Meihua Praying Mantis - Chinese Boxing With A Punch
By Fukui Yang, with Bob Feldman
Praying mantis boxing or tanglang quan is one of the most well-known systems of Chinese martial arts in the West. Its unique movement styles mimicking the praying mantis has been the theme for many Chinese movies. In fact, praying mantis is one of the few martial arts systems based upon the movements of insects.
Praying mantis techniques can be used both for offensive and defensive actions. Praying mantis boxing can be divided into northern and southern styles: the southern mantis was first introduced to the West, because of the early influx of southern Chinese immigrants in the 19th and 20th centuries. Northern praying mantis, although it probably accounts for more practitioners in China than southern mantis, is less well-know. Among the southern and northern styles, the seven star mantis system is perhaps the best known. Although northern and southern praying mantis differ somewhat in their expression in north and south, they probably emanate from the same historical source. In northern China, particularly in Hebei province and in my home city of Tianjin, "plum blossom", or "meihua" praying mantis is by far the most popular system.
Within "meihua" tanglang, one will find a wide variety of sets or "taolu" depending on the particular lineage of the practitioner, however, the taste and character of the movements will be more or less the same for any style of meihua tanglang.
The founder of the northern praying mantis system is said to be Wang Lang, a native of Jimo county in Shandong province. Wang Lang lived at the end of the Ming and early Qing dynasties. He traveled to the Shaolin Temple to study wushu after his early training in Shandong, and later returned to Shandong after the destruction of the Shaolin Temple by the Qing armies. Upon his return, despite his Shaolin training, he was beaten on several occasions by his former training brothers. Wang then sought to develop a superior system of fighting.
The Mantis Legend
As legend has it, he allegedly saw a praying mantis kill a cicada on a tree. Noting the characteristic movements and strategies of the mantis, Wang began to study the mantis' actions. He added aspects of shaolin to the movements that he copied, including short and long distance techniques, strikes, trapping and blocking. This was the birth of the praying mantis system.
While many of the styles look to Wang Lang as the founder, meihua praying mantis, also known as taiji mantis, is one of the oldest styles of northern praying mantis. Meihua is unlike seven star mantis, which is primarily linear, hard, and is executed in the configuration of seven star steps. The stances of seven star mantis are also not as low as those of meihua. Meihua has a different emphasis: Leg and arm, as well as shoulder and wrist techniques utilize the whole body to generate power, similar to styles such as tangbei or fanze, although the movements and postures mimic those of the mantis.
The movements of meihua tanglang are also primarily circular and spiralic, while the power is smooth and elastic. Tactics often include mangled attacks and side attacks, as opposed to attacking directly up the middle, which is more common to seven star mantis.
Mantis Attacks
In meihua, the attacks are executed in a circular and spiralic manner; these movements are harder to block. Attacks may also be directed from high-to-low or from low-to-high, again utilizing spiralic arcs of motion. Therefore, meihua stylists often practice quick transitions between low and high postures. To avoid attacks, as well as to generate power, the axis of the body is more angled or rotated rather than erect. Therefore, the center of gravity remains balanced and gives stability to the posture. The meihua stylist gets an advantage because he can sense from which direction the attacks is emanating.
These spiralic and explosive movements are executed rapidly, sharply and crisply. They also have both a hard and soft quality. Blocks, kicks, trapping and strikes are often simultaneous. The locking or qi na techniques of meihua are numerous and are often hidden within the forms. This makes praying mantis a versatile martial art. If an attack is blocked by the opponent, the meihua mantis stylist easily changes tactics, because of the variety of bridging methods between techniques available within the system.
There are several theories as to how "meihua" got its origin. Wu Bin, the renowned director of teaching and research of the Wushu Research Institute in Beijing, wrote that the name "meihua" refers to the movements of meihua mantis, which are describe as "continuous, deft, and smart like blossoming plums."
Standardizing the Art
Yen Qi, who teaches fighting and meihua tanglang at the Tianjin University Sports Training Institute, claims "meihua" comes from the "Meihua Security Society", which provided caravan guards and protection during the Qing dynasty. The Meihua Security Society was also active during the Boxer Rebellion in Hebei and Beijing. Later, during the Warlord period, after the fall of the Qing dynasty and subsequently during the Nationalist regime, the praying mantis system was studied and unified under government auspices.
After the Revolution in the 1950s, and extending to the 1970s and 1980s, further standardization of praying mantis was created for competition. The forms used in competition are different because they emphasize artistic expression and gymnastic prowess instead of fighting and self-defense. Master Yen learned traditional meihua tanglang and was an adept fighter, as well as an excellent performer and couch.
Rapid Changes
While this author's meihua is somewhat expressive artistically and physically challenging, it is still traditional and efficient for fighting. Although there are only two forms, they demand considerable physical capabilities, making them well-suited for forms competition because they manifest the rapid execution of circular and spiralic movements from low and high postures typical of meihua tanglang.
There is also the characteristic hardness and softness found within the forms. In meihua, kicks are characteristically fast and long range. They may be executed from high or low postures. Leaps are high, and performed with spiralic motion. In application, the movements change rapidly and are powerful in their impact because they harness the power of the body.
The softness of meihua helps the stylist generate speed and power. If the muscles and ligaments are not supple, rapid transitions between the postures, as well as strikes and kicks, cannot achieve efficient power on impact. For the proper execution of the movements, it is also essential that the arms, legs, back, and chest enhance the power on impact of meihua tanglang. The characteristic mantis hands are used for trapping, hooking, striking and blocking.
Meihua tanglang is a versatile school of northern kung-fu for both close-in and long-distance fighting. Among the animal styles, it is one of the most unique and popular systems in northern China. Among all Chinese systems, it is a martial art steeped in a tradition of excellence.
INSIDE KUNG-FU
JUNE 2000
The Weapons of Xingyiquan
By Fukui Yang and Bob Feldman
In China, xingyiquan is known as a complete system of traditional Chinese martial arts. While Chinese martial arts practitioners in America are aware of xingyiquan, few have experienced more than its fist sets. Although xingyiquan is known more for its internal benefits, it also features a powerful external side highlighted by martial qigong and multiple weapons sets. Xingyi qigong and other xingyi-related systems are beyond the scope of this article, therefore, I will limit my discussion to xingyi weapons and my family's lineage.
Family Affair
Xingyiquan has been practiced in my family for four generations. My maternal great granduncle, Zhai Xu Jin, learned his xingyiquan and baguazhang from the famous master Zhang Zhao Dong (also known as Zhang Zhan Kui). Master Zhang was from He Jian County in Hebei and had heard of a xingyi master named Liu Qi Lan. Master Liu was from Shen county in Hebei and was the xingyi brother of Guo Yun Shen. Liu Qi Lan also had many famous students, including Li Cun Yi and Wing Fu Yuan. Liu was a student of Li Neng Jan, one of the most famous masters of xingyiquan in the 19th century.
My great granduncle and his close friend, Han Mu Xia, were also from Shen County. Han Mu Xia was a famous fighter in his own right. He even taught Zhao En Lai baguazhang and xingyi in Tianjin before he became a Communist leader. Because both my great granduncle and master Han had studied martial arts from childhood, they prevailed on master Zhang to teach them xingyiquan and baguazhang.
Master Zhang learned his bagua from Cheng Ting Hua. Cheng was a famous disciple of the founder of baguazhang, Dong Hai Chuan. He and Guo Yun Shen were also from Shen county in Hebei and, as it is well-known in the xingyi/bagua world, Guo and Cheng readily exchanged their teachings and encouraged their students to study both systems. Many of the early xingyiquan and baguazhang practitioners were from Shen County, and therefore, my great granduncle and master Han studied within this loosely knit fraternity in the late part of the 19th and early part of the 20th centuries.
Well-Armed Guards
Subsequently, my granduncle and master Han worked as caravan guards, protecting groups and individuals from the many bandits and gangs that threatened the trade routes in Heibei. Later in the early 20th century, the capital of Hebei was moved to Tianjin City and many famous martial artists moved to Tianjin, including my great granduncle, master Han, and their teacher. Master Zhang was joined by other famous xingyi practitioners, including Li Cun Yi and Wang Xiang Zhai (the last "closed-door" student of Guo Yun Shen and founder of yi quan).
In Tianjin, my great granduncle, Zhai Xu Jin, taught my great uncle, Zai Yong Wen, and my granduncle Zhai Yu Wen, and they both taught my older brother and me. Master Zhai was friendly with my paternal grandfather, Yang men To, and married his sister. My brother still lives in Tianjin and my maternal granduncle, master Zhai, because he had no son, passed on his teaching to the two of us. This included his complete system of xingyiquan and baguazhang, as well as their qigong practices and weapons. Master Wang Xiang Zhai, the founder of yi quan, was friendly with my great grandfather, and had a senior student in Tianjin, Zhao Dao Xing. Master Zhao had placed third in the Nanjing full-contact tournament in 1936. Master Zhao was also my grandfather's friend. From master Zhao, I learned yi quan and other systems that evolved from xingyiquan: yao xing zhang (sparrow palm), xin hui zhang (spirit meeting palm), and lo shuen quan (spherical fist).
In my family, the following xingyi weapons were passed down: two sets of broadsword; one straight sword set; two spear sets; one staff set; one hook set; and two long spear sets. Similar to the first and hand forms, the basic techniques of each weapon set is repetitively practiced to develop internal power.
Xingyi Dao
Xingyi dao combat techniques include: wrapping sword, downward vertical cut, diagonal cut, stabbing, upward and downward slicing figure-eight, hiding sword and sword flower. Like empty-hand xingyi, these techniques should be clear, precise and lightning fast. The energy is continuous and intense and the practitioner's movement should be rooted, coordinated in upper and lower body and uniform. These unique qualities of xingyi are then integrated into forms practice so that each movement becomes as fast as wind.
The footwork is agile, often described as moving like a stalking tiger. The movement should have the brave speed of the tiger with an attitude of inspiring fear. The power of the attack strikes like steel, with great vigor and rootedness. All aspect are united. Xingyi dao, like xingyi fist, demands that every movement manifests the whole person in the body at the moment of attack. Every sword stroke must express an attitude of utmost fearlessness and be executed as if the opponent were in front of you. You must meet your opponent with urgency as though your whole body were afire. Fight hard, press on, without holding back.
Furthermore, xingyi dao should be practiced in accordance with the three levels of xingyi fist: ming jing (clear energy), an jing (hidden energy), and hua jing (transforming energy). In this way, the practitioner can practice jing to develop qi, practice qi to develop spirit (Shen), and practice spirit to return to emptiness.
Level 1: Ming Jing (Clear Energy) - The sword movements and whole body should have an outward appearance and nature of being hard and fierce.
Level 2: An Jing (Hidden Energy) - Within the sword techniques, obtain an jing. Every technique has within it great strength but also soft power.
