Buddhist Nine Palace Palm Qigong

 A reprint of an article I wrote back in the '90's

FO MEN JIU GONG ZHANG:

Chinese Qi Gong for Health and Vitality

Qi Gong is at once mystical and mundane. Its practice can give one almost superhuman abilities, yet it is a power that all people, without exception, share. The Chinese character "Qi" means air or breath, but is used in this context to mean "internal energy". "Gong" means skill developed through hard work; here it stands for the practice of manipulating the breath and internal energy. Qi Gong may therefore be called "Energy Meditation", with "energy" referring the body's internal energy and "meditation" referring to the process of contemplating and manipulating that energy.

Qi Gong was developed by the Daoist in ancient China. The main tenet of Daoism is that man should live in harmony with nature. It also teaches that one should honor the physical body that is given to one by one's parents. Respect for this gift is shown by maintaining good hygiene and not mutilating the body, even to the extent that Daoist monks do not cut their hair. A Daoist monk can be recognized by the topknot of hair that protrudes through the traditional open-crowned cap. Another gift from one's parents is one's original Qi. This Qi is the energy that everyone is born with; the very life essence that animates the body. Everyone has this original Qi while alive. When it is depleted, one dies. The Daoists believe that this store of Qi can be supplemented and refined. Using internal alchemy, they believed that air and the body's own sexual energy could be transmuted to create additional Qi. This energy could by further refined until the body's gross, impure Qi could become as pure as the energy that made up the universe, thus rendering one essentially immortal.

     There are many types of Qi Gong exercises, both traditional and modern, in existence today. All forms use visualization and breathing techniques to manipulate the body's internal energy. Internal Alchemy, an important practice of traditional Daoism,  seeks to transform the body's sexual essence into Qi and then to refine that Qi into the "Golden Pill" or "Elixir of Immortality. Internal Alchemy is usually practiced in a sitting posture, requiring very little in the way of physical motion. It is a powerful practice and should only be attempted under the guidance of an experienced practitioner. Such masters are hard to find today and one should be wary of those claiming to teach it. Since such a practice requires a lifetime of dedication, it was generally taught only to those who had made the commitment to become Daoist monks. Such a practice can be harmful to the student if not done correctly. 

    There are, however, many methods that are readily available to the more casual practitioner. Qi Gong is immensely popular in China where literally millions of people practice one form or another. In these types of Qi Gong, the goal is not immortality, but rather the development and preservation of good health. These practices range from stationary postures to forms where the practitioner moves constantly in slow motion. A distinction should be made however between moving Qi Gong forms and Tai Ji Quan. The main purpose of all Qi Gong exercises is to augment one's supply of internal energy. Tai Ji Quan, on the other hand, is a method for circulating one's already existent Qi. This distinction becomes clear when one realizes that all styles of Tai Qi Quan contain supplementary Qi Gong exercises, usually static postures, designed for the development of Qi. It is also important to realize that, in Qi Gong, it is the mind that does the work. Postures are used merely as an aid to concentration and circulation. Copying a system's postures without understanding and practicing the associated contemplations is, at best, a waste of time.   

    One rare but extremely effective form of Qi Gong is known as Fo Men Jiu Gong Zhang. The name, Fo Men Jiu Gong Zhang, translates as "Buddhist Nine Directions Palm". The system originated on E Mei Mountain in Sichuan Province in China several hundred years ago and has been handed down through the Gong Family for over twenty generations. E Mei mountain is unusual in that it is regarded as sacred by both the Buddhists and the Daoists. Fo Men Jiu Gong Zhang is unique in that it is a synthesis of both Daoist and Buddhist practices. Although Buddhism stresses meditation, few temples, outside of the Shaolin temple, were thought to practice Qi Gong. The fact that Fo Men Jiu Gong Zhang includes Buddhist Qi Gong, makes it all the more rare.

Like all Qi Gong systems, regular practice will develop and balance one's inner energy. In addition, Fo Men Jiu Gong Zhang is thought to be extremely good for healing; both for healing one's self and for healing others. In fact, most of the students in the class in which the author participated were there on doctor's orders. Most showed a marked improvement in their own conditions and a few went on to become healers as well. 

Fo Men Jiu Gong Zhang contains eight postures. The first is called "The Novice Pays Homage to the Buddha". As the name suggests, this posture was taken from Buddhism. Rather than use visualization, like Daoist Qi Gong, the student recites a mantra while practicing this posture. A series of sacred sounds, mantras are widely used in Buddhism as a way of controlling and emptying the mind. With the mind open, the Qi begins to circulate freely, with powerful results. After a few days of practice, most of the students in the author's class, including the author, began to experience physical reactions to the increased Qi flow.  Shaking, clapping of hands, walking back and forth, these are just some of the ways the circulating energy manifests itself. It can be an unsettling experience to find oneself moving almost against one's will, but under the guidance of a competent teacher, is quite safe and is an effective method of "resetting" one's Qi. This powerful practice is an excellent way to prepare one for the next series of movements.

The rest of the postures are Daoist in origin. In them, visualization is used to manipulate the Qi along acupuncture meridians. These meridians are channels along which the Qi is thought to circulate. In Traditional Chinese Medicine, disease is said to arise when one of these channels are blocked and the flow of nourishing Qi is interrupted. In addition, Qi itself, which is divided into Yin and Yang, must be balanced. A surplus or deficiency in either type of Qi leads to disharmony and, subsequently, illness and disease. Using Qi Gong exercises to circulate Qi along these channels is like injecting high octane gasoline into a car engine. The purified fuel helps clean away the deposits in the fuel lines and allows the engine to run more smoothly and efficiently. 

    The second posture, called "The Wind Seeps Away Demons" is used to develop and purify Qi. In it, visualization is used to circulate internal energy along what the Daoist call the "Small Heavenly Circulation" or "Microcosmic Orbit". This orbit is achieved by connecting two acupuncture meridians; the Conception and the Control Meridians, which run vertically along the front and back of the torso, respectively. Circulating the Qi along this orbit is a traditional Daoist practice. The Qi is gathered in the Dan Tian, a spot approximately three inches below the navel, and then compelled by the mind to travel along the two meridians in a continuous circle. Internal Alchemy is based largely on the Microcosmic Orbit, although with different visualization and breathing techniques. This posture is a very powerful one and may be practiced all by itself.

