Lift Hands Volume 19 September 2021 - The Multi Award Winning Martial Arts Magazine by Nasser Butt

volume 19

September 2021

‘Traditional’ vs. ‘Sport’ Karate Kata

Peasant Talk: Jins That Penetrate The Air’

The Bagua Phoenix Qi Awakening Form

The Hand Patterns of Old Yang Taijiquan Yang Cheng-Fu : The Martial View

20 Questions: Steve Tappin

The Man Who Sh t Cheng Man-Ching Editor Nasser Butt

perception realization activation action

Lift Hands

The Internal Arts Magazine Volume 19 September 2021

Editor

Nasser Butt

L’orso Solitario

Published by L’orso Solitario Books, Leicester, United Kingdom Lift Hands The Internal Arts Magazine Volume 19 September 2021 Editor Nasser Butt Copyright © by Nasser Butt, 2021 & Fa-jing Ch’uan Internal Chinese Boxing Schools Nasser Butt asserts the moral right to be identified as the editor & owner of this work. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the editor. Waiver of Liability: The publisher assumes no liability for the use or misuse of information contained within this book. By purchasing or electronically downloading this publication, the reader hereby, waives any and all claims he or she may have now or in the future against Nasser Butt and Fa-Jing Ch’uan Internal Chinese Boxing Schools or its affiliates.

The points of view represented here are solely those of the authors’ concerned. You do not have to subscribe to them if you do not wish. Nor is their inclusion here necessarily an endorsement by Fa-jing Ch’uan Internal Chinese Boxing School or its affiliates. Cover Photo (main): Chen Man-Ching; Photo Credit: WikiPedia; (inset): Steve Tappin; (inset): Adrian Jones, Steven Williams Photo Credit: Peter Jones Cover Design © Nasser Butt, 2021 Back Design: Copyright © Nasser Butt 2021

lift hands

September 2021

The Multi-Award Winning Internal Arts Magazine

contents

Editor’s Note

Page 9

The House of Mouse The Art of Amy Faulkner

Page 11

Summer Campus 2021: The Post, The Spiral Form and the Old Man Ramon Soranzo

Page 13

Traditional vs. ‘Sport’ Karate Kata Katherine Loukopoulos

Page 25

Yang Cheng-fu Form — The Martial View Peter Jones

Page 29

The Hand Patterns of Old Yang Style Taijiquan Nasser Butt

Page 34

20 Questions with Steve Tappin

Page 51

The Medicine of Words Dr Gregory T. Lawton

Page 62

The Bagua Phoenix Qi Awakening Form Nasser Butt

Page 64

The Man Who Shot Cheng Man-Ching Alan Ludmer

Page 77

The Eight Palm Releases of Baguazhang Nasser Butt with Elliot Morris & Krish Pillay

Page 81

Peasant Talk

Page 95

Useful Contacts

Page 100

The Art of Louiseneige Be

Page 101

English Edition Link Italian Edition Link

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Nasser Butt

editor’s Note

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elcome to Volume 19 of Lift Hands Magazine! The issue has once again been slightly delayed due to the ongoing Covid crisis and adjustments having to be made as situations change on an almost daily

In this issue, as always, we have great content including ‘Traditional vs.‘Sport’ Karate Kata from the amazing Katherine Loukopoulos Sensei, as well as a very insightful look into ‘teacher pedigrees’ and why credentials of teachers are boosted by students in the excellent ‘The Man Who Shot Cheng Man-Ching’ by Alan Ludmer. Peter Jones continues with the next instalment of Yang Cheng-fu: The Martial View, as well as a detailed report by Ramon Soranzo on Camp 2021 held here in Leicester in August. Further, a very warm welcome to Steve Tappin, who joins us for 20 Questions. I’m hoping that we will see more of Steve and his Escrima Concepts in future issues of Lift Hands. The next issue — Volume 20 — appearing at the end of December [Yes, Christmas will have been and gone already] will be a celebratory issue of the fifth anniversary of Lift Hands Magazine! So, I’m asking all our regular content producers to put your writing caps on and let’s make it one ‘helluva’ issue! Please make sure that I have your content by the end of November latest as coming into December will be a busy time for all and it takes time to edit and put everything together. My thanks to everyone once again who has helped in putting this issue together. There are many of you who advise and contribute, and without whose help it would be impossible to produce such wonderful content. See you in December.

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The Hook [Single Whip]

inally, we did it! Well, it was different from how I imagined last year. Recent restrictions on freedom of movement did not allow me to go to Leicester but did not prevent me from attending Summer Campus 2021 anyway. This time we resorted to technology. So, Nasser allowed me, and other mates locked up by the restrictions to participate online. I can tell you that it was still a great experience. Of course, being there would have been something else: the energy of the group in The Studio, following Nasser up close and in 3D, smiling at a joke, your partner's face during a two-person drill, the contact perhaps a bruise, a friendly hint to improve your practice on the break or a hug with your classmates to seal the end of the day … are all emotions that get stuck in your memory along with the Campus learnings! On the other hand, in Italy we say, "Rather than nothing … is better rather". So, I had the task of organizing the event online and recording it for the benefit of all the participants. The online participants were a total of four: Colin Power from Australia, Ludo Moris from Belgium, Monica Mitoli and me myself from Italy. The participants in the Studio were many more and about 15 in the three days. What I will describe is an extraordinary Campus as seen and practiced staying in Milano through a computer screen coupled with the wider screen of my home television. The beginning 3pm in the UK - not without emotion I turned on my PC and connected with Leicester. Although I had already attended several Nasser’s classes that day was a bit special. Fortunately, Nasser had already set up his phone in the center of The Studio and we could recognize many of my classmates from the past years. We started with two very important training methods from The Moving Post of Baguazhang. They belong to Erle Montaigue's set of training methods and are more formalized ways of moving than Taiji's well-known The Post, but the principle is the same. Erle himself dedicated a video and an entire chapter to this in his book ‘Advanced Dim Mak’. The Post — both the static and moving version — is a real jewel in the training of the practitioner, whose purpose is to increase grounding, energy sinking and internal balance necessary to progress in the Form, the other training methods, everything — healing and martial. The Post is already in your Three Circle Qigong. Contrary to what is taught to the beginner starting with the arms already raised in the Mother Palm configuration, it begins instead with the arms relaxed and extended along the sides, spine until the sacrum relaxed, crown of the head pointing upwards. The sinking of energy develops the socalled Folding Energy which consists of a double movement of energy — one downward and the other upward — causing the arms to be lifted with an internal, non-physical movement. It is the same principle we experience by inserting our hand into a glass of water. The downward energy of the hand produces a return energy that makes the water rise. It is now the Three Circle Qigong really begins with a full, connected, strong structure from the feet to the arms!

Both Posts, designed for Baguazhang, contain twists and torques that teach us how to accumulate potential energy and then release it instantly without physical effort. This allows then to perform the Post at a much faster speed but without turning it into a physical exercise. To do this it is necessary to balance the hips. In fact, from the Classics we are told that, “The energy comes from the ground and is directed by the hips… the upper body sits over the hips…," meaning if your hips are not balanced the energy cannot be redirected correctly since by default your post will be out too!

And the post helps you achieve that internal balance. Only when you are internally balanced, no matter what you do with your feet.... the center will always stay in the same place, otherwise you will compensate by creating counterweights and leading to instability. In combat the internal balance is fundamental to be able to address multiple strikes with recoil without stumbling, tilting or collapsing on the opponent. The same thing — at a higher level that I have not reached yet — in healing, with movements that correctly transfer energy on the patient. The first Posting Training Method in the full version also involves the upper body with the arms in P'eng / Hinge - hands relaxed like branches hanging from the tree — in this case your spine. The same hand as the foot forward. By using our hands in this way, we develop the P'eng force, also known as "earth force" or the Post! Therefore, as explained above, as soon as you hit post there is a double movement of energy going upward in the back and sinking downward that allows the movement of the arms performing P’eng. There are 3 levels to perform it: basic, with rolling and squeezing qigong in between, with a small shake or release of energy forward through the fingers. Shakes occur as a direct result of body mechanics when we move from the centre. A small weight change occurs during the shake forwards and backwards between the front and back foot — issuing and receiving! This skill is learned and developed performing a rolling and squeezing qigong exercise for 3 breaths at defined points in the exercise and with hands held as in Lift Hands.

• • • • • • •

sink before start and maintain a sung state throughout the whole practice, first backward step: flat foot — ball and heal together, shift the post on talus, sweeping kick — use your centre to lift/move the leg, cross step with forward feet at 45°, knee touching the backward leg, torque the waist and hips in opposite directions, change the weight and release the torque moving the backward leg.

Other key points I have noted are coordinating movement with breath, loading the hands before any change, distinguishing active and passive components, maintaining the connectivity. At the beginning it is difficult, it requires a lot of daily practice, and it is good to train the lower body first, then adding the movements of the arms.

The second Posting Training Method develops even more twist and torque of the body and it teaches us moving in any direction freely posted with the hips getting opening & closing and stretched with the waist. It provides all information present in kicks and hooks with legs. It emphasizes you are on one leg while the upper body is engaged with Arn as in the beginning of Old Yang Basic Form. With these ‘little’ stepping methods you cover every possible internal body movement and mind application, or self-defense application! Practice the form and you will recognize how twists, pairs and energy release from them are present also in Taiji form and Small San Sao. To develop The Moving Post, Nasser recommended the following game.... Randomly record 'stop' on a tape or ask a mate to say, 'stop' at random. Each time you hear 'stop'... you stop and should be posted immediately! He showed us also how to perform The Moving Post with a person hanging to your sides aimed to strengthen balance and grounding. This is really challenging and requires a courageous volunteer! Two-person exercises were trained in the Studio where your partner puts pressure on your arm in P'eng performing the entire sequence with this type of pressure while always maintaining your post without ever leaning back when your partner pushes or forward when your partner eventually takes the pressure off. This would engage the scapula and the ‘C’ back to receiving the opposing force and issuing the fa-jing energy forward. Without a partner it is helpful to do it with the bag. Whether it's with a partner or a bag, it's just how you realize P’eng energy is ground energy! These training methods teach us to combat posting on one leg while we encounter an incoming force. That is why I have devoted ample space to the Post. These training methods are important and I myself have been able to notice my own progress in subsequent learnings.

