The Role of Morals in Chinese Martial Arts
Baguazhang: The Classical Applications
Parts 3/4
What Happened to Shorin Ryu on its Way to Mainland Japan?
Nasser Butt
L’orso Solitario
Published by L’orso Solitario Books, Leicester, United Kingdom
Lift Hands
The Internal Arts Magazine Volume 31/32 September/December 2024
Editor Nasser Butt
Copyright © by Nasser Butt, 2024 & Fa-jing Ch’uan Internal Chinese Boxing Schools
Nasser Butt asserts the moral right to be identified as the editor & owner of this work.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the editor.
Waiver of Liability: The publisher assumes no liability for the use or misuse of information contained within this book. By purchasing or electronically downloading this publication, the reader hereby, waives any and all claims he or she may have now or in the future against Nasser Butt and Fa-Jing Ch’uan Internal Chinese Boxing Schools or its affiliates.
The points of view represented here are solely those of the authors’ concerned. You do not have to subscribe to them if you do not wish. Nor is their inclusion here necessarily an endorsement by Fa-jing Ch’uan Internal Chinese Boxing School or its affiliates.
Cover Photo: Ray Nicholas; Copyright © Nasser Butt
Cover Design © Nasser Butt, 2024
Back Design: Copyright © Nasser Butt 2024
lift hands
Editor’s Note Page 9
The House of Mouse
The Art of Amy Faulkner Page 12
Lift Hands: The Key
Nasser Butt Page 16
What Happened to Shorin Ryu on its Way To Mainland Japan?
Katherine Loukopoulos Page 24
The Role of Morals in Chinese Martial Arts
Anon Page 40
The Fasting Tree
Dr Gregory T. Lawton Page 49
Baguazhang — The Classical Applications Parts 3/4 Nasser Butt Page 50
20 Extended Questions — Ray Nicholas Page 60
Book Review Page 86
Peasant Talk:
Scholar Boxer: The Role of Wén Wǔ In Taijiquan Page 103
Useful Contacts Page 106
The Art of Louiseneige Be Page 107
Lift Hands Magazine Digital Purchase Links Page 110
WNote
elcome to the much delayed combined Volumes 31 and 32 of Lift Hands Magazine.
Once again, my sincerest apologies for the delayed publication!
Whilst Christmas has already been and gone and we are already 12 days into 2025, let me still wish all our readership a Merry Christmas and a Happy New Year. I hope that you have all had peaceful holidays with your families and friends and that the new year will bring you all of life’s good things.
You will note from the cover that this volume combines both Volumes 31 and 32 of Lift Hands. However, these are in name only as I did not wish the publication cycle to broken. Unfortunately, due to having to deal with personal issues on the home front, I was unable to gather and edit the articles as I would normally have done.
I want to thank everyone who sought me out and checked in, and also those, who despite the time of year, took time to contribute.
The current volume contains a fascinating extended interview with Ray Nicholas — one of the leading stunt actors and fight choreographers in the world — who learned his fight craft on the streets of Liverpool. If you have seen any of the major action flicks over the past 30 plus years, there’s a good chance you are watching the work of Ray Nicholas. I managed to catch up with him at Kaizen 2024 in October and we sat and chatted for well over an hour. The interview is an abridged version of our chat and one of the first interviews which Ray has given in many years! It is a scoop to say the least!
Normal business will resume in 2025 — God Willing — and you will continue to see some great work and penmanship from all our regular contributors.
Meanwhile… enjoy!
Nasser Butt
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The Keys
Created using Adobe AI by Nasser Butt
Iinitially wrote about the ‘Key’ of Lift Hands in 2015. This article was revised in 2020, in which I stated:
The ‘Keys’ themselves can be postures or concepts, and often transitions within the system which can literally push your understanding of Taijiquan into the stratosphere! These can either be purely on the physical level [showing] or on an internal level, or both — even a word.
And that:
Although this [Lift Hands] is considered the first Key, it is also considered to be perhaps the most important of Keys — it is the Key to Qi Balancing and development internally as well as physical balance! It is also the Key where we first experience pure Yin Yang in a singular posture (I’ll let you figure out how and why?).
We make no distinction between the postures called “Lift Hands” and “Play the Pippa” — they are the same! What separates them is the start position of the hands. “Play the Pippa” is considered true Lift Hands as the hands rise from the bottom, whereas in the posture called “Lift Hands” in the Old Yang, the hands begin mid-way up.
The posture represents the lifting of the Qi from K1 (Kidney 1 or the ‘Bubbling Well’) up the backbone and into GB20 (Gallbladder 20) - This is what the masters of old wrote about in the classics that, “The Qi must rise up the back”. This occurs during the ‘lifting’ component of the hands. As the hands are lowered, the Qi is balanced throughout the body as it falls back into the Tantien. In this posture it is said that the body is in a state of perfect balance with the Earth. The breathing is deep and natural which, in turn, further enhances the balancing effect. It is also here that we first break one of the ‘golden’ rules of the beginner — we go as low as possible without breaking structure or falling over — in other words, the knee moves beyond the toes.
The posture must be done over two full breaths before continuing into the next posture — not a single breath as performed by beginners. The arms must be in a total state of sung and move in perfect harmony with the body and empty foot.
This Key is, in itself a key to the Qi Development Tools, as all the Qi Development Tools begin with this posture. This is why the Qi Development Tools were given towards the end of one’s training because by then you should have ‘mastered’ the Key of Lift Hands!
Here we are in 2024 — what more is there to add?
In Taijiquan, P’eng is considered the major jing — the jing used to make up all of the primary Dynamics [and by default is also present in every other dynamic]. It can be considered the ‘root word’ of Taiji.
The root of a word is defined as ‘the core of a word that is irreducible into more meaningful elements.’
In Taiji, P’eng is irreducible!
Words are created from root words by simply adding prefixes or suffixes to the beginning or ending of a root, or both. Alternatively, words can be created by using the method referred to as, Greek Combining Forms
P’eng uses both the above methodologies to ‘create’ the other Dynamics. P’eng jing is the key to understanding the Thirteen Dynamics and learning how to separate the subsequent energies. Without understanding that the so-called eight energies are all manifestations of P’eng and that we only call them by different names because of the ‘difference in appearance,’ students will fail to even grasp the basics of Taiji — P’eng jing is and always remains the root. In all dynamics and in every transition, P’eng jing is the foundation to drawing out the internal power.
It is thus said that in Taiji, if you learn and understand one thing — that must be P’eng!
What does all this have to do with the 'key' of Lift Hands?
P’eng
Lift Hands
The answer is remarkably simple — understanding the 'key' of Lift Hands forms the foundation for understanding and developing P'eng, and by extension, every other Dynamic in Taijiquan. In both Taijiquan and daily life, virtually every action requires lifting or raising our hands. Whether working, playing, praying, or responding to danger or fear, we instinctively raise our hands. This is a fundamental human response.
We first learn to lift our hands during the practice of Preparation [Wuji]. In the basic or square version of the form, both hands rise together, without separation — which comes later according to the Classics. The primary goal is for students to raise their hands while maintaining sung (relaxation), stillness, and heaviness.
In the Old Yang, beginners are taught from Wuji, as follows:
1. Both hands start yang with the fingers pointing slightly inwards [1A], indicating that the upper kua is open. The arrows indicate the trajectory of the wrists.