    Once one has mastered the Microcosmic Orbit and a supply of purified Qi is built up, one can begin to circulate Qi through the "Grand Heavenly" or "Macrocosmic Orbit". This Orbit utilizes the rest of the twelve acupuncture meridians, mostly located in the arms and legs. The remaining postures in Fo Men Jiu Gong Zhang work to circulate Qi along these  Channels. The third movement, "Mother and Child Reunite", circulates the Qi along the Yin and Yang meridians of the arms. "The Golden Pellet Enters the Ocean", first follows the Control Meridian down the back and then follows the Yin meridians down the inside of the legs. The Qi is brought back up the Yang meridians on the outside of the legs in the next posture, "The Mighty Eagle Flaps Its Wings". Having completed a basic Macrocosmic Orbit, "Twin Dragons Inhale the Pearl" concentrates the Qi in the head, where the Golden Pill was said to originate.

    "Sphere Practice in Nine Directions" is an unusual posture that has the practitioner face each of the nine directions while compounding the Qi into a compact ball between the hands. In the finale posture "Receive the Pellet and Pay Homage to the Buddha", the compounded Qi is then "swallowed" and the practitioner settles himself to return to normal daily life.

    Practice sessions can be anywhere from twenty minutes to two hours. One movement or the whole set can be practiced in a given session. When one practices the entire set with proper concentration, two hours can pass very quickly. Each session leaves the practitioner relaxed and energized. In the class the author attended in China, the students practiced from eight to ten hours a day for a month. It is not surprising that many achieved impressive results.

    The class was taught by members of the Gong family. Due to their long practice of Qi Gong, they were able to demonstrate very impressive powers. In one exercise, Teacher Gong's son drew three circles on the concrete floor with a wooden sword. In each he drew a different Chinese character. In the first, the character "fire" was drawn, in the second "water", and in the third "wind". As the students stood in each circle, they experienced unusual sensations. In the "fire" circle, one felt a definite sense of increased heat. In "water", the sensation was of waves of energy flowing over one from head to foot, like standing beneath a waterfall. Most impressive, to the author at least, was the "wind" circle. Here one felt that one was actually caught in a small whirlwind. One's body swayed from side to side as the "wind" changed directions. Some students experienced a stronger reaction in one circle than in another but all experienced the effects to some degree.

Fo Men Jiu Gong Zhang is an extremely powerful form of Qi Gong but it is also one of the most rare, even in China itself. To the authors knowledge, he is the only American to ever study it. The prospective student is advised to be extremely cautious of anyone claiming to teach this art. As with any form of Qi Gong, it is not the form itself that brings the student power, but long hours of practice. Without dedication and practice, one will not receive the benefits of Qi Gong, regardless of the form. For those willing to put in the hard work, however, Qi Gong can improve one's health and vitality, providing ordinary people with almost miraculous powers.

The Postures of Fo Men Jiu Gong Zhang

1. The Novice Pays Homage to the Buddha

2. The Whip Sweeps Away Demons

3. The Mother and Child Reunite

4. The Golden Pellet Enters the Ocean

5. The Mighty Eagle Flaps Its Wings

6. Two Dragons Inhale the Pearl

7. Sphere Practice in Nine Directions

8. Receive the Pellet and Pay Homage to the Buddha

Note: Please use the same photograph (#1) for both position 1 and 8.

The Pinyin system of Romanization has been used throughout this article.

Shi Suxi: The Last Monk of Shaolin

Leo Gaje: Basics of Pekiti-Tirsia Kali

 Official Karate Magazine April, 1977

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Real Training at the Shaolin Temple

In January 1989, I had taken several days off from my English teaching job at the Zhengzhuo Institute of Technology to stay at Shaolin. It was a very special visit because I was able to spend a lot of time with my Shifu, Venerable Dharma Master Shi Suxi. He during that time he asked me to take the Bodhisattva Precepts at the White Horse Temple but that is a story for another time.

On one particular evening, I was hanging out with my Elder Dharma Brother Deshu in his quarters, when three young men from the village nearby showed up for training. The three had been accepted by Deshu as lay disciples and been given Buddhist names. Xinghao was the oldest at 19, Xingyun was 18 and the youngest was Xingyuen at 16.They had been coming over at night for some time to train with Deshu in his quarters.

For their training that evening, they were given only one basic exercise to practice. It was a brief sequence that was designed to develop one’s foot stomping ability, among other things. It consisted of a right kick and left punch to the left with the right foot pulled diagonally downward to stomp the floor with the ball of the foot. A half kneeling punch at the center was followed with the same movements on the opposite side. The three were told to do 200 repetitions with each leg. This took each of them over an hour to complete.

During this time, Deshu and I chatted and drank tea. He didn’t offer any instruction or corrections to the boys, only glancing over occasionally to see how they were doing.

Once they had finished their 200 repetitions, Deshu then had each of them stand on two bricks that lay flat on the floor, one under each foot. The bricks were standard clay building bricks which had not been prepared in any way pulled from a pile covered with snow outside the living quarters. They were placed flat and there was no space between the brick and the floor. The three students were told to do the exercise again until they successfully broke one or both of the bricks. Any breaking expert will tell you that breaking a brick in such a manner is extremely difficult, if not impossible.

By the way, I was told it was this very exercise that had caused the depressions in the Buddha Training hall, not standing in horse stance with each foot in a different depression as is often cited. The depressions are way too far apart for anyone to stand with a foot in two of them and besides, simply standing would never cause the depth of the depressions that exist. It was this same exercise that the boys were practicing that had created the depressions; each one pounded down by years of repetition.

