave in a certain manner during a fight. Of course the whole idea is to mimic a crane.
We have certain principles in our system.
Let me share 2 here with you.
1) Fourth door fighting :- I am sure you are familiar with the door/gate concept in kung fu fighting. Wing Chun players are very skilled in hitting 2 doors simultaneously. A vertical punch to the upper door (face) and a low stamp kick to the lower door (shin) is a good example. In Fuzhou crane, we try to take every fight to the fourth door.
Side stepping footwork is a BIG BIG part of our basic training. You could say we prefer open hand strikes because they are particularly effective moving out to the fourth door. We do not just simply move to the fourth door but hit on the way getting there. Using a low finger slap to the groin moving out is a good example. This technique is called "White Crane Playing Water" or "PaiHe Shi Shui" in Mandarin.
This idea is kind of like in boxing : you see a high strike to your face, you don't just want to duck or move sidewards. you move and hit at the same time. Alot of our forms make no sense if you don't master the fourth door concept. Forms are meaningless unless you understand the embedded principles.
No secrets here but simply getting the key to the form is the heart of the matter. The tricky part, as far as I am concerned, is understanding the principles. In Fuzhou crane these are transmitted in poems-like writing. If you don't have a teacher explaining - it is going to be tough.
2) Breaking bridge :- Any thing your opponent put between you and him is the bridge. He jabs, you could block and counterstrike or you break the hand jabbing. You could do this with your elbow straight up on the oncoming jab for example. Use your other arm to lead his jabbing arm to your lifting elbow. The same applies to Chin-Na or throwing techniques. Opponent seizes your arm, you hit the seizing arm and break his weak spots like fingerjoints, wrists etc ... There are 8 different ways to break arm and 5 way to break a leg.
1 principle, 1 form is the rule.
The Shiho Tien Sh-it (Feeding Crane Open's it's Wings) Posture. This encapsulates the White Crane philosophy and involves the signature "Gungshen" or Spirit Shout of the Calling Crane style, exhaling Qi and essential energy, opening the voice and assisting power into the movement. Fujian White Crane, has a wave of expansion from ground - shooting arrow and the Taiji emphasises wave of stretching and compression that precedes wave of expansion - drawing the bow. It is a strong attacking technique which utilises the Crane's Head and Crane's Beak as the primary hand forms. It embodies the quiet yet deadly intention of the Paihepai (Crane-Fist Style) known as Yitu - Chinese "To Kill".
White Crane and especially Fuzhou lineage has got a very unique rhythm even compared to the other Southern Fukien styles Kung Fu.
In White Crane, we study the craneÂ’s singing, flying, playing, shaking, and fighting etc etc. Not only external movementsÂ’ mimicry but also internal qualities. When a crane flies, it is not strictly only the flapping movements that we are trying to imitate but more significantly the power generation. The same applies to Shaking Crane.
The energy that the bird summons to shake itself dry is the study topic and aspiration for these practitioners. There are many exercises designed to loosen the body to acquire this Jin. Most White Crane players would spend hours just doing these exercise. Without the Jin, the techniques are zilch.
Just like in Tai Chi. the forms and techniques are useless if you donÂ’t get the Jin to work it. Master the style. Understand the motivation behind each style. Without intimate understanding, you are shooting blanks.
Movements are natural and spontaneous, fluids and objective. There is not ballistic force, but the whip-like manifestation of the Jin.
This is another very accurate statement. Cranes are graceful creatures.
The founder is a female who studied Northern Lohan Boxing from her father. The patron Saint of White Crane kung fu is a Daoist priest. Add all these together and logically you should get something that spells “internal”. The “whip-like” manifestation of Jin is DEFINITIVE White Crane!
Techniques are launched from all positions without the typical chambering to the sides of the body. The wrists stay relaxed so that a punch could be turn into a finger jab / slapping at any time required. The waist turns the centerline of the body to avoid an upper gate attack and the leading hand slaps into attackers face or groin in a very natural whip like manner.
The favoured kick is the straight up kick because it could be launched easily without much preparatory chambering. The other would be the stomping kick. Technique after technique in White Crane is about being natural and fluid! Jin training is from long to short.
