Song Changrong’s Baguazhang

When people talk about ‘Song style’ in a bagua context, there are actually two styles that could be meant: one is the bagua of Song Yongxiang (passed on by Liu Wancang of Beijing and his disciples), while the other is that of Song Changrong, a disciple of Dong Haichuan who was well-known for his lightness skill (qing gong). The material presented below profiles the latter:

“ ‘Flying Legs’ Song Changrong

Song Changrong was born into a noble family in Beijing. Because of Dong Haichuan’s position at the mansion of Prince Su, there was a lot of interaction between the two houses. The Qing dynasty was a peak period for CMA. Everyone from the emperor down to the common man was interested in martial arts. The Song family’s noble status and economic strength meant that they placed great emphasis on the practice martial arts. As nobles, they were of course aware of Dong Haichuan’s position at Prince Su’s mansion, treating him as an honoured guest. And so, Song’s family invited Dong to teach martial arts at their house. This kind of environment meant that Song Changrong was systematically trained by Dong Haichuan from a very young age. As a result, Song’s bagua reached a very high level, to the point that his bagua formed its own branch in Beijing.

When Song was 6 or 7 years old, Dong Haichuan started to teach him a ‘game’. The Song family’s house happened to have a large garden. Dong asked the Songs to prepare several vats, so that Song could practice ‘vat-running’. At first, someone had to support Song on the vats; later on, he learnt how to walk and run freely on top of the vats. After a long while, Song could run and jump on the vats as if he was walking on solid ground. This entire time, Dong did not teach Song any other martial exercises. It was only when Song was 12 or 13 that Dong began to teach Song bagua. As a result, Song was particularly accomplished at ‘lower basin’ (xia pan) walking. He carried on Dong’s lightness skill, called ‘Ba Bu Gan Chan‘ (lit. catch a cicada in 8 steps).

Catching a snake with Seven-Star Staff

After Song had been learning bagua from Dong for 5 or 6 years, his gongfu had made great strides, but there was one thing that vexed him. When Song practiced in his back garden, a small white snake would wriggle out of its burrow and start ‘dancing’ tens of metres away from Song, almost as if it was trying to compete in a test of agility with him! Song tried to use his lightness skill to catch the snake, to no avail: as soon as Song got within 10 metres of the snake it would start beating a retreat. Just as Song thought he might catch it, it always managed to dive into its burrow just in time. All Song could do was sigh in frustration. This continued every day for two months, with Song totally at a loss as to do what to do.

One day, Song mentioned this white snake while Dong was overseeing Song’s practice. In response, Dong picked up a wooden staff and taught Song bagua’s Seven-Star Staff. After a month’s arduous practice, Song had become proficient with the staff. A month later, when Dong came to the Song family mansion to oversee Song’s practice, the white snake appeared yet again. This time, Song chased the snake with his seven-star staff and managed to pick up the snake with his staff just as it was about to reach its hole. Looking at the snake, he said “Who’s faster, you or me?” The snake, seeming to admit defeat, didn’t even struggle to escape. Song, satisfied that the snake was beaten, put it back on the ground, whereupon it sped back into its burrow. The snake never appeared again after that, but the seven-star staff established a place in the bagua school.

‘Tightrope Walker’ Song

Baguazhang’s gongfu comes from circle-walking. ‘Curves’ and ’straight lines’ are relative concepts; when someone has achieved mastery, he can generate luoxuan jin (spiral force), zheng guo li (‘wrapping’ power) and immense baofa jin (explosive force). Once the art is mastered, the body becomes light as a swallow, hence the name ‘lightness skill’. Because this sort of skill was so hard for ordinary people to achieve, the younger generation were all eager to see if the rumours of Song’s skill were true.

One day, Song was at a teahouse with his bagua brothers when they asked him to perform some bagua for them. Because they were all of the bagua school, Song didn’t try to refuse, but instead, picked up a length of hempen rope and asked two of his companions to hold the rope tight at either end. So saying, Song leapt onto the rope and proceeded to perform one of the 64 straight palms on the rope, which was met with loud applause. Some of the others tried to repeat the feat, but none could stand steadily and so they all fell off. Henceforth, people knew that Song’s bagua was its own system with its own style. Unfortunately, Song’s background limited his interaction with the CMA community, and hence he had very few disciples. As a result, a lot of Song’s skills were not passed down (according to an interview with the 4th-generation Cheng-stylist Liu Xinghan in 1994, when he was 85 years old).

