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| The Essence of Crane-style Pushing-hands |
Gender Neutrality
Clockwise and Anti-clockwise
Left-right Neutrality
2. GENERAL TECHNICAL TERMINOLOGY
Pushing-hands
Body
Point-of-contact
Crane-style Pushing-hands
Form and Kata
Freestyle
Inside-gate and Outside-gates
Lower-forearm
Shoulder-line
Hip-line
Mid-line
Centre-line
Single-hand-grip
Arms-contact Linkage
Cross-arm and Non-cross-arm Contacts
Types of Single-Hand-Grip
Sword-grip and Scabbard-grip
Grip-escape/release
Pin
Step (normal 'stepping through' step)
Shuffle-step
Hourglass-stance
Dragon (including Standing-Dragon and Lying-Dragon)
3. PUSHING-HANDS SPECIFIC TERMINOLOGY
Body
Point-of-contact
Crane-style Pushing-hands
Form and Kata
Freestyle
Inside-gate and Outside-gates
Lower-forearm
Shoulder-line
Hip-line
Mid-line
Centre-line
Single-hand-grip
Arms-contact Linkage
Cross-arm and Non-cross-arm Contacts
Types of Single-Hand-Grip
Sword-grip and Scabbard-grip
Grip-escape/release
Pin
Step (normal 'stepping through' step)
Shuffle-step
Hourglass-stance
Dragon (including Standing-Dragon and Lying-Dragon)
3. PUSHING-HANDS SPECIFIC TERMINOLOGY
Contact-arm (stable and unstable)
Non-contact-arm
Inside-contact-arm
Outside-contact-arm
Inside-push
Outside-push
Pushing-hands-stance
Pushing-hands-orientation
Roles and Modes
Driver
Receiver
One-driver-mode
Two-drivers-mode
The-three-changes (to the point-of-contact)
Unbendable-arm
Vertical-unbendable-arm
Horizontal-unbendable-arm
Diagonal-unbendable-arm
Inverted-diagonal-unbendable-arm
Leverage
Alert-arm-attitude
Practitioners of Pushing-hands may be of any gender, but within this website, purely for the sake of brevity and readability, they are all referred to as if they are male.
Within this website, whenever either of these two terms is used to specify a circular direction which is horizontal, then the direction described is from the perspective of being viewed from above.
Pushing-hands has no left or right bias and so it is purely for the sake of clarity and readability that some of this website’s descriptions of (sequences of) movements are left-right specific.
For any such text to apply to the mirror-image situation, the terms "left" and "right" (and "clockwise" and "anti-clockwise") would need to replace each other.
Any such Pushing-hand specific text is applicable only to a performance of the (sequence of) movement(s) which starts with each training-partner having specifically his left foot foremost.
For any such text to apply to the mirror-image situation, the terms "left" and "right" (and "clockwise" and "anti-clockwise") would need to replace each other.
Any such Pushing-hand specific text is applicable only to a performance of the (sequence of) movement(s) which starts with each training-partner having specifically his left foot foremost.
The precise meaning of each of several terms must be clearly defined, in order to expound upon Pushing-hands.
Within
this website, the term "Pushing-hands" refers simply to the format known as "Crane-style Pushing-hands".
Outside of this website, the terms "pushing hands" and "push hands" are used throughout the world to refer to any of several formats of a particular two-person activity, including the "Tui shou" of the Chinese martial art T'ai Chi Chu'an (Supreme ultimate fist) and the "Kakie" of the Okinawan martial art Goju-ryu karate, which, although sharing many characteristics, vary significantly in their fundamental precepts, having vastly differing purposes and rules of engagement. Some formats are considered to be training exercises solely for improving force-sensitive martial art skills; other formats are to accommodate refereed competitions; and yet other formats provide close-quarters (i.e. "in contact" as opposed to "on a gap") positions from which force-insensitive martial art attack and defence practice-drills are launched.
N.B.
A surprisingly large proportion of non-“Crane-style” pushing/push hands practitioners are unaware that more than one format even exists !
N.B.
Because it is through the arms (usually the lower forearms) that the vast majority of pushes are done, "pushing/push ARMS" would have been a more anatomically accurate nomenclature than "pushing/push HANDS".