Level 3: Hua Jing (Transforming Energy) - The goal is that each sword technique can achieve hua jing. This means the movement should be soft and smooth, and combine hard and soft together. In other words, yin and yang intermingle; hard and soft combine into one so that one can no longer perceive any difference between them.
Finally, these movements should be based on the feeling that your sword is not really there - that there is no sword. Your intention is no intention; having no intention is actually real intention. If you have mind, if you try to predetermine the outcome, it is not real. Once the sword becomes the sword of no mind, it can manifest wonder. This is truly hua jing.
Xingyi Jian
Xingyi jian combat techniques include slicing figure 8, upward parry, slide, point, downward vertical cut, and downward parry. Its specialty lies in its ability to encompass soft and hidden power (an jing). Every movement has slow and fast aspects. Even as the heart is tranquil, the strikes are sudden and unpredictable, The strike begins with the practitioner's intent to attack. From stillness and no-form, the sword delivers the killing blow even as the opponent has only begun to move.
Xingyi jian requires the practitioner to be sensitive to the weapon so that his energy follows the jail's flowing motions without heavy-handed commandeering. The intent and the spirit (shen) fix the practitioner's nature: the intent goes forth first, the sword follows. When the heart is tranquil, the qi will be plentiful. From stillness comes movement. Soft restrains hard, slow vanquishes fast. Thus a slight parry can defeat a great strike.
Da Qiang
Da qiang is used to develop and practice power (gong). The training method develops internal strength, or the body's internal energy. The practitioner works to develop his energy so that it reaches all the way to the spear's tip. The movements should demonstrate rooted strength, and with each technique the body's power should be brought to the stroke. Because the energy and internal power required is quite advanced, the da qiang is usually practiced after completing five years and internal practice. Its benefit is that through this practice the practitioner will develop great expansive power, as thought achieving freedom after having been restrained.
The long spear is found in many internal systems, but few possess the depth and evolution offered through xingyiquan practice. This particular weapon is mainly practiced to develop strength and internal power and has lesser applications in most hand-to-hang fighting encounters. Xingyi weapons, like those in other internal martial arts, are usually heavier than those found in external martial arts. Thus, it forces the practitioner to use the whole body to properly emit force through the weapon.
The weapons forms usually are extension of the five elements and the 12 animal forms, however there are also other techniques within the sets. The weapons sets are not necessarily practiced in a straight line. The qualities a practitioner must manifest include cleanly executed explosive power. Xingyi weapons are designed more for practical use than for show and artistic expression. One must also practice the basic movements of each weapon individually, and not just the forms in sequence, to acquire the speed, power and "feeling" of xingyi as a fighting art.
While the weapons sets are more "advanced" than the basic fist sets, they may be introduced at an intermediate level to help the student progress and develop internal power more rapidly. This is at the discretion of the teacher, because the weapons are highly valued and seldom shown - similar to the advanced fist sets. As a valuable part of the master's inheritance from his lineage these martial arts prizes must be treated with utmost care.
INSIDE KUNG-FU
December 2000
Bagua's Forgotten Weapons
By Fukui Yang, Bob Feldman, and Jen Resnick
I began my training in martial arts in Tenjin, China, at the age of 6. Unlike most Chinese children who initially study external martial arts, I first learned internal martial arts. This was because of my family’s lineage. My father and grandfather were descendants of Yang Luquan, the found of Yang style taijiquan.
In fact, I was named after him, as his original name was Yang FuKui. I can trace my family lineage back six generations in Yang taijiquan. My maternal great grandfather, Zhai Xu Jin learned Cheng style baguazhang and Heibei xingyiquan from Zhang Zhao Dong (also known as Zhang Zhan Kui). Zhai Xu Jin came from Shen County in Heibei, the home of many famous internal martial artists, such as Cheng Ting Hua, Wang Zhiang Xai and Guo Yun Shen.
As he was already an experienced martial artist, he learned xingyiquan and baguazhang since these martial arts were usually shared only with experienced practitioners.
When we were children, my older brother and I expressed a desire to learn external martial arts. My family thought it would be good for us to broaden our skills. There were many good martial arts masters in Tenjin, and I began learning traditional long fist systems and modern wushu. I also learned tangbei, fanse, lanso, northern praying mantis, monkey boxing, qi na, ditanquan (groundfighting), traditional shaolinquan and other systems.
My brother joined the Tenjin police as an instructor of martial arts and hand-to-hand combat, and my father and grandfather encouraged me to become a teacher. I graduated from Tenjin University Sports Academy with a degree in physical education, specializing in martial arts and modern wushu. I successfully competed in both modern and traditional wushu as well as in san shou and push hands on the regional and national level where I won several All-China championships.
Although I learned and still practice many external martial arts, the core of my training was internal under the guidance of my grandfathers and father. After learning both internal and external hand and fist forms, my brother and I had to master weapons, especially from my family’s internal systems.
In the West, while many martial artists are familiar with taiji weapons, few have seen or practiced the weapons of xingyiquan and baguazhang. Both xingyiquan and baguazhang are complete martial arts systems with their own methods of qi na, qigong, and hand forms. Weapons sets and applications are taught at the advanced levels.
My family’s bagua weapons included basic exercises to develop gong-fu and fali or the ability to execute explosive force. Weapons sets are used to practice movement sequences and offensive and defensive techniques.
Zhang Zhao Dong, my great grandfather’s teacher, in many cases applied the principles of his xingyi training to bagua, namely, to practice selected sequences or solo movements first, and then progress to the hand and weapons sets prior to learning their applications.
As he grew older, master Zhang mostly practiced bagua, but his training methods remained the same. My family continues to practice and teach in this manner.
In our lineage we have the following bagua weapons: one large broadsword set and basic movements; two straight sword sets and basic movements; one spear and one staff set and their basic movements; one set of deer horn knives or "yue"; and one set of double hooks, or "goh". We also have single and double-short rods, or "judge’s pen" (similar to the ringed needles) called "tanbi".
Principles of bagua weapons include concepts familiar to most internal practitioners. Generally, the weapons are heavier and one must use the whole body to emit force when practicing. The movements are mainly circular and spiraling and are performed while walking the circle, as well as in various other directions. The movements descend and ascend like a coiling dragon, exploding outward and imploding inward.
The movements are first practiced utilizing large circles and spirals, but as one starts to learn applications, the forms are executed with speed and smaller movements. Hardness and softness are simultaneously present and balanced, and one’s internal state should be open and relaxed yet full of energy. When spirit and intention are united it allows the force to be emitted powerfully. When spirit and intention internally merge, the force can be directed outward and the body follows the weapon’s movement.
The large broadsword is unique to bagua. The blade is dull on one side and sharp on the other. This allows the practitioner to use his free hand on the back of the blade to increase emission of force. The weight is usually between 2.5-to-7 pounds depending on the skill and strength of the practitioner. Bagua dao is handled much like a straight sword with rapid coiling movements. The bagua straight sword has many fast, spiraling motions utilizing high and low postures.
The staff and spear, like the broadsword, are not completely performed along the circle. The hooks, rods and deer horn knives are double weapons; each weapon can be used independently as well as together. The hooks allow more long-distance fighting and the deer horn knives are used for close fighting. The judge’s pen or small rod specifically attacks the acupoint points and vital areas.
Like bagua palms, bagua weapons were developed both to promote self-defense and cultivate qi. Therefore, they act as cognitive maps of the body’s energy circulation. They are usually taught at advanced levels after you have adequately practiced the hand forms. Bagua weapons were rarely shown to outsiders because of their efficiency in hand-to-hand combat.
Although little has been written about bagua weapons, they hold a special place in martial arts history. As more practitioners in the West learn about the internal arts, more will discover the benefits of one of its greatest weapons systems.
KUNGFU QIGONG
July/August 2001
MARTIAL ASPECTS OF YIQUAN AND ITS FIGHTING APPLICATION
PT 1 - Internal "Intention" for Health and Self-Defense
By Fukui Yang as told to Bob Feldman
A Short History of Yiquan and My Family’s Relationship to this Martial Art
Yiquan is a relatively new Chinese martial art created by the great master Wang Xiangzhai. Master Wang was the last and favorite student of the Xingyiquan master Guo Yunshen. After Guo died, Wang, although he was very young, was already a formidable fighter. He spent more than ten years traveling throughout China meeting other masters and improving his skill. Even as a teenager, Master Wang was already an excellent martial artist who rarely lost a challenge. After spending time at the Shaolin Temple as well as with numerous other masters, Wang incorporated many Buddhist and Daoist principles directly into his practice.
Master Wang originally came from Shen County, Hebei Province, and later moved to Tianjin City which was at that time a crossroads for many Chinese martial artists. In Tianjin there had developed a unique open exchange of ideas and techniques within the martial arts community in the early years of this century, common in the rest of China. My maternal great uncles Zhai Yuwen and Zhai Yongwen became students of Master Wang as their father, my great-great uncle, Zhai Xujin, was friendly with him. Master Zhai and Master Wang were from the same county in Hebei and had much in common. Our family’s traditional martial arts, however, were predominantly Xingyiquan and Baguazhang, as taught by Master Zhang Zhaodong, who had also introduced Master Wang to my family. My great uncles, however, always had a healthy respect for Yiquan and its fighting capabilities, although it was not their predominant system.
Another student of my great grand Uncle, Zhao Daoxin, also began to study with Master Wang and became one of his most accomplished disciples. He later followed Wang to Shanghai where he trained the resistance during the war years but, because of his association with the Guomingdang Nationalist party, was subsequently imprisoned by the Communists, only to be released after the Cultural Revolution. Master Zhao was quite well known in his own right throughout China. He was both educated and had won the 1936 All-China Full Contact Championship in Nanjing. This competition attracted representative competitors for many martial art styles all over China. It was a famous "Leitai" competition and was subsequently banned because of the numerous deaths that occurred during these fights.
After being released from prison and his reunion with my great uncles, Master Zhao agreed to teach Yiquan to both my older brother and myself. He also taught us the system that he created, Xinghuizhang, or "Spirit Meeting Palm" in which he combined Yiquan mind training with the spiralic postures of Taijiquan and Baguazhang, and the explosive movements of Xingyiquan, the "mother system" of Yiquan.
As a child I met Master Wang Xiangzhai on numerous occasions, as he spent his final years in Tianjin. I was finally given a chance to study Yiquan with his closest students in my late teens and early twenties, after I finished my university education at the Tianjin Sports Institute, and studied Yiquan for over 8 years in Tianjin with Master Zhao and several other first generation students of Master Wang.
What is Yiquan?
