20.

San Soo: Old vs. New

The question pertains to the longer and wider technique utilized by early San
Soo practitioners, contrasted with the more compact fighting style of late.
Additionally, Jimmy H. Woo moved from the more powerful long movement
which has historically typified Kung-Fu San Soo, to more compact medium range
movements. The inclusion of strikes to the quarter and half sectors allowed
for the closer distance which is the requirement of the closer leverage
technique (known by some as Tsoi-Li-Hoi). From the mid 70's on, Jimmy
concentrated more on the closer, more circular technique.
Jimmy H. Woo distributed five teaching manuals to his advanced students.
These books are the accumulated notes of several of his students. They are
illustrated and contain forms and lessons. The volumes span a critical five year
period with respect to this stylistic change. Of note is the change from the
longer and wider old-style to the shorter, more compact new-style.
Books 1, 2 & 3 show forms with abundant left to right horse shifting and
featuring strikes that diametrically oppose each other. Kicks and punches occur
in opposite directions at the end of each shift. For example, the practitioner
based in a left half horse executes a right reverse punch to the southern
direction. This is then followed by a full shift to a right-half-horse and left
reverse punch to the northern direction. The punches in this preceding
example are in 180 degree opposition to each other.
Books 4 and 5 demonstrate forms depicting a shorter, closer technique. In this
example, a right punch is delivered, followed by a mirrored left punch.
However, unlike the earlier forms, the practitioner does not shift, but remains
in the same stance throughout the execution of the two strikes.
The latter movements are more indicative of the movement-type and style
change seen in the school workout during the mid 70's. The closer, more
compact movement made use of kick stances, short bicycle-like shifts, so
necessary in the closer leverage techniques being shown at that time. Since
close-quarter fighting requirements are different, other changes were
instituted. The longer windmills were shortened or dropped altogether. The
earlier forms of books 1 - 3 utilized large overhead windmills and shield guards.

The later forms demonstrated shortened, more efficient windmill movement.

As a matter of evolution, it was only a matter of time before the more basic
long powerful movements, typified by large windmills, were replaced by closequarter, mid- and short-range technique. The compact technique is all at once
faster and the exponents target moves faster and more fully out of the way.
In close-quarter fighting the faster movement plays havoc with the opponent's
reaction time, making many of the cover windmills unnecessary.
I asked Jimmy H. Woo about the changes in the form and the Grand Master
answered, that the shorter form movements were "just different combinations
of the same movements".
The more modern fighting approach demands more balance and timing, is more
centered and circular, and to its deficit, is shorter reaching. The older long
windmills and long arm strikes were more powerful but could only be
administered one arm at a time.

Here, perhaps, is a good example:

Imagine that you are seated at a square table...
You are seated squarely, facing it. In this position, you can use both arms to
handle lots of things in front of you. However, if you have to reach far, say, for
a salt shaker, then you have to turn dead sideways to increase your reach.
Having done this, you can no longer use the other arm as easily; it is behind
you.
Now if you were to choose sit at the corner of the table, chest facing the
table's center, you would find that you have the best of both worlds. In this
position, a compromise, you have the use of both arms, with added reach and
facility across the table surface!
So, what appears to be differing styles during Jimmys many years of teaching
is in reality the natural development, growth and outgrowth of Kung-Fu San
Soo. The large powerful technique became more compact, skillful, and
demanding. Unfortunately solid basics were discarded by some instructors

for the faster, more efficient, more gratifying technique.

It is my opinion that The Grand Master Jimmy H. Woo changed little during his
last 30 years and demonstrated a more lengthy, make-and-break style typified
by the "old school". I cannot say that I have witnessed the Grand Master
utilizing direct straight centerline movement or short quick kick stance shifting
which is commonplace in the "new school". More important than Old vs. New is
Correct vs. Incorrect.
It is important that the San Soo fighter learn to
all directions, executing lessons from a wide variety of positions.

27.

fight

in

"Look up in the sky" "It's a punch" "It's a block"

... It's a cover, it's a parry and it's a counter balance. It can be all of the
above. Every arm movement is a potential punch, block, protective shield guard,
or parry. An arm striking above the opponent's elbow is typically called a
"punch", whereas a strike below the elbow is called a block. Because the path
of a punch or windmill is circular, the point at which the strike's arc interacts
with the opponent gives the weapon, be it punch or block, direction and
purpose. By varying body positioning and/or the length of the arm, the
practitioner can cause the arm to intersect the opponent's body at different
points on its arc of travel. This varies the angle and trajectory of the attack
and allows the artist to take control of the opponent. For example a punch that
makes contact early in its circular path appears straight. Allowing it to round
the bend, before making contact, creates a round house. Catching the
opponent on the far side of the arc gives it a hooking quality. So, in this
example, the fighter changes his position so his arm will intersect its target at
these different points on the circumference of the circle path.
There are two basic ways that we use windmills. The first is when a windmill is
used against an adversary's chosen weapon, i.e. your left against his left punch.
You see it and strike it. The second is when your windmill moves across an area
to protect a region which you are traveling through. These two strategies may