2. The hands must change state gradually through the entirety of the movement, i.e., no sudden changes of state.
3. The hands are not pulled in towards the body, they simply rise straight up.
4. Both wrists are rolling inwards, narrowing at the apex, peaking with the yin state at the height of your shoulders [B, C].
5. At the top, the wrists start to roll slightly outwards as they begin their downwards journey, gradually changing state from yin to yang [D], until they return back to their original state [A].
6. You must be in a complete state of sung throughout the range of motion, as mentioned above. There must be no external tension other than that which is required to raise your arms as this will block your energy [qi]. The palms and the arms are alive with internal tension.
The principles learned in Wuji become the foundation for all variations of Lift Hands. Every conceivable variation of arm raising and hand positioning stems from this component. The movement range between hip and shoulders teaches us to develop attack and defense simultaneously while raising our hands. We don't first adopt a guard or boxing stance before fighting — instead, we attack as our hands rise.
This concept is crucial: in everyday life, we don't walk around with our hands in a guard position. Our hands naturally hang at our sides, and it's from this neutral position that we must learn to address any attack. I've consistently maintained that any 'secret' is revealed at the beginning, not the end. Within Wuji lies everything necessary for the discerning mind that has trained and developed properly through progression, rather than merely observing or being shown techniques.
Thus, Wuji itself becomes a 'key' that helps us develop and understand the 'key' of Lift Hands.
Photo 1 [Left to Right] A-D
The large 'square' version of the form exists to illuminate this simple truth — every movement in Taijiquan involves Lift Hands. P'eng cannot exist without first lifting our hands.
Unlike other keys that must be discovered or are subtly imparted by the teacher, Lift Hands is the first key that is both demonstrated and explicitly explained to the student. Why? By making students aware at the appropriate moment in their training, teachers hope to inspire contemplation that will eventually permeate all aspects of practice. Unfortunately, many students miss this crucial lesson in their haste, failing to see the fundamental principle within the technique.
While we're discussing Lift Hands in the context of Taijiquan, it's worth noting that Baguazhang and Xingyiquan also begin with this same principle. Though this concept underlies all martial arts, the three main internal arts specifically teach us to raise our hands in combat without first assuming a guard position.
Finally, Lift Hands transcends martial arts and daily routines — it represents an integral component of human spirituality. Whilst this is true of all beliefs and faiths, I will give an example using the Abrahamic Faiths alone.
The act of lifting hands in supplication during prayer is a profound gesture of humility, dependence, and reverence across the Abrahamic faiths of Judaism, Christianity, and Islam. This physical expression underscores a deep spiritual yearning, symbolizing the soul’s outreach to the Divine. Though practices and interpretations vary, the act consistently conveys an acknowledgment of human reliance on God.
In Judaism, the lifting of hands is a well-documented biblical and liturgical practice. The Hebrew Scriptures frequently depict figures raising their hands to God as a gesture of prayer, praise, or blessing. For instance, King Solomon lifted his hands toward heaven during the dedication of the First Temple, saying, “When Your people Israel are defeated before the enemy because they have sinned against You… and when they pray and make supplication to You… hear in heaven” (1 Kings 8:22-53).
Similarly, Psalm 63:4 declares, “So I will bless You as long as I live; in Your name I will lift up my hands,” showing the lifting of hands as an act of devotion. The Kohanim (Jewish priests) also raise their hands while pronouncing the Priestly Blessing (Numbers 6:22-27), further highlighting the sanctity of this gesture.
Christian worship and prayer practices have also embraced the lifting of hands, particularly in early and charismatic traditions. The Apostle Paul urged believers to “pray everywhere, lifting up holy hands without anger or disputing” (1 Timothy 2:8). This reflects an attitude of submission, openness, and sincerity in Christian prayer.
Many Christian denominations, especially in charismatic and evangelical settings, incorporate this gesture during worship. It signifies openness to the Holy Spirit, a yearning for divine guidance, and an expression of surrender to God. Some liturgical churches also maintain the tradition of the orans posture, with hands lifted, particularly among clergy during certain prayers.
In Islam, the lifting of hands in supplication, or du’a, is a deeply ingrained aspect of personal prayer. Muslims often raise their hands while praying to God, palms upward, reflecting a state of humility and hope. Prophet Muhammad is reported to have raised his hands during several instances of du’a, particularly during times of dire need or in asking for rain (Salat al-Istisqa’).
The gesture is seen as a means of directly appealing to Allah’s mercy and blessings. For example, it is narrated that the Prophet lifted his hands so high during prayers for rain that the whiteness of his armpits was visible (Sahih Bukhari). At the end of formal prayers (Salah), Muslims often perform du’a with raised hands, further emphasizing the significance of this gesture in Islamic worship.
Du’a being performed at the end of formal prayer in Islam
In all three faiths, the act of lifting hands embodies vulnerability and trust. The raised hands mimic a child reaching out to a parent, symbolizing reliance on God as the ultimate source of help and provision. This universal gesture transcends cultural and denominational boundaries, underscoring a shared spiritual heritage among the Abrahamic faiths.
In a world filled with distractions and challenges, the simple act of raising hands in prayer reminds believers of their connection to the Divine, expressing hope, surrender, and an acknowledgment of God’s supreme authority. Whether through the Psalms, the epistles of Paul, or the du’a of a Muslim worshiper, this timeless expression continues to unite faith communities in their shared quest for divine grace and mercy.
In Taijiquan, whenever we practice the form, we are told to practice it three times. Each time the speed is reduced by fifty percent from the previous speed, thus making the first practice the fastest and the third, the slowest. The first pace represents the physical body, the second represents the mind and the third, the slowest, represents the spirit. When all three unite, we have balance within and without.
Students should contemplate upon this.
3 Circles Qigong — The ‘mother’ qigong. This is simply another version of Lift Hands and P’eng. Note the similarity between this posture and the illustration on the previous page of the Islamic Du’a.
Alittle bit of history…
Shitō-ryū (糸東流) is a form of karate that was founded in 1934 by Kenwa Mabuni (摩文仁 賢和, Mabuni Kenwa). Shitō-ryū is synthesis of the Okinawa Shuri-te and Naha-te schools of karate and today is considered one of the four main styles of the art. Mabuni was born in Shuri on Okinawa in November 14, 1889, and passed away in May 23, 1952.
Uni-Ufugusuku (鬼大城), or Ufugusuku Kenyu/Ufugushiku Kenyu/Ōshiro Kenyu (大城賢雄 also 大城賢勇).
In the fifteenth century there was a samurai martial arts master and Ryukyuan general who served the Ryukyu Kingdom. Mabuni was a 17th generation descendant of the famous warrior Uni Ufugusuku Kenyu. Mabuni’s family was given the title “Onioshiro”.
At the age of 29, the year in which his oldest son, Kenei Mabuni, was born, Kenwa Mabuni established a Karate school at his house. The people who trained there included Gichin Funakoshi, Chojo Oshiro, and Chosin Chibana. He himself and Chojun Miyagi were the permanent instructors. In that same year he received the honor to demonstrate Karate Do at the Okinawa Middle School in the presence of Prince Kuni and Prince Kacho.