The monk made depressions in the Buddha Training Hall

To my surprise, the youngest boy, Xingyuan, who had been training with Deshu for quite a while, was able to break both bricks in less that 10 attempts. He was very happy and I could see that Deshu was pleased. In contrast, the other two students were pretty lazy, always resting and not trying very hard. Deshu got pretty mad at them, hitting and kicking them to correct their form and “motivate” them to try harder. Frustrated, he even made Xinghao kneel on the cold, hard concrete floor for a long time. I was a bit frightened by this change in his demeanor although he would always smile and speak gently to me.

Looking closely at the brick in the foreground you can see that it has cracked.

Finally, Deshu got disgusted with them and just stopped teaching. He berated them, saying that they were not living up to his standards. He told them not to come back until he called for them. I could see that it was not an easy decision for him to make and he brooded over it for a couple of days.

Martial arts training in China can sometimes be harsh, especially for Chinese students. Actually studying at Shaolin with a genuine monk brings one a lot of prestige so many are more interested in bragging about it rather than actually putting in the time and effort. I put Deshu’s rough teaching methods down to the passion he felt for the art and the obligation he felt to pass on genuine Shaolin martial arts to the next generation. The teachings had to be pure and the standards had to be high less true traditional Shaolin Quan be corrupted or lost. In fact, Deshu cautioned me not to teach the system to just anyone. Any prospective student, he told me,must be of high moral character and unwavering dedication. Such worthy students are difficult to find in the modern world, even in China.

The poem from which Shaolin generational names are drawn

A note on Shaolin Buddhist names. In China, when someone becomes a Buddhist, he is given a generational name by his Master (Shifu). Shaolin names are based on a poem written hundreds of years ago. 30th Generation names would all have the character “Su” which means vegetarian as the first part of their generational name. All disciples of the next generation, the 31st would begin with the character “De” which means virtue. My name, for example, Deqin can be translated as “Overflowing with Virtue”. “Xing” is the 32nd Shaolin Generation name so all disciples of the“De” generation would have the character “Xing” as the first part of their name. The 33rd Generation begins with “Yong” and so on. Therefore it is very easy to tell to which Generation a disciple belongs. All disciples of a given generation are considered “Dharma Brothers”. Seniors are addressed as shixiong while juniors are addressed as shidi.

All ordained monks have the last name “Shi” which is short for Shijiamoni, the Chinese transliteration of the original Buddha’s name Shakyamuni. Lay disciples, followers that have not“left home” and been fully ordained as Buddhist Monks. should never use the name “Shi”. Instead, they should use their own family name. I therefore use my Chinese family name “Ke”, a translation of Kelly. So my correct name as a 31st Generation lay disciple of the Shaolin Temple is Ke Deqin. Falsely claiming or leading others to believe one is an ordained monk of the Shaolin Temple is unethical and wrong and indicates that one is unworthy of the privilege and honor of being associated with the Shaolin Temple.

Deciphering Applications in Chen Taijiquan

Deciphering Applications in Chen Taijiquan
First a disclaimer: These guidelines are designed for those students who do not have the benefit of a qualified teacher. This has been the case with since leaving the Chen Village (chenjiaguo) thirty years ago. After long years of practicing and researching on my own, I believe I have come up with a series of guidelines that may be of use to advanced practitioners.

 It should be mentioned that this article will be focusing on the First Form of the Old Frame (laojia yilu). Most of the guidelines should hold true for the other forms but I haven’t done an in- depth investigation of them yet.

It should also be mentioned that applications will vary based on the lineage followed by the practitioner. All the four current Grandmasters (Chen Xiaowang, Chen Zhenglei, Zhu Tiancai, and Wang Xian) perform the routines (taolu) quite differently. This is a reflection of their individual growth and personalities as well as the qualities or techniques that they have chosen to emphasize. I personally am part of the lineage of Grandmaster Chen Xiaowang so I am basing the individual applications in this article on the way I (he) performs the movements. Nonetheless, the basic guidelines should still apply for all.

Caution:
With the advent of YouTube more information is available now than ever before. However, one should be cautious when studying online videos. Some of the applications in these videos ring true, especially those of the Grandmasters. However many  application videos are merely guesses by uninformed students or teachers. Hopefully, with the help of these guidelines you will be better able distinguish the true from the false.

Chen Taijiquan is first and foremost a martial art.
This principle influences every aspect of the Chen System. It is the reason the postures and  movements are more complicated than other styles of Taijiquan which emphasize health benefits. Being a martial art rather than a health exercise is also the reason that the routines contain movements that require energy release (fajin ). Chen Taijiquan was developed at a time when skill with empty hands and traditional weapons were often necessary for survival. However, later forms of “T’ai Chi” developed in the modern era when martial arts were used more as a form of cultivation. By removing the martial elements of Chen Taijiquan, these subsequent styles became more of a Qigong practice than a martial art. Chen Taijiquan, on the other hand, contains all the health giving benefits of the later styles while still retaining its core as a martial art.

Chen Taijiquan is primarily a grappling art. That is to say, most of the techniques are meant to be applied at close quarters to lock, throw or push the opponent. This is the reason for the emphasis on slow motion movements, precise weight shifting and rooted-ness. One must have perfect balance and root in order to throw an opponent without being thrown oneself. On the other hand, striking movement - punches, kicks, elbows etc. - should be done quickly while releasing energy (fajin). Once a striking technique is learned properly, there is very little value in practicing it slowly.

Why Decipher Applications?
Chen Taijiquan is a complex martial art system. The ultimate goal is to be able to use it as a form of self-defense or personal combat. The traditional way of training is long and arduous. There are no shortcuts and one can not rush the process. However, it is sometimes helpful to get a glimpse of the final destination. Deciphering applications is like finding clues that help to eventually solve a mystery. Demonstrating applications can also be a great motivator for students allowing them appreciate the depth of the system. For more advanced practitioners, being able to decipher applications can indicate that one has reached a higher level in their practice.

