martial art wushu

The term "wushu" in Chinese means "combat (or military) technique (or art)". This term has existed since the beginning of the 20th century, earlier the terms “jiji”, “ji-qiao”, “jiyong”, “quanshu”, “quanyong” were used (which are translated, respectively, as “impact technique”, “technical art”, “ hero of technology, "fist technique", "fist heroes". The last of these names (quanyong) is the most ancient, it is mentioned in the "Book of Songs" - "Shijing", dating back to the 11th-12th centuries BC).

Martial art of Wushu (China)

Martial art of Wushu (China)

The main tasks of WUSHU

The main tasks of wushu are: health promotion, life extension, self-defense (the latter is not in all styles). Includes work without weapons (tushou) and work with weapons (daise). Both exist in the form of separate exercises, technical complexes (taolu) and arbitrary exercises.

Martial art of Wushu (China)

They train alone, in pairs, in groups. Self-defense without weapons (fangshen) and sports contact fights "sanda" (which means "scattered blows", that is, not combined into complexes of formal exercises), strictly speaking, are not included in wushu.
Wushu styles and schools

Wushu has a huge number of styles and schools. Almost every county in China, often every village, has its own style, or at least a variant of wushu style. The most famous are, according to some sources, 130 styles, according to others - 80.

Each of them has its own name. As a rule, it includes the word "fist" (quan), as well as a number of signs: the place of creation (southern, northern, Shaolin); resemblance to the movements of animals (monkey fists, claws of an eagle, praying mantis, crane); feature of movements (long, slippery, soft); the name of the founder of the school (style Yang, Chen, Cha, Mo, Hong). But there are also figurative names of styles characteristic of the Chinese (“Plum Blossom”, “Red Fist”).

Legends about the founders of WUSHU schools

From generation to generation, legends about the creators of various wushu schools were passed on. For example, it was believed that the king of monkeys himself was the ancestor of the “Monkey” (Hou-quan) style. The emergence of the Directed Will (Xin Yi Quan) style is associated with the legendary commander Yue Fei. According to legend, the famous “Drunkard” style was developed by the monk Lu Zhisheng, according to another, by the famous poet Li Bo, and the “Lost Trail” or “Labyrinth” style was developed by the monk Yan Qing, a former pupil of the Shaolin Monastery.

All these legends, where history was intertwined with fiction, gave rise to a sense of community among wushu masters with national heroes, spiritualized the path they had chosen.

Three Major Wushu Centers

Historically, in ancient China, at the same time, there were three major wushu centers, each of which had special, unique features. These centers became the founders of the three main directions of traditional (or folk) wushu: Shao-Lin, Wudang and Emei.

Udan direction

It was formed on the basis of the religious and philosophical teaching of Taoism, associated with the comprehension by a person of his “give”, that is, the Way. Taoism, based on the doctrine of the two principles of yin-yang, the five primary elements, sought to achieve their balance, which gave a person the path to immortality. For two millennia, Taoist monks, based on the "Book of Changes", created a complex system of occult sciences, geomancy and palmistry. Throughout China, there was a rumor about the miracles performed by the ascetics of the Tao, about their ability to fly, cause earthquakes, command thunder.

For Taoist hermits, the external was inseparable from the internal, that is, an unprepared body could not become the abode of higher wisdom and spiritual perfection. That is why they developed various psychoregulatory systems that combined breathing exercises, health and military-applied gymnastics, as well as the strictest diet.

Creating gymnastic complexes, the Taoists sought to strengthen the internal organs, achieve muscle elasticity, joint mobility, tendon strength, sensitivity of nerve endings and good blood circulation. Physical exercise was inextricably linked with breathing. Wanting to comprehend the secret of longevity, the monks tried to adopt breathing methods from animals and birds that lived longer than humans. To recreate their breathing rhythm, it was necessary to take complex postures, which, having turned from static to mobile, formed the basis of the so-called "animal" styles, characteristic of all wushu styles.

Dr. Hua Tuo's system

The first of the wushu treatises of the Udan direction that have come down to us was written in the 3rd century BC. Taoist doctor Hua Tuo, he called it "The Games of the Five Animals". Its author became a legend during his lifetime, and after his death he was deified. Hua Tuo wrote: “I have my own system of exercises ... It uses the movements of a tiger, a deer, a bear, a monkey and a bird. This system cures diseases, strengthens the legs and maintains health for a long time. It consists in jumping, bending, swinging, crawling, rotating and contracting muscles through tension.

This system was further developed in the Taoist sect of "Higher Purity". In a large Taoist center in the Wudang-shan mountains in the province of Hubei, the formation of the Wudang direction took place as a method of achieving health and longevity through the psycho-meditative conduction of “qi” energy through 12 channels inside the body; respiratory, psychophysical exercises based on animal gymnastics; sexual practice; dietology.

It is believed that the soft styles that distinguish the Udan direction originated in the 3rd-5th centuries, and their formation took place in the 9th-13th centuries. - a brilliant period of Chinese history.

soft style

Why is Wudang Wushu style called soft? All of his schools (Tai Chi Chuan, Bagua Chuan, Xin Yi Quan, etc.) sought to bring a person into a state of naturalness, unity with the outside world. And the one who committed or provoked an attack violated this unity and balance and, as an alien element, was doomed to death. Hence the priority of defense, but even it is almost devoid of elements of aggression.

Basic principles of all soft styles

Udan-sky directions are reduced to the following.

Continuity and interconnectedness of successive movements.
Smoothness and roundness of movements.
Timely relaxation, allowing "to move being at rest and being at rest to remain alert." The whole body should be like a soft hose filled with energy.
Harmony of external and internal movement. The work of the arms, legs, hips is an external movement, and the control of breath, mind and will is an internal one.
A combination of softness and hardness. External softness and relaxation give rise to extreme rigidity at the moment of impact or block. “The root of the secret spring grows from the heart” - such a phrase is repeatedly found in Wudang wushu. You should learn to eliminate all distracting thoughts by focusing on the essence of the movements.

These movements, grouped in a strict sequence according to their increasing complexity, are known as "tao". In ancient China, it was believed that the first tao were developed by some civilization of prehistoric times, which, "before disappearing", passed them on to people as a way of physical and spiritual improvement.

The "tao" of all schools is characterized by the alternation of softness and hardness, relaxation and concentration, speed and stops, as well as a clear rhythm, a sense of distance and time, proper breathing and distribution of energy! A mandatory requirement is to return to the starting point from which the movement began. As a rule, when performing tao, improvisation was not allowed, it had to be reproduced with accuracy to the smallest detail. This was explained by the fact that their developers - the founders of schools or glorified masters - were the bearers of a single Knowledge, messengers of the gods, and the Tao themselves were a means to unite with the Cosmos, to awaken and concentrate vital energy.

Schemes of movements in tao

Schemes of movements in Tao reproduce the sacred geometric figures-symbols: square, circle, spiral. Even the number of movements corresponds to the "magic" numbers. All tao of different schools of wudang wushu are directly connected with the theory of 8 trigrams and 64 hexagrams of the Book of Changes. Each movement in them carries a philosophical meaning and magical symbolism. For example, the tao of animal styles are designed to bestow power, swiftness, fearlessness, and invulnerability. And the one who performs them is under the auspices of that divine animal whose movements he reproduces.

