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20 Extended Questions — Dr Gregory T. Lawton Page 49
The Short Form Solution
Alan Ludmer Page 76
Book Review Page 82
Peasant Talk: The Small Frame Fad Page 92
Useful Contacts Page 96
The Art of Louiseneige Be Page 97
Lift Hands Magazine Digital Purchase Links Page 100
WNote
elcome to the much delayed June Volume 30 of Lift Hands Magazine.
Once again, my sincerest apologies for the delayed publication!
It has certainly been an eventful and busy summer for myself and other contributors this year. So much so, that we had to delay the publication to early autumn. Having said that, the remaining two issues for 2024 will be published back to back before the year is out.
I was locked away for several weeks trying to meet the deadline for my third book, further there was much happening on the home front as well as classes and workshops both at home and abroad.
Anyhow, I am pleased and grateful to everyone who despite their extremely busy schedules managed to put some time aside to pen an article for the present publication.
I want to say a massive thank you to Greg Lawton for not only penning an article but also taking the time out to answer our 20 Questions. Rest assured they are worth reading — just like his articles. Greg, himself, has been extremely busy teaching this year in addition to setting up a new clinic and writing training manuals — not to mention his wonderful community work.
My thanks also to both, the great Katherine Loukopoulos Sensei and the brilliant Alan Ludmer for their contributions too.
The next issue — September Volume 31 will hopefully be available by the ned of November, followed by the December issue on our traditional last weekend of the year.
I have already started work on the September issue. For those wishing to contribute, you still have time to write something for either issue.
I hope that everyone has had a pleasant and safe summer.
Happy training and see you soon.
Nasser Butt
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Fairy Step
Created using Adobe AI by Nasser Butt
April 2024 saw our annual return to the beautiful city of Bari, located in the region of Puglia on the Adriatic coastline in Southern Italy.
Once again, the event was hosted by Monica Mitoli, at the Edian Danza A.S.D located on Via Marcello Celentano in the centre of Bari.
During the 2023 visit, we managed to cover many of the fundamentals or basics of Taijiquan and in 2024 we continued from where we had left off. The primary focus this year was the form itself, not just in abstract but in meaning too. We focused on structure as always and also added applications — or at least the basic applications in order to give meaning to the abstract forms themselves.
It is imperative that students understand and realise that applications are merely illustrations of principles — that’s all! You cannot protect yourself with techniques. Once a principle is understood, techniques will flow as per the requirement of the situation that one finds themselves in.
We began on a blustery Friday afternoon by the Adriatic Sea focusing on the Post. Rain was coming down and luckily we had managed to find cover under which to train, but the wind blew the rain sideways and it almost felt like England!
The Post is a key component of Taijiquan — in fact, it would be correct to say that it is a key component of all martial arts, yet very few focus on this critical exercise or understand its true importance. Although we had trained in this method last year, we advanced upon it and added further detail. The blustery wind turned out to be a perfect ‘wooden man’ as we attempted to post. It’s raw power forcing students to realise whether they had the ability to be able to take an impact and ground it. I have mentioned in other articles and publications that combat occurs on one leg, not two and that it is the post that gives us this skill set.
From the post we moved onto understanding the ‘one step’ rule. Why we move the way that we do in Taiji and that no matter what the distance between yourself and your opponent, you need to understand when to take that one step as you engage and coordinate with your opponent’s energy.
After spending a solid few hours training in the wind and rain, and as darkness started to descend gradually, we made our way back to the city centre, where Monica had booked us into a local restaurant serving the most exquisite food. Needless to say, we all tucked into a hearty meal and some wonderful conversation.
The following day, on Saturday, we met at Edian Danza and began the day with the Triple Heater Exercise, looking into not only the internal concepts, but also the physical movements and the role they play in developing the body.
After spending the morning on the Triple Heater exercise, we broke for lunch and headed in the direction of our regular cafe. The amazing thing about Bari, as in most Italian cities, is that it is full of wonderful eateries — excellent food choices at reasonable prices and of course, ending the meal with a delicious cake or a mouthwatering gelato ice cream.
Students were given ample time to practice with a partner, ensuring that they could both hold and understand structure along with the martial concept. The healing aspects so famously associated with Taijiquan are a direct result of understanding and holding the martial posture. It is a by-product of the martial art. In Taijiquan, we are essentially duping the brain into thinking that we are fighting whilst practicing the form. This is achieved through association
is working optimally at all times.
Again, at the end of a long productive day, we headed into a beautiful spring night enjoying the sights, sounds and tastes of Bari.
On Sunday, we were all back into the dance studio nice and early having had a good night’s sleep. We immediately returned back to the form and continued from where we had left off on the previous day. It was good to see that all the students had taken the previous day’s studies on board and were working through things patiently and methodically. Yes, errors were still be made, however, these errors were now being recognised and corrections being attempted immediately.
We managed to cover the 2nd third of the form in some detail and even managed a cursory look at some of the postures from the Part 3 — God-willing we shall look at these in more detail in 2025. We broke for lunch at noon as per usual and enjoyed sitting out in the sun. One of the great things about these meets is the fact that we do not only train together, we also sit and eat together and that makes for a very special and strong bond amongst the group. Old friendships are strengthened and nurtured as new ones are made.
After lunch, we returned to the studio for the final session of the day and the camp itself.
We spent the final session summarising the weekend’s work, followed by a short Q&A, in which students asked many questions relating to various aspects of Taijiquan, which included the topics of the martial and healing, as well as the history.
Such sessions are important at the end of any camp or training session. It is imperative that students are not only given the opportunity to question their teacher on all aspects of their training, but also be allowed to raise any concerns directly with the person they are training with. When a teacher is confident in their own skillsets and knowledge, they will never shy away from any questions and if they do not know the answer — then they should have honesty to say so, but also promise to find out the answer and share it with the students. This doesn’t diminish the teacher in any way in the students eyes, if anything, it gains their respect and strengthens the bond between the two. Students know that their teacher will not try to fob them off by trying to pretend or misdirect, but will work to his or her best at all times.
As the shadows of the late afternoon sun began to lengthen, the session came to a natural end. Goodbyes are always hard, but they also come with the promise that good friends will meet again.
I would really like to thank Monica for all her hard work and effort she puts into organising these meets. Having done them myself, I know they are not easy. Monica is not only a true professional and good instructor, her students are also a credit to her and reflect her hard work. Also, a big thank you to all the students who attended and made the weekend so successful.
After our customary goodbyes with hugs, we headed back to our relative accommodations to pack. I still had another couple of days before returning back to the UK, so Krish and I spent them exploring both Bari and its locality.
On the next few pages are a few more photo highlights of the weekend. See you inn 2025!
Miyazaki Sensei started his karate training at age 15 under Okano Tomasaburo Sensei of KenKoJuku Dojo. Okano Sensei was a direct student of Shotokan Karate Master Funakoshi Gichin.
Miyazaki Sensei studied Economics and upon completion of his degree, he relocated to the United States and set up a dojo in California in 1966. He served as a Head Instructor of Tokutai Karate-Do.
His skill in Kata and Kumite quickly brought him fame and he graced the covers of Black Belt Magazines, Karate Illustrated and Official Karate Magazine. It was an era that many Japanese and Okinawa Instructors migrated to the United States; and although, many had great Kata only Miyazaki Sensei was successful in Kumite also. Chuck Norris described Miyazaki Sensei as being “one of his toughest opponents”.
Miyazaki Sensei retired from competition in 1971. He relocated to New York, and for over 40 years he taught in Flushing. Many great Shotokan names were created under the strict and watchful eyes of Miyazaki. One student was Kai Leung Sensei who left his mark as an undisputed most loyal student. After Sensei retired and relocated back to Japan, Kai Leung Sensei walked on his Sensei’s footsteps. To this day he has kept the teaching methods, and the teaching spirit of Miyazaki Sensei alive.
How did I meet Miyazaki Sensei?
It was in 1979 when I participated in my first kata competition under the pressure exerted by Teddy Maccarrone Sensei of Matsubayashi Shorin Ryu. I performed Rohai Kata and I won a 2nd Place. In the State Amateur Athletic Union (AAU) Championships I won the Kata Divisions for both Empty Hand Kata and Kobudo Kata. That qualified me to go into the National Pool by passing all other qualifying tournaments. I had no clue what that meant or where my competitive life was going; I simply followed directions.
After the tournament a Japanese man came up to me, he congratulated me and told me that, “You are very good”. He asked what style I was doing and who was my teacher. My dojo life was a turbulent one. My teacher had left New York City in order to become a Zen Priest in Hawaii, and I bounced from dojo to dojo until I can find what most suited me. After listening to me, he invited me to train at his dojo. He did not invite me to change styles; he invited me to use the dojo space in order to prepare for the National Championships.
I took his offer, and one night armed with a crispy clean Karate Gi I found his dojo in Flushing. Miyazaki Sensei was happy to see me. His last class finished at 10 PM and the floor was mine as long as I needed it. After all his students would leave and Miyazaki Sensei finished with his office work, he would come out and observe me work in front of the mirror.
The relationship solidified when Miyazaki Sensei felt that I was serious. He suggested that I come earlier and take the last class as a warm up and then do my own work. So, I started going four to five times a week taking the last class, and training on my own afterwards. When Miyazaki Sensei finished his office work he would also join. We concentrated on Kihon.
Matsubayashi Shorin Ryu Shuto Uke and Shuto Gedan Uke are completely opposite than in Shotokan. Miyazaki Sensei studied it. He also studied my hip motion during the Kihon movements. Shikodachi and Zenkutsu were broken down and tailored back into my own body movements. And then, Miyazaki Sensei asked me to teach Bo to his students. Months later I was embarrassed when I learned Miyazaki Sensei was a Kobudo ‘expert’.
I prepared for the National AAU Championships simply analyzing the Kihon; the results were monumental. I won both Empty Hand and Kobudo Kata, and immediately found myself into the National Team Pool; it was an achievement since there were no Okinawa judges and/or referees. It was August 1979.