Why Can’t I Learn Applications Right Away? 
Anyone who has studied Chen Taijiquan has wondered, “What is this move for? How could I use it against an opponent?”. Traditionally, teachers in China have been reluctant to reveal applications to any but their most trusted disciples. Students are admonished to practice the form and not think about applications. Many students have practiced for years without being shown a single application. Students in the West are often not as patient. Many masters who give seminars outside of China have acceded to their Western students and begun showing a few applications here and there.

Those who practice for a long time will realize the wisdom of the traditional teaching method.
While it is a good mental exercise to try and discern applications, one should not focus on them to the detriment of form practice. Focusing on what you think may be application of a movement  can actually change the way you practice that movement. In the long run, this will hinder your progress. One should never alter the performance of a movement in order to conform to some preconceived notion of what the application may be.

Rushing to learn an application can also be extremely frustrating. Even after being shown an application in detail, most beginners will be unable to apply it effectively. This is because their practice of the routines, especially the foundation exercises, is not at a high enough level. However, being shown a technique and then being unable to apply it is a good way to demonstrate the importance of perfecting the Silk Reeling principles and taolu movements. This was my experience while in Chenjiaguo. After much pleading, our teacher agreed to show us one application. He applied it everyone in the class causing all of us to yelp in pain. Whet it was our turn however, none of us could make it work. I realize now that this was because none of us had reached a high enough level of training (gongfu).

Guideline #1: There are both obvious and hidden applications.
In order not to hinder the Qi development, the form should be practiced according to the principles and one should not place a limit on each movement by focusing on a particular application. Every movement has many possible applications. Considering each a part of a circle, one realizes that all points on the circle can represent a particular application., depending on the situation. One should learn the method, not its manifestation. (Chen, Zhenglei, 1999)

Make no mistake, the applications in Chen Taijiquan, are purposely hidden in the empty hand routines (taolu). This practice is universal in Chinese martial arts. In China, knowledge has always been power so the secrets of a martial art were jealously guarded. Moreover, there was very little privacy in ancient China, so martial arts masters had to devise ways to practice in public yet still retain their secrets. Therefore, they developed empty hand routines which contained fighting techniques hidden in plain sight.

Some applications are rather obvious, such as the uppercut and knee strike in Buddha’s Attendant Pounds the Mortar. However, it is a mistake to believe that the obvious applications are the only ones contained in the movement. Most movements have additional “hidden” applications that are only revealed once the student has truly mastered the movement and thoroughly understands and applies the principles of Chen Taijiquan.

Sometimes there are quite a few applications for given movement, sometimes there is only one primary application. For more complicated movements such as the above mentioned Buddha’s Attendant, there are applications for many of it’s constituent parts. One master has demonstrated as many as fourteen individual applications in the Buddha’s Attendant alone. On the other hand, relatively “simple” movements like Lazily Tying Clothes has one primary application for the complete movement which is not at all obvious.

One should always try to look beyond the obvious applications. Examining a movement more deeply while properly applying Chen Taijiquan principles can often yield surprising results.

Guideline #2: An application only works if done exactly like the form.
However, Chen Style is characterized by it’s external movements, which are much more intentional for martial arts purposes. By this I mean the movements are exactly as you would use in martial art application.

You do not have to move your hands slightly higher or lower; your hand shapes, your finger shapes and your body can be used just exactly as in many martial arts practices. It also contains many force delivering movements (fajin). Peter Wu, Tai Ji Magazine, August 1995

For an application to work correctly, it must be performed exactly like the taolu posture. If you have to vary the movement to make the application work, it is probably not correct. For example, the application of High Pat on Horse must be performed exactly like the taolu movement including the step up and back, pivot and even the finishing posture with the left knee turned outward. When done properly, everything falls into place and it works effortlessly. If an application requires such a major alteration that it no longer resembles the original posture, chances are that it is not correct. Forcing a posture to fit a certain scenario is like forcing a round peg into a square hole. You have to keep an open mind when deciphering a movement- the application is what it is, not what you want it to be.

Guideline #3: Movements are repeated for a reason and the application is different for each one.
“Look to the principle behind the movement.”

Movements that are repeated are done so for a reason. Six Sealing, Four Closings is performed several times at different parts of  the routine. Each time it is performed a little differently. Why? Because each variation deals with a different angle of attack. For example, one application is from a stationary position with the right foot and hand towards the opponent. Another variation sweeps to the left while stepping forward with the right foot. Yet another variation applies a qinna lock on the right side with the left foot forward and then steps forward with the right foot to finish. Though each variation ends with a push (an) it is a mistake to think that this means they are all the same. One needs to look closely at each repetition of a movement to see it’s unique qualities.

Other movements are repeated several times in sequence. Transporting Hands and Flip and Whirl the Forearms are repeated because they counter for both right and left hand attacks depending on which side is forward. It is helpful to remember while learning and practicing the taolu that everything is done for a reason and there are no empty or transitional movements. This is part of the genius to be found in the construction of the Chen Taijiquan routines.

Guideline #4: Applications must work from an attack.
Most applications will be in response to right side punches and kicks  In China, as in the West, there has always been a bias against left-handedness (in the West, the left side was called “sinister” which still has a negative connotation today ). Most martial arts begin with right sided attacks (just as Bruce Lee later advocated). Therefore to begin deciphering a movement’s application, it is best to start with responses to right side attacks. If an application works against a right handed attack then it is probably correct. From there, see if can also be applied against left side attacks. Some applications work equally well against both right and left attacks. If an application absolutely will not work against a right side attack, you can begin to explore it’s effectiveness against a left side attack. However if appears a technique will only work against an initial left side attack, it is best to explore further. A prime example is Six Sealings, Four Closings. At first it seems that it only works against a straight left punch. Unfortunately, this usually results in the defender pulling and dragging the opponent’s arm without really controlling them. Unable to make the initial contact work, many skip right to the obvious technique, the push. This is wrong. Six Sealings, Four Closings is designed to counter a right hand punch. Used with proper Silk Reeling energy, the initial downward movement (cai) is effortless and leaves the opponent unable to attack further (sealing the six means of attack - hands, feet, elbows, knees, shoulders, hips) or escape (closing the four directions). The lock is so effective that the push is almost unnecessary. However if the opponent is pushed, they have no way to fall safely and are likely to be injured. Add to this energy release (fali) during the push and the counter becomes devastating. Therefore remember, the easy answer is not always the correct answer.

