MOVEMENT 52

Gum Jyeung (Pressing or Pinning palm):

Press the left hand downward with the fingers pointing straight ahead

The hand should be turned over on the way down and the shoulders should be kept down throughout the motion with the left elbow coming to complete lockout.  This movement should be executed with a pressing action rather than a sharp jerk to help focus the energy to the palm heel.  The "idea" of adding twist to a striking motion is introduced by the downward rotating movement of the hand.

MOVEMENT 53

Gum Jyeung:

Repeat the previous motion on the right side, leaving the left hand extended dowward.  Remember to turn the hand over on the way down, not before the motion begins.

MOVEMENT 54

Hau Chahng Jyeung (Rear "Spade Palm" Thrust):

Bring the hands first to the hip and then behind the back with the fingers pointing downward and the backs of the hands lightly contacting the lower back in a chambering motion.

Sharply thrust the hands downward and backward with a sharp upward bend in the wists to expose the palm heels by retracting the fingers.  This position is shown from both the front and the back for clarity

MOVEMENT 55

Cheen Gum Sau (Front pinning Hand):

Brushing the hips lightly with the hands and wrists, bring the hands to the front in a chambered position and push them downward and forward.

At full extension, the elbows should be approximately one fist-width from the body.

MOVEMENT 56

Lon Sau (L-Bar Arm):

Bring the hands up so that the forearms are horizontal with the left arm over the right with one finger-width between them.  The fingertips of each arm should line up with the elbow of the other and the arms should be held at chest-level.  If the arms are held too high, the shoulders will become tense.

MOVEMENT 57

Syeung Fun Sau (Double Outward Chop):

Simultaneously chop both hands out horizontally with the palms down.  Do not extend the arms backward past the shoulders.

MOVEMENT 58

Lon Sau:

Return to the double horizontal arm position of movement 56, this time with the right arm over the left

MOVEMENT 59

Syeung Biu Sau (Double Chopping Hand):

Without moving the elbows, circle both forearms inward and downward. At the end of the motion, the palms of the hands should face each other with the thumbs tucked and pointing upward.  The forearms should be level and parallel to each other with the elbows in. 

MOVEMENT 60

Syeung Tan Sau (Double Palm-Up Block):

With a short, sharp forward drilling motion that develops wrist power for short blocks and strikes, twist the hands to palm-up position with the elbows moving slightly forward on the Immovable Elbow Line.

MOVEMENT 61

Syeung Loy Jut Sau (Double Inside jerking hand):

Pull both hands inward and downward to waist-level while twisting them to palm-down position.  keep the palms flat and the elbows in.

MOVEMENT 62

Syeung Bui Sau (Double Thrusting Hand):

Shoot both hands forward at eye-level with the palms down and the thumbs tucked.  The elbows should reach full lock-out with the wrists straight.

MOVEMENT 63

Syeung Loy Jut Sau:

Drop the hands straight down to chest-level before repeating the motion of movement 61, pulling both hands inward and downward to waist-level.  The reason for the difference is that movement 61 is designed for jerking the opponents hand(s) inward from bridge contact, while this motion is used when the hand is fully extended, as in a striking motion, and the opponent strikes on the open low line.  The hand is first dropped straight down until it feels Bridge Contact and is then jerked inward and downward as in movement 61. 

MOVEMENT 64

Syeung Kuen (Double punch):

Begin by placing the left hand over the right.

Simultaneously thrust both fists out to full extension with the knuckles lining up on the centerline.

MOVEMENT 65

Syeung Kuen:

Repeat the double punch motion with the right hand over the left. 

This simultaneous over-and-under punch teaches the student to distribute power to each hand equally and introduces the Double Attack "Idea".

MOVEMENT 66

Hahng Sau (Long Bridge Low Forearm Deflection): Keeping both arms locked out, drop the hands with the palm heels exposed by the upward bend of the wrists and the elbows one fist-width from the body.  Power comes through the shoulders and the downward snap of the palm heels.  This movement introduces the "idea" of using "Long bridge" (locked-out arm position) motion to block downward in an emergency.

MOVEMENT 67

Ding Sau (J-hand):

In another Long Bridge Motion, raise both hands to shoulder-level by snapping the wrists upward with the arms locked out.  The thumb and index finger of each hand are pinched together and pointing down with the last three fingers tucked in as in Fook Sau.  This motion introduces the Raising Punch principle, using a Long Bridge structure to whip the hands upward, drawing power from the shoulders and wrists.  The upward snapping action of the wrists develops the ability to powerfully punch from the low line to the high line without retraction.  Ding Sau is named for it's resemblance to the chinese character (J) which itself closely resembles the letter j, thus the translation.

MOVEMENT 68

Sau kuen:

Do not bring the elbows together before twisting the fists and retracting the hands.  This twisting retraction of the elbow can be used as a backward strike or to pull the opponent into a strike or kick.