Closing Seisan Kata 7-7-2001

A recent discussion on one of the Isshinryu discussion groups provided the basis for todays Bunkai Work.

 

Closing Seisan Kata, as I was taught it, you step back with the right foot into a left “T” stance (only the toes touching on the left foot).  Both hand (open) palm  push out to the sides, then collapse the arms placing the open hands (fingers down) facing the front along side each hip.  The left heel is then brought down to the floor and the left palm (fingers down) presses out toward the centerline as the right palm (fingers up) presses out across the left wrist.  


The discussion was hinging on some individuals feeling sliding the left foot over into Sanchin stance made for a stronger stance for the final arm cross application.  This was not how Shimabuku Tatsuo taught it, but a personal change of several instructors.  It is easy to understand why a change such as this can be made. One of my instructors is of the believe you should never change the original kata, but in the application any variation needed is reasonable and correct.  Always something to consider.

 

The standard beginning application of this closing movement of Seisan Kata is that this is being done to twist a foot during a side kick attack. The left palm presses the opponents side kick toes downward, while the right palm presses into and raises  the opponents attacking side kick heel. The end result is that this is to twist the opponents leg over and drop them.


Frankly I find this fine in theory, but very difficult to sell against a committed kicker (Bill Wallace Superfoot comes to mind).

Another application I was taught in the beginning is that the preceding punch into the opponents stomach causes them to bend over. Then I grab the side of the opponents head/hair/ears?, pull them forward and then rapidly turn their neck over either as a takedown or a neck break.

             

I find this somewhat more agreeable, except I’m normally not into neck breaking as an application.


So today I took a look at this from the perspective of somebody is quickly reaching out to grab your shoulders or neck, in this case with their right foot forward.


The right foot quickly steps back into the left “T” stance as both hand come up and press outward deflecting the attack to the sides.


Then draw the hands back to the hips and you press off of the back foot to step outside and behind their lead right foot. As you place your left foot down, the toes are turned in (similar to Sanchin) hooking your foot behind their lead foot ankle.


Simultaneously your left hand reaches behind their right kidney while your right palm presses into their neck (from front towards the back) at the carotid sinus on the neck.


With very little pressure your left hand presses into their kidney while your right hand presses into and behind their neck.  You will find that you have supplanted their centerline with your inward presses and rotate them to the ground with ease.


Always a caution. Do not use excessive force in practice with a partner against the Carotid Sinus. This ties into the previous work I’ve written about using the neck.  Only a gentle pressure will displace them, and you run very little risk of injuring them as you learn to execute the technique.  


I’m currently working on the issue of neck control and pressure attacks there in greater detail, with the assistance of Dr. Harper.  Eventually I believe I will have something interesting to post on this.


Now this same application can be found several other places in the standard Isshirnyu kata.  If you refer to Norbert Donnally’s  site for the following kata sections, you should be able to work out how I can use these movements for the same application I’ve described above. I can no longer find this site.


For Seisan        Movements 69 and 70

For Wansu        Movements 13 and 14

For Kusanku Kata    Movement 69


Of course in my version of Kusanku Kata instead of stepping out with the right on movement 69, you step out with the left, but the hands are in the same position of right on top and left on the bottom.


For Sanchin kata    Movements 54 and 55


Finally, in my search to keep this list alive and everyone working hard, I found an interesting application from the work of Mr. Joe Swift. I’m offering it as the Bunkai Research Quiz for July 2001.


Joe Swift writes about Mizuho Mutsu, author of Karate Kempo in 1933, in the Shotokan Research Journal SRSI Volume 2.01     No longer available  the article is “Wisdom from the Past IV”. Plug here: The older issues are currently available free, although future issues require subscription. This is a journal which has great promise.


The technique he picks from Mutsu’s book can be found as an application of Chinto Kata, reference
Norbert Donnally  Chinto Kata    Movements 50 to 53.


See if you can work out how they are parallel movements.


Well it’s been a slow day so far…….. Hope you find this interesting.


Victor


Postscript:


I had originally written this to 2001 for my new discussion group Pleasant Isshinryu. This article came from my 1988 research into the uses of Seisan kata technique.


When I originally was taught Isshinryu under Tom Lewis' and Charles Murray's tutelege, the use of kata techniaue was rarely mentioned.

