John Upshaw
- Fist Protecting Heart to Tornado Kick. Too big. Before the turn, you have to come back into the core
- Small Catching and Hitting. Rotating from the core (in and out)
- Drop the Hands (before Embrace the Head to push the Mountain). This move is a cross between Six Sealing and Four Closing and Punch Covering Hand
Sven Gusowski
- White Crane and Brush the Knee (out with Hand). Add a layer of separation. Right now the outside moves and central line are still linked. We want the central line to be clear of the outside moves
- Master Chen showed exaggerating the isolation.
- Master Chen showed the isolation reproducing what Feng showed him (we should not try to copy this one yet). Sometimes this expression can be seen as a protruding elbow, but it’s just a method to isolate the move. Not linking
- Master Chen is adding this instructions to everybody’s moves. Without the isolation we are all linking the central line to the outside moves.
- Master Chen showed Six Sealing and Four Closing. You can add more move, but it’s not linked to the central line. If it’s linked, your body appears to be more sluggish
Yhossie Suananda
- Front Trick/Rear Trick going into Wild Horse parts his Mane. Shoulder-kua line: if it’s too stagnant is not good, if it moves is not good. It has to rotate, turning over. The switch has to be a rod
- You have to have the rotation. You have to have the isolation
- The rotation of the vertical shoulder-kua line causes the rotation of the arm
- Step up. Arm: the elbow comes in, form a straight line and then rotate from the left kua. If the arm is too long, you cannot support it
Rick Pietila
- First Cloud Hands. Once the elbows are in, the two shoulder-kua lines must do a lot of work. This is the isolation. You want them to be very strong (up and down to show the two lines). Use the two shoulder joints to translate the vertical rotation to the rotation in the arms
- You can exaggerate the twist of the lines. Lock the shoulder and rotate it. Exaggerate until the shoulder-kua line starts to power the arm line
- At the beginning just exaggerate, if you’re right or wrong it doesn’t matter. You just want to put more emphasis on that area
- After the Tornado Kick everything is pulled hard into the core. You’re stretched out, people are grabbing you, you need the power from the central line to pull you back
- Small Catching and Hitting. Head and Hand should not move. If you move, the moves are outside. If you move the head and hand everything is lost
- You have to have a ring on the wrist: the rotation of the shoulder-kua line causes the arm to go through the ring and come back
- When we turn internal, the restriction is outside the moves are inside
- Change Palm three Times (before Embrace the Head to Push the Mountain). The Head cannot move. It’s like you have a ring around it. If the head moves it means you’re tossing
- Example with Flash the Back. The outside is forced into a tunnel, the inside is moving a lot. This is called internal power
- All our moves are based on hand-foot locked into a 45 degrees line. We are using elbow-schoulder-kua (which is inside) to cause rotation. Outside= head- hand- foot cannot move; Inside can move lots
- At the beginning your outside is only fixed. Later on you have to have a section which can only move inside a tube
Edward Liaw
From High Pat on Horse to Rub foot. The rotation from the core must be very strong and controlling. It controls the power. We don’t want to move into position, we want to rotate
Gerry Gebhart
- Wild Horse parts his Mane/Front Trick Rear Trick. Do the moves only from the vertical lines (shoulder-kua lines). Master Chen showed the moves stressing the vertical rotation, causing pull/push on the arms
- If you rotate enough it causes the body to come up. No stepping: the problem is we are always using the mussels to move the body
Chris Martinez
- If the hand is too far out you cannot control the rotation.
- At the beginning some moves must be very small for you to feel, some others must be very big. Inward moves must be so small, you can feel every body part. Outward moves must be so big, you can feel every body part. This is the Yin Yang contradiction
Wenming Ong
- Number 1): The central line needs to be more stiff. Master Chen showed Punch to the Ground. If the line is stiff it cannot move, you can only move from the kua. Power must come from something very stiff that rotates. A straight rod. At the beginning we rotate with straight, stiff rod to train (easiest model). Later on we can rotate any object, as long as it does not change shape.
- Number 2): Line between the Hand and Shoulder must be very stiff and strong. If it moves, it’s not a rotation. This is why it is so difficult to do the circles.
- Train number 1 first
- Method for straighten the central line is to put the line right in between the two legs and then stretch it (lock the bottom and stretch the top or lock the head and let the bottom drop). If the central line is always stretched it has a chance to become independent
Sooyeon Zacharias
- Last Cloud Hands. Hands no move, Feet no move. Only the central core rotation causes the hands to change position. It’s very twisted
- Every move like the one leading to Punch covering Hand (double negative synchronised). Arm goes, right elbow stops and hand continues until it touches the right ear. From there, no move of the elbow, the hand slides on the cheek and comes back.
- Last Cloud Hands. The stepping becomes a kick to the knee
- Progression in the Yilu: the fist section lays out the moves. In the second one the moves are refined and the same happens in all the other sections. By the time you are in the sixth, the moves are totally the same as in Cannon Fist. It should be like that right from the beginning, but without the progression we cannot handle it