Yiquan can be translated as "intention" or "will" boxing. It is, according to some, the distillation of the "essence" of "Xingyiquan" and other Neijia, or internal martial arts. The core of Yiquan is standing meditation, practiced in a variety of postures, with the goal of merging one’s intention, and internal energy, with the physical power required for martial arts. If in one’s practice one only concentrates on intention, or "Yi," but not upon energy, or "Qi," the effects of practicing postures are weak and empty. If there is only energy practice, but no intention, one cannot apply or utilize this energy efficiently for fighting or for healing. Therefore, in order to succeed, one must practice both intention and energy in order to use Yiquan effectively as a martial art.
Master Wang had developed his unique philosophy after studying martial arts and Chinese medicine and was of opinion that one cannot see or feel energy, only the effects of it. If one attempts to focus upon feeling or moving the energy, it is very easy to have mental delusions and misinterpret somatic feelings as being the energy itself. This is perhaps the case historically with many uneducated martial artists who were not capable of explaining their own internal feelings.
In his later years, Wang Xiangzhi made an extensive study of traditional Chinese Medicine, as well as of anatomy and physiology. After the Second World War and the Communist Revolution, he began to work in a traditional hospital, and turned his attention to healing. Master Wang felt that one can feel the effects of Qi or energy, such as an increased vitality, or developing the ability to perform "fali," that is, the emission of explosive force during fighting, or use the energy for healing. With further refinement as one’s practice advances, the energy increases within the internal organs and within the meridians. The blood circulation is also heightened, which enables us to react faster to challenging physical situations. This internal energy circulating within the organs and the meridians is called "Shen" or "Heart Spirit."
While it is beyond the scope of this article to present an in-depth discussion of the concepts of Traditional Chinese Medicine and qigong practice, it should be noted that many current Yiquan students outside of China are taught solely to utilize standing meditation to increase their internal energy. By practicing the standing postures alone, they are not practicing the complete system of Yiquan, and it is difficult to use this energy for fighting.
While practicing the standing postures is excellent for health, it is unfortunate that some Yiquan teachers are either unfamiliar with the complete system of Yiquan or purposely withhold its martial aspects. Such teachers give their students the impression that their standing meditation will, in and of itself, enhance their fighting ability. Usually these students must study other martial arts in order to substitute for their inability to use Yiquan for fighting. While this is especially true for the majority of Western practitioners of Yiquan, in China it is still very possible to find qualified teachers and study the complete system, particularly in Beijing, Tianjin, and in Hebei Province. Personally, I am not familiar with the extent that authentic Yiquan as a fighting system is taught in other parts of China, such as Shanghai or Hong Kong, although Master Wang had some good students who moved there.
The Essential "Mind Set" Needed for Yiquan Fighting
In order to fight, one must use both intention and qi to utilize the power of the standing meditation postures, to conduct the "li" (force) outward. By engaging in standing mediation and in learning how to externalize the internal force, Wang Xiangzhai felt that Yiquan would stimulate both the circulation and the bone marrow to harden the bones and toughen the connective tissues, similar to the "Marrow Washing" which is a part of many Daoist and Buddhist practices. Yiquan does not stress the use of external techniques and applications in order to harden the body as do other systems, but rather it relies predominantly on internal meditation, push hands and fighting to harden the body and test one's internal strength.
In order to stimulate the bone marrow and specially harden the bones, one should imagine that during both fighting and "Fali" practice, that is, the process of directing force externally outward, that the body is primarily made of bone. When one imagines this, the connective tissue, namely the muscles, tendons, ligaments and fascia, will relax and not tighten. This is because tense muscles during a fight do not allow the force to be emitted efficiently. Therefore, standing meditation is utilized both to relax the mind and the soft tissues, as well as to create an environment for hardening the bone and centering our mental state.
Paradoxically, in Yiquan, one's mental state must be both relaxed and focused simultaneously, Intention, or yi, cannot be only concentrated, as this too will lead to tightening of the soft tissues and inefficient force emission during fighting. Although to be both relaxed and focussed at the same time may seem to be paradoxical, in truth, it is not contradictory; both processes can occur simultaneously in a natural state of awareness. For example, one can be both relaxed and attentive when driving an automobile.
In addition, the postures will allow us to sink our energy and lower the center of gravity to the Dantien in order to develop a deeper root. This permits our emitted force to be conducted up from the ground through the legs, hips, waist, shoulders and upper extremities, as opposed to only from one part of the body. This greatly enhances the power and speed of "Fali."
While the emitted force appears to be sudden and explosive to outsiders, internally one may first sense an internal drawing-in of the energy prior to its emission. This process is called "She Sen," namely, the ability to gather energy and emit force. If one has a blockage or imbalance of the energy within the meridians or insufficient qi when one emits "Fali," at best one's force is minimal; at worst, this explosive stress, particularly if repeated over and over, can be stressful to the internal organs, and cause health problems later. The practice of repetitive Fali, without relaxation during standing meditation, is called "Qijieh." Such improper repetitive Fali practice can also damage the bones, tendons, ligaments, muscles and joints.
In addition, Wang Xiangzhai felt that the movement of internal energy was intimately connected to the circulation of blood. When a practitioner "feels" or "senses" the energy circulating, t he practitioner may be feeling the results of increased blood circulation; it is certainly not the actual increased circulation of energy, as energy is invisible and not something we can specifically feel, although the energy may be causing it. Wang Xiangzhai advised that during standing meditation, try to "imagine" the energy moving according to whatever internal imaging one is practicing; however, if one does feel "something," forget about it, don't dwell on it, let it pass.
When one has sufficient energy, one can focus the intent of the posture and emit force. This aspect of Yiquan practice is called "She Li," during which the internal energy is accumulated for maintaining health and for fighting. While practicing She Li, one's mind should attain a state that is relaxed and calm, confident and open during the daily practice of meditation. However, during a fight one must also bring out a "crazy" tenacious intention in order to win. This is similar to what we observe in animal fights. The difference, however, is that animals do not have higher thinking processes as do we humans, and, as humans, we must also confront our habits, fears, prohibitions and predilections during a fight. This "crazy intention" is called "She Shen."
She Shen is often translated as the use of sound, such as in the Japanese "Kiai." This is perhaps true in part, but it is not totally correct. She Shen rather refers to the mindset of crazy intention during which sounds may be emitted like those of an animal. The sound should be natural and spontaneous, and should, in fact be emitted from the Dantien. Regular standing meditation helps us not be become tense, not allowing our emotions to take over, thereby greatly increasing our fighting efficiency.
Real fights are usually intense and short in duration. There is little or no time to think of what techniques to utilize. Wang Xiangzhai felt that techniques in and of themselves are not useful in fighting. Rather, fighting applications should be spontaneous and natural and should appear when needed. The "techniques" of Yiquan are therefore infinite variations of natural movements found within the postures. Wang Xiangzhai often said, "The best technique is no technique." Different postures allow us to open different types of energy. Realistically, however, we need only practice several postures to fight efficiently and naturally, if one has good yi and qi. This is because we are all different in our strengths and weaknesses.
Master Fukui Yang began his practice of internal martial arts at the age of 6 and his practice of external martial arts at the age of 8, under the guidance of his grandfather and great uncles. Master Yang and his brother began their study of Yiquan and the related martial arts of Xinguizhang and Loshuenquan under the tutelage of Masters Zhao Daoxin, Chu Jenhe and Master Zhang Entong, all first generation students of Master Wang Xiangzhai. Master Yang is the Director of Heath Mind Martial Arts (Xinyi Wushu Guan), in New York City.
T'AI CHI
Vol. 24, No. 5
AN INTERVIEW WITH YANG FUKUI.
By Yang Fukui, as told by Bob Feldman
Note: This interview was done over the course of several sessions. I took the liberty of organizing the interview into a cohesive discussion of an "insider’s view" of Yang style Taijiquan. The essence of what Yang Fukui says in this interview is consistent with how he personally practices the traditional methods of Yang style Taijiquan – Bob Feldman
Bob Feldman: You started learning Taijiquan as a child from your father and grandfather, and you also learned and taught within the official Wushu establishment. How different was your family’s traditional training from modern training that Taiji students now receive?
Yang Fukui: It was quite different. Traditionally, we do not train by long sequences of forms. We concentrate more on developing gongfu, but first it is necessary to discuss the connection between energy, gongfu, and forms.
Yang Lu-Ch’an first studied the Chen style. It is quite different from the Yang style. In the Chen style forms, the energy is open, and it is expressed outwardly and explosively.
The forms of the Yang style, on the other hand, keep the energy internalized. Although forms appear to be outwardly quiet and slow, they have a lot of internal movement.
BF: By forms, do you mean the complete set or "Taolu"?
YF: By forms, I mean the individual movements.
BF: Can you continue?
YF: In the Chen style, the energy opens and is expressed externally in the forms. This is possible because the energy pathways, or meridians, are opened. In the Yang style, the focus is more upon gathering the energy than expressing it in the forms.
In the Yang style, our focus is slightly different. Although we must use explosive energy during a fight, we train by utilizing slow, soft movements that also have an inner hardness. We focus on utilizing our spirit to generate both the energy and the movement. This is also best accomplished by practicing the forms slowly, combining softness and hardness. The movements must have a quality of stillness. This is very good for health and internal energy circulation.
My grandfather told me that if you practice Taijiquan, you must develop a spiralic internal energy. This spiralic circulation is not externally apparent to others who may be watching you, but internally, it is there. To outsiders, the forms appear beautiful and balanced because of the spiral quality of the internal energy circulation. Yang Lu-Ch’an’s method results in the development of increased awareness and sensitivity to the world around you.
There is a famous story of the bird that could not fly off Yang Lu-Ch’an’s hand because every time the bird attempted to fly, he could neutralize the birds push-off by dropping his hand. This was because he was sensitive enough to feel the bird’s push off.
Therefore, in Yang style Taijiquan, we practice in order to increase our internal energy and our sensitivity and devote much time to cultivating the heart spirit. The heart spirit is our internal energy field, or circulation. It allows us to internally transform our body, keep our health, and refine our spirit. This is the essential foundation of traditional Yang style Taijiquan practice.
With this basic philosophy, Yang Lu-Ch’an combined Daoism with Taijiquan and modified the Chen style into a new style of art. He reinterpreted the principles behind the old Chen system and created the training methods, hand forms, and weapons of Yang style Taijiquan.
It is well known that he was quite an effective fighter and there are no records of his losing a challenge. He also never attempted to unnecessarily hurt or kill a challenger. This is why the system became known to the Imperial Court in Beijing and why Yang Lu-Ch’an was invited to train the Imperial guards.
BF: How was the second generation of the Yang family affected by their fathers’ reinterpretation of Taijiquan?
YF: Yang Ban Hou and Yang Chen Hou’s practices were both somewhat different from each other, as well as from modern practice. I think if they or their father were alive today and observed modern Taijiquan, they would not recognize much of what we call the Yang style Taijiquan.
BF: How did they practice then?