Nasser observed everyone equally the people in the Studio and us following online by approaching his cell phone broadcasting, looking at us one by one, and dispensing suggestions and corrections for everyone's benefit. We could ask questions for clarification. Somehow, he made us feel like we were there with him and progressing like the others present there! The Spiral Form Finally, Saturday we began studying the Spiral Form - the fourth form of Wudang. It belongs to the Wudang forms of Qi disruption, and contains many elements of Taiji, Bagua and H’sing Yi. This is a totally spiralling form in which each movement ends with a release of energy. It is an advanced form both in movement and especially in understanding. Because of this, I really enjoy practicing it and am motivated to improve myself on it! Spirals teach us the rolling of the whole hand and which of that part of the hand becomes available for the strike. In Taiji for example, one learns in Single Whip how to generate the spiral through rolling the hand in a vertical counterclockwise motion and releasing the energy in a forward vertical circle. So as in Spear Fingers Pierce To Rear you learn to generate opposite spirals by rolling your hands. The spiral is a critical aspect in anything you do in martial arts. For this reason, the Spiral Form is the master also of your Taiji Form, in which every movement has a rolling hand component. In detail, this form works on the Kidney Meridian and the central nervous system and neck. Specifically, it helps your automatic reflexes. It can be performed all in fa-jing like the other forms or slowly but respecting the only

fa-jing present in the Qi disruption.

The Qi Disruption movement is a 'C' shape across the face. The fingertips rake the top of the eyes, then make an arc on CV24 and end with a stroke on ST5 (or mind point) on the side of the jaw. The disruption has an effect between the head and the body — causing a temporary disconnect! The form begins with a small Qigong reminiscent of the Horse Qigong learned on Campus 2019. •

•

We start with a clockwise forward spiral of the right arm ending with a knife-edge hand at our neck level. We are in a corner bow stance at North-West, in advancing with the left foot the right dragged slightly. This is a response to a direct punch to our face with a Rolling P'eng with the back of your arm intercepting the opponent’s punch and by rolling the arm forward a strike to the neck on his left side. From there, we continue with a clockwise spiral with the arm and the hook hand, to South-East, ending with both hands in the typical Bagua position Fire palms on the side down. The footwork adjusting to the body movement ends with the two feet parallel to East. Here we are striking the neck again with the right hand, kinking it to South-East and then hitting the back of the head. The next movements are a series of neck strikes ending with an elbow strike to the neck.

Already in these first three postures we can observe elements from the first Wudang Hand Weapon – The Hammer, the beginning of the 2nd third of the Old Yang Taiji Form, the first movement of the Small San sau and the beginning of the Bagua Linear Form. This shows us again how the Spiral form is the master form containing the movements of all other forms.

For me, I am interested also in Bagua, at a basic level, in addition to my Taiji, it was easy to recognize — although not exactly the same — movements of the Circular Form such as White Snake Coils Around or the typical Bagua Dragon Palms. Recognisable from Taiji we have the postures of High Pat on Horse after a hop ending in a strong Post and Inspecting Horse's Mouth, Sweep The Enemy and Severing The Stem Of The Lotus Flower known as Lotus Kick (but it's not really a kick!) as well as the Peng/hinge of the Small San, or the C-shaped movement of Qi disruption ending with a Taiji Dog Fist.

During the form I could learn the explosive strikes of H’sing Yi, themselves generated by 3 small spirals with the loose hand that borrow energy from one strike to the next and the feet shuffling in a zigzag forward motion. Of course, it would have been impossible to learn and understand these complex dynamics without the previous two Moving Posts, they are the building blocks providing all the fundamental ideas. I must admit the great benefit on my back of this form ending with a large arch of the back exactly as in the Holding The Moon in The Breast posture in Bagua. This continuous parallel between Baguazhang and Taijiquan is to emphasize the rolling work to generate spirals in all directions: inward, outwards, up and down done with the arms and with the wrists. That is all about the Spiral Form a combination of body/arms/wrists and hands spirals that adds new information to your practice passing from large to small frame or the Old Man performed using the back of your arms. So, we are directly introduced to the so-called Rolling Thunder, the highest level of your Taiji.

For example the well-known Brush Knee And Twist Step of Taiji - in one of the Rolling Thunder applications — becomes after parring a low punch with your arm as in the base version, a grab with the other hand of the back of the opponent's neck, a spiral with the back of your first arm holding the ball that is actually his head — in the typical P’eng /hinge configuration — that continuing the spiral of the arm downwards finally breaks his neck! As you can see postures and applications that in the basic version are large and serve to make the practitioner acquire coordination of movements and dynamics, now in the structure of the Old Man they become smaller. They use the spirals in the arm and in the wrist to roll around the opponent, and ultimately being more efficient in close range in a realistic fighting situation.

Conclusions Leicester summer camps are something special, here is where keys are provided to move forward in your practice. Two years ago, we began with the qigong aimed to solidify the skill of the lower body and enriching the internal power of your whole body, whilst holding the correct alignment of the back in a state of sung. To the classical Three Circles Qigong we were given an additional module of rolling qigong aimed at developing the small frame

and the small frame fa-jing. We were introduced to the understanding of the thirteen dynamics — eight energies plus five steps that make up all the Taiji combinations and the relative training methods. Last year, we learned the qigongs to make all movements smaller, the first three Root methods to understand on how 'energies' are combined to be available sub-consciously in the self-defense applications. The Small San Sau to identify energies, small and large circles, connectivity, adhering, heaviness, lightness, passive and active, inversion, substance and applications, to name but a few. This year, we learned the Spiral Form designed to elaborate the previous information in a new fashion as the bridge between the large frame and small frame applications, those of the Old Man.

During these three years we learned a martial language. We started with the alphabet, continued to grammar rules and put together our first words, we progressed to writing our first phrases and start to understand that other languages have the same root because they share the same dynamics. Like for example, the word “you” in English that becomes “du” in German, “tu” in Italian, French, Spanish, Punjabi and Portuguese, etc — but it is always the same word! From this perspective, the Spiral form can basically be considered the raw data or metadata, for the spirals in Taiji, H’sing Yi and Bagua from which we can refine them into something else. It is the blueprint of your martial art on which more details can be added on. The more you investigate, the more you practice it, the more you will build up awareness on your Form, Push hands, Small San Sau or any training method.

Already the first movement of the Spiral Form provide insights to correlate the forward spiral to the opening movement in the Old Yang Taiji form, Brush Knee & Twist Step or Penetration Punch & Parry. It gives also you even more material for analysis in Fist under Elbow or Double Spear Hands where the forward spiral adds an upward component. In push hands or fighting, the Spiral Form teaches you how borrowing the opponent’s energy to generate a spiral to release the energy. So, firstly remember to focus on posting — regardless of the other details — otherwise everything will be wrong! Then understand the mechanics of rolling arms and wrists inward, forward, downward and upward and apply this to the different breaks from a wrist grab. Finally realize to use your hand like a white sheet of paper on which to write what you want depending on the fighting situation. A closed hand, for example, can be a punch, a ‘tiger paw’ fist, a closed hand snapping the wrists, a closed hand with the thumb that sticks, etc. This is Erle Montaigue's system, a set of methods that lead the practitioner to understand real self-defense combining the dynamics contained in the internal martial arts. This Campus 2021 has also come to an end. I am extremely grateful to Nasser for giving me the opportunity to follow through online this fantastic seminar and learn under his careful and continuous guidance. I hope I was able to transfer this Campus highlights and insights. It was not easy to summarize them, we have received a lot of information during these 2 and a half days and even more in the breaks or at the end of the day, valuable insights that we were generously given to digest and rehearse.

Continuing the journey … A month after the Summer Campus, by writing and practicing I was able to develop small illuminations. This only happens when your teacher has transferred that quid/something to you to become aware of exploring your martial art on your own and not just learning it. I hope the other Campus mates share this feeling. Nasser has already announced to us the topic of the next Campus 2022 to move forward in understanding. It will be devoted to the River Form. This is one of the four Dim Mak Martial Cornerstone Forms of Wudang - a flowing set of postures that emulates the internal flow of Qi throughout the body — which Erle Montaigue himself learned from his teacher Chang Yu Chun and then released to Erle’s senior UK instructors. We will continue our journey to the foundations of what real Taiji or Bagua is, and the work necessary to take Dim-Mak internally! As human beings we all navigate on sight in these challenging times of transition. Now more than ever, we must treasure the teachings of the Masters of all times, living postured in the stillness of our center, in Wuji state in which all questions and all answers are found to overcome the difficulties that come up this troubled era. Strong in this awareness, I look forward to seeing all the Fa-jing Chuan School in Leicester and The Guild mates again, that we can train together again and progress through the Erle Montaigue system! In the meantime, good practice on what we've learned so far, take care and a 'rolling' hug to you all!

n the United States during the 60s, 70s, and 80s tournaments provided a way for karateka of all styles to demonstrate their particular art of karate kata.

There were tournaments which adhered to strict karate style competitions, and there were tournaments which provided the opportunity to combine karate skills with dance, music, and elaborate sound effects. These performances were entertaining and paved the way for many martial artists of various styles to break into Hollywood cinema and television shows. These tournaments came to be known as the Open Tournaments. Always on the path of new developments and with the promise of making more money, the strict karate style tournaments provided a division for Open Kata competition. Likewise, at the Open Tournaments there was a Division for Traditional Kata. As tournaments attracted hundreds of competitors, and huge sums of money in entry fees, promoters divided the traditional kata into Japanese Kata Division and Okinawan Kata Division. Some unscrupulous athletes who wanted so much to win entered both Japanese and Okinawan Kata Divisions. Others protested, but who would hear them? In Europe, there was no such distinction as the tournament promoters only knew of Japanese traditional kata. United States was the trend setter; much later other countries followed their example. In the United States, the Amateur Athletic Union (AAU) represented what was considered authentic karate kata. Shotokan was big; Japanese Goju Ryu was big; Shito Ryu was big; however, practitioners of Isshin Ryu, all branches of Shorin Ryu, Okinawa Kempo, Okinawan Goju Ryu and Uechi Ryu also competed. There was no mention of ‘Sport Karate’. There was ‘good’ karate technique, and ‘poor’ karate technique. The World Union Karate Organization (WUKO) was the international governing body which was the predecessor of the current World Karate Federation (WKF). There was (and still exists) acute discrimination of the Japanese towards the Okinawan people. It is common knowledge that Japan used Okinawa as a shield of protection during the WWII, and after the Battle of Okinawa and subsequent loss of the Japanese war with the United States, Okinawa became an American property. Because Okinawans suffered a total devastation and loss of life, Okinawans harbored anger and mistrust towards the Japanese. In turn, the Japanese viewed the Okinawans as uncultured farmers.

