LEAN FORWARD? WHAAAT...?

by Phillip Starr

You’ve heard it countless times…”Keep your back straight!” Anf for those who practice forms of karate and taekwondo, this assertion holds true. What about those who practice gong-fu? Well, it depends on whether you practice one of the “internal” systems – taijiquan, xingyiquan, or baguazhang – in which case, it isn’t necessarily true all of the time, especially when performing fajin (emitting “internal” power).

Yeah, I see your faces and that “deer in the headlight” look. Let me explain-

To start, there’s a Confucian precept known as Li Shen Zhong Zhen, which means, “to conduct oneself in accordance with the Middle Way.” It indicates that one should strive to cultivate and perfect oneself both inside and outside and strive for harmonious relationships with others. It made its way into martial arts practice where it means, “the (upper) body is held straight.” It was introduced into the internal arts by a well-known taijiquan master, Wu Yuxiang, in the late 19^th century.

It’s a very noble concept and everyone could benefit from practicing such fine self-cultivation; it isn’t at all difficult to conjure up an image of a dignified Chinese gentleman of the past, standing ramrod straight and stroking his beard as he observes something in the distance. And so this idea was further bailed into martial arts in China via contemporary Wushu, which was developed and approved by the State (wushu is a performing art that combines elements of gymnastics and Chinese opera with martial arts postures). And because Wushu included “new” forms of the internal arts, the principle of Li Shen Zhong Zhen was further imbedded into them.

Looks very picturesque; the performer’s postures are all done with the back absolutely straight and chest arched out…very proud and military-ish. Perfect for the CCP. But photos of early masters of the internal arts (which pre-date the CCP by a very long shot) present a very different image. In many postures (especially those wherein they’re executing fajin), their backs are inclined SLIGHTLY forward instead of being held perfectly vertical. The operative word in that sentence is “vertical.” And note that their cute little tushies do not protrude out behind them!

The back is straight, but not always vertical. It is never rounded or slumped. This shifts the weight a bit more to the fore, where the blow is being directed (there is NEVER a sideways incline) and it adds more impetus to the blow. Significantly more. The flexion is made at the hips, rather than at the lower or upper back…much as is done when executing a PROPER bow. It comes from the “kua”; the inguinal crease and hip area rather than from the spine or neck.

Additionally, recovery back into the vertical position is NOT done by utilizing the muscles of the lower back (or any part of the back, for that matter). Rather, it is done by using the muscles of the chest (as if lifting the sternum straight up). This much like what we see in the body-action that I call “whip” (this is described in my book, MARTIAL MECHANICS). The forward incline is often combined with other body-actions such as body-rotation and body-throw (also detailed in the same book). Special body actions are also employed to enhance the application of the “coiling power” used in fajin (coiling power and these additional movements are detailed in my book, REFINING JIN).

There is a form of qigong that uses both the incline and recovery (via lifting of the sternum) combined with special breathing. However, I will not detail it here; it must be learned firsthand from an instructor who is familiar with it.

GONG-FU IS ALIVE AND WELL...IN JAPAN!!??

 by Phillip Starr

When I first visited China, one of the foremost wushu coaches (he was the leader of the troupe that toured the U.S. back in 1973), who was also an avid practitioner of two traditional styles of gong-fu, told me that, “these traditional arts cannot survive in China...” Years later, I moved to China where I lived and worked for several years. I could readily see how the CCP (Chinese Communist Party) had all but totally eliminated traditional arts. Sure, a few teachers of the traditional forms of gong-fu could be found – if one was willing to spend a great deal of time and money searching for them. There were (and still are) LOTS of alleged “masters” who will gladly teach Westerners...for a hefty price, but the reality of the situation is that for all intents and purposes, real gong-fu in China is dead.

Taiwan is home to a fair number of very highly skilled gong-fu teachers, but many of them are getting on in years; quite a number have retired.