YF: First of all, they devoted most of their practice to gongfu and martial arts, not to health or "spiritual development," although these two latter aspects certainly underlied their practice. Their emphasis was different. For example, they never practiced more than a two or three form or movements in sequence, in order to develop fighting skill and gongfu, and they never linked more than five forms together. There were no such things as the 24 or 85 or 108 form Taijiquan. Only two or three forms at a time were used for the solo practice of gongfu.
According to my grandfather, Yang Chen Hou’s practice stressed more form combinations while his brother, Yang Ban Hou, put more emphasis upon push hands for fighting and two-man practice. Yang Ban Hou also had fewer students than younger brother, perhaps because his teaching sessions were very rough and painful, as there was a lot of contact. Similarly, in the third generation, my great grandfather, Yang Xiao Hou, was also more interested in push hands and fighting. He had far fewer students than his brother Yang Cheng-fu. He was more "closed door" and interested in preserving the family’s practice. Yang Cheng-fu was a more of a public figure, and his desire was t promote the study of Yang style Taijiquan throughout China.
Therefore, he created the Taolu, which is known in English as "The Long Form."
The Long Form Taijiquan set is good for health and for improving the quality of the body’s vital energy. But in order to fight, one must learn how to build u[p the energy and then explosively send it out. My grandfather told me that Yang Chen Hou’s energy was very elastic and spring-like during push hands, while Yang Ban Hou’s energy was more explosive and heavy.
Therefore, Taijiquan has several ways in which one can practice. The first way is to practice for physical exercise and emotional well-being. The second way is to practice Taijiquan to open one’s energy and to be able to use the energy in explosive expression. This second way serves as a basis for fighting.
Whatever direction one chooses, it is also good to practice push hands with another person. Push hands can both help to increase one’s sensitivity and explosivity, and also serve as an introduction to fighting. In addition, a higher level fighter can more easily use explosive force, while lower level Taiji practitioners use brute strength in pushing or striking the opponent instead. This is because they do not possess the inner sensitivity and ability to generate sufficient power and force by using the whole body together.
BF:How are push ands and fighting different?
YF: If you watch someone practice the Taiji forms, they are performed slowly, peacefully, and quietly. Fighting is different. Push hands is preliminary training for fighting and usually starts off slowly. In push hands one also has to "listen" or "sense" the opponent’s force, and to remain relaxed and soft while receiving an opponent’s force prior to responding.
In fighting, the opponent does not attack softly or slowly. The attack is as rapid as possible. In Taiji fighting, with experience, one can follow the opponent’s force, and use their own force and their energy to defeat them.
This method is part of Hua Jing, or the "mysterious force" of Taijiquan. Hua Jing is gained through many years of advanced practice, which allows you to summon a great amount of force from a deep state of centered relaxation and connectivity within your body, of the bones, ligaments, tendons, and muscles, to achieve spring-like explosive power and minimal expenditure of are your own energy.
If I want, I can use your energy to fight you, by allowing you to fully extend yourself to the point where you are off-balance. I then redirect your energy back to you in order to defeat you. This must be executed very quickly. If you attempt to attack me quickly, I use circular or spiralic movement to gain the advantage and defeat you.
If you attack me with a slow, sustained force, I will become very soft and follow your force. I allow you to overextend, after which I pull you off balance. Hence, I follow you and then you follow me. Therefore, I have to use little of my own energy to accomplish this. If I really want to hurt you, I can add more of my own energy to make the counter-attack more powerful and destructive.
BF: In the traditional way of practice, how did the earlier Yang masters practice the forms to enhance their fighting skills?
YF: First of all, they would initially practice slowly and softly, but they would also practice the forms and sequences with speed and explosive power. The kicks and punches would also be done at full speed, but the kicks are internally generated by utilizing the power of the whole body. This sudden emission of force, using the internal methods, can cause deeper penetration and internal organ damage. It is not just muscular force emitted from the arms or legs; it uses the whole body. It can be achieved only by practicing Taijiquan as gongfu. You can only learn this from a master who understands the internal method of generating power.
BF:What other kinds of basics did they practice traditionally besides forms and push hands?
YF:: As in any Chinese martial art, one has to develop adequate flexibility through stretching. This is often not appreciated by many people in the West who learn Taiji. Although Taijiquan Taolu will help you obtain better flexibility, if you study Taijiquan as a martial art, it is required. After one gains adequate flexibility, one can start training the muscles, tendons, ligaments, and bones for strength and rooting. This is done by practicing in lower stances and using special weights, the long staff, and the Taiji ball.
BF: In researching some of the history of your family before this interview, I noticed that, especially in Tenjin, many masters of Xingyiquan, Baguazhang, and other martial arts also learned Taijiquan.
YF:: In the 19th century, China was a turbulent society, and many people would learn some type of martial art for self-defense. It was fairly unique, but in Tenjin, where there were a lot of martial artists, there was an open exchange within the Wushu associations that formed in the late 19th and early 20th centuries.
Martial artists were often subject to many challenges and fights, causing emotional mental stress. Taijiquan is very good for quieting the emotions, as it is done slowly and softly. The Yang Taiji forms are very "quiet" compared to other martial arts. Therefore, many martial artists that specialized in other systems were attracted to Yang style Taijiquan.
If you can relax your mind and body, you can relax the emotions and become empty. This also enhances your abilities in other martial arts. Yang style Taiji is particularly soft and peaceful, which makes it very suitable for this purpose.
This is also why it has become popular today with many people who seek to lessen the stress of everyday life, as well as in hospitals and by senior citizens. The mental and physical health benefits of Taijiquan, especially Yang style Taijiquan, have been documented by scientific study both in China and in America.
BF: Can you tell me a little bit more about the differences between Yang Ban Hou and Yang Chen Hou and their personalities?
YF: Yang Ban Hou was a fierce fighter and more severe with his students than his brother, Yang Chen Hou,
BF: To return to the basic training of Yang Taijiquan, besides stretching, individual forms, and push hands, what else did the early Yang family practice for gongfu training?
YF: In Yang style Taijiquan, as well as in other internal martial arts, it is necessary to follow the cycle of natural change, the seasons and weather, and the four directions. This is very important.
If you practice Taiji and you are not aware of the differences in the energy of the daily cycle or the seasons, your practice cannot become very deep. You must follow Nature in your practice. This is essential.
BF: Can you further discuss the Taiji ball and other training aids that are used in traditional Yang style Taiji?
YF:: Yes, There are several. One is Taijixio, or Taiji ball. This ball is very heavy. The ball’s weight was usually between 2.5 to 10 kilograms (5.5 to 22 pounds). Some were made of leather and filled with sand and were hard on the inside. Others were made of wood.
One must use one’s muscles, tendons, ligaments, and bones to perform the movements. By using the whole body to practice, we can get a lot of energy. In order to achieve this, however, we must practice from the core of our heart spirit.
If a teacher only teaches you the Taiji forms, or any of the training methods or weapons, this is the beginning level. If the teacher also teaches the student how to control the emotions and how to practice utilizing the heart spirit, this is a very high level of teaching. We called this "Gaoji."
But the student must be ready for this kind of teaching. They must be open enough and have sufficient awareness to grasp the underlying principles, in order to be able to use them effectively in practice.
Physically, for internal martial arts, you also need strong bones, strong tendons, strong ligaments, and strong muscles. If your spirit is strong, you can heal your bones, ligaments and, in fact, your whole body, and use your heart spirit for gongfu, fighting, and Taolu. This is very high practice.
BF: How old were you when you first started to learn Yang Taijiquan?
YF: I started at six years of age, but I did not like it. I liked fast acrobatic exercise. Therefore, as a child I liked to practice external martial arts. I again became very interested in Taijiquan at 17 years of age and I began to vigorously study with my grandfather and father. Between the ages of six and 17, I learned much of our family’s Taiji, but it was not my favorite.
I also learned Baguazhang and Xingyiquan from my maternal granduncles. I liked Xingyi best at that time because it is explosive, but I preferred to practice external martial arts, and both my brother and I learned from some excellent teachers.
BF: How about your father and grandfather. How old were they when they began to learn:
YF: Both of them began as children. My grandfather exclusively practiced Taiji from the age of six, but my father also learned other internal martial arts, as well, as a child.
Very few children studied Taiji. Most of my father’s and grandfather’s younger students were in their early twenties. When my father was 12 years old, he devoted his full time practice to Taiji, but he always told me that when a child practices Taiji, it is usually not a deep practice. It is mainly play.
From six years old until he was 12, he was not able to comprehend or experience "energetic practice." By the time he was 12, perhaps from repetitively practicing the Taiji forms and because of his father’s influence, he began to experience energy circulation during his practice.
BF: Can you discuss the other training aids that your family uses to practice Taiji gongfu?
YF: First, we use a heavy cube-shaped weight. It is used for certain simple exercises to help strengthen the bones, tendons, muscles, and ligaments. It is usually done in a low posture.
Next we progress to the Taiji ball, which is more advanced, as it incorporates circular and spiraling movements while holding the ball in a variety of exercises. It is also done in low postures and can vary in weight from light to heavy, as your root deepens and you become stronger.
There is also the long staff for which we have basic exercises. There is no Yang style long staff Taolu. The Taiji staff is similar to Xingyi and Bagua long staff exercises.
BF: When did you start to practice Taiji fighting?
YF:I had become accomplished in push hands by the age o f18, having pushed a lot with my grandfather, father, older brother, and their advanced students. I later even won a national championship competition in Weihua City, Shandong Province, in 1984 in the middleweight division of Yang style push hands.
If I tried to push my father and grandfather, they would become very soft and empty, but when they wanted, they could emit tremendous force, which permeated your whole body on impact. Push hands requires you to sense the opponent and follow them. If they are fast, you must move faster. You must start after them and finish before them. If they move slowly, you must find a way to change their direction and cause them to lose their balance.
Strictly speaking, Taiji practitioners usually do not "practice" fighting by sparring for practice. When we have to fight, we fight. As in other internal martial arts, we devote more time to developing internal power and good gongfu, by cultivating Fa-li and Fa-jing.
Of course, one gains fighting experience mainly by fighting, but the application of powerful attacks are soft, elusive responses to an opponent’s attack, and the ability to both follow and redirect the opponents force is more the product of good training in the other aspects of Taiji that we have discussed. If your skills are good, then you need to fight to be able to learn how to use them, while keeping the relaxed, centered mental state of Taijiquan.
The foundation of Taiji fighting comes in part from push hands, although push hands is not all there is to fighting. Most Taijiquan fighting utilizes close fighting methods, but in push hands we still have to adhere to some form, which is the basis for our movement. Fighting is much more free and without forms.
