20.     San Soo:  Old vs. New

The question pertains to the longer and wider technique utilized by early San Soo practitioners, contrasted with the more compact fighting style of late. Additionally, Jimmy H. Woo moved from the more powerful long movement which has historically typified Kung-Fu San Soo, to more compact medium range movements.  The inclusion of strikes to the quarter and half sectors allowed for the closer distance which is the requirement of the closer leverage technique (known by some as Tsoi-Li-Hoi).  From the mid 70's on, Jimmy concentrated more on the closer, more circular technique.

Jimmy H. Woo distributed five teaching manuals to his advanced students.  These books are the accumulated notes of several of his students.  They are illustrated and contain forms and lessons.  The volumes span a critical five year period with respect to this stylistic change.  Of note is the change from the longer and wider old-style to the shorter, more compact new-style.

Books 1, 2 & 3 show forms with abundant left to right horse shifting and featuring strikes that diametrically oppose each other. Kicks and punches occur in opposite directions at the end of each shift.  For example, the practitioner based in a left half horse executes a right reverse punch to the southern direction.  This is then followed by a full shift to a right-half-horse and left reverse punch to the northern direction.  The punches in this preceding example are in 180 degree opposition to each other. 

Books 4 and 5 demonstrate forms depicting a shorter, closer technique.  In this example, a right punch is delivered, followed by a mirrored left punch.  However, unlike the earlier forms, the practitioner does not shift, but remains in the same stance throughout the execution of the two strikes.

The latter movements are more indicative of the movement-type and style change seen in the school workout during the mid 70's. The closer, more compact movement made use of kick stances, short bicycle-like shifts, so necessary in the closer leverage techniques being shown at that time.  Since close-quarter fighting requirements are different, other changes were instituted. The longer windmills were shortened or dropped altogether.  The earlier forms of books 1 - 3 utilized large overhead windmills and shield guards.  The later forms demonstrated shortened, more efficient windmill movement.

As a matter of evolution, it was only a matter of time before the more basic long powerful movements, typified by large windmills, were replaced by close-quarter, mid- and short-range technique. The compact technique is all at once faster and the exponents target moves faster and more fully out of the way.  In close-quarter fighting the faster movement plays havoc with the opponent's reaction time, making many of the cover windmills unnecessary.

I asked Jimmy H. Woo about the changes in the form and the Grand Master answered, that the shorter form movements were "just different combinations of the same movements".

The more modern fighting approach demands more balance and timing, is more centered and circular, and to its deficit, is shorter reaching.  The older long windmills and long arm strikes were more powerful but could only be administered one arm at a time.

Here, perhaps, is a good example:

Imagine that you are seated at a square table... 

You are seated squarely, facing it.  In this position, you can use both arms to handle lots of things in front of you. However, if you have to reach far, say, for a salt shaker, then you have to turn dead sideways to increase your reach. Having done this, you can no longer use the other arm as easily; it is behind you.  

Now if you were to choose sit at the corner of the table, chest facing the table's center, you would find that you have the best of both worlds.  In this position, a compromise, you have the use of both arms, with added reach and facility across the table surface!

So, what appears to be differing styles during Jimmy’s many years of teaching is in reality the natural development, growth and outgrowth of Kung-Fu San Soo. The large powerful technique became more compact, skillful, and demanding. Unfortunately solid basics were discarded by some instructors for the faster, more efficient, more gratifying technique.

It is my opinion that The Grand Master Jimmy H. Woo changed little during his last 30 years and demonstrated a more lengthy, make-and-break style typified by the "old school".  I cannot say that I have witnessed the Grand Master utilizing direct straight centerline movement or short quick kick stance shifting which is commonplace in the "new school".  More important than Old vs. New is Correct vs. Incorrect.

It is important that the San Soo fighter learn to fight in all directions, executing lessons from a wide variety of positions.