The pointÂ’s bai hui (coronarial suture) e hai di (perineous) will be aligned in the extremities of a vertical to that the spinal nerve roots will be free to the maximum response of the reflexes.
This is very much like in Tai Chi. the Bai hui and Dan Tien stay aligned. The legs are properly rooted. Back leg is usually slightly bent to absorb and return incoming Jin. Power is initiated by the rear leg. The front leg directs this power. Keeping the alignment means optimum transmission of Jin from the rear leg. Any other posture would result in unnecessary dissipation along the way. Most White Crane poems emphasized this very clearly. In Ming He or Whooping Crane, you use different sounds to propel this Jin for different results.
To push an opponent back or break a rib bone requires different Jin. Using the right Jin for the right job is not guesswork.
The Sanchin-dachi is too tight and too small in my opinion. The upper body becomes constrained in expressing Jin.
Body Change/Body Shifting are a fundamental work in the White Crane Fist. Body changes will be used in all techniques and will be as natural as breathing or eating.
Big body movements are totally essential in White Crane. One of our basic principles is moving to opponents “fourth door”. This is kind of like side-stepping except that it is done to both the inside and outside of opponent. There is a form that we do that makes no sense if you don’t apply this body movement. Again this could be attributed to the fact that the creator is a woman who prefers to steer clear of aggressive incoming force first before counterstriking.
This is probably the other reason why Sanchin-Dachi doesn’t work for me. I let my stances stay more “relaxed” to facilitate my body shift.
The hand posture, particularly the use of the fingers, has great emphasis in the White Crane Fist. It is based on this element that the Dim Mak (Kyusho-jutsu) is possible.
Fingers/palms/wrists/elbows/forearms and the shoulders are just as important as the one-knuckle punch that we do. Beside just Dim Mak, the elbows are used comprehensively in “bridge breaking”. The one-knuckle is the typical punch precisely because it is more efficient in pressure points attacks.
Each technique of the Kata/Taolu will be understood after the dynamics of the martial Jin, that is composed by four principles: to bring (Tun, "swallow") and to project (Tu, "spit out"); to raise (Pu, "floating") and to get down (Tim, "sinking").
In fact all these four principles are usually contained in one line of a poem. Every White Crane style has a more comprehensive set of principles. Finally, is necessary to understand that all secrets and principles of White Crane are in its Forms/Kata/Taolu, but the outmost of all secret is in mastering its internal energy.
Some basic principles:
Retain what is coming in, send off what is retreating. Rush in upon loss of hand contact.
Even when you do not advance, I do not relent.
Once the opponent moves, he loses his center of gravity.
Make the first move to gain control. Attack according to timing.
Precise use of timing is a skill gained through practice.
A confident attitude and a strong posture gives an advantage over the opponent.
Being alert and adapting to the situation allows maximum result with the minimum effort.
The body follows the movements of the hands. The waist and stance move as one.
Body positioning supports the hands to make proper use of the Centerline.
The mind and the eyes work simultaneously to guard against the point of attack.
Face the opponent directly as you move in. Execute three moves together.
Strike at any posture that is presented. If no posture is presented, strike when you see motion.
Beware of sneak attacks, leakage attacks and “invisible” center-breaking attacks.
Soft and relaxed energy puts the opponent in jeopardy.
Being firm and confident in trapping and striking reduces risk and allows “one hundred successes for one hundred attempts”.
Have confidence and remain cool to dominate the situation.
Occupy the inner gate to strike deep into opponentÂ’s defence.
To win in an instant is a superior achievement.
Chase the opponentÂ’s position with cat-like quickness. Attack his posture with bird-like rapidity.
The Ying/Yang principle must be thoroughly understood.
White Crane combat theory is limitless in its applications.
Humbly request guidance from your teacher. Understand the theory of what you are practicing.
Upon achieving the highest level of proficiency, the application of techniques will vary according to the opponent.
It is so obvious isnÂ’t it? You would expect a White Crane player to move according to the above principles.
This is by no mean a detailed study of White Crane. I am using this as a starting point.
More info to come .....
