OsadaSlowianska

Long before I had words to describe my curiosity, I was already inquiring into Secret Things. Long before any pursuit of artistry became possible for me, I was already out there asking, seeking, wandering, playing. Long before I knew anything about playing cards, my position was already determined in the perpetual shuffling of Life.

I have lived many lives of honesty, also many lives of deceit, befriending the virtuous, the cunning, the outcast and the common man. In my quest to find what honour means in a world of deception, who I am in this life, my journey has been filled with triumph and disaster, adventures and revelations.

Without realising, my story was written; without reservation through fifty-two companions my story is chronicled, and through you, Ladies and Gentlemen, my story comes alive. My name is Jin, and this is where we begin...

Wing Chun puts emphasis on economic movement and encourages its practitioners to "feel" through their opponents' defenses and to utilize the incoming attacks with parrying, deflection, rapid punches, and finger pokes. Slapping and defensive maneuvers are used to distract the opponent to make them shift their defenses away from their centerline.

Wing Chun favors a relatively high, narrow stance with the elbows close to the body. Within the stance, arms are generally positioned across the vital points of the centerline with hands in a vertical "wu sau" ("protecting hand" position). This puts the practitioner in a position to make readily placed blocks and fast-moving blows to vital striking points down the center of the body, i.e. the neck, chest, belly, and groin. Shifting or turning within a stance is done on the heels, balls, or middle (K1 or Kidney point 1) of the foot, depending on the lineage. Some Wing Chun styles discourage the use of high kicks because this risks counter-attacks to the groin. The practice of "settling" one's opponent to brace them more effectively against the ground helps one deliver as much force as possible.

The second form, Cham Kiu "seeking the bridge", focuses on coordinated movement of body mass and entry techniques to "bridge the gap" between practitioner and opponent, and move in to disrupt their structure and balance. Close-range attacks using the elbows and knees are also developed here. It also teaches methods of recovering position and centerline when in a compromised position where Siu Nim Tau structure has been lost. For some branches, bodyweight in striking is a central theme, either from pivoting (rotational) or stepping (transitional). Likewise, for some branches, this form provides the engine to the car. For branches that use the "sinking bridge" interpretation, the form has more emphasis on "uprooting", adding multi-dimensional movement and spiraling to the already developed engine

Sometime at the end of March, i decided to see where my year will pan out; i decided to use the Yi (aka Iching), most specifically the Yarrow Stalk method to see how my journey will be.

Taking the solar calendar as the basis

I somehow nose-dived into Engaging in new adventures and finally deciding it's time to leave.

小念頭 — The Little Idea

As the first form in Wing Chun , Siu Lim Tau is the foundation for learning the correct stance, hand positions and fundamental techniques. In Cantonese, Siu means small, young, or just born. Lim means idea, thought or reason. The word Tau means starting or beginning. Together, the phrase translates as “The Little Idea for Beginning.”

Siu Lim Tau is taught in three sections. The first third concentrates on developing good structure, relaxation and Gung Lik or “Elbow Energy.” This section is performed slowly and without muscle tension. Many consider this part to be almost like a preparatory meditation. In the beginning it is taught without any coordination to breath, and the focus is simply on remaining mindful and “in the moment.” It is not uncommon to feel warm and calm during the performance of this section.

The second section of Siu Lim Tao begins to develop Fajing, or the “release of power.” You begin to use both hands simultaneously while maintaining a solid stance. To release power efficiently you should stay completely relaxed and wait until the last moment of the movement.

The third and final section of Siu Lim Tau teaches the basic techniques of Wing Chun. These include Tan Sau, Bong Sau, Jeung strikes and others, and are performed one hand at a time.

Preface: "Chun" means "Spring" in Cantonese...yet modern Cantonese is made up of many street slangs and inuendos. As a consequence "Chun" also means testicles (a Cantonese insult is "Chun Doi" or "Chun" aka testicles, and "Doi" aka Bags/Sacks. In other words the nut-sacks.

This video's just me going on about the Wing Chun Goat Pincer Stance.

https://drlwilson.com/articles/sauna_therapy.htm

Documenting my friend's Infrared Sauna Chamber project...