(Left) Miyazaki Toyotaro - (Right) Kai Leung
Back in New York City I found a very excited Miyazaki Sensei. He told me that he and I will be training together and he will come out of retirement and compete in the Open Circuit. I had to be careful. As a member of the National Team I could not compete where the tournament promoters offered cash as prize awards. I had to maintain my amateur status; but that did not prevent me from being a spectator.
1979 — Miyazaki Sensei came out of ‘retirement’ and won Long Weapons Division, leaving Benson Lee to be satisfied with a Second Place, and me, with a Third Place.
At that time I was teaching in Brooklyn at Glenwood Racquet Club and classes would finish at 9 PM. From Brooklyn I traveled to Flushing, Queens. There were many fantastic Chinese Restaurants in the area. We would order and eat Wonton Soup, or Ramen Soup, and then slowly we would start our training. Many times we finished training 3:30 AM. So, we started to go to Chinatown for breakfast which was a regular meal, and then Miyazaki Sensei drove me home. This is how we trained.
Miyazaki Sensei took America by surprise when he came out of competition and quickly ascended the charts. With him, I also ascended. I had my own private kata coach; Thomas Carroll LaPuppet was my own private kumite coach.
Eventually, I introduced Miyazaki Sensei to Okinawa instructors who Miyazaki Sensei sponsored them to teach in New York. In 1984 he traveled with the US Team to Budapest as a spectator. Every year we went to Osamu Ozawa Traditional Shotokan Annual Seminars and tournament in Las Vegas, Nevada. This tournament was attended by all the big names in traditional karate from the United States, Canada Japan, and other countries.
1984, Las Vegas, Nevada, USA — Ozawa Osamu is center in black. To his right is Hayashi Sensei, followed by Kanazawa Sensei, and Demura Sensei. On the extreme left side sits Miyazaki Sensei. I sit second row on the left.
Shihan Osamu Ozawa was born into a samurai family on November 25, 1925, in Kobe, Japan. His family is believed to have descended from the Takeda clan. Takeda Shingen was one of Japan's most famous and brilliant warriors and it was into this great and famous samurai lineage that Haruo Ozawa, Master Ozawa's father was born. The Ozawa family crest (mon) is indeed the famous Takeda bishi, or Takeda family symbol.
Source: James Tawatao
1984 – Playboy Club – Miyazaki Sensei and I often demonstrated together.
1985 I left for Japan — Miyazaki Sensei was at the height of his demo performances
Every time I came to New York City from Japan I always met with Miyazaki Sensei. In the years that followed Miyazaki Sensei slowly was losing his speed. At some point he stopped driving. Nevertheless, he was always in the dojo and he was always teaching. Kai Leung Sensei was a blessing to Miyazaki Sensei; until the very end when Miyazaki returned to Japan, Kai Leung Sensei was always there.
Katherine Loukopoulos Bubishi Team Austria 2024 June 19
Do Not Go Gentle into Tat Good Night
Te Aging Martial Artist
Dr Gregory T. Lawton
Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage against the dying of the light.
Dylan Thomas
At some point in our lifetime, we may come to realize that there are more sunsets behind us than in front of us. As we face the final decades of life, we may find ourselves at a crossroads, the juncture where the passage of time collides with our unwavering spirit. For martial artists, this journey is not merely about surviving the years; it’s about growing and thriving in the face of them. The dojo becomes our sanctuary, the tatami our canvas, and the steps and movements of ancient forms our true pathway. In this exploration of aging with resilience, adaptability, and flexibility we delve into the art of aging with grace and wisdom as we seek to find the balance between discipline and acceptance, strength and surrender. Rather than bemoan aging as a time of loss and regret let us embrace the twilight with lion hearts, for the night holds secrets only revealed to those who refuse to go gently.
Meditations on Death and Dying
Aging is an inevitable journey, a natural progression of life that hopefully carries with it the wisdom of experience and the grace of maturity. Yet, it also brings forth challenges that test the resilience of the human spirit – sickness, loss and separation, and the specter of death. These companions of aging, while perceived by many with trepidation, are integral parts of the human condition and experience. They remind us of our vulnerability and the preciousness of each moment of life. In the Five Remembrances from the Upajjhatthana Sutta (Subjects for Contemplation) the Buddha speaks to the impermanence of life and its inevitable changeability. (1) These teachings were intended as guidance and meditations to serve as wake-up calls, guiding us toward wisdom and compassion. The Five Remembrances are:
1. I am of the nature to grow old. There is no way to escape growing old.
2. I am of the nature to have ill health. There is no way to escape having ill health.
3. I am of the nature to die. There is no way to escape death.
4. All that is dear to me and everyone I love are of the nature to change. There is no way to escape being separated from them.
5. My actions are my only true belongings. I cannot escape the consequences of my actions. My actions are the ground upon which I stand.
There have been many teachers, ancient and contemporary, who have taught about the importance of living a virtuous and self-examined life based upon a strong moral foundation. The ancient Greek philosopher Socrates believed that a life well-lived was one of moral integrity and self-discipline, which naturally led to health of the soul. The Chinese philosopher Confucius taught that living in harmony with nature and society was essential for a good life. He advocated for self-cultivation and respect for family and community, which contribute to overall well-being. As a contemporary spiritual leader, the Dalai Lama speaks often about the importance of compassion, both for oneself and for others, as a means to obtaining a fulfilling life. He also discusses death with dignity, emphasizing the need for a peaceful mind at the end of life. Miyamoto Musashi, the legendary Japanese swordsman, philosopher, and author of “The Book of Five Rings,” shared profound insights about life, death, and the warrior’s path. Musashi believed that the Way of the warrior involved a resolute acceptance of death. Facing
mortality head-on was essential for a true warrior. Rather than fearing death, one should embrace it as an integral part of existence. Bahá’u’lláh, the prophet founder of the Bahá’í Faith taught that death is a natural part of existence and should be faced without fear and He refers to death as a “messenger of joy.” He teaches that the soul’s journey continues beyond the physical world, and its feelings, perceptions, and happiness increase. Just as a bird in a broken cage continues to exist, the soul transcends the limitations of the physical body. (2)
O SON OF THE SUPREME!
I have made death a messenger of joy to thee. Wherefore dost thou grieve? I made the light to shed on thee its splendor. Why dost thou veil thyself therefrom? Baha’u’llah, The Hidden Words
Walking the Straight Path
Traditional systems of martial arts such as Japanese, Korean, or Okinawan karate are steeped in rich history, philosophy, and discipline as well as essential guiding principles, a creed or code of conduct that serves as moral guidance along the long and tortuous path of study and mastery. The karate creed encapsulates the core tenets of traditional karate. It emphasizes humility, self-reliance, and the commitment to using one’s skills for honorable purposes. When a karateka steps onto the dojo floor, they carry not just physical techniques but also a mindset that values integrity, respect, and compassion. For example, Isshin-Ryu, a unique style of karate, has its own set of guiding principles. This code and these principles are attributed to Tatsuo Shimabuku, the founder of IsshinRyu karate and they provide insights into the essence of this martial art system:
Harmony of Heart and Body: A person’s heart mirrors the harmony found in heaven and earth. The blood coursing through their veins reflects the cyclical patterns of the moon and sun.
Balance and Adaptability: Like weight, a person’s equilibrium matters. The body should be ready to change direction swiftly, adapting to any situation.
Opportunistic Timing: Striking occurs when the opportunity presents itself. Patience and keen observation guide the practitioner.
Awareness: The eyes must see all sides, and the ears must listen in all directions. A karateka remains attuned to their surroundings. (3)
In 1957 Edmond Parker wrote these words which became the creed for practitioners of Kosho Ryu Kenpo Karate, “I come to you with only Karate, empty hands, I have no weapons, but should I be forced to defend myself, my principles or my honor, should it be a matter of life or death, of right or wrong, then here are my weapons, Karate, my empty hands.” These words speak to the right and the inherent dignity of self-defense but the desire for peace and non-violence.
In the world of karate and beyond, these principles, codes, and creeds serve as compass points, guiding practitioners toward self-mastery, self-improvement, and the pursuit of excellence in all aspects of life. Whether practicing Shotokan, Goju-Ryu, Wado-Ryu, Kosho Ryu Kenpo, or any other style of martial art, the underlying principles remain universal as a testament to the enduring moral and spiritual legacy of traditional karate.
The religion and philosophy of Taoism, with its emphasis on harmony, balance, and natural flow, has profoundly shaped the ethos of Chinese martial arts. Rooted in ancient wisdom, Taoist principles permeate every aspect of martial practice, from physical techniques to the inner cultivation of character.
At the heart of Taoism lies the concept of wu wei. often translated as “effortless action” or “non-action.” This principle encourages movement through life with the rhythm of harmony avoiding unnecessary force and aggression. Taoist’s draw inspiration from nature, imitating the grace of animals and the fluidity of water. Just as a river adapts to its course, martial artists learn to adapt to their opponents, yielding when necessary and redirecting force rather than opposing it directly.
Moreover, Taoism emphasizes inner alchemy or the transformation of one’s own energy known as chi through meditation, breath control, and fluid movement. Martial artists seek not only physical prowess but also spiritual growth. The Taoist philosopher and sage Lao Tzu taught that true strength arises from inner stillness and alignment with the Tao (the Way). Thus, martial training becomes a path toward self-mastery, where the body becomes a vessel for the expression of universal energy in harmony with the world around us.
In the famous Shaolin Temple, where martial arts and Buddhism intersect, Taoist principles blend seamlessly with Buddhist compassion and mindfulness. The legendary Bodhidharma (Tamo) introduced meditation practices that harmonized mind and body, emphasizing the interconnectedness of all things. Shaolin monks, practicing both martial arts and meditation, embody the fusion of Taoist and Buddhist wisdom. (4)
Taoism’s influence on Chinese martial arts extends beyond physical techniques, it shapes the practitioner’s mindset, ethics, and approach to life. Whether in the fluid movements of Tai Chi, the explosive power of Kung Fu, or the quiet contemplation of Chi Kung, Taoism’s legacy endures, reminding us that true mastery lies not in domination but in alignment with the natural order.
