Saturday, September 28, 2013

Northern Praying Mantis

Northern Praying Mantis, Tang Lang Quan


One of my favorite styles of traditional Kung Fu is Northern Praying Mantis. It's a very powerful style that focuses on speed, power, and efficiency. It has several trapping and throwing techniques, and it also contains many strikes that are aimed at vulnerable areas such as the eyes.

Below is an awesome link to a video on Northern Praying Mantis that I found on youtube. Please enjoy ,and let me know what you think!



Wednesday, August 21, 2013

Training: Day of the Mantis


TRAINING:

DAY OF THE MANTIS

Preview:


I love Mantis (after all, "Mantis" is my martial arts moniker), and it's one of my favorite work outs.

The Mantis is offensive. It often opens its offense by intercepting and redirecting the enemy's attacks, then trapping them while beginning a crushing attack. The Mantis style uses elbows, knees, kicks, and punches, as well as a special strike called the Mantis Fist.

There are variations to the Mantis Fist. Essentially, raise your hand with all your fingers extended. Then, curl in your fingers, the last two curling to touch your palm, the middle finger pointing down, and the index finger pointing forward slightly down and mostly forward. The thumb then curls slightly and touches the bottom of your index finger's middle knuckle. Then, bend your entire hand down at the wrist. And, voila, you have formed the Mantis Fist. Some say it looks similar to a "beggar's hand," some say it looks similar to a hand holding a pencil or even chopsticks. To each their own. 

The Mantis Fist has various uses. It is used hook the body, strike targets with the fingers, and also smash foes with knuckles or the head of the wrist. It is not a beginner's fist, but it is handy.

Some practitioner's use the curl of the index finger as a hook. This is not my preferred method of hooking, because the index finger is too far away from your body and is a very small hooking surface. The manner in which I apply the Mantis Hook is to use the three last fingers as the primary hooking surface. When I do this, my index finger is relaxed to allow the hook to be more supple. This is simply my preference.


The following is my Mantis Work out.

Warmup:


Windmills: 

  • Mantis Fist Hook
Strikes: 

  • Mantis Fist Knuckle
  • Mantis Back Hand
  • Mantis Finger Strike
  • Mantis Wrist Cutter
  • Mantis Back Hammer
  • Mantis Swinging Hammer
  • Mantis Arm Sweep

Kicks: 

  • Hook Kick
  • Snap Kick
  • Roundhouse
  • Forward Foot Sweep
  • Forward Knee

Practice:


Routines: 

  • Mantis Hooks to punch
  • Mantis Hooks to Kick
  • Mantis Hook to cutter
  • Mantis Hammers
  • Mantis Hook to Low cutter
  • Mantis Hammer Sweep & Leg Sweep.

Conditioning:


Pushups:

  • Mantis Fist

Core:

  • Lifted knee sit ups

Finally, I finish practice with my Basic Mantis Fists Form.

Reflection:

This Mantis Fist inspired workout focuses on the trapping aspects of the Mantis Fist Styles. Using the Mantis Fist (Hook Hand), the routines in this workout are meant to perfect the ability to lock opponents' limbs and therefore control their bodies. The Hook Hand can trap intercept at the wrist, opening opportunities for the other arm to attack. Upon attacking, the hand can retract or catch, drawing the opponents closer in, which opens up close-range attacks such as elbows, knees, stomps, sweeps, and low kicks.

The Basic Mantis Fists Form is meant to teach some basic trapping skills, close range strikes, and to demonstrate different methods for using the Mantis Fist as a strike. The striking techniques generally fall under Mantis Fist Knuckle, Mantis Back Hammer, Mantis Swinging Hammer, Mantis Wrist Cutter, and Mantis Poke; and the hooking techniques focus on hooking with single outside hook, single cross hook, reverse single hook, double hook, and double cross hook.

Traditional Mantis Fist Styles (both Northern and Southern) emphasize close range combat. They utilize trapping, hooking, and close range methods. This work out seeks to emphasize those concepts as well. The style can be a crushing fist, but it can also be used to deal with opponents gently, particularly useful in certain situations.