A few applications are designed to counter a right side attack followed immediately by a left side attack but not many. There are also kick defenses. Most are designed to counter  low level kicks as Chinese martial arts have always understood the impracticality of high kicks. Although the Chen Taijiquan routine contains kicks that appear to be aimed at head level these are used to develop flexibility, speed and strength. In combat,  the kicks in Chen are delivered below the waist and some are not actually kicks at all.

Guideline #5: The beginning of a movement’s application begins where the previous movement ends.
Looking at the beginning posture of one movement (ending posture of the previous movement) can give you some clues as to what type of attack it is designed to counter. The application for Six Sealings, Four Closings begins with the final position of Lazily Tying Clothes. It is here that the right hand (the guiding hand) makes contact with an incoming right hand punch and begins guiding it downward to the left hand (the attacking hand). This is the beginning of the counter which ends when the opponent is incapacitated. Six Sealings ends/Single Whip begins with both hands extended in a push. The obvious attack is not a punch or kick but a double wrist grab. In this scenario the counter is devastating. However, trying to use Single Whip against a punch or kick will not yield the same results. By the same token, most applications are not defenses against grabs. If a posture begins with a parry and you can only make it work from a grab, it is probably not correct. Additionally, if one has to begin from a position different from the end point of the previous movement, the application is probably not correct. 

Guideline #6: Each Movement is Complete in Itself. 
Movements in the routine are not designed to be linked together. The application of one movement is not connected to the following or previous movement. One cannot combine Lazily Tying Clothes and Six Sealings, Four Closings as a single application. Each movement has it’s own beginning and end and they are not designed to be combined. The often told tale of a routine being designed to fight multiple opponents is a myth. The applications of the routine’s movements are designed to counter a single attack. Once the practitioner has mastered Silk Reeling energy, Push Hands sensitivity, and applications, he or she is better equipped to handle multiple opponents but this is not what the routines are designed for.

Guideline #7:Proper timing of the movement  is essential. 
In Lazily Tying Clothes, the movement begins from the ending position of Buddha’s Attendant with both hands at the waist. From this position, the right hand (the guiding hand) sweeps in a clockwise circle to contact the incoming punch while stepping to the right. It is essential that the right step be completed at the exact moment the punch is handed over to the “attacking hand”, in this case the left. If the step is not completed then the opponent’s leg is not blocked leaving the defender open to a follow up left handed attack. However with the opponent’s leg blocked and the attacking hand utilizing Silk Reeling energy, it is easy to pull the opponent forwards and off balance. The right hand then sweeps across to the rear of the opponent’s right shoulder for the throw. Without the proper timing of the right hand and foot, the application will not work.

Guideline #8: Applications should be effortless 
Only proper use of Silk Reeling Energy (chansijin) will make an application work properly.
When used correctly, the application will feel effortless. Most beginners cannot make applications work, especially effortlessly, because they have not mastered chansijin. If you have to pull, jerk or wrestle with the opponent, chansijin is not being properly applied. Done correctly, the application feels like you have done nothing yet the opponent flies across the room. After such an event, it is even common to ask your partner if they are faking because you feel like you have done nothing at all. Having been on the receiving end of a properly executed application, I can assure you that the result is genuine. I have been tossed across the gym by my apprentice who is less than half my weight. She didn’t feel like she had done anything yet there was nothing I could have done to stay on my feet.

Guideline #9: Correct applications should not depend on fajin.
 Making a counter work slowly and effortlessly is the proof of a properly deciphered application. A counter-attack can be enhanced by releasing energy (fajin) but should not depend on it. If an application can be successfully done slowly, it can be done quickly. The key is proper positioning, not force. If an application is properly applied, there is nothing the opponent can do to escape. Chen Taijiquan stresses the concepts of softness, relaxation, proper posture and the spiraling motion of Qi. These qualities are necessary for success. Relying only on fajin alone makes Chen no different from an external style like Shaolin. Obviously kicks and punches should be performed with fajin as doing them slowly all the time is counter productive. Of course fajin practice is very important and that every movement in the taolu can be practiced with a release of energy. Solo form practice provides a safe way to develop and apply explosive energy. Many of the applications can be very dangerous, even when done slowly. Sometimes the risk is so great that one should not complete the movement because there is no way one’s partner to fall correctly. Practice slowly at first. If one’s partner knows how to fall and  how to protect themselves by cooperating, then you can slowly start adding in fajin. Correct applications can make use of energy release but they should not be dependant on it. If an application requires muscle, speed or explosive energy to work, it is probably not being performed correctly.

Guideline #10: Pushing Hands does not teach applications.
Pushing Hands is not the be all and end all of Chen applications. It is only a drill albeit an essential one. It teaches the vital skills of “listening” and “sticking” and  requires a great deal of time and practice to master. It also allows one to practice the first four “Energies” - peng, lu, ji, an - against an opponent. The higher levels of Chen Taijiquan Pushing Hands; Ding Bu (fixed step) Huang Bu (single backward/forward step), Da Lu (moving step, deep stance), Luang Cai Hua (free step, double handed) and San Tui (free pushing) greatly increase the ability to apply applications properly. These exercises help to instill the principles of relaxed power. Although there are many uprooting and throwing techniques possible in Pushing Hands practice its purpose is not to defeat your opponent (or to stroke your own ego) but to reveal any weaknesses in your gongfu. Once the weakness detected, one returns to the taolu to correct it. Then one returns to Pushing Hands to confirm the correction. When another flaw is discerned, one returns to the routine and so on. This practice ultimately increases ones combat skill. It also demonstrates the balance of Yin and Yang which is the core of Chen Taijiquan. No one practice is more important than another. One should not practice Push Hands to the exclusion of the taolu. As my Filipino Martial Arts teacher used to say: “Learn the drill. Master the drill. Forget the drill”. The goal of Chen Taijiquan is to be spontaneous and natural during combat. Pushing Hands is only one component of that journey.