But take heart! All is not lost! Far from it... Years ago, I found that numerous Japanese martial artists had traveled to China in the 18^th, and especially in the 19^th and 20^th centuries, and trained in various forms of gong-fu. They brought these arts back to Japan and, being Japanese, they didn't alter what they'd learned at all! Of course, a number of famous gong-fu masters moved from China to Japan and taught there (one of them was Wang Shujin, my gong-fu uncle).

In contemporary Japan, there is a considerable number of highly-skilled masters of numerous gong-fu styles, including taijiquan, xingyiquan, baguazhang, praying mantis, wing chun, and many others. Many of them are of a higher skill than their contemporary Chinese counterparts. Moreover, being Japanese, they are highly disciplined and their instruction is well-organized and detailed (which is often missing in instruction under many of China's contemporary instructors).

So, take heart! Real gong-fu is NOT dead. It is alive and thriving in Japan!

GONG AND ROU

 by Phillip Starr

In Chinese martial arts, especially the neijia (internal styles of taijiquan, xingyiquan, and baguazhang), there are two words that must be fully understood and practiced correctly if one is to ever reach a high level of skill.

Gong (功) means, roughly, achievement, strength, power. It's the same character found in the term “gong-fu.” It DOES NOT infer the use of brute, muscular force. If a strike possesses proper “gong”, it may be said to be powerful, sharp, and strong.

The word Rou (柔) means “soft” but it does not imply a kind of “damp rag” softness. It is not flaccid; it is simply soft, not rigid. This is exactly the same word and character used in Judo, Jujitsu, Goju-ryu Karate, and so on.

Ancient classics tell us that when a strike is executed, the energy must be transmitted outward to express Gong. Until the strike impacts the target, the body and the striking limb must be in the condition of Rou; the body is relaxed and there is no excessive tension anywhere. At the instant of impact, energy is transmitted outward and Gong occurs. It is important that we ALLOW THE IMPACT TO CAUSE THE PHYSICAL CONDITION OF GONG. The instant after impact, the body and limb must become Rou again. This will occur naturally unless we consciously try to stiffen the body at impact or relax it immediately afterwards.

The best analogy is that of swinging a chain. A chain is soft; it can easily be folded up and carried in the hand. As it swings through the air, it remains soft...until it hits something. And it is the MOMENTARY RESISTANCE of the target that causes it to become an iron rod for a micro-second, after which it once again becomes soft. We would say that it is Rou until the instant of impact and the IMPACT CAUSES IT TO BECOME GONG...but only for a micro-second.

Rou is soft, like cotton. But it's also alive, like elastic. It is not flaccid at all, but it has no stiffness in it.

The key to using these two qualities efficiently lies largely in posture and structure/alignment, which involves much more than simply standing straight. Another element is using Gong and Rou at the appropriate times. When a technique is executed, the body must remain in the condition of Rou and the yi (and consequently, the qi) must be extended forward, to the target. Gong occurs naturally when impact is made, but only if the body's structure is correct.

YOU FIGHT EXACTLY AS YOU TRAIN!

By Phillip Starr

The most renowned Japanese swordsman of all time, Musashi Miyamoto uttered those words and wrote them down for future generations, And even today, our modern combat instructors from Seals to basic infantry training drill sergeants and instructorss at police academies reiterate those very words; “You can only fight the same way you train.”

When beginners practice to defend themselves, their partners should not attack with much force; emphasis must be on correct technique, body shifting, and other fundamental concepts. When they reach the mid-levels, more power is poured into the attacks; I tell their partners to attack and do their best to just touch them or give them a bit of a thump. The counter-strikes must be performed correctly as well, with some measure of power and complete control.

However, advanced-level students (starting at the brown belt level), the attacker's instructions are to knock their partners down. And the counters must carry some measure of power without actually making contact. The attack becomes real...or as real as we can allow it. The counter-strike must be delivered with full destructive force and absolute control.