I hope this has been a handy read. Again, this is one of my favorite work outs.

Enjoy :D

Monday, August 12, 2013

Training: Day of the Leopard

TRAINING:

DAY OF THE LEOPARD

Preview:


The Leopard style is about speed, agility, and brutality. It employs the leopard paw which is perfect for applying immediate pressure to soft targets. Hitting from odd angles and slipping through defense is key, as is the notion of simultaneous defense and offense. Combine with throws and sweeps to take advantage of momentary paralysis caused by the leopard paw strike.

The leopard paw strike goes as follows. 

  1. Extend your fingers and thumb straight forward with no space in between. 
  2. Curl your fingers and thumb at the middle knuckle (do not close the fist).
The end result is the leopard's paw. It can be used in the following ways.

  1. Use the middle knuckles of the fingers to hit vulnerable targets such as the ribs, muscles, or pressure points.
  2. Use the curled in fingers to claw or grip a target.

The leopard paw is most safely used off angles when your strike does not meet any oncoming force.  It is very useful as an uppercut and as a body strike. When used as a grip, it can be used to quickly grip and rake off skin, for example when grabbing an arm or an attacker's midsection.

Also in this workout, I've incorporated several basic throws and sweeps. The leopard paw can stun and grip, both of which can serve to initiate sweeps and throws. These throw are not necessarily part of Traditional Leopard Style, but I blend them into this workout.

The following is my Leopard Style inspired routine:


Warmup:


Windmills: 

  • Up and Down
    • Done with hand in Leopard Paw form

Strikes: 

  • Leopard Paw Strike
    • Vertical
    • Horizontal
    • Uppercut
    • From the side
    • Hook
    • Inverted

Leg Sweeps:

  • Outer Reap
  • Outside Foot Sweep
  • Inside Foot Sweep
  • Knee Wheel
  • Spinning Leg Sweep

Body Throws:

  • Body Drop
  • Hip Throw (Legs Together)
  • Hip Throw (Horse to Half-Horse)

Footwork: 

  • Knee Drop Step

Practice:                              


Drills: 

  • Leopard Paw 
    • Straight (Vertical and Horizontal)
    • Entering Hook (Forward and Reverse Step)
    • Side (Horizontal)
    • Uppercut
    • Entering Straight in Knee Drop
    • Entering Inverted in Knee Drop
  • Combinations to Throw
    • Entering Straight in Knee Drop to
      • Outside Foot Sweep
      • Inside Foot Sweep
      • Foot Sweep Combination
      • Hip Throw (Front and Rear)
      • Body Throw
    • Reverse Hook, Pivot to Vertical Straight, Reap
    • Step to Reap

Conditioning:


Arms: 

  • Triceps push-up
Core:

  • Bicycle sit-ups

Reflection:

              This workout focuses on quick evasive strikes, throws, and sweeps. The footwork uses the knee drop, a step that gets you low and in good position to hit the midsection and sweep. The incorporation of the knee drop also increases the workout for the legs. The mindset should be to avoid oncoming strikes and while striking simultaneously. Though the windmills are practiced, this set places a lesser emphasis on blocking. If anything, the non-striking hand will check or redirect oncoming attacks, gripping when throws are to be implemented, and only blocking an attack that slips evasive maneuvers. That said, the Leopard Paw can also be used effectively in tandem with a block. However, the position is such that the block and the Leopard Paw Strike will be simultaneous. This means that the practitioner is attacking and defending at the same time, which does fall in line with the principles of this set. That said, positioning is key in the application of these techniques. Evasion takes priority to blocking, and all movements emphasize offense even when coupled with defensive maneuvers. 



Saturday, August 10, 2013

Training: Day of the Eagle


TRAINING:

DAY OF THE EAGLE

Preview:


Eagle: Fierce and Agile, Cunning and Quick, Light as a Feather, Sharp as a Knife...


One of the techniques that I have learned in San Soo is the Eagle Claw. The principles of the Eagle Claw serve as the inspiration for this set.

