Lift Hands Volume 29 March 2024 - The Multi-Award Winning Martial Arts Magazine

Thinking Out

Loud Peasant Talk: The River And Its Meaning In Taijiquan

Concluding The Legacy: Addendum

L’orso Solitario

Published by L’orso Solitario Books, Leicester, United Kingdom

Lift Hands

The Internal Arts Magazine Volume 29 March 2024

Editor Nasser Butt

Copyright © by Nasser Butt, 2024 & 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: Art by Nasser Butt

Cover Design © Nasser Butt, 2024

Back Design: Copyright © Nasser Butt 2023

lift hands

Editor’s Note Page 9

The House of Mouse

The Art of Amy Faulkner

Thinking Out Loud Part 1

Katherine Loukopoulos

Definitions of Kenpo — A Killing Art

Dr Gregory T. Lawton

Baguazhang — The Classical Applications Part 1

Page 13

Page 17

Page 25

Nasser Butt Page 39

Dancing With The Wind

Dr Gregory T. Lawton

Page 48

The Man in My Fridge… A Conversation With Page 49 Yang Fu-k’ui

Thinking Out Loud Part 2

Katherine Loukopoulos

Concluding The Legacy: Addendum

Page 57

Page 61

Camp 2024 Details Page 76

Book Review Page 78

Peasant Talk:

The River and Its Meaning in Taijiquan Page 88

Useful Contacts Page 92

The Art of Louiseneige Be Page 93

Lift Hands Magazine Digital Purchase Links Page 96

Welcome to March Volume 29 of Lift Hands Magazine.

My sincerest apologies for the delayed publication, this being the first issue of 2024. Unfortunately, I ran into a major obstacle during the preparation of the current volume, causing me to essentially replan everything and start from scratch. Further, the new year was also extremely busy for myself on a personal level, including prepping for overseas workshops which added to the delay.

First and foremost, I would like to thank each and everyone who, with their generous donations, helped to keep Lift Hands free online for another year! Unfortunately, the cost of hosting the magazine online is rising and were it not for those who contributed, we would have been struggling. I am looking into alternative hosting sites and if a cheaper option becomes available, I will switch.

Secondly, our global reach has grown, we are now being read in 107 countries around the world! This is an incredible achievement and once again, I want to thank every one of you who has contributed with articles and otherwise. This could not have been possible without all of you.

I had announced in the previous issue that there would be a 20 Questions with Dr. Prabhu Kumar — unfortunately due to a bereavement the interview was not possible. I hope that we can bring you that interview in a future volume.

Once again, the usual suspects have stepped up with a series of wonderful articles. I want to thank Katherine Loukopoulos Sensei for reminding us that martial arts is not only about the fight or the technique — it is also about the etiquette and how we present ourselves both as students and teachers.

I hope you enjoy the articles and find no offence in them.

Volume 30 will appear in June as per normal, so the next issue is only a few weeks away. For those wishing to contribute, please submit your articles for consideration no later than May 31.

In the meantime, stay well, stay safe, enjoy the summer and happy training.

Nasser

Nasser Butt

107 Countries

33.2K Readers

Albania

Algeria

Angola

Argentina

Australia

Austria

Azerbaijan

Bangladesh

Belarus

Belgium

Bolivia

Bosnia &

Herzegovina

Brazil

Bulgaria

Cambodia

Canada

Chile

China

Colombia

Costa Rica

Cote D’lvoire

Croatia

Cuba

Cyprus

Czechia

Denmark

Dominican

Republic

Ecuador

Egypt

Estonia

Fiji

Finland

France

French Guyana

Gambia

Germany

Ghana

Greece

Guatemala

Hungary

Iceland

India

Indonesia

Iran

Iraq

Ireland

Israel

Italy

Japan

Jordan

Kazakhstan

Kenya

Kuwait

Kyrgyzstan

Laos

Latvia

Lithuania

Macedonia

Madagascar

Malaysia

Malta

Mauritania

Mexico

Moldova

Morocco

Mozambique

Myanmar

Nepal

Netherlands

New

Zealand

Nigeria

Norway

Oman

Pakistan

Palestine

Paraguay

Peru

Philippines

Poland

Portugal

Qatar

Romania

Russian

Federation

Saudi

Arabia

Serbia

Slovakia

South

Africa

South

Korea

Spain

Sri Lanka

Sweden

Suriname

Switzerland

Taiwan

Tanzania

Thailand

Tunisia

Turkey

Ukraine

United

UAE

Kingdom

USA

Uruguay

Venezuela

Vietnam

Zambia

Zimbabwe

Monkey Magic

Created using Adobe AI by Nasser Butt

Being invited to ‘teach’ at some place other than our own dojo is an honor; we need to take this invitation to heart and make as few mistakes as possible. Those of us who have learned from the old masters at their homes, in their gardens, or at their small and humble dojo have experiences that cannot be described. Over time, the soul of the teacher and that of the student functions as a single unit or as a single heart where knowledge flows without obstacles. Those days are mostly by gone and all we have left is our memories.

The sheer numbers of students who participate in the martial arts prevent the old ways of thinking. Huge dojos have replaced the old ones and offer every conceivable comfort. There are changing rooms with showers and often hair dryers. There are reception halls and secretaries. There are programs and all type of packages for consumers (the students) in order to select. There are classes for toddlers and children of all ages. ‘Something for everyone’ is a hope to pay the bills at the end of the month. The ‘art’ has been transformed into an ‘enterprise’.

A dojo which was ‘a place of enlightenment’ has become a ‘martial arts gym’. There is little potential for students to ‘feel’ their teachers’ hearts. Often teachers are referred to as ‘trainers’ and it is usual to change teachers every so often as changing cars.

Technically the students’ are better athletes than their predecessors. One need to see a Kata competition and will realize although the technique is ‘perfect’ it is empty of meaning. For example, Kata ‘athletes’, as they are now called, open their mouth wide and let out 30 second impressive kiai (yells), that have nothing to do with the purpose of the kiai.

How can students, by osmosis, emulate their teachers just by going to a comfortable, pristine gym for two hours three times per week? That student is not in a martial arts environment. It can’t be. Teachers talk to students during classes; but, that is mostly technical knowhow. The true essence of martial arts regardless of karate style comes with being close to the teacher. After classes, maybe, they share a meal together or some quality time over coffee. A teacher’s heart reaches the surface when that teacher has enjoyed the lesson he just taught; the teacher pours out his soul, and the student listens. The spirit of martial arts requires a lot of pounding just like the making of a good sword inside the dojo and outside of the dojo.

The issue becomes more complicated when teachers are invited to teach abroad. These seminars are multiple hours every day spread across a span of a few days. Correcting techniques, teaching new material, tests for promotions and including the ‘sayonara’ party, all must be done one after the other. Students receive techniques; they do not receive how to ‘feel’ and to ‘express’ these techniques in a meaningful way. How could they? There is never enough time to sit and listen to the teacher’s talks.

Seminars of this nature cost money which comes out of students’ participation. Promoters and teachers find seminars to be another means of financial gain. The longer a teacher stays in their country, the less money the promoter will make. So, everything is done in a rush.

This is a real dilemma. How to make teachers available outside the training hall, in an environment where students can simply listen to their teachers talk, and at that time have an opportunity to ask questions? How can students, otherwise, develop the martial arts mentality and code of ethics? I don’t have the answers to the above questions.

Perhaps, one way is to cultivate the friendly relations above the realm of martial arts; that is, take on interest in their affairs and try to assist genuinely in all that we can. Another way is to realize that not everything has a price tag. We need to give more than what we receive. As teachers, we are developing the next generation’s minds. That is a big responsibility. Training camps offer a middle of the road solution as we have more time with the participants. Teach seminars in smaller groups so we can start with remembering their names; although, that will bring a smaller income. Give — give — give and become their cheerleaders. Finally, although difficult with our present way of living, keep trying to pass on that ‘feeling’ which our own teachers passed on to us.

If we fail, the martial art and its history of survival has now become just another sport. If we accept that, than we do not need to pretend that we are teaching an ‘art’ but a derivative of it which has become the sport named ‘Karate’ just as Greco-Roman wrestling, fencing, javelin throwing, among others which also were derived from armed or unarmed combat with the sole difference that they were not referred to as ‘art’ and were not bound by a code of ethics.

Katherine Loukopoulos Bubishi Team Austria 2024 March 6

Definitions of Kenpo – A Killing Art

Dr Gregory T. Lawton

“Never enter kumite without the intention to kill, and the willing acceptance of your death. But do neither, do not kill and do not die.”

Introduction

Japanese Kenpo, also known as Kempo, is a martial art with Chinese origins. The term “Kenpo” translates to “Fist Method” in Japanese, where “Ken” means ‘Fist’ and “Po” means ‘Method’ or ‘Law.’ It emphasizes selfdefense techniques against single or multiple opponents, incorporating speed, accuracy, powerful punches, snap kicks, powerful blocks, and energy-efficient movements. The art of kenpo is characterized by its diverse techniques and forms, as well as a focus on proper stances and well-distributed balance. There are several distinct styles associated with the name “Kenpo,” each with its own unique history and philosophy. In this article I am not seeking to define or compare the many systems of kenpo, but rather to discuss its battlefield history as a killing art.

The statement above applies to the civilian use of kenpo in personal self-defense scenarios and does not apply to the use of kenpo by law enforcement or military personnel. For the purpose of understanding kenpo, specifically its definitions and history, I would recommend studying the work of Al Tracy and the original textbook written by James M. Mitose entitled, What is Self Defense? In Al Tracy’s brilliant work on the history of kenpo he cites information gleaned from, THE TEXT BOOK of Ju-jutsu as Practiced in Japan by S.K. Uyenishi and he publishes the original kenpo book written by James M. Mitose, What is Self Defense? on his website. Both of these books and their significance to the history and development of kenpo have been preserved and explained by kenpo historian Al Tracy. If it was not for Al Tracy we simply would not have access to much of the rich and highly informative kenpo history that Mr. Tracy’s work in preserving and presenting kenpo history has provided to all students of kenpo.

Please note that in this article two common spellings of kenpo/kempo are used and in some circles the debate still continues as to which spelling is correct and whether kenpo/kempo is primarily a Chinese or Japanese martial art. The truth is that kenpo/kempo is both Chinese and Japanese and has been shaped by the rich cultural heritage of both great nations and peoples and therefore the choice of spelling kenpo or kempo is a trivial matter.

As a student and teacher of kenpo I do not view kenpo as a “style” of martial art but rather as a description of a group of techniques collectively and historically referred to as “fist law”.

Definitions of Kenpo – A Killing Art

Many articles on kenpo begin with explaining the definition and origins of the words kenpo and kempo but this is not the definition of kenpo that is intended by this article entitled, “Definitions of Kenpo – A Killing Art”. The intention of this article is to examine the more global definition of kenpo as a combat martial art originally resulting from techniques applied to the traditional battlefield and later refined into a killing and maiming combat art long before its modern transformation into a self-defense or sport martial art.

S.K. Uyenishi, the author of THE TEXT BOOK of Ju-Jutsu as Practiced in Japan, wrote his book during the early 1900’s and in his book he offers some brief insight into the historical representation of kenpo. S.K. Uyenishi was a well-established senior jujitsu master and teacher and his teaching positions included Riku-gun yo-nan gako (The Military College for Officers), Tai-iku-kai (The Imperial Military College of Physical Training, Shi-han-gako (The School of Instructors), Jun sa kio-shun sho (The Police Training School), and all government schools in Osaka, Japan. S.K. Uyenishi was a pioneer of jujitsu in the United Kingdom. In this book he demonstrates various techniques including break-falls, throws, and locks. His father, Kichibe Uyenishi, was also a great jujitsu master and teacher who lived and practiced martial arts during the 1800’s in Japan. This was a turbulent time in the history of Japan and it was when (in 1867) the Tokugawa Shogunate was officially ended after nearly seven hundred years of Shogun rule.