In 1927, Jigoro Kano, the head instructor of Kodokan (Judo) came to Okinawa, and Kenwa Mabuni, along with Chojun Miyagi, presented to him the techniques of Karate Do. Sensei Kano characterized Karate as the ideal Budo for “free attack and free defense”. Jigoro Kano declared that Karate should be known all over Japan. In 1928, Kenwa Mabuni moved with his family to Osaka, mainland Japan, and started to develop and promote Karate Do there.
Source: https://en.wikipedia.org/wiki/Kenwa_Mabuni
Matsubayashi-Ryū (松林流) is a style of Okinawa karate founded in 1947 by Shōshin Nagamine (July 15, 1907 –November 2, 1997). Its curriculum includes 18 kata, seven two-man yakusoku kumite (pre-arranged sparring) routines, and kobudō (weapons) practice. He was born in Tomari, Naha Okinawa.
Source: https://en.wikipedia.org/wiki/Sh%C5%8Dshin_Nagamine
Kata - All karate styles are identified by their kata which are a series of defensive and attaching techniques. These kata are comprised of a string of basic movements (kihon) that singularly or combined form a certain technique or combination of techniques. Their aim is defense.
Karate Jutsu vs. Karate Do – The term “Jutsu” is used in reference to the techniques, strategies and attitude in training for real combat. The term “Do” translates into “The Way” and it is dedicated solely to one’s personal character development and general good health.
Both Master Kenwa Mabuni and Master Nagamine Shoshin were born on Okinawa and both worked as Police Officers. Hence they understood “Jutsu”.
Since the historic invasion of the Satsuma Clan, and until the postwar WWII period, a huge percentage of Okinawa people did not trust, and openly, they did not like the Japanese. The Japanese feeling was mutual.
In May 15, 1972, by vote, the Okinawa people selected to return to Japan after 27 years of USA administrative rule in the post WWII war period. And even though the Japanese used Okinawa Island and its people as a Shield in WWII, the Okinawans still voted to return to Japan. Why? Their wounds were healed? Or, most of the elderly had passed away, and those who could, by the thousands had already migrated to Bolivia, Argentina, USA, and Canada? Was it the Stockholm syndrome where people form a psychological connection with their captors and begin sympathising with them? In addition to the original kidnapperhostage situation, Stockholm syndrome now includes other types of trauma in which there's a bond between the abuser and the person being abused.We cannot know for sure.
Okinawa people were proud of their Karate. They wanted to show off that their island was as important to the rest of the Japanese people. On the other hand, the deep seated mistrust against the Japanese was a constant thorn. What the early karate fathers did in this case? Years of Okinawa trading with the Chinese Fuzhou had learned besides martial arts, a useful tool: “Compromise”.
Until Master Funakoshi went to Japan, Shorin Ryu was referred to as Chinese Hands. At that time Japan was engaged in the Sino-Japanese War. Master Funakoshi, therefore, stayed away from anything Chinese. Changes started to take place to eliminate any hint of Chinese - Okinawa connection; Ankoh Itosu’s Pinan (or Pinnan) were replaced with Heian.
I ask: How much Master Mabuni and Master Nagamine were willing to give to the Japanese in order for Okinawa teachers to feel pride, but like a soup ladle, to contain enough holes that could not be enough to reach the state of “jutsu”?
In 1904 – 1907, Ankoh Itosu already had eliminated “jutsu” techniques out of Shorin Ryu in order to keep the boys safe in Okinawa Junior High Schools where Shorin Ryu already had been introduced in the Physical Education Department. Karate “Do” had already began. One by one, when Ankoh Itosu’s students passed away, the Karate “Do” had become complete because there was no one knowledgeable enough to teach the “dangerous” bunkai. Shorin Ryu had passed on to becoming Karate “Do”.
Comparative Analysis of few Kihon (Basics)
1. Neko Ashi Tsudan Shuto Uke and Neko Ashi Shuto Gedan Uke (Okinawa language - Barai) - Open hand knife chest and down blocks.
a. In Shorin Ryu one palm helps the other. They move towards the same direction. One forearm/palm is there to defend and to attack, and the second arm/palm is there to assist in executing and completing the killing technique. That is a 100% total commitment of both arms.
b. In Shito Ryu one palm pulls away from the other; therefore, there is no 100% commitment for a powerfully executed technique.
Notice: Second hand is close to the blocking/attacking hand, and is ready to assist. Shorin Ryu’s circular chest Shute Uke has been replaced by Shito Ryu’s linear chest Uke.
Nakamura Seigi Sensei (right) blocks right hand and left hand is ready to complete a technique or a takedown.
Photo Credit: Jerry Figgiani
Nagamine: Tomari no Passai
Nagamine & Nakamura: Yakusoku Kumite
Left: Shorin Ryu Shoto Uke
Right: Shito Ryu Shoto Uke
Rika Usami Sensei Instructing @ Inoue Memorial - 2015 July 15-17
Shorin Ryu’s knee is slightly bent inwards to protect the groin area and not to permit kick penetration. Shorin Ryu front kicks are executed by mounting the toes one on top of the other in order to create a point, and with that type of kick they attack the opponent’s soft areas. On the other hand, in Shito Ryu’s both arms and front leg are linear, and the arms do not assist each other.
Middle photo is the Shorin foot. It glides on the floor using the ball of the foot. Shorin Ryu does not use the heel in order to rotate and/or change direction.
Left: Shorin Ryu Gedan Uke
Right: Shito Ryu Gedan Uke
One small change by itself does not create an avalanche; small little changes water down one style, but also the other style. In terms of “jutsu” techniques need to be tested continuously. In terms of fitness as long as we do something we will be moderately fit; but for combat, we need to be mega fit, and always be ready.
Master Nagamine trained his toes on the makiwara in order to endure the pain and be fit. It took a lot of makiwara practice to secure the toes one on top of the other and perform it in tournaments as being second nature.
The 45 Degree angle of a head block was replaced by somewhat a right angle. The further away is the arm from the body, the less strength and control we have.
45 Degree head block in Shorin Ryu Kihon vs. Shito Ryu’s over extended.
Master Shoshin Nagamine - 45 Degree head block in Chatan Yara no Kusanku.
During 1992, Master Nagamine Shoshin taught Chatan Yara no Kusanku and Tomari no Passai to Master Hayashi Teruo who had created Hayashi Ha ShitoRyu. Subsequently, he taught it to his senior students one of whom was Inoue Yoshimi Sensei, who in turn created Inoue Ha Shito Ryu. Rika Usami Sensei was one his students.
Please note that Master Inoue’s head block has adopted the Shito Ryu version.
Conclusion:
Karate “Do” is here to stay. One has to decide for himself what benefits he wants to derive from his Karate training. Of course it all depends on his teacher and what his teacher is teaching, thinking and researching. It all depends if his teacher blindingly follows or he is testing his own techniques for effectiveness — those which he passes on to his own students. Often something beautiful is compromised, and in this case, “jutsu”.
Katherine Loukopoulos 2024 December 21 - Bubishi Team Austria
The heart, a mirror to the soul’s light, Reflects what is pure, what is right. In the silence, truth softly sways, Guiding our steps through shadowed ways.