From the end of WWII until 1972 when Okinawa returned to Japan (by vote) there was no communication between Okinawa karate and teachers and Japanese karate teachers. Okinawa being the cradle of karate was happy enough to teach American GIs; in Japan, however, karate was systematized and it was exported to other countries. What Japan exported was Shotokan, Japanese Goju Ryu, and later Shito Ryu instructors to go abroad and to conquer. Most Japanese who migrated remained loyal to Japan. Therefore, Japan had an ample supply of judges and referrers with deep sympathies toward the Japanese athletes. American GIs brought Okinawa’s karate to the United States, and displaced Okinawans who migrated by the tens of thousands to countries of South America also brought with them Okinawa’s karate. In contrast, Europe was still in the Dark Ages concerning Okinawan karate kata. “All is fair in love and war”. At WUKO’s, and subsequently at WKF’s international events, the Japanese officials used whatever means necessary to remove ‘dangerous’ athletes from other countries by simply stating that the athlete’s kata was not an ‘acceptable’ kata; thus, the ‘danger’ was eliminated. These actions shaped the trend that only Shotokan, Japanese Goju Ryu and Shito Ryu kata were acceptable by the international WKF. In effect, only Shotokan, Japanese Goju Ryu and Shito Ryu athletes were selected into the world’s national teams. In the 1984 WUKO VII Championships held in Maastricht, Netherlands, the Japanese National Team presented the world Sakumoto Tsuguo of Ryuei Ryu with his winning third round Kata Annan. For the first time European judges and referees witnessed a Ryuei Ryu Kata. They did not know what to make of it; however, since Sakumoto Sensei was from the Japanese Team it presented the dilemma of how to score a kata that they did not know, nor, even seen before. Nevertheless, Sakumoto Sensei was declared the champion of the day. From 1984 and the years that followed everyone scrambled to learn what was Ryuei Ryu and what it had to offer. Sakumoto Sensei single handedly placed Okinawa on the world stage. Until the end of my competitive career (1985), there was no mention of ‘Sport’ Karate. From 1985 until the end of 2000 I lived, worked, studied and competed on Okinawa and in Japan. There was no mention of ‘Sport Karate’. Critics and karate teachers used the words ‘good’ karate kata and ‘poor’ karate kata. Therefore, where did the label of ‘Sport Karate Kata’ first appeared? Who is the Father of Sport Karate? There is no such thing. There is still ‘good’ karate kata and ‘poor’ karate kata. In the 2020 Tokyo Olympics we did not see ‘Sport’ Karate Kata. We saw ‘good’ karate kata and ‘poor’ karate kata. We all witnessed what has been approved by the international body of experts within WKF. Those who separate themselves as doing ‘traditional’ from those who perform ‘sport’ karate kata want to remove themselves from being criticized and compared as not being ‘good’ enough; that is, by saying they are doing something different and authentic. It is the same train of thought as when a female karateka performs a ‘good’ kata. By adding the word ‘female’ to the person’s performance automatically they remove themselves from the comparison. It is a mechanism that safeguards their self esteem; down deep in their hearts they do recognize that they are not ‘good’ enough. Knowing some of the karateka who competed in the 2020 Tokyo Olympics and seeing them in prior seminar occasions I can tell you that their kata performance was the same. They did not perform one way in the Olympics and another way in the seminars. Since 1980 WUKO V and 2020 Olympics karate kata has evolved. That’s all! That is it! Bronze Medalist Ali Sofuoglu from Turkey performed a ‘good’ Shotokan kata. Likewise, America’s Ariel Torres Gutierrez performed a ‘good’ enough kata to also merit him the Bronze Medal. International karate officials, judges, and referees, although highly trained, they are humans with fears, likes, dislikes and point of views emanated from their long associations and philosophies of their own perspective styles. Furthermore, they, too, aspire to advance to their next higher level. Inevitably, all played a role on their subconscious which was demonstrated by their decisions of who performed a ‘good’ enough karate kata. Stop and think for just one moment: How would the judges feel when they would face Sakumoto Tsuguo Sensei if they deemed Kiyuna Ryo a Silver Medalist? For all purposes Kiyuna Ryo had to win. That ensured the goodwill and good relationship of the judges and referees with their Japanese seniors, teachers and colleagues.

Sandra Sanchez from Spain won the Gold for her performance over Japan’s Shimizu Kiyou which was staged on Thursday. If on the next day the Men’s Kata Category was won by Spain’s Damian Quintero there would be a strong possibility that the judges and referees would face Japan’s most favorite punishment: Ostracism. On the other hand, if robots judged the 2020 Olympics much of the outcome would be different. Regrettably, from now on and during the next decade we will see upcoming athletes who would sport frightening facial grimaces with eyes popping out of their sockets accompanied by yells only to find in Hollywood’s horror movies. Karate will evolve to this point because in the 2020 Tokyo Olympics the judges allowed this to happen. What political strength does India, Nepal, Sri Lanka, and Africa (with the exception of South Africa and Egypt) have in the International WKF? The more powerful the influence the better results for their athletes. For all those ‘traditionalists’ who separate themselves from ‘sport’ karate kata get off the couch, go to the dojo, work on your style’s kihon, enter local and international tournament events, go through judging and refereeing trainings, and achieve international status. Then, and only then, the ‘traditionalists’ can effect change. If ‘traditionalists’ are not willing to get heavily involved, then they will remain by the sidelines as spectators watching karate evolve on the specifications of those who are already in the game. Katherine Loukopoulos Bubishi Team Austria 2 September 2021

Yang Ch'eng-fu Form - The Martial View A Brief Introduction Peter Jones

n this issue of Lift hands I will be taking a brief look at Slant Flying, Draw the Bow and Fan through Back. We have been looking at a few moves in Cheng-fu’s form over the last few issues which has been great and hopefully has given you something to think about. I know that there are a few out there that may think that Yang Lu-ch’an’s form is more martial. However, both Cheng-fu and Lu-ch’an’s forms are as good as each other, in the martial as well as the healing aspects.

With the points referenced in this article, please be aware they are dangerous and not be used, they are for informational purposes only. I have only covered the points briefly here — there is much more to them! Slant Flying Your partner throws a punch towards your face with his right hand [Figure 1]. With your right palm, you do a P'eng like movement to the oncoming punch. As you do this you take a step outwards and turn to face your partner from the side on. Now whilst all this is going on, the palm that has done the p'eng, takes the wrist and pull it downwards, bringing your partner’s arm in towards you, doing this sets up nicely for the next move [Figure 2]. With your right forearm strike diagonally across your partners chest, with your open palm going into the neck. By pushing your own chest out slightly, will break your partner’s arm, at the same time you can do a low kick or sweep to take your partner to the ground [Figure 3]. When practicing Slant flying, do this on both sides, as well as the open side and closed side with your partner.

Figure 1

Figure 2

Figure 3

Some of the Points You Could Use Taking in mind that even if you don't hit any of the points, the ‘technique’ will still work just as well. The points are an added bonus. Here are some of the points you could use : Triple Heater 16 [TH16] on the side of the neck — striking TH16 this can cause KO with a light strike. Kidney 3 [KD3], is just above the ankle [Achilles Tendon] — this, when struck, could cause qi drainage and KO if struck hard enough, also extreme pain in the ankle area. Stomach 9 [St9]. You'll find this point on the neck near the Adam's apple. This point even with a light strike can cause KO. Fan through Back Your partner throws a right punch. Using the back of your right palm, you strike the oncoming arm of your partner from below, as you do that, simultaneously, you raise his arm up [Figure 4]. Now, using your left palm you strike with your fingers straight under your partner’s armpit [Figure 5]. Adding a little extra, immediately after striking under the armpit you strike using the back of your left forearm to break your partner’s arm [Figure 6]. Some of the Points You Could Use Heart 1 [HT1], this is found in the armpit. HT 1 is a very dangerous point to strike it will stop the heart [do not use this]! Colon 6 [CO6] is found on the wrist. If struck hard enough it could cause KO. It is also a qi drainage point. Taking in mind these will be snapping grabs around the wrist. Lung 7 [LU7], again this is on the wrist, it will cause great pain and it is also a qi drainage point. Heart 4 [HT4] — also on the wrist — will cause high blood pressure.

Figure 4

Figure 5

Figure 6

Draw The Bow Your partner throws a right straight punch. Using your right p'eng like palm you strike the oncoming forearm of your partner [Figure 7]. Now as you take a step out to your left, you can grab your partners wrist and with your left palm you strike towards the temple, as your doing this strike with your left, your right palm does a sharp jerking motion to the right wrist of your partner [Figure 8]. Adding a little extra, immediately after striking the temple you strike using the back of your left forearm to break your partner’s arm [Figure 9].

Some of the Points You Could Use Gallbladder 3 [GB3], is found on the side of the head [temple]. A light strike will cause KO, a hard strike could cause death. There are a good few points to pick from on the side of the head, far too many to write about here. I have already mentioned the points on the wrist earlier.

Figure 7

Figure 8

Figure 9

My thanks to The Guild Instructors, Adrian Jones, Steven Williams and Stephen Kohut for demonstrating these techniques. Please note, the movements in the images have been vastly exaggerated and simplified for purpose clarity for the reader.

Introduction

he various shapes of the hands in Taijiquan have oft been misunderstood. This is primarily due to the modern short forms [designed for health] deviating considerably from their initial martial purpose and intent.

This has been further exacerbated by changing the names of the hand-shapes to sound more ‘flowery’ — Lu or Roll Back is oft referred to as ‘Stroking the Peacock’s Tail,’ which sounds pretty and fancy but totally takes away from the actual dynamic of the concept involved! Whilst the main family forms of Taijiquan do refer to some postures differently, they nonetheless, retain the essence of the dynamic, for example, ‘Turn Around and Chop with Fist’ is also referred to as ‘Torso Flung Punch’ — those with martial acumen and training will instantly know that while the names may differ, they are both describing the same dynamic. Below, is a brief description of the four main hand patterns, some of their variants and their usage from the Old Yang Style in particular. It is not an exhaustive list or description [more of a rough guide] as there are many interim and subtle uses of the hands ‘hidden’ in the transitions in-between postures. The Palms Most of the postures of Taiji involve the open hand or palm, although the palms are referred to by differing names, they are variations of the main ‘Tiled’ or ‘Beautiful Hand’ — the names merely distinguishing between the function of the particular palm itself.

‘Tiled’ or ‘Beautiful Hand’

The palm gets its name from its shape which resembles a Chinese roof tile! It is held slightly concave with no excess tension causing both yin yang to be present in the same hand. The thumb and index finger side of the palm has slightly more tension with a smooth lining of the webbing between them, giving us the yang component. The remaining 3 fingers are held slightly more relaxed, producing a natural curve and representing the yin component. Because the hand or palm is now in balance or harmony, it is also sometimes referred to as the ‘Beautiful Hand’.

Regardless of the shape, the palm, fingers and hammers [fists] must reflect the basic yin yang component in their executions with a ‘state change’ — the potential energy of a yin hand is yang, and a yang hand is yin — throughout the motion of the hand, otherwise it is deemed a ‘dead movement’ void of internal power and energy, and likely to cause injury upon impact!