Lightness Skill Revealed in a Courtyard

In a courtyard in old Beijing, the second and third generations of bagua had all gathered together in one place to have a ‘longevity banquet’ for one of the second generation masters (Cheng Tinghua? Liang Zhenpu?). This was a big day for the bagua community, and of course Song Changrong had come as well. IN CMA circles, the ‘longevity banquet’ is a momentous occasion at which everyone has to drink to the host’s health.

This kind of banquet was usually only laid on for senior respected members of the bagua community. Thus, the atmosphere in the courtyard was festive and raucous. During the dinner, someone’s disciple came up with the idea of asking M. Song to demonstrate ‘Ba Bu Gan Chan’ to liven up the atmosphere at the banquet. The moment the suggestion was made, the crowd went wild. Most of the people at the crowd had only ever heard rumours of Song’s lightness skill, at any other time no-one would have had the temerity to ask Song to perform. All eyes swivelled to focus on Song. They saw Song stand up and with a fist salute, “M. Dong always instructed us to avoid showing off our art in public. But seeing as it’s my shixiong’s (elder kungfu brother) birthday and we’re all bagua men here, why not?” And so, everyone hurriedly tried to make way for Song to go out into the courtyard, but Song wanted the assembled crowd to go out first. Seeing that neither side was giving in, Song said “Fine, I guess I won’t walk then” and so saying leapt out of the nearest window. By the time everyone caught on, Song had already lightly landed in the middle of the courtyard. Upon seeing this, everyone exclaimed that Song had really lived up to his nickname of ‘Flying Legs Song’.

(According to a 1989 interview with the 3rd generation Liang-stylist Li Ziming at the age of 90)

Song style in the North-east: Wei Jianfeng

The 4th-generation Song stylist Wei Jianfeng had learnt his bagua from Song Changrong’s disciples Zhao Yanrong and Zhao Xiting. He was fearless and straight-talking as well as being an impressive martial artist. During the Japanese occupation (Wei lived in Shenyang, which was occupied by the Japanese during the Sino-Japanese war), he killed Japanese and fought against Chinese traitors. He was thrown in jail twice by his own government: once by the Nationalists (KMT) for opposing their army, and once by the communists, during the Cultural Revolution. The brutal long years in prison robbed him of the opportunity to teach, such that a lot of his special skills were not passed on.

Wei Jianfeng's disciple Zhang Zemin

According to the materials made public by his disciples Yu Hechuan, Ren Hemin, Zhang Licheng, Li Zhiyi, Song Peijian, Zhang Zemin et al., Wei’s bagua comprised the following routines :

Ba Da Zhang (8 great palms)
Lao Ba Zhang (8 old palms)
64 palms
Long Xing Baguazhang (Dragon-shape Bagua)
Bagua Shi Ba Shuai (18 throws)
Bagua Zhai Yao Quan (‘Extract’ of Bagua)
Bagua Lian Huan Zhang (Linking Palms)
Bagua Feng Mo Zhang (‘Crazy Demon’ palm)
Ba Da Deng Pu (8 great Sweeps?)

Paired routines:
Pu An (Catch and Press)
Zui Han Nian Hou (Drunkard shoos Monkey)
Baguazhang Duilian (paired bagua)
72 locks
Qin Na

Weapons:
18 Staff
Bagua Dao [sabre]
Bagua Jian [straightsword]
Emei Ci [Emei needles, aka 'judges pens']
Ziwu Yuanyang Yue (Mandarin Duck Knives, aka Deerhorn knives)

There are also several paired weapons routines.

After Wei’s passing, his disciples continued teaching his bagua in the parks in Shenyang. In 1994 Wei’s grandstudent Zheng Zhi-hong (student of Yu Hechuan) became the first person to bring Song style bagua to Japan when he established his ‘Natural Dojo’ in Kyushu.