While not a philosophy or a religion the Chinese concepts of Chi and Yin and Yang also provide guidance and a moral compass for the student of martial arts, the Way, or the Straight Path. Chi represents the vital life force that exists both within and outside the body. Traditional Chinese Medicine (TCM) views sickness, whether physical, mental/emotional, or spiritual as stemming from an imbalance in this life force energy and encourages moderation and balance in our habits, choices, and activities of daily life.
In the ancient wisdom of TCM, the concept of chi weaves through the fabric of health and well-being. Imagine chi as the vital life force, an invisible current that flows within and around us, animating our existence. TCM views health as a delicate balance of opposing forces: yin and yang, hot and cold, internal and external. At the heart of this intricate dance lies chi, the bridge between the tangible and the intangible.
Mountain Gate to the Shaolin Monastery built in 1735.
In Chinese medicine chi is more than a philosophical abstraction; it’s the pulse of existence. It courses through meridians, energy pathways, connecting organs, tissues, and emotions. When chi flows harmoniously, health prevails; when it stagnates or becomes chaotic, illness emerges. Picture a serene river: its gentle flow nourishes the land, sustains life, and carves its path. Similarly, balanced chi ensures vitality, resilience, and adaptability. Aging may be defined as a gradual loss of chi, the energy of life and vitality, and the body’s ability to restore it. This energy, the spark of life, is contained within every cell of the body and enlivens every function of human physiology. It is both the definition and the vital force of life. Some personal habits and behaviors are associated with promoting this life force and others are harmful and detrimental to it and result in its loss and destruction which is identical to disease and death.
Unhealthy habits can significantly disrupt the flow of chi in the human body, ultimately contributing to sickness and disease. Factors such as poor diet, a lack of exercise, chronic stress, and negative emotions can create blockages or imbalances in the body's energy channels, impeding the function of cells and organs. Over time, these disruptions weaken the body's natural defenses and compromise its ability to maintain optimal health. Additionally, unhealthy habits like excessive alcohol consumption, smoking, and substance abuse can further deplete our defensive and restorative healing energy, leaving the body vulnerable to a myriad of diseases. By recognizing the profound connection between lifestyle choices and energy balance, individuals can take proactive steps to break free from destructive patterns, restore harmony within their bodies, and safeguard their overall health and wellbeing.
Many are those that start on the path to a healthy well-balanced life, but few are those capable of staying on the straight path.
Many Are Called, Few Are Chosen
The phrase “Many are called, but few are chosen” originates from the Parable of the Wedding Feast in the Gospel of Matthew. In this parable Jesus tells the story of a king who prepares a grand wedding feast for his son. He sends out invitations to many guests, but they decline, preoccupied with their own affairs. Undeterred, the king sends his servants to invite anyone they find, both good and bad, to fill the wedding hall. However, when the king enters the feast, he notices a man without a proper wedding garment. The man is speechless and is cast out into darkness. (5)
This parable is often used to explain how it is that many people will start along a path only to deviate from it at some point in their lives. Traditionally, training in the martial arts is a difficult, tortuous, demanding, and difficult path to follow. Martial art training requires consistent dedication to practice and extreme discipline.
There are no shortcuts or easy paths to mastery. The discipline required to achieve mastery in a martial art is born of mind, body and spirit and requires balance and harmony of all three aspects. Overemphasize one aspect and the others will suffer. Over training or wrong training in the physical dimension can result in physical injury and mental stress. Ignore spiritual growth and physical needs and addictions result in mental illness and selfdestruction.
I have an adage that I teach my students, “The addictions that you do not overcome by the fourth decade of your life will result in your destruction and death.” This means that the unhealthy behaviors or substances you are addicted to whether sex, greed, drugs, food, or alcohol, will cause harm to your body, mind, and spirit, they will accelerate the aging process, and lead to an untimely death. Prior to that death you will experience the gradual and progressive loss of your physical and mental abilities. If you look at the people around you and their lives you will readily perceive that this is true.
Aging is not a disease. It is well established that aging is a natural process that unfolds over time. However, the rate at which we age can be influenced by our lifestyle choices and habits. While we cannot halt the passage of time, we can certainly slow down or accelerate the aging process through our actions. Healthy habits such as regular exercise, balanced nutrition, adequate sleep, stress management, and maintaining social connections have been shown to promote vitality and prolong our active life span. Conversely, engaging in unhealthy behaviors such as smoking, excessive alcohol consumption, poor diet, a sedentary lifestyle, and being subjected to chronic stress can accelerate the aging process and increase the risk of age-related diseases.
The phrase "Life is wasted on the young" is often attributed to George Bernard Shaw, the Irish playwright and critic. (6) However, the exact origin of the quote is somewhat uncertain, as similar sentiments have been expressed by various individuals throughout history. Regardless of its origin, the phrase generally conveys the idea that young people often fail to fully appreciate or take advantage of the opportunities and experiences that life offers, only realizing their value later in life. However, what is far worse than wasting our early years is failing to develop the physical, mental, and spiritual attributes that we need for our later years. The strength, discipline, and wisdom we need to chart our course through the years of loss, separation, and to prepare for death. The very skills that we learned through the martial arts, the moral creed, the physical discipline, the ability to accept loss and pain, these are the attributes we need to endure our later years with courage and dignity. Age does necessarily bestow wisdom and knowledge, but what it does provide is time. The time to acquire wisdom and knowledge if you work for it.
The holistic mind, body, and spirit nature of the martial arts provides a profound lifelong path to selfimprovement throughout all the decades of life. Beyond mere physical techniques, martial arts disciplines such as karate, judo, taekwondo, and kung fu emphasize a deeper connection to one's inner self and the world around them. Through dedicated practice, practitioners cultivate mental focus, discipline, and emotional resilience, honing their bodies into instruments of strength and agility. Yet, the true essence of martial arts lies in the unity of mind, body, and spirit, fostering a profound sense of harmony and balance within oneself. By embracing the principles of respect, humility, and perseverance, martial artists embark on a journey of self-discovery and personal growth, transcending physical prowess to attain mastery over their own thoughts, emotions, and actions. In this way, the martial arts serve as a timeless path towards holistic well-being and lifelong self-mastery.
In Islamic tradition, there is a hadith (sayings attributed to the Prophet Muhammad) that states, “The most sagacious one from among you is he who remembers death the most, and the most prudent one from among you is he who is the most prepared for it.” (7) It is a wise man that lives fully today but prepares for death. As Miyamoto Musashi stated, “To win any battle, you must fight as if you are already dead”. (8) To win the battle of life you must live by preparing for death. Keep kicking until you “kick the bucket”!
One Door Closes, Another Door Opens
In my Tai Chi Chuan classes I teach that each posture and movement is a door leading to another door, leading to an endless series of doors and possibilities. The concept of the endless, eternal nature of life and existence has captivated human minds for centuries, transcending cultural and religious boundaries. From ancient philosophical inquiries to modern scientific explorations, humanity has grappled with questions surrounding the origins of existence. While interpretations may vary, many spiritual traditions and philosophical perspectives posit the
notion of an eternal essence or consciousness that transcends individual lifetimes. Whether conceived as the soul, the cosmic energy, or the interconnected web of existence, the idea of eternity suggests a boundless continuity beyond the constraints of time and space. Moreover, recent scientific discoveries in fields such as quantum mechanics and cosmology have challenged traditional notions of linear time and offered tantalizing glimpses into the potential infinity of the cosmos. In embracing the notion of endless existence, individuals are invited to contemplate their place within the vast tapestry of life, finding solace and meaning in the timeless rhythms of the universe.
Through the vehicle of the martial arts and over the course of our lifetime, from our earliest years, throughout our prime, and eventually into our later and final years we can continue to dance to the music of the spheres in all its mastery and grandeur. This is the beauty and the gift of martial arts. It is the cup into which we pour our heart and soul and eventually drain to the dregs.
The concept of "dying before you die" is deeply rooted in spiritual and philosophical traditions, inviting individuals to confront their mortality and transcend the fear of death while still living. (9) It entails a profound inner transformation, a shedding of attachments, illusions, and ego identifications that bind us to a limited sense of self. In essence, it is a metaphorical death, a letting go of the old self to awaken to a higher state of consciousness or being.
By facing the impermanence of life and embracing the transience of all things, individuals can experience a profound shift in perspective, finding freedom, peace, and liberation from the anxieties and desires that often plague the human condition. Dying before you die is not about physical death but rather about dying to the illusions of separateness, ego-driven desires, and the illusion of permanence, leading to a deeper sense of connection, presence, and authenticity in one's life. It is a journey of self-discovery and spiritual awakening, inviting individuals to live fully in the present moment, unburdened by the fear of death, and embracing the precious gift of life with gratitude and reverence.
References:
1. Buddha. (n.d.). Upajjhatthana Sutta: Subjects for Contemplation (AN 5.57). In Access to Insight (Ed.), Access to Insight: Readings in Theravada Buddhism. Source: https://www.accesstoinsight.org/tipitaka/an/ an05/an05.057.than.html
2. "Death as a Messenger of Joy." (n.d.). Bahá’u’lláh, in The Bahá’í Faith. Retrieved from https:// www.bahai.org/bahaullah/
3. Shimabuku, T. (n.d.). The Isshin-Ryu Creed [Karate Creed]. Retrieved from https://www.usadojo.com/thestory-of-tatsuo-shimabuku-and-the-isshin-ryu-system/
4. Hua, V. (2003). The Chan Handbook: Talks About Meditation. Buddhist Text Translation Society.
5. Boring, M. E. (2006). Matthew: A Commentary. Westminster John Knox Press.
6. Holroyd, M. (1997). Bernard Shaw: The One-Volume Definitive Edition. Random House.
7. Hadith - Bukhari 6407, Book 81, Hadith 35
8. Musashi, M. (2002). The Book of Five Rings: A Classic Text on the Japanese Way of the Sword. Shambhala Publications.
9. Kornfield, J. (1993). A Path with Heart: A Guide Through the Perils and Promises of Spiritual Life. Bantam Books.
About the Author
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.
Since the early 1960’s 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.
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
In Part 2 we continue with the next set of classical applications found in Yan Dehua’s manual. Once again, I will repeat a component of the previous Introduction and leave this here as a point of reference below.
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.
Application
3: White Ape Moves Branches [To Build His Nest] [Bái yuán bān zhi]
This application’s primary function is to teach the student how to ‘split’ their own energy. It is important that the student not only understands how to split the energy of the opponent, but also has the skill to split themselves.
1. I attack my partner with a straight right [Photos A].
2. He blocks with his right No.4 palm, rolls and grabs my wrist, [Photos B/C].
3. With his left hand he controls my elbow either from above [Photo D] or it can be grabbed, and pulls me towards his right in a Lu type motion.
4. I instantly fold my right elbow and wrist and turn my right foot out — splitting the energy between the two points and prevent my arm from being broken [Photo E]. In Yan’s method, you are simply told to thrust the hand downward, giving us a typical Bagua escape, the splitting component is not shown nor explained.
5. I step across his body with my left foot as my left arm hooks under both his arms, and my right hand shifts to the top, [Photos F/G — see next page]
6. As I swing my right foot around, I ‘steal’ his space as both his arms [elbows] are trapped over my left shoulder, [Photo H]. In Yan’s method, a single arm is trapped. If the opponent is carrying out Lu correctly, and you split correctly, then both arms become trapped!
7. I drop my weight downwards whilst thrusting backwards into his pelvis, using the power of my core — thus breaking his arms and throwing him over my head and onto his head, into the ground, [Photos H—L].
8. Please note that in Photo H, I begin to bend my knees to indicate the weight drop. After this point, in order to ensure the safety of my training partner, Krish, I straighten my legs so that my back bears his weight as opposed to his arms, which would otherwise break instantaneously. Photos I-K intimate throwing him on his head — again, at the last minute, I control his arms and roll him sideways to prevent any injury [Photo L].
Application 4: Close In Fighting By Jamming His Movements/Bind The Body Completely
This method teaches us how to ‘bind up’ or jam our opponents body completely. It trains the student in understanding whole body movement in close quarter combat. The ‘technique’ may appear exotic, yet it is training the body in a very specific way, teaching us how to maneuver, control and rob [or steal] the ground from beneath them.
Your partner throws a straight right [Photo A — see previous page].
You strike up with a glancing right No.1 palm, against the flow of energy the o outside of his palm [Photo B].
Turn your right foot out as your right hand rolls and violently tugs [lu] on his ‘pulling points’ at elbow thus shifting his centre and weight
You shift your weight forward onto your right leg as your left elbow loads and smashes down on their elbow at point Colon 12 [Co12] — thus causing it to collapse, whilst your left foot stamps down, [Photos D/
You hook his arm under your elbow tightly, pulling him in close [Photo F], as your right hand slides down towards his right wrist. Your right forearm snakes under his right arm and around his body, as your left leg steps through behind his right leg, and your left palm grabs his left kidney, [Photos G/H/I/J].
Your right hand releases his wrist, as you control his body and its movement with your left arm, leg and palm, pulling him tight into your body [akin to a boa constricting], [Photo K].
8.As your core violently twists to your left, your right palm smashes into his face [or groin] as you throw him over your left leg onto the ground, [Photos L/M].
It is imperative that the student understands that the above images are for illustrative purposes only. The fluidity of the movement, including the violence of the fa-jing release cannot be shown or ascertained from the static images. Further, once again, as in the previous example, the throw has been controlled to ensure the safety of my trains partner.
We will continue with the next two applications in Lift Hands, Volume 31.
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The Sea of the Sleeping Souls
Dr Gregory T. Lawton
The sea of the sleeping souls is restless tonight Its waves are churning and its currents are surging Under the light of the moon its tides are rising It's eddies and currents are filled with the scent Of cinnamon and clove, and gardenia and jasmine.
Carried on the wind are the plaintive cries of the flute A weeping sound that stirs the breasts
This is a gypsy song of longing played on the strings of the hearts It's notes and tones, melody and harmony tell the story Of star-crossed lovers, and of yearning and fervent desire.
In the sea of the sleeping souls spirit is quickening It's lightning’s are flashing and thundering’s vibrate the air Under the vault of the stars the clouds are burning Their vapors rise to the heaven Of light and glory, and majesty and awe.
Spirit has dawned upon the sea of the sleeping souls Stirring into motion the ebb and flow of eternal existence Awakening the human intellect and bringing beauty to the earth, Which draws its breath and life from the ornament of man And woman, saints, and holy spirits of grace.
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 Words
When are you planning on a 20 Questions with Dr. Lawton, Nasser?
A question which I was asked a few months back. “What do you mean?” I replied. “We’ve already done it!”
“Erm, no you haven’t!”
I hurriedly scouted through every issue of Lift Hands and indeed, there were no 20 Questions with Greg Lawton.
How on earth did that happen?
The answer is actually relatively simple.
Dr. Gregory T. Lawton, [or Greg as I now have the privilege of calling him] has been a major figure in both the content and development of Lift Hands. So much so, that, I do not have any recollection of him not having contributed in any issue of the magazine either as a healer, a fighter, a teacher or a poet, and above all — in my personal view — an exemplary representation of the human sprit, and a dear friend. Further, within all of his articles, he constantly refers to his own experiences and history, and it is this familiarity with much of his history, which has already appeared in Lift Hands, which made me think that we had already covered the 20 Questions.
I instantly fired an email to Greg to rectify this and here we are.
Before we proceed, let me mention in passing how I met this wonderful spirit, whom I consider one of my dearest friends and a guide. A man who not only leads by example, but also embodies the true spirit of the warriors of old.
I was introduced to Greg by Erle, himself, way back in 2008 — June to be precise!
Greg had been in correspondence with Erle for several years — both being students of Yang Shao-hou’s lineage through different teachers. In June 2008, after Greg had contacted Erle — Erle shared some of the content with myself, as he would often do especially where historical matters were concerned, knowing of my interest in them.
It was around this time that I had started to work on the initial draft of what would become, ‘Whose Line Is It Anyway?’
I contacted Erle and asked if he would mind introducing me to Greg. I was both excited and intrigued by the prospect of having the option of picking the brain of another student from a different tributary of the Yang Shao-hou line. Erle didn’t hesitate and sent an introductory email to Greg. By the time Erle got back to me, to say that he had written to Greg — I had already been contacted by Greg.
Whilst Greg and I have never met physically, I genuinely feel like I have known him my whole life. There are, I believe, only a handful of specific souls who can make you feel that way. Over the past 16 years or so, I have learned much from him — from his writings on both the martial and healing, his poetry and his humanity. Further, Greg has always been there, ready to help at a moment’s notice. During the writing of ‘Whose Line Is it Anyway?’ — his was the guiding hand which would lead me to another path whenever I hit a dead end. Further, post Erle’s death, as my sojourn with the WTBA came to an end, again, it was Greg’s encouragement [amongst others] which helped me navigate through that period and continue on the path which Erle had set me upon.
I see in Greg the spirit of the Sufi — a whirling dervish, so to speak, moving from his centre dissipating his boundless energy in all directions for anyone who may be in need. I am reminded of the words of Rumi:
“Set your life on fire. Seek those who fan your flames.”
I hope, Inshallah, one day we will meet on this plain, and if we don’t… there are other plains beyond the veil.
Part 1
LH: Please give us a brief introduction about yourself.
GL: This is the most difficult question that I am ever asked, and I had to leave it for last. It is the equivalent of going to a party full of strangers and being asked. “What do you do for a living?”. Let me see, what hat should I wear today, and what mask have I put on? The simplest answer and the most truthful is I am a Baha’i and being a Baha’i is the motivation, reason, and cause for everything I do as a citizen dedicated to promoting peace, as a physician ministering to my patients and praying for their health and wellbeing, and as a teacher hoping to be a mentor, guide, and catalyst for change and growth for my students. I am defined by my work and service to others.
LH: How did you begin your journey into the martial arts?
GL: My journey into the world of the fighting arts began with boxing and wrestling as I was growing up in the 1950s. It was a unique and unforgettable experience filled with family bonding and an early passion for the sport of boxing. The 1950s era was a golden age for boxing, with legendary fighters like Rocky Marciano dominating the ring, and these moments were immortalized on the flickering screen of our small black and white television. Some of my fondest memories are of the family gatherings where we all came together to watch boxing and wrestling. Our black and white TV was the centerpiece of these gatherings. My father, grandfather, aunts, and uncles would be present, creating a lively atmosphere filled with excitement.
As a child, I would lie on the floor, wrapped in a cozy blanket, munching on popcorn. The living room would be filled with the sounds of cheering, gasps, and the occasional groan of disappointment as we watched our favorite fighters duke it out in the ring. My relatives would drink beer and sip on whiskey Highballs, their animated conversations and laughter adding to the vibrant energy of the room.
The early 1950s were a golden era for boxing, and fighters like Rocky Marciano became household names. Marciano, known for his relentless fighting style and powerful punches, was a source of inspiration for many. His historic fights, such as his epic battles with Jersey Joe Walcott and Ezzard Charles, were events that brought the family together. We would all be glued to the screen, captivated by the drama and intensity of each match. Other notable boxers of the era included Sugar Ray Robinson, considered one of the greatest pound-for-pound fighters in history, and Archie Moore, known for his remarkable longevity and power in the ring Joe Louis, although past his prime, was still a revered figure whose legacy influenced many.
Boxing was more than just a sport we watched; it was a family legacy. My father was a Golden Gloves boxer and he had also boxed during his military service in the Army Air Corps. He was my first boxing coach, teaching me the techniques and moves that he had learned in the ring.
Under my father's guidance, I learned the intricacies of boxing and wrestling. He gave me a pair of 1800s era leather boxing gloves, their worn texture and distinct smell a reminder of the sport's rich history. He taught me how to throw a punch, how to block, and how to move with agility and precision. We also practiced wrestling moves, adding another layer to my understanding of physical combat. These training sessions were more than just physical exercises; they were lessons in discipline, perseverance, and respect. My father's teachings instilled in me a deep appreciation for the sport and a sense of pride in carrying on the family tradition.
Wrestling was another staple of our viewing experience. The 1950s saw the rise of many wrestling legends. Gorgeous George, with his flamboyant persona and theatrical antics, was a particular favorite. His matches were as much about entertainment as they were about skill, and he captivated audiences with his charisma.
Lou Thesz, a technically proficient wrestler, was another icon of the era. Known for his scientific approach to wrestling and his numerous championship reigns, Thesz was a master of the sport. Buddy Rogers, with his brash personality and athletic prowess, also left a significant mark on the wrestling world.
LH: What attracted you to the internal arts?
GL: My journey into the martial arts and eventually the internal martial arts was a slow gradual process that unfolded over many years, and which largely paralleled my spiritual transformation from an intense, angry, and somewhat violent young man into a more balanced, calmer, and centered personality focused on learning and service. But to fully explain this transition I have to talk about a singular catalyst that brought about this transformation.
In the mid-20th century, the United States Army conducted a series of human chemical warfare experiments at Edgewood Arsenal, a US Army facility located in Maryland. These experiments, spanning from the 1950s to the 1970s, aimed to test the effects of various chemical agents on human subjects. Participation in these tests often involved exposure to potentially hazardous substances.
High School Wrestling 1961 — I won the match in 38 seconds and found out later that I had accidentally broke my opponent’s arm.
The Edgewood Arsenal experiments were part of a broader initiative by the U.S. military to understand and develop chemical warfare capabilities. During the Cold War era, the US military was assessing the effectiveness and potential uses of chemical agents, both for offensive and defensive purposes. The primary objectives were to evaluate the physiological and psychological impacts of these agents on humans, develop protective measures, and refine the use of such chemicals in warfare.
Participants in the Edgewood Arsenal experiments were subjected to a variety of chemical agents. These included nerve agents like sarin and VX, psychoactive compounds such as LSD and BZ, and riot control agents like tear gas. In May 1966, at the age of 18, I was one of the participants in several of these experiments and as a result I had a near-death experience (NDE). A near-death experience is an event that occurs when a person is close to death, is determined to be clinically dead, or in a situation of extreme physical or emotional danger. These experiences often involve a range of phenomena that transcend the ordinary perception of reality, leaving a lasting impact on those who undergo them. This certainly was my experience.
Jacob's Ladder is a psychological horror film released in 1990 and it is a cinematic exploration of near-death experiences. The movie presents a haunting and surreal portrayal of a near-death experience through the lens of its protagonist, Jacob Singer, played by Tim Robbins. The film delves into themes of reality, consciousness, and the afterlife, providing a disturbing yet thought-provoking depiction of the NDE phenomenon. One of the film’s critical underpinnings is its connection to the controversial human chemical warfare experiments conducted at Edgewood Arsenal. These elements blend to create a disturbing yet thought-provoking portrayal of a near-death experience (NDE) and the psychological aftermath of wartime trauma.
Common characteristics of an NDE include:
1. An Out-of-Body Experience (OBE)
2. Traveling through a tunnel of light
3. Encountering beings from another reality
4. Feelings of peace, love. and joy
5. Spiritual transformation
While different NDE survivors report varying experiences including a life review and a reluctance to return to their body and this reality, the list above outlines my personal NDE experience.
Jacob’s Ladder 1990, Movie Poster amazon.com
This is the condensed version of my story, and the takeaway is that I returned with a singular purpose to learn and to serve humanity. This, therefore, spiritually energized my pursuit of knowledge in the martial arts and the healing arts.
LH: How do you see martial arts today compared to when you started your journey? Are they different and if so how?
GL: The more martial arts change, the more they stay the same. Reflecting on my journey in martial arts, starting back in the 1950s and 1960s, evokes a profound sense of nostalgia and a recognition of the evolution both in the discipline itself and in my own perception of it. When I began, martial arts were deeply rooted in tradition, mystique, and a sense of honor that permeated every aspect of training. It was less about sport and more about the art—the cultivation of character, the pursuit of balance between mind, body, and spirit. The dojos were sanctuaries of discipline, respect, and silent introspection.
In those early days, martial arts were often seen as a path to self-mastery. The training was rigorous, and the lessons were imparted with an almost sacred reverence for the ancient philosophies that underpinned the movements. Each kata, each form, was a meditation in motion, a way to connect with the warriors of the past and the essence of the human spirit. As Bruce Lee profoundly stated, "Martial arts are ultimately self-knowledge. A punch or a kick is not to knock out the opponent, but to knock out your ego, your fear, or your hang-ups."
Fast forward to today, and the landscape of martial arts has transformed dramatically. It has become more commercialized, with an emphasis on competitive success, belts, and trophies. The rise of mixed martial arts (MMA) has introduced a new dynamic, blending styles and emphasizing physical prowess and tactical versatility. While this has brought greater visibility and respect to martial arts as a legitimate form of combat and sport, it has also shifted the focus away from the internal, philosophical aspects that once defined it.
Yet, despite these changes, the core essence of martial arts remains intact for those who seek it. The principles of discipline, respect, humility, and continuous self-improvement still resonate with practitioners who look beyond the surface. To paraphrase the legendary swordsman Miyamoto Musashi, "The ultimate aim of martial arts is not having to use them." This reflects the deeper journey of martial arts to cultivate inner peace and strength.
For me, martial arts today are a reminder of the timeless journey of self-discovery and personal growth. It has adapted to modern times, yet it still offers the same potential for profound transformation that it did decades ago. It teaches us to adapt, to evolve, and to remain steadfast in our pursuit of inner peace and harmony, no matter how the world around us may change.
Ultimately, martial arts are a mirror reflecting the journey of life itself— ever-changing yet deeply rooted in timeless truths. It teaches us to adapt, to evolve, and to remain steadfast in our pursuit of inner peace and harmony, no matter how the world around us may change. As Lao Tzu wisely said, "Knowing others is intelligence; knowing yourself is true wisdom. Mastering others is strength; mastering yourself is true power." This encapsulates the enduring spirit of martial arts, a lifelong journey of mastering oneself in the pursuit of a harmonious and enlightened existence.
1965, Fort Knox, Kentucky, PVT First Class
Training in a swamp!
LH: If you could go back and change anything, would you or would your journey still be the same?
GL: While I have many regrets and have made many mistakes in my life - the only thing I would change is any harm, hurt, or pain I have caused to another person. That I would change.
LH: Any person who you would have liked to have trained with who's not around anymore?
GL: My younger self! Despite the gift and blessing of training with many remarkable men and women in various disciplines, I learned long ago the truth of knowing oneself and that our own soul is the gateway to all knowledge. "Don't be satisfied with stories, how things have gone with others. Unfold your own myth." Rumi
Left to right: Teri Steger, Tai Chi Chuan Black Sash trained at the Blue Heron Academy of Healing Arts and Sciences Grandmaster Y. W. Chang one of Chen Pan Ling’s direct students and a close friend of Chen Pan-Ling Dr. Gregory T. Lawton, student of Professor Huo Chi-Kwang student of Yang Shao Hou
Ann Carruthers, translator of Chen Pan Ling’s Original Tai Chi Chuan Textbook
Dr. John Ruberto, student of Dr. Gregory T. Lawton at the Blue Heron Academy of Healing Arts and Sciences
Mark Buckowing, student of Dr. Gregory T. Lawton at the Blue Heron Academy of Healing Arts and Sciences.
Photograph taken at the United States International Kuo Shu Tournament of the United States Kuo Shu Federation, which was founded in 1988 by Grandmaster Huang, Chien Liang along with other martial arts masters in the United States.
LH: Any tips or advice for people around the world who are just starting their journey?
GL: Be patient, be steadfast, never quit. Be Patient - as the ancient Greek philosopher Epictetus said, "No great thing is created suddenly." Be Steadfast - Stoic philosopher Seneca stated, "It does not matter how slowly you go, as long as you do not stop." Never Quit - "Success is not final, failure is not fatal: It is the courage to continue that counts." Anonymous
And in the words of Abdul-Baha, son of the prophet-founder of the Baha’i Faith, Baha’u’llah, "As ye have faith so shall your powers and blessings be. This is the balance—this is the balance—this is the balance"
Part 2
LH: If you could have personally witnessed anything, what would it be? [This can be anything from past or even possibly the future]
GL: Peace! The fulfilment of the evolution of humanity into the age of maturity and peace. Peace has been the ultimate goal of the past, the vision of the prophets, and the promise of the Creator. The past is only theater and old movies. Eventually it is dust, and it is not worthy of our time or attention.
LH: What would you do if you were invisible for a day?
GL: I would try to find a cure for invisibility! What a terrible affliction, invisibility! As Ralph Ellison wrote in his novel the Invisible Man, "I am invisible, understand, simply because people refuse to see me."
LH: As a child, what did you wish you'd become when you grew up?
GL: Perhaps I can answer this question by sharing what I did not want to be and for which I prayed to God I would never be, “Someone who took a human life”. One of the first prayers that I remember saying as a child is, “Please God don’t make me go to war, and never let me kill or harm anyone.” I made it difficult for God to answer this prayer when in 1965, during the Vietnam era, I enlisted in the US Army. However, God found a way as I recounted in my answer to Question Number 3 and related in describing my Near-Death Experience (NDE).
LH: What animal best represents you and why?
GL: I have three animals that have been my constant companions and guides in life. First there are the Blue Heron’s that fly above me or land beside while I practice Tai Chi Chuan, then there are the Deer who watch me and circle around me as I train in the woods and fields, and finally the Mountain Lions who have walked up to me in the fields, the deserts, and canyons of the great Southwest of United States. Every visit has been a blessing and a portal to great insight and encouragement.
LH: What is your greatest strength and weakness?
GL: My ability to be alone. It is my greatest strength because it is through aloneness that I find my greatest insights and creativity. It is my greatest weakness because it pulls me away from my mission of service to humanity. My ability to be alone and work alone for long periods of time is a strength and weakness that I must consciously attempt to balance.
LH: What is your favorite memory of any one of your grandparents?
GL: Both my father and my grandfather Clarence Lawton were professional race car drivers. My Grandfather Clarence came in 4th in the Pikes Peak Hill Climb, Race to the Clouds in 1924. My favorite memory is of my Grandfather Clarence in his 1962 Pontiac Impala SS screaming through turns at high speed, teaching me how to race and to enter turns and to accelerate out of them. The real lesson was about fear, and how to manage fear in stress and during high-risk pursuits.
LH: How do you want to be remembered?
GL: As a Baha’i who attempted to bring a new message of peace to humanity.
LH: Do you know your family heritage?
GL: Of course. At least as far back as the generation which left Great Britain for religious freedom and a new way of life in a land called America. My family, my 11th great uncle and 11th great grandfather arrived in America on the first and second voyages of the Mayflower in 1620 and 1621 respectively.
My 11th great uncle established one of the first schools in America and was arrested and fined for “harboring a Quaker”. My family heritage has been in education, in promoting religious freedom, and in generations of military service though every war this nation has fought.
LH: Are you still learning who you are?
GL: Each moment is an exploration and discovery. The message that I came to understand because of my near-death experience is that life is about learning and all that you take with you when you leave here is what you have learned, the good, and the love you have become. Darkness cannot be taken into light, it is light that overcomes darkness. As Rumi aptly wrote, "The wound is the place where the Light enters you."
LH: What, if anything, are you afraid of and why?
by
Photo
Abass Ali
GL: Being less than I could have been, doing less good than I could have done. Any other fear is trivial compared to this. The Nobel laureate poet Rabindranath Tagore wrote poignantly about missed opportunities to do good in his poem "The Gift" where he wrote, "I slept and dreamed that life was joy. I awoke and saw that life was service. I acted and behold, service was joy.”
LH: What is the most memorable class you've ever taken? This could be either as a student or a teacher.
GL: My greatest lessons have come not from teachers in a dojo but rather from nature. My friend Erle Montaigue (who I greatly miss) once described my style of martial art or approach to the martial arts as “natural” and called it “a natural school” because of my propensity to train in nature. Therefore, my Greatest teacher was a Great Blue Heron, and that Heron taught me the most profound lesson that I ever learned about Tai Chi Ch’uan and the internal martial arts. That lesson was that Tai Chi Ch’uan is not 24 movements, 36 movements, 60 movements, or even 108 movements but rather 1 single movement experienced in the Now. From beginning to end of the Tai Chi Ch’uan form there is only one continuous flow of movement experienced by the mind, body, and soul. When you learn this, you have truly become a student of the internal arts.
LH: Which book has influenced you the most?
GL: For a very long time I avoided reading books written by other men or women. I wanted to find my own way to truth and reality. I did not want the words of others to influence that journey. I made two exceptions — the books and words of Baha’u’llah and those of Jalāl ad-Dīn Muhammad Rūmī
So, this is going to sound terrible, egoistical, but I wrote the book that has influenced me the most and it is entitled, “Scent of a Forgotten Flower”. I wrote this book as a gift for my martial art and healing art students and of hundreds of books I have written, it is the only one I value and constantly refer to as a reminder to stay steadfastly on the straight path.
The thoughts and words of Scent of a Forgotten Flower came into my soul while I was practicing Tai Chi Ch’uan in nature. In the woods, the fields, the mountains, the canyons, and along the ocean among the waves. During the Spring, the Summer, the Fall and the Winter, in sunshine, rain, wind, and snow the words flowed like the form and movements of Tai Chi Ch’uan.
LH: What ridiculous thing has someone ever tricked you into believing or making you do something?
GL: Well, that would have to be night hunting with a gunny sack for Snipe as a child. Although, I must admit that I had deep suspicions that my uncle Bill and my father were less than truthful regarding the elusive Snipe and its nocturnal habits.
Black Sash Graduating Class Yang Shou-hou Form 2012
LH: Who or what has been the greatest influence in your life?
GL: I have been very blessed to have had several remarkable human beings as mentors in my life. Most of them you have probably never heard of because they sought no fame or recognition for their achievements. Joan Laird was a remarkable yoga instructor when it took decades to master the art. Dr. James F. Schleichert, DN (Naprapath) was a gifted physician and veteran of the Korean War. Baha’i Hand of the Cause of God, Zikrullah Khadem. He was appointed to this position by Shoghi Effendi in 1952 and was known for his extensive travels and service to the Bahá'í Faith. It was Mr. Khadem that put me on the path to study and to practice traditional medicine. And Professor Huo Chi-Kwang a notable figure in Tai Chi Chuan, the internal martial arts, and Chinese calligraphy. He is known for his contributions to the martial arts and Chinese cultural education.
These individuals, each in their own way, are models of human behavior and service to humanity that I attempt to emulate.
LH: What’s the craziest thing any one of your teachers has ever made you do in training?
GL: Or at least tried to make me do? Fight full contact wearing bag gloves. Break paving bricks with the forehead. Jump off a 25-foot-high building and roll out of the fall. Train until you passed out and/or vomited. Go with them to a bar to practice fighting the patrons in the bar. Break into a home to steal back a stolen stereo system. There is unfortunately, more….
LH: Have you ever messed something up and no one found out it was you?
GL: My father had a stuffed Owl standing on a dresser in his bedroom. He claimed that that Owl was wise and all knowing, and that the Owl saw and knew everything that I did as a child. I came to hate that Owl because it was constantly informing my father about the questionable things I may have done as a child. (I am not admitting to anything)
Eventually we moved into a new home and the Owl was placed in a moving box and stored in a shed next to the house. That shed was infested with mice and rats. Somehow (I am still not admitting anything) the Owl was ripped and torn to pieces. And so ended the snitching days of the Owl.
Chen Pan-ling private training session with Grandmaster YW Chang
Photo by Abass Ali
LH: If someone made a movie of your life, would it be a drama, comedy, a rom-com, sci-fi?
GL: Well, the movie has already been made and it is not one of the choices in your question — it is a horror film called Jacob’s Ladder, and it was made in 1990. It is a psychological horror film directed by Adrian Lyne and stars Tim Robbins and Danny Aiello. The film has since become a cult classic for its complex narrative and unsettling atmosphere. The movie recounts the US military’s human chemical warfare experiments at Edgewood Arsenal. I must state, from personal experience, that making the movie a psychological horror film was an apt rendition (although symbolically) of the true facts and activities carried out at Edgewood Arsenal.
LH: If you could select one person from history and ask them one question — Who would the person be? What would the question be?
GL: That one person would be several people, but with the understanding that they are in essence One Spirit emanating from the same Holy Spirit. These personages might be Krishna, Abraham, Moses, Siddhartha Gautama (The Buddha). Jesus Christ, Muhammad, The Bab, and Bahá'u'lláh. And the question would be, “How can I best serve you?”.
LH: What have you always wanted, and did you ever get it?
GL: To be right where I am and who I am today. Considering my answer, the answer is yes, I have it. This quote has been attributed to the poet Ralph Waldo Emerson, “To be yourself in a world that is constantly trying to make you something else is the greatest accomplishment.”
LH: How would you describe your art in ten words or less?
GL: The art of service as a true human being.
LH: I would like to take this opportunity to thank Greg Lawton for taking the timeout of his extremely busy schedule and answer these questions for our readers. The answers are both insightful and inspirational and I would expect nothing less from a soul of this calibre.
The issues of Lift Hands contain many, many articles by Dr. Gregory Lawton, both on the healing and martial aspects, and including his wonderful poetry. I advise our readership to go and read each and every article. In doing so, I believe you will be inspired to become a more complete martial artist and human being.
The Short Form Solution
Some years ago, Master Tuey Staples became concerned that his students were not absorbing his internal energy (chi) teachings. They were unable to transition from physical movement to energetic movement. He tried several solutions, but none seemed to work. He came to realize that traditional Tai Chi forms were a major impediment to learning. Although he felt that all forms were valuable; long, intricate forms complicated understanding of how energy works. The principal problem was that traditional forms mandated so much time to learn their choreography that they didn’t allow students to focus on key fundamentals.
Master Tuey understood that all successful teaching begins with mastering fundamentals. Tai Chi learning begins with understanding body mechanics and energy movement. Accordingly, Tuey's solution was to develop a short TCC form that addressed student's issues with traditional form. It addressed the extensive time commitment necessary for a plethora of moves and transitions. The time commitment alone necessary to perform long forms is a major distraction from critical repetitive drilling on energy application.
Master Tuey understands that the ability to utilize internal energy is critical to the integrity of Tai Chi. It doesn't matter if your goal is health, martial ability, meditation, etc., if you can't integrate internal energy into movement, then you have an external art, not an internal art. Practicing an external art will not give the benefits that one can harvest from an internal art.
Short form benefits
Master Tuey's form is approximately 8–10-minutes long. It is based upon the Chang Man Ching Yang form with considerable input from Yang and Chen Forms and Baguazhang. He used large moves with basic stances and transitions to create time to allow focus on centering, continuous circles and non opposition. Simple moves and transitions enabled students to address a few things rather than many things. A short form allows focus on energy principles as opposed to focusing on the next move. The primary goal was to initially execute each move slowly and softly with a complete chi application. In time, our class was able to transition from physical movement to energetic movement.
Alan Ludmer
Tuey Staples (Rt) testing Alan Ludmer's roll back. Tuey is listening for the correct energy application.
This approach conforms to traditional TCC teaching which taught form in small sections of several moves. Years were spent learning how to perform moves singularly. Once the moves were mastered, they were then linked into a larger form. When students understood internal energy applications they were then introduced to more complex forms.
Basic Features
Master Tuey's form stresses martial applications to understand internal energy. He believes the ability to execute a slow, soft, and effective martial application against opposition is the acid test of energy understanding. You can talk about swimming, but you learn to swim by getting into the water. If you can't make your moves work against slow, focused opposition, then you don't understand your art. Tuey teaches that Tai Chi is boxing for physical and mental health, however learning the martial application is the key to understanding Chi dynamics.
Learning any art is based upon knowledgeable teachers and their ability to effectively communicate. Good Tai Chi teachers use form as a vessel to communicate knowledge. When Master Tuey teaches his form, he focuses on several critical points.
1. Constant centering. Every move begins with centering. All moves are constant centering moves. All moves are centripetal circles coming back to your center, not centrically circles which move away from your center. Centripetal focus makes all moves energetic pulling moves, not physical strength moves. Centering promotes physical and mental clarity and introduces awareness.
2. Empty and full weighting. Our movement stances use the classic 100% weight on one foot, zero weight on the other. Why, because it clearly defines empty steps and helps make successful transitions from one stance to another. Empty steps are critical to eliminate stops and leans which impede chi flow. This weighting promotes increased center awareness which is the basis of energy awareness.
Master Tuey demonstrates the application of torque to easily rotate an opponent.
3. Lead hand focus. If you don't know where you are going, then any road will take you there. With Tai Chi, it is critical to know where you are in any given moment to determine your direction. Practitioners need to always know where your center is, where are your medians, and what leg you are on. Focusing on the lead hand helps determine an appropriate movement circle and with locating both cardinal (N, S, E, W, up and down) and corner (NE, NW, SE, SW) directions. Knowing your direction helps ensure continuous nonoppositional circles, which then facilitates the acceptance and redirection of an opponent's movement. Eventually, this awareness of your location helps one to catch their opponent in a circle as opposed to blocking or batting a move away.
4. Less is more. A short form with fewer moves, simpler transitions, and larger size moves creates more opportunity to constantly center and to visualize circles and direction. Students can evaluate if they are circling around an object and that their circles are always centripetal. Fewer moves and transitions facilitate focus on critical energy fundamentals.
Master Tuey has only two absolutes regarding Tai Chi principals, don't stop and don't oppose. Fewer moves allow students more opportunity to integrate these principles into applications. More time can be spent on understanding context. For example, concentrating on a few basic moves can more clearly demonstrate that power comes from mass in motion. The look determines direction, the energy follows, then the body. The body always moves as a sequential unit.
Alan Ludmer demonstrating mass in motion
Form Evolution
Question. A farmer buys an axe. Over 10 years, he replaced the blade once and the handle twice. Is it the same axe? The point is that Tai Chi forms don't always have to be one way and never another way. The only constant in life is change. Tai Chi evolves or it dies. Tai Chi forms can and should evolve to become better teaching tools. If they adhere to the basic principles of energy movement, they are valid.
Master Tuey teaches that TCC is an art of constant change which is always contextual. He explains context as like having a number of different clubs in your golf bag. Each club is designed for a different situation. Context determines which club is used. It is unfortunate that traditional teaching often fosters inflexibility and rigidity. Many teachers present a move as always, the same regardless of context. This defeats the entire concept of flexibility and awareness. From a health perspective, exact repetition of movement can foster mental and emotional rigidity and create repetitive stress injuries.
Summary
The philosopher Thoreau said that it doesn't matter what you look at, it matters what you see. Shorter simplified forms allow students to see more by focusing on less. Constant repetition provides valuable insight on integrating principles and movement. If more exercise is desired, then the form can be repeated several times. When students are ready, they can be introduced to more complex forms.
The critical learning ingredient is a teacher who understands energy movement and has good communication and teaching skills. Forms are important learning tools, but it all begins with the teacher. Master Tuey's goal was to create a Tai Chi Chuan Rosetta Stone or guide for understanding internal movement. The insights gained from the simple form are easily transferred to more complex forms. The art remains the same regardless of style. Once a student understands the basics, then they have unlimited learning possibilities. However, without the basic understanding of internal energy application, students can't grow.
About the Author
Alan Ludmer is a St. Louis, Missouri Tai Chi Chuan and Baguazhang teacher, author, and student. He has over 50 years of experience in internal and external martial arts. His initial training was in western boxing. He later attained a Ni Dan (2nd Black Belt) rank in Shotokan Karate. In 1969, he began Tai Chi Chuan study with Professor Huo Chi Kwang. Alan was a private student and primarily studied the Yang Family Form with the Professor through 1978. After moving to St. Louis in 1975, Alan began study with Master Tuey Staples. He has been studying Tai Chi Chuan and Baguazhang with Tuey for almost 50 years. He can be reached at alanludmer@gmail.com.
Chen Pan-ling’s [CPL] seminal work, Tai Chi Chuan Chiao Tsai first appeared in the Chinese language in 1963, in Taiwan. Chen was a keen practitioner and historian of Chinese martial arts and had trained under the great masters of T’ai Chi Ch’uan, Hsing-I Ch’uan, Pa Kua Ch’uan (Baguazhang) and Shaolin Ch’uan on mainland China before moving to Taiwan after the Communist takeover:
“I learned hsing-i from two hsien shengs, Li Tsun-i and Liu Tsai-chen; pa kua from two hsien shengs, Tung Lien-chi and Cheng Hai-ting; and tai chi chuan from all the hsien shengs: Wu Chien-chuan, Yang Shao-hou, Chi Tzu-hsiu, and Hsu Yu-sheng. From 1927 to 1928 , I also went to the village of Chen Chia Kou... to research Chen’s tai chi chuan.”
The style of Tai Chi Chuan appearing in the textbook was Chen’s own synthesis of “Chen, Yang, the two Wu’s and other tai chi chuan experts. The book combines these experts’ most elegant postures... I include over forty years of personal study and tai chi chuan experience.” his own admission, states that, “I have not learned all there is to know. I wrote this book in a short time, so there are inevitably many errors.”
It would take Y. W. Chang — Chen Pan-ling’s designated disciple — over 30 years to complete his Master’s request, to translate his [Chen’s] book into the English language, helped by Ann Carruthers for almost 20 years. The book was finally published in 1998, exactly 35 years after the original Chinese language publication in Taiwan.
In their Introduction to Translation, the authors make the following key points amongst others:
“We wish to emphasize: neither Chen nor the translators intend that you learn tai chi chuan by reading this or any other book. You must have a competent teacher. We cannot stress this too much. It’s the minuscule things — the way you only slightly move your hand or tilt your foot — that make tai chi chuan an art and a science. It’s from the demeanour of your teacher that you comprehend tai chi chuan as a way of life and not a mere exercise.”
And...
“Much of the information prior to Chen’s time was unwritten, and students learned by repeating the actions of their teachers... neither teachers nor students had cognitive foundations to explain why they performed their art the way they did. The often relied on philosophical or esoteric explanations jaded by folklore and unfounded by any scientific rationale.”
Also...
“When researchers discuss lineage or practitioners speak of their teachers using only romanised names, one cannot know to whom they refer. Add that to the many myths and legends about the old masters, and it is no wonder that the novice becomes lost and confused.”
The book is worth its value for just the quotes mentioned above alone! However, its primary value of course is in the fact that it was perhaps the first book to visually show an ‘older’ form which differed from the traditionally perceived or accepted form of Yang Cheng-fu as the ‘official’ form of Yang Taijiquan.
There are many detailed images of the form and the intricate footwork involved. Further many essential points are discussed among them the various histories of the origins of Taijiquan, including extensive lineage charts.
As a student and practitioner of Yang Taijiquan — Old Yang in particular — I can across the English translation of this book in 1999. I was curious to see how the form I inherited differed [if any] from that of Grandmaster Chen Pan-ling, since both originated from the line of Yang Shao-hou — the elder brother of Yang Cheng-fu.
Until the publication of the English translation of this book, in the West at least, there was a belief amongst most so-called masters and historians of Taijiquan that there was no such thing as an older Yang style, and that those who espoused it were mere charlatans. Of course, history has shown and proven that the ‘charlatans’ were correct and it were those hiding behind the fig-leaves of lineages who turned out to be less informed despite the overwhelming historical evidence!
Having said that, Chen Pan-ling’s form as exhibited in this book is not truly ‘old’ Yang — there are many similarities at a glance! How so? The answer for the similarities is quite simple — Yang Shao-hou.
Chen Pan-ling makes it quite clear that his form is a synthetic form combining a variety of different styles and focused on health! The posture similarities between the ‘old’ Yang and CPL’s form are easily explained because, for most part, Chen follows the sequence of Yang Shao-hou’s form, albeit with some modified components. He then adds in a mix of the two Wu’s, who also have their origins in the Yang family — thus essentially making it a Yang based form!
However, the 2 forms differ considerably when looked at in detail. To begin with, Chen Pan-ling’s form contains NO fa-jing just as Yang Cheng-fu’s form, whereas the ‘old’ Yang form is full of fa-jing components!
That the ‘old’ Yang contains fa-jing is confirmed by the famous historian Gu Liuxin, who states that the original form included, “… fajin (issuing energy), leaps, stomping of the feet and other moves of comparative difficulty.”
There are no leaping segments such as the ‘Sleeves dance like plumb blossom’ in Chen’s form!
There are far more postures in the ‘Old’ Yang than in Chen’s form. At the small frame H’ao Ch’uan level the differences are even greater!
In the ‘Old’ Yang one must aspire to 5 levels of the form. Chen’s book most certainly does not contain these!
There are far more lower movements like ‘Bend backwards’ in the ‘Old’ Yang which are totally omitted in Chen’s form.
Also, Chen’s book and form do not show the essential opening and closing movements nor the yin yang of the hands and the feet which are evident from the ‘Old’ Yang from the start.
There are also differences in the way key postures such as ‘Fair Lady Works Shuttles’ are performed! The component of the ‘shuttle’ being passed is totally lacking in Chen’s form as it is in all the modified Yang forms!
The ‘Old’ Yang is far more athletic in nature and one has to be already healthy to begin it!
There are no variations or sudden speed changes in Chen’s form, whereas in the ‘old’ Yang the practitioners move “like a great river”!
The ‘old’ Yang, Chen Pan-ling’s form, and Yang Cheng-fu’s long form, all follow a similar order or sequence despite the differences, obviously because all three have their origin in the same root!
Chen Pan-ling’s Original Tai Chi Chuan Textbook is available to buy from Plum Publications and highly recommended as a source of information from a known student of Yang Shao-hou. The book is republished regularly with a limited release. Those interested in purchasing a copy can pre-register their name with Plum Publications and payment. A copy is sent out upon publication.
of. When your skill has progressed to the level of a foot, then you can progress to the level of an inch, then to a tenth of an inch, then to the width of a hair. This is what is meant by the principle of reducing measurements…’
The “deeper teachings” being mentioned here are a reference to how measurements are understood with reference to your own body and the associated training methods, which lead us onto understanding and developing ‘balance’ at the internal or ‘Qi-Level’! When we have this, we have power!
The fad of the Small Frame or Small Circle in Taijiquan has reached mythical proportions. It is not my intention to go into minute details as to the how and why this is wholly misunderstood by most Taiji practitioners, including those practicing the external arts [yes, external arts also have the small circle]! This would require an entire book in its own right if we were to do it proper justice. I will, however, attempt to clarify certain things briefly since these form a critical component of our understanding and developing skills.
Most people practicing small frame simply reduce the size of the large frame movements and do them physically smaller. This is not small frame or small circle Taiji! Having said that, you must progressively go through the various ‘frames’ in order to arrive at the small frame or circle.
The key or ‘secret’ to small circle Taiji is balance — Balance at the qi or internal level! However, the balance we are talking about is not about standing on one leg or anything like that, it is about understanding the role of yin yang — the passive and active within the body and in everything we do. In a nutshell, what we are being told is perfectly described by Newton’s Third Law:
For every action (force) in nature there is an equal and opposite reaction. If object A exerts a force on object B, object B also exerts an equal and opposite force on object A.
In layman’s terms, if you were to fire a bullet from a gun, the gun puts a force [action] on the bullet propelling it forward. Equally, the bullet exerts a force backwards [reaction] onto the gun [recoil].
This is yin yang — not yin and yang! The two co-exist as a part of the same ‘circle,’ not separately or individually. Again, our aim here is not to have an in-depth discussion on Newtonian Laws of Motion — we are simply using the law to explain the Taiji circle — yin yang — where attack and defence exist in the same circle regardless of its size, and in order to produce maximum power, these balanced opposing forces must exist in the said circle! It is the law of nature!
Erle Montaigue in Internal Gung-fu Volume 1 tells us:
… to explain why small frame is so different to what most instructors teach it as, we must look at the difference between the yin of the upper body (mainly the hands and arms) and the lower body, (mainly the legs and feet).
The legs and feet are in opposition to the hands and arms but are equal in power…
Given that the lower part of the body is yang while the upper is yin, these two areas of the body must be opposite. The lower extremities are the most yang, while the upper extremities are the most yin. The waist is the ruler, with no ‘state’ relative to the extremities. As we move further up the leg, we become less yang. As we move further down the arms to the waist we become less yin until at the waist, we have the ‘void’ in just the same was that this occurs in the Universe.
The waist tells the legs and the hands what to do; it directs the action of both yin and yang. The legs are big, using strong muscles, open, with large steps. So the hands must be equal but opposite! The hands must be small, closed, soft, flowing using only the power derived from the waist and not from the muscles. This is the secret to small frame form. The hands are just as small as the feet are large stepping. And in many cases of Taijiquan movement, the hands are so small that only the trained eye is able to pick up the movement. It has become ‘internal’.
But can you fight like this — the way you see folk performing the small circle form? Of course not! You can try and when you awaken from your coma after a severe beating you will have proof definitive that you cannot! This again comes from a misunderstanding of Yang Taiji — specifically Yang Shao-hou’s Taiji. Huang Yuanxiu tells us:
I once asked Yang Chengfu about this, and he told me: “First strive to open up, then strive to close up. In the beginning of the training, it should be the large frame, which can get your sinews and vessels stretched out, boosting the flow of blood and energy. This will put you in a position to then manifest skill. 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.”
Surely, Yang Cheng-fu is saying that we use the small frame for fighting? No, he is not! At least not the way it is being understood. The small frame here is relative to the ‘gross movements’. The circle in combat is dependent upon what the opponent is doing and involves several circles of varying sizes or their part components between ‘heaven’ and ‘earth’ — the upper and lower body — exactly as described by Erle above.
In the photo sequence on the next page, we have isolated and adapted a segment of the Pauchui — The Canon Fist Form to illustrate the point made earlier.
Elliot attacks with a left, I p’eng with my left as my right foot steps up parallel to my left foot [A-C]. I instantly step back on the diagonal performing lu [D]. Elliot responds to my lu by initially going in the direction of the force I am applying and then switching to my centre and attacking with ji [D]. I respond to Elliot’s ji by turning my waist to the left, with my hands still attached to Elliot’s left arm, causing my left leg to swing out in an arc behind me. The movement of the waist makes a big circle with my foot and at the same time it makes my right wrist perform a small half-circle from right to left [E]. This is my arn which defeats Elliot’s ji. As my leg continues its backward arc due to my waist continuing turning left — it makes my right hand [wrist] perform a second small half-circle to the left and backwards [F, G & H]. This is my lu attack which moves Elliot’s centre slightly forwards, making him land on ‘nothing’ and allowing me to counter with ji [I]. My attack and defence exist in the same circle!
It should be obvious from the images that during the initial attack, my response is ‘large’ [A-D]. However, as Elliot counters, my lower half [legs] continue with a large circle [extreme yang], but my wrists respond with the opposite — extreme yin — with two small halfcircles representing arn [E] and lu [F-H] as our bodies move closer together. The legs and feet are in opposition to the hands and arms but are equal in power with the waist acting as the commander! I have internal balance!
Are we right? We’ll let Yang Cheng-fu provide the answer:
When facing an opponent, be it either pushing hands or sparring, and regardless of the technique, in each case there are these things:
– large circles, small circles, and half circles, – the subtleties of passive and active, – emptiness and fullness in the footwork, – the passive and active fishes swimming in the taiji symbol, – the principle of neither pulling away nor crashing in, – and cycling on and on without pause.
The variations are different, but the Taiji theory is the same.23
We have ticked every box on Cheng-fu’s list!
When Cheng-fu talks about his brother using the small frame for fighting, what he is really talking about is the ‘usage frame’ — where the gross movements have been distilled to the practical level — according to Yang Shao-hou’s student Wu Tunan, himself.
In Internal Gung-fu Volume 1, Erle himself confirms this:
I am often asked with reference to small frame form and learning about self-defence. If we perform such small movements how do we use these for fighting? The answer is simple. Firstly, 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… If we move in accordance with how our Qi is moving, we will act instantly to any given situation. The reason, because the body is directly dependent upon the movement of Qi.
[Left to Right] A-I
The movement comes from the central nervous system (in western medical terms) rather than from the conscious brain. This causes our self-defence actions to be instantaneous rather than delayed. How then can such small movements be used in self-defence? Remember that the body (when trained in this way) does the same as what the Qi does. If we are out in the morning sun performing our Taijiquan, feeling god and calm, the Qi is flowing calmly as it normally does. There is no need for any violent movements. However, if we were to be attacked, the level of Qi instantly increases thus increasing the level of adrenaline and emotional response. Our Qi increases, thus so too does our body movement. Therefore, a movement that can hardly be seen in practice becomes a devastating much larger and violent movement in application. The level of Qi and body action is directly connected to the level of emotion. When we are attacked, the emotion is running very high; it has to be. So the level of Qi activity is also very high and so too is the body response to the attack. That small abstract movement that we train in every day, instantly becomes Mr. Hyde!
Chen Xiaowang — a nineteenth generation lineage holder of Chen Family Taijiquan — in his excellent treatise, The Five Levels of Taijiquan, also confirms this:
If your boxing skills are to achieve quality, you must learn to make the circles smaller! The single steps in practicing Taijiquan include progressing from mastering large circles to medium circles, and from there to small circles. The term ‘circle’ in the respect does not describe the path of the single body parts movement, but the gentle flow of internal energy, Qi
So what does this all mean in practical terms?
Remember, we stated earlier that innateness is a key to understand Taiji as a fighting art. Yang Ban-hou’s statement mentioned in the ‘Introduction’ makes this absolutely clear. Your movements must be natural and reflexive — like an animal! You have no time to think, your body must react and not only that it must be able to produce power from any given position. There must be balance above and below — heaven and earth. You must ‘move with awareness’ — Where moving = the activation of movement plus the act of moving, and awareness = the perception that something is plus the realization of what it is? Simply put — perception, realization, activation and action must happen in an instant. Without understanding these terms we cannot move with awareness. In other words, we must be able to recognize the ‘source of movement’ and the ‘basis of awareness’ within ourselves before we can identify energies in others.
The small frame is necessary for developing ‘balance’ and the power of the circle at the Qi-level as well as understanding the source of movement and basis of awareness within ourselves. It works upon our central nervous system, reducing the ‘circle of response,’ [connecting us quicker to our reptilian brain24 — our survival centre] i.e. sharpening our reflexive response at a sub-conscious level. We do not fight with small movements! At the fighting level the maxim to hold is:
Maximum body, minimum hands!
This is what you are meant to understand by small frame — it is the body [upper and lower], commanded by the waist, which does the work, with the hands moving the necessary amount to get the job done — the “usage” frame — where the active and passive are in complete balance [with equal and opposite forces] ever changing subconsciously and reflexively. However, in order for this to happen — the energy to flow freely, unhindered — we must be in a complete state of sung. This is what we were taught. My notes from the time of training with Erle are littered with this phrase!
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