By Ron Goninan ~ White Crane Research Institute
In Fuzhou crane, we are taught that techniques are just but a manifestation of our fighting principles. Forms are the ways and not the ends. Every drill / forms and 2 man sets are designed to teach the body to behave in a certain manner during a fight. Of course the whole idea is to mimic a crane.
We have certain principles in our system.
Let me share 2 here with you.
1) Fourth door fighting :- I am sure you are familiar with the door/gate concept in kung fu fighting. Wing Chun players are very skilled in hitting 2 doors simultaneously. A vertical punch to the upper door (face) and a low stamp kick to the lower door (shin) is a good example. In Fuzhou crane, we try to take every fight to the fourth door.
Side stepping footwork is a BIG BIG part of our basic training. You could say we prefer open hand strikes because they are particularly effective moving out to the fourth door. We do not just simply move to the fourth door but hit on the way getting there. Using a low finger slap to the groin moving out is a good example. This technique is called "White Crane Playing Water" or "PaiHe Shi Shui" in Mandarin.
This idea is kind of like in boxing : you see a high strike to your face, you don't just want to duck or move sidewards. you move and hit at the same time. Alot of our forms make no sense if you don't master the fourth door concept. Forms are meaningless unless you understand the embedded principles.
No secrets here but simply getting the key to the form is the heart of the matter. The tricky part, as far as I am concerned, is understanding the principles. In Fuzhou crane these are transmitted in poems-like writing. If you don't have a teacher explaining - it is going to be tough.
2) Breaking bridge :- Any thing your opponent put between you and him is the bridge. He jabs, you could block and counterstrike or you break the hand jabbing. You could do this with your elbow straight up on the oncoming jab for example. Use your other arm to lead his jabbing arm to your lifting elbow. The same applies to Chin-Na or throwing techniques. Opponent seizes your arm, you hit the seizing arm and break his weak spots like fingerjoints, wrists etc ... There are 8 different ways to break arm and 5 way to break a leg.
1 principle, 1 form is the rule.
The Shiho Tien Sh-it (Feeding Crane Open's it's Wings) Posture. This encapsulates the White Crane philosophy and involves the signature "Gungshen" or Spirit Shout of the Calling Crane style, exhaling Qi and essential energy, opening the voice and assisting power into the movement. Fujian White Crane, has a wave of expansion from ground - shooting arrow and the Taiji emphasises wave of stretching and compression that precedes wave of expansion - drawing the bow. It is a strong attacking technique which utilises the Crane's Head and Crane's Beak as the primary hand forms. It embodies the quiet yet deadly intention of the Paihepai (Crane-Fist Style) known as Yitu - Chinese "To Kill".
White Crane and especially Fuzhou lineage has got a very unique rhythm even compared to the other Southern Fukien styles Kung Fu.
In White Crane, we study the craneÂ’s singing, flying, playing, shaking, and fighting etc etc. Not only external movementsÂ’ mimicry but also internal qualities. When a crane flies, it is not strictly only the flapping movements that we are trying to imitate but more significantly the power generation. The same applies to Shaking Crane.
The energy that the bird summons to shake itself dry is the study topic and aspiration for these practitioners. There are many exercises designed to loosen the body to acquire this Jin. Most White Crane players would spend hours just doing these exercise. Without the Jin, the techniques are zilch.
Just like in Tai Chi. the forms and techniques are useless if you donÂ’t get the Jin to work it. Master the style. Understand the motivation behind each style. Without intimate understanding, you are shooting blanks.
Movements are natural and spontaneous, fluids and objective. There is not ballistic force, but the whip-like manifestation of the Jin.
This is another very accurate statement. Cranes are graceful creatures.
The founder is a female who studied Northern Lohan Boxing from her father. The patron Saint of White Crane kung fu is a Daoist priest. Add all these together and logically you should get something that spells “internal”. The “whip-like” manifestation of Jin is DEFINITIVE White Crane!
Techniques are launched from all positions without the typical chambering to the sides of the body. The wrists stay relaxed so that a punch could be turn into a finger jab / slapping at any time required. The waist turns the centerline of the body to avoid an upper gate attack and the leading hand slaps into attackers face or groin in a very natural whip like manner.