While there are many unbalancing and throwing techniques in Push Hands, these are more a demonstration of principles than actual applications of taolu movements. When attempting to decipher applications it is my belief that if an application will only work  from Pushing Hands position, it is probably not correct. This is what I call “cheating” It is very doubtful that anyone will ever attack you with their arms bent in front of their chest and allow you to place both of your hands on one of their arms. In actual combat, you may come in contact with the opponent’s punch or kick for a fraction of a second. At that point the qualities of sensitivity and relaxation as well as the 8 Energies learned in Pushing Hands become invaluable. Pushing Hands should be viewed as method to increase the effectiveness of applications but it does not teach the applications of the individual movements. 

One Step on the Journey
Deciphering individual applications is only the one step towards mastering the martial side of the Chen Taijiquan system. Once you have deciphered the individual applications, the next step is to group them together by the attack. For example, there are many counters to punches, kicks, grabs and pushes. However, the angle, height and direction of the attack can vary significantly. In such cases, having only one response is going to be insufficient. It is important to understand that varying angles of attack will affect the response.  For example, a chest high right hand punch can be successfully directed “into emptiness” using the basic hand position and weight shift found in “Buddha’s Attendant Pounds the Mortar”. However, what if that incoming punch is directed low, or is a hook punch or uppercut? Each different angle of attack must be met by different technique. One response will not work against all situations. There is no one-size-fits all response. At this point you must use the application that is most appropriate.

Chen Taijiquan is based on Daoist philosophy. The goal in Daoism is to return to a state of naturalness or spontaneity. The same is true of Chen Taijiquan. With many years of dedicated practice, one hopes to reach the state of Taiji;  the Grand Ultimate (also known as the One). At this stage, Chen Taijiquan becomes completely natural and spontaneous. After a while, rather than using an entire taolu movement to counter an attack, one is able to use Taijiquan principles to defeat it. At this point, the counter becomes so spontaneous and natural that it is difficult to tell which posture is being used. “First you find the application in the movements and then you find the movements in the applications.”

Conclusion
I hope these guidelines will be of some help to you as you continue your journey into the mysteries of Chen Taijiquan. I have constructed them to the best of my ability based on what I have discovered so far. Over time, with more practice and experience, these guidelines may be changed, refined or even expanded. If the reader can provide further insights or should disagree with the content, I would be happy to enter into a constructive dialogue. Please contact me at xilin.martial.arts@gmail.com

Pekiti-Tirsia Kali: Finding My Destiny

I was born in Los Angles, but grew up in Winston-Salem, North Carolina. It was there at the age of 14 a friend and I saw the movie “Billy Jack” and were bitten by the martial arts bug. There was only one martial arts school in town, the Kim School of Tae Kwon Do. My friend, whose father was a doctor, started classes immediately. Coming from a family with three siblings and one working parent, I didn’t have money for Tae Kwon Do classes. I mowed lawns for cash all summer and was able to start taking classes a month or two later. I had to wear a borrowed judo gi for class until I got a real karate gi for Christmas. Unfortunately, about three months into my training, Autumn arrived and the grass stopped growing. I had only been studying for a few months and didn’t want to give it up. I talked to my instructor who talked to the Grand Master and we worked out a deal; I would sweep the studio floor every night and mop it once month. I jumped at the opportunity and attended about 3 classes a week for the next four years.

I have always been more attracted to the exotic than the familiar. Most of the magazines at the time dealt strictly with Japanese and Korean martial arts. There was the occasional article about Kung Fu, Muay Thai, Krabi-Krabong,  Penjak-Silat or once, Borneo Headhunters. I’d also always liked weaponry but (at the time) there were no weapons taught in Tae Kwon Do. There was no place in my Southern town to learn any exotic martial arts.  Even though I eventually got my Black Belt in Tae Kwon Do, I knew I was not very good at it. Over the following years I tried whatever martial arts I could find; Okinawan Karate, Japanese Jiu-Jitsu and Aikido. I went to every exotic martial arts seminar I could find. I enjoyed all of them and found the experiences valuable but I kept searching the martial art that was right for me.

I remember the first time I learned about Filipino stick fighting, which is known interchangeably  as Kali, Arnis,  Escrima or broadly as FMA. As early as 1977 I had found an issue of Official Karate featuring (now Grand Tuhon) Leo T. Gaje Jr, on the cover. I didn't really understand what Arnis was all about but I remember that I kept the magazine for a long time and looked at the article frequently.

Years later I found a magazine article covering FMA. The piece was on an art called Modern Arnis. It pictured practitioners using sticks that were taped up or burned diagonally and looked like barber poles. Everyone wore modified karate gis with colored rank belts knotted on the left side. The stick work didn’t look too impressive. I believe the title of the article was something like “Modern Arnis: The Stick Fighting Art You Can learn in a Weekend.” I thought, if it’s something you can pick up that quickly, maybe I’ll be able to find a seminar one day. It didn’t look like it would be that hard to learn. I couldn’t have been more wrong.

In May of 1981, an issue of Inside Kung-Fu magazine featured Leo on the cover. The article was on an art called Pekiti-Tirsia Kali and it was far more impressive than what I had seen about Modern Arnis. The article focused on the knife fighting aspect of the system, a subject I had never before seen covered in a martial arts magazine. Most of the article covered the history and development of indigenous Filipino martial arts. The rest covered a little about Leo’s life and training and then gave a very basic outline of the knife system. There was only one technique shown in pictures but it was like nothing I had ever seen before. It would not be an exaggeration to say that the article had a huge impact on me. I still had a copy of it.

