Kulo Wing Chun 22 Sansau

Many people have asked, ‘What is my martial arts philosophy?’

Well, it is written in this poem:

易綴乾坤陰陽濟
劍氣凝神御風雲
觀心無塵自清靜
渾然太虛任逍遙

Line 1: Central to all my cultivative methodology is the interaction between Yin and Yang and the universal nature of change.
Line 2: I use the word “sword 劍” as the symbol for all things martial. But instead of focusing just on the physical form (the sword), we focus also on the formless (Qi) and consciousness (Shen). Riding on the wind and the clouds, because clouds you can see but cannot feel, and wind you can feel, but you cannot see.
Line 3: The result is to realise the clear nature of the mind and the illusory nature of thoughts.
Line 4: The ultimate goal of my martial arts philosophy is to become one with the universe and achieve ultimate freedom in martial arts and spiritual expression.

Hence, my logo is a created word, representing a sword that is not made of steel but of Yi, the interaction of Yin and Yang.

Most falls happen because of an external force, such as a push, a trip, or a load, causing a loss of balance. For the elderlies, the goal of the 逍遙劍步 is to learn to:

1. Sense the body
2. Mindful walking
3. Moving with an external force (instead of fighting it) and quickly recovering central equilibrium.
4. When reaching out or extending the arms/legs/load, counterbalance by lowering the centre of gravity and shifting body weight.
5. Rotating the body, utilising centripetal force to remain stable.
6. Skipping over obstacles and regain balance quickly.
7. Reverse turning

These methods are useful, not just as a form of rehabilitation, but for martial artists, using the Yin and Yang of forces to flow and diffuse an opponent’s attack. These are not just physical techniques, but principles that can be adapted for almost all situations.

1. 韋馱獻杵（樁功）
2. 雉鳥穿林（步法）
3. 蟠龍絞柱（定步攔劍）
4. 十面玲瓏（四門截劍）
5. 斗轉星移（換步劈劍）
6. 捕風捉影（閃身掃劍）
7. 回頭是岸（逆旋擊劍）

口訣：

韋馱獻杵定乾坤：樁功
以護法之姿，杵立天地，穩固根基

雉鳥穿林逸無痕：步法
雉鳥之堅，穿林之巧，過而無跡

蟠龍絞柱攔雲劍：定步攔劍
如龍蟠柱，絞纏不脫，攔截來勢

十面玲瓏截四門：四門截劍
十方通透，四門封鎖，無隙可乘

斗轉星移劈桂魄：換步劈劍
星斗輪轉，步移身換，劍劈明月

捕風捉影掃塵根：閃身掃劍
如捕虛風，如捉幻影，掃盡塵根

回頭是岸玄機轉：逆旋擊劍
一念回轉，倒用禪機，逆勢反擊

劍步逍遙道本然：總訣
七式融通，逍遙自在，道法自然

Keys to using the Shackles

Instead of answering separately on multiple DMs, I will answer the FAQs here:

1. There are 13 exercises I have devised. I call them ‘exercises’ and not techniques because these are platforms to develop power and attributes; you can modify them to suit your needs.
2. Just like a pair of pliers, the power comes from force applied to the handles and not the jaws. Similarly, in these exercises, power is driven through the legs, not the arms.
3. Don’t thrust the hips nor hunch the back. You are opening the Mingmen, opening the shoulder blades, consolidating the Cotton Belly, and expanding the back. These give the optical impression of thrusting and hunching.
4. Use chains, not elastic bands. It is a Yin and Yang thing; rigid chains build elastic power, and elastic bands build stagnated power. There are 3 phases to the striking movements: 1. The elastic release. 2. Plyometrics at impact. 3. Isometric to continue the stretch. You can’t do these with elastic bands.
5. Yi: When the strikes are stopped by the chains, you must feel the Yi continuing, like the movements of a Newton’s cradle. This is 形斷意不斷 which means “forms stop, Yi does not.” Don’t focus on the hands, focus on shooting the power out.
6. Yi: When doing threading moves, you must learn to feel the threads/silks surrounding the body, as if you were wrapped in a cocoon of Yi Qi. You are moved and controlled by the Yi Qi, the body is passive.
7. Do NOT overtrain: as martial artists, we like to push our limits. The Shackles are the quickest way to develop power; but if you overtrain, you risk serious injuries. Be warned!

Mind Body Connection
Written by Kati Rounevaara

Absolutely brilliant book. Well written, pragmatic, easy to understand. Yet the messages are profound and thought provoking. i knew Kati was writing this, but the result is way beyond my expectations. I think I have to read it a few times to truly appreciate its value.

Recommended 100%

This is the first ever written record of sword principles. It was recorded in the 吳越春秋, “Spring Autumn of Wu Yue” as a conversation between King Yue and maiden Yue, written around the first century CE. I have included the Chinese original and the translation for your reference:

越王問曰：「夫劍之道則如之何？」

女曰：「其道甚微而易，其意甚幽而深。道有門戶，亦有陰陽。開門閉戶，陰衰陽興。凡手戰之道，內實精神，外示安儀，見之似好婦，奪之似懼虎，布形候氣，與神俱往，杳之若日，偏如滕兔，追形逐影，光若彿彷，呼吸往來，不及法禁，縱橫逆順，直復不聞。斯道者，一人當百，百人當萬。」

King Yue asked, "What then is the way of the sword?"