To be just is to honour the flame, To walk with love, unbound by name. For morality, like the breath of the sea, Calls us to live as we are meant to be.
Chinese martial arts, collectively known as wushu or kung fu, have a history that spans thousands of years. While they are renowned for their physical techniques and combat efficacy, an equally significant yet often overlooked aspect is their emphasis on moral cultivation. Martial morality, or wu de [武德], plays a crucial role in shaping the character of practitioners, ensuring that the skills acquired are used for righteous purposes and aligned with traditional Chinese values.
Foundational Philosophy of Martial Morality
Chinese martial arts are deeply rooted in the philosophical traditions of Confucianism, Daoism, and Buddhism. These schools of thought have collectively shaped the ethical framework of martial arts:
• Confucianism emphasizes moral integrity, loyalty, respect for hierarchy, and responsibility. Martial artists are expected to embody these virtues, treating their skills as a means to protect others and promote harmony.
• Daoism stresses harmony with nature and balance between opposites (Yin Yang). Martial artists are taught to cultivate inner peace and avoid unnecessary conflict.
• Buddhism introduces the concept of compassion and mindfulness. Practitioners are encouraged to use martial arts as a path to self-realization, avoiding harm except when absolutely necessary.
The Core Principles of Martial Morality
Martial morality in Chinese martial arts can be divided into two primary categories: morality of action and morality of mind:
1. Morality of Action [⾏为道德]
This involves how a martial artist interacts with others and the world:
• Justice [义]: A martial artist must stand against injustice and protect the weak.
• Respect [礼]: Proper conduct toward teachers, peers, and society is essential.
• Humility [谦]: Despite one’s skills, arrogance is discouraged, as it disrupts harmony.
• Honesty [信]: Integrity is a cornerstone, both in training and in life.
2. Morality of Mind [⼼性道德]
This focuses on the internal cultivation of the practitioner:
• Willpower [毅]: Perseverance in the face of challenges is vital.
• Self-control [忍]: Mastery of one’s emotions and impulses is crucial for ethical behavior.
• Wisdom [智]: Martial arts should be practiced with thoughtfulness and understanding, not brute force.
Practical Application in Training and Life
In traditional martial arts schools, the teaching of techniques is often accompanied by lessons in ethics. Teachers, or shifu [sounds like ‘Sure foo’ — there is an ‘R’ sound in there not so obvious from the Mandarin romanization], act as moral exemplars, guiding students not only in combat skills but also in personal conduct. Common practices that reinforce moral development include:
• Ceremonies and Rituals: Bowing to teachers and ancestors instills respect and humility.
• Meditation: Practiced to cultivate inner peace and emotional control.
• Codes of Conduct: Students are required to adhere to a set of ethical guidelines, both in and out of the training hall.
Morals as a Check on Power
The lethal nature of martial arts necessitates a strong moral compass. Without moral restraint, the power gained through training could easily lead to misuse. Traditional stories in martial arts lore often feature heroes who embody wu de, using their skills to uphold justice, as well as cautionary tales of those who succumbed to greed or vengeance.
Challenges in Modern Times
In contemporary society, where martial arts are increasingly commercialised or sport-oriented, the focus on morality can sometimes be overshadowed by competition and performance. One only has to see the pre-fight press conferences and the behaviour of the ‘fighters’ towards their opponent, which can include derogatory remarks regarding their race, gender, culture or beliefs, including insulting their family or friends. Whilst this is often passed off as mere hype in order to sell tickets and create interest, it can lead to lifelong animosity and hatred. Moreover, it totally misses the point that training in martial arts are meant to help destroy the ego, not encourage it. However, many traditional schools and practitioners still strive to preserve the ethical foundations of their arts, recognizing that morality is what distinguishes martial arts from mere fighting.
Conclusion
Morals in Chinese martial arts are not an optional add-on but an integral part of the practice. They ensure that the physical and mental discipline cultivated through training is channeled toward positive ends. By upholding wu de, martial artists contribute not only to their own self-improvement but also to the betterment of society, living up to the timeless ideals of their traditions.
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
About the author-
The Fasting Tree
Dr Gregory T. Lawton
Patient in winter is the fasting tree Which stands stripped of its dignity, Its leaves ripped away by the wind, Its naked ribs shamefully embarrassed And etched darkly across the sky, Like the brittle bones of an old woman.
When the skin sags, When the flesh wastes away, And the blood dries in the veins, All that is left is the soul.
Falling to my knees before a wooded throne I lay my head on the mossy prayer mat at its feet And I offer reverent homage to the fasting tree, Who greets and calls upon me to offer myself in sacrifice.
It cries out with shaking limbs"Who among you will give themselves To my needs by accepting my baptism; Not by water, not by fire, not by trial, But by slow degrees of separation from self?”
Let me climb up upon this splintered cross, Drape my body across the fasting tree, And offer my flesh and my blood as a sacrifice To its roots, its branches, its stems, and its leaves.
It was the hunger pangs of love That led me to this feast of sacrifice, Where my fasting soul, finally filled, Found its sustenance at Gods table.
"O would that thou wert cut down in my name, and my body crucified upon thee." Bahá'u'lláh
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.
The Silence
n Parts 3 and 4 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
book, however, the spirit and essence remain
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
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. For the safety of my training Partner, Ayesha [Wednesday] Gryszkiewicz, the throwing and lifting components have been controlled to prevent serious injury
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
Application 5: Sever The Leg [Snake Fingers To The Eyes] [Jiē Tui]
This application’s primary function is to teach the student how to move continuously with the energy of the opponent [much like the opening of Da Lu in Taijiquan] and introduces the ‘Snake Fingers’.
1. I attack my partner with a straight right [Photos A].
2. Wednesday blocks with her right Number 4 palm, rolls and grabs my wrist, [Photos B/C].
3. With her left hand she controls my elbow and pulls me towards her right in a Lu type motion. I follow her energy, shifting my weight onto my right leg as my left leg attacks her right knee [or shin], [Photo D].
4. Wednesday retracts her right leg in order to avoid the kick, [Photo E]. I continue to follow the direction of her energy and allow my left foot to simply drop straight down onto the ground, [Photo F].
5. [See next page] I immediately shift my weight forward onto my left leg,[Photo G] as the fingers of my left hand attack her eyes. She releases my left elbow as her left hand defends against my eye attack using a Number 4 palm, [Photo H].
6. I grab her left wrist with my left hand, as my waist starts to turn to my left, [Photo I], forcing her to break her hold on my right arm by using a Number 6 palm break, [Photo J], as my right leg steps around and behind her left leg, [Photo K].
7. I immediately open my body to my right, shifting my weight towards my right leg, as I attack her under her axilla at point Heart 1 [Ht1], a deadly point, whilst destroying the shoulder and throwing her over my right leg, [Photo L].
Application 6: Skilfully Knock Over [Pour/Cast] A Silver Vase [Bottle] [Qiǎo Dǎo Yín Píng]
This is primarily a Shuaijiao technique — essentially two strike followed by a violent throw, smashing the skull into the ground.
The application gets its name from the action of pouring something from a jug or vase. In this instance, the lifting of the leg of the opponent represents the pouring action causing the head to ‘pour’ or knock over. Like a smith/metalworker poring molten metal into a cast. There are essentially two variants of this application — a simpler one, and the classical, more skilful variant. Both end with the same result, with the second producing a far more violent throw.