In Wudang wushu, the image of the Soft and the Weak, conquering the Hard and the Strong, is often found. On the battlefield, agility and dodge overcome brute physical strength. Compliance turns the onslaught of the enemy against him, using his strength to destroy him. More than two millennia ago, Lezi wrote: “In the Celestial Empire there is a path to permanent victories and a path to permanent defeats. The way to constant victories is called weakness, the way to constant defeats is called strength. Both of these paths are easy to know, but people do not know them ...

Going ahead of those who; weaker than he is in danger from his equal; he who goes ahead of those who are stronger than him is not in danger ... if you want to be hard, keep hardness with the help of softness; if you want to be strong, guard your strength with weakness."

Shaolin direction

Another major trend in Wushu is Shaolin (Shaolin Pai), which includes about 400 varieties of basic styles. The legend of how the Shaolin fighting style appeared to this day has come down to us.

Story

In 520, a small group of Buddhist adherents sailed from India to the shores of China to guide the rulers of the Celestial Empire on the path of truth. Among them was the twenty-eighth Buddhist patriarch Bodhidharma, the founder of the Dhyana sect, widely known in the East.

Bodhidharma was the third oldest son of the Indian Raja Sugandha, who belonged to the Brahmin caste. The education he received corresponded to his high position: he studied traditional martial arts, ancient Vedas, Buddhist sutras. He was especially attracted by theosophy, the doctrine of the unity of the human soul with the deity. In order to learn the innermost truths of Buddhism, Bodhidharma joined the Yogacara sect, and then founded his own. Once, having learned about the difficulties of the adherents of Buddhism in China, he decided to go to this country.

However, by the time Bodhidharma and his companions arrived, Buddhism in China was going through far from the worst of times. About 50 monasteries and 30,000 Buddhist temples spread the foreign religion through their novices. Immediately upon his arrival, Bodhidharma obtained an audience with the ruler of the Northern Wei kingdom. What they talked about is not known, but it was only after this conversation that Bodhidharma abandoned his plans to change the religious life of China and retired to a small Shaolin monastery located on the outskirts of this kingdom in the province of Henan.

Here, in order to learn the truth, he spent nine years all alone in a mountain grotto, praying and meditating. After that, he began to diligently preach Chan ("Chan" in Chinese is the same as "dhyana" in Sanskrit - "meditation"). This teaching, being a kind of Buddhism, prioritized the strengthening of the body and spirit in the name of comprehending eternal truths. That is why Bodhidharma began to preach Ch'an by teaching wushu, the hard physical training of the body as the "receptacle of the spirit."

Treatises of fisticuffs

From Bodhidharma originate numerous Chan military applied disciplines, which eventually amounted to 72 martial arts. An ancient treatise says: “There are 72 precious arts in a brocade bag. Eighteen of them are a treatise on boxing, the other eighteen describe the methods of handling weapons. The rest are devoted to the mastery of Qi, exercises for hardness and softness, gripping techniques ... ”Shaolin exercises, developing bones and joints, helped strengthen the whole body. A person who mastered them could strike with any part of the body.

Bodhidharma's legacy was developed by his followers. Master Jue Yuan, who lived in the second half of the 14th century, occupies a special place among them. He was a brilliant and versatile man. Passion for philosophy overcame all other attachments, and he retired to the Shaolin Monastery to devote himself entirely to studying the problem of the unity of spirit and body.

Being a skilled swordsman, he not only mastered the basic school of Shaolin wushu, but also improved it. Jue Yuan developed a combination of types of defense - "72 Shaolin capture and release techniques." Later they entered the arsenal of almost all wushu schools, but under different names. Here are just a few of them: "Secrets of Shaolin Grips", "The Art of Combat Castles", "72 Secret Grips", "The Art of Tearing Ligaments and Tendons", "Insidious or Devilish Hand".

Accurate knowledge of anatomy

These 72 techniques were based on precise knowledge of anatomy, on the laws of biomechanics and focused on pain points. Even earlier, wushu masters discovered that out of several hundred acupuncture points that a person has, 108 can strengthen or weaken a blow or grip when pressure is applied to them. They include 36 points, hitting which at the appropriate time and with a certain force can kill a person. In addition, there are points, by influencing which the wushu master can easily cause an influx or a sharp outflow of energy, up to fainting, shock, suffocation, seizure. From China, the art of 72 grips came to Japan and was transformed into the martial art of aiki-jutsu.

Jue Yuan's followers developed a complex of 170 techniques based on the styles of "Tiger", "Dragon", "Leopard", "Snake", "Crane".

Tiger Style

as the most rigid and forceful, it uses mainly the energy of tearing. In the "Dragon" style, strength does not play a major role, it is dominated by the flow of energy in the form of a wave from the head to the legs, the ability to simultaneously act with all parts of the body, which suggests that a person has an impeccable vestibular apparatus.

Style "Leopard"

"is based on the ability to accumulate elastic force and splash it out in throws and jumps. During training, special attention is paid to

lower limbs and lower back. The instantaneous reaction makes it the most dangerous. Snake style

low flowing movements are inherent, a change in state from the most intense during a strike to complete relaxation. The principle of operation of this style is to wrap around the enemy, to choke him, squeezing the ring, or to hit him with an accurate blow to a weak spot.

Style "Crane"

characterized by exceptional endurance, balance, excellent stretching. In preparation, special attention is paid to the work of the legs in various stances, as well as the ability to balance, standing on one leg.

As a rule, Shaolin monks studied the basics of all animal styles. Having mastered them, they began to specialize in one of them, in the one that most corresponded to their psychophysical characteristics.
The Art of Energy Management

Shaolin monks attached special importance to the art of energy management and carefully guarded its secrets. They have learned to turn their energy into a kind of armor that can protect the body from blows, injections, cutting with a sword or saber ...

On the basis of Shaolin wushu, a variety of styles took shape and developed. For example, the "Monkey" school synthesized the movements of monkeys, macaques, chimpanzees. The abundance of acrobatic elements, the special position of the hands, special training for the eyes and head, numerous antics made the masters of this direction one of the most skillful in wushu. Complex acrobatics are filled with the styles of "Drunkard", "Rolling on the ground", "Mizun". They are based on a quick change of movements (going forward, jumping back), instantaneous transitions from one movement to another, rolls, falls, blows from unexpected positions, as well as a sharp change in psychophysical states.

For centuries, the monastery managed to peacefully coexist with secular authorities. During the war with the Manchus, Shaolin served as a shelter and a place of assistance to the rebels, but the monks did not directly participate in hostilities. And yet, under Emperor Kangxi (1662-1722), a merciless war was declared against Shaolin. The monastery was completely destroyed, most of the monks died. Legend has it that only five of them managed to escape to the cities of southern China. It is these monks who are considered the founders of the southern version of wushu.

Five large southern schools of wushu are named after the Shao-lin master monks who founded them.

The third direction in folk wushu is Emei

It got its name from the Emei Mountains in Sichuan Province. There were many Buddhist and Taoist monasteries here, in which the Emei-pai direction was formed, which includes over 60 different styles based on Wudang psycho-training and Shaolin fisticuffs.