There are two general types of push hands. One-handed and two-handed push hands. One-handed push hands is basic. Both one-handed and two-handed push hands can be divided into standing and moving push hands. One progresses from standing to moving push hands, as well as to Da Lu, or the "Great Pulling" techniques, which teach you how to follow the opponent and attack them. In addition, one must practice Peng (Ward Off), Lu (Roll Back), Ji (Squeeze or Jostle), An (Press), Cai (Pluck or Grab), Lie (Split), Zhou (Elbow Stroke), and Kao (Bump). This is closer to real fighting.
BF: What if one fights with an opponent is not trained in Taiji?
YF: Taiji fighters will usually look for the opponent’s center and attempt to uproot their balance by whatever technique is used.
BF: How important are the kicks and punches that one practices in the forms?
YF: In the forms, one practices the kicks and punches very slowly, but when we use them, we use very fast moves. Kicks and punches in a fight and in the forms are different. For example, although a kick may be high in the form, the kicks in fighting are usually low kicks.
Internal martial arts requires that the whole body must have root. Without root, Taiji fighting is not as effective. To kick implies the loss of some root. Yang Cheng-fu slowed down the speed of the kicks in the form. Before him they were practiced with speed and some rooting. Therefore, the kicks are executed low to minimize loss of rooting.
BF: In the West, many books have been written suggesting that the Yang family possesses two separate methods of training and there are two separate Tao Lu, one "outdoor" for the public, and a second "indoor" for the family. Is this true?
YF: This is true, but probably not in the way you think. In internal martial arts, each move has gongfu, and each move can transform into many variations. These numerous variations and the gongfu needed to apply the techniques comprise true internal martial arts.
For example, some people need only to use one form, such as "Loxiapu," or "Grasp the Sparrow’s Tail," to win a fight. These people are usually highly advanced internal, marital artists. They can do this because of superior speed, sensitivity, training, and internal power.
Therefore, our so-called "Family Taolu" is really the method by which we train, not a series of secret forms. It is rather the ability to take each form or a series of several forms, and utilize them effectively. This is traditional Yang Taiji training. You will recall that the Taolu did not develop substantially until the 3rd generation. The Taolu created by Yang Cheng-fu and others are good fro health and conditioning but are not that meaningful for fighting as the training methods we have discussed: the ball, weight, staff training, and push hands.
BF: What is your opinion as to how old one must be to study Taijiquan for gongfu?
YF: While it is healthy for your people to train in Taijiquan, it is my opinion after studying both traditional and modern training methods that heavier, more intense training methods such as Taiji long spear or Taiji ball, are better reserved for students once their development reaches adulthood. If they practice these methods when they are younger, it may not be that healthy and may be very stressful to their joints, muscles, tendons, bones, ligaments, and internal organs.
If they are practicing with light weapons, that is okay, but they will not reap all the benefits of why we practice with these weapons. It is better for them to focus more on softness, flexibility, and eventually explosive power when they are younger. By 18 or 20, their internal energy is very strong and they can then learn these other methods.
BF: How similar or different was your grandfather’s practice from your father’s?
YF: My grandfather practiced only Taijiquan for most of his life. He had a lot of internal energy and fighting skills. He stressed the importance of imagination and the power of Nature in his practice. My father talked about intuitively sensing the natural Bagua or eight directions and the process of Natural Change, such as in the Yi Jing.
But my father was required to teach the government mandated forms, unlike my grandfather, who only practiced and taught traditional Taijiquan. Because my father had to teach modern Taijiquan, perhaps he could not as much convey the deeper training to many of his students. Nor could he teach the old way as often as my grandfather.
Both my grandfather and my father stressed to me that, although I had to teach the new way, I must remember and continue to practice the old way, in order to enhance vital energy, feel the changes of Nature, be able to combine hardness with softness together, and be able to emit the explosive energy of Taijiquan. If you only practice Taolu, this is difficult to achieve.
BF: Some publications and some Yang style Tajiquan teachers teach standing qigong postures along with the Taolu. In the family, do you use or are there any standing postures that you practice traditionally?
YF: We do not have specific standing postures, although the forms and Taolu should mostly be practiced very slowly. How slow depends upon your ability y to feel or guide the energy. The slower you practice, the more you can guide the energy. Normal speed takes about 20 minutes. My grandfather, Yang Jun Xiang, would usually practice each set for about 30 to 40 minutes.
In my experience, the Taolu, or set, was never practiced quickly. Speed is used only for the traditional short combinations of individual forms of fighting, or at times, in push hands.
We have already discussed the inner state of consciousness that should occur during the practice of Yang style Taijiquan. This, perhaps, could be likened to the internal state of some qigong practices.
(Interviewer’s note, based on Yang Fukui’s discussions in the past: Yang Fukui teaches the same set as Yang Cheng-fu, as well as the 24 and 42 forms for competition and the 48 forms for broadening the student’s experience. But they are not the original, traditional or family practice. He said when you practice traditionally, you first work on developing tranquil natural energy. Later, you concentrate on power and gongfu.
Repeating short combinations helps to develop intent for fighting and also to develop qi. It is not to develop form. Each movement is practiced repeatedly on the left and right sides. This enables the mind to find the fighting intent within the movement. The combinations were practiced slowly and only executed rapidly in push hands or fighting situation, which might be among family members and indoor students or in actual fighting outside the family.
It was not required to practice a certain number of repetitions per practice session or concentrate on how often you practiced each movement.
The focus was on practicing the energy. This can be done anywhere, even standing in line. The most important thing is to develop your gongfu.
At a deeper level, you should practice according to the meridians of the body and their associated times of the day and year.
In the beginning, on a physical level, your practice must be more repetitive, to make the movements natural and to allow the mind to inculcate the feeling of the movements, to deepen your root, and develop softness, flexibility, and power.
As your practice becomes deeper, it becomes of an energetic practice. That is why an advanced practitioner can gain more than a less advanced practitioner in a shorter period of time.)
BF: What did your grandfather, Yang Jun Xiang, tell you about your great-grandfather Yan Xiao Hou?
YF: My great-grandfather died a long time before I was born, so I never met him, but my grandfather told me that when he practiced, you would sense the power of the energy in his movements. It was very unique. He was also more "indoor" than his brother. He was a hard teacher and like to practice fighting.
BF: In Yang style, what constitutes the basic practice methods?
YF: It is essential that in internal martial arts, one must use the heart spirit to practice any movement or forms.
The first goal is to develop flexibility. In order to develop gongfu for internal strength and fighting, one should also train by practicing the circular movements of Taijiquan both on the left and right in low postures as well as with the heavy square weight, and later with the heavy staff and Taiji ball.
One should also use a slightly heavier weapon when practicing Taiji weapons than one would sue in external weapons practice. This will stimulate the development of internal energy in one’s muscles, tendons, ligaments, and bones, thereby stimulating the bone marrow to increase vital energy and circulation.
My father said that the blood is the physical connection between the Heart Spirit (vital connection of internal energy in the body) and the Yi, or mind, as blood circulates throughout the body and the brain. Therefore, the goal of these practices is twofold: to stimulate the circulation of blood and qi. On a practical level, this will help give one good gongfu.
BF: After practicing these basic exercises, what else does one practice?
YF: The individual forms, both on the left and right sides, one-handed and two-handed push hands, standing and moving push hands, emphasizing Peng, Lu, Ji An, Cai, Lie, Zhou, and Kao ("ward off," "pull back," "press," "press down," "grab," "split," "elbow," "shoulder"), and two-person Taiji individual fighting forms.
There is a Taolu which is much newer, broadsword forms for a single person and two persons (the Taolu came later), straight sword forms for single and two persons, (the Taolu came later), heavy long staff forms (there is no Taolu), and staff and spear forms (and their Taolu) for single and two persons.
BF: You have practiced a number of internal martial arts. How would you characterize the Yang style differences in push hands between the Yang style and other styles, as well as other internal systems?
YF: In the Yang style, our mental state should be without preconceived intention: "I will follow you and react to your intention." Therefore, it appears soft or quiet on the outside, but internally it is full of movements. Yang style push hands is more Yin than Chen style push hands.
In Chen style push hands, although you still utilize the principle of "Ting Jing," one uses more intention. "I want to push you." Therefore, Chen style push hands, like their Taolu, is more full and explosive.
Xingyi push hands is also more explosive than Yang style push hands. The principles is to keep going in with explosive force and to uproot the opponent.
In Bagua push hands, one circles the opponent, usually from the outside, and follows their energy. One catches the opponent in a spiraling motion and then emits explosive attacks and uprooting force to defeat them.
BF: Are there separate spear and staff forms?
YF: Yes. The traditional spear was a "she qiang" or "snake spear." This allowed one to use pulling or "Lu" methods, as well as stabbing methods with the blade, but the standard spear is also acceptable.
BF: Thank you, Master Yang, for these insights into your family’s Taijiquan. It has been very enlightening.
YF: You’re welcome.
T'AI CHI
Vol. 25, No. 3
Yang Style T'ai Chi Ball
By Yang Fukui, as told to Bob Feldman
The Taiji ball or "qiu" is an integral part of intermediate and advanced training in Yang Taijiquan. While there was some interest in the ball among Taiji practitioners in the 1920'x and 1930's, interest subsequently diminished and few people, even in China today, are familiar with its extensive practice methods.
In English there have only been several short written accounts by Lee Ying Arng and Yang Jwing-Ming, in particular, that described certain aspects of this training. Ball practice, however, is still taught to Yang family members and some close "indoor" students. The purpose of this article is to shed some light upon the purposes and methods of the taiji ball to the many students of Yang style Taijiquan that practice around the world.
The goals of ball practice are to develop one's root and refine one's qi and internal strength. It is usually not taught in the family until the student has practiced for a minimum of four to five years and is somewhat familiar with the forms of Yang Taijiquan and the basic principles of push hands.
If one has not attained a certain level of practice, it is counter-productive to learn the ball, as the student will rely more upon muscular effort than upon utilizing the unified strength of the whole body.
Yang style ball practice probably has its origins in the Chen style, although the ball was also utilized in Wudang and Omei training for many hundreds of years. Yang style Taijiquan, while it evolved from the Chen style, in practice focuses more upon internalization of force and rarely emits it externally, except in fighting.
To my understanding, among the major styles of Taijiquan, only the Yang and Chen styles have developed extensive practice methods utilizing the ball.
The Yang style Taiji form is designed to develop physical conditioning, like most internal systems, by increasing the circulation of blood and qi as an integral method of self-healing, spiritual cultivation and fighting. The ball practice greatly helps to achieve this.
The ball is practiced in relatively lower stances than the open hand form, in which the practitioner must be comfortable and relaxed, and which must not rely on muscle tension. In practicing in low postures, one develops strong ligaments and connective tissue to support the weight of the body, thereby improving one's "root."
Like the open hand set, one essentially develops "passive" internal strength, but one finds that when using it "actively" for fali, or explosive force, it greatly improves one's power in push hands and fighting.