The whole living, breathing, physical person (i.e. the head, neck, torso, arms, legs, hands and feet).
A point shared by, and therefore on the body of, each of a pair of martial (or associated) art training-partners, where they are in meaningful contact with each other.
"Crane-style Pushing-hands" (and similar terms) refer to the format of pushing hands, to the system, to which this website is dedicated. Within
this website, purely for the sake of brevity, this format/system is referred to simply as "Pushing-hands".
This format has no secondary purpose and is worth pursuing purely for its own sake. It requires mobility and extreme physical sensitivity of its practitioners and their adherence to a principle of non-judgemental reciprocation: "If you try to push me (testing my balance and posture), then I'll respond in kind (without adding any punishment/penalty, even when the original force is threatening/aggressive)." This format has structural characteristics that are more like those of the "Chi Sao" (Sticking/Sticky-hands) of the Chinese martial art Wing Chun rather than those of the Tui shou of T'ai Chi, in as much as its practitioners "chase the torso, not the hands"; and yet it is, in fact, non-competitive and is a form of interactive moving-meditation, an antidote to aggression-promoting martial arts.
N.B.
Both the inclusion of the words “Crane-style” in the unabridged name of this pushing-hands format and the depiction of the bird in this format’s logo acknowledge underlying influences.
A major part of some martial (and associated) arts is the performing of specific sequences of movements. Each such sequence is referred to, in Chinese martial arts and Korean taekwondo, as a "form" and, in Okinawan and Japanese karate, as a "kata". Within this website, solely because it has no other (and therefore potentially confusing) meaning within the English language, it is the term "kata" that is used.
Within the martial (and associated) arts, "Freestyle" refers to practice in which two (or more) training-partners interact entirely spontaneously and which is, therefore, devoid of collaborative performances of predetermined sequences of movements, sequences such as some non-solo training drills (including kata application demonstrations) or parts thereof.
If a person's arms are positioned horizontally and projecting forward, then the space inside (i.e. between) his arms is his inside-gate and the space outside each of his arms is one of his two outside-gates.
The anatomically lower part of the forearm (i.e. the part nearest the wrist).
A straight, usually horizontal, notional line joining a person's two shoulders.
A straight, usually horizontal, notional line joining a person's two hips.
A straight, usually vertical, notional line through the centre of a person's torso.
The forward projection of a person's mid-line (and therefore, strictly speaking, not a "line" but a "plane"), at right angles to his shoulder-line.
A grip that is applied BY only one hand.
Whenever one person applies a single-hand grip around another person's arm, the grip can be described as “cross-arm” if two left arms or two right arms are involved, or else as “non-cross-arm” because one left arm and one right arm are involved.
N.B. Whenever two persons' arms are linked by TWO cross-arm grips, the two grip-linked pairs of arms cross each other (assuming the persons are, at least approximately, facing each other.
All
the while that a sword is being conventionally drawn from its scabbard,
the majority of the sword protrudes from the "index finger side" of the
hand that is gripping it whereas the majority of the scabbard protrudes
from the "little finger side" of the hand that is gripping it.
The classification of any particular single-hand-grip into one of these two types is unaffected by:
These two grips exemplify the two different types of single-hand grips and so when any such grip is applied to an arm's hand, wrist, or
lower-forearm, the grip (even in this "sword-free" context) is termed a "sword-grip" or a "scabbard-grip" depending on whether the majority of the arm (i.e., the section from the
shoulder, through the elbow, to the position of the grip) protrudes
from the grip’s "index finger side” or "little finger side,”
respectively. . .
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| Scabbard-grip |
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| Sword-grip |
N.B.
a) its position along the arm (i.e. whether it is the lower-hand, the upper-hand, the wrist or the lower-forearm that is gripped),
b)
its position around the arm (i.e. which surface of the gripped arm the grip's palm is touching) and
c) its cross-arm/non-cross-arm status.
The repositioning of a limb that is gripped and whose movement therefore is (at least potentially) restricted/controlled, such that the grip is no longer effective.
N.B. After the grip-escape/release has been executed, there may still be contact between the two limbs that were involved in the original grip. (I.e. Contact does not necessarily constitute control.)
One person's limb (usually an arm) can be said to be "pinned" or "subject to a pin" when a second person presses and continues to press it against something (usually its own body, or part thereof).