Wei Jianfeng's senior disciple Yu Hechuan

READ MORE - Song Changrong’s Baguazhang

‘Departed Warriors’ – the xingyiquan of Li Zhongxuan

I recently came across an excellent book on xingyiquan called “Departed Warriors” (called ‘Shiqu de Wulin’ in chinese). The book contains the recollections of one man, Li Zhongxuan (now deceased), who had the good fortune to study under three disciples of Li Cunyi: Shang Yunxiang, Xue Dian and Tang Weilu. The book, organised by Xu Haofeng, contains Li’s recollections of studying under his three masters as well as his thoughts on the practice of xingyiquan. I have translated below a part of one chapter from his book:

五台雨雪恨难消 (part 1)

‘Tang-chuan’ xingyiquan refers to the xingyi passed down by Tang Weilu. He was known as ‘Tang xiao hou’ (little monkey Tang) echoing the nickname of Sun Lutang, who was also nicknamed ‘Sun the monkey’ – in both cases, the nicknames refer to their ability to scale walls. Amongst xingyi boxers the two men were known as the ‘two lus’, derived from the ‘lu’ part of their names, but also homophonous with the chinese for ‘2 deer’, referencing both men’s ability to walk three or four hundred li (1 li = 500m) in a night.

Whenever M Tang visited Beijing, so as to not attract unwanted attention, he did so at night. He would sleep in Ninghe (near Tianjin) during the day, set off at 7pm, and by daybreak the next day would have reached Beijing, having had to slip past several tax office checkpoints along the way. Li Cunyi gave Tang Weilu the ‘xingyi name’ of Tang Jianxun – the meaning of the name was to commemorate Tang’s exploits. Li Cunyi appreciated Tang’s fighting ability – it wasn’t just because of his speed that Tang was mentioned in the same breath as Sun Lutang. Everyone back then knew M Tang’s fighting skills were a cut above.

: Famed xingyi master Li Cunyi

M Tang always gave the impression of being languid – he would always be carrying a teapot, if left to his own devices he could easily spend a whole day sauntering around town, his teapot in hand. But he was very resolute in that he would willingly accept any challenges that came his way. He once defeated a famed master who had founded his own style, yet would not allow us to tell anyone – this was M Tang’s Wu De (martial morality). It’s exactly because M Tang was satisfied with the quiet life that his xingyi preserves more of the ‘flavour’ of Li Cunyi. Readers interested in the xingyi taught by Li Cunyi at the Tianjin Guo Shu Guan can use M Tang’s xingyi as a reference point.

M Li Cunyi’s book on xingyi begins with the phrases “Only xingyi is most skilled at defeating the enemy and obtaining victory.” Later, in an interview with a journalist, he stated “A practitioner of wushu strengthens his body; a practitioner of guoshu defends his home and country; xingyiquan can be called guoshu”. These two statements led to a misunderstanding, as other martial artists thought that M Li was trying to position xingyiquan as the ‘national art’ (guoshu). And so many people came to challenge him, saying “M Li, is my art wushu or guoshu?” M Li knew that explanations were useless and simply accepted all the challenges. The wulin (martial arts community) in the old days was like that, the slightest slip of the tongue could land you in big trouble.

M Li Cunyi was a man of noble-character who became embroiled in senseless disputes in his old age. It was lucky that he maintained his reputation intact in that he was not defeated. But still, for a man of his years to have to meet challenges every day must have vexed him sorely.

So what exactly did M Li mean by “only xingyi is skilled”? The answer can be found in old xingyi manuals: “The martial artists of the world need to be able to see to accomplish anything; thus, by day they can just about attain victory. But how can they cope at night if they are confronted by the enemy? Only xingyiquan can deal with attacks at night, by relying on ‘feel’ and reacting to the slightest touch.”

The essence of xingyi is not practicing your vision or hearing, but rather this physical response.

My shixiong under Shang Yunxiang, Shan Guangqin, told me that you could talk or walk around M Shang while he was sleeping, no problem. But the moment you focused your attention on him, he would wake up. It sounds far-fetched, but this kind of awareness is a necessary product of extended training in xingyi.