 
Then when I was on my own in 1979 onward and then had the experience with 17 instructors in many, many systems.  I discovered many of them were taught their systems without the study of kata technique usage. Only Tristan Sutrisno shared how he taught kata "bunkai (uniquely defined by him which no one else knew)". And those applications had very little to do with the actual kata technique (a very different paradigm of what 'bunkai' was to be known as.


Later beginning in 1987 I began to work out my own answers as to what kata technique might be used for. Seisan was my first kata technique applications study. These notes came from those studies.


Again later I first met Sherman Harrill and for the next decade learned ever so much about what kata technique could be used for. But Sherman was alive at that time (2001) and I was not sharing what he  was doing. Hence my use of that which I developed, after all it worked too.

Finally going back go my original Sherman Harrill notes on the usage of Seisan kata's ending.

   Seisan Kata – Ending “X” Block

 Attacker RFF Right Punch
Shifting from outside left, inner palm parry, then right inner palm strike to the abdomen

This ‘X’ block can also be executed against a kick.. various variations.

Mr. Harrill also talks about there being a hidden ‘X’ block (performed extremely fast by Master Shimabuku) in the ending section.  [Victor Smith analysis, I believe that this may be where both hands rise to press out this could be seen as a hidden ‘X’ block.]


                                                                                                                                 

Dim Mak Point Strike Applications from the Taijiquan Forms. - one

 

Erle Montaigue

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

Opening:


Raise palms so that the wrists attack into both of the opponent's inside wrists to attack to Neigwan bringing the force in towards you. Then, when this has weakened him, pull him down onto your knee into GB 24 or LIV 14.

https://www.youtube.com/watch?v=-3jrlFPcIPg

Push Left:


Shake to block his oncoming attack to attack with left palm to GB 1 (lateral to the corner of the eye and just up a tad or SI 19 (on the outside of the ear just where that little protrusion is.) Must be struck in a going towards the face direction and using the tips of the fingers. Causes dizziness and fainting on a small scale but will kill if great power is used.


If SI is used then we squeeze the little finger to heal if only light and dizziness is felt but if harder then there is no cure.


More:
Block his oncoming right attack with left palm pushing upward on the outside of his arm as you right palm comes underneath and step to your left. Attack his TW 17 just behind the ear with a towards you strike, this is a killing point as there is no cure!


MORE:
Block with left P'eng as your right palm immediately comes over it to take over, now the right palm swings his arm greatly over to your right as your left palm attacks to ST 9. If he is only knocked out, then lay him in feotal position and squeeze the back of his neck on GB 20 just under two base skull bones. If done too hard then the heart stops so CPR is necessary.


MORE:
Block from small san-sau, attack to the ST 9 again while the other palm attacks the inside of the wrist in a towards you way to upset his seat of power. 

Note: The Old Yang Style Tai Ch form from the videos was not exactly the Yang Long Fist form I had studied. The photos shown were screen prints from the Montague Yang form in the attached videos. I have done my best to select these screen prints to attempt to match Montague's Tai Chi Dim Mak descriptions.

I do feel this text shows what Montague was getting to in his books on Dim Mak theory, of course attached to his Meridian Texts.

When I looked into Dim Mak

 

Back about 1977 when I was studying Tang Soo Do, one day after class I stopped into an old book store below where my classes were held. Looking through the old martial arts books I found a small one (literally almost a comic book) on PaQua, the Chinese Martial Art. It was written in Chinese and showed applications for PaQua movements. I did not realize what it was but I bought it anyway. Many years later I realized it was showing a number of Dim Mak applications for PaQua.

Roll forward to the mid-1980s and the karaate magazines were describing the technique of Oyata Sensei. Then  George Dillman 'borrowed' a lot of stuff from Oyata eventually to put his own spin on it to make it a money building empire on its own.    He even borrowed Oyata's terminology and further went into the use of meridians to explain his pressure point striking.

Now I was not looking to get with Dillman, having more than enough of my own varied studies.  For example I already had many 'bunkai' studies with Tristan Sutrisno, which no one not trained by him had any idea of what his technique usage would be. They were and are that unique.

But I literally bought all the magazines and books coming out on Pressure Point striking, and of course I wondered if there was something there.  In my Isshinryu and in all the arts I had studied no one ever talked about using the meridians for pressure point strikes.

So I read more and more, eventually going into the books appearing on Dim Mak and Meridian Theory. It was something to read, but I had no way of verifying if it made sense nor a desire to Ko individuals with pressure point strikes.