For many kenpo practitioners their main interest in S.K. Uyenishi results from his textbook and specifically his citing of kenpo in his book. Al Tracey has researched this matter and his work has provided the following quoted content from S.K. Uyenishi’s text book.

“One of the styles alluded to, known as the Kempo, which may be roughly described as a Method of killing people, possessed many points of resemblance to Ju-jutsu but was totally different in practice, being a system of self-defence against sudden attack with intent to kill and replying thereto in kind. It was certainly more closely related to ju-jutsu than are Boxing (even under the old Prize Ring rules) or le savate to Wrestling. It might perhaps be best compared to that very strenuous old Greek Physical Contest, which was known as the Pancration. By-the-way, I may here remark on the possible derivation of the old English phrase "Kempery man" and the Anglo-Saxon cempa, signifying "a warrior," from the Japanese Kempo. This is a point which should not be without interest to etymologists, and particularly to those who follow the late Professor Max Muller in his theory of the Indo-Germanic origin of the Anglo-Saxon Race.”

“Kempo, of course, was a system of attack and defence which branched off from ju-jutsu into the paths of strenuous endeavour, but, apart from the fact that it was less scientific than, ju-jutsu, it was declared an illegal practice when the sanctity of human life was recognised under the new regime.”

The opening sentence of S. K. Uyenishi’s description of kenpo provides insight into one of the earliest definitions of kenpo and shows us that in the 1800s and early 1900s kenpo was recognized as a killing method, “may be roughly described as a Method of killing people” and “against sudden attack with intent to kill”. Kenpo historian Al Tracy further states and re-clarifies that, “in 1868 the new Japanese government eliminated two traditions: first they eliminated the Samurai as a class and outlawed their wearing of swords and at the same time kempo was declared an illegal practice when the sanctity of human life was recognized under the new regime.” “This definition of kenpo as a killing art made by S. K. Uyenishi predates James M. Mitose’s book written in 1947, What is Self Defense?, which presents kenpo in the post-shogun and post-samurai period as a form of personal self-defense. Thus, we see how changes in society and culture have affected the evolution of kenpo.

It is Mitose in the introduction to his book who defines kenpo as, “The main purpose is to give faith to man and reform him into a new man. One should hate the wrong doings of a criminal but not the man himself, for no matter how bad a person, man was created by GOD, so if it is possible, one must try not to injure or take any life. Try not to use any dangerous tricks, unless it is really necessary. Do not oppose force with force, but allow force to defeat itself.” This definition of kenpo sharply deviates from the historically established and the well-

recognized reputation of kenpo as an art of killing. However, considering that Japan and the United States were just ending World War II it should not be a surprise that there was a social and moral receptivity to redefining certain martial arts in a more peaceful and spiritual light. Mitose’s definitions and explanations of kenpo reflect similar spiritual and philosophical concepts found in the writings of aikido founder, Morihei Ueshiba, who was a contemporary of Mitose’s. Just as the killing art of Japanese aiki jujitsu was reformed into the peaceful martial art that was to become known as aikido, kenpo in the hands of Mitose experienced a similar reformation. One interesting historical side note regarding Mitose is that in 1970 he received an honorary tenth dan in aikido at the direction of Morihei Ueshiba. What follows is a copy of the written content of that award:

Certificate of Testimony and Appreciation

To: Dr. James M. Mitose

As you are the president of the Japanese-American (International) society for the promotion of goodwill, friendship, and social welfare, you have contributed to the happiness of mankind and world peace, and especially for the handicapped people. You have rendered services for many years to develop the rightful ways of the Japanese martial arts of Aikido. For your distinguished service, I hereby bestow upon you an honorary tenth degree or Ju-dan. I respect and appreciate your faithful and unselfish service.

March 22, 1970

Koichi Tohei, 10th degree, Ju-dan

Head instructor of Aikido

General Headquarters (signed and stamped with seal)

There is some controversy regarding this award with Koichi Tohei later alleging that he was very reluctant to issue the certificate and only did so at the direction of Morihei Ueshiba. However, if this is true then either Koichi Tohei or Morihei Ueshiba, or both of them, falsified the statements made in the award and lied when they stated, “I respect and appreciate your faithful and unselfish service.” This is no small ethical matter considering the reputation and position of both two noted founders of aikido.

Kenpo practitioners, teachers, and authors Brian Zarnett and Paul Seaby describe kenpo and its development in the following manner, “On the surface, Kempo's uniqueness lies in its comprehensive and diversified means of unarmed defense. Shaolin Kempo Karate proper is both an armed and unarmed system of combat incorporating applications in varying appearances and method. On an external level, Kempo is a no holds barred fighting system of offensive and defensive methods with equal emphasis of striking techniques with the hands and feet; immobilization and controls; projections and takedowns; as well as weaponry and various spiritual and healing arts. Shaolin Kempo is a street wise defensive art that does not restrict its students in methodology. Clawing hands evolve into slashing feet. Cunning joint locks turn into devastating hip throws. Evasive blocks turn into breath closing chokes.”

As we examine the early history of the martial arts as they were practiced in war, and at a time in the history of mankind when empty handed combat and hand utilized weapons such as knives, spears, and swords was all that was available to the combatants, we easily see, for example, that what began as devastating attacks to the throat in order to crush the airway and to cause the opponents death or joint breaking techniques for the purpose of destroying the joints connective tissue attachments and resulting in the maiming of the opponent, became in the ideas and techniques of many contemporary martial artists, controlled sport chokes and joint locks. As we further examine the development of the fighting arts from their early martial history to their contemporary sports

Newspaper article from the Honolulu Advertiser, September 21, 1953, featuring James Mitose.

applications we see the continued evolution of these arts from their focus on killing and maiming towards a universal philosophy of preserving and protecting life or to simply provide recreational and leisure satisfaction through the diminishment of true martial technique and the adoption of sports rules and regulations.

From early historical and traditional warfare, to the martial spiritual transformation decades of the 1970s and 1980s, to the development of recreational sports martial arts competition through the 1990s to the present day, the martial arts have undergone many changes and transformations as pertains to our understanding and applications of the fighting arts. However, one thing does remain unchanged and that is that the fundamental techniques and their applications as applied to the physics of killing and maiming, the breaking of a joint or lethal techniques to the airway, arteries, or nerve centers remains unchanged by contemporary beliefs manipulated by the martial art guru, movies, or the promoter of recreational and sports martial art competitions.

Martial art whether kenpo, hapkido, aikido, taekwondo, shorin ryu, or by whatever name it is called, or whatever religion or philosophy it has adopted, or from whichever person it was developed or founded, is at its most fundamental common denominator simply the manual application of physical mechanics principles, laws, and forces against the functional biomechanics and physiology of the human body, in a destruction manner.

Many traditional martial artists claim superiority for their style of martial art, its particular philosophy or theory, or its specific techniques. The kenpo community is no exception to this conceit. There are many kenpo practitioners that believe in the inherent superiority of their kenpo style or techniques based upon its lineage or history. Within the kenpo community there is a common belief that the only effective kenpo has been derived from a group of techniques that have resulted from early kenpo founders such as James M. Mitose, William K. S. Chow, and Edmund K. Parker. There are, however, many experienced martial artists, especially those involved in combat or mixed martial arts, that recognize that the most effective principles inculcated within the martial arts are those that are most accurately based upon effective training and conditioning methods, both physical and mental, as well as fighting techniques that are based upon correct physical mechanics and physics.

Regardless of its origin, whether esoteric or modern fighting science, a technique is correct or incorrect based upon its alignment with physical mechanics that involve inertia, momentum, rotation, acceleration, velocity, mass, and the generation of kinetic energy, as well as mechanical forces such as leverage, torque, shearing, traction, and compression.

Consider the following three commonly utilized and effective martial art attacks, those to the throat and larynx, eyes, and joints:

Attacks to theThroat and Larynx

Hand, forearm, elbow or foot attacks to the throat area and larynx are techniques common to many martial arts. While blunt trauma resulting in damage to the throat is rare in the general public, intentional trauma executed by a trained martial artist is easy to apply and can be devastating when used against an opponent. Blunt trauma injuries to the throat can lead to problems involving aspiration, speech and/or respiration. This kind of attack can cause rapid asphyxiation. When blunt throat trauma is the result of a car accident four of every ten blunt laryngeal trauma victims are estimated to die at the scene of the accident.

Attacks to the Eyes

Attacks to the eyes (eye gouging) are common techniques found in most martial arts. Kenpo attacks to the eyes include the use of finger pokes, finger hooks, and thumb compression to the globe of the eye. Blunt trauma can be a significant cause of visual loss. Blunt trauma occurs when the eye is struck with a finger, fist, or other solid object. Such injuries produce damage to the eye as a result of the sudden compression and indentation of the eye globe that occurs at the moment of impact. Bleeding from the eye may occur as a result of blunt trauma. Some martial art techniques attempt to compress and crush the eye globe and others are designed to scrape the outer surface of the eye and to cause a corneal abrasion. Corneal abrasions are very painful and can immediately compromise vision.

Attacks to the Joints

Catastrophic joint dislocation or a “joint break” is a trauma to a joint that results in the tearing or detachment of tendons and ligaments and a partial or complete separation of the connective tissue structures of the joint. Joint breaks are common kenpo techniques and frequently involve hyper-extending, pulling, and twisting joints until the connective tissues tear and separate. Hinge, ball and socket, and gliding joints such as the elbow, knee, shoulder, fingers, toes, and wrist are especially susceptible to joint breaking techniques.

The kenpo system of martial arts is composed in part of over four hundred techniques and their variations. These techniques begin being taught to the kenpo student from the level of white belt to black belt and they comprise a series of choreographed responses to various attacks from punches to grappling. If we evaluated kenpo attacks solely on each individual strike, joint lock, or a techniques likelihood of inflicting lethal or maiming damage and sorting kenpo techniques into categories of “lethality” we would find that the proposed physical damage reputed to result from various single strikes or techniques is not supported by either common sparring or combat

experience or our understanding of physical mechanics and body physiology.

The human body is an amazingly durable and plastic “instrument” and many of the attacks, strikes, and techniques included within the martial arts are not directed at the most vulnerable areas of the body. Consider for example the yellow belt kenpo technique labeled Alternating Maces. In addition to blocking and covering movements Alternating Maces includes a thrust punch to the sternum or solar plexus and a back fist attack to the temple. While either one of these strikes could cause discomfort or unconsciousness in an opponent observational experience in full contact and mixed martial arts also shows that frequently these strikes fail to achieve either result and that they certainly are not reliably lethal or maiming techniques. Martial art techniques that involve strikes to major muscle areas on the arms, legs, torso or abdomen, to the ribs, or to the bony cranium of the head frequently fail to achieve their intended purpose.

In the early history of the martial arts, including kenpo and aiki jujitsu, joint “breaking”, which involved the partial or complete destruction of the joint capsule or complex, was a common technique and physical objective in fighting. During the late 1800s through the 1900s these techniques lost favor and became relegated to joint pressure locks in quasi spiritual/philosophical martial arts like aikido and sport martial arts like judo. The original kenpo joint attacks involved the complete or partial destruction of the joint and the mental and physical difference in executing a joint pressure lock as opposed to a joint break is significant. When the intention is to destroy a joint through maximum trauma resulting in connective tissue tearing, detachment, and dislocation of the joint the joint attack is executed more like a strike moving through the joint than a grasping or holding pressure on the joint.