The Eagle Claw strike has two general variations. One is a three finger claw that uses the thumb, index finger, and middle finger to grip or tear. The other is like a palm strike with the fingers curled in, also used to grip or tear. This set incorporates both, to grip and to tear or rake. However, the Chin Na or leverage/lock applications of Eagle Claw Kung Fu are not present in this set. This is mostly a striking set.

I also used the Eagle as inspiration to incorporated the use of chopping motions and wide arm movements similar to Pi Qua Quan offensively/defensively and to increase shoulder flexibility. I've also incorporated the Falling Stance/Flat Stance to build leg strength and flexibility and applied as both a defensive and offensive motion.

In short, this is one of several workouts that I've composed inspired by different styles (namely animal styles) to build on different strategies and principles extant in the Art which I study. Overall, the Day of the Eagle work-out encompasses the use of the Eagle Claw Strikes, and it also focuses on the effective use of wide, winding strikes and the falling/flat stance as a defensive and offensive position.

Warmup:


Windmills:

  • Open hand, fingers slightly curled (Eagle Claw)

Strikes:

  • Inside rake
  • Outside chop
  • Eagle Claw Strike

Kicks:

  • Heel kick (straight leg)

Arm Motions:

  • Wide Arm Chop
  • Wide Windmills Down
  • Wide Windmills Up
  • Wind Windmills Mixed
  • Sweeping Arms


Stances:

  • Falling Stance to Squat
  • Falling Stance to Half-Horse to Center (Repeat)
  • Winding Windmills to Falling Stance

Practice: 


Arm Strike Drills

  • Outside Rake: Half Horse. Lead arm cross check. Rear arm rake.
  • Outside Chop: Half Horse. Lead arm cross check. Rear arm outside chop.
  • Outside Rake to Outside Chop (Pivot Optional)
  • Circling Windmill Downward Chop: Half Horse. Lead arm cross check. Rear arm up up windmill. Pivot half horse. Rear arm (formerly lead) down windmill chop. 
  • Eagle Claw Strike: Half Horse. Lead arm cross check. Eagle claw strike.

Leg Technique Drills


  • Falling Stance Jam
  • Falling Stance Jam to Sweeping Arm
  • Falling Stance to Double Palm Thrust

Gripping Drills

  • Grip To Face (Eyes/Chin or Nose/Chin)
  • Grip To Elbow
  • Grip To Shoulder
  • Grip To Pec
  • Elbow on Shoulder Lock (Foe's elbow on your shoulder)
  • Spinning Wrist+Shoulder Lock (Spin under arm. Foe's wrist ends up locked in front).

Conditioning:


Pushups:

  • Palm, Narrow position

Core:

  • Supermans

Reflection:

Just a taste of my animal style inspired work outs. These styles help me focus on training and working my whole body. Different animal, different style, and different day, but all falling under unifying purpose and unifying principles.

The Eagle Claw is not exactly for beginners. The cross block/strike principles require an investment of practice and timing. The Falling Stance Squat takes flexibility. Furthermore, the effectiveness of the Three-Finger Claw as a grip must be well-practiced and conditioned in order to be effective and painful. Nevertheless, the majority of the raking strikes are immediately effective, and should not be practiced without professional supervision. 



Friday, August 9, 2013

Personal Workouts

Personal Workouts: 

Expression of Animal Styles within San Soo


I am a practitioner of Tsoi Li Hoi Fut Hung Gar, more commonly known as Kung Fu San Soo. It is a Five-Family system that incorporates the strikes, stances, and fighting applications of several Chinese Kung Fu styles under a single, unified style. The term San Soo, a variation of the word San Shou, means "free form" and it emphasizes the versatility and applicability of the system. San Soo has many principles which, when understood, lend themselves to variation. The principles of San Soo are solid, but it is the solidity of these principles that makes the art flexible enough to fit any individual. Myself, I am a proponent of the different, which is why I seek to vary my expression of the art in as many ways as possible.