Over time the most exhaustive literature was by Erle Montague, He was also running a publishing empire, clinics and more Eventually I acquired his 2 volume Encyclopedia of Dim Mak. One volume being the use of the Major Meridians and one volume on the use of the Minor Meridians.

It was the mosy exhaustive work on Chinese Meridian Theory I had seen. Far exceeding what George Dillman was selling. Later I bought the new edition with the two volumes combined into one book.

Truthfully, as detailed as they were, I was never able to get into whether the Dim Mak striking was worthy. Those books for decades just sat on my bookshelf looking pretty

Then the internet happened and Dim Mak and pressure point striking exploded. There were tons being shared.

In the case of Montague he went into Dim Mak for Tai Chi as well as other related martial topics. Eventually oodles of his VHS tapes were being shared on You Tube.

Here are a selection of his stuff, there are many, many more.

https://www.youtube.com/watch?v=m1U0UkC6kdg

 

 
https://www.youtube.com/watch?v=7GRcDk7LPio
https://www.youtube.com/watch?v=KSORaFoWsMI
https://www.youtube.com/watch?v=w1KO0OQ9G54&list=PL9E34C46E70B63637
https://www.youtube.com/watch?v=9aHOsQeO3xw
https://www.youtube.com/watch?v=Dyc-7PP1vUk
https://www.youtube.com/watch?v=eE9dG7ulvwc

Eventually when I moved to Arizona that entire selection of books I discarded.

I plan to eventually share a bit of his Tai Chi Dim Mak literature I saved from the internet.

 

 

Several of my previous posts on pressure points:

https://isshin-concentration.blogspot.com/2020/07/the-question-of-pressure-point-striking.html

https://isshin-concentration.blogspot.com/2024/07/i-acidently-discovered-light-touch-ko.html

The Growing Irrelevancy of “Rank” - an opinion to consider

 https://nagarate.blogspot.com/2010/
Tuite Jutsu (Personal training/teaching methodologies in Te)

This “Blog” will discuss various techniques (from my own “point of view”), training methodologies, and applications used and taught by myself in the art of “Te”. It will often focus upon the instructed art of “Tuite”, as taught to me by Taika Seiyu Oyata.
 

Friday, December 17, 2010

The Growing Irrelevancy of “Rank”

 
 When I first began learning a martial art, my short-term goal was earning my next kyu rank. Completing those minor achievements provided me with the motivation to drag my ass to each successive class.
    
 There were certain aspects of those classes which I enjoyed, and some that I dreaded. The amount of (actual) knowledge that I acquired with those rankings was debatable (at best). Though at the time, I thought I was (really) “learning” what was necessary to achieve what I believed that I was participating in the class to become proficient at (I.E. how to “protect myself”, though a more accurate description would be preventing someone else from “kicking my ass”).
     
 It took me approximately 4 years to earn that Yudansha rank. I spent the following 4 years teaching “that” system of karate, and “thought” that I was competent in it's execution. During that “stint”, I was introduced to Taika, and was promptly convinced (albeit “begrudgingly”) that I had been wasting my time with what I had been doing.
      
 After testing under Taika for a Yudansha ranking in “his” system, I began teaching his methods of technique application. Even though I was teaching his methods, “I” was (still) discarding my previous training (habits?). It took me about 10 years to (completely) discard them, much of which dealt with the “sparring” aspect of training (and it's irrelevancy to what I was now teaching).
     
 Once I had (finally) abandoned those previous “habits”, my own training (and teaching) took a much more productive turn. During (all) that time, (and for the next 20 years) “Rank” (at least the “testing” aspect) never really entered into my thoughts as being “relevant” to my own training. When I attended any “training” with Taika (at his Yudansha classes, or at a seminar), every one in attendance (regardless of “rank”) worked on the same techniques.

With that being my history of training, I see, read, and encounter individuals who hold (supposed) “high” dan rankings, often in various systems.
    
 It's gotten to the point that when someone “boasts” about having (some) “high” ranking, I (immediately) loose interest in what-ever they have to say. If/when I choose to engage an any dialog with them, I usually discover that they are under 30, have “trained” in multiple systems, and (usually) advocate what-ever the latest “trend” happens to be.
     
 Although I don't (necessarily) agree with many of the so-called “traditional” method's that are commonly utilized, there are numerous one's that I do. My own #1 “disagreement” is with “minors” being awarded “black belts”. It's not that I believe that they aren't capable of “doing” the physical requirements, but more that they are incapable of answering the (numerous) questions that will come from student's (I.E. “be” an instructor).
     