The most famous are 8 main Emei styles (4 large and 4 small), which combined both northern and southern wushu schools.

The four major styles are Yue-men, Zhao-men, Du-men and Seng-men. Numerous legends are also associated with each of them, from which the creators of modern films about wushu masters draw inspiration.

The history of the master "Magic Leg"

The history of the master Ma Heizi, nicknamed the “Magic Leg”, is connected with the Zhao-men style. The founder of one of the three famous "Red Fist" styles took a man named Zhang Tanfu as his disciple. After completing the entire course of study, he settled in Sichuan and took Ma Heizi as his student. Together they opened the Red Fist School in 1875. After the death of his teacher, Ma Heizi lived as a hermit for several years, perfecting his style. He introduced the technique of kicks and blocks into the "Red Fist", developed and improved the technique of withdrawals and movements. Having finished with hermitage, Ma Heizi opened a wushu school in the city of Chengdu. His skill was so skillful that he received an invitation to teach wushu in the army. After the death of Ma Heizi, his style was called Zhao-men in memory of the then-famous commander Zhao Kuanyin, although he had nothing to do with the creation of this style.

Du-men style

is associated with the name of Du Guanyin from Jiangxi province, who settled in Sichuan in the 40s of the 18th century. The basis of his style was to follow "naturalness to find balance and balance." For this, ten methods of approaching the enemy and the technique of "8 grips and painful locks" were used.

The close distance characteristic of the Du-men style required a special hand technique, which combined the techniques of grabbing the wrist, twisting the joints, stretching the limbs, stretching the joints to break them, hitting and pressing at certain points. To do this, Du Guanyin and his followers created a special system for working out the grip of the hand and training the strength of the fingers. It included juggling exercises of various sizes with balls, weights, raw eggs, as well as catching arrows fired from a bow, thrown knives, etc.

Throwing system in Du-men

different from other styles. Using the power of twisting and rotation, at first it was carried out by a hall or pressing on a painful point, then the enemy was thrown to the ground, and not lifted up. A similar principle is used in aikido. To avoid throws, a system of releases was developed, similar to the tao "72 Shaolin captures and releases."

The principle of using several parallel actions at the same time, characteristic of Du-men - gripping, leg work, pressing on a painful point - required a perfect psychophysical apparatus.

Wushu basic elements

Basic hand and fist positions

Quan- fist.

The main position of the hand in most punches. The fist is formed gradually, starting with the little finger. The thumb is pressed last from above, which secures the overall structure of the fist. The surfaces of the fist are marked in the figure.

valengquanquan- fist "tile edge". The basic position of the hand in punching in tongbeiquan and baziquan. The fingers are compressed in such a way as to form a ladder descending to the little finger. Thus, the index finger is fully compressed, and the other fingers are semi-compressed. The blow is applied by bending the second phalanx of the fingers. During the strike, the fist is held in a vertical plane and slightly tucked up. The wrist is tense.

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jianquan- "pointed fist". One of the types of fist in tongbeiquan. The fingers are bent in the second phalanx. The thumb fixes the fold of the index finger. The striking surface is the folds of the second phalanx of the index, middle and ring fingers. The blow is applied in the position of liquan (vertical fist).

qiangquan- "fist of the Qiang people." One of the types of fist in nanquan. The position is almost similar to jianquan, however, the blow is struck in the horizontal position of the fist (pingquan), and the hand during the strike is bent at the wrist joint at an angle of 45 °.

zhanshouquan- "chopping" fist. In this position, the outside edge of the fist is used to strike. The fingers are bent in the second phalanx, the thumb from above fixes the fold of the second phalanx of the index finger.

Danzhuquan- fist "single pearl".

Another name for fengyan is the eye of the phoenix. The blow is applied by bending the second phalanx of the index finger, extended forward and fixed with the thumb.

touguquan- a fist "piercing to the bone."

Another name for "zhongquan" is the middle fist. The blow is applied by bending the second phalanx of the middle finger extended forward. Most commonly used in tongbeiquan.

Wobeiquan - cup-clenching fist. Used in zuiquan. The index and thumb are half-closed and tense, the other three fingers are bent and pressed to the palm.

luezhang- palm - "flexible sheet".

Most commonly used in wushu natural weapons. The following striking surfaces of the palm are distinguished: zhang bei - the back side; zhang xin - the center of the palm; zhang zhi - fingers; zhang gen - the base of the palm.

valengzhang- palm "tile edge".

Reminds me of tiled tiles. Another name used in piguaquan is "wamian-zhang" - "palm-tiling". The fingers are tightly compressed, the thumb is pressed to the center of the palm.

wufengzhang- the palm of the "five peaks".

In taijiquan, it is called "bazhang" - "sticky palm". In Pigua, it is called "jugongzhang" - "the palm of the nine palaces." The fingers are straightened, naturally tense and spaced. The palm is slightly concave in the center. The thumb is directed forward to the side, forming with the index finger "hukou" - the mouth of a tiger. This type of palm is used both for pushing and punching, and for grabbing the opponent's forearm.

Goshaw- "hand-hook". The hand is bent at the wrist, the fingers are gathered into a pinch and pointing down. The following striking surfaces are used: go ding - top of the wrist; gou bei - the back of the wrist; gou shen - hook body. Nanquan also uses pinched fingers. Such a blow is called "hejushou" - the beak of a crane.

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gongbu- lunge position (literally, "bow step").

One of the most common positions in many wushu styles. This variant of the position is used in Chaquan and Huaquan styles.
The leg in front is bent at the knee joint at an angle of 90 °. The toe is turned forward. The foot is firmly pressed to the floor. Buttocks at the level of the knee joint. The leg behind is straight and tense. The toe is turned forward at an angle of 45°. The edge of the foot is pressed to the floor. The hip joint is half turned forward. The body is straightened in the thoracic spine and slightly tilted forward.

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Note. When performing the mabu position, the following mistakes are typical: 1) the position is “failed” - the pelvis is lowered too low; 2) feet are not parallel to each other; 3) the back bends in the lumbar spine, the pelvis is not brought forward; 4) shins are "littered" inside; 5) the body is tilted forward; 6) the shoulder girdle is tense.

suibu- position of "empty step".

One of the main wushu positions. With slight variations, it is found in almost all styles. In this position, the weight of the body is 90% shifted to the leg located behind and bent at the knee at a right angle. The knee of the leg is half turned forward. The toe of the foot is turned forward at an angle of 45 °. The leg in front is slightly bent at the knee and brought forward. The toe is pulled back and touches the floor, the instep of the foot is in line with the lower leg. The body is half-turned forward, straightened in the thoracic and lumbar spine.

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Note. When performing the pubu position, the following mistakes are typical: 1) the feet are not pressed to the floor; 2) the knee of the leg located behind is not laid back; 3) the position is not low enough; 4) the leg in front is bent at the knee; 5) the body is "littered" forward or backward.

Chabu- the position of the step (literally "step-fork").