For example, I am very intrigued by the animal styles of Kung Fu. Though San Soo is not considered an animal style, the art incorporates many principles found in the animal styles. Therefore, I like to practice those principles to enhance my San Soo and I do so by dividing my training into different days which incorporate different elements of the art of San Soo. I pair each group of elements to one of the animals. For example, on the Day of the Leopard, I work my use of the Leopard Paw strike, and I work on quick lateral use of the horse, whereas on the Day of the Tiger, I work on the use of the Tiger Claw strike, and more direct, full-power applications of the horses.

I will be posting some of my workouts to share and to help me write down and record my progress in my understanding of the art.

Monday, July 22, 2013

History of Fragmentation and Reunification

History of Fragmentation and Reunification


In "Shaolin Long Fist Kung Fu," by Yang Jwing-Ming, there is a section that gives a brief historical account of Shaolin Kung Fu, and Kung Fu in general. There is a pattern in the history of the art where, basically, because of the effects of war and politics, the art was created/perfected, then fragmented, then recreated/reperfected, then unified, and so on.

The book contends that many of the diverse styles of Kung Fu are actually the reperfections of old Shaolin Kung Fu, where different practitioners, who had different specialties in the complete Shaolin system, would escape persecution or war by going into hiding, then perfect and teach their "specialized" understanding of the Shaolin system, basically splintering the system into different subsystems that would later become their own styles, such as Tai Chi, Tan Twe, Changquan, and Pa Gua. Later on these arts would be reunified (prior to WWII) then splintered again, then reunified again.

Similar history can be seen in systems like Hwarangdo in Korea and Aiki Daito Ryu Jujutsu, which were splintered into Taekwondo/Hapkido and Aikido/Jujutsu respectively. Also the fact that Chinese Martial Arts were taken to Japan and eventually became Karate, which itself has many variations, is also part of this effect.

I wonder if this history is beneficial or detrimental to the preservation of the art. Many times when the fragmentation happens, it seems things can be lost. But when one art becomes two, the specialties of each side can perhaps be perfected further, which, when recombined, would lead to an improved art. This seems to be the case with the history of Ba ji Quan and Pi Gua Zhang which share a common history but are now separate arts, which, when combined, create a complimentary and powerful system.

More than anything, it seems that the moments in history when the arts and their practitioners are persecuted are the most detrimental. Who knows what knowledge was lost? Be that as it may, we can't tell what the martial arts would be today had such events never taken place?

Mixed Martial Arts is a modern phenomena which reflects this too. Mixed Martial Arts takes arts at an international level, combining western boxing and wrestling with jujutsu, karate, and muay thai techniques. Interestingly, MMA has filtered out a lot from the arts it takes from, keeping mostly what is best proven within the competitive context of MMA, though it cannot go unsaid that many MMA schools do teach techniques that are considered "self-defense only" because of their ability to quickly cause lasting and immediate injury.  In all though, the rise of Mixed Martial Arts does demonstrate an example of how the techniques of various specialized arts can be combined into a single more effective/well-rounded system. In this way, MMA is a modern example of a pattern that has pervaded throughout martial arts history.

One can hardly expect that the cycle will stop, although it is a lot easier to preserve knowledge nowadays. Hopefully, the future of Martial Arts has something even more exciting in store...


Thursday, June 27, 2013

The Effectiveness of a Fighter

The Effectiveness of a Fighter

(This essay is very brief and lacking in detail and is more than anything a personal reflection using my humbly limited knowledge and the information I have read thus far in the book Hsing Yi Chuan: Theory and Applications, Analysis of Fighting Tactics and Spirit.")

        In Chapter 1 of Hsing Yi Chuan Theory and Applications, the authors write about the difference between internal and external styles in the Martial Arts. Within this discussion, they mention the three most important factors that decide a fight: speed, power, and technique. They contend that speed is the most important, then power, then technique, and that the innate difference between Internal and External arts is that Internal arts acquire these by starting with the internal (Qi building) aspect and that External arts acquire these by starting with the external (Muscular/Physical) aspect. In the end, both External and Internal should meet, where the External trains the internal later and the Internal trains the external later on. Neither art is devoid of either aspect; it is more a matter of emphasis.