As beginners do not usually possess the ability to eliminate tension in low postures, their energy and their blood circulation become blocked in lower stances and their root remains weak. The more relaxed one is within the stance, the deeper one's root.
One then can move easily to handling the heaviness of the ball because one's strength emanates from qi, not from muscular tension, with practice.
Over the years, one can start to utilize heavier and heavier balls, progressing, for example, from 8 pounds to 18 pounds. My grandfather used to say that if one changes the weight of the ball four times in one's life and can handle the ball easily, one is sure to develop good gongfu. This is obviously not a short-term process.
One must also learn, as in the practice of weapons, to allow one's body and intention to "follow" the ball, not "lead" it. If one attempts to "lead" the ball, one has the tendency to use muscular force, so that the body "fights itself." If one "follows" the ball, the qi and blood circulation in the absence of muscular tension can open and become more free-flowing.
There is an old saying that if one's qi and blood circulate well, one's life can be long. In more advanced drills, the Taiji ball also contains a lot of coiling movements, which are used to improve Taiji ball push hands and fighting skills.
The Taiji ball exercises were developed for these purposes by the first and second generation of our family; Yang Banhou, for example, was particularly adept with the ball. As one's root and coiling ability improve, one can emit explosive fali, or spring power, even in low stances. At higher levels of practice, one does not focus on qi, but rather upon the cultivation of spirit, or shen.
Little physical strength is utilized at this level and the movements appear to be executed almost effortlessly. At the intermediate and beginner levels, however, it is more important to learn how to develop spring power rather than brute strength. This is done by developing one's qi and blood circulation. Therefore, the goals of ball practice are to lower the root, increase coiling ability and to develop spring power. This will in turn improve one's gongfu.
"Gong" may be translated as ability and it must start with basic exercise training. In ball practice, one first begins with a heavy cube-shaped weight placed on a table, making the body to move it is multiple directions and in circles. The weighted cube is utilized first because it moves in a flat plane only.
The ball comes later, as it allows movement in multiple planes at the same time, including up and down in the vertical plane and in multiple planes simultaneously. Balls can be made of iron, wood or leather filled with sand, and must be perfectly round. The diameter of the ball depends upon the size of the practitioner and the type of practice in which he is engaged. The standard ball, however, has approximately a two foot diameter.
In the United States, a medicine ball is a reasonable substitute. On the table, the wooden or iron ball is more commonly used and there are four basic table exercises with many variations. In these exercises, the ball is moved in multiple planes, and one can use a round or square platform on the table to further refine exact spirals or distances using both one-handed and two-handed methods. Here predominantly spiralic or coiling exercises are practiced.
The next level of training focuses upon the practice of the hanging ball, which may also be made of wood or iron, but is usually made of leather and filled with sand. It is suspended from above by a singular line. Again, spiralic movements are practiced, as well as fali and spinning movements. The hardness within the softness of the ball allows one to better emit fali, or explosive force, and to receive force while neutralizing or changing the direction of the ball's path.
Multiple balls may be hung together to allow one to practice these methods in multiple direction, simulating attacks by multiple opponents or multiple forces directed as you by one opponent simultaneously. At home, however, we never utilized more than two hanging balls at once. There are 18 exercises in this practice.
Later, one goes on to two or even three person practice with hanging balls in which one person throws or thrusts the ball at another practicing fali, who must receive the force and change its direction or spiralic revolution (practicing fa-jin). Fa-jin here entails a change of direction or transmutation of force from one qualitative state to another. For example, a straight force can be changed into a circular force.
In some exercises, one sends the ball back to the first person or to a third person who is in another direction, further refining and quickening one's reaction. There are 28 exercises in this particular aspect of ball practice, although one can improvise numerous variations.
The student will also learn a variety of basic exercises in which the ball is held in one or two hands. These postures are practiced in lower stances than one will actually practice the standard Yang style open-hand set, in order to deepen one's root, develop one's coiling power and fali, to improve martial skills.
Many of the exercises are similar to actual postures in the open-hand form, such as "Lan Chao Wei" or "Grasp the Sparrow's Tail" and "Ye Ma Fun Zhong" or "Parting the Horse's Mane." Other postures are quite different from the open-hand form.
It is essential that, like the open-hand form, the movements be executed without muscular tension, have smooth transitions, show internal strength, clear intention, coiling ability, and utilize the whole body in unison, not just the arms. Although each of the individual exercises should be repetitively practiced on both the left and right sides, they can also be linked into a set.
The number of different exercises practiced while holding the ball is 28. Therefore, the set contains 28 exercises. In addition, when performing he combination set, there are slight variations in some of the movements, to allow them to better flow into the next exercise.
While the practice of Taiji ball can be grueling, depending on the weight of the ball, this set allows one to build endurance, allowing one to practice a variety of movements. Examples of these exercises are shown in the photos.
The final component of Yang style Taiji ball practice applies push hands methods. The stances are also particularly low to cultivate ones root, and the methods may be divided into two types: two persons pushing the ball itself and two persons utilizing pushing of the ball to push the opponent. Peng, Lu, Ji, An, as well as other aspects of push hands practice, include "banshi," or "adhering jin," in which the ball is cupped and held with one hand. There are also 28 exercises in this aspect of ball training.
The Taiji ball is a very good ancillary practice for Taijiquan about which little today is known or understood. It is the author's wish that this article will help spread awareness among Yang style practitioners of this useful method, as well as its goals and precautions.
FOCUS YOUR INTENTION - Yiquan, Internal Energy and Fighting Skill
By Fukui Yang as told to Bob Feldman
July 2001 issue, author Fukui Yang explained the history and development of the powerful internal art of Yiquan, including aspects of self-healing and generating power. This concluding article expands on the nature of "Fa Li," or the emission of explosive force during fighting, and the cultivation and use of this internal energy. – Ed.
How Yiquan Bridges The Training Between Practicing The Postures And Emitting Force: "Fa Li" Practice
When we are calm and relaxed during standing meditation, we begin to be able to focus our intention and feel the effects of the increasing of our energy. This allows us to progress simultaneously in our ability to emit force of Fa Li. Emitting force requires some movement. These movements may be large or small. In order to emit force, one first practices the movements necessary to emit the force slowly and softly, using one’s yi to guide one’s movement. Gradually, we can practice exploding movements emitting hard force. This however is only possible if both our intention and body mechanics are unified and correct.
Some postures are also more difficult to utilize to emit force than others. One must also practice emitting force at different distances from the center of the body, and in different directions: back, front, right, left, up and down. This is accomplished by directing one’s yi. For example, we may focus at one time on the elbows and at other times on the hands and the shoulders, legs, back or hips, as well as practicing emitting force from these areas in various different directions. Then at a more advanced level we practice emitting force in every direction simultaneously.
The practice of She Shen also generates a psychological state of "fearfulness," giving one both the will and fortitude to open the energy during a fight and emit Fa Li. Fearlessness is part of the process of She Shen, namely the "crazy state of mind" which can generate, in some situations, almost super human strength. We all have heard stories of such occurrences in which, for example, an average person lifts a car off an injured individual. In China, there is a famous story of a country woman who killed a leopard that was attacking her child. She Shen is always very strong while the process of She Li, on the other hand, can vary in its power between individuals and at different times. The power of She Li depends upon one’s constitution, abilities, the situation and degree of practice.
A third concept critical to Yiquan fighting is called "Jia She." In Yiquan, if we express our energy through Fa Li, the energy must open from all sides at once, like an exploding bomb. Jia She has to do with the concept of complete confidence and the calm state of mind that one must possess during a fight. Wang Xiangzhai used the metaphor, "I practice as if I can move the mountain." In Jia She, the opponent is not to be feared; he is only a small part of Nature. In Taijiquan and in Xingyiquan, there is a saying, "Bai Yin Yu Ge Xiao." "If I fight you, (the opponent), you are not a person, only a part of nature, just a blade of grass." In a fight, if you are intimidated by your opponent, it iputs you at a great disadvantage.
The Link Between Standing Meditation And Movement During A Fight
A commonly asked question about Yiquan is if you practice so much standing meditation in the postures, how do you learn how to move? In a fight, one does not stand still. The practice of movement during fighting is part of the practice of Yiquan "stepping" which is called "Macabu." During standing practice, one imagines that the force is sent out in every direction at once: up, down, front, back, inward, outward, left, right, etc. One physically does not move, in fact, one seeks to imaging that one is being pulled and pushed in all of these directions simultaneously. However, while one does not move externally, there is the felling of a great deal of internal movement. With heightened internal movement, the blood pumps more intensely. One may experience feelings such as hot and cold, numbness, itching or cramping, during standing meditation. These feelings are natural rights of passage as one continues to practice. To an observer, however, on the outside, there is no physical movement, in fact, one feels as if one cannot move because one feels as if one is being pulled in all directions simultaneously. This is akin to the Daoist concept of "Wu We" or, "action without action."
Although Macabu is often translated as Yiquan stepping, somewhat like Baguazhang stepping, it is more than that. In the standing postures we can gather and retain the most energy. If we move, as opposed to stand stationary in a posture, we lose our ability to retain and utilize this energy. That is why when we move between left and right-sided postures or when we move between different postures, we practice by moving very slowly in order to retain the energy. This is similar to other internal systems such as Taijiquan or the circle walking of Baguazhang. While it requires a higher level of skill to move between postures and simultaneously "hold" or "retain" the energy, it is even more difficult to move quickly between postures and issue Fa Li rapidly and powerfully, such as in a fight.
Yiquan and Xingyiquan were created as very practical systems, designed to end a fight quickly, by emitting a powerful explosion of force with minimal expense to the energy of the practitioner.
Most fights end very quickly, within a few seconds. Yiquan and Xingyiquan were created as very practical systems, designed to end a fight quickly, by emitting a powerful explosion of force with minimal expense to the energy of the practitioner. To be able to achieve this is part of the process of having real "Gongfu." Beginners, on the other hand, cannot move smoothly through the transitions between left-sided and right-sided postures or between different postures, because they cannot hold the energy that they have gathered, even when moving slowly. They also cannot issue effective Fa Li with their energy, and the expression of force is issued more from the muscles and tendons, rather than from the bones. Therefore their force is weaker and their movements tend to be sloppy. In general, most Yiquan practitioners do most of their practice postures, and movement between postures without issuance of actual physical, explosive force. They practice using their imaginary opponent. This is also part of She Li practice. The actual issuance of physical Fa Li is not done too often as excessive Fa Li practice exhausts the body and inhibits relaxation.
If free fighting and push hands are done properly, the opponent should feel as if he was hit by an exploding bomb.
