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OC isn’t a Style, It’s a Work method.

Pas de secret en OC,

juste des élèves qui entendent des trucs différents, ou des profs qui enseignent des trucs différents à des élèves qui sont différents.

Un Maitre, dans les années 1960, en Chine ou à HK, c’est un gars qui essaye de faire ressortir le maximum du potentiel de son disciple en fonction de ses capacités physiques, psychiques et intellectuelles.

A chaque élève sa pratique.

Ce qui est vrai pour l’un, n’est pas forcément vrai pour l’autre.

Par exemple, on va pas demander à un petit gros de faire la même chose qu’un grand maigre, ils ne vivent pas dans le même référentiel.

L’un va pouvoir faire des soleils sur une barre, l’autre va pouvoir utiliser sa force au sol avec une efficacité considérable par exemple. Reste à ne pas se tromper sur qui fait quoi…

L’uniformisation d’un style de Gung fu n’est que la volonté d’une personne de laisser une empreinte, un éponyme dans le nom d’une technique.

Que ces personnes choisissent de se répandre dans le monde, ou alors de se regrouper en petits groupes fermés et sectaires, c’est le même problème, on ne peut uniformiser sa pratique en style sans faire des dégats, des incompréhensions, ou alors, et c’est la solution, sélectionner ses élèves selon ses besoins, ses désirs.

Un Maitre vend une méthode de travail le plus souvent, ce qu’on appelle la base.

Le problème, c’est que certains confondent travail de base et technique, stratégie de combat.

En OC, c’est la fameuse rétroversion du bassin, qui, érigée en méthode de vie ou en travail exclusif, crée bien des déséquilibres posturaux aussi bien statiques que dynamiques, en dehors du contexte du combat, mais également dans celui ci.

Je croise très très souvent des personnes qui ont fait 1 ou 2 ans d’OC et qui ne savent plus marcher correctement,

– Un du fait de leurs travail sur la chaise, car ce sont souvent des geeks, des informaticiens, des intellectuels qui se mettent à l’OC, on constate une fonte des chaines postérieures, notamment des fessiers dont le travail est relayé par les muscles érecteurs du rachis. C’est ce que Christophe Carrio appelle, entres autres, la prise en main par les muscles synergistes du travail des agonistes dans sa réédition de « Un corps sans douleur » dont je recommande la lecture ici.

– Deux parce qu’il s ont intégré dans leur schéma moteur la hantise de garder la verticalité, ce que certains ici appellent la structure, en pensant à une Tour Eiffel (problème certainement environnemental qui influence les idées et les cloisonnent, prions pour eux…) alors qu’il faut penser alignement.

Les adultes compliquent tout, alors qu’il suffit d’observer les enfant pour voir la bonne façon de pousser, de donner un coup de poing, de marcher…

No secrets in OC.

Only different students, different minds, different body who listen different things from who taught them.

Some people, like Yip Man, also didn’t taught the same things to all students.

A Master, in the 1960’s, in China or HK, is a guy who tries to express what’s the best in a student. The age, the physical profile, the mental and the temper of the student are key elements for the choice of what a teacher will do.

And, of course, the more the student and the teacher are compatibles, the more the transmission will be easy.

« Don’t thrust me »,  Yip Man used to say to his students, « it’s you who use Wing Chun, and not the other way around ».

There’s a way for every student

What is true for one, can be false for another.

For example, ground will be more interesting for a fat and short guy than to learn how to do flying kicks.

Sets in wing chun are for every kind of people, but there are more concepts for short ones.

One must know, there’s an age, a temper, and a moment to do Wing Chun, no need to rush it and be frustrated. There are plenty of other way to use the body than wing chun that fits people who just can’t use the radiant spring way of boxing.

Uniformisation in gong fu is the will of egotic teachers who want to create a style, the same for all, a sort of panacea, or simply, they only teach people who are fitting in their art.

A real master teach a method, a work method. This goes beyond the notion of style.

In OC, there’s the famous retroversion of the pelvis. When this detail becomes a way of life or an exclusive stance, it creates a lot of structural aberrations both in the static and in the dynamic attitude of the student.

I met a lot of people who made 1 or 2, or even more years of OC and don’t realize they don’t know how to walk properly anymore.

Adults tend to make everything complicated, just watch babies, kids, they will teach you how to push, to punch, or simply to walk…

Publicités

Niem Lik

The Hidden Power of Siu Nim Tau —  Tsui Sheung Tin:

My master Yip Man first started teaching Ving Tsun in Hong Kong at the Restaurant Worker’s Union Association. At the time I was the secretary of the association, so Master Yip and I had many opportunities to be together. Before I became interested in Ving Tsun, I often overheard Master Yip explaining his Ving Tsun theories in his classes. Gradually he sparked my interest in the art. It so happened that I had great interest in physics and mechanics; I enjoyed his theories on body structure and power development methods very much. Through my careful analysis, I was convinced that Master Yip’s art was flawless and very advanced. Finally, I decided to follow Master Yip and became his student.
Like every beginner in class, I started my journey with Siu Nim Tau , even though I had already familiarized myself with the form as an observer. It took me little effort to completely learn the basic movements. I then began to wonder about the essence of the form, besides the hand movements. I went to Master Yip and inquired about the meaning of Siu Nim Tau, especially the non-combative tone in the name. Master Yip replied: « This is about Lop Nim — to establish an idea in the mind ». I am sure most of my peers have also heard about this term. Master Yip also added that it required prolonged practice of this form to truly master the essence of lop nim.

