6. Seal Off, Close
Off
Overall movement: Four coiling trapping actions moving into a controlling downward push (an).
Footwork:
Draw infinity symbols within the horse stance, then step forward to a front
weighted empty stance.
Part
one: Coil into the body, moving all the joints of the legs and within the
torso, shifting the weight slightly but not shifting the feet at all. Coil the
right arm, shunchan, first pressing down, then pressing out with the palm up.
Coil the left hand over on the spot, closing the body so that the left elbow
comes around to the front when the right hand coils in.
Part
two: Coil again the same way, shifting and coiling the body and legs. This time
bring the left hand forward so that both forearms coil and press out, palms up,
the left hand just behind the right elbow.
Part
three: Coil again the same way with the body and legs. This time place the left
fingertips on the right forearm as it coils in, then press out with the
forearms together, the right on the outside, palm facing out, the left on the
inside with the palm facing in. The wrists are touching.
Part
four: Hook the left hand over the right wrist, reach the right hand out, palm
down. Bring both hands in, tucking the right behind the left and press out with
the forearms again, this time with the left on the outside and both palms
facing in. The arms are connected at the wrists. The legs and body coil again,
but this time draw a bit more directly into the body and roll the energy up to
the upper back and more directly straight into the arms.
Part
five: Follow through the action with the right hand, to reach out to the stance
line as if hitting to the right with the back of the hand. Keep the left hand
at the right elbow. Coil both hands over palms down, then pull down and back.
Gradually change the left arm to a pressing action and turn to the left. Press
up to shoulder height, still pulling with the right hand. As you move across to
the left allow all the joints in the legs to move, turn the right foot in and
shift to the left leg.
Part
six: Coil both forearms, circling the hands, keeping power throughout, so that
you are now doing the press out with the right forearm and a pull with the left
hand. Shift across to the right in the same manner.
Part
seven: Coil the arms and pluck (cai) back towards the left. As you get to the
middle, change the left hand to hook, keeping the wrist relaxed and the fingers
hanging down. Tuck in the chest and bring the hands in fairly close and low.
Bring the right foot in towards the left foot.
Part
eight: Step the right foot to the forward right. Turn the body well to the
left, open the hands, then bring the hands down close to the face, down as if
stroking a beard, without bending the arms too much. Shift forward and bring
the left foot in behind the right foot, left heel up, hip open, feet fairly
wide apart. Push out and down with the elbows down, the thumbs and index
fingers forming a diamond, extending quite far at just below rib height.
Continue to nichan the arms allowing the hands to rise, so that the little
finger edges drive up almost to shoulder height. Press the head up.
Fighting
applications: This movement repeats four more times during the routine, which
gives you lots of opportunities later on to think about applications. Seek out
the right feelings in the body during this first performance.
Internal
connections: The back and forth shifting within the large stance makes the diagonal
connections from the rear leg to the front arm in both directions. This must be
done more as a power transfer than a weight shift, and must transfer through
the centre of the body segments in a organic whole. To apply power it is best
not to think so much of which leg is weighted and which is unweighted, but of
which is giving the power. Often the power leg is more unweighted, but not
always.
About
the name: Rufeng sibi means like sealing (an envelope), like closing (a door).
Many take this in the sense of ‘almost like’ but this phrase is often used to
actually mean ‘like’, especially when used together (ex. rulong sifeng – like a
dragon, like a phoenix). This indicates that this movement both defensive and
offensive – it is intended to both
seal yourself off and shut down the opponent.
This
movement is often called ‘six sealing, four closing’ (liufeng sibi), and this
name does occur later in the routine, as if the two names are interchangeable.
This alternate name can also be taken to mean completely shutting down the
opponent (close off six directions and the shut down four directions). Some
interpret it to mean six on one side and four on the other, not completely
shutting off. When it is thought of this way the arms do not push evenly, but
push with a 60/40 balance. This would give an apparent opening for the opponent
to come into, which would set you up for using the Single Whip.
Additional comments: Parts one through four are fairly big
circles with the legs and body. In parts five and six be careful to stay at the
same height. Watch the middle finger of the hand that is doing the pull until
it gets in front of the body, then watch the hand that is doing the press.
The final push (an) can be done with a fajin and stomping of the rear foot as it comes in, together with a ‘ha’ sound. Fajin is not used the first time this movement is done, but may be done later in the routine. The first section of the routine, up to the first Travelling Hands, and especially up to the third Buddha’s Attendant, is intended to develop the blood and Qi circulation and establish the correct power flow in the body. There are few fajin movements, and the mind is not too occupied with possible applications. It is best to focus on the power flow and feeling inside the body. The rest of the routine has more ‘practical’ actions, and the mind can shift its focus more towards the applications.