Yiquan Push Hands
Yiquan Push Hands is the next level of combat training in Yiquan. Like Xingyiquan push hands, it is explosive, fast and hard and more similar to actual fighting than Taiji push hands. Taiji push hands is learned first for sensitivity training and to teach the student how to react and keep balanced, in order to avoid being pushed. One is also taught how to push the opponent. To achieve success in Yiquan push hands however, one must go back to Fa Li practice, applied in push hands. You must first practice soft "Fa Li" during push hands which emanates from the posture softly and slowly before one practices explosive, hard Fa Li. Otherwise, one’s muscles and tendons remain tight, and one’s Fa Li is not efficient.
You must also practice push hands emitting Fa Li from the whole body, not just from the hands or arms. When attempting to push, we must be able to volitionally direct our intention to the elbows, shoulder, back, hips or legs. We also practice using our intention to emit Fa Li for shorter and longer distances from the body. Yiquan particularly specializes in close fighting in order to uproot the opponent and knock him down. Practicing Fa Li at close and middle distances is a basic tactic in both Yiquan push hands and Yiquan fighting. When Wang Xiangzhai said, "The best technique is no technique," he also meant that the technique will naturally follow from one’s yi, as well as one’s ability to generate Fa Li. Within each posture then, is found an infinite variety of push hands techniques.
Yiquan Fighting
Yiquan fighting, San Shou, is both free form and spontaneous. Yiquan push hands bridges the gap between practicing Fa Li and actual fighting, which exclusively utilizes fast, hard, natural movements. Yiquan push hands is still somewhat more controlled than actual fighting but it can also be very damaging, as there is a lot of contact. Yiquan is especially known for its aggressive tactics in combative interactions, especially among martial artists in Beijing and Tianjin. The combined power of hard strikes and uprooting pushing are not particularly inviting to most outsiders who want to practice with Yiquan practitioners.
In Beijing and Tianjin, Yiquan free fighting is practiced to various degrees depending upon the experience of the teacher and skill of the students. If free fighting and push hands are done properly, the opponent should feel as if he was hit by an exploding bomb. This is because the whole body is utilized to generate force despite which area of body makes contact wit the opponent. The opponent often cannot tell where the force came from. Xingyiquan, the "mother system" of Yiquan overpowers the opponent with a barrage of explosive attacks. It is almost always totally offensive with the use of a few defensive movements. Yiquan, on the other hand, at the basic level, focuses upon the energy rather than upon the movement so, as each person’s energy is different, each person’s movements during a fight will be different and hopefully, not encumbered by techniques which are slower and more rigid. Yiquan utilizes spontaneous movements. As Yiquan is an internal system, it still follows the adage: "If you attack me, I will begin my movement after you and I will finish before you." Yiquan fighters use spontaneous explosive force in order to make this possible.
During practice of the postures and during Fa Li practice, one’s bones become harder due to the influence upon the bone marrow which, Master Wang felt, efficiently hardened them. Therefore, during Fa Li, one must not lose efficiency in physical contact with the opponent by improper mechanics in utilizing the tendons, ligaments and muscles as opposed to the bones in the attempt to emit Fa Li. One’s blows therefore become a lot more powerful on impact if the bones are hard. In Yiquan, as in other internal systems, if the opponent does not attack you, you will usually not externalize your energy and explosive power. Practice of the standing postures will also help the mind to remain calm and open if a fight occurs, and allow one's internal force to readily follow one's intention.
Beyond Fighting
At higher levels of Yiquan practice, one' internal energy and skill will have greatly Increased and one needs to utilize less energy in combative encounters. The ultimate goal, however, in Yiquan, as is the case at any advanced level of Chinese martial arts, is to preserve health and increase spiritual growth. Therefore, internal energy is more important for healing, both for self-healing, as well as the healing of others. I have discussed some aspects of self-healing in this article and self-healing is more critical to one's practice than actual fighting. However, to call it a martial arts, one must also know how to fight and be able to use energy in a combative situation. If one is to master Yiquan, healing of others is the next stage beyond learning the fighting arts.
Inside The Tiger's Head Hooks
By Fukui Yang, with Bob Feldman and Helen Chen
The "gou" or "hook" can be traced to 770-221 B.C. during the Spring and Autumn Period and Period of the Warring States. The weapon was used by foot soldiers to cut the legs of horses and pull troops from their mounts.
They were later used by mounted and foot soldiers to hook and seize long weapons, such as spears and staffs, as well as to trap and break swords.
There are numerous types of gou with different shaped hooks and other sharpened blades, which are used to block, slash, and stab the opponents.
Inside the Hooks
Hooks are mode of metal with padded cloth handles. The hu tou gou or tiger's head hooks are usually used in pairs. They have multiple sharpened edges to strike and cut from different angles. Other hooks include the long hook, which is held in two hands, a short hook used in conjunction with another type of weapon held in the other hand; one with a bladed head and a version with an antler-shaped hook.
Another famous pair of hooks is the deer horn hook, commonly associated with baguazhang. Dou Erdun reportedly first used the twin hooks of Xianxian county, Hebei province during the Qing dynasty. The function and power of each type of hook is best expressed by the unique shape and individual size of the hook; some types are utilized primarily for close in-fighting and others for combat at greater distances. Techniques include scooping , carrying, hooking , holding, pressing, pricking, puncturing, pulling, pushing, plowing, hanging, piercing, lifting and locking.
At the end of the Qing dynasty, hook practice was split into internal and external schools. External schools emphasize the movement forms themselves, while internal schools focus on the development of one's consciousness. External systems, in general, emphasize swift attacks and direct capture with the goal of controlling and defeating the enemy through offense.
Your Move
Internal hook techniques are geared to avoid direct confrontation and attack the opponent's exposed areas. Like most internal systems, the internal hook stylist allows the opponent to make the first move. If the opponent does not move, the stylist remains stationary. But if the opponent goes on the offensive, the stylist must move faster than the opponent and execute his techniques sooner. Therefore, an internal stylist will end the confrontation by utilizing a fast, yet subtle technique that confuses the opponent bent on a counter.
The external hook concentrates on building offensive techniques and strengthening the physical body, while the internal hook prides itself on cultivating longevity and creating superior defense through subtle techniques.
According to the Classics, in Daoist theory one lives according to the Dao when one's heart is quiet. To practice Daoist martial arts, one's body is the abode of the "qi" or "vital energy", while your spirit (shen) emerges fully when the mind is free of thoughts. The same holds true for martial power. While qi must be present for you to be successful in practice, there should also be sufficient shen (spirit) and yi (intention).
Find a Balance
When practicing internal hooks you should aim for a natural harmony between your intention and the forms. In illness, there should still be a great deal of internal energetic movement.
In executing the internal hook sets, the power and presence of one's shen, qi and jin (essence), which cause the internal movement, should be apparent in one's body alignment, physical movement and the eyes. The forms should not be executed nervously or listlessly, because your external state mirrors your internal state. When practicing internal hooks, you should be quiet, vigilant, attentive, peaceful and observant. The study working the internal weapons learns to unite the form with one's spirit and develop a nimble execution of the movements. One must be flexible and skillful in application of the hook forms, as well as in changing one's methods of attack and defense. When holding the hooks, we must clearly demonstrate the distinction between empy force or "kong li" - that which one manifests through the combinatio nof internal and external solo practice - and true force or "she li" - in which there is a "crazy" or "wild animal"-type of force directed toward an opponent. Solo practice, however, cannot ensure martial expertise unless you direct our power and energy against an opponent in an actual fight. Similarly, she li alone may not be enough to efficiently yield the weapon purely on the basis of wild powerful force.
Not all internal hook sword movements are executed with speed. The trick is to perform the movements slowly and powerfully, yet maintain the ability to execute advancing and retreating movements without hesitation or clumsiness. There has to be a clear distinction between rising and lowering of the body or turning and switching directions that may be either straight or circular in their execution. Certain movements must also show containment and release of the opponent's weapon.
Attention to these qualities ensures a well-coordinated demonstration of the hooks. This applies to the saying, "The movement of the hooks should be likened to the movement of the water waves." The gong li hu to neija gou has a variety of forms such as "double lifting hooks", "left-right block hooks", "body-flipping" and "arm-hanging hooks", "double shelves hooks", "pricking-lifting flower hooks", and "phoenix double layering hooks", which embody these principles.
The system this author practices features several hook sets utilizing the hu to guo, including: the hu to gong li neijia gou as well as bagua gou and xingyi gou. Gong li hu to neija gou practice includes a number of "duei lien" or two-person sets. Practiced against both internal and external weapons, they include: hu to gou against external double broad swords and against the external staff. Internal two-person weapons sets include: hu to gou against internal two-handed straight sword and internal spear.
Another favorite is bagua gou against the bagua large broadsword and standard broadsword. Xingyi gou is practiced against spear, single broadsword and single straight sword. The two-person sets help one practice fighting, as well as understand the applications of the hu to gou against different weapons and situations.
KUNG FU QI GONG
Nov/Dec 2001
The Xingyi Long Spear
By Fukui Yang and Bob Feldman
Xingyiquan is famous for its explosive power, or "Fali," and the long spear, or Da Qiang, is a critical training method. Xingyi is an internal system, although it is often practiced at moderate and fast speeds. Many external stylists are also attracted to Xingyi, probably because of its obvious speed and power, although few Waija or Neija students ever get beyond this level. Xingyi has a deeper level as well, where the transmission of power is not quite as obvious. Hard force which is seen at the basic level, or in Xingyi competitions, is termed "Mingjin." Force that combines the hard and soft within it is the next level, and is called "Anjin." The feeling of impact if one is hit with "Anjin" is deeper and more penetrating, almost like a cluster bomb, first an initial explosion, followed by a rapid second, deeper impact. The third level, or "huajin," is called the "Mysterious Energy." It relies far less upon physical force and more upon qi, either to reroute or block the opponent's qi circulation. It is the highest level of Xingyiquan and requires substantial training and practice.
Why then begin an article on a Xingyi long weapon with a discussion of Xingyi internal practice? Because the long spear aids significantly in the development of explosive, internal power. Xingyi has a multitude of weapons. In my family's lineage, we have the Xingyi broadsword, straight sword, staff and standard length spear, as well as the double hook swords. We also have numerous 2-person sets of "Dueilien Taolu" to help us practice the application of the weapon on an opponent; also there is Taolu enabling us to utilize internally-based weapons against external weapons. The way to generate external power of weapons is somewhat different from generating internal power. My maternal great-granduncle, Zhai Xujin, learned his Xingyiquan from the great Zhang Zhaodong in Tianjin China. Master Zhang was a student of the famous Bagua founder of Baguazhang, Dong Haiquan. Zhang was also a student of Liu Qilan, a training brother of Guo Yunshen. Liu learned and taught Zhang Xingyiquan in Shen couty, the home of many famous martial artists in Hebei, including Guo Yunshen and Cheng Tinghua. As my family was also from Shen county, Zhang felt a kinship with my great granduncle and taught him Xingyi weapons as well as the fist sets. I cannot be sure if there was any difference between what he was taught and what was passed down to my brother and myself, from my granduncle.