The idea of an ability hierarchy is pretty simple to understand, and I find it to be generally true. However, I wonder the degree to which they are true? For example, a weaker opponent using better techniques can stand to defeat a stronger opponent who lacks a true understanding of skill. On the other hand, a very skilled practitioner who is slow and weak will probably be beaten by one who is generally powerful and fast, and has a good understanding of a few decent skills.

I suppose this argument isn’t so important if one consciously trains all three aspects. Nevertheless, I feel too that depending on the individual, certain aspects may be trained more or less to make up for inability or difficulty. For example, I myself am not very quick, particularly in terms of my reflexes. I will never be amongst the strongest fighters. However, to defend myself, I feel most comfortable using techniques that flow in such a way to "build speed or quickness" into the technique, and also techniques that acquire power due to positional advantage, exploiting basic weaknesses in the human body that cannot be easily trained away with (i.e. attacks to the knees, attacks that take an opponents balance, attacks to the eyes/ears/hands). Of course there are many roads one can take, though, in the end, clearly, the BEST fighters need speed, power, and technique. I guess I'm just saying technique is to ME most important; after all, that's one reason why there are so many different styles of martial arts.

Afterwards, Chapter 1 explains the major and subtle differences between the four major Chinese Internal Martial Arts: Tai Chi Chuan, Hsing Yi Chuan, Ba Kua Chang, and Liu Ho Ba Fa. Basically, Tai Chi Chuan is defensive, hits like a whip with rounded movements at a short and middle range. Hsing Yi Chuan is more offensive, attacking with explosive strikes using linear back and forth motions at a short range. Ba Kua Chang is circular, equally defensive and offensive, with a focus on making an opponent lose balance, and it is effective at all ranges. Liu Ho Ba Fa is basically explained as the first three combined.

Liu Ho Ba Fa is it’s own system, but it uses the principles of the other three arts. Truly, it would seem ideal to learn a system that encompasses three other systems (like MMA). However, Tai Chi Chuan, Hsing Yi Chuan, and Ba Kua Chang are all so involved and apparently difficult to learn properly without a good master that it might be difficult to learn a system that combines all three while staying true to all the principles of each. All of these arts are very theory based and based on different ways of increasing an individuals Qi, and they each approach Qi building in different ways. 

          In MMA, you combine techniques to create a more effective fighting art. Today, if one were to combine only the “techniques,” not the internal aspects, of these three arts one may produce an effective art, but it’d be lacking the internal element, and thus such an art would only be a superficial adaptation of a deeper systems. 

        The book addresses part of this notion; the internal arts are more difficult and slow to learn and apply than the external systems. However, I have yet to see Internal Martial Arts practitioners demonstrate the effectiveness of Internal Arts in actual combat or even competitive fighting. I wonder how effective the external aspect of the Internal Arts is in applied combat. After all, competitive martial arts are proven to have very effective techniques, and they seem almost 100% external. Perhaps, I must ask if they lack the internal aspect? I don't know the answer. And then there are those videos of Old Masters shocking people that touch them, but that’s another conversation altogether....

      All in all, the next book I'm reading, "Hsing Yi Chuan: Theory and Applications, Analysis of Fighting Tactics and Spirit" is extremely interesting, very well put together, and full of super amazing information. I look forward to learning more! The authors, Master Liang Shou-Yu and Dr. Yang Jwing-Ming are amongst the most amazing of Martial Artists! I hope to answer many of the questions I have by finishing the rest of this book! I am grateful to them for writing it and sharing their vast and extensive knowledge.

Sunday, June 16, 2013

An She Pao Quan: Xing Yi Quan's "Stable Body Pounding"

Xing Yi Quan's "Stable Body Pounding"

An Shen Pao Quan

This is another two man set from Xing Yi Quan. Unlike the Five Element Destructive Creative Fist Set, An Shen Pao Quan incorporates not only the Five Element Fists but also movements from the 12 Animal Forms.