Many if not most grappling techniques are defeated by the simplest and most basic martial art technique, breaking the fingers of the grappler.

Yet another example of the progression of kenpo away from its original roots as a killing and maiming art is how chokes and counters to chokes are routinely taught and learned in kenpo schools. It might be fair to say that the development of quasi spiritual and philosophical and sports approaches to the martial arts have led many martial artists to a misunderstanding of the proper application of a choke. The original intention and purpose of a choke is to crush the airway and larynx and to cause arterial damage, collapse, and swelling, which cuts off blood flow to the brain, in one sudden and forceful movement. On the battlefield the intention is not to render an opponent temporary unconscious but to kill. In the example of the rear naked choke (applied as a kenpo technique) once the forearm has been positioned across the opponent’s throat the radial bone of the forearm is forcibly driven backwards into the opponent’s neck.

Kenpo stylists could argue that kenpo techniques are not designed to be executed as choreographed in real self defense situations but are simply an instructional template used to teach progressively higher level techniques and to develop advanced kenpo practitioners who can spontaneously respond to any attack, however, if an attack does not contain strikes to the most vulnerable areas of the body and body parts known to be subject to severe trauma such as the eyes, throat, and joints, the attack will fail to meet the original definition of kenpo as a killing art.

Claims have been made throughout history regarding the superiority or the invincibility of certain martial artists and styles of martial arts. The current mixed martial arts (MMA) are no exception to this kind of belief. While the mixed martial arts enjoy popularity as a form of controlled and state regulated form of sports competition MMA cannot be considered to be a combat or killing art simply because of the many rules and regulations to which it is subjected. MMA fighters are often superbly conditioned athletes who have trained their bodies to fight in an artificial environment referred to as “cage fighting”. The conditioning of the body and the strengthening of the musculo skeletal system is an important element in martial sports events. However, throughout the development of traditional martial arts it was long recognized that the most vulnerable areas of the body including; joints, eyes, the throat and other soft tissue, nerve and arterial target areas simply cannot be “hardened” and therefore remain vulnerable to a focused attack. Even the strongest fighter still has a brain that is composed of seventy-eight percent water, is the consistency of cottage cheese, and that is vulnerable to concussion whenever acceleration and deceleration forces directed to the head exceed the brain’s ability to withstand blunt force trauma, and the strongest fighter still has joints that can be hyper-extended or torqued beyond the joints connective tissues ability to maintain the joints stability.

Conclusion

Because of the universal nature of human anatomy and physiology, as it pertains to body tissue, organs, and the physical mechanics of joints, whether a technique is Chinese, Japanese, Okinawan, European, or American, or whether it is based upon Buddhist or Shinto religions, or has no religious or philosophical foundation at all, is meaningless. All that matters is the proper mastery and application of conditioning and training, both mental and physical, as well as, the proper utilization of physical mechanics in the application of fighting techniques.

When this principle is universally recognized the need for the many differing and often contending styles of martial art may be eliminated along with the often confusing array of techniques and frequently baseless claims regarding them.

The historical development of kenpo from traditional times to the modern day has been a long process and while kenpo has, in recent times, been adapted and modified to contemporary ethical, philosophical and spiritual sensitivities and the recognition of the sanctity of human life, the origins of kenpo and its applications were centered upon kenpo’s effectiveness as a killing and maiming art.

Perhaps, the best way to explain kenpo in terms of modern fighting applications is through the statement of a kenpo teacher as it pertains to kumite, “Never enter into kumite without the intention to kill, and the willing acceptance of your death. But do neither, do not kill and do not die. But if by circumstance you are faced with the choice of killing or dying, know this, it is better to die not having taken a life than to die a murderer.”

About the Author and Course Instructor:

Gregory T. Lawton, D.C., D.N., D.Ac. is a chiropractor, naprapath, and acupuncturist. He is the founder of the Blue Heron Academy of Healing Arts and Sciences where he teaches biomedicine, medical manual therapy, and Asian medicine. Dr. Lawton is nationally board certified in radiology, physiotherapy, manual medicine, and acupuncture. He was the vice president of the Physical and Athletic Rehabilitation Center which provided physical therapy for professional athletes, Olympians, and victims of closed head and spinal cord injuries.

Since the early 1960s Dr. Gregory T. Lawton has studied and trained in Asian religion, philosophy, and martial arts such as Aikido, Jujitsu, Kenpo/kempo, and Tai Chi Chuan.

Dr. Lawton’s most noted Asian martial art instructors have been Kosho Ryu Kenpo Grandmaster Thomas Connor, a student of Grandmaster Ed Parker, Sr., and Professor Huo Chi-Kwang who was a student of Yang Shao Hou.

References and Recommended Reading:

The Text Book of Ju-jutsu as Practiced in Japan by S. K. Uyenishi, 4th Edition, London Athletic Press, 1905.

What is Self Defense? (Kenpo Jiu-Jitsu) by James M. Mitose (Paperback - Jan 1, 1981)

http://www.tracyskarate.com/History/Mitosebook/masterpage.htm

Kenpo FAQ, B. Zarnett, P. Seaby, http://www-leland.stanford.edu/group/kenpo/kenpo-faq.html

http://www.sanjosekenpo.com/mitose_and_the_aikido_connection.htm

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

Yan Dehua’s Bagua Applications [Baguazhang Shiyongfa] — a classic amongst the practitioners of Baguazhang — was published in 1936 with its iconic three hundred and sixty detailed drawings.

nèi qì] as the root and outer power [外勁 wài jìn] as proficiency [功 gōng]. To train to be accomplished you must train every day over a long period without a break so that your qi becomes full. The ancients said, “When heaven (the head) becomes clear and the earth (body) becomes serene, then man has one spirit.”

Those who train for a long time gain the ingenious spirit of heaven and earth — they are naturally agile, they are completely centered and this shows in their form. They can extend and contract agilely, use a perfect balance of hard and soft, enter and withdraw as needed, be as unhurried or quick as they desire. The perfect subtleties of their techniques are all naturally acquired.

I loved martial arts since I was young, so I learned from master Zhou Xiang 周祥. As an apprentice I learned the true tradition of baguazhang with morals. Although I learned from a famous master, training is the result of personal work, so my skills are not above ordinary. Now I have written “Baguazhang Applications” with its 360 detailed drawings to set down the hard won knowledge of past generations before it is lost. I wrote this book so that the true skills are not lost to future generations.1

1 — Author’s Preface; Yan Dehua’s Bagua Applications PDF Edition; a translation from the Chinese by Andrea Falk, 2012

In this series of articles we will explore these applications.

There are many schools of Baguazhang and each has brought its own flavour to these applications. The names may vary and there may even be slight adjustments to the applications to that presented in the book, however, the spirit and essence remain regardless.

The internal arts, be it Baguazhang, Taijiquan or Xingyiquan, all emphasise the importance of understanding and developing body mechanics resulting in the unification of ‘heaven’ and ‘earth’. This is the key! Sometimes applications or techniques may appear rather absurd in the first instance — careful study however, reveals them to be critical in developing principles of movement.

The ‘techniques’ shown in Yan Dehua’s book are primarily found in the lesser known Linear Form of Baguazhang as opposed to the more famous Circular Form, and is one of the longest forms of any martial art. Whilst Yan’s book contains the techniques alone, the Linear Form [performed on both sides — right and left] contains transitions, linking each movement, both left and right, fluidly.

The photographs used contain static transitions which have been exaggerated for visual clarity — the fluidity and explosive nature of the movement is thus not apparent! They happen rapidly and continuously.

A word of warning — the targets shown are dangerous and can cause serious injury, even causing a fatality. Please stay clear of the targets. Further, in order to truly understand and develop your skills, it is critical that you find a competent teacher who can teach you correctly and safely — as Yan Dehua tells us in his Preface:

As an apprentice I learned the true tradition of baguazhang with morals.

Heed his advice!

Application 1: Bumping Palm [zhuàng zhǎng]

1. My partner [Elliot] throws a straight right [Photo A].

2. I take a step back with my left foot, leaving my weight on the right foot, as my right No.1 palm heel strikes Elliot’s arm either in Heart 3 [Ht3] or Neigwan [Pericardium 6], [Pc6] in a circular motion [right to left] whilst dragging it backwards towards the wrist [Photo B].

3. My left No. 2 palm immediately circles from below [again from right to left] with my fingers striking his eyes, as it overtakes my right palm to strike into and control Elliot’s right arm, [Photos C/D].

4. I instantly take a slap-step forward with my right foot, folding my right arm and striking Elliot’s solar plexus [Cv14 - Conceptor Vessel] with my right elbow, as my waist turns from right to left, [Photo E].

5. Elliot uses his left palm to block my elbow and continues to slip up and attack my face, [Photo F].

6. I immediately turn my waist to the right unfolding my right arm. This acts a block against his left palm and as I continue turning, I strike Elliot’s eye [including the entire orb, the eyebrow and upper cheek] with a

6. [Continued from previous page] rapid right back palm using the bottom 3 knuckles of the palm causing a neurological shutdown, [Photo G].

7. Elliot pulls his head back to avoid the back palm, [Photo H].

8. I immediately attack the pit of his throat [Cv22], with the tips of my right fingers [Photo I].

9. Elliot takes a step back with his right foot to avoid my fingers striking his throat, [Photo J].

10. I circle my right palm and grab Elliot’s arm just above his elbow at [Co12 — Colon/Large Intestine] using an eagle claw, [Photos K/L].

11. I raise Elliot’s arm up, opening up and expanding his rib cage as I step through with my left foot, [Photo M] — note the torque between my upper and lower body.

12. As my weight shifts forward and sinks into the left foot, my left palm strikes either at [Liv13, Liver] or [GB24, Gallbladder], [Photo N].

The drill is repeated on the opposite side.

1. I attack my partner with a straight right [Photos A/B].

2. He blocks with his right No.4 palm, rolls and grabs my wrist, [Photos C/D].

3. With his left hand he controls my elbow either from above [Photo E] or from below [Photo F], and pulls me towards his right.

4. I move with his energy, leaping onto my left foot, rolling and tucking my right wrist inwards [Photos G/H as I thrust my arm up to the left, using a No.4 palm to break his hold, finishing with my right foot off the ground and my left elbow tucked in on my left side, [Photo I/J].

5. I cut down onto his right wrist using a No.7 palm [attacking the heart points], whilst simultaneously smashing my left palm into his face [Photos K/L].

6. My hands load [Photo M] and as I my right foot lands onto the ground, the power of my entire body is released through both my palms [No. 3], as I smash them into his chest attacking St15/16 [Stomach Meridian], [Photo N].

Photo on opposite page shows an alternative attack to the one shown in Photo L above.

As I cut down with my No.7 palm, my right palm smashes into his face, whilst my right leg breaks his knee. I follow up and finish the sequence as shown in Photos M/N.

The next two applications will appear in Lift Hands Volume 30. My thanks to my training partner and cohead instructor Elliot Morris for appearing in these photos with me.

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…

Dancing with the Wind

Dr Gregory T. Lawton

Let the spirit dance begin By breathing out and breathing in.

I hold my destiny within my hand And enter a path that is called grand.

Open then the door within By breathing out and breathing in.

I cross the heavens in my search Just as a bird must leave its perch.

Enter then the flowing wind By breathing out and breathing in.

I reach to grasp the sparrow's tail And trace the air along this trail.

Swim then through the abiding wind By breathing out and breathing in.

I hang my arms in single whip And into eternity I gently slip.

Push then the clouds with the wind By breathing out and breathing in.

I open my soul like a sail And set off to find a holy grail.

I am not alone within the wind By breathing out and breathing in.