: The ‘Iron-foot Buddha’, Shang Yunxiang

The ‘xing’[form] in xingyi refers to everything external, whilst the ‘yi’ [intent] refers to everything internal, thus xingyiquan can be understood as ‘training everything’. The ‘Xingyi 5 Element Classic’ also echoes M Shang’s approach, it’s about sensitivity. In addition, xingyi’s ‘reacting to the slightest touch’ is unconscious, automatic.

One time, M Tang had gotten lost in thought whilst teaching his disciples. One of them, wanting to test out M Tang’s gongfu, suddenly launched a punch at him. M Tang managed to press the student to the ground, all the while still in a bit of a daze. This student was very happy when he pulled himself off the ground, for he thought that he had found out M Tang’s real gongfu.

M Tang, on the other hand, from then on stopped teaching that disciple, saying “So-and-so has already surpassed me.” Actually, this was his way of ‘disowning’ that disciple. There needs to be sincerity between teacher and student. The kind of person who still has an attitude of ’stealing the art’ whilst studying under you is not to be taught. Even if such a person learns martial arts, they will only bring harm upon themselves and others.

Even after M Tang had passed away, this person still called themselves M Tang’s disciple. Times are different now, the younger generation cannot be held responsible for the actions of their elders. In order to avoid embarrassing this person’s students, I have deliberately omitted his name.

Xingyiquan (Form and intention boxing) is also known as Xingyiquan (moving intention boxing). The grandmaster of our branch was Liu Qilan, who was known for his shenfa (body method), was praised as ‘Long Xing Sou Gu’ (dragon shape searching for bones). The later generations from this branch, Li Cunyi, Shang Yunxiang and Tang Weilu were all known for their gongfu in the legs (tuigong) and shenfa. To retreat whilst fighting Li Cunyi was a big mistake; as soon as you tried to retreat he would be upon you and knock you down.

Gongfu in the legs comes from zhan zhuang and [xingyi] walking. Tang Weilu specially emphasised walking to his disciples. In the morning we would walk 5 km with our hands clasped behind our backs, either loosening up our backbones or with a bit of martial intent. Sometimes we would omit the ‘yi’ of xingyiquan and say that we were learning ‘xing quan’ [moving boxing] with M Tang.

M Tang’s trademark weapons were the judge’s pens (pan guan bi). In xingyi, judge’s pens are basically double spears, initially arms-length with rounded tips. After the practitioner has become familiar with their use, the pens used become shorter, about the length of a forearm. I had a pair of bronze pens specially made; at that kind of weight, there’s no need to hit vital points, wherever you hit the opponent he will go down.

: Normal judge’s pens (pan guan bi)

The double spears require more finesse than the double broadsword; because of the vivid descriptions in pingshu [traditional chinese storytelling], I was very enthusiastic in training the double spear.

One time, when M Tang was visiting Beijing, he saw me practicing the judge’s pens and lost his temper, saying “You were supposed to learn sword from M Shang! If you learn boxing but not sword from M Shang, you will have come to Beijing for nothing!” M Tang also said, anyone can pick up a staff and fight people with it, but most people would be at a loss to know what to do with a straight sword.

My name in Shang Yunxiang’s school was Li Yixia, which was chosen according to the ‘codex of names’ left behind by Liu Qilan; the generation after me all had the character ‘zhi’ [志, ambition] in their xingyi names. In the Shang tradition, learning the jian was a ceremonious affair. Every morning we would have to kow tow to the sword, as the hilt of the sword represents one’s teacher, hence the saying “To have the sword there is like having one’s teacher there”.

In gripping the sword, the little finger must be slightly hooked, out of respect for one’s teacher. In actual fact there is a reason to this hooking of little finger, namely that [in TCM] the little finger is connected to the eyes, if the little finger is continually hooked it can damage your eyesight. Some people experience loss of acuity after practicing xingyi, this is caused by ‘hooking’ the little finger too tightly. This kind of thing is what led to the saying ‘practicing xingyi invites bad luck [zhao xie]“; this saying is actually nonsense, the problems experienced by people after practicing xingyi are because they have not been taught in detail, and go against their own physiology.