 They lack the experience (of “life” knowledge) to be able to answer those questions competently. Having the (physical) ability to perform the physical aspects of a system's requirements, is (or should be) only 40% of what an instructor teaches student's (unless your essentially running a “black belt mill”). Shodan, really only means that you have learned the “basic” motions (of the system). It's only after attaining that rank, that you can commit the time to learning application of what has been learned.
     
 The fact that there “are no standards” (for awarding any Yudansha rank), of course makes this an “irrelevant” point for most people. Every system/school sets “it's own” standards, and because of that (and the pursuit of “cash”) schools will do what is necessary to generate that “money flow” in order to stay open, and retain students. I'm only aware of a couple of schools that the owner/instructor has a “real” job.
    
 More often than not, those schools that the owner doesn't have a “real” job, will offer some “gimmick”, like “cardio” karate classes (?) and such. They're attempting to be a “fitness” gym. Sorry, I don't buy it. If your wanting to become more physically “fit”, GO TO A FITNESS GYM. “They” (generally) have trained individuals that know (much more effective) manners of training your body to become more physically “fit”. Training in a martial art might be considered a good “supplemental” (physical) training method, but certainly shouldn't be considered a main one. (Sorry, I got side-tracked, LOL).
   
 With the general “devaluation” of Yudansha ranking, there has been a growing presence of (so-called) “experts”. At one time, “rank” could be used as a consideration for training with someone. Even in my (own) late “teens”, early twenty's, instructor's with a San dan ranking were considered “high” ranking. Now, if you don't have a Go Dan rank(or higher), you ain't considered shit. If/when I (actually do) “query” these “higher ranking” person's, I commonly find that they hold no more knowledge than most “Shodan” (or even higher “kyu” ranked students).
      
 When I was younger, I would attend seminars offered by numerous styles/systems/individuals, who purported to “offer” (for a price) some form of knowledge/information. Most often, these amounted to “sparring” tips (despite what was advertised). When (actual) “technique” was demonstrated/taught, I was always disappointed with what was shown. At the very least, I learned how “Not” to teach a seminar. These individuals also (advertised that they) held some “high”ranking (in what-ever style) yet were (IMO) completely incompetent as “instructors”. Granted, that was then, this is now, I'm just not seeing much difference.
    
 As far as “any” Dan rank goes, the only “value” is in regards to one's self. That ranking will (generally) only be acknowledged within your own (little) “system”. I've had people “flaunt” their certificate(s) around, as if they were “proof” of their abilities/knowledge. I'm more than capable of “brushing one up” (a “certificate) to “claim” anything you’d like upon it, but that would hardly offer any “proof” of ability (and it would be just as “valid” as any that you may have). There are no standards for certification. They are presented by an individual instructor/organization, and the only “value” is in regards to that instructor and/or (sometimes) system. Which (of course, LOL) is “how” the vast majority of these (so-called) high-ranking individual's attained their ranking, they did it themselves.
     
 (Apparently) as long as your starting your own “new” organization, “you” need to be the highest ranking individual within that system (and are never to be surpassed). Is it just me, or doesn't that (automatically) “limit” the level of knowledge attainable by each successive student of that instructor? (gradually dropping that level to the knowledge of the standard Shodan?).
       
 It was (usually) when individual's “surpassed” the level of their instructor's, that they began their own “system”. But now, it's whenever someone want's to start making (more) money for themselves, regardless of their own knowledge level (either real, or presumed). Occasionally, individual's would develop “their own” method/way of doing things, but from my own observations, I've only seen about 4 or 5 “different” methodology's (in all) actually being employed.
      
 I realize that it has it's own problems, but at least the organizations in Okinawa consisted of a number of (equally) ranked individual's (who would then rate a student as being an “equal”).

In my own “perfect little world” (I.E. when “I” become “emperor of the world”, LOL), the rank of “Shodan” would be limited to person's over the age of 18 (only since that's the age someone is “considered” to be legally responsible for their actions), “Dan” ranking would be limited to Godan(?) with each level restricted by age, and/or # of years within a (single) system (to “me”, multi-system ranking amounts to “Jack-off of many, and master of none”).
 