Similar to the Za Shi Chui, this chapter in the book emphasizes the proper development of Qi in the body. It emphasizes the progression of "boxing without boxing, to master boxing without intention, and that the real idea exists in "no mood" (p.286).

Below are videos of practitioners performing An Shen Pao Quan.





Friday, June 14, 2013

Za Shi Chui "Mixed Forms Beating"

Za Shi Chui

"Mixed Forms Beating"



This is one of the individual forms in the book Xing Yi Quan Shue: A Study of Form Mind Boxing. It is basically a combination of the 5-Elemental Fists and the 12 Animal Forms. 

This is a personal development form, but it's not only for the physical. Like the other internal arts, Baguazhang and Tai Chi Chuan, this form is meant to help cultivate a healthy Qi. The positions of the body can be taught through pictures to a limited degree, but this is not so easy for the internal aspects of the art, which are generally more esoteric and clearly more difficult to express on paper or check for individually. For this reason, it is absolutely necessary to have a qualified instructor in order to practice Xing Yi Quan effectively. 

The forms in Xing Yi Quan are very linear, which reflect both its direct and straightforward manner and also its strategy of attack. I think you will enjoy this. My next step will be to find a Xing Yi Teacher to learn more about this art and to learn it properly.

Below is an example of the Za Shi Chui form being performed.


Below are links to awesome examples of Za Shi Chui being performed.

Thursday, June 13, 2013

Monday, June 10, 2013

XING YI QUAN 12 ANIMALS

BEAR FORM: XIONG XING


The Bear form is usually linked with the Eagle form as their sets and their effects on the Qi are seen as complimentary, just as is true for the Dragon and Tiger sets. Therefore, it was difficult to search for information regarding the Bear Form without it being performed in tandem with the Eagle form.

Essentially, the Bear motion is a drilling fist performed off of the rear hand in a low stance, then moving into the Eagle form then alternating.

Below are some examples of the Bear Form being practiced.





Sunday, June 9, 2013

XING YI QUAN 12 ANIMALS

EAGLE FORM: YING XING



The proper practice of the Eagle Form helps strengthen the brain and make the vision more acute. 

The boxing method of the Eagle is almost the same as Pi Quan, or splitting fist, except that instead of palms, the hands are in a claw position and are used to trap the opponent.

Below are some examples of the Eagle Form being performed.


Here's a link to a good video demonstrating the Xing Yi Quan Eagle Form.




Saturday, June 8, 2013

THINKING APPLICATION



Just some notes on the 5-Element Fists which seem to form the basic strikes of Xing Yi. I only know about the hand techniques of Xing Yi but these are some of my thoughts about how some of these may be applied based on my research and understanding of these techniques. Amateur, but thinking nonetheless. Comments very welcome.







XING YI QUAN'S 12 ANIMALS
TAI BIRD FORM: TAI XING



I'm going to be honest, I'm not sure what the Tai Bird form refers to. Some say it's a mythical bird ("Tai Bird") akin to the Phoenix. Some say it is the Chinese Phoenix. Some say it is the Chinese Ostrich.

Sun Lu Tang mentions that this creature can fly and that its wings can break through objects with power. I think it's safe to say this is one of the mythical Chinese birds. 

Either way, the Tai Bird Form is supposed to strengthen the liver and lungs, empty the chest, solidify the belly, and open the shoulders and feet.

The motions are relatively straightforward in appearance. 

  • Beginning Form: From Santishi, step forward with the left foot, crossing the left foot into a T-position outwards. Bring the arms in and down towards the belly. 
  • Advancing Form: Step up with the right and bring the arms to the sides of the body, hands still in a fist.
  • Advancing Form: Step forward with the left into a short stance and extend both arms with the heart of the fists facing upwards.
  • Changing Form: Step up to the left with the right and repeat the Advancing Form on the opposite side.
Below is an example of the Tai Bird form being practiced. This one was not as easy to find as some of the others, perhaps due to the translation issue of the name for the creature itself...


XING YI QUAN 12 ANIMALS

SNAKE FORM: SHE XING


The snake is "maneuverable." A very traditional creature in Chinese Fighting Arts, Xing Yi's Snake Form has two primary properties.