One of the main positions in chaquan, huaquan and nanquan. It occurs both as a fixed position and as a type of step. From the binbu position, take a wide step with one foot behind, the other - to the side, half-turn the body in the opposite direction and fix the position. Weight remains 70% on the 90° skating leg. The walking leg is slightly bent at the knee or straightened. The heel is off the floor. The body either remains straight, or it is allowed to tilt in continuation of the line of the walking leg.

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Note. When performing the banmabu position, the following mistakes are typical: 1) the knee of the leg in front is not turned to the side; 2) the body is not vertical and is not straightened in the thoracic region; 3) the body is not turned to the side.

Main types of movements

jibu- “step with clap”, jump with clap. One of the most common types of movement in changquan. One leg takes a step forward, then both legs push off the floor and an up-and-forward jump is performed with simultaneous clapping of two legs against each other. Landing is carried out on the leg located behind. During the jump, the body is held in a vertical position. The toes are pulled down, the legs are straightened at the knees and tense. The gaze is directed forward. When landing, the supporting leg is slightly bent at the knee, providing a soft landing.

Note. When performing a jibu step, the following errors are typical: 1) deflection in the lumbar region at the time of the jump; 2) landing on both legs; 3) the toes of the feet are not pulled down at the moment of the clap.

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Note. When performing a shinbu step, the following errors are typical: 1) during transitions, the upper part of the body is not fixed; 2) the legs are not bent at the knees; 3) during transitions, the body rises up and falls down.

Gaibu- stepping back.

Found in changquan, nanquan and many other areas. It is a departure to the side from the line of attack with a lowering of the center of gravity and twisting of the body in the lumbar region. From the bingbu baoquan position, take a step to the side, passing the leg in front of the support. Bend both legs at the knees and hold the position.

Note. The following mistakes are typical when stepping back the nut: 1) the center of gravity does not drop during the transition; 2) the legs in the final position are not bent at the knees; 3) the body in the final position is not twisted at the waist.

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Dantui- forward kick.

One of the basic kicks in changquan. From the position of bingbu baoquan, raise the shock leg bent at the knee above the level of the waist. The shin and toe are pulled down. The supporting leg is straightened, the body is vertical. Perform a straight forward kick in a straight line at waist level. The striking surface is the toe of the foot. The leg is fully extended at the knee joint, the toe is pulled forward.

Note. When performing a dan tui strike, the following mistakes are typical: 1) the knee of the bent leg rises below the level of the waist; 2) the toe is not pulled down; 3) the supporting leg is bent at the knee; 4) the thigh is brought forward.

Straight leg strikes

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Note. When performing a setitui strike, the same mistakes are typical as when performing a zhentitui.

Tsetituy- side kick with a straightened leg.

One of the basic movements of shenjuxing tuifa. Found in changquan. From the starting position shown in the figure, move the hand in front down towards you, bending it at the elbow, and with the other hand up, stopping it above your head. Simultaneously with the movement of the arms, the shock leg performs a direct swing movement to the side, behind the shoulder joint, so that the instep of the foot is above the head and the knee touches the shoulder blade.

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Note. The following mistakes are typical when performing a hit houliaotui: 1) the toe of the shock leg is not pulled back; 2) the supporting leg bends at the moment of impact; 3) after the impact, the leg "drops" to the floor; 4) there is no acceleration in the last part of the impact.

balance

Balances (pingheng) are an important component of wushu complexes. In addition to modern competitive complexes, pinghen are found in the complexes of chaquan, huaquan, shaolinquan and many others. The principle of performing pinghen is to fix the position of the body strictly defined by the rules in a stationary state for a certain period of time. Pinghen technique is closely related to the basic principle wushu"qingdong" (rest and movement).

The general dynamics of the complex consists of a constant alternation of phases of active movement and fixed positions, which include equilibrium. Balances are more complex fixed positions than bufa (except for dulibu), as they involve fixing the position when resting on one leg, which requires good coordination of movement and an impeccable vestibular apparatus. The task becomes even more complicated with the inclusion in modern competitive complexes of zheding nandu dongzuo - mandatory elements of increased complexity, in which balance is often fixed immediately after complex acrobatic jumps with 360°, 540° and 720° turns. It should also be added that the balances included in zheding nandu dongzuo most often belong to the category tejuixingpingheng - long equilibria, which are fixed for at least two seconds, which further complicates their implementation.

When training balances, the so-called. "method of additional complication", for example, fixing the balance on an unstable surface or a surface with a limited area: a gymnastic beam, soft mats, a gymnastic bench, etc.

Equilibriums are divided into five main groups:

1. Zhilitisipinghen- vertical balance with a raised knee;
2. Zhilijutuipingheng- vertical balance with a raised leg;
3. Quxibandongpingheng- balance in a semi-squat;
4. Quixiquandunpingheng- balance in the squat;
5. Qianfu, houyang, ceqing, ningshen pingheng– equilibrium with body deviation from the vertical axis.

Vertical Balances with Knee Raised

Qiantisipingheng (dulibu)- balance with the knee raised forward. The most common in complexes wushu kind of balance. Common in changquan, nanquan, shaolinquan and other types. From the position of binbu, place your hands on your belt and raise your leg, bent at the knee, to chest level. The toe is pulled down and slightly turned inward. The head turns to the left. The body is straightened in the thoracic and lumbar regions. The supporting leg is straightened at the knee.

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Vertical balance with a raised leg

Qiankuntuipingheng- balance with the leg raised forward. It is found in changquan and in the obligatory elements of increased complexity (zheding nandu dongzuo). From the position of bingbu, raise the leg bent at the knee to the level of the chest and take the position of qiantisipingheng. Straighten your leg at the knee, keeping the knee at chest level. The toe of the raised leg is pulled back and is at the level of the face. Fix position.

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Note. Typical mistakes when performing yanshipinghen are: 1) the leg brought back is bent at the knee, the toe is not pulled back; 2) the supporting leg is bent at the knee; 3) the body does not bend in the thoracic region; 4) the body is not parallel to the floor.

Half squat balance

pantuipingheng- balance with a bent leg ("fold").

From i. n. bingbu bend both legs at the knees and join the hands with the forearms in the position of shizishou. Lift the left leg bent at the knee with the foot up and place it on the knee of the right leg. The body is straightened in the thoracic region and tilted forward. The supporting leg is bent at an angle of 90°. Hands are spread out to the sides with palms down.

Note. Typical mistakes during the exercise are as follows:

1) the skating leg is bent at an angle of less than 90°;
2) the raised leg is not turned with the foot up;
3) the body is not straightened in the thoracic region and is not tilted forward.

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Acrobatic elements

The technique of performing acrobatic elements (depu gunfan) occupies an important place in the system of training wushu athletes. Along with a general developmental function and a targeted impact on the musculoskeletal and vestibular apparatus, acrobatic elements have historically been a functional part of jibengong, i.e., they have applied significance.

Some directions and schools wushu attach paramount importance to the use of acrobatic elements in a duel. For example, ditangquan, zuiquan, digongquanfa, houquan, huaquan actively use such elements as qianbei, cekongfan, ulunjiaozhu, liyuidatin. Ditangquan generally consists of 60–80% of acrobatic elements combined with quanshu technique. The value of acrobatic elements in sanyu and tui shou fights is invaluable, where they are used as elements of self-insurance.