Errors that are often seen include:

• Failure to deliver the attack with speed and yi (intention). This usually occurs when the participants know each other; they are afraid they might actually strike their friend.

• Failure to direct the attack or counter-attack to a vital point.

• Catching and/or easing your partner to the ground when a takedown or throwing technique is applied. This is a very bad practice; it becomes a habit very quickly and that means that his is EXACTLY what you'll do in a real fight! Consider: Your partner has been trained to breakfall and he should be capable of taking the fall without injury...without your assistance!

Additionally, easing him to the ground negates your ability to strike him immediately following the throw. And in a real skirmish, that's what you MUST do.

Of course, there are many others. The point is that you must train exactly how you will fight, although you must ensure that your blows are well-controlled. Remember, you can only fight the same way that you train!

EVOLUTION

 by Phillip Starr

Sifu Yang Hai, a highly skilled and respected teacher of the internal styles of China, made statement regarding the art of of baguazhang, which might surprise some of you; he said that “Bagua is a developing art, even today...” That is, bagua as a style of martial art has not yet fully evolved.

Bagua is a very young art, in so far as martial art stylees go. It was created by Dong Haiquan in the mid 19^th century, so it's less than two hundred years old at this time! Does this necessarily infer that styles younger than three hundred years or more are also still developing? This could be taken to mean that arts such as judo, aikido, and several styles of karate (taekwondo included) are still evolving.

That said, I think that some arts – those whose leaders have directed them at becoming popular sports – have unknowingly retarded their evolution. Too many of their instructors and students have become interested only in winning competitions rather than carefully studying and striving to improve their arts for the art's sake.

I'm not suggesting that instructors or students everywhere should start changing the art they practice. Changes in training methodology and so forth should be made by the headmasters of a given style. After all, it is they who are (supposed to be) the most knowledgeable about the art they practice and teach.

EVERYDAY – 365 OF THEM!

 By Phillip Starr

Here's a challenge for those who are determined to achieve higher levels of skill and knowledge about their chosen style of karate, taekwondo, or gong-fu...select a form that you already know, and practice it at least once every day. Every, Day. For a year. If you miss a day for any reason at all, you have to start over.

Think you can do it?

Remember, missing one practice for ANY reason – sickness, forgetfulness, injury, the kid's soccer game... - ANYTHING – sets you back to Day One. Still want to do it? Can you?

I suggest picking a fairly basic form that isn't too lengthy, and one that you can practice indoors (remember, you'll have to do it through the winter, too). You can do it fast, slow, medium speed...however you want. The important thing is to do it as best you can, every day.

With the passing of time through the year, you'll discover things about your form that you may not have even suspected. And you find small errors that you've been unconsciously making for a very long time.

I could go on and on about how this lengthy practice will benefit you, but I'll just leave it here. Let me know what you discover!

DON'T JUST GLOB YOUR WAY THROUGH IT

 by Phillip Starr

You see it in most karate, taekwondo, and gong-fu schools; when the students are told to go through a particular form, it's done in a nice 4-beat rhythm, kind of like Lawrence Welk counting off, “And a-one, and a-two, and a-three”... There's little, if any, spirit to it and the rhythm never changes throughout the whole set. I call this “Globbing your way through a form.” It's a necessary thing when students are learning a form, trying to memorize the movements. But once the body remembers the form and it can be done without having to consciously think about which movement(s) come next, such practice is detrimental to training.

It must be remembered that most forms are imaginary combat situations, wherein the practitioner is surrounded by numerous villains who are tring to hasten his demise. Some forms are practiced primarily to develop certain skill(s) and don't necessarily involve several imaginary foes. I'm not referring to such forms in this article.

Real combat doesn't occur in a nice, even 4-beat rhythm. So it must be with your forms. You have to study them carefully to determine where the rhythm changes. Without proper rhythm, there can be no real spirit; the form is stillborn. It has no soul.