Ape & Crane Set
Steve Richards teaching Lesser Ape and Crane Set, San-Sau from digital video
Under NO circumstances should these techniques be practiced without qualified supervision.
The Tibetan Lion's Roar! includes 'genes' picked up in its evolution, from Indian, Tibetan, Mongolian and Chinese Wrestling systems. These are now encoded according to the two Totem animal divisions of the Art. The 'Crane Forms' tend to be more 'refined' and sophisticated whilst the 'Ape Forms' more obviously aggressive and direct. Some of the techniques shown are similar to those found in the Chinese Wrestling Sport of Shuai-Chiao 摔角 Shuai-Chiao in its sport form, is an upright, jacketed wrestling system, that does not include sophisticated strikes, pressure-points, or any ground fighting techniques and applications. The grappling in Lion's Roar! has maintained all of these methods, is NOT a sport, and uses highly refined rotational linkages to generate power. Shuai Chiao in its traditional San-Sau 散手 form is an excellent martial grappling system. In Lion's Roar! the grappling in Mandarin Chinese is
"Xi-Zhang San-Shou Shuai-Chiao"
Sequence 1: Ape Long Fist With Jumping 'J' Punch
1: From the Set, left lead palm, in Diu-Mah (Bird Stance - commonly called 'Cat' stance)
2: 360 degree Pow-Choi 'Cannon' Punch, launched from the rear 'un-sighted hand'. The photo shows it approaching its impact point which is on the lateral apex of its arc path
3: Shows follow thru - post impact, fist now travelling thru its vertical apex point on the arc path
4: Here the 'return stroke' is utilized to initiate a jumping 'J' Punch, called this because of the path it takes in the air. The Chinese name is 'Tan-Choi' meaning the 'springing cut'. Note in the photograph the synchrony between the returning Pow-Choi arc path, and the torque forces within the structure
5: Note the torquing arc path with raised elbow, firing the twisting 'hook' off the apex of the curve
6: Showing moment of full extension, as the punching arc path rotates back, inwards and downwards still twisting as it does so. Note the turning of the body in the air, imaged thru the blur on the left leg
7: Here the body has compressed as the punch completes its initial path. The body is also continuing its turn
8: Note the landing position in a lateral horse stance. The Stance is used this way to ram the opponents structure with full body weight dropped laterally thru their base. The J-Punch arc completes with a covering action
9: The Set continues with a high cover and step back....
10: Into a left Chune-Choi, which is 'passed thru' the line of the hip (not chambered)
11: The Chune-Choi twists on the forearm only after the elbow has left the line of the hip. The action being like an electric powered screwdriver, utilising rotational forces to shoot it off the apex of the body's turn. there are also sinking forces too, which are not visible on the picture, as well as augmented action thru the waist, legs and feet
12: Showing a second Chune-Choi with the first punching fits converting into a scooping action. The second punch also passes thru the hip (no chambering)
13: Here the alignment with the hip from the punching elbow is seen. Note the slingshot effect off from the twisting stance. The spine and waist are the primary drivers
14: The elbow maintains the alignment to the hip after launching outside of the frame of the body. This second Chune-Choi is a 'Vertical' fist (with Phoenix-eye)
15: Continuation of above
16: Scooping for a third Chune-Choi
17: This Chune-Choi is a standard palmar-down varaiant (but with center extended knuckle) note that the palm does not rotate until the elbow passes the line of the hip
18: Completion of the third Chune-Choi
Sequence 2: Kneeling Single Arm Throw
1: Single arm engagement
2: "Stealing Step"
3: Kneeling bow
6: Elbow to throat prior to a 'roll over'