Yang Hand with potential yin energy

Yin Hand with potential yang energy

Further, all the palm/hand ‘techniques’ are variants of P’eng [Ward-off]! This is why we are told that if we learn only one thing in Taiji, then learn P’eng. Below are the four primary energies — all containing P’eng!

P’eng

Arn

Variation of Arn 1

Variation of Arn 2

Variation of Arn 3

Double P’eng

Reverse Ji

Laugong Hand

Erect Palm/Mountain Hand

Fan

Spear Hand

Arn has multiple variants [far too many to mention just like P’eng]. Above, Variation 1 represents a palm strike [Press]. Variation 2 is a knife edge strike or using the pisiform bone [High Pat on Horse], or the fingers. Variation 3 represents the hooks of Arn, or striking with the side of the index finger or raking the eyes. Erect Palm or Mountain Hand is so-called due to the hand looking like the Chinese character for Mountain, where the fingers are pointing upwards representing the peaks [Hands Play Pippa]. Its reverse is ‘Needle Sea Bottom’ with ‘Fan through Back’ a variant also known as ‘Mountain through Shoulder’.

Inspect Horse’s Mouth

Piercing Palm

Spear Fingers

The Laugong Palm strikes using the knuckle at the base of the middle finger by projecting the palm and is used to strike hollows like the temple. Again, Spear Hands have many variants, where the fingers are the primary weapon.

Spear Hands Variant [Duck Lands on Water]

Spear Hands/Cross Hands Variant

Character Ten [Cross Hands]

Clouding Hands are simply one of the many variants of P’eng. Each variant has a different martial application or dynamic. The Blooming Palm [Golden Rooster Stands on One Leg] is another variant and also the template for the back fist, while Cross Hands, teaches the skill of joining energy.

Clouding Hands 1

Clouding Hands 2

Clouding Hands 3

Blooming Palm

Pigeon Flies To Heaven

Plucking Hand

The Plucking Hand uses the thumb and the ring finger in a snapping motion, causing the centre of the opponent to violently shift forwards. The Hammers Taiji’s Hammers are the various fists born out of the dynamics of the palms. Again there are many variants based upon different dynamics leading to multiple martial applications. All of Taiji’s hammers start and finish with an

Classic Taiji Hammer [Fist]

Fist Under Elbow

Taiji Hook

Penetration Fist

Punch To Groin

Straight Snap Up

Pounding Hammer

Hidden Hammer

Step Up To Seven Stars

open loose hand or fingers. In other words, the hand only ‘claps’ into its final position a split second before impact and instantly releases the tension after impact. The Classic Taiji Hammer has the thumb sitting flush on the second knuckle of the index finger and primarily uses the bottom 3 knuckles to strike, of course the striking part changes as the shape and angle of strike of the hammer changes. This ensures not only the integrity of the fist, it also ensures correct alignment of the wrist to prevent any damage! The Taiji Hook utilises the thumb to attack the back of the neck — literally hooking into from the rear in either a grappling scenario or alternatively if an initial snap punch is parried past the shoulder. The Penetration Fist acts like a drill, spiralling forwards whilst keeping the elbow bent. The striking components, here, are the knuckles of the index and middle finger. It is an ‘intercepting fist’ where the angle of the elbow, linked with the action of the spiral, deflects an oncoming strike and simultaneously strikes into the hollow of the temple [or neck] in a single motion. Punch to the Groin utilises the same concept now spiralling downwards and once again the bottom three knuckles come to into play. As one’s spiralling skills improve, these can be deployed from a variety of different angles to different targets with devastating effect.

A reverse spiral strike into the ‘mind point’

The Pounding Hammer should not be confused with that of the Shaolin systems or Chen Family Taiji. It is used to crush using heavy hands aided by ‘gravity free-fall’. The Hidden Hammer is concealed by the overlapping arm and strikes much like a ‘switch blade’ angled downwards. The term also refers to striking with the hand which is obscured by either the other arm or the body — in other words it is not in plain sight. The ‘Seven Star’ Hammers are two crushing strikes into the vagal triangles on either side of the neck and are NOT an ‘X-block’! Of course there are many more of the obvious hammers such as the vertical and lateral back fists. However, these are simply variants of the Classic Hammer.

The Animals These striking methods are where the palms mimic the striking dynamics of a specific animal. It does not mean that you actually physically try to act like the animal in question as is often depicted in martial art movies! Humans do not have the claws or the teeth of a tiger, so they cannot rip, tear or literally bite your head off! It is about understanding their essence and their natural methodology of movement and how they use that to devastating effect in times of survival.

Monkey Hands

Monkey Fist

Monkey Hand Variant

Sit Back Ready [Snake & Monkey]

Snake Wraps the Willow Tree

Snake Fingers

Cobra Fingers/Hand

Dog Fist

‘Old’ Phoenix

In traditional Chinese a monkey literally refers to all the simian species! So, the monkey can be lively and spritely, equally it can be a gorilla or any one of the other myriad of monkey types found on the planet. The hands are held loose and heavy, they can be open or held in a very loose Monkey Fist [also considered a variant of Single Whip]— allowing you to strike, grab and pound using not only the hands but also the back of the forearms, much like a gorilla! The snake needs no introduction! It strikes, coils, spits and crushes! The snake is synonymous with the winding movements of the river and it is constantly seeking gaps or holes in the opponents defences through which it can slip and attack! Whilst the classical movements of the snake in the Old Yang are instantly recognisable in postures like ‘Snake Hands, Sit Back Ready Like a Monkey’ — other well known postures such as ‘Brush Knee, Obstinate Twist Step’ are not so readily identified with the snake by most modern practitioners.

A pair of Barbary macaques — note how they sit with their hands loosely crossed. Photo Credit: Nasser Butt

The Cobra Fingers are use to gouge the eyes as opposed to rake and in grappling are used to attack the back of the neck causing knockout. The Dog Fist can be a devastating entry attack. The wrist whips sideways using the bottom three knuckles which can neatly fit into the neck, the jaw or can be used to attack the temple. The Old Phoenix is essentially a variation of the Taiji straight snap punch, only here, the thumb juts out slightly from the second knuckle of the index finger and is designed to attack in the pit of the throat before the lower knuckles snap up!

Photo Credit : Nasser Butt

The Crane appears in many guises throughout the Taiji Form. It is not limited to the classical postures and can be used for a variety of attacking methods, as well as ‘smothering’ techniques. It also plays a major role in the Shuaijiao, or throwing techniques of Taijiquan.

Double Phoenix

Classical Crane

Old Style Crane

Single Whip is perhaps one of the most misunderstood hand movements, especially that relating to the ‘hook’ from where it gets its name. The dynamic of the whip [in the form] teaches us the concepts of circular rolling energy in two different planes teaching us how to use the entirety of the hand as a weapon! It is commonly and incorrectly referred to as the ‘beak’ of a bird [crane], and an oft cited application is that you strike with the bunched fingers into soft tissue or the eyes much like a bird pecking! Whilst poking someone in the eyes or soft tissue with the fingers is feasible, there are far better and more deadlier ways of doing this and further the ‘beak’ [being a solid object] does not take into account the biplane ‘rolling energy’ mentioned above — that’s because the primary rolling whipping motion of the hand mimics the talons of a bird of prey such as a hawk or an eagle!

Double Dragon palms

Single Whip Classical

Single Whip “Advance’

Reverse Whip

Single Whip Variation

Claw

Photo Credit: Nasser Butt — Note the shape of the talons

Photo Credit: Nasser Butt — Note again the shape of the talons

A beginner holds his or her hand in a more ‘rigid’ structure — this is where we learn about the energy of the dynamic and its movement. Further, when learning to strike with the lead knuckles of the hook, as we do in the Small San-shao, we develop our understanding of how to allow forces to pass around the hand as opposed to through the wrist, thus avoiding serious injury. Sometimes, this version is also referred to as a ‘horse’s hoof’! Once we have learned about the energy and dynamics, and have developed soong in our movements, the fingers are held together far more loosely and relaxed like an eagle in flight [see images above]. The claw is an interim transition of the whipping motion itself and is used in a brutal fashion to attack multiple points around the face, neck and jaw as a part of the continuous whip, or it can be used as a standalone dynamic, clawing at the eyes, neck, face or attacking points behind the clavicle! The ‘hook’ can be used in the classical or inverted shape. It can be used to snap joints, including the neck as well as help redirect attacks by moving from the inner to the outer gate!

Tiger Paw

Tiger Paw Variation

Padded Hand

The Padded Hand can be used to deliver powerful blows to the limbs, especially near the joints.

The Tiger Paw or Fist is a variation of the Classical Taiji Fist with the second knuckle of the middle finger slightly protruding from the rest of the fist. It is used to attack in hollows such as the pit of the neck, the eyes, the temple or the solar plexus, as well as attacking the neck and other soft areas. It can be used with the finger-side of the fist pointing upwards, downwards or sideways. The Padded Hand represents the padded area of the paw of a big cat or a bear. The fingers are held loosely giving the fist a flattish appearance and when striking you use the entirety of the pad. This allows for very powerful blows on even hard areas of the body without breaking the hand or damaging the fingers. The Immortal Hand is used to strike in and around the vagal triangle or to rip and tear the throat. It is also used as a tool in helping students to develop yin yang in the hands during the practice of single Da Shao.

The Tiger Paw

The Immortal Hand

In Conclusion It is important to reiterate in concluding this that I have merely given a limited description representing a selection of the hands. The important part for the student is to realise that they are all representations or variations of the four primary energies, with p’eng being the most critical one, and that the fists themselves are simply variants of the open hand! It is for the student to train and study diligently in order to discover the entire range of the dynamics, including the transitions and their meanings. My thanks to Sylwia Cichocka, Ramakrishna Pillay, David Pratt, Peter Rigg and Anke White for helping with the photography.

met Steve Tappin in Cambridge a couple of years ago during the annual meet of Adaptive Martial Arts UK & Ireland, arranged by our mutual friend, Neil Kirkland. After the event, we all went out for a meal and I found myself seated opposite Steve. We soon became engrossed in a conversation upon the importance of understanding correct dynamics and body mechanics in martial arts, and although our arts may be called by different names… in principle, we were practicing the same thing. I had hoped that we would be able to continue our conversation at forthcoming events but, sadly, the Covid pandemic brought a halt to everything for almost two years. We finally, managed to meet up during one of ‘The Gathering’ events held up and down the country — in this case, at my school in Leicester during August 2021 — as we emerged from lockdown and I finally got to see the man at work. Steve simply does what he says! I have nothing but respect for his knowledge, experience and forthright views!