The Tang school of xingyi traditionally had good relations with the Yanqing school [Yanqing quan being another name for Mizong, or 'lost-track' boxing], a relationship which had started with Li Cunyi. There was an old Yanqing master, a good friend of Li Cunyi, who was good at ‘tie dang gong’ [iron crotch skill] and liked to demonstrate this skill at the local public baths. Unfortunately, this master attracted the attention of a group of young men who started harassing him with slingshots. Having no disciples of his own to assist him, he passed a message onto M Tang asking for help.

In order to further my training, M Tang sent me to deal with it. Because I knew I was going up against slingshots, I packed a pair of judge’s pens into me knapsack. On the way to the bathhouse, I was waylaid by 3 muggers. I said “My bag is full of gold ingots, let’s go into this copse, and I’ll give you a share.”

They were shocked, but still followed me into the copse. The moment I took out the judge’s pens, they turned tail and fled. Maybe they thought I intended to kill them – all of this stuff was just youthful hijinks. In those days, M Tang’s reputation was a strong deterrent. I invited these guys to talk it out. At first, seeing that I was young, tried to browbeat me and just talked endlessly. Frustrated, I slapped the table (breaking a teapot in the process), at which they immediately promised that they wouldn’t harass Li cunyi’s friend any more. The truth is, they were afraid of M Tang.

Before I went out there, M Tang had said to me, “Don’t fight, try to reason with them.” I thought, if they were reasonable they wouldn’t have harassed an old man, that kind of person is not at home to reason.

That night, I stayed over at this Yanqing master’s house. He was very chatty, and we eventually got to talking about Xue Dian.

: Xue Dian’s 12 animals, taken from David Devere’s excellent website, www.emptyflower.com

He said that Xue Dian was one of Li Cunyi’s later disciples who Li was proud of, but who unexpectedly lost to his shixiong, Fu Changrong. The two of them suddenly crossed hands on the upper floor of a restaurant. With a ‘returning body palm’ [hui shen zhang], Xue Dian was knocked down the stairs. After he reached the bottom, Xue quickly stood up and, without a word, walked off. No-one knew where he had gone.

When Li Cunyi passed away, his friends came to pay their respects. Those who had come from afar would stay for 3-5 days. At the request of the Guo Shu Guan students, they would often perform their gongfu after dinner. One of them in particular, an extremely tall man, stunned the audience with his phenomenal speed. He announced himself as one of M Li’s disciples, causing one of the Guo Shu Guan students to say ”Our shifu never taught this”, to which he said: “I am Xue Dian.” Immediately subsequent to this, he issued a public challenge to Fu Changrong.

How To Live 100 Years: Re-Learning to Breathe

The famous comedian George Burns was once asked, “What’s the secret of Life,” of which he replied, “keep breathing.” Wise words from a guy that reached the ripe ol’ age of 100 (and two months).

The Chinese symbol to the left is Qi (pronounced “chee”). We’ve heard it plenty… some of us have read up on it… but every one of us has experienced it [just most of us haven't been aware of it]. When I speak to youngsters about qi, I often allude to the Star Wars films in which George Lucas replaced “Qi” with “the Force.” Qi is a term that means energy, or breath. It is the prime-mover of our existence and permeates throughout the universe.

There are different types of “Qi Training” (called Qigong) such as: Buddhist Qigong, Taoist Qigong, Wushu Qigong and Medical Qigong. Within these, the practitioner learn to harness and cultivate this energy for the purposes of: emitting, absorbing, cleansing, conditioning and healing. [Author's note: Wushu Qigong should not be attempted without a qualified teacher. Practitioners should also have a basic understanding of qi and qigong training before wushu qigong is attempted]. And yes, there are even methods: Natural, Differential, Reversed, Dantian, Embryonic and “method of no-method.” All have their benefits but it is the first (Natural Breathing Qigon) that we will focus on for purposes of “beginning at the root”, health and in developing a habit of “correct method” of breathing throughout of days.

Breathing and its link to good health makes plenty of sense. …for it’s the air we breathe, the oxygen that is delivered to the cells and the energetics at work that nurtures life. But it’s our awareness of our breath through both moving or non-moving activities that bolsters results.