27.     "Look up in the sky"… "It's a punch"… "It's a block"

... It's a cover, it's a parry and it's a counter balance.  It can be all of the above.  Every arm movement is a potential punch, block, protective shield guard, or parry.  An arm striking above the opponent's elbow is typically called a "punch", whereas a strike below the elbow is called a block.  Because the path of a punch or windmill is circular, the point at which the strike's arc interacts with the opponent gives the weapon, be it punch or block, direction and purpose.  By varying body positioning and/or the length of the arm, the practitioner can cause the arm to intersect the opponent's body at different points on its arc of travel.  This varies the angle and trajectory of the attack and allows the artist to take control of the opponent.  For example a punch that makes contact early in its circular path appears straight.  Allowing it to round the bend, before making contact, creates a round house.  Catching the opponent on the far side of the arc gives it a hooking quality.  So, in this example, the fighter changes his position so his arm will intersect its target at these different points on the circumference of the circle path.

There are two basic ways that we use windmills.  The first is when a windmill is used against an adversary's chosen weapon, i.e. your left against his left punch.  You see it and strike it.  The second is when your windmill moves across an area to protect a region which you are traveling through.  These two strategies may be likened to defensive styles in basketball.  The first example can be said to be similar to a "man-on-man" defense and the second example bears similarity to a "zone defense."

Strikes or blocks may be used to place the opponent, setting him up for the next action.  In combative fighting there are no rules, and as such, any target on the opponent's body is available. As an arm passes it may strike or not as needed or desired.

In many ways the arm can be thought of as a multiple-barreled shot gun.  The practitioner can choose to use it or not.  The ability to choose enhances the element of surprise.  An opponent cannot know for certain whether the weapon will be used or if it is a distraction, a ruse, or is just traveling on by.  Its appearance can break a rhythm or set a rhythm to be later broken.

In the discussion above we are speaking of the use of the arms but the same can be said for the use of the legs and all body appendages.  During the application of a technique, arms and legs serve as counter balances and whips to maintain and change the balance of the body as it carries out its duties.

An ice skater uses the arms to control body spin.  Gymnasts use their appendages in varying ways to facilitate movement.

 

A San Soo practitioner deficient in the use of windmills cannot progress into the more intricate levels of circular movement.  Instead of a graceful circular manner he will develop linear mannerisms, throwing himself here and there.

Remember that windmills, punches and kicks have follow-thru and continue on their journey even when impact occurs.  Fixation on the point of impact, treating it as the end of the movement, rather than visualizing “follow-thru” will result in incomplete shifting.  This will certainly destroy the continuity direction and purpose of the technique.  The base half horse can not fully form if the practitioner stops at the moment of contact and does not allow his horse to fully solidify.  This very problem is of serious concern as a large number of San Soo practitioner’s are focused on the target acquisition point and do not follow-thru into a finalized, proper horse.  Instead, they find themselves constantly in a less desirable transitional position and must “throw” their upper body mass to continue.  The result is poor flow and the introduction of linear momentum which distracts from the otherwise circular route.

28.     Circular Movement

The geometry of Kung-Fu San Soo is predominantly circular.  Stepping, blocking and punching technique necessarily follow circular paths.

The shortest distance between two points may be a straight line, but circular paths must be utilized to clear punches, navigate a variety of target obstructions, and open gates to access targets in a more surreptitious or blind-side manner.

When using rounded, rolling body motion, the resulting circular blocks and punches cover more distance, accelerate faster, as their supportive musculature’s performance is bettered.

Square, linear Karate-style movement is not designed for close quarter fighting, but rather to cover longer distances and for setting up the opponent when working "the outside”.   Circular movement is an important part of proper and correct San Soo technique.  It gives the San Soo practitioner a decisive, deceptive edge, enhancing timing, coordination, speed, agility and balance, as well as maximizing striking power and leverage.  In addition, linear movement disrupts the natural circularity of body and punching movements.

29.     Complete Movement vs. Shortcut Movement

Good balance is at the root of a strong fighter.  That is not to say that one remains in perfect balance at all times.  In fact, the ability to put oneself in and out of balance is key to an agile and powerful technique.  The rule in Kung-Fu is that the more weight is distributed to one leg, the more maneuverable one is; the more evenly distributed, the more rooted.  It is fair to say that the more developed fighter is “lighter on his feet”.  However, this goes to the fact that the more experienced practitioner can more fully control and manipulate his body balance to obtain a desired effect.  One becomes skillful at moving into and out of differing and chosen states of balance.  