It is so refreshing to come across a martial artist whose words resonate honestly — words with which I can relate to wholeheartedly, and I quote: “On my 35+ years of travelling around the world to teach many different styles of martial arts our Escrima Concepts System from weapons to unarmed transition. I enjoy explaining how movement and controlling the space is important, as is understanding different weapon mechanics working in harmony with body mechanics and removing the BS to get down to business, in preparation for the street and on the door. I upset many other instructors due to my directness, which is fine, because I care about my members, and, am not interested in flashy drawn out techniques that don’t work in reality.” Mine own teacher, Erle Montaigue, was much the same! I really do hope that in future issues of Lift Hands, we are able to glean from Steve’s vast reserves of knowledge and my advice to anyone — if he is in or near your neighbourhood, do make a point of going to see him… you will come away a better martial artist! Overleaf, is a brief history of Escrima Concepts provided by Steve, who kindly took time out from his extremely busy schedule to write for Lift Hands, and answer our 20 Questions.

ESCRIMA CONCEPTS A BRIEF HISTORY

teve Tappin is the Founder of Escrima Concepts a Martial Art teaching all aspects of Armed and Unarmed Combat operating mainly in Western Europe. He has worked with several security industries for many years where myths and truths about martial arts and real fighting were quickly learned and applied — this, with like-minded people, is how and why Escrima Concepts developed into a stand-alone system; alongside the Escrima Concepts syllabus he teaches Blade Awareness, Control & Restraint and Environmental Awareness Seminars. He teaches an understanding of adapting to the level of emergency concerning unarmed and weapon training. Steve has taught many police and security employees in the ways of weapon control and theories and he has been invited to teach on courses for police and security forces. This has included royal and public figure bodyguards/close protection personnel. His first involvement in martial arts was in wrestling (alongside boxing and then karate). The style of wrestling he learnt included all aspects of wrestling from standing to groundwork — after his back operation he concentrated more on stand-up grappling that has proven very useful when teaching compliant locks and holds to the martial art and security industry.

He joined the first Escrima club in Europe where full-contact unarmed free sparring was taught alongside training with weapons, this was around 1976 – 1977 in 1978 he took this more seriously and also began his study of historical weapons. He continued to free spar for many years in his own clubs in London and taught how to blend the art of armed and unarmed training together to simplify the art into an honest direct fighting system with no gimmicks, this allowed his members to adapt to the need of the environment from control applications to harsher measures depending on the circumstances. In 2003 Steve went independent with Escrima Concepts and with the help of family, friends and members it has steadily grown and Escrima Concepts have many clubs in Europe and the UK. Steve also, works closely with other European Organisations teaching his system. More recently he has been training with the Adaptive Martial Arts Club and The Gathering, which is a group of martial artists who teach for free at four events in the UK where the proceeds go to great causes.

LH: Thank you for that brief introduction into the history of Escrima Concepts, Steve. Well, if you are ready for your questions, let us begin - If you could have personally witnessed anything, what would you want to have seen? ST: The Birth of the universe! LH: What would you do if you were invisible for a day? ST: Find out the secret recipe of KFC. LH: The 11 secret herbs and spices — now that would be worth knowing! As a child, what did you wish to become when you grew up? ST: An adult, but I’m not sure that I made it yet as I have some dark humour about me still. I guess I wanted to be a sportsman but life got in the way of that dream. LH: What animal best represents you and why? ST: A dog as I can be fiercely protective and loyal. LH: What is your greatest strength or weakness? ST: I can be overprotective that has seen me in some troubles in my time and yet been very helpful at other times. I see me being overprotective as both a strength and weakness. LH: What is your favorite memory of any one of your grandparents? ST: My grandad meeting me on some afternoons outside my secondary school to take me to the pub with him. LH: Lol… interesting! I started working for my dad in his bar at age 13! How do you want to be remembered? ST: As a man who constantly changed, who gave up a large income to go independent and form Escrima Concepts with the help of family, friends and members and to make it very social throughout Europe so we can train, laugh, learn and grow together. I want others to improve our system that I currently guide and that I learn when, and how, to retire and pass on our system to others. LH: What have you always wanted and did you ever get it? ST: Children and grandchildren and to live long enough to enjoy them all and see them settled. I have most of it but I worry about the future of my grandchildren. LH: Do you know your heritage? ST: I know some of it but I’m happy to say many cultures from around the world have been part of my family and this has helped me in life, with friendships and teaching our art. LH: Are you still learning who you are? ST: I now know who I was, a young angry man who thought fighting was important. As I have grown older and have mellowed, I see my mistakes and try to avoid them now and give something back to people and to our art. In some ways I am still involved in fighting if you consider martial arts but I’m no longer interested in making fighting more important than everyday life. I want my members (or who I teach) to be taught the truth about the street and be prepared for violence outside the dojo but not to glamourise it. I have used variations of the following analogy concerning fighting:

Teaching at The Gathering event in Leicester Photo by Nasser Butt

Steve demonstrating with his son Wayne Photo by Nasser Butt

ST: If you have had on average 10 fights a week for 10 years and they last up to a minute each fight (I only state a minute to make a point as many fights are finished quite quickly but a few last longer) then that’s 5200 minutes that’s approximately 86.5 hours which is just over 3 days. That means for some people them 3 days out of 10 years are very important to them, but why? Its such a small amount of time that its insignificant when compared to the overall time during those 10 years, surely, they have more interesting things to look back on? LH: That’s a very insightful and thought provoking answer Steve! What, if anything, are you afraid of and why? ST: Me not finishing plans that I still want to fulfil because as I have grown older, I have become more comfortable at home now and I have to dig deep to reach certain objectives that I set for myself. Also, I am enjoying my life more since I met my partner 4 years ago and that is time well spent. LH: What is the most memorable class you have ever taken? ST: So many, from a Druid class I thought was going to be a nightmare who were all removing the invisible bad aura before I started the seminar that turned into fun, to being asked to teach medieval weapons in a gym with a low ceiling that I had to go on a flat roof and teach 4 people at a time in the snow and rain for 6 Photo by Nasser Butt hours until dark with no breaks, to teaching in car parks when gyms were not open for different reasons with the public and police watching, to teaching in castles and universities and teaching the Manorial Society and of course teaching in the Royal Armouries. I have taught from South America, North America and in many countries in Europe and in China, Hong Kong and Macau. I have had many fun and unusual circumstances concerning teaching over many years. LH: What book has influenced you the most? ST: So many books left their imprint on me but if forced to pick one it would be “Give Him To The Angels” The Story of Harry Greb. It shows how tough some people are and how strong willed they can be. I could relate to this book as I had family who were like him so it hit home to me too. LH: What ridiculous thing has someone tricked you into doing or believing? ST: None that come to mind.

LH: Who or what has been the greatest influence in your life? ST: Growing up family and friends taught me about the street and environmental awareness, I call these my lost years as they were frequently violent. I guess the biggest influences in my life from different backgrounds have been a few people who helped to support me, mentored me and guided me and gave me confidence to advance at no personal gain or from financial award apart from their gift of friendship. Some people who come immediately to mind are Dave Kaye, Roy King, Del Connelly (who first helped me teach in Europe). The biggest influences on me though must go to Brian Jones and John Waller. LH: What is the craziest thing one of your teachers has done or made you do? ST: Tied us together to spar, stand on milk crates to spar to test balance and we even had things thrown at us whilst sparring. It was painful to learn in the 70’s and 80’s. LH: When did you screw everything up, but no one ever found out it was you? ST: I shall be boring here as nothing comes to mind. LH: If someone made a movie of your life would it be a drama, a comedy, a romanticcomedy, action film or science fiction? ST: Most of my life has had drama from operations, to financial loses when I first went self-employed, to the ugly life of martial art politics and lies that I turned my back on, at great personal cost, but the reallife action and violence of my lost years and the humour that kept me sane, with staunch mates by my side, are stories waiting to be told. I suppose all the above except for Science Fiction. LH: If you could select one person from history and ask them one question — who would you select and what would the question be? ST: Jesus – was it worth it? LH: How would you describe your art in ten words or less? ST: A weapon to unarmed system that’s effective, informative, and proven! LH: I can’t believe we have come to the end of the questions already! Thank you Steve for taking time out to talk to Lift Hands. It is always a pleasure talking to you and I always leave feeling I’ve learnt a bit more. Hopefully, we will catch up soon at another ‘Gathering’ session. Meanwhile, stay safe and well. ST: Thank you!

Editor’s note: All images appear courtesy of Steve Tappin unless stated otherwise.

The Medicine of Words Dr Gregory T. Lawton

I will not leave here quietly.  I will yell and scream, and fight tooth and nail. They will have to send a meteor and lightning To break my grip from the earth.  People will celebrate my death  Until the end of time. ***** I have belatedly come to understand That my longest relationship is with myself. Perhaps then I should learn to love the heart That beats within my own breast. ***** The only time I see flowers is when they grow  And when they bloom and open to the sun.  I see them resplendent in their beauty and flagrance. I do not see flowers when they are faded or wilted,  Or fallen to the ground and rotting in the dirt.  And when I see you –  I see you in full bloom and open to the sun,  In resplendent beauty and flagrance. ***** Consider that once you leave here The seed you planted will grow, Bloom, and drop new seeds,  And the entire earth will become A beautiful garden of flowers.

About the authorKindly reprinted with permission from:

Dr. Gregory T. Lawton is an author of many books, most of them in the area of health science, but also in the genre of Asian martial arts, philosophy, poetry, and prose. Dr. Lawton is a passionate award winning artist and photographer who finds his artistic and creative inspiration in nature, and who frequently attributes the source of his images and writing to the 19th century Persian Prophet, Bahá’u’lláh, the founder of the Baha’i Faith, and the 13th century Persian poet and Sufi Mystic Jalāl ad-Dīn Muḥammad Rūmī. Dr. Lawton has been a member of the Baha’i Faith since 1970 and embraces the Faith’s principles related to the promotion of world unity and peace.

Lift Hands would like to thank Katherine Loukopoulos Sensei for providing this exclusive book free of charge to our readers. To get your download link please visit and join our group page on FaceBook: Lift Hands: The Internal Arts Magazine

Photography by David Pratt Design by Nasser Butt

he Baguazhang animal forms are split into three main areas of study: 1. 2. 3.

The Animal Forms — The Main Form The Animal Qi Awakening [Shaking] Methods — These may be considered as an abridged version of the main Animal Forms. The Animal Two Person Training Methods

The Qi Awakening/Shaking Forms are a set of Forms derived from the Eight Animal Forms themselves. Their purpose is to teach the practitioner about qi, energy, natural internal movement and fa-jing whilst maintaining a ‘relaxed’ state without any excessive tension1. These eight methods are relatively simple and are taken directly from the main animal forms. The forms are performed with fa-jing, releasing the energy of the spine, much akin to a bird ruffling its feathers or like a dog shaking its coat! They are an excellent way to literally ‘awaken’ the body’s energy system and as such have great health benefits, as well as the obvious martial skill sets. Of course, the above mentioned dynamics cannot be shown in a static image. The purpose of this article is simply to introduce the would-be practitioner to these amazing training methods and it is up to them, themselves to find a competent teacher who can impart the necessary knowledge and skills. The reason for choosing the Phoenix as an introduction to these methods is simple: 1. 2. 3.