Acrobatic elements in wushu, despite the external similarity with traditional acrobatic jumps and somersaults, have a number of characteristic features due to the fact that they are often performed with a weapon in hand. Mastering the depu gunfan technique requires good joint mobility and a developed muscular corset. Another characteristic feature of acrobatics in wushu is that all acrobatic elements are performed on a standard carpet, and not on springy acrobatic carpets and tracks. This imposes completely different requirements on the technique of their execution, in particular on the clean and jerk.

Another characteristic difference is that in traditional acrobatics, elements in most cases are tempo. IN wushu many elements are performed without a preliminary run-up, from a place, which complicates their technique. When learning acrobatic elements in wushu special means are widely used: a flip board, a lounge, gymnastic mats, etc. It is obligatory for a trainer to know the basics of insurance and self-insurance when performing gongfan depu. At the initial stage, it is advisable to devote a whole training session to acrobatics, achieving impeccable technical performance of the elements, and only then can you insert gongfan depu into combinations of movements and complexes.

Qiangunfan- somersault forward.

A forward roll is performed from the main stance through the crouching stop. From the starting bingbu position, lower yourself down, bending your knees. Shift your center of gravity forward and place your hands palms down. When placing on the floor, the arms should not be relaxed. Press your chin to your chest. Perform a push, extending your legs at the knees. At the moment your neck and shoulder blades touch the floor, roll over your back. Hands are removed from the floor at the moment when the practitioner touches the floor with his back. At the moment of the roll, grouping is performed, the knees are pulled up to the head.

Note. Typical mistakes when performing qiangongfan are as follows: 1) hands are placed too close to the legs; 2) there is no grouping at the moment of rolling; 3) the head touches the floor when rolling.

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Note. Typical mistakes when performing hougunfan are as follows: 1) at the moment of rolling back, the body does not rise on the hands; 2) there is no grouping during the roll; 3) there is no push in the first phase.

Qianbei- half somersault forward (fanyienbeishuai). Often found in ditangquan, zuiquan. houquan. From binbu position, push with your right foot and swing up and back with your left foot. The body leans forward, the chin is pressed to the chest, the hands twist the body. Perform a flip in the air with the arrival on the shoulder blades.

Note. Typical mistakes when performing qianbei are as follows: 1) there is no moment of grouping during a rollover; 2) insufficiently strong swing of the left leg.

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Hand movement technique

Punching

chongquan- Direct punch.

In one form or another, it is found in all directions of wushu. There are two main positions of the hand in chongquan: liquan - a fist in a vertical position and pingquan - a fist in a horizontal position. In both positions, the blow is delivered with the front part of the fist - quanmian. From the initial position of the leg shoulder-width apart in the baoquan position with the back of the fist down, bring the arm forward in a straight line, simultaneously turning the body in the lower back and straightening it in the elbow joint. At the end of the blow, at the moment of applying force, the fist turns sharply around its axis with the back up. Repeat the movement with your right hand while bringing your left hand back to the starting position.

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Note. Typical mistakes when performing jiaquan are the lack of a half-bend in the elbow joint and the lack of twisting of the forearm.

Piquan- vertical chopping punch to the side. From the initial position of the leg at shoulder width, the left hand performs a movement from the bottom up along an arc to the right, turning in the forearm with the back of the fist towards itself, through the side, through the extension at the elbow, strikes with the base of the fist from top to bottom-left at chest level.

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Note. A typical mistake when doing zaquan is to make a weak sound when the fist strikes the palm of the hand.

Features of the development of complexes

Complexes ( taolu) are the basis wushu and represent a set of basic elements (jiben dongzuo) connected in combination (zuhe), divided into a certain number of parts (duan) in accordance with the structure of the complex. The structural unit of the complex is the form (shi): several movements united by a common function, for example: block-hit, grab-counterattack, etc. The execution of the complex at competitions is the culmination of the training process, the final result and the result of all the work of the athlete and coach.

complexes wushu are elected competitive exercise - holistic actions, as close as possible to the conditions of real competitions. The coach must distinguish between competitive exercises and training forms. Competitive exercises simulate the conditions of competition in wushu in full accordance with the rules, and the training forms of exercises, coinciding with them in purpose, differ in the mode of execution and content. Thus, the training of the complex as a whole is a competitive exercise, while the development of combinations of elements, a complex in parts, half or one and a half complexes are typical training forms of exercises.

It is difficult to overestimate the importance of training the complex as a whole in the training process, since only this method allows you to simulate the entire set of physical requirements for an athlete during wushu competitions and correct the training process. Based on this, the coach must understand that the training of the complex is an obligatory part of the training process, since it cannot be replaced by other training methods. At the same time, this method should be used quite rarely, since it places the highest demands on the athlete's body.

Before starting to work out the complexes, the athlete must perfectly master the technique of performing the basic elements and their combinations. For this purpose, in the process of preparing for the study of the complexes, the coach singles out individual combinations from the structure of the complex and includes them in the development of the basic technique in order to develop a specific muscle memory in the athlete. After the individual combinations included in the complex are mastered, the coach combines them into parts of different lengths, which are subsequently combined into a complex. At the stage of working out the parts of the complex and the whole complex in the preparation of an athlete, such a criterion as endurance appears. It is endurance training that should be given special attention in planning the training process. The implementation of individual elements and their combinations requires a short-term effort, while the continuous implementation of the most complex movements for a minute and a half requires the mobilization of all internal resources of the body.

The most typical coaching miscalculation, and not only in wushu, is the assessment of the competitive potential of an athlete, based on the level of technical skill. However, in the conditions of competitions, which in themselves are a powerful stress factor, the advantage will not go to the most technical athlete, but to the athlete with the most stable mentality, who has greater endurance. The execution of a complex coordination element in the fourth - last - part of the complex at competitions is strikingly different from its execution in training, in the mode of working out an individual element. We often see how, during the warm-up before a performance, an athlete attracts the attention of those around him with impeccable technique and high jumps, and during a performance on the carpet, he literally “falls apart” due to lack of endurance, making mistakes in the simplest movements.

An extremely important factor in the successful implementation of the complex at competitions is the artistry of the athlete, his ability to demonstrate jinshen - fighting spirit, reflecting the function wushu as a martial art. This trait inherent in the ancestral wushu- the Chinese often lack athletes from other countries, which makes their performances look like gymnastics, without a characteristic wushu emotional coloring.

Complexes in the system of sports wushu subdivided into technical levels. The first group includes simplified changquan complexes for elementary training groups - changquan jichu taolu. These complexes are just for the first stage of training.

Many martial arts techniques have been preserved since ancient times, i.e. each technique is a transfer of many years of historical experience, knowledge in the field of martial arts, teaching methods, etc. Therefore, we say that martial arts is an exchange of this knowledge, the one who knows the technique better, who knows how to conduct it more correctly, who has trained more, wins in them.

When preparing a combatant, a system of physical exercises is used, organized at training sessions. Training is a process of physical education aimed at achieving sports results.

The objectives of the training are to improve health and comprehensive physical development, the formation of the necessary skills, the consolidation and improvement of the skills of the chosen type of martial arts, the education of moral and volitional qualities, the acquisition of knowledge about martial arts.

The structure of classes.