Awareness: Concentrating on the “breath in” and the “breath out” focuses our mind internally and removes us from outside thoughts and common distractions. Thoughts will always enter in… it is just our nature as humans to think. But just as ripples appear on a pond… let the mind return to calm and think back to the breath as it is drawn into the body and finds its rest in the lower abdomen.

A MYTH: Healthy breathing does NOT mean expanding the chest and letting as much oxygen in as possible. By doing so, oxygen restricts the hemoglobin molecules and less is released to the cells.

THINK QUALITY OVER QUANTITY.

Quality: Soft. Quiet. Relaxed. Smooth… all of these should be words to describe “how you are breathing. As you breath into your nostrils (at a relaxed, steady pace), imagine the breath going all the way down to your abdomen (aka. dantian). By bringing your breath to your dantian, even smallest blood vessels will relax and open and will enrich your body with a greater flow of blood, oxygen and qi.
Natural or Diaphragmatic breathing:Breathe through the nose at a soft and steady rate and bring the breathe to the abdomen. Allow the abdomen to expand (by way of the breath, and not by your abdominal muscles pushing outwards). As you breathe out, do so by breathing out through the nose and allow the abdomen to contract/go inward.
Relax: This cannot be repeated enough. The better you are at relaxing, the greater the benefits you will attain from your practice. Bring your thoughts away from school, work or any other outside distractions. If your thoughts drift… return back. Over time, over practice… the “return” will be easier and easier.
Posture: There are many qigong postures and all of them will have to be adjusted slightly since we all are built differently. I have only 3 postures (which may be over simplified) and they are: standing, sitting and laying. I use each of these postures as throughout the day (as I am often in one of the 3 postures naturally). For instructional purposes, a standing posture should be made with a straight spine, head erect, knees slightly bent, arms by your side and the tip of the tongue resting softly behind the roof of the mouth (behind the first two teeth).

JOURNEY OF TAI JI

Lean With Back {Hanging Rock, NC} Many people in their professional life truly enjoy what they do (many do not, and that’s a shame). But it’s safe to say there are those that do enjoy their job. Even fewer, I believe, work without a single gripe. It’s huge bragging rights I know… but teaching (for me) gives a sense of joy like no other. Over the years, I’ve fielded lots of questions that I will repost here regarding the essence of Taijiquan and my method of teaching this lovely artform.

If you have a question that you’d like me to answer, please ask it in the comment section of this page and I’ll get to it as promptly as I can. Peace and love. -Coach

What is Taiji ?
- Let me first say that there is a misconception that continues to mystify most, and that is centered around two words: taiji (tai chi) and taijiquan (tai chi chuan). They are related but different. Taiji is a subtle principle within Taoist philosophy regarding the essence and relationship of nature to anything and everything. Taijiquan is an artful expression of movement that attempts to unify our physical nature with that which is universal. It is an exercise that stimulates and rejuvenates the mind and body but it can not be forgotten that it is also a wonderful martial art and can be used for self-defense. [sidenote: any of us simply use 'Taiji' to shorten a word by four letters per the example below. Just so you don't try to catch me later. Haha! Thought you had me!]
Is Chen Style Taiji for fighting & Yang Style for the elderly?
- No. Finding strength and learning to be soft are one and the same. Never set them apart just because they have a different look and appeal. Yang Style came from Chen Style, so in theory, technique and principle, they are also the same. Master Hong once wrote, “When we (Chen Stylists) look at Yang Chengfu’s (Yang Stylist’s) photos performing the ‘DaLu’, his sinking power into horse stance is perfect. No difference than Chen Style.”
How many years does the system take to master?
- There are people that are quick learners, but I can tell you with complete honesty that the system of Taijiquan is very special because it can take a lifetime to master. Incidently it can take a lifetime to only become mediocre. People should study the theory, hold true to the principles and practice correctly (daily) to reach a high level. In addition, I also want to say that I do not believe in holding a “rank” over another person. I always had a problem with another person calling me “master.” This type of ego-stroke… superiority is never a good thing and isn’t what the martial arts should be about. Learning and discovery is cooperative and hence, is why I am referred to as ”teacher, coach or laoshi.” I had an interesting talk with Dr. Yang, Jwing-ming (teacher and prolific writer) and it makes me smile to remember what he told me… he said, “You may call me ‘Yang’ or ’Dr.Yang’ or ‘teacher’… but you call me ‘Master’ and I call you ‘Slave.’”
- Although people succeed and become a better martial arts (in terms of movement and energy) when they devote time and enthusiasm to their practice… I’ve never advocated in my classes or workshops that long, grueling hours and standing mediations of extreme lengths of time (and boredom) are requisites. In this way, I’m not a teacher of the traditional ways. Becoming what others term “a master” is not what I look for… I ask the questions of “Do you enjoy what you are doing?”… “Do you enjoy HOW you do it?”… “Can you truly FEEL what you’re doing?” … by answering yes to one or all of these questions are all that really matters.
How do I find “naturalness?”
- It’s funny, and just one of the many contradictions of Taiji practice and this is “to be natural.” I remember speaking with my Taiji brother Ronnie Yee at Hunyuan World in 2003 and we had an interesting discussion on the subject. He made the point that we read that we should “flow like water”… “mental intention should be here (or there)”… “we should assume this posture for this length of time”… all of these words are in fact, unnatural for us (at least in the beginning). But what I (Michael Joyce) continue to tell my students is this: “The movements, breathwork, coordination… all of these are difficult for the beginner and is quite unnatural. This is simply because it is something foreign or new to us. Proper Taijiquan should be balanced (that is to say, neither 100% soft nor 100% hard/rigid)… done in a relaxed manner in hope to achieve what Bruce Lee termed ‘natural unnaturalness.’”