If you can sort one of these out at your home...and market this product and hustle your neighbors...you will be doing a good thing for mankind...as neighbors absolutely have too much money and need absolute hustling to relieve them heavy pockets.

All jokes aside, this is one of the ways we can all bring healing and light to this world.

It doesn't have to be this type of project...i will give you another idea...

If you have a spare room at your place, think about setting up a faraday cage type room....there's this type of anti-emf black paint one can get from Germany...paint the walls and ceiling with this anti-emf paint...slap a infrared sauna box in there for a few hours...lock the doors, force feed em good food and make them do yoga...

You have a good business model here!

Yes, hustling thy neighbors is a good thing for mankind!

OOOOOOOOH IM EXCITED!!!!!!

(Also pronounced Chum Kiw/Cham Kil/Cham Kiu; "Cham" in Cantonese means "To Seek" or "To Sink"; "Kiu/Kiw" in Cantonese means "the bridge")

Cham Kiu focuses on coordinated movement of body mass and entry techniques to "bridge the gap"/"seek the bridge" between practitioner and opponent, and move in to disrupt their structure and balance.

Close-range attacks are further introduced, such as using the elbows and knees, in non-linear lines of attack, are also developed here. It also teaches methods of recovering position and centerline when in a compromised position where Siu Lim Tau structure has been lost.

For some branches, bodyweight in striking is a central theme, either from pivoting (rotational) or stepping (translational). Likewise, for some branches, this form provides the engine to the car. For branches that use the "sinking bridge" interpretation, the form has more emphasis on "uprooting", adding multi-dimensional movement and spiraling to the already developed engine.

The first section of Chum Kiu teaches how to use turning (shifting stance, built upon the perfect structural alignment demanded by form 1 - Siu Lim Tau "The Little Idea") and techniques at the same time, for example the Bong Sau and Wu Sau are performed whist turning and shifting the body weight from one leg to the other. This is teaching the practitioner to use the hips to develop power or Yiu Ma (Hip/Waist structure) as it's called in Cantonese. Yiu (hip/waist) Ma (horse/stance/structure/infrastructure) and body movement in general, is not present in the first form (as the 1st form is all done stationary, to develop perfect structural alignment from the ground up).

Chum Kiu is also teaching the practitioner about body positioning when using techniques like the Bong Sau ("Bong" in Cantonese means "wing"/"arc"; "sau" means hand...the Bong Sau has two types, one explored in Form 1 - "shifting Bong Sau", used to redirect an incoming forward, linear, intrusive attack to our centerline; the second is the "Pau/Pow Bong" ("Pau" in Cantonese means "to throw") - a more explosive Bong Sau used to shock and off balance a centerline attack; due to perfect ground structural alignment, the shocking bong can both shock/stop an attack similar to running full speed and hitting a brick wall) as well as a type of horizontal baton/hockey stick type shove/attack) which becomes considerably more effective when combined with turning.

The first section also introduces two way energy as seen when the Lan Sau ("Barricading Arm/Hand) arm Laps ("Lap" Sau in Cantonese means "to grasp"/"grap"/"seize" (aggressive)" back and a straight punch is delivered. This enables the practitioner to deliver more devastating blows with relative ease as the Laping arm is enabling the transfer of power across the body as the force can flow as one motion without interruption, with the addition of pulling your opponent off balance, the target will also be moving into the punch and so additional damage will be caused.

The key to doing this is to learn how to relax, and use all the muscles in your body in a short sequence ie. your hips and legs turn and start generating some power, which is then carried on my the shoulders and finally the arm. If you miss time this, you end up just striking with your arm and not using the power of your whole body. The only way to develop this skill is through practice. Chum Kiu is a vitally important way to practice synchronizing the body's movements to work as one unit.

The second and third sections introduces Wing Chun stepping and the most ugliest kick in all of Kung Fu...the Wing Chun Kick (wtf is this shit...it looks ugly but it is profound...as we explore the idea of the "third leg" principle in the arena of kicking), this, when combined with techniques, this enables the safe bridging of the gap between the practitioner and his/her opponent. Hence the form is called Chum Kiu or 'seeking the bridge'. Furthermore the second section of Chum Kiu is building on Sil Lim Tao by making the practitioner use both footwork and kicks with hand techniques such as blocks/covers, at the same time.