All training and independent training sessions have a similar structure and consist of three parts: preparatory, main and final.

The preparatory part - warm-up, aims to warm up the body, prepare the musculoskeletal system and internal organs for the upcoming work.
An important feature of the martial arts warm-up is proper breathing and full concentration.

The main part is devoted to the study or improvement of technology, as well as the development of the motor qualities of those involved. Its content depends on the period of training, the preparedness of the athlete and other conditions.

The final part of the workout is used to switch from work to rest.
This is the creation of conditions for the accelerated flow of recovery processes.

training methods.

The main methodological arsenal of training is the system of methods strictly regulated exercise. This broad group of methods includes many varieties, in particular:

• methods of a dissected-constructive exercise and methods of a holistic exercise (technical training);
• methods of selectively directed exercises and methods of generalized (with a general impact on the athlete's complex of abilities) exercises (physical training);
• methods also differ in terms of the standard or variability of the impacts associated with them, their discontinuity or continuity:

One of these methods can be considered repeated method, which is characterized by the repetition of the same movements or ligaments several times with intervals for rest. At the same time, it is necessary to maintain a stable quality of movements and speed.

The number and time of performing exercises depend on the objectives of the training, the characteristics of the training of glycolytic and oxidative muscle fibers, the functional state of the athlete, the characteristics of the volume and intensity of the load, and other conditions.

Circle method- alternate execution of various exercises, selected and combined into a single scheme. For each exercise, a place is determined, there can be 8-10 such places. On each of them, the athlete performs one of the exercises.

Variational (variable) the method is based on changing the main characteristics and parameters of basic exercises and complexes. Examples include training basic stances at a slower pace, training jumps and movements on the sand, training with heavier weapons, etc. This method is characterized by continuous work with varying intensity.
An example of such training can be first working out a blow slowly, focusing on the trajectory of movement, then at high speed, then with the release of force and dynamic tension.

Also included in this group are continuous exercise method.

game method allows you to train such qualities and abilities of a combatant as dexterity, speed, resourcefulness, independence, variability. The effectiveness of the method is explained by the high emotional background that accompanies participation in games.

Competitive Method– performance of complexes or fights in conditions close to competitions.

In addition to those named in the process of sports training and in close connection with it, many other means and methods are used. This is first of all general pedagogical(methods of verbal and visual explanation, methods of motivation, persuasion, teaching, etc.)

Volume and intensity of training loads.

The total value of the loads is derived from its volume and intensity. In the broadest sense, the amount of workload refers to its length in time and the total amount of work. The concept of load intensity is associated with the intensity of work and the degree of its concentration over time. An important feature of training is the correct combination of these parameters. Usually this is a combination of volume and intensity, which is characterized by an inverse relationship: the greater the volume of the load, the lower the intensity, and vice versa. Loads with the maximum possible parameters of volume and intensity are used very infrequently. Proper use of these parameters is an excellent tool in the hands of a coach to avoid overworking and overtraining an athlete.

Training of technical actions.

When we talk about the performance of a motor action, we always mention the concept of "technique". Technique refers to the most efficient way to perform an action or, as they say, rational execution.

The technique of a motor action is the result of a search, analysis, verification in practice of the methods of its implementation by masters. The rationality of a technique is evaluated by its parameters (dynamic, kinematic, temporal, speed, etc.), but in martial arts the solution of a motor task depends on the athlete's reaction, the choice of the necessary action, accuracy, and the assessment of the motor situation.

Tactical training.

Reception is a technical action with the help of which victory is achieved. The use of individual techniques in martial arts is not always effective, since the preparation of the technique and its implementation take time, while it is not difficult to unravel the intention of the attacker. Therefore, most masters have one common feature, they use the so-called combinations of attacks, using preparatory and finishing techniques, the implementation of which is subject to a single tactical goal.

Tactical preparation is understood as the rational use of tactical actions in order to create favorable conditions for the intended reception.

Stages of learning motor actions.

The motor skill is based on knowledge about movement, preliminary motor experience. In the process of multiple repetitions, motor actions become habitual and coordinated. Skills turn into motor skills. Movements occur as if automatically, without a directed concentration of attention on details. Knowledge of the basic patterns of the formation of motor skills, improvement of motor actions significantly accelerates the mastery of new movements, forms strong motor skills.

The process of mastering a new movement occurs in three stages:
1. Familiarization with the new movement.
2. Formation of motor skills.
3. Formation and improvement of motor skills.

At the stage of familiarization with a new movement, the trainee listens to the trainer's explanation, views the demonstration of the movement. Then he makes the first attempt to perform a new element in general terms, while performing the element in full or in parts. An important feature of training at this stage is the correct execution of the technique. To do this, it is important to focus the attention of the practitioner on the key points (“reference points”) of the reception or movement. For example, when practicing a direct punch with a fist, the practitioner focuses on important “reference points”: fist, shoulders, interaction of two hands, work of the body, direction of gaze.

At the stage of formation of motor skills, through repeated repetitions, techniques are brought to a perfect form. A holistic way of performing an exercise with selective working out of individual details is widely used.

At the stage of formation and improvement of a motor skill, techniques are practiced in real and even complicated conditions. This is the longest stage of preparation.

Competitions.

Competitions are a very important component of the training process. It is no coincidence that they say that the real growth of an athlete's skill occurs at competitions. Change of opponents, i.e. constant change in the conditions in which a combatant improves technical actions is the most effective means for the growth of sportsmanship.

Certifications.

In martial arts, normative methods of quantitative setting of tasks and evaluation of the results of their implementation are widely used. Each blow, reception, throw has its own control and evaluation value. According to the fulfillment or underfulfillment of various technical elements, one can judge how the implementation of the tasks set is going, what is the effectiveness of the means and methods, how much it was possible to influence the dynamics of the growth of technical skill and motor abilities.

It is no coincidence that in martial arts, which are complex coordination sports, special attention is paid to the development and implementation of standards for certification for belts.

Wushu training. Mastery Fundamentals.

Wushu training is built on the basis of understanding the goal that the practitioner sets for himself. It is generally accepted that this can be a health, sports or combat orientation, that each of these components has its own means and methods for achieving it. There is another approach to understanding Wushu training.

Peculiarities of trainings and competitions in judo, sambo, shuaijiao.

Throughout the development of the entire history of the development of human society, wrestling has served as a universal means of physical education of a person and preparing him for labor and military activities. Gradually, the comprehension and formation of technical actions took place, the nature and features largely depended on the conditions of the lifestyle and traditions of different peoples. We will look at three types of wrestling that have gained fame and popularity around the world. These are the Japanese wrestling "Judo", the Chinese wrestling "Shuaijiao", and the wrestling developed from the national types of wrestling of the USSR "Sambo".

Karate training.

Karate is one of the oldest martial arts on earth. It originated on the island of Okinawa by mixing Chinese wushu and local wrestling techniques.
Karate gained particular relevance after the capture of Okinawa by Japan and the introduction of a ban on carrying weapons to local residents. Originally, karate was called "Chinese hand". The father of modern karate is Gichin Funakoshi, who traveled from Okinawa to Tokyo in the early 20th century, where he held the first demonstration of karate.

Taekwondo training.