The form is short and has very little footwork [Details will be explained below]. The form can serve as an excellent introduction to practitioners to the concepts of ‘rolling’ and ‘reeling’ — critical skills in the internal arts, especially in Taijiquan. The dynamics and principles explored can be used to benefit any martial art.

The legend of the Chinese ‘phoenix’ differs to that of the Western phoenix in many ways. Unlike the Western phoenix, which dies and then rises or is reborn from the ashes, the Chinese phoenix is immortal! Further, what today is mistakenly referred to as the Chinese phoenix is a misnomer. The bird in ancient Chinese culture was referred to as the Fenghuang Bird and originally consisted of a pair of birds — Feng representing the male and Huang representing the female bird [thus relating to the philosophical aspects of yin yang itself] — which in later culture became a single female entity [often associated with the empress in Chinese royalty with its male counterpart — the Dragon — representing the emperor] and is said to rule over all other birds! The bird was deemed the harbinger of bliss and appeared in good times in some traditions [hiding during times of turmoil], while in others it is said to have appeared at the start of a new era. The original Fenghuang bird is said to have had a rooster’s beak, a swallow’s face, a fowl’s forehead, a snake’s neck, a goose’s breast, a tortoise’s back, the hind legs of a stag and a fish’s tail — a chimera! Later depictions of the bird describe it as an amalgamation of other birds with the head of a golden pheasant, the body of a Mandarin duck, the tail of a peacock, the legs of a crane, a parrot’s beak and the wings of a swallow. 1. The term Soong or Sung, usually translated as ‘relax’ is often misunderstood in the internal arts. The Classics teach us that we must be in a “100 percent state of soong” — so, by that very statement we cannot accept that soong means ‘relax’ because if you were to relax 100 percent, you’d fall in a heap on the ground!

The composite body parts of the Fenghuang Bird are said to represent celestial bodies. The head represents the sky while its tail represents the planets. The sun is represented by the eyes, the back represents the moon, while its wings represent the wind, and its feet represent the earth. The origins of the Fenghuang Bird are said to be the sun, its body containing the five fundamental colours of black, white, red, yellow and green, representing the five Confucian virtues of: 1. Ren — Benevolence, charity, and humanity 2. Yi — Honesty and uprightness 3. Zhi — Knowledge 4. Xin — Faithfulness and integrity 5. Li — Politeness In the first chapter of the Classic of Mountains and Seas , the Nanshang-jing, also known as the Shan Hai Jing, it is stated that each part of Fenghuang's body symbolizes a word. The head represents virtue 德, the wing represents duty 義, the back represents propriety 禮, the abdomen represents credibility 信 and the chest represents mercy 仁.

Fenghuang Bird commonly [but incorrectly] referred to as the Chinese Phoenix.

In Baguazhang, the ‘Phoenix’ represents the power of the air or wind and in health terms represents the lungs and the lower lumber vertebra. She is considered the ‘Eldest Daughter’ and her primary weapon is the ‘Windmill Palm’. She uses her powerful wings and wing tips [swooping and rolling, turning and striking], as well as her beak and feet to great effect in defending herself — applying locks and holds whilst the feet and beak attack. Although the Chinese ‘Phoenix’ has the ability to fly, its feet representing earth, are said to be made of clay, thus she is rooted firmly to the ground or earth, and utilises this to ‘squeeze’ power from the earth itself. It is for this reason that there is very little footwork in the form except for a few short steps and stomps. Being a female, she represents the power of yin and the form is said to ‘shake’ you out of lethargy or if lacking motivation. A common depiction of the Fenghuang Bird was of it attacking snakes with its talons and its wings spread. Baguazhang honours this tradition in the Two-Person Training Method — Snake and Phoenix Form. Below is a simple depiction of the form. As I have already stated above, you cannot even remotely begin to understand the continuous motion, the transitions, the subtle weight shifts and the intensity of the spirals, the dynamics and the fa-jing from these static images! Alongside the images of the solo form are representations of the basic striking patterns [shown in blocks of three complete strikes for both the solo and the martial] — or dynamics! They should not be viewed as techniques but merely serve as illustrations to a concept or principle from which a myriad of ‘techniques’ will emerge. Only the main strike is shown. There are subtle forward and backward controlling weight shifts happening throughout with the waist turns and the resultant fa-jing releases.

The Form

1. Start in a reverse bow stance — also known as a ‘power stance’ with your arms held loosely as shown.

2. As you turn your waist to your right, the right palm rises and rolls outwards as your left palm counters.

3. The right palm rolls clockwise with the weight shifting slightly forwards…

4. arcing across the body to the left as the waist turns to the left…

5. As the waist starts to turn back to the right, the left palm makes a smaller clockwise circle…

6. With the weight shifting slightly backwards as the right palm rolls and strikes straight up the centre.

7. Your partner throws a right punch to the body or the face…

8. Your right palm rolls and slams into the crease of the elbow striking Lung 5 [Lu5]

9. Your left palm circles around the right wrist and strikes neigwan [PC 6]…

9A…The fingers of right hand strike under the nose at GV26 and continue to rake the eyes — representing the feathers of wing-tips.

10. The waist turns to the right, as the right Dragon claw scrapes straight downwards…

12. And then counterclockwise — exposing the knife edge.

13. The waist now turns violently to the left drawing in the left palm and throwing out the right palm…

14. Which rolls counterclockwise and then clockwise mirroring the left palm

15. As the waist straightens to the right, the right palm draws in…

16. Both palms are held chest high with the elbows pointing downwards and slightly outwards…

17. You take a short slap step with the right foot dragging the left foot as both palms violently fold at the wrists.

11. And the left palm rises and begins to roll clockwise at first

18…Continuing from the previous strike the right Dragon claw scrapes down the centre as the waist turns to the right, loading the left…

19. palm as it rolls…

20. And strikes the vagus nerve!

21. As the waist turns left, the right palm starts rolling and…

22. strikes the clavicle notch — Stomach 11 [ST11]

23. Both hands now come in to the chest thus loading the scapula…

24. As you take a slap step forwards, both wrists flick inwards causing both palms to strike the vagal triangle. Although both hands are yang from the previous posture, the right hand is slightly more yang than the left and it strikes a split second before the left hand. In the internal arts we never strike double-weighted — with both hands simultaneously — this is a cardinal rule into understanding power and structure although to a novice it may appear to be so!

25. Step behind with your left foot and turn to the south dragging your right foot behind reversing your stance as your left hand turns vertical…

25A. Alternative viewpoint of Step 25 as you turn south.

26. The right hand swings around with the centrifugal force.

26A. Alternative viewpoint of Step 26 as you turn south.

27. The right arm continues to the left as you fold at the elbow and relax the right wrist to form a hook…

27A. Alternative viewpoint of Step 27 from reverse angle.

28. The waist shakes violently as the left palm pushes and the right hook pulls…

28A. Alternative viewpoint of Step 28 from reverse angle.

29. The waist continues shaking from the previous movement loading the right elbow and striking

29A. Alternative viewpoint of Step 29 from reverse angle.

30. Immediately after the elbow strike the ‘Phoenix’ opens her wings and now you are ready to repeat form on opposite side.

30A. Alternative viewpoint of Step 30 from reverse angle.

31. As you turn south, the left hand becomes vertical, blocking a punch from the rear…

32. As the right palm either smashes into the jaw at Stomach 5 [ST5] or carries out a percussive strike to neck.

33. The right arm continues to fold after previous strike and the palm hooks just above the opponent’s elbow… Warning The points mentioned in this text are for illustrative purposes only and are extremely dangerous when struck!

34. With a violent shake of the waist, you snap the elbow, whilst simultaneously causing the head to jerk forward…

35. Your own loaded elbow now smashes in to Stomach 9 [ST9], the temple, the mind point or the socket of the right eye!

Please do not strike anyone in training or even jokingly as they can cause harm.

A note for the practitioner… In the internal arts we are told that any form which finishes facing the opposite direction to where you started is not ‘balanced’ and it must be reversed — in other words, performed on the opposite side. The Phoenix Qi Awakening Form is one such form. The whole purpose of this training method is to teach the practitioner how to move their body naturally and automatically from the centre in spirals. Students are reminded to not focus too much on the techniques — it is the dynamics or principles of motion which are the real key like a bird of prey rolling and tumbling from the sky! My thanks to everyone who helped with the photography and to Krish Pillay for being my ‘wooden man’ in the photos. References: 1. Birrell, Anne — The Classic of Mountain and Seas; Penguin Classics; 1999 2. Nozedar, Adele — The Secret Language of Birds: A Treasury of Myths, Folklore and Inspirational True Stories; HarperElement; 2006 3. Sun, Jiankun/Chen, Siyu/ Howard Goldblatt — Fantastic Creatures of the Mountain and Seas; Arcade; 2021

Additional information from Personal Class Notes with Erle Montaigue

How to order your copy: Click on the link provided, or copy and paste into your browser. https:// www.peecho.com/ print/en/677092 The website takes you directly to the page to order the book. 1. Which size do you like? Select the size. Next… 2. Would you like color? Select the color. Next… 3. How many copies would you like? Discount and Pricing. Next… (There is a discount pending on the number of copies.) 4. Where can we ship your order? Next…

ne of my favorite movies is the Man Who Shot Liberty Valence. This 1962 classic American Western tells of an idealistic young lawyer who moves to a small wild western town. The town is terrorized by a vicious outlaw named Liberty Valance. After a series of conflicts, Valance challenges the lawyer to a gun fight in which the lawyer fatally shoots Liberty Valance. The shooting's notoriety propels the lawyer into a distinguished political career including the state governorship. At the movie's conclusion, two newspaper men discover that the lawyer did not shoot Valance, the actual killing was done by another person. The newspaper men discuss if they should make the truth public and potentially tarnish the lawyer's reputation. Instead, they decide, "This is the West, when the legend becomes fact, print the legend."

Professor Cheng Man-ching

My friend Nasser Butt, publisher of the award winning UK Martial Arts publication, Lift Hands Internal Arts Magazine, recently sent me his excellent study, "Whose Line is It Anyway?” Part of this study presented a scholarly in-depth analysis regarding Cheng Man Ching's (CMC) Tai Chi Chuan training and his relationship with the legendary Tai Chi Chuan Master Yang Cheng Fu. Regardless of one's position regarding this controversial topic, I applaud Nasser's courage in tackling topics sure to ruffle some Tai Chi feathers. Kudos to him for providing more sorely needed academic investigations into important Tai Chi issues.