A
1. Wednesday throws a straight kick at my midriff [Photo A — see previous page].
2. I step slightly outside of her line with my right leg as my right palm hammers down on the side of her knee [Photo B].
3. I instantly drop my body lower and circle my right palm under and around her right leg, as my left leg swings around and my left palm circles above [Photo C/D].
4. I simultaneously lift my right arm up as my left palm circles and strikes her groin, [Photo E], causing her to fall backwards violently and smash her head on the ground, [Photo F].
5. Photos G-L show the variant of the same application from the reverse angle. The application is done exactly the same. However, in this instance, you drop your body low to the ground and place your shoulder under your partner’s knee, [Photo G]. The very action of my suddenly standing upright, [Photos H/I] raises Wednesday’s leg very high, as I strike the groin, producing a devastating throw which smashes the back of her skull into the ground.
In Photos J-L, you are seeing Photos D-F from the reverse angle, and you can see that I am controlling Wednesday’s ‘fall’.
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 ascertained from the static images.
Application 7: Double Changing Palm [Shuāng Huàn Zhǎng]
This application utilises the very typical Bagua circling movements moving us from one closed side to the opposite closed side of our opponent.
1. Wednesday strikes at me with a straight left, [Photo A — previous page].
2. I strike on the outside and up her arm using a right Number 1 palm, my fingers pointing towards her eyes, [Photo B].
3. My left hand immediately circles under, overtaking my right arm and strikes her arm with a Number 2 palm, [Photo C].
4. I step through with my left foot and strike her ribs [or kidneys depending upon how much she has turned] with my right palm, [Photo D].
5. Wednesday turns her waist to the left and hammers down onto my right arm, as she attack me with a straight right, [Photo E].
6. I immediately strike up her right arm using my left Number 1 Palm, [Photo F], as my right palm circles under her right arm, [Photo G] and overtakes my left arm, striking with a Number 2 Palm, [Photo H].
7. I now shift my weight forward and strike her right side ribs [or kidney] to complete the move, [Photo I].
Application
8: Turn Around Collide [Strike] Suddenly With Elbow [Huí Shēn Tū Zhuàng]
1. I throw a straight right at Wednesday and defends by using a right Number 1 Palm, sliding up on the outside of my arm, [Photo A].
2. Wednesday now strikes at my face, throwing a straight left punch, or palm, [Photo B].
3. I immediately evade her strike by spinning counter-clockwise, [Photo C] and attack her left tricep with my left elbow, [Photo D].
4. Wednesday immediately raises her left arm to avoid my elbow and hammers down on my head using the same hand, [Photo E].
5. I continue turning, on the ball of my right foot, placing my right palm upon my left wrist/forearm, [Photo F] lifting my hands and barging into her downward strike, as my knee lifts up and strikes her abdomen, [Photo G].
6. I finish by dropping my weight down onto my left foot as I strike down in a squeezing motion [Ji] onto her Tan Tien or bladder, [Photo H], causing her fall down in a heap.
We will continue with Part 5 in March 2025, Volume 33.
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At Kaizen 2024, I was introduced to Ray Nicholas by Lucci Del-Gaudio.
Ray Nicholas is one of the leading stunt actors, co-ordinators and fight choreographers in modern cinema. His filmography credits read like a Who’s who? I can assure you, there is probably not one single movie in which his work has appeared, that you have not already heard of from Gladiator, Gladiator II, Snatch, Kick Ass 2, RED 2, Prince of Persia, Wrath of the Titans and Centurion to name but a few.
Hailing from Liverpool, from a very humble beginnings, it wouldn’t be wrong to say that Ray has successfully reached the very pinnacle of his profession. Softly spoken, there is not an ounce of arrogance or ego. He is one of most down to earth, rooted persons I have ever met and like most Liverpudlians — possesses an amazing fast wit and humour.
Ray doesn’t sit down and do interviews normally. This is one of the first major interviews he has given in a while. In fact, as he mentioned — he was probably more nervous about doing this then jumping out of a multi-storey apartment window on fire!
He spent a busy day on the mats at Kaizen and towards the end, I managed to sit down with him and our regular 20 Extended Question.
Part 1
LH: Ray Nicholas, Welcome to Lift Hands Magazine’s 20 Questions! It is a great honour and privilege to have you with us. Please tell our readership a little bit about yourself?
RN: I boxed at a very young age. It's a real little Scouse family, we were very, very poor and my father taught us to box. Everyone locally, all fathers taught their children to fight. It's that kind of environment — a very poor environment. I'm not talking now, things have improved, I’m like 65 shortly, but when I was a kid it was all outside toilets and tin baths…
LH: I remember those!
RN: Right, there you go… so you remember those as well. So, that’s the environment we grew up in. It was a very violent little area I grew up in as well, so everyone learned to fight. There wasn’t really anyone you knew who couldn’t fight or put their hands up, and I remember as a kid my father taught us in the back garden — myself and my big brother. So, we learned to put our hands up, but the problem was people would knock on the door to fight you even as a kid! My escapism was comics. I lived in comics… actually hundreds of comics because like there's nothing else to do right? Television black and white — when it worked!
RN: So basically, I escaped in comics and that's why I've got a good imagination now. I write, I write scripts, etc right and I recall… I'll tell some of the young stunt people what it was like, because I remember it was like — I remember having chip butties for Christmas dinner! Ok, I know I’m getting the violin out… [laughs], but it is to give an insight into the mental stability, or instability with which I grew up! It was harsh and with that Liverpool, Scouse
came the humour as well, and we got to intermingle. I can recall people knocking on the door and I'd be reading a comic — lost in spider man — I’d have been ten or eleven and my dad would go and answer the door, and he’d come back, and I knew… he’d stand in the door — I can see him now in my mind’s eye — he’d be standing at the door with the ciggy… [inhales deeply], holding it in forever, it would be unsettling. And he’d go [lets out a long exhale as if releasing the smoke from the cigarette], and I’d be like, here we go. I’d look at him and he’d raise two fingers, or sometimes three, and I’d be like… really?
And, he’d go, “Put it down, you can read it in a bit."
RN: Right, Oh my God and I'd get up and by the time I reached that front door from the living room I'd work myself up. Because, I, you see when you’re going to fight you get very aggressive, my favourite thing is to laugh, right… with the lads we’d laugh and take the piss or mickey out of each other We grew up as a family and this was second nature, but then when you get past that point and you won't let me walk away and I start to turn — I need to turn on myself right otherwise I'll go back. I'll go back… I guess there's a certain point that I really hate it. I just want to laugh… if you won't let me walk away there's a bit of me that will go backwards and then I’ll say, “Listen mate, I don't want to fight…” on and on and on, and there's a certain point in the back of my head, I'll say to him, “You know what you're doing, you're embarrassing yourself…” — Think schizophrenia, but it works! My nerves would be going… People often say, when you ask, “Are you nervous?” — Nah! Love it! I say you are a fool, because that last fight you have, it can kill you… right, that’s what I think about — one wrong punch, you go down and smash your head… it’ll kill ya! I think about one punch… that's exactly what works. Oh yes, your jaw breaks your nose breaks etc, I don't want that! I just want to go home so I can take the piss out of myself, right… if you won’t let me do that, it gets to a point where it goes… sit down and I've seen them, I've seen the face change. I’ve gone from like a little quiet boy, where I don't know if I want to fight to boom, the brain says he's not going to let you go you know — when I go yeah, acceptance!