Chum Kiu introduces the Wing Chun practitioner to three different kicks, a lifting kick to block others kicks as done by Yip Chun, a front kick which can be aggressive or defensive as used by Yip Ching, and a turning kick which again can be used to stop the advance of an attacker or strike them if they try to get around the practitioner.

The Wing Chun kicks like hand techniques are non committal and do not compromise the balance of the practitioner in any significant way. This is due to their speed and lack of height. Most kicks are delivered to targets below the waist, like the groin or knees. When the "third leg" principle is applied the Wing Chun kicks become very devastating.

Also throughout the practice of Chum Kiu the practitioner must use both hands at once. Although this is done in Sil Lim Tao, when both hands are used in the first form they perform the same action whereas in Chum Kiu they do different things, requiring a higher level of ability and concentration from the practitioner.

Therefore Chum Kiu builds on Sil Lim Tao.

(Please first watch my rehearsal session on this routine: https://blurt.media/w/kHpYYUZqoSS4XPme7ur7TW)

Firstly i must give credit to Rene Lavand, as this is his routine "El Cumanes". The story is mine. Between this and "Duel Of The West", i would have to say this attains first place in my repertoire if only by a margin. These two pieces define my style. I am in search of a third piece that i have yet to create....but someday soon i shall.

This performance of my storytelling piece really defined my style as an artist, as a card magician and represents the many years as a lover of the Art of Magic. I am very proud of this rendition and it's always a feature of my one man shows.

Taking inspiration from the Shakespearean format in play writing, i always try to sequence my routines to achieve the best possible experience. It is better to have a good show-infrastructure rather than haphazardly mashing everything together to make a show.

If for an hour long show, this piece would be considered the "half-way point". The entire duration of the show before this half-way point is crafted in a way that allows both the audience and storyteller to develop a rapport together.

The first opening piece would be a monologue piece to set the stage...something like "Thirteen Silences" or "My Spades and I" (aka Darwin Ortiz's "12 The Hard Way"); then comes the interactive pieces, light pieces with a flavour of humour....effects like "The Flight Of The Invisible Card", or a whimsical piece like the "Cavorting Aces"; about two light pieces to build rapport after the opening piece, which makes three effects strung into a routine...approximately 20mins would have passed in the show.

Now we come to the half-way point, where the tone of the entire show must change, as the show after this half-way point plunges into my philosophical storytelling style...pieces such as "Duel Of The West" (another of Rene's excellent routine that i have made my own), "Poker Along The Deep Sea"...or even "Battle of Wits".

The story behind this piece is about my time in Hong Kong, the place i truly call home. There is some fiction to the truth, some truth to the fiction.

Hong Kong, especially a place called Temple Street, will always have a piece of my heart. Over the years whenever I go back to visit HK, i would always spend many nights in this massive market place district located in Yau Ma Tei. During the daytime the place is a normal place of hustle and bustle, yet when darkness descends and the nightlife comes, this place truly comes alive, taking on a seedy nightlife; hazy with lots of triad cigarette smoke and black cars filling the streets; neon signs; prostitutes, escorts and con men of all shades (chess hustlers, majong hustlers, three card monte hustlers, pickpockets, street kids, forgotten souls by the wayside with broken dreams and a bottle of Tsing Tao Beer. It was Temple Street that turned me into a "Back Alley Moth"...

[center]Dazzling and flashy things

High and unreachable things,

Beautiful and Ugly things...

Photos of Temple Street in Yau Ma Tei always brings a tear to my eye. I miss this place so much. I close my eyes and can bring up all the sounds, the images of the people...i wish i could tell you the aromas coming from the BBQ, the Clay Hot Pots cookin on a open stove, the boiling soup, the fishballs, the ice cream, the street workers, the fortune tellers, the tourists, my people. I can see it all in my mind.

This story is for outcasts such as myself.

I hope you do enjoy this performance!

Enjoying Form 1 #小念頭 ("The Little Idea") and Form 2 #尋橋 ("Seeking The Bridge) during this wonderful May.

This one goes out to all the sexy girl pushing the dim sum cart all over da wooorrrld!!!

https://www.youtube.com/watch?v=n9cLI8HSa5w

YOU KNOW WHO YOU ARE BABY