Spear Your Energy
The long spear, however, is somewhat different from all of our other weapons. It is not used primarily for fighting, but for building one's Fali. It is a highly efficient training aid, not only for fighting, but also for Xingyi push hands, weapons and empty hand practice. While Taijiquan and Baguazhang also possess long weapons sets in their repertoire, the Xingyi Daqiang (Xingyi Long Spear) is perhaps the most extensive.
In Daqiang practice, both the basic movement practice and the two-man form manifest a large number of techniques and movements. The movements of the Daqiang are large and often spiralic. Neither of our two Daqiang sets are completely linear in stepping, such as in the 5 elements and 12 animals practice. The two-man sets often veer off in multiple directions in their execution and require a large space to practice.
The Daqiang (long spear) itself should minimally have a 10-foot length of wood base and 1.5 foot metal spear head. The head maybe of a standard type or of a "snake" shape as the latter creates more damage in penetration and removal from the body of the opponent. Made of Chinese waxwood or white oak, it takes about 12 years to grow a tree to the adequate length to be used for a long spear. In China the Daqiang is also called the "Zhang Ba Shi Mo," or "The Eight Pace Spear Tassel," referring to the red tassel at the base of the blade.
The practice of the Daqiang is supplemented by practice of the "Dagwun." The Dagwun, or long staff, is much heavier with a wider diameter than the Daqiang. The movements are smaller, and more simple; they are practiced in a straight line, and resemble the movements of the Wuxing, or 5 elements fists of Xingyiquan. As one might imagine, due to its weight, the movements are very hard to execute. It takes on an average of 25 years to grow a tree that is adequate in weight and diameter. Unlike the spear, where the wood base can be fully grasped by the practitioner, the circumference of Dagwun butt is larger than the hands. This helps build up the grasping power and qi in the fingers. Both of these weapons require use of the whole body, not just the arms to move them, and clearly express Fali. If one uses the arms alone, no matter how strong one may be, without utilizing the whole body to move the weapon the movements will inevitably be sloppy in execution.
Generate Your Qi
The Daqiang is utilized not only to generate power, but also more importantly to generate qi or energy. One's goal is to be able to conduct the energy to the end of this very long spear cleanly and rapidly. The Daqiang and Dagwun are certainly not light weapons, but feel heavier because many of the movements are generated by holding the end of the weapons' base which have a heavy, long, lever arm. The practitioner must of sufficiently rooted and be able to show the clean execution and expression of energy with each individual movement. Usually because one must already have a good foundation in Xingyiquan and the development of internal energy, the Daqiang is usually not introduced to the student until one has practiced Xingyiquan for 5 years. Regular practice wih the Daqiang will provide the benefits of expansive power in Fali and the freedom from remaining tight, rigid, and restrained in other Xingyi practice. Regular practice with the Dagwun will increase explosive power in small movements.
Family Secrets
Xingyi Daqiang was perhaps the favorite weapon of my maternal grand uncle and primary Xingyi teacher, Zhai Yongwen. While he learned the spear from his father, Zhai Xujin, he was known in Tianjin as "Shen Qiang Zhai Yongwen" or "hai Yongwen, the Soul of the Spear." He would first practice with the heavier Dagwun and then practice the Daqiang. Later he might practice the standard length Xingyi spear 2 person sets with my brother and myself utilizing the standard length Xingyi spear against other weapons. He also occasionally demonstrated the Daqiang at various competitions and convocations.
For the most part, however, as a gongfu man, he rarely shared his training methods with those outside the family or his few close disciples. To the best of my knowledge, I do not know if any non-family members received his complete Xingyi transmission. After I came to the United States, I thought very intently as to whether I should reveal any of these previously hidden weapons to outsiders. Similarly, I was faced with the same questions concerning my mother's family Baguazhang weapons and my father's family Taiji practice such as training with the heavy Taiji ball. I was however, impressed with sincerity and the desire of my students to learn Chinese Wushu. While in China, my father, uncles, and grand father insisted that, as a family member and Wushu teacher, when I was asked to demonstrate, that I never demonstrate the family systems, but rather perform external and other internal systems.
Times have changed, or perhaps I have changed, but it is my desire to preserve the rich heritage of traditional Chinese Wushu which can only benefit the exchange between our countries. Therefore, I feel, now is the times to reveal these practices.
KUNG FU QIGONG
JULY/AUGUST 2002
Lion Bagua
By Fukui Yang and Bob Feldman
My family has practice Lion Bagua for 4 generations. My maternal great-grand uncle, Zhai Xujin, was a student of Zhang Zhaodong, a famous Bagua and Xingyi Master and student of Dong Haiquan. After migrating from Shen county in Heibei province to Tianjin, Zhai, already an accomplished martial artist and security guard, enlarged his fighting repertoire by learning Xinyiquan and Baguazhang. He also mastered the weaons of both systems and taught his 2 sons, Zhai Yongwen and Zhai Yuwen. He had many students, as he headed one of the largest martial arts schools, or Wu Shu Guan, in Tianjin sanctioned by the Republic government after the overthrow of the Ching Dynasty. Zhai learned Bagua from Zhang Zhaodong which was greatly influenced by one of Deng's principal students, Cheng Ting Hua.
Zhai's most famous student was Sha Guozheng, who became the virtual living legend of Baguazhang. Sha came from a poor family in Shandong province, and was very interested in martial arts, but was too poor to pay for lessons. Sha was particularly interested in Baguazhang, Xingyiquan and Taijiquan, although he was also accomplished in many other martial arts. Perhaps that was why he was attracted to the diversity of Zhai's school. Zhai was very fond of Sha and taught him although he could not afford to pay for his instruction, and accepted him as a student due to his dedication and skill. Sha's previous Bagua teacher was Wang Jicheng. Wang was a seaman however, and was usually away at sea. Sha therefore sought out my great granduncle to study Xingyiquan, Baguazhang and Taijiquan. Zhai later taught Sha, Lion Baguazhang. Zhai was very accomplished in Lion Bagua which is a more advanced form of Bagua. It was rarely shown publicly or taught out to non-disciples.
Movements of the Lion
Lion Bagua resembles the movements of a lion. If one observes a lion, their power is greatly concentrated in their shoulders and front legs, as opposed to the tiger, which inspired other classical styles of Bagua, and has more of its power concentrated in the hips. Rather than rotating the body movements around a central pole somewhat like a sphere spinning on its axis, the mechanics of Lion Bagua are more like one ball rotating on another. In Lion Bagua there are a lot of rolling movements in the system as well as the use of large energetics movements of the shoulders and arms.
The energy and ferocity of the lion should emanate from the Heart Spirit or Shen. The movements of the forms evoke the energy of the lion. There are 8 sections in the set plus a conclusion.
The names of these sections are:
[Shizi Fan Shen] Lion Turns over Its Body
[Shizi Yao Shen] Lion Rocks Its Body
[Shizi Bao Qiu] Lion Holds the Ball
[Shizi Dou Ling] Lion Shakes Its Mane
[Shizi Tan Zhao] Lion Extends Its Claws
[Shizi Deng San] Lion Climb the Mountain
[Shizi She Shi] Lion Eats Its Food
[Shizi Zhang Kou] Lion Opens Its Mouth
[Shizi An Qiu] Lion Pushes the Ball Down (conclusion).
Within the 8 sections and the conclusion are numerous individual forms often executed to the exterior of the circle, as well as to the inside of the circle.
My grand uncle felt it was better to first study "Original Bagua" as taught by Zhang Zhaodong before learning Lion Bagua because it was technically easier. My great uncle's training brother Jiang Rongjiao, another one of Sha's teachers, modified the more physically demanding version of Zhang's Original Bagua. In Zhang's version which we practice, the movements are much bigger and open in expression and more difficult to perform. As in Lion Bagua, the shoulders must be very relaxed in order to open the energy and power of the system.
Fighting Drunken Soldiers and Anti-Japanese Activities
Sha also studied Lion Bagua with granduncle and they become good friends. Sha was famous for a run-in with 3 drunken foreign sailors who were harassing a Chinese woman in Tianjin. Foreigners were no subject to Chinese law at that time. Sha soundly defeated them all when they would not cease their actions. He became known as "The Little Stone" as, although he was short, he was hard as a rock and "nimble like a small stone skipping along the ground."
In 1939, Sha was warned to leave Tianjin, in reprisal for his anti-Japanese activities against the occupying Japanese authorities. Sha being poor had little resources to leave, and my great granduncle gave him money. Sha never forgot his kindness and went to Anhui where he remained through the war years before relocating in Kunming, Yunnan province. Sha married and had 4 children: 3 daughters and a son: Sha Yanli, Sha Zhaoren, Sha Sufeng and Sha Sujie respectively. Sha Yanli was also very accomplished in Tongbei Pigua and Taijiquan. Sha Sujie and his sisters excelled in both external and other internal martial arts besides Xingyiquan and Baguazhang. Sha continued to practice Lion Bagua but never showed it publicly until 1981 in Shenyang when he demonstrated his Lion Bagua at a national competition.
My granduncle, Sha's old friend, died in 1977. When Sha heard the news of his death, he was quite saddened as he has not seen Zhai since 1939 in Tianjin. While at a competition in 1976, Dong Hengjiao, one of my coaches at the Tianjin Sports Institute and a close friend of my granduncle, told Sha that I was Zhai's "grandson." Tears came to his eyes. I was still a young competitor from the Tianjin Sports Institute and my brother and I were Zhai's only descendants practicing martial arts. I reported my meeting with Master Sha to my granduncle, who wished he could see his old friend but Yunnan was too far from Tianjin for his to travel. My granduncle died several months later.
After my granduncle's death, many of his friends and students felt it was their responsibility to help guide my brother and I. Similarly Sha would meet me at numerous competitions and he spent time teaching me his modifications of Lion Bagua as well as other internal martial arts. Sha returned to Tianjin in 1991 for the World Wushu Championships and met with my brother, who was also a judge, other old friends and members of my family. Master Sha had already become famous for Lion Bagua and he deicded to write about the systems of his teachers, including my great granduncle and his Lion Bagua. Happy that my family still practiced Lion Bagua a well as having kept our other martial arts, Master Sha continued to teach me until his death and I remain close friends with his children.
In recent years, my brother and I were the only younger people practicing our system of Lion Bagua. As Lion Bagua relies greatly on the spontaneity of the Lion energy, utilizing the power of the whole body, and emanating from the arms and shoulders with quick spiralic changes, like other internal systems it is not strictly technique oriented. It also requires fighting ability for applications. Lion Bagua also has other benefits such as opening the joints, stretching the muscles, deepening one's root and increasing blood and I circulation. Since I came to the USA I have begun to teach my students Lion Bagua, with the hope that it can continue to flourish in the future.