This hidden meaning of lop nim really caught my interest. I spent much time analyzing its nature, but could still not grasp the concept. Therefore I decided to drop all my thoughts and simply practiced Siu Nim Tau whenever I could, day and night. After a long time, I began to see the connection between lop nim and the form. I suddenly felt great joy in my Ving Tsun training, which fueled my interest in the art further. I became obsessed with the art. Gradually I discovered some powerful but hidden forces within each Siu Nim Tau movement. All the movements are indeed able to deliver indestructible power, yet they look very soft and graceful. At that moment, the concept of lop nim became extremely enlightening and inspiring to me. I finally understood the reason behind it.

I summarize this hidden power as a kind of nim lik (the force of an idea; or mind/intent force, where nim is the same idea/intent as in nim tau ). In essence, Siu Nim Tau has two major points: nim lik and « structure ».

1. Nim Lik

(force of idea/intent): it stabilizes all Ving Tsun movements to form a springy and dynamic combination of body structures. It makes Ving Tsun body structure able to sustain great pressure and produce rebound energy. Although there are common terms such as nim lik, qigong, noigong or supernatural abilities that are being perceived as some kind of unusual power, here I would only illustrate the concept behind nim lik (force of idea/intent). Nim lik is the power of a highly focused mind. It helps one bring forth chi flow into every part of the body. Everyone should have this kind of power. However, without training, it is very difficult to focus thoughts. Siu Nim Tau is a great tool to invoke mind focus power. If properly practiced, one can deliver this kind of power at will in every instance. The mind can stay focused even when the structure is adjusting or moving at high speed. So to achieve nim lik is the goal of Siu Nim Tau.

Let’s look at a simple example: if a healthy person falls down from a 6 – 7 feet tall platform unprepared, although he/she lands with both feet, he/she is still likely to injury him/herself. However, if the person is mentally prepared for the fall, his/her feet will automatically recoil and absorb the impact. Also, he/she can only have this reflex if his/her feet are relax. This is an unique attribute of human muscle in its relax state. The springy force on the feet that help the person land safely is a direct result of relax muscles and nim lik.

note: according to contemporary scientific findings; when human muscles are in relax state and are moving at steady speed, they can sustain greater pressure than when they are tensed up (using force). It is so amazing that our Ving Tsun ancestor Ng Mui was able to make use of this scientific method to design our Siu Nim Tau hundreds of years ago

2. Structure:

Yee Gee Kim Yang Ma allows one to project all energy forward towards the target. Tei Gong (pulling up of the muscle around the anus area) helps unite body and stance. It also helps relax the leg muscles while being in the stance; thus the whole body reaches a highly alert and ready state. These are the necessary conditions to produce nim lik and must be maintained firmly. The core techniques of Siu Nim Tau — Tan / Bong / Fook — are indeed subtle uses of body mechanics. These three techniques take the shape of arcs or bows. As we extend the arc shape further, Tan / Bong / Fook become hemispheres. As we all know, an arc or spherical-shaped object can sustain strong impact. It can also transfer or deflect energy dynamically when spinning. A wheel can accelerate faster than objects of other shapes (e.g. square, triangle). Each movement in Siu Nim Tau, inspired by this efficient arc-like structure, and when combined with nim lik, becomes extremely powerful defensive and offensive techniques. In addition, practitioners must not employ brute muscle strength. Siu Nim Tau training should never be tiring. To be proficient in this foundation, all movements should be done with the mind rather than strength.

Many Ving Tsun practitioners like to impose their techniques into frozen and static postures. Many believe that Bong Sau should be done at certain height or angle, or criticize others for not complying to their artificial standards. Some may call this style traditionalist; that style reformist; and on and on. In fact, movements in Siu Nim Tau are not named as if they were static postures. For example, when rolling up Tan Sau into Bong Sau, it is the course of this rolling movement that makes up the Bong Sau technique; the function of Bong Sau exists in its circular motion. Similarly, all other techniques in Siu Nim Tau employ circular movements in various directions.

It is a popular belief that Bong Sau is a passive technique: practitioners only use Bong Sau to deflect incoming forces. This would apply to the scenario where a statically posted Bong Sau is being used to block attacks. However, this explanation lacks an understanding of Bong Sau. In my experience, Bong Sau can deliver enormous offensive power. Indeed, it is a very aggressive and penetrating technique due to its circular nature.

Finally, I suggest that all fellow Ving Tsun practitioners look carefully into each technique of Siu Nim Tau. Discover the subtle circular movements in each of them. Practice with mind focus and steady speed. Use the mind to command each technique rather than using muscle tension. I am sure you will gradually find great joy and satisfaction in your Siu Nim Tau training!

De l’utilisation du bassin en combat rapproché

Nao sao : exercice de base, description sommaire.

  1. Rétroversion du bassin, pour aligner la colonne lombo-sacrée à une perpendiculaire au sol, s’asseoir ainsi sur les talons en agrippant le sol avec les orteils, vider au niveau du manubrium sternal, langue sur le palais, menton rentré pour que le vertex soit tiré par le haut par un fil invisible, faire un serrage de type bisou avec l’anus.Demander à un partenaire de mettre l’index de sa main droite à l’arrière de votre crâne.
  2. Antéversion modérée et relative du bassin, les genoux fléchissent et tombent en avant pour serrer sans pincement frontal. Désalignement de la sous astragalienne par rapport à l’axe du genou qui permet de bénéficier de la tension spiralée résultant à la supination, adduction, flexion plantaire qui permet la prise d’appui dans la contre attaque. Le haut du corps suit le même concept que la petite idée.Demander au partenaire de mettre l’index de sa main gauche à l’arrière de votre crâne.

La distance entre ces deux index est votre nao sao.

Après, pour la mobilisation fluide et dynamique de ce processus antéro postérieur et l’utilisation de celui ci dans les spirales, l’utilisation conjointe des différentes respirations,  cela est un autre sujet.

 

 

 

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