Finding the work ethic of Chen Fake (part 1)

A young Chen Fake Chen Fake is considered by many as the greatest Taijiquan master of the century. Born as “Fusheng” in the village of Chenjiaguo, in Henan Province, China, Master Chen grew up to become an extraordinary martial artist and teacher through persistant practice, respect for his family background (ancestors all masterful in Taijiquan), and love of the artform.

From reading about Chen Fake, through the words of his disciple, the late Hong Junsheng (and my teacher Chen “Joseph” Zhonghua), I’ve developed a deep admiration for the man and for his accomplishments as an artist and teacher. If one was to sum up in the man in terms of his gift of Taijiquan, these two characteristics must be mentioned,

Firstly, it was with the dent of hardwork and preserverence that harvested this amazing gongfu skill. Secondly, Master Chen never withheld anything from his teaching. His students asked and they were given an answer. In most cases, a detailed understanding. Withholding anything is strictly for the ego.

Lesson 1: Work, Work, Work

Part 1 is dedicated to that which is most important. To accomplish anything in life, we must put forth effort…never an aimless attempt… but a steady, direct and focused study of that which we feel we must accomplish. The word “work” being just another of those four-letter words that, for many, initiate a conditioned response of dread… is just the first problem of many. Our first direction should be to make work into something else. For me, when I’m teaching, studying, or training in Taijiquan or fencing…I’m “play”ing. So, in essence, hardwork might best be called hardplaying. The only criteria one must follow (after this change in vernacular) should a change in “how we play.” Whether we are playing the piano, ice skating, or doing a martial art form we should look to our actions a heavenly experience and never anything reminiscent of a chore. Embrace your bliss with your entire being and you’ll be surprised at the growth and jubilance (I may have just made that word up, but from “jubilant”) that follows.

Those with anything to add or comment on… please please please.

Zhang Xiang San "Taiwan's Six Harmony Praying Mantis Master"

Taiwan's Six Harmony Praying Mantis Master

Zhang Xian San (aka Zhang Yi Xi) studied from Ding Zi Cheng. He was among many top Kung Fu experts to migrate to Taiwan during the war in China. In Chang Kai Shek's Taiwan he taught his major art, Six Harmony Praying Mantis (Liu He Tang Lang). He was also a Kung Fu brother of Liu Yun Chiao and encouraged him to teach openly. Both men respected each other and Liu would recommend people to Zhang if they showed interest in Liu He Mantis.Zhang also talked some Seven Star Mantis. Zhang also wrote a number of books on his art many of which are now highly sought after.