This entails relocating one foot:
It is the moving of one foot (the rear one if stepping forward, the front one if stepping backward) a distance equal to twice the length of the stance, to a position in line with its original position, and the forming thereby of a mirror-image of the original stance (from the waist anatomically downward).
This entails relocating both feet:
It is the elongating of the stance by moving one foot (the front one if shuffling forward, the rear one if shuffling backward, etc.), and then the immediate restoring of the stance to its original dimensions by letting the other foot drag such that its movement is parallel in direction and equal in length to that of the first foot.
An immobile, unsymmetrical stance in which the weight is borne by both legs equally. The feet are slightly toed-in, are shoulder-width apart and one is a foot's length further forward than the other. The knees are slightly bent.
N.B. In the Nai Han Chin kata, each "Dragon" is the result of the kata practitioner contorting his training-partner's arm, whereas in the Rokushu kata, each "Dragon" is the result of the kata practitioner contorting his own arm.The following terms have a special meaning, when used in a Pushing-hands context:-
At each point-of-contact, each of a pair of training-partners, virtually constantly, mutually presses against the other, with force that is of an already agreed strength.
When one training-partner attempts to push (or pull etc.) the other:
a) "the pusher", with no excessive suddenness:
When one training-partner attempts to push (or pull etc.) the other:
a) "the pusher", with no excessive suddenness:
..(i) redirects and/or
..(ii) momentarily, increases slightly (10-25%) the strength of a "pressing force" of his, and
b) "the pushed" smoothly yields to this redirected/strengthened force, possibly by deflecting and/or by skirting it.
If ever there is no pushing (or pulling etc.), then of course, each "pressing force" of each training-partner is "matched" by that of the other training-partner.
b) "the pushed" smoothly yields to this redirected/strengthened force, possibly by deflecting and/or by skirting it.
If ever there is no pushing (or pulling etc.), then of course, each "pressing force" of each training-partner is "matched" by that of the other training-partner.
The term "keeping silk" (maybe because of silk’s reputed smoothness and delicateness) is used as shorthand for high quality consistency in this tactile interaction and it is what enables each training-partner to confidently allow his body, without conscious thought, to monitor and respond to the other's movements with well practiced/programmed touch-triggered reactions.
N.B.
The "watercourse-way" requires that the response to a training-partner’s forward push, attempted arm-lock, etc. is never mere rigid resistance ("jamming").
N.B.
With the ability to limit forces to an agreed maximum strength, not only is there no need for a weaker practitioner to have difficulties merely because he has a stronger (even a "much stronger") training-partner, but a strong practitioner, instead of relying upon his strength (which one day, when confronted by even greater strength, will not suffice), can practice and program his body with the same strength-independent reactions as his weaker training-partners.
An arm on which there are one or more points-of-contact.
The positional relationship between (a) a contact-arm’s owner’s centre-line and (b) each point-of-contact that is on this contact-arm, determines whether or not the arm’s owner should replace it (at the point-of-contact) with his other arm. Thus, a contact-arm can be described either as “stable", if all points-of-contact on it are on this arm’s anatomical side of its owner’s centre-line, or else as “unstable”, if they all are not.
The positional relationship between (a) a contact-arm’s owner’s centre-line and (b) each point-of-contact that is on this contact-arm, determines whether or not the arm’s owner should replace it (at the point-of-contact) with his other arm. Thus, a contact-arm can be described either as “stable", if all points-of-contact on it are on this arm’s anatomical side of its owner’s centre-line, or else as “unstable”, if they all are not.
[For example, a left contact-arm whose only point-of-contact is to the right of its owner's centre-line (i.e., to its owner's right) is “unstable” (until its owner substitutes his right arm for it).]
An arm on which there is no point-of-contact.
A contact-arm that is in the inside-gate of a training-partner.
A contact-arm that is in an outside-gate of a training-partner.
A push that is in an inside-gate.
A push that is in an outside-gate.
A fluid, unsymmetrical stance in which the weight is borne by both legs equally and which allows turning at the waist. The feet are at least shoulder-width apart and one foot is one or two foot-lengths further forward than the other. The knees are slightly bent.