Nasser's study triggered a reexamine of my own thoughts regarding Tai Chi teachers. Why should we care about the veracity of a certain teacher's pedigree? Who cares if they are extraordinary people or mendacious jerks? What if their ability is modest, or superlative, or if they were great fighters but couldn't teach, or great teachers who couldn't fight? We live in a post fact age where political leaders can't tell the difference between the truth, an opinion, or a lie. Why should Tai Chi be any different? So what if CMC or his students have inflated his pedigree? CMC had significant Tai Chi skills and was willing to transmit them to both Chinese and Western senior students. His books and teachings had an enormous impact upon the spread of Tai Chi in the Western World. Why do we inflate resumes? The resume inflation issue raises a fundamental question. As serious Tai Chi students, what do we want from our Tai Chi investment? The answer provides critical insight regarding our need to deify our teachers. First, let’s review several factors that influence our goals and how they impact teacher resume enhancement.

1. Different cultures have different perspectives. Pre 1949 Chinese Culture had a long history of venerating age and ancestor worship. The older an object, teaching, art, etc the great its’ worth! This perspective creates the basis for many of Tai Chi Chuan's origin legends but created a problem regarding historical accuracy. For example, how many 200 year old nameless Taoist martial art master monks can there be? 2. Printing legends can help credentialize a teacher's skills. Tai Chi ability is very difficult to quantify. There are no real metrics nor actual accrediting organizations. This makes validating an individual's teachings or martial skills challenging. Historically, the great masters were the most competent pugilists. However, as much of the current Tai Chi community transitions from martial skill to something else, how do we evaluate teachers? Of course, the presence or absence of fighting ability doesn't begin to address the question wither someone can actually teach something. Fighting and teaching are very different skill sets. 3. We elevate our teachers to inflate our own value. Psychologists call this external verification of your own self worth. The greater your teacher, the greater you are. The greater the teacher's reputation, the more status for the student! All this tends to motivate resume inflation. For example, I found several attempts to inflate the resume of my initial Tai Chi teacher, Huo Chi Kwang. Some had him a guerrilla leader in WWII and the nephew of Huo Yuan Jia. Sorry, Professor Huo was a University President and journalist in WWII. He was neither in the military nor in combat. The Huo Yuan Jia story is way off due to very different Huo families, widely different geographical locations, and conflicting time frames. Nevertheless, Professor Huo was a distinguished scholar with significant internal martial skills. Professor Huo Chi Kwan with Alan R. Ludmer, 1975 Why the need to make him Photography by Ken Lubowich something more? What makes successful students and teachers? I believe that there are two essential components in developing successful Tai Chi students and teachers. Students must have a destination and sufficient motivation to achieve it. If you don't know where you are going, any road will take you there. There is no right or wrong road, but every student needs a direction. Potential students should begin with developing specific goals and time frames. What do you want to learn, why do you want to learn it, and how quickly do you need to learn it? Are you willing to commit the serious time and effort necessary to achieve these goals? When a student can answer these questions, they are ready to find a teacher. Tai Chi teachers must have the knowledge and teaching ability to help students achieve their goals. Tai Chi Teachers are human beings with all the good and bad that being human entails. Teachers can come in all shapes, genders, ages and ethnicities. They don't have to be legendary fighters. Angelo Dundee was Mohammad Ali's life long boxing coach. I doubt that he could have beaten up Ali, but he had the ability to help Ali become a legend. Teachers do not necessarily have to be long term students of traditional masters. Knowledge can be acquired in numerous ways.

Tai Chi teachers do need to have a solid understanding of Tai Chi Chuan, its principles, applications, a commitment to teaching, and the ability to communicate effectively. A teacher’s purpose should be to help students achieve their goals, not inflate their own egos. Teachers do not give answers; they help students find their own answers. Conclusion: Focus on Tai Chi Teachings, not Teacher Veneration Back to our initial question, when Tai Chi facts and legend meet, why do we print the legend? Our human frailties tell us that sometimes we need the legend. We want to belong to something bigger than ourselves and we want and need good role models.

Professor Huo Chi Kwan with Alan R. Ludmer, 1975

Ultimately Tai Chi should be liberating, not encapsulating. Serious students are not puppets. They don't need to be governed by a particular style, form, or teacher. Tai Chi Chuan study is like a scaffold used to construct a building. When the scaffolding comes down, the building has to stand on its own. Like the building, Tai Chi students must stand on their own regardless of who were their teachers. I could spend my life studying piano with Beethoven, but if I'm still a mediocre piano player, then it’s on me. Confucius' Doctrine of the Mean states that the superior person finds in themselves what lesser people seek in others. This means that the answers we seek are within ourselves. Hopefully, by Alan R. Ludmer with his teacher Grandmaster Tuey Staples 2018 diligent study and arduous training we can learn to believe in our own abilities and ultimately find our own answers. We will then transcend from the need for legends and attain the ability to accept our teachers and ourselves for who we are.

About the author Alan Ludmer was a private student of Prof. Huo Chi Kwan from 1969 to 1978 and has been Master Tuey Staples’ student since the late 1970s. Alan has both studied and taught Western Boxing, Shotokan Karate, Tai Chi Chuan and Ba Gua Chuan martial arts. He has authored numerous articles for various martial arts magazines and is a frequent presenter on Internal Martial Arts and other topics. He currently lives in Saint Louis, MO and can be reached at alanludmer@gmail.com.

The ‘cloud’ palm of Baguazhang

he Eight Palm Releases of Baguazhang are a most excellent training method designed to teach you not only how to break holds, but far more importantly the skill of total body mechanics.

This rare training method and its follow on strikes should be seen as an extension of the Eight Palm Neigong covered earlier in this issue. It is a means by which the practitioner shows his dexterity and skill at understanding the fundamentals of each palm. They should not be viewed as techniques — they should be looked upon as means by which to understand the dynamics of each palm and how intent is generated and connected with the said palm. Grabs and holds are common practice in martial arts — Baguazhang makes light work of them by not only breaking the grab or hold, but also by continuing the attack by the very hand which your opponent believes he has control over. In this article I will briefly cover the palm, the type of grab or hold it breaks and a follow-up or ‘peripheral’ strike. Students need to be made aware that whilst the breaks are specific for the related palm, the follow-up strikes can vary. What is presented here are the traditional follow-ups to help the student develop the concepts! Further, it is not in the scope of this article to explain every detailed movement and nuance of each dynamic — for that a competent teacher is required. It is impossible to teach such subtleties via an article using the written word despite the use of images. Students should merely use this article as a reference or guideline to the subject. Here, in Part 2, we continue with the remaining four palms. Palm Number Five

A grabs B’s right wrist with his right hand.

Palm Number Five — Wind The palm is held sideways with the fingers pointing forwards, and breaks an opponent’s hold from a grab from the same side hand. B stretches out his fingers, his palm concaving to form the Dragon palm and cuts straight across A’s wrist — poking towards his chest — thus, breaking the hold.

B instantly ‘plucks’ down onto A’s wrist — attacking the points using his thumb and third finger as his left palm strikes A’s face.

Palm Number Six

A grabs B’s right wrist with his right hand.

Palm Number Six — Water. The palm is held akin to Number Four Palm [Thunder], however, in this case, it angled downwards. It also breaks a hold from an opponents grab by the same side hand [right on right/left on left] by rotating through the action of the waist and moving the opponent’s centre forward.

B immediately forms the Dragon palm and rolls his centre to his right and backwards whilst turning his palm up

B’s actions roll A’s centre forward.

B follows this up by smashing down on A’s elbow and breaking it.

B instantly shifts his weight forwards and strikes A in the face with his right palm.

Palm Number Seven

Again, A’s right hand grabs B’s right arm from the top.

Palm Number Seven — Mountains. The palm is held akin to Number Five [Wind], however with the wrist flexed and the fingers pointing vertically upwards as in Figure 7. This palm breaks a same hand hold much like Number Five palm except for, it cuts down using the knife-edge of the hand.

B forms the Dragon palm and cuts into A’s wrist using the knife-edge of his hand.

B follows this…

By smashing into A’s elbow with his left palm and…

Finishes with a double handed ‘press’ strike to A’s head or chest! The two hands strike a split second apart!

Palm Number Eight

Palm Number Eight — Clouds. The palm is held spiralling outwards with the thumb below and the small finger [pinkie] above. This palm breaks a hold from the opposite hand by spiralling forwards — thrusting the fingers towards the eyes or throat. A grabs B’s right wrist from the side with his left hand. B instantly forms the Dragon palm.

B rotates his body to the left as he steps in and strikes A with his fingers to the eyes or neck! B’s left palm instantly grabs A’s wrist, thus ensuring that he cannot let go of his own wrist.

B, still holding on to A’s wrist uses the momentum generated by his left leg, as his elbow lines up with A’s elbow, to throw A — breaking his shoulder in the process.

B swings his left leg in an arc towards the back…

This completes the Bagua’s Eight palm Releases and their peripheral strikes. As already stated in the introduction, the illustrations here are simply meant to be a guideline for those interested in learning this wonderful training method — and for that you need to find a competent instructor. The descriptions given here are brief! The many subtleties and nuances cannot be illustrated in still images. Further, whilst these are the rudimentary training methods and may appear simple to the untrained eye — there is far more going on below the surface so to speak. A final note… please do not strike your training partners in the areas shown as these can be extremely dangerous — especially the strikes to the neck and eyes.

The Oldest Established School of The Erle Montaigue System In The UK

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‘Jins That Penetrate The Air’ — The Importance of ‘Pa/Ba’, ‘Heng/Ha’ Breathing in Yang Shao-hou’s Taijiquan ‘…He developed a form that was high with small movements done in a sometimes slow and sometimes sudden manner. His releasing of energy (fajin) was hard and crisp, accompanied with sudden sounds. The spirit from his eyes would shoot out in all directions, flashing like lightning. Combined with a sneer, a sinister laugh, and the sounds of "Heng!" and "Ha!", his imposing manner was quite threatening. Shao Hou taught students to strike quickly after coming into contact with the opponent, wearing expressions from the full spectrum of emotions when he taught them.’ Yang Jun ‘First, the learner must place emphasis on jin… learn all the jins that are able to penetrate the air. Continuing, learn to use “hung/ha breathing” such that when you breathe, i.e., inhale/exhale become one with the other (person), then every movement comes naturally.’ Wu Tunan ‘Prenatal Breathing… This form of breathing is also called “reverse breathing…” The lower abdomen contracts as one inhales, and it expands with air on exhalation… Two sounds are incorporated in the practice of rebirth breathing: Heng and Haah. These sounds were kept secret for many years…’ Jou, Tsung Hwa

The breath plays a critical role in Taijiquan. It is not our intention here to explain the full range of breathing techniques — that would require volumes. Here, we will simply give a brief explanation into the role of breath and sound when executing fa-jing. The main breathing techniques associated with Taijiquan and Qigong are: 1. 2. 3. 4. 5. 6. 7. 8.