Then it'll go like that… all right then, I want this now! My virtues… it’s like, “Oh no, make sure you don't do this to someone else!” You wouldn't let me walk away, I want to try my best to make sure you think twice about the next guy who says, I don’t want to fight. Hopefully, I do you enough this time that you won't want to do that again to anybody!
Right, so back to the childhood thing… by the time I've walked out, I've put the comic away, I’m like, “Why me?” I haven't knocked on your door. I don't bother you, but by the time I got o that doorway, there'd been a couple there. Dad would say to one, “You go… you stand outside the gate. You stay!” I learnt my sense of humour from dad. He’d be telling jokes all day, but he could fight! And he used to say, “Take the piss out of yourself son, before they do! You take that away from them. If they carried on, it’s a different ball game.” I know it sounds like if my dad was a nasty man, he taught us to fight. He taught us to piss-take out of ourselves basically and when you can't walk away, he said, “Make yourself the second fella. Make sure the second fella sees what you do to the first fella right, and he doesn't want it!”
So by the time I come out to the guy and I look at him, I'm thinking why? There’s the physical entity that's made me come up… and I’ve walked up and down, and my dad’s said, “Wait, wait… ok” I’d work myself up, I’d look at him. He’d try his hardest to look away, and then I’d go like… its the sit down moment. Then I would go! Sometimes it would go so much, he’d go, “Enough!” And I’d just jump over the fence and into the second one because what are you doing there? That’s my upbringing — hate to fight, but can put my hands up when I have to! I love laughing. I love taking the piss out of myself. People take the piss out of me — friends right, but if you want me to walk away that's a different ball game. That’s my nature! Does that answer your question?
LH: Brilliant! Yes, indeed! Fantastically! Ok, so how did you transit from boxing to the rest of your fighting arts? Obviously, you learned more than one art?
RN: I did a bit of Karate, a bit of a wide stance I thought. Then I went into kickboxing and thought that’s a bit more like me… from my hands, comes my legs. I kinda flowed more into that. I used to spar with my brother, and my brother was a light heavyweight, and I swear to God, when I was a kid I looked like a pencil! Folk would be coming
up giving food and saying, “Here, feed him!” I was really sinewy, but I was fast! That's the advantage I had, speed. My bigger brother was a bigger brother… so my logic was basically — you learn stuff like you used to go shooting with guns or combat shooting etc, or practical piss they changed it to, and I kind of … equation was our Georgie was a big four five shell it's a big stocky powerful shell, and it was boom when it hits you… Boom you're gone! Right… but it's hitting you. Well, I didn't have his size all right, I was like a little skinny babaloo then, so I thought nine mil… I see crazy nine mil… compact and it goes boom and explodes. Now four five was boom, hits you and you're gone, I haven’t got that so, what I was that you shot and exploded — its a fast twitch, its all I’ve got. I’m not as big as the guy next to the big guy, so I used speed.
RN: In my old place, I used to have a dummy — a proper dummy — and I would stand there for hours and hours until my arm fell off, I’d just go boom — I’d go for the face, I’d go for the eyes. I’d do the jab over and over, and I’d get, and this is not bullshit, to move, where I thought I’d missed the first bit! So, I thought we're getting it… so keep that speed — that’s my salvation So, I can get it in and before you know it, we are on and I could finish with an elbow, a headbutt so it’s natural. Love fighting arts, it's fantastic, it's great! Some works and I’ve watched a lot today… some doesn’t! A lot doesn’t! I’ve put myself in that position. The fellas I’ve fought — pub-fighters, street fighters — they're not thinking about your next move! Like I taught my son, to know a little is to know a lot! If you come in you're blocked and by the time you're thinking the next move… you're thinking I'll take that over there and I'll snap that and I'll do that — that pause, while you’re thinking — he’s hit ya! He’s head butted ya!
So, I’m thinking — maybe right or wrong, I’m not diminishing the art — it’s a beautiful thing. I do fight choreography for a living and sometimes I hate myself, I've got to go boom and take that over there… snap that and take the leg…
LH: It goes against your nature!
RN: So, my own reputation is, my fight seems a bit harsh, it’s a bit real. So they would prefer the ‘easier’ one because then you go down block, and he takes and snaps that and does that… and I’m thinking — what about his other arm in all this? What are you doing with this arm? What are you doing with this leg? What are you doing with his head? So, as you see out there, my little fight scene was one of the moves I’m trying to teach, he comes in he goes one two three yeah, so once you block, you step into that that left hook so he's extended and before you throw that right hand, you throw a stunner [into the throat], and then carry on with the right hand. I can take that and I can do other stuff, so I try and incorporate that into my fight scenes, and sometimes you'll see that my producers or whatever… “Phew, can you tone it down?” Well, a little… no problem! You’re making it easy, I can do your fancy stuff. So that’s my reputation — fight scenes, sword fight scenes. Axes, swords, knives — It’s a bit naughty, but I’m a great believer if you're fighting you're fighting for your life!
I just done Gladiator, doing the swords on Gladiator, I’m carrying the element myself and the stunt lads, they know and work with me, and I’m a great believer, even if your not that good, tell the audience how nasty you are! I believe in what I'm doing. I want you, so when you go home, when you play your video back and your son and your daughter, your mom, your dad, your neighbour, right — they're watching and go, “Wow! Wow!”
LH: Fantastic! Ok, so how did you then transit from dad teaching you how to fight into the world of stunt work?
RN: Ok, basically I'm on the British Stunt Register. When you’re on the British Stunt Register there's a certain criteria like six you know six out of twelve things. There’s fighting arts — there’s fighting categories. There's tournaments, gymnastics, trampoline. Then there’s high dive, etc. You name it — it’s to get a good all-rounder.
RN: You’ll hear folk saying, “My mate’s a stunt man.” — Ok so what does he do? Just his bike work? So, If I hit him and he falls off the roof…? “Oh no, he can’t do that!” So there you limit yourself and the problem you've got as an action actor who wants to do stunt work, or even bike work, is there's already some really good lads on the stunt register who can do all the heights the falls, the cars — you name it there's already lads on the register. So my argument is basically go and do all the things you need right. If you want to be a stuntman go and do them right and get on the register. It’s big thick book you can flick through — there’s lads who can do the high fall and twist if things go wrong. That’s where trampolining comes in because sometimes you're hit and you go through a window and you’re stamped on your foot, and as you go through the window you're supposed to come out a different way. You realise this has gone wrong! We can turn, you can flip or you can turn — spatial awareness. Months and months and months of training — you’re thinking, why do I need this [trampolining]? Well, its for just this day, when things can go wrong!
I've done something years ago over in Portugal. There’s a band called Limp Bizkit, have you heard of them?
LH: I have indeed!
RN: Its a video called, ‘Boiler’. You can check it out. It was 65 foot drop from a corner building, a round building. The height is nothing, I’ve done over a 100 feet etc, they had rigged explosives behind me and to the sides… have a look at the video and I swear on my son’s life — when I come through the window if you stop-frame, it all goes yellow at the back so it's not CGI. As I start to fall all the way down, I go, “Jeez, that’s hot!” As I'm falling away, it's catching up with me.