In the article, Leo was using the mysterious balisong or “butterfly” knife which was largely unknown in the United States at the time. Perhaps not so co-incidentally, an advertisement for domestically produced butterfly knives from a company called Bali-Song Knife Inc. (now Benchmade) accompanied the article. I bought one even though it cost over a hundred dollars, which was extremely expensive for a production knife at the time. I didn’t really know how to use the knife and it would be years before I would study Arnis and but, for some reason, I just had to have one..

Around 1982, while still living in North Carolina, I met a woman who lived in New York City. I made arrangements to visit her in Manhattan. I remembered the Inside Kung-Fu article had said that Tuhon Gaje was teaching in at a small studio in New York. Since this was a social visit, I didn’t have the time to run around looking for martial arts schools. I did however keep my eyes open for anything martial arts related. During the visit something happened, something that seemed very minor at the time, but which I now believe was an omen of things to come..

We were walking down Canal Street in lower Manhattan. It was a warm Saturday afternoon.  On the weekends the sidewalks of Canal are filled with people selling fake Cartier watches, electronics that somehow “fell off the truck”, pirated VHS movies and knock-off Gucci purses. The sidewalk was full of people slowly cruising the merchandise. It was so crowded that you could barely move without running into someone.

In the midst of all this, a man and a woman suddenly emerged from the crowd. They were wearing t-shirts with some sort of triangular logo on the left side. It was the kind of logo that looked like it might be martial arts related. I don’t know why but I had the impression that it had something to do with FMA.

I looked hard but couldn’t make out the logo clearly as they passed . When I turned to check the back of their shirts for a larger design, they had already disappeared into the crowd. I told myself that the incident probably meant nothing but it kept nagging at me. I really regretted not approaching them, but as a first timer in NYC I wasn’t sure what the reaction would have been.

After dating long distance for a couple of months, I decided to move to Manhattan to live with my girlfriend (huge mistake - another story). One of the first things I did was go looking for Leo Gaje. The Inside Kung-Fu article had he was teaching at a studio in Manhattan but gave no address. I had also read somewhere that he was teaching classes at the Philippine Consulate. As soon as I could, I went over to the consulate and asked about him. I was told that Leo no longer taught there and had moved to Texas. I got the distinct impression the information officer was rather happy to have gotten ridden of him. After I got to know more about Leo, I kind of understood why that was.

I was extremely disappointed and thought I had missed my only chance to study Pekiti-Tirsia. To console myself, I started visiting all the martial arts stores in Manhattan, marveling at the variety of equipment for sale, most of which I had only ever seen in magazines. In one store I found a copy of Dan Inosanto’s book, “The Filipino Martial Arts”. It was one of the only FMA books available in America at the time. It was very inspiring. The stories of the masters Dan had studied with were fascinating. The book showed some of the basic footwork and stick principles. I remember getting a broomstick and cutting it in half. I tried to teach myself some of the basic techniques in the book but, without a teacher, I didn’t get very far.

On a side note, I was later able to take a couple of seminars with Dan. He is a great guy, an excellent teacher and has an amazing amount of knowledge that he freely shares with anyone who asks.

During one of my expeditions to a martial arts store, I saw a flier posted on the bulletin board. It was for a Arnis class in Manhattan. I called the number and asked if I could attend a session. The very next night I found myself climbing the stairs to the second floor of a typical NYC walk-up. There were no signs anywhere to indicate martial arts were being taught there. At the end of the hall was a small studio .

In the room were a number of people gathered to begin class. The session began with footwork. After that the student practiced basic strikes using a single rattan stick. The class then progressed to everyone using two sticks, one in each hand. After practicing the basic patterns in the air, the group broke up into partners. They then began practicing the patterns again but this time aiming at their partners. The sound of the sticks clashing was deafening and I was amazed that no one got hurt. Switching to single sticks, they once again worked on partner drills, moving at speed I could barely believe. Everything they did was fast, smooth and powerful. Half way through the class I knew that this was something I wanted to be a part of.

Afterwards, I talked to the instructor, Tom Bisio. To my surprise, I found out that he was a first generation student of Leo Gaje and the system of Arnis he was teaching was Pekiti-Tirsia. I later learned that he was the first American to win a full-contact stick fighting tournament in the Philippines after only two years of training. Tom then introduced me to this then wife, Mia Wolff, who was also a student in the class.

 I signed up immediately. The beginning training was difficult. For the first three classes all I did was footwork barefoot on a hard wood floor. By the end of the week my feet were so blistered and my legs so sore that I could barely walk. I had thought that having a black belt in Tae Kwon Do and some other martial arts experience would help me learn faster. Perhaps in a weekend like he Modern Arnis article had promised. Instead, I learned that PTK was a complete martial arts system that took years to learn. My previous experience proved to be more of a hindrance than a help. For the first year I felt completely awkward and uncoordinated.

I soon realized that Pekiti-Tirsia was the martial art I had been looking for all my life. I couldn’t believe how lucky I was to have found a brilliant teacher like Tom and a Pekiti-Tirsia school that was just a couple of subway stops from where I lived. I went to every class I could. After becoming an Advanced Student, I attended seven classes a week, which included going to the beginning class in the evening and then staying for the advanced class, about 3 hours total. I also went to morning classes which often consisted of just Tom and me. For two years I rarely missed a class.

Because Tom is such an excellent teacher and I enjoyed the training so much, I continued to persevere and eventually overcame my awkwardness. I believe all the hard work and sacrifice was worth it. In PTK, I finally found the martial art that was right for me. I still have a lot to learn but I try to share what little knowledge I have with others. Pekiti-Tirsia is still rather rare, especially on the West coast and I feel lucky that I have found some enthusiastic and hard working students to practice it with me.

To this day, I firmly believe that the couple I saw walking on Canal Street was Tom and Mia. They lived nearby in Soho so it is entirely possible. I’ll never know for sure but I don’t think it was coincidence. I believe it was fate. From the moment I read that first magazine article, I believe I was destined to learn and teach Pekiti-Tirsia Kali.