Of all the Korean martial arts, taekowondo is the most famous.
Taekwondo is a martial art that originated as a collection of ancient Korean martial arts. In Korean, Taekwondo means "The Way of the Foot and the Hand". A characteristic feature of Taekwondo is the widespread use of kicks, as well as kicks and punches in jumps. This type of martial arts is based on thousands of years of experience in traditional martial arts, and at the same time uses all the best that has been created by modern science.

Over the long history of the development of martial arts, on the basis of deep analysis and verification in practice, a lot of work has been done to optimize the execution of movements and technical actions, and a wealth of experience has been accumulated in the field of biomechanics of movement. And these are not just features or a manner of execution or a general culture of movement inherent in each type, but important principles and patterns, a rational and thoughtful structure for building a movement, as well as methods of training in order to increase motor capabilities when using combat techniques. It is important to understand this unique opportunity on the path of learning martial arts.

Wushu classes and seminars for adults

WUSHU-EXPERT

Seminar on the topic: "Changbin - spear fencing".

Seminar topics:

1. Wushu healing techniques
2. Duanbing - fencing with short weapons
3. Changbin - swordsmanship with long weapons
4. Traditional wushu styles
5. Self-defense and hand-to-hand combat
6. Shuaijiao fight

More details on the official website of WUSHU-EXPERT www.wushu-expert.ru

Effective self-defense for women based on the tongbei system.

The program of self-defense lessons includes techniques that do not require great physical strength, strikes in the most dangerous zones for a person, important principles and methods for using the enemy’s strength, as well as studying the technique of a preemptive strike. This seminar will be useful not only for women, but for all those who care about their safety.

Fundamentals and basic techniques of the styles included in tongbei: bazi, pigua, fanzi, chojiao.

Understanding the relationship of these styles of Wushu, a good training in basic techniques, will help you not only learn and use this system well, but also create your own unique self-defense technique based on it.

Fencing at a short distance (dao sword, jian) and long distance (qiang spear).

For 20 years of experience with Chinese masters, a whole system of training and application of the main technique of fencing with spears - "la na zha" has been developed. Also, the technique of movement, maneuvering, interaction of spear techniques and body work are analyzed in detail.

Fencing using a two-handed miao dao sword and a bian gan stick.

The seminar program includes 16 Miao Dao sword techniques based on the famous technique compiled by the patriarchs of traditional wushu Ma Feng Tu and Guo Chang Sheng - Miao Dao against a spear, as well as the biangan technique of wu ying qi show, shi san fa.

Tongbei da jia zi health system.

Movements in tongbei da jia zi are performed in a slow rhythm with slight accelerations, naturally and freely, with concentration on the internal state and even breathing. Particular attention in the movements is paid to the coordination of the feet and hands, knees and elbows, hips and shoulders, as well as the interaction of breathing and the flow of internal energy.

Tongbei da jia zi health system includes more than 100 techniques. This video demonstrates the basic techniques of this system. This video can be used as a tutorial.

BASIC METHODS OF SHAOLIN SELF-DEFENSE

The focus of the principles of Shaolin wushu and the implementation of martial skills is the reception (zhao). The technique is not a specific technical movement, it can consist of several movements that have a specific completed form. Techniques of which the reception may consist are grouped into four main sections: arm technique (hitting and blocking), kicking technique (hitting and stands), painful effects (grabs, creases, strangulations) and throws.

This chapter introduces the basic methods of Shaolin self-defense, both against an attacker who strikes with a punch or a leg, and against an opponent who grabs your wrist or other part of the body. A characteristic feature of Shaolin self-defense is the use of throws by twisting the opponent's wrists, followed by an attack on the vital centers of his body. These techniques allow you to effectively resist an opponent, even one that is far superior to you in strength and weight. Since these techniques can be hazardous to health if performed incorrectly, it is advisable to master them under the guidance of an experienced instructor.

1. Direct punch

The opponent attacks you with a right straight blow to the head. Turn the body to the left and perform a blocking movement with the left palm (Fig. 1, 2). Without interrupting the movement, shift the weight of the body to the left leg, turn the body to the right and perform a direct blow with the fist of the right hand to the throat of the opponent (fig. 3).

2. Direct finger strike

The enemy grabbed your right shoulder (Figure 1). With your left hand, firmly grab the opponent's hand and press it against your body. At the same time, strike with the fingers of the right hand to the armpit of the opponent (Fig. 2).

3. Direct palm strike

The enemy grabbed your left shoulder (Figure 1). Take a step forward with your right foot, at the same time grab the opponent by the waist with your left hand and perform a direct blow with your right palm to the opponent’s chin, while pulling the opponent towards you with your left hand (Fig. 2, 3, 4).

4. Grab release and knee strike

The enemy grabbed your right shoulder (Figure 1). Take a step with your left foot to the right and turn your body to the left. At the same time, raise your right hand up so that the opponent's hand is on the inside of the right hand (fig. 2). Bend your right arm at the elbow and perform a sharp downward strike with the elbow (Figure 3). Grab the opponent's shoulders with both hands, pull the opponent towards you and perform a sharp knee strike to the opponent's groin with your left foot (fig. 4).

5. Kick and kick

The enemy grabbed your right hand (Figure 1). Grab the opponent's hand with your left hand and twist the opponent's forearm in a circular motion to the left (Figure 2). Continuing to twist the opponent's arm, pull him towards you and perform a direct kick with the left foot to the opponent's solar plexus (fig. 3).

6. Grab and knee strike

The enemy grabbed your right hand in the elbow area (Fig. 1). Sharply bend your right arm at the elbow, pressing the opponent's hand in the area of ​​​​the elbow bend. At the same time, grab the opponent's left shoulder with your left hand (Figure 2). Pull the opponent towards you and at the same time perform a left knee strike to the opponent's solar plexus (fig. 3).

7. Hall and hold

The enemy grabbed your right hand in the elbow area (Fig. 1). Sharply bend your right arm at the elbow, pressing the opponent's hand in the area of ​​​​the elbow bend. At the same time, grab the opponent’s left elbow with your left hand (fig. 2). Take a step with your left foot to the right and turn the body 180 degrees. Press with your right hand on the opponent's left shoulder (Figure 3) until he falls on his stomach and perform a hold (Figure 4).

8. Release from grip, reverse twist and hold

The enemy grabbed your clothes at chest level (Figure 1). Grab the opponent's hand with both hands and press with your thumbs and the base of your palms on his hand (Figure 2). Take a step with your right foot to the right, continuing the pressure on his hand (fig. 3) until the opponent falls and perform a hold (fig. 4).

9. Release from grip, twisting and holding

The enemy grabbed your clothes at chest level (Figure 1). Grab the opponent's hand with your left hand, and grab the forearm with your right hand (Figure 2). Take a step to the right with your left foot, turn the body to the left. Raise your right elbow up and press your forearm onto the opponent's left elbow (Figure 3) until he falls. Perform a hold (Figure 4).

10. Throw and hold

The enemy grabbed your right shoulder (Figure 1). Grab the opponent's hand with both hands (fig. 2). Take a step with your left foot to the right and turn the body 180 degrees (Figure 3). Rotate the opponent's forearm and throw with both hands in a circular motion (Figure 4). When the enemy is on the ground, perform a hold (fig. 5).