be likened to defensive styles in basketball. The first example can be said to

be similar to a "man-on-man" defense and the second example bears similarity
to a "zone defense."
Strikes or blocks may be used to place the opponent, setting him up for the
next action. In combative fighting there are no rules, and as such, any target
on the opponent's body is available. As an arm passes it may strike or not as
needed or desired.
In many ways the arm can be thought of as a multiple-barreled shot gun. The
practitioner can choose to use it or not. The ability to choose enhances the
element of surprise. An opponent cannot know for certain whether the weapon
will be used or if it is a distraction, a ruse, or is just traveling on by. Its
appearance can break a rhythm or set a rhythm to be later broken.
In the discussion above we are speaking of the use of the arms but the same
can be said for the use of the legs and all body appendages. During the
application of a technique, arms and legs serve as counter balances and whips to
maintain and change the balance of the body as it carries out its duties.
An ice skater uses the arms to control body spin. Gymnasts use their
appendages
in
varying
ways
to
facilitate
movement.

A San Soo practitioner deficient in the use of windmills cannot progress

into the more intricate levels of circular movement. Instead of a graceful
circular manner he will develop linear mannerisms, throwing himself here
and there.
Remember that windmills, punches and kicks have follow-thru and continue on
their journey even when impact occurs. Fixation on the point of impact,
treating it as the end of the movement, rather than visualizing follow-thru
will result in incomplete shifting. This will certainly destroy the continuity
direction and purpose of the technique. The base half horse can not fully form
if the practitioner stops at the moment of contact and does not allow his horse
to fully solidify. This very problem is of serious concern as a large number of
San Soo practitioners are focused on the target acquisition point and do not

follow-thru into a finalized, proper horse. Instead, they find themselves

constantly in a less desirable transitional position and must throw their upper
body mass to continue. The result is poor flow and the introduction of linear
momentum which distracts from the otherwise circular route.

28.

Circular Movement

The geometry of Kung-Fu San Soo is predominantly circular. Stepping, blocking

and punching technique necessarily follow circular paths.
The shortest distance between two points may be a straight line, but circular
paths must be utilized to clear punches, navigate a variety of target
obstructions, and open gates to access targets in a more surreptitious or blindside manner.
When using rounded, rolling body motion, the resulting circular blocks and
punches cover more distance, accelerate faster, as their supportive
musculatures performance is bettered.
Square, linear Karate-style movement is not designed for close quarter
fighting, but rather to cover longer distances and for setting up the opponent
when working "the outside. Circular movement is an important part of proper
and correct San Soo technique. It gives the San Soo practitioner a decisive,
deceptive edge, enhancing timing, coordination, speed, agility and balance, as
well as maximizing striking power and leverage. In addition, linear movement
disrupts the natural circularity of body and punching movements.

29.

Complete Movement vs. Shortcut Movement

Good balance is at the root of a strong fighter. That is not to say that one
remains in perfect balance at all times. In fact, the ability to put oneself in
and out of balance is key to an agile and powerful technique. The rule in KungFu is that the more weight is distributed to one leg, the more maneuverable one
is; the more evenly distributed, the more rooted. It is fair to say that the
more developed fighter is lighter on his feet. However, this goes to the fact

that the more experienced practitioner can more fully control and manipulate
his body balance to obtain a desired effect. One becomes skillful at moving
into and out of differing and chosen states of balance.
The basic stances of Kung-Fu San Soo provide a much needed solid base.
Without proper form and footwork, irregularities in the ground one stands on,
and sudden, unexpected conditions, can play havoc with the fighters balance
and subsequent control.
For much of our beginning training, proper horse stances and complete
movement are stressed. In higher levels of training one learns to take
shortcuts, to use various contractions and expansions in stances and movements
to complete a transaction more quickly. This is not without risk. Complete
movements provide great security for body targets and preserve body balance
whereas shortened movement increases the element of surprise and allows
compound movement.
The former, the element of surprise is at the core of San Soo technique, and
the latter, compounding of movement is fully utilized by the San Soo
Practitioner in the more advanced levels.
It cannot be stressed enough that a student should not be encouraged to
compound movement and shortcut his technique until such a time as his base art
is second nature. Improper and early compounding of movement and the usage
of short cut movement lead to sloppy, incorrect and inconsistent application.
Furthermore, proper technique is not the natural outcome of a self-guided,
improvisational study.
The development and maintenance of a good core technique is critical. The
compounding of its movement is a study requiring a disciplined and methodical
training process.
A good foundation and ability to use ourselves in a manner that offers true
flexibility is at the expense of many hours of strict and focused fundamental
training.