So, let the spirit dance begin...

About the author-

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.

Kindly reprinted with permission from: The Silence Between

Whoa!

It was the early hours of the morning, or late into the night — depending upon your view point — Ramadan was in full swing and I got up to have something to drink before the fast closed. I opened the fridge door and there he was, staring right at me!

“Fuck me!” I exclaimed as I leapt back. There was the head of an elderly Chinese man sitting on my middle shelf, where my food should’ve been!

“No! Fu-k’uie! Fu-k’meh was useless! He couldn’t handle the training and was kicked out of the class!”

“Fu-k’uie?” I questioned.

“Yes, Yang Fu-k’uie!” He replied, implying I should know him.

“Eh? Yang Fu-k’uie?”

“Yes, yes!”

“Never heard of you! Hold on — Am I dreaming or has the fast made me delusional? I mean, I’m talking to a bloody head in my fridge!”

“No, you’re not dreaming! I see you are still confused, ah yes, you may know of me as Lu-ch’an!”

“Yang Lu-ch’an? Seriously? Ok now I know I’m having a crazy episode!”

“No, no, you are not! I used to do this to your teacher as well. Did he never tell you that I lived in his fridge?”

“Well, yes, he did,” I replied scratching my head. “But we all assumed he was joking and being sarcastic, as was his way!”

“Oh, he wasn’t joking,” he chuckled at the memory, “I remember him leaping backwards just like you and almost stepping on the snake behind him, which had come down from the rafters to hunt mice at night!”

I stood there gawping, thinking how was this even possible? I mean, I’m having a conversation with a head in my fridge claiming to be Yang Lu-ch’an the founder of Yang Taiji!

“You don’t look like him!”

“Like who?” He asked.

“Lu-ch’an! You look nothing like your photograph.”

“Photograph? What is that? He asked.

“You know, a picture taken with a camera?”

“No, I don’t remember ever having done such thing.” He replied shaking his head. “A camera, you say?”

“Yes, in your time it would have been a wooden box, which you had to stand in front of for some time while it captured your image.”

“Ah, yes, I heard about such a magic box when I was in teaching in Beijing, but I never saw one!”

I googled Yang Lu-ch’an on my phone and showed him the image.

“Who’s that?” He asked.

“Well, it’s supposed to be you!”

“Looks nothing like me!

“Well, yeah! That’s what I just said, you look nothing like your photo!”

“A fake!” He guffawed!

“I guess some things never change!” I replied.

“What do you mean?”

“Never mind!” I was certain by this stage that due to hunger, or perhaps even thirst, I was undergoing a serious hallucination. Nonetheless, I decided to go with it.

So, I pulled up a chair… “Ok, since you’re ‘here’, and I have no idea how you are doing it, or even if it is real — mind if I ask you a few questions which have bugging me for a while?”

“Why not? I could be a bit like the room of requirement, I suppose!”

“You know Harry Potter?”

“Surprising what you can hear sitting contemplating in a fridge!”

I need to eat soon, I thought. Better still, I should perhaps take in some fluids!

“Taijiquan — health or martial art?” I went straight in!

“Hmm… let’s look at the characters shall we? 太極拳 — Supreme Ultimate Fist — a very lofty name! I’d say the name speaks for itself doesn’t it?” Do you see health mentioned anywhere in there?

“No, there’s no mention of health anywhere!”

“Silly question then wasn’t it?” He said with a grin.

“I suppose so,” I replied.

“Anyway, what is it?” He asked.

“What? What do you mean what is it?”

“I mean, what is it?”

“You invented it and you don’t know what it is?” I exclaimed.

“I invented Taijiquan? Hmmm… I’d have remembered if I had! Are you sure?”

I sat there on the chair scratching my head, “You are Yang Lu-ch’an, the head of the Yang family — Yang Wúdí — Yang the Invincible?”

“Yes, yes!”

“And you don’t know the name of what you invented?”

“Of course I do!” He replied indignantly. “My family art was called by many names depending on the region I was in! In Yung-nien it was referred to as ‘Soft Boxing’ (Juan-ch’uan) or ‘Transformation Boxing’ (Hua-ch’uan). In other parts it was referred to as Zhan Mian Quan or ‘Cotton Boxing’ and sometimes as Hao Ch’uan or ‘Loose Boxing.’ They even referred to us as ‘Rag Doll Boxers’ — I was particularly fond of that last one, but I don’t ever remember calling my art Taijiquan at least not in my lifetime.”

“Hold on!” I took my phone out again and quickly googled Yang Taiji. Hundreds of videos appeared in my list. I quickly selected one and hit play and said, “Look, this is your family art — Taijiquan!”

He watched the all slow synchronised movements intently for a while, a frown appearing upon his forehead. Shaking his head [which was strange since he didn’t have a torso, or a neck], he said, “Well, it mostly does look like my art, but there are many things missing or not being done correctly! I don’t understand!”

“Things like what?” I asked.

“Well, to begin with, why is it being performed all slow, even paced? Where are the speed changes, the sudden releases of fajin? Where are the leaps and low crouching postures? Where is the ‘Heng, Ha’?”

“Well, according to your grandson, this is Yang Family Taijiquan — your art!”

“My grandson? Chao-hsiung [Shao-hou]? He did this? And Ban-hou didn’t beat him senseless for doing it?” — he was raging.

“No, no — not Chao-hsiung! Your other grandson!”

“Who, Chao-p’eng? He ran off to be a farmer! What did he know about my art?”

“No, not him either — Chao-Ch’ing, also called Ch’eng-fu!

“Chao-Ch’ing!” He exclaimed. “Who’s he? I’ve never heard of him! I only had two grandsons!”

“What the f… what do you mean you never heard of him? He’s the one you gave a talking to, after he refused to train and argued with Ban-hou! You told him why he must train in the family art.”

“Whoa! I had a grandson who argued with Ban-hou and Ban-hou didn’t slap him senseless?”

“Erm, no, because you intervened.”

His eyes widened. “And pray tell me when was this?

“Well, according to the book he wrote, he would’ve been around nine at the time, so that would’ve been near 1892 by my reckoning.”

“You say you haven’t had a drink yet?”

“No,” I replied. “That’s what I got up to do when I found you in my fridge!”

“Hmm… Have a drink — thirst is affecting your ability to deduce things logically!”

I reached out to my orange juice and downed half the bottle!

“Feeling better?” He enquired.

“Yes, much better, thank you!

“Now, where were we? Ah, yes, you said that this conversation with my supposed grandson took place around 1892… so that would be 20 years after my death! And you say he was nine at the time, meaning he was born in 1883 — 11 years after my death! You see what I’m getting at?”

I nodded in the affirmative.

He continued, “And nobody challenged him about this nonsense? Surely there were people around who would’ve known that this was not true? Had they not seen Ban-hou? Even Chao-hsiung at a tender age was showing his uncle’s flare for dishing out pain!”

Maybe you appeared to him in a fridge, like now and that’s how the conversation took place? I mean, you may just have forgotten?

“Nope, can’t say I did that! We didn’t have any fridges at the time. I mean there were cold rooms but certainly not fridges. In fact, I don’t even know how I myself appeared in one the first time — it just kinda’ happened and I have been doing it ever since for a laugh!”

“Hmmm… and you never thought of appearing in a fridge of your descendants and perhaps putting them straight?

He paused for a moment before replying, “It doesn’t quite work like that — I can’t just show up in anyone’s fridge!”

I shrugged my shoulders at him and said, “Ah well, that’s the story which was sold to the world and that it was a health art!”

“A health art — what the hell!” He exclaimed. “Folk do remember that I was called Yang the Invincible don’t they and Ban-hou was called Unmatchable? I was invincible because I kicked the crap out of my opponents as did Banhou! I was healthy because I was practicing a martial art! And what is this music I keep hearing?

“Erm… that is Taiji music,” I said sheepishly. “It’s what folk practice their Taiji to. It is meant to help relax and soothe — set the mood and allows the qi to flow.”

I was sure if he had had his hands at this point he would have slapped his forehead and said, “Oi vey!”

“Why is everyone wearing a silk suit?” Came the next question.

“Did you not have one?” I countered with my own question.

“Yes, I did,” he replied. “For special occasions, weddings and banquets — not for training my martial arts!”

“Well, what did you wear for training?” I asked.

“That ought to be bloody obvious — our everyday working clothes! What else would we be wearing?”

“You mean you didn’t have any uniform or special Gung fu suits?”

He raised an eyebrow, “Seriously? Uniforms? Gung fu suits? What is a Gung fu suit? We were peasants, practical folk. We trained in our everyday clothing, we even trained the Manchu princes in their everyday regalia! You have to be able to fight in your everyday clothing. Isn’t that obvious? Is a Gung fu suit going to improve your martial ability?

“I guess not,” I replied. “Safe to say then you didn’t have a t-shirt with ‘Sifu Yang’ written across the breast?”

“Eh? What’s ‘Seafood Yang?”

“I said Sifu, you know teacher.”

“That is pronounced as ‘Sure-foo’! He exclaimed. “Don’t folk know anything?”

“Ok, let’s change the subject, it’s not long to sunrise and I need to ready for my fast — so what exactly did you learn at the Chen village?”

He thought for a while… “That would have been the ‘old’ fist form — The Thirteen Postures and the second form, the Pauchui. I had bested all the Chen fighters, I needed to find the source of the art after reading the Treatise of Wang Tsung-yüeh, I headed to the Wudang.”

“To the temple?”

He looked at me puzzled. “Why would I go to the temple? I was in search of martial arts not prayer! I was looking for the source material for my art.”

“As in Wudang Taiji?” I enquired.

“What? Wudang Taiji? There is no such thing! There is Wudang Boxing — within the Wudang systems are found the fundamentals of these arts. It was here where I learned the softer movements and many other training methods.”

“Like Tui Shou?”

Again, a look of puzzlement appeared across his face. It was fascinating to see these expressions… I mean let’s face it, I was totally absorbed in my hallucination at this point!

“What is this Tui Shou — pushing hands?”

Now it was my turn to look puzzled. “Don’t tell me you don’t know of that either?”

“I don’t! Again, what is it?”

“Well, it is a training method where we join hands and practice the skills of p’eng, lu, ji. an.” I replied.

“Hold on — that’s Da Shou! Beating hands or striking hands! That’s where these skills are taught. There’s even a song about it, called Da Shou Ge. Where does it mention pushing? We struck, we collided, we hammered, we rolled as our training partner attacked us — we did many things, we never pushed! I’d show you if I had arms!”

“Hey, don’t get mad with me! I’m just telling you how it has been transmitted over the decades! They even have world championships — oh and you’d need legs and a waist too, you couldn’t just show me it with arms alone!”

“Don’t get smart — I know that! They have championships in pushing people over? Really? Why would you push someone — unless you were going to push them off a cliff or roof top, or perhaps under a horse and carriage?”

“We have cars, trains and buses now — even E scooters!”

“What?

“Erm… Never mind!”

“So, you learned Da Shou at the Wudang?”

“Yes, amongst many other things as I have already said. I studied many elements of the Wudang Boxing systems and adapted them within what I already knew. This became the basis of my art which I taught in the imperial courts, initially alone and then alongside my two sons.”

“You were called Yang of Eight Lords, were you not?

He smiled, “I was indeed. Most masters retained the services of one lord, I was retained by eight!”

“Is it true that your training regime was so harsh that from your two sons Ban-hou ran away and Jian-hou tried to kill himself rather than face it?

He sighed, “Indeed, it’s true! Ban-hou developed a taste for it and the violence. Jian-hou was a gentle soul, but he too became very skilled.”

“There are so many more things I want to ask you, but I’m getting tired and still need to eat something before sunrise… a quick question, is the legend that you could prevent a bird from flying off your palm true?”

A mischievous smile arose across his face. “Have you ever tried it?”

“Yes,” I replied.

“And?”

“It managed to fly away every time!”

“Indeed they can! Birds are a force of nature, as are people stupid!” He winked.

I smiled. My eyes were heavy with sleep. “Can we continue this another night?”

“Sure!”

“Can I ask a favour, don’t appear in the fridge while my daughter is around, I don’t want you to frighten her!”

A look of warmth appeared across his, “Don’t worry, only you can see me,” he said, reassuringly!

I grabbed my juice and closed the door.

Beautiful Tbilisi, Georgia

1998 October 19–24

26 years ago, on behalf of the Georgian Okinawa Karate and Kobudo Federation I was invited to teach at Tbilisi, Georgia. The year was 1998, and the country had not recovered from the perils of Perestroika.

The President Vakhtang Chichua and his brother Giorgi were perfect hosts and took care of me in the best way. I lived with their aunt Peradze Iamze whom we called Ia. After 26 years I still remember her fantastic cuisine, warm smile and great hospitality.

In the course of four days I offered 20 hours of classroom instruction. When I am a guest instructor, I always carry a notebook for the occasion where I describe the lessons in detail, and all things that I should not forget with the passage of time. For example, if after 26 years I was called to teach again, I simply would refer to my notebook and I would know immediately when and what I did, and whom I taught regardless of rank. I also carry a calendar, a dictionary and a camera.

Left to Right: Giorgi & Vakhtang / Left to Right: Aunt Peradze Iamze & I

Bridges are built one stone at the time. The students do observe the instructor’s effort to document names, ranks and subject matter material covered in the seminar. Slowly, this is how trust is built.

Here is an example: As a civilian in 2001 – 2004 I taught Hand-to-hand combat for the Officer Cadets at the Hellenic Army Academy. At that time in the Georgian Embassy in Athens, Greece, there was a Defense Attaché by the name of Major Nikoloz Khundzakishvilli. Major Khundzakishvilli remembered the Tbilisi training in 1998 and in 2004 via the Georgian Embassy asked the Hellenic Ministry of Defense for me to provide the Georgian soldiers with Hand-to-hand combat lessons in Georgia. The Hellenic Ministry of Defense declined the proposal on the basis that I was not in the military; I was a civilian. However, as a civilian I was providing these lessons for the Hellenic Officer Cadets. But this is not the point.

The point I like to make is that Major Khundzakishvilli remembered and had confidence that I would do my best to reach each soldier without leaving anyone behind. As guest teachers this is what we ought to do; we need to try and give something for everyone.

A page from my notebook

Parts of our training uploaded in YouTube

PART I - https://www.youtube.com/watch?v=wuqBwprQWU&list=PLqa3mEflVCL_s4vlqU24lqy48KF_Yrn5&index=6

PART II - https://www.youtube.com/watch? v=D6WUDnp2UMU&list=PLqa3mEflVCL_s4vlqU24lqy48KF_Yrn5&index=5

PART III - https://www.youtube.com/watch? v=qzfHaBtgc_k&list=PLqa3mEflVCL_s4vlqU24lqy48KF_Yrn5&index=4

PART IV - https://www.youtube.com/watch? v=Fmd_x6FoB7M&list=PLqa3mEflVCL_s4vlqU24lqy48KF_Yrn5&index=3

PART V - https://www.youtube.com/watch? v=clcg4A33ljY&list=PLqa3mEflVCL_s4vlqU24lqy48KF_Yrn5&index=2

PART VI - https://www.youtube.com/watch? v=qK6j8TmqODk&list=PLqa3mEflVCL_s4vlqU24lqy48KF_Yrn5&index=1

As teachers, if we give our best each and every time, even if we do fail, there would be no regrets.

Katherine Loukopoulos Bubishi Team Austria 2024 March 6

Erle is one of the very few Westerners who has taught the Chinese the old form of Yang Style Tai Chi, which is on the verge of being lost in China… his Tai Chi journey should not be forgotten, and his contribution to the spread of Tai Chi in the West deserves our respect.

La Chang Xu [Alex La] PhD Candidate

The School of Martial Arts

Chengdu Sport University

Sichuan Province China

Reflecting on my discussions with Nasser and insights from his manuscript, I am drawn to the legacy of Erle Montaigue, a pivotal figure… whose teachings continue to inspire and shape practitioners globally.

Professor Ma XiuJie

The School of Martial Arts

Chengdu Sport University

Sichuan Province China

In December 2020, I wrote the final component of 'Whose Line Is It Anyway?' entitled 'Concluding the Legacy’, in which I asked a question...

"So, who or what is Erle’s legacy?”

And answered it as follows:

“I believe that this will ultimately be something for future historians to decide. Any ‘system’ is only as good as its present practitioners and their teachings. No more, no less!

I insist and encourage my students to not only practice, but to also study and research their art, it is only by doing this that they will realise that the good oil — so to speak — is still out there. The knowledge Erle fought so hard to obtain is being preserved, despite the efforts of others trying to throw a spanner into the works.”

Writing, ‘Whose Line Is It Anyway?’ had been a bitter-sweet experience for myself, one in which I had decided to tackle and exorcise my ‘demons’ head on! I genuinely believed that Erle’s ‘legacy’ [whatever that may be or mean] would be covered by future historians — not within my lifetime! As far as I was concerned, I had set the record straight to the best of my ability and knowledge. For myself, at least, the time was now to focus on my own ongoing development and evolution, as well as teaching the transmissions which I had been given so freely — preserving them for the generations to come.

The Weavers of Fate — the Moirai — as always, had other plans… In December 2023, the ‘historians’ appeared!

In mid-December, I received a message that researchers from the School of Martial Arts at Chengdu Sports University in China, were looking into "overseas dissemination of Chinese Martial Arts culture... keen to understand the current state of Tai Chi development in the UK.”

My details had been passed to them by my student and friend Evert Kramer, via a third party, and was it ok for them to contact myself?

I was happy to oblige.

I received an email a few hours later from Alex La [La Chang Xu], a Ph.D candidate from Chengdu, in the Sichuan Province, requesting to visit my school, along with Professor Ma XiuJie, his mentor, and participate in my class, followed by a brief interview as a part of their research.

I invited them to my Saturday class and on the appointed day duly picked them up from the train station and headed to my school.

En route, we introduced ourselves. Alex explained the format of the interview — a semi-structured interview with fixed questions linked to their research into “local bridge groups” and Tai Chi development in the UK.

Both, Professor Ma and Chang Xu had planned to participate in my class [I was teaching the Pauchui or Canon Fist Form of the Yang Family], conduct their interview and then return back to Cardiff — where they were based — on the same evening.

That was their plan, but as I have already stated, the Moirai had their own plans!

Chang Xu, in his haste, had accidentally booked their return journey for the following day, which meant that they were going to have to spend the evening and most of the whole of the Sunday in Leicester.

Originally, the interview was meant to be short, I’ll let Chang Xu explain:

We originally planned to go back and forth between Cardiff and Leicester on December 16, 2023, and complete the research task, but due to the failure to look carefully at the time of purchasing the tickets, I mistakenly bought the return ticket to return on the afternoon of December 17, and it was this accident that allowed me to gain more generous first-hand benefits.

Nasser is a very talkative and enthusiastic person. During the interview, I had to admire him because he knew the history and origin of Tai Chi… not only did he understand the development context and key figures of Tai Chi in various eras, [he] even pointed out some interesting facts about martial arts that have not been mentioned before.

During the interview process, we found that the interview outline prepared in advance was not very good. It covered Nasser’s personal knowledge system and understanding of Tai Chi, and the purpose of the interview was to explore and discover those things that we think are important to research, but little is known about the cultural domain, so we temporarily changed the semistructured interview to an in-depth open-ended interview research method.

The interview at noon that day went extremely smoothly. Not only did we obtain a wealth of oral histories related to the overseas spread of Tai Chi, but we also gained an understanding of the current development status of Tai Chi in the UK. Later, Nasser also showed us the old way of using Yang style Tai Chi [originating from Yang Cheng-fu’s elder brother, Yang Shaohou], which is indeed amazing.

The first interview lasted until about five o’clock. Although it was still unfinished, we had to pause due to time restraints and planned to go back to the hotel. When it came time to end this interview, Nasser warmly invited us to his home… After enjoying a sumptuous dinner, we picked up [from where had left off] — The second interview was conducted until 11 o'clock that night, when he drove us back to the hotel.

Our original plan for the next day was to return to Cardiff after a brief tour of the Leicester Museum. While touring the museum, I received a message from Nasser. He said that he had just finished his morning class and wanted to come to the museum to meet us again [before we left]. So that afternoon we continued the interview about the development of Tai Chi in the museum's cafe, and agreed to keep in touch. During every interview, as the initiator of the interview and a researcher of the overseas spread of martial arts, you can truly feel his heartfelt love for traditional martial arts.

After returning to Cardiff, I have been keeping in touch with Nasser through messages and emails, and have frequently confirmed the content of the interview and individual questions. And he shared many of his existing research results with me for free, hoping that I could complete the thesis more comprehensively… the interview with Nasser was divided into 6 recordings. A single session lasts about 2 hours, the total duration is about 7 hours, and the transcript of the recording is close to 60,000 words (in English).

We discussed much. They were stunned to find not only the Old Yang, but also traditional training methods and most importantly Taiji being taught as a full blown martial art!

Of course, Erle was a big part of that conversation.

During our interview, Nasser always had a special light in his eyes whenever he talked about Tai Chi, as if he was remembering his Tai Chi teacher, Erle Montaigue. His words reveal the deep emotional bond between master and disciple, the kind of spiritual connection that transcends time and distance.

In his description, Erle is not only a technical mentor, but also a listener, a guide, and an inspirer. This kind of sincere friendship between master and apprentice moved me deeply, and it also made me deeply feel the most beautiful and pure emotional connection between people.

Sichuan borders Qinghai, Gansu and Shanxi - 3 of the 5 NW Provinces. It was here in Ningxia Province where Erle performed in Yinchuan and was given his Master's Degree by Master Wang Xinwu [1934-2005] in 1985.

I handed many historical documents to Professor Ma and Alex, including copies of Lift Hands and 'Whose Line Is It Anyway?' They were shocked that a Western man had been to the NW Provinces and achieved such a feat in the presence of renowned Chinese masters, including Fu Zhongwen. In fact, Prof. Ma even knew one of these guys personally!

Our chats continued over the weeks. In Chang Xu, I had found a little brother and in Professor Ma, a friend and a historian — someone with whom I could discuss not only the history of Taiji but also the current state of affairs of this once renowned fighting art!

It became apparent very quickly during our conversations that not only Taiji, but traditional Chinese martial arts are in a state of decline in China amongst the younger generation, who are opting more for MMA type training and even choosing the Japanese and Korean arts above their own!

Why?

Because when they see their own silk-suited masters performing ludicrous movements or feats of ‘qi’ and than get knocked out in challenges with modern fighters with a single punch — well, let’s say it doesn’t bode well for the prospective student!

Both Professor Ma and Chang Xu were fully aware of and made a distinction between the ‘old’ martial Taijiquan and its modern, more popular, health-oriented counter-parts, and the fact that all the families of Taijiquan had turned them into businesses — or “theme parks” — both inside and outside of China, where lineages can be bought and given more importance than the knowledge and the skill of the practitioners themselves! ‘Masters’ were two a penny and you practically would find one on every street corner!

The Chinese themselves have woken up to this ruse and are fully aware of what’s happening, however, due to the popularity of the modern systems, alongside the hordes of Western ‘martial arts tourists’ arriving in China, seeking ‘authentic’ certifications from the theme parks of the Wudang and Shaolin, makes it an uphill struggle to entice younger indigenous blood to take up their traditional arts!

I have already argued most of this in Whose Line Is It Anyway? However, it was great to have confirmation that my conclusions upon lineages were not incorrect.

That is not to say that old martial Yang Taijiquan doesn’t exist in China or that the line of students who trained with the likes of Yang Shaohou and the Wu family of old do not exist — they do and Professor Ma confirmed this to me, however, they are tiny islands in the midst of vast oceans!

So, why am I telling you all this? Because it does have a direct link to Erle’s legacy which in itself reflects all of the above — at least in the hands of so-called masters who, like their Chinese counterparts have not only turned it into a lineage theme park, but also devoid of any internal meaning!

Above: With Professor Ma XiuJie, holding a copy of Whose Line Is It Anyway? — a copy for his records;

Below: La Chang Xu [Alex La] — My little brother — holding copies of Lift Hands and Whose Line It is Anyway?

Chang Xu writes:

When I first went to Nasser’s boxing gym for field research, I discovered that the boxing gym I came to this time was different from the Tai Chi gyms we visited in the past. The feeling is completely different. According to the general idea, in order to attract a specific audience, a Tai Chi gym will actively build a "hyper-real" state , that is, their decoration will deliberately use Chinese elements to provide potential students with an "authentic" teaching scene similar to a "theme park" to satisfy the general audience's understanding of imaginary and idealised construction of Tai Chi stereotypes. Nasser's boxing gym is completely different. When I walked into the training ground, I even thought I was in a boxing gym or mixed martial arts venue. Various sandbags, rubber knife-wielding humanoid targets, and modern strength training equipment and other equipment are hung in the center and corners of the venue.

At the same time, the boxing gym’s logo and the slogan “Move to survive” can also be seen in various places in the venue.

In an interview with Nasser, he explained to us the meaning of this sentence: "It means when attacked or faced with a situation where confrontation is unavoidable don’t fight, rather look to survive the situation! This is the animal instinct. An action of the ‘reptilian’ brain! Do not look to compete with your opponent! We are not playing ‘fighting’ games. As soon as your opponent moves you move and attack and attack, and attack until he is no more! That's the essence of martial arts, the art of war.

This is not only the Erle Montaigue ‘system’ — It is also the way of the line of Yang Shaohou!

What was further shocking for Chang Xu was the fact that whilst we were using ‘modern’ equipment — our training methods were traditional — for developing timing, coordination, strength and reflexes with power!

Exchanging ideas form Old Yang Taijiquan with my little brother Chang Xu.

Nasser's teaching method is quite different from the more common and popular Tai Chi training that focuses on health and wellness and is gentle…

Erle used to say that he “stood on the shoulders of giants” — the information he had shared with the world wasn’t his, it belonged to the geniuses who had come long before him and he was simply transmitting the teachings they had left behind! Well, guess what? I stand on the shoulders of Erle! My transmissions are exactly as what was given to myself!

Erle had fought long and hard, swimming against the tide so to speak and had even turned down being the Yang family representative for Australasia in order to ensure that the martial origins of Taiji were preserved for future generations. I had always deemed his foray into China in 1985 as something special and unique for the time — I was wrong!

I had remained in contact with Chang Xu and through him with Professor Ma after their departure from Leicester. In the new year, I had received a message from Chang Xu telling me that he and Professor Ma were in Scotland, continuing their research and that he would be returning back to China at the end of January. Once he had confirmed the date of return, I headed out to Cardiff to meet them. I really wanted to see Chang Xu again, we had created a strong bond and as I said earlier, he had become like a little brother to me… not in the martial arts fraternity sense, but in the actual sense!

We met in the centre of Cardiff. I was accompanied by my son, Din, who is living and studying in Cardiff and knows the city well. So when I got the message from Chang Xu for our meeting location, Din knew exactly where to take me.

We spent a couple of hours in a bar chatting with Chang Xu wanting to continue the interview further before moving onto a Turkish restaurant where I was treated to a most exquisite platter of food!

As we continued our conversation — talking about Erle and his time in China — Chang Xu suddenly said, “You know Nasser, Erle being in China in 1985 is no big deal!” I was quite take aback by that. “Really?” I asked.

“Yes,” he replied! “You see, China had started to open up in the late 70s. So, a Western guy arriving in China in 1985 was no big deal! That he went to the 5 NW Provinces — that’s the big deal!”

“How so?”

“Well, you see, most Western folk arriving in China around that period, would go to cities like Shanghai, the commercial centres and hubs. The 5 NW Provinces were not so open for various reasons — including their proximity to sensitive areas and borders. So, for Erle to be in this area — that is the big deal, in fact a huge deal!

I had never thought of it like that. It suddenly reminded me of what Professor Wáng Liáng, the son of Master Wang Xinwu, had told me during our interview in 2020 [Lift Hands Vol.16 December 2020; Page 69] regarding Erle’s visit to Yinchuan in 1985. I had asked:

In your opinion how rare was it to invite a non-Chinese practitioner to demonstrate at the All-China National Wushu Competition - especially in 1985? Had this ever happened before or since?

His reply was: Yes, very difficult.

Further, I had asked: During the same visit your esteemed father recognised my teacher Erle Montaigue and awarded him his Mastership. Once again, how rare an occasion was this for a non-Chinese to be recognised as a master in China? It is thought that Erle was possibly the first Western man to receive this honour?

And the reply: I dare not say to the whole country, but it was really rare in that era. Anyway, it must be the first in the five north-western provinces.

The gravity of Professor Liáng’s words suddenly made better sense to me! When he was saying, “Yes, very difficult”, it wasn’t China he was referring to — it was Yinchuan, the capital of Ningxia, one of the five NW Provinces!

Colin Power and I have often discussed and wondered how Erle wangled an invite to the All China Wushu Championships in 1985? In light of my conversation with Chang Xu, this mystery deepens, especially considering the locality. Someone must have ‘opened’ the door for him to go there… someone had to have vouched for him as per the customs of Chinese martial arts without this, this would not have otherwise been possible!

I had never thought to have asked that specific question to Erle during his lifetime, it hadn’t really mattered then — I guess some mysteries are best left as mysteries!

As the evening went on, we continued our conversation. The subjects would flip randomly. Professor Ma wanted to know specifics of certain postures as done in the Old Yang. Chang Xu on the other hand, was more interested in the training methods we had inherited. He was very keen to understand how to teach certain specifics to students — especially fa-jing and timing coordination and reflexive striking.

Whilst Professor Ma’s interests lay in the traditional martial arts, Chang Xu practiced and trained in Sanda — the Chinese version of full contact boxing, also known as Sanshou. It was originally developed by the Chinese military based upon the study and practices of traditional Chinese martial arts and modern fighting techniques.

Originally and historically a no rules event, rules were developed by the Chinese military to test and practice the barehand martial skills of its soldiers.

Chang Xu had no interest in learning any of then traditional Chinese martial arts — just like most of the younger generation as I have mentioned earlier. He would often ask me the question, “How do we get the younger generation to take up traditional arts?” His question was in the light of the ‘silk pyjama’ brigade of masters found throughout China and now even adorning the West.

My answer would always be the same — in order for the traditional martial arts to gain relevance, you need to go back to their roots — why were they invented in the first place? For health? No! For competition? No! For sport?

No! They were designed for combat, for survival and through them hopefully improve the human condition!

Taijiquan, for example, is often peddled as a health art. It is a multimillion dollar industry. But was that the reason its founders — whoever they may be — developed it? Of course not! Yang Lu-ch’an wasn’t called ‘Yang the Healthy'! He was called ‘Yang the Invincible’ by both friend and foe!

If you practice any martial art, it will get you healthy. Western Boxing will get you fit and healthy, but is that why it was invented — for health? Again, no!

So, you need to teach the traditional arts as a full blown martial art! No magical energies — just a brutal art where you learn to fight to survive and not compete — period!

It was getting late and I had to return back to Leicester. We said an emotional goodbye outside The Woodville, Cardiff . As I gave Chang Xu a hug, I whispered, “You’ll always have a family here!” With these words we parted.

Return to China

Before departing for China, I received a message from Chang Xu, it read:

Looking back on our conversation again, I have a deeper understanding of you. I give you my respect my friend! You are a real Taijiquan teacher and a martial artist. What you have done is very good... Let the Chinese martial arts community see that there are also such good teachers overseas who insist on spreading real Taijiquan... In my paper, I will definitely talk about Erle…

I was filled with pride, not about my own achievements, they are in my opinion not worth mentioning — I took pride in my ‘heritage’ and the transmissions I had received. The information, the teachings of Erle were being vindicated by representatives from The School of Martial Arts of one of the largest sport universities in China!

I told Chang Xu that for myself, it was more important that he write about Erle. That there remained a permanent record of what he had so tenaciously achieved at a time when we didn’t have the internet. He had physically travelled and collated knowledge from around the world, including China — like the teachers of old!

Erle had travelled to mainland China twice, once in 1985 and then again in 1995, yet despite the groundbreaking trip of 1985 into the five NW Provinces, there were no permanent records. Whilst there are still a few people in China who remember him from his visit in Yinchuan — sadly most, including Master Wang Xinwu and Grandmaster Fu Zhongwen have passed on.

In the years since Erle’s passing, his knowledge and teachings have become a mockery in the hands of his own heir and the organization he had founded and led for decades! It is devoid of anything resembling the internal arts let alone the art of the mighty Yang Shaohou — I have no problem in making this statement!

Erle’s fighting philosophy, based upon the teachings of the old Yangs, was immersed in the principles of Taijiquan, alongside Baguazhang and Wudangquan. It was an art of “survival”! Everything he told his students not to do is currently being done and taught within his organisation, with the internal not only have been lost, it has also taken on the appearance of bad MMA — this for sure cannot be his legacy? Erle, himself, was very clear about his art writing in 1992 — Classical vs Non-Classical:

The Tai Chi martial arts are supposed to be an integrated system of self-defence and healing. And I guess we have to look back to the days when our martial art was really our family's and our survival art. When we would not only have to fight one person in a pub fight or do 'battle' against someone in the ring with rules and regulations, that's not fighting, we would have to fight wars! The head of the family, usually the male, would not know if his family would even be there when he returned while his family would not know if he was coming back that evening. Such is the way of the beginning of the Yang Family Taiji in China… The so called 'non-classical' stylists who have never done a classical style, always say the same things like not wishing to waste time in doing so many movements that seem to have no meaning. They also say that rather than do kata, why not do the actual techniques from the forms with a partner. Here, the non-classical person has lost the whole idea of kata and stems from he or her simply not knowing the real meaning of kata.

We don't do it to learn techniques! We do it to learn internal body/mind movement. It has nothing to do with learning techniques. If your internal mind does not have it then you do not have it, and we do not learn 'internal work' from doing attack/defence situations with a partner. The survival skills come much later when we learn all about 'the no mind state, eagle vision, reptile brain, and fa-jing'. Here, we make use of our own natural movements, different in every body/mind…

If you don't have the basics, then you've got nothing! And the classic forms from Tai Chi martial arts and katas are your basics, they teach you how to move…

It's the classical martial arts such as Tai Chi martial arts that teach us the psychology of the fight. The difference between winning and losing is 50% mind and 50% body. If you do not have complete control over your own body and mind then you have not got it… Look at what happens in a fight or an attack. If you could slow down the action, you would see footwork and handwork. If you take a look at any good kata or form, you will see this exact foot and handwork, only exaggerated and slowed down. This is to teach the mind how to tell the body how to move. When you are into a real fighting situation, this will naturally speed up and you will naturally use those same postures, footwork and handwork that you so painstakingly worked upon for the best part of ten or twenty years. You don't think about it of course, it's all there.

I am one of the most non-classical martial artists or survival artists ever when it comes to fighting. But my whole background is in the classical tai chi martial arts, it is the arduous, hours of practice in my early years that holds me in good stead nowadays…

Of course Erle wasn’t just referencing the forms or katas under the “classical martial arts”, he was also referencing the myriads of training methods which help us develop our skill sets:

The best movements to learn about self-defence are abstract training methods. These will go into the sub-conscious mind as real fighting methods. They will become reflex actions…

In 2008 I wrote my first article entitled, The Art Of Fighting Without Fighting... (Why Has Erle Montaigue Never Taught Me How To Fight?). I sent the article to Erle and awaited in anticipation:

Had I understood correctly?

The article was based upon what I felt was a clear turning point or an upscaling of my training with Erle. I referred to it as an “epiphany” at the time and almost fourteen years later feel that it was just that — an epiphany!

It was my ‘road to Damascus’!

“Great article Mate! I will include it in the next edition — at least someone understands what I’m teaching!” Erle’s reply was simple and to the point!

The article would go on to appear in the November 2009 edition of C&H Vol.60. Unbeknown to me then, in 2008, the fact that Erle would have handed the reigns of editorship over to myself by this time!

In 2013 and I found myself revisiting that old article. Why? What had changed? The fact that Erle was no longer physically amongst us, I felt it was time to remind folk again what ‘his’ System and our arts are about — at least the combative element — derived from the genius of the likes of Yang Shao-hou! The imaginatively entitled, The Art of Fighting Without Fighting: Part II was born, where I continued my argument/observations from my original article — further expanding upon some points. I will not regurgitate everything here, but I will summarise a few of the main points for those who may not have read the articles.

The original article had boldly claimed that Erle Montaigue didn’t know how to fight and nor did he teach me how to fight, rather that his system was based on the idea that, ‘animals don’t fight, they move to survive!’ Now, several years later, I feel this statement to be even more accurate then I did way back then!

Erle had always taught that martial arts and self-defence were not the same thing, and that sports fighting, no matter how good, was not equal to an actual street attack! He spoke out against competition, how this was a hinderance to one’s training. It taught us the wrong skill sets — it made us behave unnaturally, suppressing the instinct.

All competition, no matter how ‘real’ has rules. A fighter is no longer free to express himself. His intent is caged and if you continue to competition fight over a time, then your instincts will fail you on the street.

I have heard many fighters, who compete regularly, say: “But I wouldn’t do that in a street fight!”

Wrong! If you train your brain in a particular way then you can bet your bottom dollar that that is exactly how it will behave, whatever the circumstances. I’ll expand upon this with an example:

I had a student a few years back who had been a professional Muay Thai fighter. He had travelled the world and competed in many fights. A couple of years after retiring, he gets into an altercation in a bar and a guy lunges at him with a glass. He steps and goes to kick the guy in the knee and then suddenly drops his foot. The glass misses his neck by inches and he eventually manages to subdue his assailant. When I asked him why he had dropped his foot and not kicked the knee? He replied, “Because his brain told him that was illegal!” Illegal!

This is exactly what we are told by the great Miyamoto Musashi:

“You can only fight the way you practice”

A Book of Five Spheres

Just when he needed his art, it failed him because his mind was trained to not kick the knee as it was against the rules of his fighting discipline!

If you have trained your brain to the rules of competition, you cannot undo that training!

Now think of all the other rules that competition fighting involves and you’ll start to get an idea of how seriously you are limiting your natural instinct.

Another common response you’ll get from a competition fighter is that competing in the cage or ring hones their fighting skills and reflexes.

Yes, but only in the cage or ring for that specific purpose!

When you enter the cage or ring, you know who your opponent is. His weight, height and reach. You have studied him. You have an idea of how he fights. You know his weaknesses and strengths. You know when the fight will begin. You know where he will be coming from and he will be alone. You know there is a referee in the cage with you, to whom you can turn to if things get ugly in order to end the fight. You know there are rules which must be adhered to. There are a team of doctors on the standby should anything go wrong.

In the street...

None of the above!

Training with Erle

The keyword in Erle’s ‘system’ is intent. The intent is NOT to fight but rather survive! Stop the opponent at any cost. No fancy locks and holds. No extravagant techniques! Do whatever it takes!

This is how animals survive. They do not ‘fight’ as per humans. They fight to survive. Their intent is to stop their opponent. They will use any means necessary to achieve the above and guess what? They don’t go to any martial arts schools to learn their trade.

The rules for combat are not that complex. A straight line defeats a curve and a curve defeats a straight line. The trick is knowing when to apply what?

In an instant the mind sees the line of attack and the intent moves the body in perfect harmony and into the correct position, and as the classics state... “he attacks me but I hit him first”! And I attack repeatedly and again at the very point of access until he is no more!

But this can only happen if you train correctly and understand your art and remove the ego to want to compete, and allow your intent to maintain it’s integrity and the will to express yourself freely!

That’s what it is about — to be able to express yourself freely!

Training correctly means studying and understanding your art — regardless of what name you give it! To become a non-classical fighter, you must first understand the classical art — you cannot ‘break’ a rule unless you understand it first! I use the term ‘break’ loosely or as a common figure of speech, I prefer to use the term ‘bend’ the rule instead, because if a rule can be broken — it has no real value in the first place! The link between the classical and non-classical are the myriad of training methods we have in the internal arts. It is these training methods which help give the form/kata meaning. It is these training methods which help transition from form to fight. It is these training methods which help develop innate reflexive responses. Without understanding and developing the ‘real’ meaning behind these training methods — non of the above can be achieved!

The internal arts are not the only arts which have these bridging training methods. All arts do — or at least all arts had them until they started to be discarded due to a lack of understanding of what their purpose really was!

When studying any martial art we must remember that each martial art has its own methodology and way to teach and develop the required skills.

In Taijiquan [I repeat without apology what has already been said above] we begin with our forms. Once we have some competency with our forms other training methods will start to be introduced to develop skills further. These will start off simple and grow in complexity. We will develop key skills like timing, distancing, coordination and power. We will develop peripheral vision training.

These training methods will start off solo and eventually turn into two-person skill sets. Initially these methods, i.e., Da Shou, Small San-sau , Da-lu, the Deadly Katas etc, will start as fixed training methods — in other words there will be a simple attack and a defence scenario to gradually develop the student’s skill and confidence before they become more complex and random, culminating in a full blown attack!

This is how Erle taught ‘his’ system!

In his article, ‘Tai Chi Fighting,’ published in 2010, Erle tells us:

In Tai Chi (or Bagua), we have certain brilliant training methods designed by those genius of old that teach us how to fight at a reflexive level; like a dog fights. These training methods teach us sub-consciously to react instantly without thinking with the correct method using a huge amount of power from a very short distance. This is the ONLY way to defend yourself in the street as a good street fighter will literally be in your face in the time it takes you to blink! And you need to attack and keep attacking with devastating dim-mak and fa-jing attacks before he even knows what has hit him. So you need to be able to act instantly from a distance for instance, from his neck of only one inch. And you need to have a way of generating such power from that small distance that will have the power to kill the attacker.

It's the way that my lineage has taught me and my students to learn how to fight in a self defence situation that is for the most part totally different to what other instructors teach... Our lineage teaches that we Fight Without Fighting. And we learn to fight without learning!

Tai Chi teaches us how to fight in the real world against life or death situations without teaching us how to fight! If we learn how to fight, we will lose in the real world as we must become like a wild animal who doesn't even think about it, it just goes for it and automatically, it uses the correct weapons and methods to get the job done.

So, in 2010, literally a couple or so months before his death, Erle confirmed absolutely — using my own words from the title — that what I had written and understood in 2008 was correct!

The Erle Montaigue System has never been about competing. It has always been about survival and achieving this by remaining true to the origins of the arts — learning to survive. But not just surviving in the martial sense but in life too, for fighting a disease or illness, or even your fears, is in no way any different from facing mortal combat.

When life throws changes at you, they are no different then an opponent changing his lines of attack and you changing in turn to preserve yourself. This is the I Ching — the Book of Change. I cannot change my opponent. I cannot change the world. The only thing I have true control over is myself — the only thing I can change in life, combat or any other thing is myself!

And ... just like an opponent, life can also knock you down, but if you have trained correctly, then you’ll know how to get back onto your feet again and carry on!

So, back to the question — what is Erle’s legacy?

A few weeks after returning to China, I received the following message from Chang Xu:

I just finished reading your article on your website titled, "The Art of Fighting Without Fighting..." and it truly blew me away. Even though I know you and your master have a profound understanding of the philosophical aspects of Chinese martial arts, reading this article made me once again express my deepest respect for you and your teacher, Erle. It has sparked new ideas in me, and perhaps when I have the chance to pursue my postdoctoral studies in the UK, I really

La Chang Xu has started to write his thesis:

I’ve returned school and officially started writing my phd thesis now… In our interview, you provided me with so much valuable and precious information that I don't even know where to begin writing. But please rest assured, I will do my utmost to write this chapter well!

I will work with Professor Ma to write an article about Erle and your deeds in the future, which is great!

So, the historians have begun to write. Erle and his legacy here [in Leicester & Ammanford] will form a central part of the Ph.D thesis and research. Once the paper is complete, it will be published and as per custom, a copy placed in the library of School of Martial Arts at Chengdu Sports University.

Erle's legacy will find a home in China, 40 years after he first stepped foot there! Hopefully, God-willing a permanent record for future generations.

Meanwhile, I, along with Peter Jones and Elliot Morris will continue to teach the way we were taught by Erle Montaigue.

The journey continues…

Many of the quotes from La Chang Xu appear from the first draft of his thesis.

Post Script

I ended the 2008 article as follows:

I have just seen a demonstration, on video, by no less an authority then William C.C. Chen, showing a variety of Taijiquan strikes or punches as he calls them to a live audience. Dressed in the obligatory silk pyjamas and wearing a pair of MMA mitts on his hands, he strikes a focus mitt being held by a student in a way that would embarrass an amateur boxer! This statement may offend some... but they need to ask themselves why?

I simply thank God for Erle Montaigue!

I had shown the video to Erle, the next time we met up to train. He watched it and shook his head in disbelief, saying:

“This is not Taiji nor its principles!”

He said much more… but it’s not publishable!

Last summer, I was sent another video. This time, it was Erle’s own son wearing the MMA mitts…

Nasser Butt , Peter Jones and Elliot Morris

August 2024 will see us return with another explosive Camp, this time covering the Pauchui Modular Training.

As with previous camps Camp 2024 will continue with themes and ideas explored in the previous camps, along side regular classes in a progressional manner.

It is reported that Yang Lu-ch’an learned only 2 forms during his sojourn in the Chen village — The old form of the Thirteen Dynamics and the Pauchui or ‘Canon fist Form’. Yang would later go onto develop his own family system, however, he paid homage to his Chen teachers by calling his fighting form Pauchui.

The form is learned both in the solo aspect and the two-person. It is the two-person which is the key or main method, however, this cannot be achieved without first developing the full skill in the solo method.

The two-person set is actually learned as modules, where a segment is developed and can be performed as a stand alone method with linking movements or transitions which take us into the next module. It teaches the student about continuous attack and fa-jing.

Here we will be developing the module system as a component of the solo method.

Cost: £270

Training Times:

Friday 3pm — 7.00pm

Saturday 9.30am — 6.00pm

Sunday 9.30am — 5.30pm

Lunch 12pm — 1.30pm

Venue:

Fa-jing Ch’uan Internal Chinese Boxing Schools

Top Floor Unit 36 Faircharm Trading Estate Evelyn Drive Leicester LE3 2BU

T’ai-chi Touchstones: Yang Family Secret Transmissions, compiled and translated by Professor Douglas Wile, is an essential book on the shelf of any Taiji practitioner!

Published in 1983 by Sweet Chi Press, this book has in its own right become a ‘classic’ of Taijiquan containing the teachings of three generations of Yang family masters — Yang Lu-ch’an, his sons Banhou and Jianhou, and grandsons Shaohou and Chengfu.

Professor Wile painstakingly compiles the history, legends oral transmissions, mnemonic verses and training songs, including commentaries to the Taiji Classics, and biographical material into a single volume!

What stands out the most is the historical content found in the Translator’s Note, in which Professor Wile attempts to separate fact from fiction — successfully so, in my opinion — surrounding Yang Taiji history beginning with Yang Lu-ch’an’s own journey into the internal arts via the Chen village. The information provided in these few pages is worth the price of the book alone!

Professor Wile does not shy away from the controversies or inconsistencies found within the historical narratives which have been handed down over the generations. In fact, he tackles them head on — cross-referencing them with material available from the archives of all the other Taiji families — eliminating the impossibilities and accepting the probabilities.

What emerges from this narrative, once you have stripped out all the controversies, apologia, myth and fiction is the simple notion — What eventually became known as Yang Taijiquan, was created as a full-blown martial art and not health art, and its founder Yang Fu-k’uei [Lu-Ch’an] foremost boxer throughout the empire, and founder of a lineage that dominates a worldwide movement.”

Furthermore, we see a clear distinction or split occurring between what would eventually become ‘mainstream’ or modern Taijiquan as taught by Yang Chengfu primarily in the 20s and 30s, and that of his older brother — Shaohou — who retained the martial ideology of both his grandfather and uncle [Banhou].

Professor Wile’s work in 1983 was perhaps one of the first in the English language, appearing in the West, which clearly intimated that there was an ‘old’ Yang style — a form practiced far more explosively which retained the “Ch’en style jumps, flying kicks, stamps, change of pace, and shouts…”. Of course there were many ‘masters’ around the world , particularly in the West, who had established their reputations peddling Chengfu’s modified form and its later bastardisations — who pushed back and ridiculed this idea, claiming that there was no such thing!

History of course proved them to be wrong!

Beyond the historical discourse, the collection of training songs and the commentary on the Classics by the Yangs themselves is priceless! Again, the transmissions leave the reader in no doubt that we are talking about a martial art here. There is no ambiguity — none whatsoever! Yang Lu-ch’an was called Yang the Invincible — not Yang the Healthy!

The book also contains the classic Yang Chengfu photographs, including photographs of the martial applications. There are many anecdotes and stories about Yang Lu-ch’an — regardless of whether they are true or not, they certainly make good reading.

T’ai-chi Touchstones: Yang Family Secret Transmissions was one of the first major books I purchased upon the subject over two decades ago. It is still my go to book for historical reference due to its ease of reading, even though many of the individual works referenced within the compilation are now available in their own right.

All in all, as I said at the beginning, this book is a must have for anyone who is not only interested in Yang Taiji history, but also is a serious student of the authentic art.

The book is available from Amazon, however, it is ridiculously priced! My advice — search the net, even if you come across a second hand copy, snap it up!

“In stillness, be like a mountain. In movement, be like a river.”

The metaphor of the river plays a critical role in Taijiquan. Within the simple analogy of comparing Long Boxing to “a long river flowing into the wide ocean, on and on ceaselessly,” we are given pretty much the entire fundamentals of Taijiquan — both as a martial and health art!

The river in Taijiquan is also analogous to the snake — it should not take a genius to work out the comparison! In fact, the two are interchangeable and often are in the lexicon of Taijiquan.

The first thing that the river brings to mind is the pace of Taijiquan.

I have already written extensively on the subject of pace. In fact, in 2016, in the first volume of Lift Hands, I penned an article entitled ‘The Pace of Taijiquan in Form Practice’. I advise the reader to refer back to that article for fuller details, however, I will summarise a few of the essential points raised below.

Is Taiji performed at an even pace?

The simple answer is no — unless that is you are practicing the simplified modern forms of Taijiquan dating from the late 1920s onwards which became the standard in the early 1930s, as taught by Yang Cheng-fu.

We know for a fact that the original Yang family form was NOT even paced. It was performed at varying speeds with leaps, shouts and rapid kicks!

In Fu Zhongwen’s own book, ‘Mastering Yang Style Taijiquan’, we find an introduction to the history of Yang Style by the famous martial arts historian Gu Liuxin, who himself was a former student of Yang Cheng-fu. Gu informs us that the original form included:

“... fajin (issuing energy), leaps, stomping of the feet and other moves of comparative difficulty.”

It was only much later from around 1928 that Yang Cheng-fu, himself, brought about changes in his family form when according to Gu:

“After Yang Cheng-fu went to the South... he changed... to a continuous pace with no breaking of the cadence, and from a hurried to an even pace.”

Furthermore, he (Cheng-fu) removed all leaps, shouts and stomps from the form as well as revising and/or simplifying the more difficult movements.

Change of pace plays a critical role in the practice of ones Taijiquan form and should be obvious to any student involved in understanding how energy systems work.

Whilst studying Taijiquan we must develop 3 critical skills:

1. Gather/store energy

2. Balance energy

3. Issue energy

Only by understanding change of pace can we even begin to have a chance to develop the above. The clues are in the Classics along with the practice of the founders of the style.

Wu Yu-hsiang, in his ‘Expositions of Insights into the Practice of the Thirteen Postures’, tells us to:

“Be as still as a mountain, move like a great river.”

The “great river” in this instance has been interpreted by many as the mighty Yangtze, itself. But whether it is the Yangtze or any other of the great rivers that traverse this planet, I ask the reader a simple question:

Do any rivers, anywhere, move at an even constant flow or pace? Again, the answer is an obvious NO!

Rivers not only bend, twist and wind but, also, exhibit distinct paces:

1. Constant/Even/Slow

2. Still Waters

3. Fast

4. Rapids/Powerful Currents

Not only is the above true but, also, that rivers can run deep underground only to resurface many miles later still on track towards their ceaseless journey to the oceans. They can drop suddenly from hundreds of feet with a majesty equal to none. Swelling, overflowing and gathering energy before releasing their benevolence on arid lands, flooding them with life-giving abundance or being dammed by humans — their energy converted to hydroelectricity to drive our modern needs. And, yet, at other times unleashing their violence destroying all that stands in their paths!

This is exactly how our Taijiquan forms are meant to be — like a great river! In order for us to understand our Taiji, we only have to do as the Classics say. In this instance that we flow like a river and in understanding that we can perhaps begin to understand the various energy movements hidden within our form.

The slow, even movements of our form are the energy gatherers or storers. The fast movements are the energy balancers. The explosive movements are the energy release or issuers.

Let us now look at Gu’s description of Yang Shao-hou, the elder brother of Yang Cheng-fu, doing his form:

“... lively steps, movements gathered up small, alternating between fast and slow, hard and crisp fajin, with sudden shouts, eyes glaring brightly, flashing like lightening... and an intimidating demeanour.”

Yang Cheng-fu, himself, confirms this about his brother:

“… When the time comes to apply the techniques, you have to be quick and fluent, and for that you will need the small frame. The way my elder brother [Yang Shaohou] practices now is all about fighting methods.”

Can we not see the river in Shao-hou’s form? Mighty, great, and dangerous, something commanding our respect?

The Original Yang family form contained slow movements for gathering Qi, fast movements for balancing Qi and explosive (Fa-jing) movements to disperse the Yang Qi, built up during practice, as opposed to the slow only style of modern forms, thereby, making it a completely balanced system.

Many of the combative stratagems are ‘hidden’ within the meaning of the river.

“… flowing into the wide ocean, on and on ceaselessly,”

Simply put, we never step back in combat, our intent remains forward at all times! Just like the river we flow “on and on ceaselessly” — pouring all over and seeping through our opponent’s defences, attacking and overwhelming them completely. This is the nature of water, it not only adapts to the vessel [in this case our opponent], it also seeps through any crack or crevice [flaws in the opponent’s defence].

In the bending, twisting and the winding of the river, we see the parallel with the movements of the snake — coiling, expanding and contracting. These are the Classics of Taiji:

“Following contraction it proceeds to expansion… Left is full, then left empty. Right is full, then right insubstantial.”

The dynamic of ‘Brush Knee, Obstinate Twist Step’ [BKOTS], [see opposite], epitomises the above maxim and the movement of the river itself. The hands never stop moving, they are seeking — expanding, contracting, folding. Of course, in this instance we are referring to the original weighted turns of BKOTS, with their expansions and contractions and not the modern rocking back nonweighted movements!

“Within curving, seek to be straightening.”

The curve of the river intimates the neutralising of your opponent’s power and once it has been neutralised, we seek to straighten — find a direct line in their direction in order to issue our own power!

The spirals of Taijiquan, the inward and outward reeling are perfectly represented by the eddies and whirlpools found within a flowing river, while the fajing release of energy is mirrored in the white rapids smashing up against the rocks!

Of course we could go on and on… the list is endless. However, rather than spoon feed the student, it is better to plant the seed and watch it grow and flow — just like the river.

Many years ago in one of his final interviews, Bruce Lee stated:

“Be water, my friend!”

I say, “Be a river!”

Useful Contacts

Regular Contributors:

Tony Bailey

Louiseneige Be

Gemma Burman

Nasser Butt

Amy Faulkner

Peter Jones

Dr. Gregory T. Lawton

Katherine Loukopoulos

Alan R. Ludmer

Tommy Joe Moore

Gavin Mulholland

Krish Pillay

Colin Power

Gavin Richardson

Editor: Nasser Butt

The Art of Louiseneige Be

To purchase your Digital Edition of Lift Hands Magazine please click on the links below or copy and paste them into your browser and follow the online instructions.

https://www.peecho.com/print/en/1147465

LH1

https://www.peecho.com/print/en/1147432

LH2

https://www.peecho.com/print/en/1147435

LH3

https://www.peecho.com/print/en/1147436

LH4

https://www.peecho.com/print/en/1147437

LH5

https://www.peecho.com/print/en/1147438

LH6

https://www.peecho.com/print/en/1147441

LH7

https://www.peecho.com/print/en/1147442

LH8

https://www.peecho.com/print/en/1147443

LH9

https://www.peecho.com/print/en/1147444

LH10

https://www.peecho.com/print/en/1147445

LH11

https://www.peecho.com/print/en/1147446

LH12

https://www.peecho.com/print/en/1147448

LH13

https://www.peecho.com/print/en/1147451

LH14

https://www.peecho.com/print/en/1147452

LH15

https://www.peecho.com/print/en/1147454

LH16 English Edition

https://www.peecho.com/print/en/1147455

LH16 Italian Edition

https://www.peecho.com/print/en/1147458

LH17

https://www.peecho.com/print/en/1147459

LH18

https://www.peecho.com/print/en/1147464

LH19

LH20

https://www.peecho.com/print/en/1147466

LH21

https://www.peecho.com/print/en/1147469

LH22

https://www.peecho.com/print/en/1147470

LH23

https://www.peecho.com/print/en/1187570

LH24

https://www.peecho.com/print/en/1222229

LH25

https://www.peecho.com/print/en/1257965

LH26

https://www.peecho.com/print/en/1299137

LH27

https://www.peecho.com/print/en/1359518

LH28

https://www.peecho.com/print/en/1414630