11. Throw and finishing

The enemy grabbed your right shoulder. Bend your right arm at the elbow so that the opponent's arm is on the outside of the right arm (Figure 1). With your left hand, grab the opponent's left shoulder (Figure 2). Take a step forward with your left foot (Figure 3) and at the same time perform a hook with your left foot on the opponent’s left leg, with your left hand push the opponent in the back-right direction (Figure 4, 5). When the opponent is on the ground, perform an overhand kick with the right foot to the throat of the opponent (fig. 6).

GLOSSARY OF TERMS

GLOSSARY OF TERMS

These terms are normative unified terms for modern wushu. In traditional schools, for example, in Shaolinquan, they are used today along with traditional ones, which brings a certain structural harmony to teaching. Along with this, Shaolinquan, Mizongquan may have their own terms to refer to the same movements, but most of the terms coincide, since modern terminology was compiled precisely on the basis of Shaolinquan. It should be borne in mind that in traditional styles it is customary to designate not a movement, but a technique, for example, a forward jump with a long straight punch will be called in modern terminology "chaobu - gongbu - chung quan", and in traditional - "fierce tiger rips out the heart".

1. Account

Russian- Chinese

One- AND

Two– Er

Three– San

Four– Sy

Five– U

Six– Liu

Seven– Qi

Eight– Ba

Nine– Tszyu

Ten– Shi

2. Teams

get ready– Yu Bei

Started– Kaishi or Zuo (Zou)

delayed– Tin (tin)

Repeat– Zai zuo ibei

Turn around– Zhuan Sheng

turn right– Yu zhuan (you zhun)

turn left– Zuo Zhuan

Error– Zuo tsole (tshuole)

Fine– Hao!

Wrong, won't work- Bu shin!

finish– Jishu

3. Terms

wushu- martial arts

Shuaijiao- wrestling, throwing technique

qinna- creases and grips

qi- internal energy, air

Shen- spirit, the highest spiritual substance

Jin or jir- internal force ejected during impact

Jin- seed, the inner substance of a person

Tili- physical, muscular strength

gongfu- high skill

Taolu, tao- a set of exercises

Lou- "track", usually a continuous sequence of movements in the complex, performed in one direction

Jibenggong- basic exercises

Zuhe lanxi- bundles of movements

Zuhefa– combinations

Busin– racks

Bufa– movement

Pingheng– balancing

Saotan- bottom notches

Shouf- hand technique

Tuifa- footwork technique

Yuetiao- jumping

4. Racks - Beads

Mabu- rider stance

gongbu- bow stand

suibu- empty step (center of gravity on the back leg)

Cebu- twisted (sitting)

Pubu- auxiliary step

Zuopan- "sit on the lower limbs", a position in which a fighter in a twisted stance touches the floor with the buttock or thigh

Binbu- starting stance (heels together, toes apart)

Dingbu– T-shaped

Banmabu- half mabu

Handanbu- Gongbu with a 90-degree body turn

Dulibu, Tisi (thisi)- on one leg

Chabu (chhabu)- back cross step

Gaibu- front cross step

Longbu- dragon stance

Qilongbu- unicorn stand

Kailibu- straight stance (feet shoulder width apart)

5. Movement - Bufa

Sinbu- sequential step, several steps one after another

Taboo- side step

jibu- colliding step

Chabu- backward step

Gaibu- forward step

Tiaobu- step with jump vertically up

Zhenbu- tapping step

Tuibu- step back

Yaobu- jump step

6. Hand Positions - Shoushin

Quan- fist

Fuquan- a position in which the center of the fist is pointing down

zhenquan- a position in which the center of the fist is directed to the side

Yiquan- a position in which the center of the fist is directed upwards

Quanmian- front part of the fist

Zhang- palm

luezhang– palm in the shape of a willow leaf (basic form in Changquan, thumb pressed)

gou- "hook", i.e. fingers are collected in a pinch, the hand is bent at the wrist

Zhi- fingers

Zhou- elbow

longzhua- dragon's claws

huzhua- “tiger claws” (fingers bent and slightly apart)

Yinzhua- eagle claws (fingers together, bent)

jianzhi- sword fingers (index and middle fingers are extended forward, the rest are pressed to the center of the palm)

Sanyinzhi- three dark fingers (three fingers extended forward)

jinganzhi- diamond finger (one finger extended forward)

Fengyanquan- the fist of the phoenix, the index finger is bent in the second phalanx, which is struck, the remaining fingers are in the fist

7. Handwork technique - Shoufa

chanquan- direct hit

Tuizhang- palm push

Liaozhang- “opening palm” (turning the palm up)

Pizhang (phizhang)- chopping blow with an edge with a palm in a vertical plane

Chuizhang- chopping blow with a palm in a horizontal plane

zaquan- punch down

bianquan- whipping fist (usually in southern styles, hitting with the back of the fist, most often backhanded)

Guiquan– hook in the horizontal plane

tiaozhang- “ripping palm”, a blow with the fingertips from the bottom up

Tiaoquan- “ripping fist”, punch from the bottom up, uppercut

Dingzhou- "stabbing" elbow strike forward

Panzhou- elbow (forearm) strike in the horizontal plane

8. Footwork Technique - Tuifa

Zhengtitui- straight leg swing

Setituy- diagonal leg swing

Tsetituy- leg swing to the side

Vaybaytuy- outward leg swing

Lihetuy- circular leg swing inward

Hoytituy- kick back

tantui- whipping kick (upper surface of the foot)

Dengtuy- straight heel strike

Tsechuaytuy (chuaytuy)- kick to the side, usually with the entire surface of the foot

cechantui- lateral stabbing (outer edge of the foot)

Houbaytuy- back round kick

Yuantui- forward kick (foot or shin)

Houdentui- back heel penetrating kick

9. Jumping - Yuetiao

Tengkuifeitui- straight jump

waibailian- opening lotus

xuanfengtui- whirlwind blow

Tengkuntsechuaytui- side jump

Xuanzi- Bedouin jump

Saotan- front undercut

10. Undercuts

qian saotang- front undercut

Hou saotan- back hook

jingou- "golden" hook, hooks with the opponent's foot

11. Balancing

Yan shi pinghen- "martin"

12. Basic Exercises - Jiben Gong

Danjian- rotation with one hand in the shoulder joint

Shuangjian- rotation with both hands in the shoulder joints

Zhengyatui- direct bend to the leg

Qeyatui- tilt to the side of the leg

Shuayao- rotation in the lower back

Qiaoxing (yao fa)– bridge

qian bei- somersault forward

Houbei- somersault back

qian fu yao- lean forward

tan yao- standing back bend

Hanpitui- cross twine

Chapitui (chapitui)- straight twine

Chapter 27 Basic Exercises - Part I Last time we discussed the connection between hard work and success in bodybuilding. Now we will touch on another fundamental thing. We will talk about the choice of exercises. Nobody denies that some exercises are better than others. Any

5.2.1. Methods of using the word (verbal teaching methods) Through the word, the leader of the lesson sets out the material, sets tasks, forms an attitude towards them, manages their implementation, analyzes and evaluates the results. The main varieties of this method: