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A segment of a Yong Chun White Crane free hand pattern, typical of the style with fast, precise hand movements that display intricate locking and trapping applications.
This is first of three linked videos: Wang Bing Shen performs a Tai Cho (Tai Zhu) style pattern. Typical for a southern style, the movement of the feet are small and compact. The low sitting stances give the practitioner enough stability to be able to generate force, which is channelled into fast blocks, punches and open hand strikes. Tai Cho is one of the best known styles in Fujian Province, translated as the Grand Ancestor Fist. It is also one of the key elements of a related southern style ? Ngo Cho or Wuzhu ? the Five Ancestors Fist.
Second of the three Tai Cho (Tai Zhu) patterns released with this issue. Chen Jing Cheng performs a longer pattern, which showcases how the compact stances of the southern styles are used to change both height and direction, enabling the fighter to defend himself against multiple opponents.
This issue we have included a video of a different southern style, Yongtai Tiger ? performed by Master Tang Dong Heng ? in order to show both the differences and the similarities with Tai Cho. Notice how the underlying principles, including low southern stances, are almost identical, even though they are put together in a different way. There is a lot of cross-over in the Fujianese styles, knitting them together into one distinct family.
The third of the three Tai Cho (Tai Zhu) patterns. This pattern demonstrates cross stepping and slightly longer stances. The performer is more junior than his two colleagues, which creates an opportunity to see how the explosive powerful movements of Tai Cho are practised and developed in the early years of training.
One of many patterns in the style Nan Quan or 'Southern Fist'. This features typically tight footwork and an emphasis on hand strikes. However, there are a few low kicks dotted around the pattern, and some less than obvious sweeps. See if you can spot them! Fimled in Zheng Zhou, May 2001.
The Yong Tai area is famous for its Tiger styles. Master Tang Dong Heng displays power and aggression, just what you'd expect from a tiger. The characteristic hand movements, rotations of the wrist during the opening moves and gripping all go towards strengthening the joints and muscles of the hand and forearm.
Three Arrow One Way is another style from the Putian area. Putian is the location of one of the three South Shaolin Temples and so is a great place to find many rare styles from that lineage. Master Lin Yue Jun.s performance shows the close ties between Three Arrow One Way and other southern styles like the Crane System and Five Ancestors: watch in particular for the use of Dun, or Spring Force, when striking.
Master Yao Yu Qi performs a pattern of the 36 Treasures Fist, a rare southern style from the Putian area of Fujian Province. In contrast for example with the Nei Jia Internal styles, 'fire' is a very important principle when performing a southern style: the practitioner.s spirit must shine out through his eyes and transform his face until he resembles one of the ferocious temple guardians. This is designed to put doubt and fear into your opponent before the fight even starts.
San Zhan or Three Wars is a basic pattern structure common across many styles of the South Shaolin lineage. It teaches students the correlation between the legs, upper body and breathing that is the foundation upon which all more advanced principles are built. Here Master Lin Qi Ta performs the San Zhan pattern of the Da Zun Quan, an archetypal southern style, widespread in the Zhangzhou area of Fujian Province.