 “Dan” testing, being done by (only) multiple individual's (with “3” or more individuals doing the examination). No use of “Black belts” (which is already done within RyuTe, much to my own pleasure) along with any elaborate adornment (“multicolored” gi's, patches, belts etc. these are pointless, if not “belittling” to other student's). Restriction of being considered an “Instructor” to 3rd Dan, face it, the average “Shodan” is not capable of being an “instructor”. When I've mentioned these “personal preferences” to individual's, I've usually received numerous complaints/disagreements (and usually because someone's “authority position” would be “compromised”, LOL).
     
 Now most of my complaints are in regards to what “I” am teaching (“self-protection”). For systems that focus on the “sport” aspect of martial arts, none of this would make any difference. That instruction is only focused on individual's that are interested in the competition form of “karate”. I share none of that interest. I tend to view “sport” karate, as being similar to WWF wrestling, where “everybody” seems to be some form of “champion/master” (and more often than not, is neither).
     
 Of course it isn't a “perfect world”(much less any version of “my own”), so none of my preferences will probably ever come to fruition.

A Mind Puzzle for you - Another chance to make you think

 https://isshin-concentration.blogspot.com/2017/02/a-mind-puzzle-for-you.html

One of the more obscure arts I have found in
Shaolin Wu Xing Quan (Five Animals Boxing)
https://www.youtube.com/watch?v=THUl6JcX9DU

It turns out there is a lot of good video on this obscure art.
It seems to consist of this one form, but there are also applications for the movements shown.


 The range of its movements are within the range of karate, of course quite different.

I thought it might make an interesting challenge to see how you might apply one sequence from the form, one I find personally interesting.

There are interesting things you can discover.

It is useful to look at things you don’t study to understand their application potential, and then use that understanding to work out how to defeat those movements.
             

 

Alberto Cruz Bueno, el nombre de esta forma es 'Wu Xing Ba Fa Quan' (5 Animales 8 Métodos de Boxeo)
Well, the name of this shape is 'Wu Xing Ba Fa Quan' (5 ANIMALS 8 Methods of boxing)
 
Alberto Cruz En un foro de Kungu-fu mencionan:

"Esta es una forma típicamente Norteña, que no tiene que ver con su contraparte Sureña. Pertenece la sección un poco más extensa de Shaolín Ta Ching Gang (Da Jingang Quan), que es algo asi como Puño del Gran Guerrero...See More 

In a forum of kungu fu mentioned:
" this is a typical Northerner, that has nothing to do with its southern counterpart. Belongs section a little more extensive shaolin ta ching gang (da jingang quan), which is kind of like fist of the great golden warrior, being the "Gold" an allusion to the component hard of gold.

His full name is shaolin wu hsing pa fa Quan (Wuxingbafaquan).
I had the chance to meet her several years ago in China, in Beijing. It's a pretty long way, although we would say that of an intermediate level of boxing shaolin.

Uses the representation of 5 Animals (Tiger, Dragon, snake, leopard and crane). The 8 Methods of harmony and link (internal, external, hands, legs, thought (intention), body structure (combined), sounds and method of tearing-chin na-). Qi Gong employee power swift actions and attitude ."

Alberto Cruz
Translated from Spanish
" the eight methods in the liuhe bafa (a system that has only one way: fist of the six harmonies and eight methods, divided into several sections, and has about 300 moves. Inside it there are 6 types of forms of fist, the twelve animals, eight methods, etc. ) are the following:
- Qi, concentrated the spirit.
- Bone, this refers to the connection of the joints. Hard outside soft inside.
- image, the idea is to be able to change the pace, copy.
- follow, this is a very broad concept, but it points to get to know yourself and your opponent. Used the concepts of yin and yang.
- raise, be awake, alert.
- return, practice the yin / Yang, interior and exterior.
- check, emptying the mind.
- hide. Don't let to know your intentions.

This is a very small explanation of the eight methods, this is much more extensive already these eight methods contain within ideas and concepts very broad and applicable to more than a system. "

Forging the Spirit - memories and a choice of morals

I recall reading of Kanazawa Sensei at one of the first Japan Karate Competitions, breaking his arm during a semi-final match. The arm was set and that night he was talking with his mother, sad that he was finished. His mother, a good Samauri, reportedly replied, “You only have one arm?”  The next day Kanzawa, his broken arm in a sling won the competition with one arm.


There are several similar stories from the Olympics. The Japanese gymnast competing on the high rings and the American gymnast competing in the vault with leg injuries.  They overcame the injury to finish to fight for their team.


I recall a different set of circumstances in my early competition years.  In a tournament in NY State a competitor was hit and dropped to the hard floor sharply injuring his head. He was from the sponsoring Sensei (an Internationally know Japanese instructor) and very shakily got up to his feet.  One of that instructors students (a MD) diagnosed the severity of the head trama, and declared he must go to the hospital. The injured competitor instead only looked at his opponent and declared he was fighting.  The Doctor, concerned only with the safety pleaded with his instructor to make him stand down.  The Sensei remained implaccable finally stating let the competition continue.  I do not recall the results but having finished my own competition and sitting in the stands I know I did nothing.


Do such instances forge the spirit of the individual? While they seem alike, they are vastly different from each other.  In the case of Kanazawa, the injury wasn’t life threatening, it presented a challenge to overcome which he did, and one can always make a case an arm in a cast could be used to some advantage, too.



In the case of the Oympic competitors, in most sports this is their one chance to shine, that competition being their life peak activity. Their injuries which most likely were severely aggravated by the event, were still not life threatening.  Their competing did assist their team.


In the case of the NY injury I am quite sure in today's medical opinions in those cases, it was still incorrect to let them compete.  To win a trophy, however significant that may be, does it equate with the risks to the recipient’s health?  In conditions 'extremis', where life is threatened, such effort is heroic, but to win a trophy, is not the fact they are ready to do so sufficient and the wisest course to make them stand down.


The other instance is far more troubling. While it seems a similar situation, the strike to the ground, was significantly life threatening if they were to continue fighting.  The doctor did everything in their power to intercede and stop the activity. The fighter I’m quite sure was trying to prove something to Sensei, that their spirit was more important.


The Sensei, unfortunately, made the wrong choice.  His choice made the competition more important than the threat to the students life.  He is quite a famous personality, a quality instructor.  Unfortunately as I reflect on this event I question his spirit. 

 

Then in that instance, I on the other hand, a relatively new Dan, sat in the stands doing nothing.  I clearly knew what was going on was wrong and remained a spectator.


Several years later I had moved to New England and attended a local Martial Arts presentation.  One instructor pulled me out of the stands to judge an example youth kata contest between a very traditional goju ryu school and a school which came out of the hippie era with pretend kata (if one can even call them that) and I virtually sat through the entire demonstration giving scores, trying not to insult children and continually biting my tongue. I guess the paying public did get to see the difference between the two schools.


The highlight of the evening was to be a full contact fight.  Apparently a full contact National Heavyweight contender was going to show his skills, with some unknown gentleman from my town.  The other fact was the unknown gentleman was apparently untrained and a full contact punching bag for three rounds.


Again I was a spectator watching a trained fighter pummel unchallenged the doofus.  Sure he wasn’t being KO’d, but instead giving a pounding. At the end of the first round, the fighter had a complete corner, trainer, etc. attending to his condition. The challenger had no one and dazedly wandered in to the stands to grab a coke from somebody.  An extremely unhealthy act in the face of what he was suffering..


These were individuals who choose to engage in this exhibition.

Most disgusted I began to rise from my seat to go down to stop the circus. However, my wife grabbed my sweater and said "Don't!!!"

So instead we left.


What is the right spirit to forge? To contest for baubles, regardless of the risks to ones person?  To allow somebody to pound another for show with no spirit of contest possible?  To believe that having a student compete regardless of the risks in a situation is more important to the student than their continued existence?


Which role model is right, The Sensei who places being forged by fire most important? The Okinawan instructors who were most proud at never having to use their karate?


And, when seeing wrongness when is the spectator responsible for not entering the picture and ending the act?


A new topic to discuss


Victor Smith
Bushi No Te Isshinryu

Chen Style Tai Chi Chen

 陳氏太極拳 陳績甫(南京中央國術館)系 老小架。私学校龍珉楼第一分館長 桂 峰生先生。

Chen Style Tai Chi Chen Jifu (Nanjing Central Martial Arts Academy) is a master of Lao Xiaojia. Mr. Gui Fengsheng, director of the first branch of Longminlou Private School.

Excerpt from the DVD private school Ryusanrou series "Tai Chi Selected Collection". This is one of the first routes (Tutuquan) of Chen Taijiquan practiced at Longbin Tower. Compared to the large-frame type, the small-frame type has a relatively elevated posture and tends to be more agile in its movements.

https://www.youtube.com/watch?v=FkWczO8H_Bw

While I did not study any variation of

Chen Tai Chi Chaun,

I admire greatly this forms execution.