The problem during the stunt wasn’t the 65 foot drop, or the breaking through the window. The problem was, there was a window, a veranda and a railing! The railing was the issue, because you do not have sight of your airbag. I remember leaning on the rail and looking down like that… beep, beep, beep, beep — they are reversing a lorry, bringing it around as a windbreaker, because there was wind. The airbag is moving like the surface of the sea, and at that point I think why didn't I try harder at school? What am I doing here? I had to get a box, drill it to the floor so when I run in, I stand on the box and as you start to come up, I wait another second, just as you come through the air, you start to rise and you've got a fraction of a second and, you just see the yellow corner down there of your airbag. and you've got to gauge that in a second and to push off enough to get through that window across that window over that railing right and then fall. So what I do is basically get someone up there and start boxing, start fighting, get my tempo going that gets rid of your nerves, and you say, “I'm ready! I want it!”
The thing with stunts is you can't go, “You know what? I'm not happy with this!” — because you'll never work again! If someone flies you out to Portugal, you're there and you go, “I can't do this!” You may as well go work in a biscuit factory because you're not going to get another job!
RN: If you get hurt, you can’t go, “I don’t want to do anymore!” You carry on until they get the shot. Even if you’re in pain, you can’t show it. You smile and are good to go. You might be screaming in pain afterwards — but you don’t show it to them!
My lady's sitting there at the back, she’ll tell you the number of times I’ve come home, reversed the car up the drive and had to ring her to ask my son to come and help me out of the car. He’d put his arm around me as I limped up the path. But, you can’t do or show that on set. “You good to go?” “Yeah, I’m good to go!” You keep going until they have their shot!
LH: Without mentioning names, so have you worked with actors who are good at what you show and do what’s necessary?
RN: Yeah, yeah, yeah… there are and there are who don’t! There’s lots of fantastic fellows out there whom you can approach and then there are others — you touch them and they walk away! I’ll give you perfect example, the actor will know who I’m talking about. It's a thing I worked in Africa. We’re on the set, there’s a mosquito net, he’s there. The scene is I come out and garrotte him, take his leg out and drop him to the ground onto his knees. He’s supposed
to pull the garrotte down with his hand and elbow me in the stomach, and as I double up throw me over his shoulder. Instead of my stomach, he elbows me in the groin — bone on bone! I’m like, oh my God — I dropped to the floor retching, trying to catch my breath. He simply got up and he was like, didn't even look at me and he’s pointing at his elbow asking for an elbow pad! I had to get up and get him an elbow pad, after 10 minutes we had to go again. That's how it is!
LH: So, going back a bit… growing up in Liverpool in the 60s — a tough era — how have you seen the fight scene change from when you started out compared to what you see now being taught, take today for example?
RN: I think it boils down to the individual instructor again — It is the reality of what he has been through. There’s two guys I’m training with at the moment, they do door work, they’ve done MMA — they’ve done bare knuckle. If you’ve done bare knuckle, then you know, you know what it feels like to get hit. You’ll see their expressions are for real! A lot of people haven’t. They just work through the ranks. They get the belts and start instructing. There are a lot of fellas here from the past, they have done the army, they’ve been around the world doing stuff — they know, they’ve been there.
A lot of people are just going through the motion and enacting, and thinking how it should be, how it might be? Those lads are different they've been hit, I’ve been hit. I know what a broken cheekbone feels like, what a closed eye feels like. That’s the difference! I’m glad I was brought up with that because you can see it when I'm on a fight, you can see when I'm doing stunts. Believe what you're doing it'll show, think what you’re doing it'll show… that’s the difference.
LH: If you could go back would you change anything or keep things as they are?
RN: You know what, I’d love to go back. I’d loved to have had an easier life and I would have enjoyed my life, and not had to share a tin bath with my older brother! [Laughs] Now I'm older, the fight scenes and portrayal etc, it comes from all the hard stuff, the kids knocking on the door, walking down the road — fighting…. Gang-fighting! I know what works, so all that is what separates me from the young lads who now come in. They’ve got all the necessary martial arts equivalence, but they have never really been hit and you can tell the ones who have. Then I go, “You’ll do! I’ll have you! You work with me, and you go with him and him!”
LH: Is there anyone in all your years that you kind of wanted to train with or go up and do some work with, and you never got the opportunity to do so, or you would go back to?
RN: Here’s an example of what it was like training, there was a guy called Mickey [] very fast, right nothing but praise for his fighting style — it was real. I used to box, had good fast hands. I remember him saying to me, “RayNic, come here, throw a right hand!” So, I throw this hand, he blocks it, bang , bang, smash… he puts me on the floor. He says, “Right get up, now you throw me!”
This the kind of fighting and the clubs I went to. He punches, I block him, throw a few shots and as I go to hip throw him… “Aaargh!” He bit my ear! Try it again. He bites down on my ear again… “Aaargh!” That was the end of the fight! “How was that for ya?” That was reality! He said, “There’s no way on this earth I'm gonna let you slam me into concrete… why would you let someone do that?” I thought, wow, he’s right! I mean, you go to martial arts clubs, and you see them practice grabs and hip throws and most of the time they help you with it. You think, yeah that’s good — you’re kidding yourself! You go into a pub, try that. You go near someone, to do your hip throw and his fingers are in your eyes, he bites you , head butts you! Oh, but this worked lovely in the dojo — not here! That’s reality, the realism kicks in… see I’m getting angry just talking about it.
You know, you’re training and training, your going down the street. It kicks off, its very sad to watch… the first thing the guy does is head butts you — you’ll go to shit, eyes are watering. You back off. Boom! He pounds you and somewhere in all that you’ve got to get your fancy move in! But you’re too busy being hit! If you’ve been hit, the anger should flow and you come back. If you’ve never been really hit, you’ll go into shock, you’ll be on the floor and they’ll be stamping on ya! So, I’m a great believer in realism. Some of the fellas out there are teaching this stuff and you’re like, yeah, that’ll work. You’ve been there! A lot of the stuff out there… Nah, that’d never work! You want to throw someone, block the attack, put a stunner in — into the throat, into the eyes — you carry on pounding, then put your lock on and do you throw. That’s realism! Deal with him and then walk away!
Like I said to my lad, to know a little is to know a lot. And to know a lot… can I swear?
LH: Absolutely!
RN: To know a little is to know a lot. And to know a lot is to know fuck all! By the time you're thinking of your moves, right, he's gone. Depends on the fellow… my dad used to say, “You're only as good as your opponent will allow you to be!” I’m a big believer in that!
LH: Excellent! Any advice for people who are starting out? What would you say to them?