The favoured kick is the straight up kick because it could be launched easily without much preparatory chambering. The other would be the stomping kick. Technique after technique in White Crane is about being natural and fluid! Jin training is from long to short.
The pointÂ’s bai hui (coronarial suture) e hai di (perineous) will be aligned in the extremities of a vertical to that the spinal nerve roots will be free to the maximum response of the reflexes.
This is very much like in Tai Chi. the Bai hui and Dan Tien stay aligned. The legs are properly rooted. Back leg is usually slightly bent to absorb and return incoming Jin. Power is initiated by the rear leg. The front leg directs this power. Keeping the alignment means optimum transmission of Jin from the rear leg. Any other posture would result in unnecessary dissipation along the way. Most White Crane poems emphasized this very clearly. In Ming He or Whooping Crane, you use different sounds to propel this Jin for different results.
To push an opponent back or break a rib bone requires different Jin. Using the right Jin for the right job is not guesswork.
The Sanchin-dachi is too tight and too small in my opinion. The upper body becomes constrained in expressing Jin.
Body Change/Body Shifting are a fundamental work in the White Crane Fist. Body changes will be used in all techniques and will be as natural as breathing or eating.
Big body movements are totally essential in White Crane. One of our basic principles is moving to opponents “fourth door”. This is kind of like side-stepping except that it is done to both the inside and outside of opponent. There is a form that we do that makes no sense if you don’t apply this body movement. Again this could be attributed to the fact that the creator is a woman who prefers to steer clear of aggressive incoming force first before counterstriking.
This is probably the other reason why Sanchin-Dachi doesn’t work for me. I let my stances stay more “relaxed” to facilitate my body shift.
The hand posture, particularly the use of the fingers, has great emphasis in the White Crane Fist. It is based on this element that the Dim Mak (Kyusho-jutsu) is possible.
Fingers/palms/wrists/elbows/forearms and the shoulders are just as important as the one-knuckle punch that we do. Beside just Dim Mak, the elbows are used comprehensively in “bridge breaking”. The one-knuckle is the typical punch precisely because it is more efficient in pressure points attacks.
Each technique of the Kata/Taolu will be understood after the dynamics of the martial Jin, that is composed by four principles: to bring (Tun, "swallow") and to project (Tu, "spit out"); to raise (Pu, "floating") and to get down (Tim, "sinking").
In fact all these four principles are usually contained in one line of a poem. Every White Crane style has a more comprehensive set of principles. Finally, is necessary to understand that all secrets and principles of White Crane are in its Forms/Kata/Taolu, but the outmost of all secret is in mastering its internal energy.
Some basic principles:
Retain what is coming in, send off what is retreating. Rush in upon loss of hand contact.
Even when you do not advance, I do not relent.
Once the opponent moves, he loses his center of gravity.
Make the first move to gain control. Attack according to timing.
Precise use of timing is a skill gained through practice.
A confident attitude and a strong posture gives an advantage over the opponent.
Being alert and adapting to the situation allows maximum result with the minimum effort.
The body follows the movements of the hands. The waist and stance move as one.
Body positioning supports the hands to make proper use of the Centerline.
The mind and the eyes work simultaneously to guard against the point of attack.
Face the opponent directly as you move in. Execute three moves together.
Strike at any posture that is presented. If no posture is presented, strike when you see motion.
Beware of sneak attacks, leakage attacks and “invisible” center-breaking attacks.
Soft and relaxed energy puts the opponent in jeopardy.
Being firm and confident in trapping and striking reduces risk and allows “one hundred successes for one hundred attempts”.
Have confidence and remain cool to dominate the situation.
Occupy the inner gate to strike deep into opponentÂ’s defence.
To win in an instant is a superior achievement.
Chase the opponentÂ’s position with cat-like quickness. Attack his posture with bird-like rapidity.
The Ying/Yang principle must be thoroughly understood.
White Crane combat theory is limitless in its applications.
Humbly request guidance from your teacher. Understand the theory of what you are practicing.
Upon achieving the highest level of proficiency, the application of techniques will vary according to the opponent.
It is so obvious isnÂ’t it? You would expect a White Crane player to move according to the above principles.
This is by no mean a detailed study of White Crane. I am using this as a starting point.
More info to come .....