The relative body positions of a pair of training-partners (with particular regard to the arms, the "gate" boundaries) that facilitates exchanging outside-pushes. In this orientation there is one point-of-contact and each training-partner, in Pushing-hands-stance, faces the other,
either:
a) with his left foot foremost and has
i) a right outside-contact-arm and
ii) a left non-contact-arm,
or else
a) with his left foot foremost and has
i) a right outside-contact-arm and
ii) a left non-contact-arm,
or else
b) the mirror-image of that.
N.B. Other orientations do occur, but only transitorily.
There are, in the example in the next photograph, two points-of-contact and again each training-partner, in Pushing-hands-stance, faces the other,
with his left foot foremost but now has
i) a right inside-contact-arm and
ii) a left outside-contact-arm.
There are two roles either of which a training-partner can be designated:
Each individual "bout" of freestyle Pushing-hands must be in one of two modes:
a) "One-driver-mode" requires the pre-designation of the role of driver to one of a pair of training-partners (and the role of receiver to the other).
b) "Two-drivers-mode" requires this designation of the roles to be impermanent, with the two roles perpetually, spontaneously alternating (and occasionally clashing), and therefore each of the two training-partners will, on different (probably many, many) occasions during the course of the "bout", be the driver.
N.B. Because Two-drivers-mode's functionality is dependent on each training-partner having the confidence that his body has acquired the system's complete range of touch-triggered reactions, it is intended solely for experienced practitioners.
These are three separate sequences, each of which:
a) includes temporary changes to the point-of-contact,
b) is instigated by the driver using one of his arms to push one of the receiver's forearms across the receiver's centre-line, and
c) both begins and finishes in Pushing-hands-orientation, where each training-partner has one contact-arm and one non-contact-arm.
In each sequence's name (Contact-Contact-Change, Non-contact-Contact-Change or Non-contact-Non-contact-Change) "-Change" is preceded by the contact/non-contact status of each of the two arms that are involved in that sequence's “instigating push”, immediately prior to that push: first that of the driver’s, then that of the receiver’s.
In each sequence's name (Contact-Contact-Change, Non-contact-Contact-Change or Non-contact-Non-contact-Change) "-Change" is preceded by the contact/non-contact status of each of the two arms that are involved in that sequence's “instigating push”, immediately prior to that push: first that of the driver’s, then that of the receiver’s.
N.B. The drills for practicing these sequences are referred to as "Six-six-six", each sequence being considered as consisting of six sequential moves.
An arm which is able to resist attempts to collapse its elbow joint and/or shoulder joint. The term is used with the intention of conveying the quality of being unyielding, but not by being rigid through the application of brute strength. This quality of being unbendable comes from the arm's owner giving it the same attribute as that of a hose pipe in which any bends or kinks "want" to straighten when pressurized water flows through, and with the elbow having a minimum angle of 90 degrees.
An unbendable-arm whose wrist, elbow, and shoulder are all aligned in a virtually vertical plane that tilts slightly such that the elbow is closer to the centre-line than are the wrist and the shoulder, as in the kata Rokushu (immediately preceding the “Snake”), for example.
An unbendable-arm whose wrist, elbow, and shoulder are all aligned in a virtually horizontal plane that slopes slightly downward from the shoulder, as in the kata Rokushu (ending the “Penultimate Technique”), for example.
A horizontal-unbendable-arm with the wrist slightly raised and the elbow lowered and is therefore midway between a vertical-unbendable-arm and a horizontal-unbendable-arm.
A horizontal-unbendable-arm with the wrist slightly lowered and the elbow raised.
N.B. In the Chinese martial art of Wing Chun, this same position, with the same function, is known as "bong sau" (wing arm).
Within this website, this term does not refer literally to the "mechanical power gained by the use of a bar turning on a fulcrum", but refers figuratively to the (still physical and surprisingly strong) "power to influence a situation". Examples of "leverage" being applied are:
a) when a diagonal-unbendable-arm remains "unbent" against a strong push against the outside of its forearm and
b) when a vertical-unbendable-arm successfully deflects past it, a strong push that is in contact with the inside of its forearm.
N.B. Without balance and posture, there can be no leverage.
A position similar to that of a vertical-unbendable-arm but with the open hand’s palm being vertical and facing away from the shoulder.
