Direct your inner power in any direction. A variety of ways to batter someone with a back hammer fist!

Full Video transcript

Buddhason: Okay, uh, it's in regards to the routine. So we practice coming straight down, but in that one part where we do the double, it's more upright?

Master Iain Armstrong: Uh, the...the usual one, where demonstrates that way, we're coming right down and you get a lot of movement, a lot of momentum, a lot of travel, bang, down.

When we do the double one, the two fists demonstrates are going to end up next to each other so we come there.

Now, you could have different applications that you can draw out from the basic techniques. And Master Tan would always say "One technique, a thousand variations."

If you come right down, that's how you break a stack of blocks or tiles or whatever. Uh, it's not exactly fighting application, but you can't get away from the fact that martial artists love breaking blocks, yeah.

Uh, if you want to do it as a a collarbone break - bam. That's much more like this demonstrates double one. Yeah, down, cracked a collarbone.

Uh, you could say, 'okay, he breaks the collarbone on both sides, but it's not really a realistic move.' You know, you're doing this demonstrates, what's somebody else doing? Yeah, they're not just going to stand there. Ah, usually you, you, you kind of got to do something before you, before you hit the collarbone, but at least you practice to do it with both hands. And it's a bit, a bit higher.

You can adapt the same move so it doesn't have to be down, yeah, can be kind a horizontal. You can do it as an almost forward movement, yeah, yeah, so if you get the chance - bang - just come straight into somebody's nose.

Uh. there's so many different things that you can do. People always think, 'okay, somebody's standing right, yeah, how do I apply the move?' Um, there's so many other things that you can do...if I, yeah, I come around there, demonstrates yeah, yeah, now from there if I got a fairly straight elbow, I can probably break the elbow, yeah...ah, if I've got you behind the head demonstrates - bam, smacking straight down on the brain stem. Yeah, that's the most vulnerable part of the body, yeah, so if you can tip the head - bam, down you go.

Ah...there's a really, a really neat one that people don't think of them. They don't think of these things probably because they're too nice. Buddhason Laughs

Master Iain: but if you just stay there for a minute...Demonstrates, yeah, okay, so get you there - bang, you know, you get some from from behind, pound straight down on a nose, you've really almost finished the job before you started.

Uh, there's so many different angles that you can you can get people at.

Buddhason: Uh, do, do you, doo you find that it's the same movement as far as when demonstrates I'm coming overhead. I'm, I'm doing a lot of sinking, as I'm coming down. Is this more of a staying a little bit more upright? I'm not sure if I'm describing it right?

Master Iain: You're projecting forward.

Buddhason: yeah, instead of down?

Master Iain: You can drop the body down into a downward movement. When you're coming from forward, you need to maybe project the shoulder forward more. If you're doing across then obviously you got a lot of waist movement, but...

I mean the way that our art works: you learn, first of all, simple techniques. And then you, you start to learn, you know the, the movement around the belt channel, the, the different angles, the different directions. You know, demonstrating you've got forward, you've got downward, you've got upward, you've got the twisty moves. So when you've got some experience, you should easily be able to adapt. So that you, you can get energy, whatever angle demonstrates, whatever angle you want to come, you can you can find the energy.

Then you've got, then you can really get this one technique thousand variations.