Kung Fu Partner Fists
by Ted Mancuso

 

[This is a reprise of some information I previously published in a national magazine. But, as always, reflection has brought a few new ideas.]

We've all had that experience of sparring for the first time, facing a more experienced opponent and unable even to pick one attack from our meager basics. The helpful instructorshouts, "Do something ! Anything !" but we just doesnŐt know anything to do. The practiced choreography of two-person sets is a great way to deal with this. Physical contact starts low and gradually increases as does the intensity of the confrontation. Partner sets can act as important bridges for entering the realm of combat training.

PROBLEMS WITH PARTNER PLAY
The only problem is that some partner sets are of very little practical use. Many fighting sets are not totally realistic. In the old days a Kung Fu school demonstrating might perform before a crowd containing some real experts. Therefore many movements were hidden, deleted or made "flashy" to keep the good stuff away from the competition.

On the other hand one didnŐt want to humiliate oneŐs own school or unnecessarily cause challenges. Each partner set had to have a certain amount of authentic technique to "narrow the field" of possible contenders. Phony and Real, it was the mix that was the art.

The trouble starts when these sets become part of a school's Kung Fu repertoire. Some are passed down and taught as "true usage". The problem raises real questions. Are all partner sets "Flash Forms" for demonstrating before unsophisticated crowds ? Are there indeed real fighting forms containing essential information ?

HOW PARTNER SETS ARE LEARNED
Many partner sets are presented initially as single person fist forms before engagement with another member of the school. The student practices basic motions before having to perform against an opponent. When Kung Fu stylists practice single fist sets they generally try to follow the floor plan. Of course there is room for small adjustments of balance and footwork ("cheat steps") but in general the floor plan is laid out and hopefully followed pretty accurately.

Once basic skill levels have been reached two partners adjust themselves to one another. The steps, twists and distancing of the body are completely dependent timing and distance. If your partner is tall it is perfectly acceptable to lengthen retreating and advancing steps. If your partner is fast you must quicken certain moves to make up for his speed. That, after all, is the idea of playing with a partner.

Power is another aspect. Of course two partners playing a set donŐt want to hurt each other. But if the choreography of the set is down pat, if the partners really know what to expect from each other, then they can gradually add a pinch of realism. In theory at the advanced level the partners should attack at nearly full power. In a well rehearsed set the partners can increase the ferocity of the movements until they are blocking and attacking like tigers. For trained students partner sets were meant to be "full contact" even if few people perform them in that manner nowadays.

After you and your partner have learned and practiced the pre-arranged sequence the next step is to change that set. Throw in an occasional strange move, alter the angles of attack. If you go too far astray return to the basic set, slow down and analyze what you've done. You like gymnastics? Throw some in. But try to keep the basic integrity of the set real. This is your bridge to freestyle from another angle. Because most people are so unsure of themselves they don't experiment much in freestyle. They often don't feel the style their practicing. Partner sets are half and half: half the raw fear and adrenaline of freestyle; half the classical moves you are practicing. What a combo!

24 BEATS
Let's consider "24 Beats" or sometimes Youth Fist. It is taught in a number of styles including Jiao Men (Muslim Fighting), and Tian Shan Pai (Heaven Mountain Style).

Without going through the entire form a brief look at it will be helpful. Two partners start facing one another. After a short series of blocks and punches one throws a kick then strikes at the temples. The other double blocks. They tangle arms and the first partner stomps at his partnerŐs knee. They break apart, then clash forearms. The advancing partner tries a sweep. Then a wrist lock. The retreating partner performs a back sweep leg. They bump shoulders. There is a short flurry of blocking and striking and it is over. Then they repeat the entire form taking each others' roles. When they are done they have arrived back at the starting position.

This form can be done singly with one person performing the advancing then retreating roles. Or the retreating and advancing roles. The two partners can use a great deal of power and make it look like a fierce struggle or concentrate on sticky motions so they almost appear glued together. Each side of the form has long moves (punches and kicks) and short moves (shoulder bumping). There is striking, grappling, blocking and kicking. Bridgework is also employed to teach the student how to turn away force. In other words, for a very few movements, taking less than a month to learn, there is much to explore in 24 Beats.

Partner sets are really a favorite of mine. Among those I practice and teach are Staff vs. Staff; Hand vs. Hand; Saber vs. Spear, Three-Sectional Staff vs. Spear, Kwon Knife vs. Spear, Hands vs. Daggers; and Straight Sword vs. Straight Sword. These sets are great fun. They always inspire people to try harder and, as the set get more familiar, to speed up and improve their accuracy.

 

24 Beats Video