What is Important in Chen Taijiquan and What is Not

When you see Chen Taijiquan practitioners demonstrating their form, whether in person or on video, one of the first things you will notice that almost all of them do parts of certain postures differently. That includes the 4 current Grandmasters (Chen Xiaowang, Chen Zhenglei, Zhu Tiancai, and Wang Xian). I discussed in a previous article why this was: personal expression, physical and psychological type, and so on. In this article, I want to explore another reason for this perceived difference between practitioners; simply that some aspects of a given posture are vitally important to perform properly and some, quite frankly are not. So just  how do you tell what is important when performing a movement and what isn’t?

The key to determining what is important and or not in a posture requires an understanding of the movement’s application. As most practitioners of Chen Taijiquan know, every posture has an application. There are no “transition” or “flowery” movements. To decipher and understand applications however, it is essential to have mastered the routine (taolu). When I asked my teachers in China about applications, they all said, “Concentrate on perfecting the routine  first”. I like to say “the truth of the application is found in the taolu”. The genius of Chen Wangting and succeeding generations is that the for an application to work, it must be done exactly like the posture in the taolu.

That being said, there are some parts of a posture that are not that critical. Many students, especially in the West believe that there is only one right way to do a movement and any variation is wrong. This contradicts the concept of Yin/Yang which is one of the foundations of Chen Taijiquan. According to Yin/Yang theory, something can partially Yin and Yang at the same time. Although the theory is vast and complicated, for the purposes of this article we simply  need to be understood that something can be both “correct” and “incorrect” simultaneously.

Such an example is “Six Sealings, Four Closings”. When bringing the left hand towards the right, some teach that the palm should be facing up, some facing down, and some that it should be facing inward. Which one is correct? It doesn’t matter. These variables all depend on the incoming attack. Against a shoulder height attack, it may be better to turn the palm upwards. Against a chest height attack, a palm inward position might be better. Against a low level attack, a palm down position is the only viable option. It also doesn’t matter the height of the hands when doing the push. Low, middle, high: all are valid depending on the position of the opponent. So which hand position should you practice when doing taolu? It really doesn’t matter. Pick one and stick with it. I show my students my preferred way of holding the left hand and height of the push but if they choose a different position, I don’t correct them. I show them the implications of each hand position and then let them decide which they prefer. Sometimes even I do them differently depending on what feels the most natural at the time. This could be confusing for the students but because they understand why the position may change, they have a lot more confidence that they are doing the movement correctly.

Grandmaster Chen Xiaoxing performing Six Sealings, Four Closings

What is vitally important in this case however is the movement of the left or attacking hand. It must use Reeling Silk to spirally twist the opponent’s hand while the right hand guides the elbow downward. Without the Reeling Silk energy you are going to be dragging the opponent’s arm downward which can be easily countered. With the proper application of Reeling Silk energy however, the unbalancing is almost effortless. Therefore there can be no compromise in the use of Reeling Silk energy. Unfortunately, most beginners have not gotten to the level where the use of the energy becomes instinctual. Therefore, more practice in the basic Reeling Silk exercises and the taolu forms are critical. This is what my teachers always said and I now finally understand why.

Other variations can be observed when watching videos of the four Grandmasters. One can be seen in “Single Whip”. When stepping out with his left leg, Grandmaster Chen Zhenglei shifts his weight all the way to his left before shifting it back to his right and then back to the left again in coordination with the left hand. This double weight shift is what I call “The Bump”. Grandmaster Chen Xiaowang does not do this.  As he steps left, his weight remains on his right until it shifts left with his left hand. This was the way I was trained to perform the movement. My apprentice, on the other hand, comes from GM Chen Zhenglei’s lineage and was taught “The Bump” from the beginning of her training. After many arguments, I finally realized that both were correct. It is my belief that the weight shift left is a kao or strike with the hip. The kao can be applied with “The Bump” or without. I believe that GM Chen Zhenglei has, for whatever reason, chosen to emphasize that movement while GM Chen Xiaowang prefers to leave it implied. Of course, without speaking to each of the Grandmasters we’ll never know for sure but based on my very limited knowledge, I believe both methods are equally valid. Therefore I no longer correct my apprentice when she does “The Bump” and we are all much happier. (Note; in a video from the early 1980's, GM Chen Xiaowang can be seen doing this variation. However, I have never seen another video of him performing “The Bump” so I feel confident performing it the way I remember being taught.)

So how are you supposed to deal with these apparent inconsistencies? It is impossible for a beginner to decide what part of a movement is vital and which is not and it is a great mistake to try and do so. There are so many levels of Chen Taijiquan that trying go too deep too soon will lead disappointment and frustration. As always, your teacher is your guide, provided of course that you are learning from a competent instructor. You must trust that your teacher will guide you step by step. Some teachers may not choose to discuss subjects like this with beginners, fearing that they will only confuse them. This is certainly valid. A beginner has enough to do simply learning to perform the movements in the proper order. You have to trust that your teacher has a deeper understanding of the art and will reveal things when they believe you are ready for them. Concentrate on learning the forms exactly as your teacher does them and don’t worry about possible future variations.

That being said, I personally like to give my students as much information as possible to enrich their knowledge, show them the depth of Chen Taijiquan. When I learn something new, I personally immerse myself in the subject and try to use all possible resources. I’d like to think my students do the same but in reality, most of them are quite happy to just follow along and not worry about the bigger picture. I know that I tend to over teach but  I believe that being aware that there are valid variations can relieve some of the anxiety that comes with learning the form while trying to do each movement perfectly. I also hope to plant seeds of knowledge that I hope will bloom when the student is ready. So while I encourage them to do their own research there is so much information available via the internet, that this can easily create more questions than it answers. I try to prepare them for what variations they might see; what performances are closest to what I teach, and what are straight up mistakes and/or frauds.

Of course, not all movements contain viable variations. For most they must be performed in the strictest possible manner. There a few movements however that are open to interpretation. It is useful for teachers to know what these may be so that students don’t become overly rigid either physically or mentally. After all, Chen Taijiquan is all about being natural and spontaneous. Knowing that occasionally there some movements that are legitimately variable can make for a more relaxed learning experience for both the teacher and student.