Natural Breath Reverse Breath Harmonising Breath Pre-natal or Foetal breath Tortoise Breath Cleansing Breath Tonic Breath Alternate Breath

We will only focus here briefly upon the explanation for ‘Natural’ and ‘Reverse' Breathing. Natural breath is simply the regular breathing carried out by humans on a day to day basis without thought. It involves inhaling through the nose where the diaphragm contracts and the abdomen expands, and upon exhalation — again through the nose — the diaphragm relaxes and the abdomen contracts. During practice of these breathing techniques, certain visualisations are given to students to help cause certain energy circulations to occur. In the case of Natural breathing, the visualisation is on the exhalation where we are told to imagine a marble rolling down from the crown of the head, down to the centre of the forehead and the front of the body to your tan-tien — approximately 3 inches below the navel. Reverse breath is literally as the name suggests — it is the reverse of the Natural breath! Here the physical action involves the lower abdomen being pulled in on the inhalation and out on the exhalation. Variants of Reverse breathing are found in the more advanced breathing techniques of the Harmonising, Pre-natal and Tortoise breath. The visualisation here involves imagining a marble being sucked up along the spine from CV1 towards the crown of the head, from where it descends downwards towards where the tip of the tongue is touching the highest point of the hard palate. Upon exhalation, the marble travels down the tongue and the front of the body towards the tan-tien, from where, upon the next inhalation, the marble moves down from the tan-tien to CV1 and back up along the spine as before. This is referred to as the ‘upper heavenly circuit,’ where the backbone represents the yang and the front of the body represents the yin meridian. The old Yang style of Taiji has many associated voice training methods* which have been passed down from the line of Yang Shao-hou and are a part of the teachings of Erle Montaigue [as well as other students from the line of Shao-hou] — as he inherited them from his teachers. The fact that such training methods exist should not be in dispute, nor is it my intention to debate them here. I’ll simply refer the reader to the quotes above — especially those of Yang Jun and Wu Tunan in reference to Yang Shao-hou, and in particular to Wu’s statement: ’First, the learner must place emphasis on jin… learn all the jins that are able to penetrate the air.’ In combative training, it is imperative to get the mind and movement working as a singular unit instead of being separate entities — in other words, we do not want the mind to recognise an attack and then movement following a split second later. In order to achieve this we must build a ‘bridge’ to connect the two — the voice is that bridge or mediator connecting the mind with movement, or the physical with the abstract! This is exactly what Yang Jun is describing when he talks about Yang Shao-hou’s fighting repertoire above.

* It is not the intention here to describe the voice training methods themselves. They will appear in future editions of Lift Hands. For now, it suffices that the reader knows of their existence. These training methods are sometimes referred to as ‘Blocking with the Voice’ — I prefer to use the term ‘Defending with the Voice,’ since there are no ‘blocks’ in Taijiquan… only defensive attacks! A word of prudence here for the student… this does not mean that you can stop an attack by simply using the voice alone!

According to Erle Montaigue: The voice acts in complete co-ordination with the mind and our movement also works with the voice. So if we are able to have our movement working in total harmony with the voice while the voice works in total harmony with the mind, eventually we will have the movement and the mind working in complete coordination. In the beginning while we are developing or building our ‘bridge,’ the student is allowed to use any type of sound or noise with their voice whilst practicing the specific methods, until at an advanced level they should be able to omit the voice and still have the mind and movement working with each other in perfect harmony. Fa-jing or ‘explosive power’ is the motor of the internal arts and one of the major differences which separates it from the external arts**. It is used in close quarter combat over a short range of a mere 6-8 inches! Dim-mak*** is inherent within Taiji itself. However, we cannot have Dim-mak without fa-jing. There are four ways of striking in Dim-mak and these four ways are also known as the “four fa-jing ways***”! When executing fa-jing correctly, you are naturally extending your energy and “putting it into points” by squeezing energy up from the ground***** and releasing it into the hands [or whichever portion of the body is being used for the strike]. So, how do we squeeze the energy up from the ground into the hands and extend it outwards? Once again, we are clearly told in no uncertain terms, the medium or bridge is sound executed upon an exhalation through the mouth — and in this case a specific type of sound! Again, from my training notes, as well as from his published works, Erle tells us: What your voice does, your body follows! The voice is the mediator between the physical and non-physical [internal] — or abstract. When you are doing any fajing movement from the Old Yang when you breathe in the abdomen contracts and when you breathe out it expands — it’s called “reverse breathing” and has the physical effect of removing all the air out of your lungs and protecting your organs whilst pushing downwards and outwards. Internally, it creates much more energy in the tan-tien. The sound must be explosive, without extension — it’s over in a second… “Ba!” Or “Pa!” Not “Haa!”… If you make your throat ‘move’ in a certain way, it will affect your internal organs. “Heng/Ha” effects the kidneys to overcome fear and gain much more power and confidence rising straight up your back. However, you must know how to make the sound — it is not as it is written, these skills were usually passed to students orally! Further, Once again, it gets back to the Classics, which say that the breath must be natural. Now most people interpret this to mean that the breath must be slow and constant, but this is wrong. Only if you are performing a slow and constant movement must the breath be such. If you are performing a sudden fa-jing movement, the breath must act accordingly, with an explosive sound emanating from the voice box. This is what is meant by natural breathing — when the breath is in harmony with the movement.

** One has to be careful whilst making such a statement, since a small group of ’external arts’ especially of Okinawan origins do incorporate such measures in their systems. My teacher, Erle Montaigue, regarded Katherine Loukopoulos Sensei’s methodology of releasing explosive power as identical to that of Taiji. *** See Peasant Talk, Lift Hands Volume 17, March 2021 **** Again, it is not the purpose of this present work to describe the four ways. ***** Fa-jing cannot be executed by leaping up into the air first as has been foolishly suggested by one ‘master’ recently. Once your feet have left the ground, there is nowhere to squeeze the energy from! Further, as already stated, the range of fa-jing is very short — anything beyond that range, even though it may be using the dynamics of fa-jing, is considered a physical strike and, yes, Taiji does incorporate physical strikes!

“The sound must be explosive with no extension” — it must be over in a second, beginning and ending with the movement… in other words the sound does not begin several seconds before nor it does it continue after the movement! This is the reason why Erle tells us not to use Haa — this is an extension and is not the same as Ha! Equally, we cannot have Baahhh or Paaaah — these are not explosive sounds. In Jou’s statement at the beginning of the article we have “Heng and Haah” — This I believe is an error of translation — a misunderstanding of the translator, since both Yang Jun and Wu Tunan’s statements are translated correctly as Ha! Before explaining the specific purpose behind the sound, it is imperative that we refer back to Wu Tunan’s statement — “…learn all the jins that are able to penetrate the air.” Wu is simply telling us that there are more than one — Pa! Ba! Or Ha! They all have the same nature and affect! There are other sounds but these are not used in cultivating the skill of reverse breathing and fa-jing, they are primarily used in the healing components or cultivation of qi. We must remember that the early practitioners and founders of Taiji were primarily peasants — the ‘cultured’ intellectuals came much later. Whilst breathing techniques were always taught within the internal arts, the founders discovered a far simpler way to teach their students specific skill sets using sound and breath. During ‘Heng/Ha’ training, ‘Heng’ is sounded on an inhalation and ‘Ha’ on an exhalation. However, in majority of cases if you tell someone to simply say, ‘Heng’ — they will breathe out whilst doing so. This is why these skills were taught orally and originally transmitted only to personal students — you could write the sound down but that didn’t mean you knew how to pronounce it! The exercise, here, is performed as a ‘neigong’.

Figure 1

Figure 2

Figure 3

Figure 4

1. Stand in a basic qigong stance with your arms extending and your palms facing up. [Fig. 1] 2. As you inhale, pull in your palms to your chest whilst making the sound ‘Heng’ and contracting the lower abdomen inwards. [Fig 2] 3. As you exhale, you expel the air violently out through the mouth making the sound ‘Ha!’… pushing your palms forwards as the lower abdomen expands outwards. [Fig 3] 4. An alternative method is to roll your palms into fists as you exhale making the sound ‘Ha!’ [Fig 4] The entire process above is performed in a split second. There are many ‘Heng/Ha’ neigongs. The above is a simple illustration of one of the basic methods as taught by my teacher — Erle Montaigue. It is advised the beginning student actually practice the sounds using natural breath before attempting the reverse breath techniques in order to simply familiarise themselves with the skill set until the sound and breath become both natural and instinctive.

As noted above, fa-jing requires a reverse breath. Can you imagine in the heat of battle a student trying to remember how he must breathe and contract his lower abdomen? It would not only be ridiculous but most likely end up with a very painful beating or worse! And this was the precise reason for giving Pa! Ba! Or Ha! The sound, when executed correctly, automatically forced the diaphragm to push downwards and the lower abdomen outwards causing the reverse breath to happen upon exhalation, whilst, also, instantly grounding or rooting the practitioner downwards, thus squeezing energy from the ground and extending it outwards explosively! This cannot happen with ‘swish,’ ‘whoosh,’ ‘bish,’ ‘bosh,’ ‘k-pow,’ ‘yabba dabba do’ or even a ‘cowabunga’! You cannot just randomly make up any sound, since the sound is linked to a specific set of things happening in an instant without thought or effort! In a manner of speaking, these voice training methods are not that dissimilar to a classical singer practicing their scales — each scale produces a different length sound, note, tone and resonance through the action of breath, control of the diaphragm and the vocal cords. Those who advocate such nonsense clearly do not understand the role of sound and breath in the internal arts and perhaps should focus on the sound, ‘Shh!’ Silence! At least by not opening your mouth you can maintain the charade of your mastery and at the same time not lead students astray — it’s a win/win situation!

Regular Contributors:

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Tony Bailey Louiseneige Be Nasser Butt Amy Faulkner Andy Haynes Peter Jones Dr. Gregory T. Lawton Katherine Loukopoulos Alan R. Ludmer Gavin Mulholland Krish Pillay Colin Power Gavin Richardson

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Editor: Nasser Butt Email: lifthandsmagazine@gmail.com Peter Jones - Chief Instructor Taiji Pa-Kua Internal Fighting Arts taijipakua@gmail.com The Guild of Internal Martial & Healing Arts Email: theguildofinternalarts@gmail.com

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