32.

Using Pre-Arranged, Patterned, Blocking and Punching Sets

Some arts use blocking and punching sets (pre-arranged patterned movement).
In sport fighting or where the opponent's attacks are often stylized or where
there are set rules, one can often predict what's next and how to respond.
Hands up fighting, using the arms, for example, to protect the front of the
upper body is particularly effective when there are rules which exclude strikes
to the backside or below the opponents waist.
In actual street combat, where anything goes, just when you think he will
counter with this punch or that, he will probably step on your foot or kick you
to the knee. In combative fighting where a multitude of targets are available at
any given time placing your hands in a generalized manner is not productive and
puts those potential weapons in plain site.
Trying to predict which appendage will block which arm or leg movement is next
to impossible, particularly when you are close to your opponent. So "man-onman" defense, like in basketball, is difficult to pull off. It is also hard to
execute an attack when you are preoccupied with defensive concerns.
Rather, like a zone defense in basketball, our windmill movements and manner
of stepping afford a basic level of "regional" protection. We practice this
coordinated effort in form and lesson, where the arms act as shield guards,
precede and pass between the artist and the opponent, and impede the
attacker's avenues of attack. Windmills, well used, and body positional changes
automatically protect major body targets and can distract and hide the San
Soo fighter's real intent.

Many complain that the San Soo fighter should fight with his "hands
up". I would argue that we find ourselves in similar hands up postures when we
step and use our windmills properly.
Boxer-like hand positions appear
movements. Also, remember that
targets are exposed when one
reservations about hitting those
street fight.

and disappear as we progress through our

there are no rules in street fighting. Other
raises the hands. An opponent has no
other emerging areas. Anything goes in a

It should be noted that pre-arranged movements can be a double edged sword.

They may well offer protection, however they may also be more recognizable.
This may well send a signal of a pending attack thus triggering an effective
counter response.
Movement of the body and its targets is a key strategy in this art. Keeping
oneself on the move and out of range is preferred to the use of patterned
offensive or defensive hand patterns made necessary when one is "pressed" or
"jammed".
Mental energies must also be reserved for use in attacks on the opponent. It is
better to attack and let him deal with the assault, than to be busied with a
response to the opponent's varying attempts. So rather than having to deal
with an opponent's kick attack, kick him! Keep your opponent on the defensive.

Where to start
Form provided a good place to start. It is particularly important, in general,
that windmills are executed and directed at the opponent before shifting and
stepping commences. In this way they will act to clear a path and if necessary
to strike instantly in a surprise attack. These days students can be seen
needlessly spinning their windmills in their rear quarter and then turning there
whole body into the coming attack.
Jimmy H. Woo If you dont want to be hit Dont be there!
And I'lll add that it is important how you getthere too!

The Basic 8 Exercise

Click here to watch Jimmy H. Woo demonstrate "The Basic 8 Stances"

Note: All rotating is done on the balls of the feet. Feet do not move at the
same time. When one foot moves, the other is at rest. During the exercise,
the hip remains level and does not bob up and down.
The exercise begins from set position, hands on hips. The heels of the feet
are touching and the feet form a "V".
1.

Su Ping Ma (Full or Center Horse Stance)

From set position, pick up the right foot and move it in a clockwise arc, putting
it down, to your right, at a point, just past your right shoulder. Next, move the
left foot in a counter clockwise arc, placing it at a point just past your left
shoulder. The toes of the feet remain pointed at a 30 degree angle to each
side. Proper horse distance is 28 - 30 inches.
2.

Ando Ma (Half Horse Stance)

Turn the hips and right foot counter clockwise, to your left, until the right
foot points about 35 degrees right of the line of your heels. During the
execution of this movement, the left foot for the most part, remains
stationary but is allowed to adjust slightly in a counter -clockwise direction.
The left foots final position is also about 35 degrees with respect to the line
of the heels, or parallel to the right foot.
3.

El Ma (Kick Stance)

Move the hips, back, over the right foot, allowing the right leg to bend at the
knee. Draw your left foot back, putting the left toes down very slightly ahead
of the right toes. All weight is on the rear leg.
4.

Deem Ma (Slide Stance)

From the kick stance, move the left foot to a point about a horse and one-half
ahead of the right foot. The left foot travels in a slight clockwise arc, and the
left toes will be pointing about 35 degrees to the right. Now, pull the back leg
up till the legs are, again, one horse distance apart. Be sure that the right foot
points about 20 degrees right of the line of your heels.
5.