Internally, it is referred to as the "rubbing of the Yin and Yang" and it can spread the Yang correctly throughout the body. It also activates the waist for flexibility.

In terms of the boxing, the snake has the following motions.

  • Beginning Form: From Santishi, pad step forward with the left and drop the right hand down across the body, heart of the palm facing up. The left hand comes up in front of the body and hooks across the right shoulder, palm up.
  • Advancing Form: Step with the right foot to the left shin without touching it on the ground, then extend the right leg out into a low stance. Lower right arm along the right leg and pull back the left arm to the side.
  • Changing Form: Step with the left and mirror the Advancing Form.
  • Turning Form: After the right Advancing Form, turn over as in the Sparrowhawk Form, but with the legs in an oblique angle.
  • Repeat Beginning Form then the rest until finishing.
Below are some examples of Xing Yi Quan Snake Form, She Xing.




Awesome link for another video.
http://www.youtube.com/watch?v=Ks0mJc7iyIo

Friday, June 7, 2013

XING YI QUAN 12 ANIMALS

SWALLOW FORM: YAN XING

The swallow, one of my favorite birds, is absolutely awesome to watch as it flies. Sun Lu Tang refers to it as "the most flexible of birds. It has the special way of taking the water." 



The swallow form is similar to the rooster form in many respects, sharing at least two of its movements.


  • Beginning Form: From Santishi move to "Golden cock shaking the feathers."
  • Drawing Water Form: 
    • Turn the body sideways into a low stance, the left leg leading along with the left arm. The right arm is drawn back to the side.
    • Turn the body left, into a left-leg leading stance, the right heel off the ground slightly. The arms cross in front of the body, left over right.
    • The right foot steps up to the left as the right fist and left fist open out to their respective sides.
  • Golden Cock Pecking Rice
  • Pi Quan
  • Golden Cock Shaking Feathers
  • Close
Below are some examples of the Swallow Form. Definitely the final movement of the Drawing Water Form is present in each.







Sunday, June 2, 2013

XING YI QUAN TWELVE ANIMALS

SPARROW HAWK FORM: YAO XING


Yao Xing, the Sparrow Hawk, emphasizes the drawing in of the wings (shrinking), penetrating, and turning over (p. 198). Imagine a hawk diving at full speed. The wings are pulled in. This is the emphasis in the Sparrow Hawk form. 

In terms of chi manipulation, the Sparrow Hawk works with the "prenatal Qi" and makes it collect in the center "Dan Tien." It allows the body to be light and able to move up and down swiftly.

With regards to the boxing, the following are the basic steps.

  • "Shrinking of the Sparrow Hawk"
    • From the Santi Shi, the right arm drills up in a fist on the underside of the left arm while the left fist twists inward until the palm faces up. The left leg makes a pad-step, the right steps up and then the left lifts to the right shin.
  • "Flying into the Forest"
    • From Shrinking of the Sparrow Hawk, step into a pounding fist strike BUT lead with the left and punch with the left. (Pounding fist typically strikes with the rear fist).
  • "Penetrating into the Sky"
    • Drill the right arm up, and bring the left arm in so that the left elbow "leans" into the heart and the left fist goes to the right elbow. Right fist palm up, left twists down. Step with the right. Similar to Drilling Fist (Zuan Quan).
  • "Turning Over"
    • The right arm pulls towards the left shoulder as the right foot hooks around and turns. The left foot draws back to the right as the left arm draws a circle in front of the body. The right fist pulls back to the side as the left fist shoots out and the left leg steps forward into a low step similar to that of Splitting Fist (Pi Quan).
  • Shrinking of the Sparrow then Close
All in all, this seems like a simple but AWESOME form (which I will practice, practice, practice). Maybe I'll become a Sparrow Hawk? Enjoy. :D






Friday, May 31, 2013

XING YI 12 ANIMAL FORMS

CHICKEN FORM: JI XING


Ji Xing is the Chicken Form, and it is indeed pretty awesome. Sun Lu Tang asserts that the Chicken (or Cock) is the most useful animal to all mankind, for it announces the dawn. It is able of standing on a single leg, it shakes its feathers, and it's brave enough to brawl (p.188). 