The maiden replied, "This way is extremely subtle yet easy; its meaning is very obscure yet profound. The way has its gates and doors, and also has yin and yang. Open the gate and close the door—when yin declines, yang rises. In all hand-to-hand combat, inwardly you must solidify your spirit, outwardly display calm composure. When seen, you appear like a gentle maiden; when engaging, you are as fearsome as a startled tiger. Arrange your stance, await the opponent's Qi, and move together with your spirit. Penetrating and elusive like sunlight; spring like a fleeing hare. Pursue the form, chase the shadow; your radiance seems elusive. Breathing in and out, come and go—do not be constrained by rules and prohibitions. Move horizontally or vertically, forward or backward, directly or indirectly—once done, it is as if unheard. One who masters this way can match a hundred alone; a hundred can match ten thousand."

The danger of Qi blasts

Have you noticed that internal masters tend to select specific people to demonstrate on, and their "Qi blasts" only work on students but not your average Joes in the audience?

Whatever Qi is, it is simply a label. From a functional perspective, Qi transports information, but it takes training to master. A piece of calligraphy, for example, may appear pleasing to an untrained eye, but a trained calligrapher will recognise the artwork’s power and emotion, despite the fact that it was created over centuries ago. In Chinese, it is called 'Qishi' (氣勢), or "Qi structure"; in neuroscience, it is known as "mirror neurones".

Perhaps that is why those Qi blast demonstrations work: the receiver is conditioned to receive the signals and flow with them, whereas people who have been trained differently do not. That is dangerous; if both the student and the teacher believe it will work, they will have difficulty dealing with random opponents, regardless of how skilled they are at manipulating Qi.

Cultivating Shen Yi Qi is important. Yi Qi skills give you abilities that physical training alone cannot provide. However, Qi is a tool that we should master but not be slaves to.

Forget about the snake oil; what is the actual science on the roles fascia plays in martial arts?

Fascia is a three-dimensional web of connective tissue that surrounds and penetrates muscles, bones, nerves, blood vessels, and organs. Rather than existing as separate sheets around individual muscles, fascia forms a continuous network throughout the entire body. Because of this continuity, tension generated in one area can influence distant regions.

When a muscle contracts, it does not transmit force only through its tendon to a bone. Part of the force is also distributed into the surrounding fascia and then into neighbouring muscles and tissues. When we move, the fascial connections help distribute forces across multiple body segments, creating what anatomists describe as myofascial chains or anatomical trains. Fascia itself has very low elastic tension. On its own, it is not capable of storing or releasing any significant power. Muscles are always required in the interplay. Song is not the lack of muscular activity but the reduction of interference from stagnated muscle activities. Anyone who says otherwise shows a total lack of the most basic understanding of body mechanics.

The fascial network also contains numerous sensory receptors, including mechanoreceptors and proprioceptors. These receptors provide information about tension, position, and movement to the nervous system. As a result, fascia contributes not only to the mechanical transmission of force but also to the coordination and regulation of movement. The power lines, therefore, depend on both the mechanical continuity of fascia and the nervous system's ability to monitor and adjust movement patterns. If one region becomes stiff, injured, or poorly coordinated, the entire chain may be affected, leading to compensatory movement patterns elsewhere.

During a palm strike, for example, the power chain begins with force generation in the legs, continues through the pelvis and the “cotton belly”, and finally reaches the arm, hand, and even the fingertips, all of which are transmitted and coordinated through the myofascia and supported by your bones. A tensegrity (tensional-integrity) structure requires both the elastic network and the rigid structures within; neither one can be lacking. A chain is only as strong as its weakest link; therefore, to generate power effectively, instead of thinking about coordinating separate muscles and joints, think of cultivation of your myofascial lines.

The fascia can be viewed as one of the body's primary integrative systems, helping to connect local movements into coordinated whole-body actions. So the next time someone tries to sell you some BS explanations on how to use the fascia, you can quote the actual science.

Chains, Shackles, Tensiometrics

Many people see this and think, “This Sifu is nuts!” All the ridicule being thrown at me!

Well, I don’t blame them. If no one is to explain to you how this is to be done, you will injure yourself before developing any power.

The purpose of this training is to condition the myofascial network that interweaves the entire body and to cultivate structural integrity and biomechanical tensegrity.

The key is to develop the primary elastic vectors as indicated by the red arrows and the secondary elastic line by the green ones. Power is conducted through the spine and the legs, forming an S-line like a double bow. Power is then governed and transmitted through the cotton belly. You need to create a counter power at the Mingmen, where you press against the weightlifter’s belt. You must sink the elbow of the back arm towards the back heel to maximise stability. And you must know how to use the tongue to activate the powertrain.

You should use chains, not rubber bands. It is a Yin and Yang thing: when the chains are rigid, you develop elasticity in your structure. If you use elastics, you build muscular strength but become sluggish.

This is only one posture, and there are numerous postures that I have developed. This is the quickest way to develop the “whole body elastic power 週身彈簧勁”, one of the holy grails in traditional Chinese martial arts.

Those of you who have been on the receiving end of this will understand.