New Do Ma (Cross Stance)

How
I
Teach
Shifting
The
Axial
(From "The Mastering of a Combat Art by Master Paul H. Borisoff)

Shift

The axial shift is the most often used shifting pattern in Kung-Fu San Soo. It
is executed in a fluid manner.
So we start with a right half horse. For a student of average height, the
horse's gait should not exceed 28 inches. Please note that deep, long horses
are a tactical liability and make the following procedure difficult to execute.
In a proper right half horse, the right foot is pointing about 35 degrees to the
left and the left foot parallels the front foot. The left leg should be straight
and locked. What is important, here, is that the rear knee is pointing
downward, and not to the left, and that the rear leg is straight.
To begin shifting, we pull our left heel inward, counter-clockwise to the right,
pivoting on the ball of that foot. One's hips move left and center between the
two legs. At this point, we are in a full horse with the weight of our body
evenly placed between our feet. We then rock our weight onto our left
foot and roll our entire hip, right leg, and right foot, as one unit, to the left,
until the right big toe is pointing slightly to the right of our left big toe. The
right leg is then straightened, as the heel is placed on the floor. The leg locks
at the knee; the knee is pointing downward. Note that during these
movements, the left knee will flex to a point above the left toes. It is critical
that the forward swing of the lower leg be on the same line as its foot; the
ankle then works in a natural fashion. One must not place a bias against the
joint. During the execution of a straight punch, the two legs rotate in close
synchronization, appearing to move almost simultaneously. A roundhouse punch,
however produces a greater lag time between the two foot movements, making
them appear as two separate movements.
During the execution of the Axial Shift, it is important to insure that one foot
maintains contact with the ground at all times, albeit momentary. When both
feet twist simultaneously contact with the ground is at a minimum. In general
our feet appear parallel to each other throughout the shift. Good footing and

good balance go hand-in-hand.

The Axial Shift

right half horse

full horse

left half horse

right half horse

full horse

left half horse

The shifting method used by the San Soo practitioner is in many ways similar
to the one used by a batter, in baseball. And, to be sure, the mustering of a
sword and a bat share many common attributes. However, unlike this batting
procedure, the rear foot must remain on the ground, straight and locked at the
knee. When we hit a baseball, which is relatively small and light, the contact
usually does not have a harmful effect on our balance. However, when we
contact our opponent, his mass is far larger and so his inertial forces are of a
far more serious nature and affect us all the more. Support from the rear leg
"strut" is essential.
It is important to note that, as we shift, the use of the arms and their
windmills is fundamentally important to the initiation of the shift and the
stability of the entire movement. In general, the arms are used in tandem with
their respective hip and leg. The Form is an excellent activity for the practice
of the arm movements (windmills) and leg movements so necessary in the
development of proper shifting. It is vitally important that a practitioner learn
to shift properly and completely. Incomplete shifting destroys the natural
flow of Kung-Fu. Good shifting is a prerequisite for the mastering of advanced
technique and movement in the art of San Soo.

Controlling the Shift

The smooth shift, shown above, requires the forward leg to bear about 60
percent of the body weight. This allows for proper heel to toe transfer of the
weight on the forward leg.
This depiction allows the fighter to keep his foundation steady and under
control throughout the movement.
Now, if one intentionally moves his weight fully onto the forward leg, this
motion can be spun into a progressive pivot. This movement has been likened to
tornado motion. It is really very spectacular.
Finally, one can shift keeping his weight over the rear foot for a more
prolonged period. This creates a back stance where the head and upper body
actually move away from the opponent. This type of shift is very helpful in
sword work.

Where to Step
By definition, a line is created when two points are connected. When the
practitioner is standing in a horse stance, he occupies two points - each foot
residing on a point of its own. The connection of these points creates what is
called the BASELINE. Picking up a foot and stepping to a third point creates
a TRIANGLE, which can be visualized by connecting the two original points of
occupation and the newly created point to which the stepping foot was moved.
When approaching an opponent, placing ones feet in a precise manner is crucial
to the effectiveness of the upcoming technique. Clearly, a powerful technique
requires the stability and leverage produced by the proper positioning of the
body. Footwork is of the highest importance. As forces are applied, poor
placement will ultimately lead to a loss of balance. Lacking balance, the
fighters technique will surely be compromised.

The line of the opponents heels is called the BASELINE.

The Fighting Diamond is defined with respect to this line.

When the fighter occupies two adjacent points on the diamond, it can be said
that he has SETUP the opponent. When the punch is landed, its contact
point and the two points occupied by his feet share a triangle relationship
which effectively supports the blow.
In moving from point to point, if the fighters limb should pass through the
opponents body or leg, all the better. The leg passing through the opponents
body, on its way to another point, is called a KICK. Similarly, the leg moving
through the opponents leg is a SWEEP.
As shown above, the fighting diamond is visualized with respect to the
opponents BASELINE. As an opponent is struck, and forced to move, the
baseline swings with him, and so too, the fighting diamond. As a result, the
fighter will lose his placement. The exponent will now be required to take
another step or steps to regain his position on the diamond and in so doing,
maintain the SETUP.