The Chicken Form promotes a healthy brain and healthy legs when practiced correctly. It is related to heaven, and it is the beginning of moving Yin in the body (p.188).

Ji Xing has many movements; indeed, it has more than most of the other 12 animals.



  • The Golden Cock Stands on One Leg: 
    • From the trinity, the right hand stretches out from under the left. The waist, hips, and shoulders follow the right hand. The right leg bends and lifts the heel. The right hand draws back the elbow to the side of the body. Then the right foot steps forward but doesn't touch the ground. Then the right hand pulls back and the left comes up. The left foot lifts as the right foot steps down. Then the left hand pushes downward.
  • The Latter Golden Cock Stands on One Leg:
    • A forward step with the left then the right as the left hand is extended and the right is held back.
  • The Golden Cock Pecking Rice:
    • The right fist hits as in Beng Quan. The left hand hooks on the right wrist.
  • The Former Golden Cock Shakes its Feathers: 
    • Both hands cross, left under right, in front of the chest. The legs are in a horse riding stance.
  • The Latter Golden Cock Shakes its Feathers:
    • The right hand lifts as in Pao Quan while the left hand pulls down towards the left side. The body turns toward the right side.
  • The Golden Cock Stands Up on a Frame:
    • Both fists turn into palms. The right twists inward until the hand goes under the left arm. The left hand and covers the right shoulder. The right leg lefts up.
  • The Golden Cock Announces the Dawn:
    • The right hand lifts up from below in an arc. The left hand draws back to the side. The right foot steps forward.
Afterwards, the form employs splitting fist twice, then "Golden Cock Stands on One Leg," then "The Golden Cock Pecking Rice," then close.

I really like this form. Below are some examples of the Chicken Form being practiced. Notice the variations.











XING YI 12 ANIMAL FORMS

WATER LIZARD FORM: TUO XING

Water Lizard, aka. Alligator, is a flexible form that emphasizes the betterment of the sinews and tendons in the body: It makes your sinews/tendons flexible and strong when practiced correctly (p.180).
Indeed, Sun Lu Tang asserts that the Water Lizard is the "most flexible" animal in the water and that it can "float" (p.180). These are qualities that this form should lend to the practitioner.


The basic motions of the Water Lizard form begin from the Santishi (Three-Harmonies Stance). The rear fist drills up as the lead fist pulls back. As the rear leg pulls up, the rear fist lifts and turns out. As the practitioner steps, the sequence is reversed.

Watch below to see examples of this form being practiced. 



XING YI 12 ANIMAL FORMS

HORSE FORM: MA XING

Sun Lu Tang calls the horse the "most righteous" of animals (p. 174), for it is loyal, and that the consciousness of the "horse form" are "from the heart" (p. 174).  



Then in this chapter, Sun Lu Tang discusses the importance of honesty and sincerity. He states the following: 

             "The old masters said that an honest consciousness produces proper mind. Proper mind leads to perfect assurance. This makes the strength in the boxing faultless and exact. Students should pay attention to this reasoning."

A pretty interesting lesson to take away. This truth is applicable to all endeavors. Basically, don't lie to yourself or others; be who you are, and then you won't hesitate to act appropriately.


Now, in the boxing...

The horse form begins in the trinity, or santi shi stance, as do most if not all Xing Yi Quan forms.

The horse motion steps with the right foot forward in a right angle forward. Meanwhile it draws both wrists inward with the palm of the fists facing up, and the right arm hand stretches under the left.. As soon as the right foot steps forward, the left follows slightly. Then, the wrists turn outward until the palms of the fists face down. The right hand goes out with the right foot and the left hand poises itself back towards the heart. 

Essentially, it seems like a supported hammer/punch strike forward, almost like a battering ram. 

Below are some examples of the horse form being performed. There are varieties, as you will see.