The basic stances of Kung-Fu San Soo provide a much needed solid base.  Without proper form and footwork, irregularities in the ground one stands on, and sudden, unexpected conditions, can play havoc with the fighter’s balance and subsequent control. 

For much of our beginning training, proper horse stances and complete movement are stressed.  In higher levels of training one learns to take shortcuts, to use various contractions and expansions in stances and movements to complete a transaction more quickly.  This is not without risk.  Complete movements provide great security for body targets and preserve body balance whereas shortened movement increases the element of surprise and allows compound movement.  

The former, the element of surprise is at the core of San Soo technique, and the latter, compounding of movement is fully utilized by the San Soo Practitioner in the more advanced levels.

It cannot be stressed enough that a student should not be encouraged to compound movement and shortcut his technique until such a time as his base art is second nature.  Improper and early compounding of movement and the usage of short cut movement lead to sloppy, incorrect and inconsistent application.  Furthermore, proper technique is not the natural outcome of a self-guided, improvisational study.

The development and maintenance of a good core technique is critical.  The compounding of its movement is a study requiring a disciplined and methodical training process.

A good foundation and ability to use ourselves in a manner that offers true flexibility is at the expense of many hours of strict and focused fundamental training.

32.     Using Pre-Arranged, Patterned, Blocking and Punching Sets

Some arts use blocking and punching sets (pre-arranged patterned movement).  In sport fighting or where the opponent's attacks are often stylized or where there are set rules, one can often predict what's next and how to respond.  “Hands up fighting”, using the arms, for example, to protect the front of the upper body is particularly effective when there are rules which exclude strikes to the backside or below the opponent’s waist.

In actual street combat, where anything goes, just when you think he will counter with this punch or that, he will probably step on your foot or kick you to the knee. In combative fighting where a multitude of targets are available at any given time placing your hands in a generalized manner is not productive and puts those potential weapons in plain site.

Trying to predict which appendage will block which arm or leg movement is next to impossible, particularly when you are close to your opponent.  So "man-on-man" defense, like in basketball, is difficult to pull off. It is also hard to execute an attack when you are preoccupied with defensive concerns.

Rather, like a zone defense in basketball, our windmill movements and manner of stepping afford a basic level of "regional" protection. We practice this coordinated effort in form and lesson, where the arms act as shield guards, precede and pass between the artist and the opponent, and impede the attacker's avenues of attack. Windmills, well used, and body positional changes automatically protect major body targets and can distract and hide the San Soo fighter's real intent. 

Many complain that the San Soo fighter should fight with his "hands up".  I would argue that we find ourselves in similar hands up postures when we step and use our windmills properly. 

Boxer-like hand positions appear and disappear as we progress through our movements.  Also, remember that there are no rules in street fighting. Other targets are exposed when one raises the hands.  An opponent has no reservations about hitting those other emerging areas.  Anything goes in a street fight.

It should be noted that pre-arranged movements can be a double edged sword. They may well offer protection, however they may also be more recognizable.  This may well send a signal of a pending attack thus triggering an effective counter response.

Movement of the body and its targets is a key strategy in this art.  Keeping oneself on the move and out of range is preferred to the use of patterned offensive or defensive hand patterns made necessary when one is "pressed" or "jammed".  

Mental energies must also be reserved for use in attacks on the opponent.  It is better to attack and let him deal with the assault, than to be busied with a response to the opponent's varying attempts.  So rather than having to deal with an opponent's kick attack, kick him!  Keep your opponent on the defensive.

Where to start…

Form provided a good place to start.  It is particularly important, in general, that windmills are executed and directed at the opponent before shifting and stepping commences.  In this way they will act to clear a path and if necessary to strike instantly in a surprise attack.  These days students can be seen needlessly spinning their windmills in their rear quarter and then turning there whole body into the coming attack. 

Jimmy H. Woo… “If you don’t want to be hit… Don’t be there!”

     … And I'll add that it is important how you get…there too!