Ding Zi Cheng's method of instruction was progressive (though in some ways a throwback to authentic traditional teaching) and influenced Zhang's method of instruction all the way down to his disciples such as Boris Shi. Deng would introduce movements and concepts from the form to be studied separately. After the student had practiced and mastered this application Deng would show another. Finally, with numerous skills acquired, Deng would teach the whole form.

Liu He Tang Lng is itself one of the most sophisticated version of Mantis boxing. Some have even said that it is essentially Liu He or Six Hrmony Boxing with the mantis thrown in as a flavor. Certainly some of the outward aspects of the style are quite different from what most people regard as typical Mantis hands. The hook hand, for instance, is not seen in the style. There is far less emphasis on either hopping (Mei Hua) or stomping (Seven Star) though practitoners of Liu He often start with some Long Arm training followed b Seven Star (often Zhai Yao) and then are introduced to Liu He. Movements are isolated, related to the forms, then isolated again with a gradual refinement process that includes trying to apply the movements in cooperative and non-cooperative means.

Books by Zhang Xing San:

Zi Mu Liang Huan Quan

Qi Xing Tang Lang Quan

GM Liu Yun Qiao Baji Movements Video download

http://i1.ytimg.com/vi/dL831v6FrzA/default.jpg

Liu Yun Chiao (1909 - 1992)

Grandmaster Liu
Yun Chiao

This world famous martial artist started as a weak boy in Cang County, HeBei province, China. Liu Yun Chiao, destined to leave his country and to become an internationally renown Kung Fu instructor, started as a youth in such poor straits that his father hired the service of a Kung Fu instructor just to see if he could be brought back to health. Young Liu's first teacher was named Chang Yao Ting and he taught the boy such unusual styles as Tai Tzu Chang Chuan (The First Emperor of the Sung Dynasty's Long Fist) and Mi Zong (The Lost Track Style). Liu gradually regained his health and showed a marked interest in Kung Fu. So his father hired the services of a very famous master, Li Shu Wen. This master was known as an expert in two styles: BaJi and PiGua, both beatiful and powerful forms of martial arts. The first was based on the energies of the Bear and the Tiger, the latter on the Snake and the Eagle. Li's method was good but torturously difficult. The young Liu spent his first year in nothing but training stances.

Grandmaster Liu
Yun Chiao performing BaJi.

Li Shu Wen was already in his sixties when he taught young Liu, who was to become Li's last real disciple. But Liu gained the benefit of all Li's advanced knowledge and theories. Then Liu continued his study to include Six Harmony Praying Mantis (from Ding Zi Cheng) and BaGua Palms (from General Gong Bao Tian).

Liu entered the army and fought against the Japanese invasion starting in 1937 and for eight more years. He then moved to Taiwan and became commander of the airborn troops there along with other military positions. He also became the head training officer for all of Chiang Kai Shek's bodyguards. While thus engaged he taught many students in Taiwan and organzied the association known as Wu Tan which has produced many graduates. Liu Yun Chiao's students include many of great fame such as
Adam Hsu, Su Yu Chang, Tony Yang and Jason Tsou.

Grandmaster Liu Yun Chiao (black) with his mantis teacher on his right.

Xing Yi Quan Freestyle Combat

http://i1.ytimg.com/vi/PBEJgAbunv8/default.jpg

Martial Arts in the World

Song Changrong’s Baguazhang

‘Departed Warriors’ – the xingyiquan of Li Zhongxuan

五台雨雪恨难消 (part 1)

How To Live 100 Years: Re-Learning to Breathe

JOURNEY OF TAI JI

Finding the work ethic of Chen Fake (part 1)

Zhang Xiang San "Taiwan's Six Harmony Praying Mantis Master"

GM Liu Yun Qiao Baji Movements Video download

Liu Yun Chiao (1909 - 1992)

Xing Yi Quan Freestyle Combat

Hit Counters

Banner

Labels

Blog Archive

Sponsors

My Blog List

Followers

Live Traffic Map

Flag Counter

Live Traffic Feed

Books by Zhang Xing San:

Zi Mu Liang Huan Quan	Qi Xing Tang Lang Quan