RN: Determination! Determination! Don't give up. Can I give you a quick example? There’s somebody in Liverpool who wrote something on a wall, and the very reason I’m here talking to you is…. Braveheart, Judge Dredd, Bond, so and so, I've got a list. I’ve been around for about 33 years, actual stunts, okay. So I'm training for the register. I'm
doing gymnastics, the horse. You’ve got to do two rotations. I swear to God, I hit the deck. It’s an enclosed area. You walk in and there are walls all around, okay. So by the time you get on the horse, you lift yourself up, there's a wall in front of you, behind you at the side. Three days I’m working on it. I'd smash elbows, bam, and I'd get my head twisted, and I remember, I'd get in there, and I went and lifted myself up, and I'd put myself back down, and they'd done me, and I was like, I'm not going to do this, I can't do this. These fellas take years. I was on the dole, I was paying £10, which is like a third of my money was on that particular instructor. I went down and bam, I don't ever do this, never do this, and I looked up, whoever that person was, I'd thank him for my career. Yellow card on the board, it's kids stencils, you know, you put the letters in it, and you wrote everything. This is from 33 years ago, and it read… “If you think you can't, you won't, and if you think you daren’t, you don't, and if you think you'll lose, you've already lost!”
See that? I thought, like you’re right, now I will, I will do this! The fella told me it took him two years to do that. I got it in two months, and he said to me, Ray, that's fantastic! I had already lost when I fell from the horse until I looked up at that sign… I’m a fighter. I don’t give up. That's the advice, don't give up!
Part 2
LH: Brilliant story and lesson. Ok, here come the quick fire 20 Questions. This is the fun part now and I’m expecting your Scouse sense of humour to come through. If you could have personally witnessed anything, what would it be?
RN: Witnessed anything?
LH: Yeah, it could be the past, it could be the future, if there's anything you think you would have liked to have witnessed.
RN: I would have liked for my mother to have had an easier life. I wish I’d seen my mother had an easier life because she would work her arse off, sewing upstairs until the early hours, doing pretty little dresses. I would have wished her to have a good holiday more often, have an easier life. Because back then, winters were winters, not like now, drizzling, a bit of snow, a bit of snow, yeah. Back in that day, my dad used to make a channel, when I was a kid, and there was a channel of snow to the toilet, the outside toilets, and it would be up to my thigh as a kid, that high in the back yard, because back then it was all enclosed. So, I'd wish I’d witnessed my mum had an easier life.
LH: I remember those winters! All right, what would you do if you were invisible for a day?
RN: Scare people, scare people, remove things, tap them and watch them shit themselves basically.
LH: Brilliant, ok, as a child, what did you wish for, and did you get it when you grew up?
RN: An action man, an actual action man!
LH: And you became an action man?
RN: An actual action man because there was a difference, I used to get this thing called GI Joe. Action man, he could move his head, he could go back and forwards, his arms out, fingers, you could put the gun in and point it that way. GI Joe, God love it, it was a poor man's relation. A little plastic head that couldn’t lift up, it could only move side to side. You put the gun in the hand like that, but couldn’t position it right. As a kid, I always wanted an action man, a proper one.
LH: What did you want to be when you grew up? I mean, what you had in mind and what you became, were they the same thing?
RN: No, it just kind of drifted into it. I tell this like, I went to a stunt seminar and I met my best mate out of it. We went along there, then I've realised, we ended up going to a small budget film. I met an actor along there, I was doing my own stuff. He says, “Have you ever thought of joining the Stunt Register?” I said, “Never heard of it!” He says, “You’re diving out of windows onto car bonnets, or roofs and bonnets — if you join the Stunt Register, I can have a word with the stunt coordinators for you.”
People come into your life and you change direction. I went and checked with the Stunt Register, I was like, oh, I've got that! I’ve got that as well. Boxing, they wanted 15 bouts of successful competition. I wasn't a bad little boxer, I had more than that. Martial arts — I’ve done martial arts! Trampolining — I’ve done trampolining at school. So I thought, maybe this is achievable, right?
RN: So then I started training, but then you had to get coaches, and I was on the dole, so it was hard work.
LH: What animal best represents you?
RN: I love panthers, I love black panthers.
LH: Why?
RN: Sleek, black, blends into the background right before you know what, they're on you in the dark. I just love them, and they look magnificent. And that black, like sleek outline and then suddenly they lock on to you with big yellow eyes. It's fascinating!
LH: What's your greatest strength and weakness?
RN: Do you know what — my anger! Always cause for embarrassment [laughs], but this is absolutely nerve wrecking! I’ve worked with 150, 200, 400 extras on Clash of the Titans — Once I get going, I know what I’m doing — I used to stutter as a kid and that is also one of the reasons why I was picked upon. I used to stutter badly. I couldn’t even string a sentence together. So, when someone started taking the mickey out of me — that was the difference, it’s not like friends. When I’m with a crowd or with like yourself, if my bottle goes or my nerves go — then I go back to my childhood when I used to stutter badly. And part of that anger was, you take the piss out of me and I can’t talk to you — that’s where the temper comes from. That’s a strength — so, I can rely on my temper to get me through things. Like this, this is nerve-wrecking! My heart rate's gone! I don't want to do it! I told my missus I'm going to do it.
I told my lads. They said, great, get out. Promote yourself more. Because I don't promote myself. I come, do my stuff and go home! That will do! And it's word of mouth. I've just noticed it's all about media, which is totally alien to me. I'm not used to this. Partly my missus is encouraging me and the lads — you’ve got to start doing it. You’ve got to come out of the shadows kicking and screaming — you’re coming out! This is the first one I've done for a while.
LH: Brilliant, it's an honour. The magazine that we do, It is a niche magazine. The people who read it, they'll be interested in what you've got to say, they won’t be looking at it from the showbiz side alone. So, what’s your favourite memory of any one of your grandparents?
RN: Grandparents, can I tell you?
LH: Yeah!
RN: We had my grandma, grandma Jo. She lived in a particularly rough area at that time. She was known as the lady boxer. Very impressive! She could handle herself, she could put her hands up. And she was dying of cancer. I was like a little 10-year-old boy and I was her favourite. Mum would bring us over and she was like on her way out and she'd sit in the chair. It's all tenacity, this is what I love. She'd sit in there. Mum would step in front of her and she'd go, “Mum, Mum!” And she'd look up like that, “There’s someone here to see ya.”
And she'd step out of the way and I was her favourite… that was a game. And she'd go, “Ooh. That little bastard! I’d say, “Who’re you talking to?” We’d play a game — “Come on, out in the garden!”
Ninety-three, and suddenly she's up. She's up, bam! She used to say to me, basically, “When you fight, son, put your thumb in there like that, and go like that.” And I thought, first of all, you’d break it, your thumb. I'd go, thanks,
thanks, no thanks, now. And she'd move around, I swear… She's dying of cancer on her way out. And I'd move around her and I always remember, she went like that… raised her arm up and as I looked up — She went, boom, she just hit me with the other hand! [Laughs at the fondness of the memory] There you go, welcome to my nan!
LH: That’s such a fantastic story! What a great memory to have! Brilliant! Okay, how do you want to be remembered?
RN: For my humour! My ability, the lads and being a human! Just being a good mate. It’s okay talking friendship — friendship is easy, isn't it? I'm your best mate. When you break up with somebody, or someone dies, and you ring somebody, and you cry, and you're upset — and they go listen mate, I’m not being funny, but it is four o’clock in the morning!
At that point, it goes click [actions of putting the phone down] and your number goes out of the phone! So, that's the difference! Don't talk, do. When the opportunity arises, do. Don't tell me what a good friend you are. I'm tried and tested. Four o'clock in the morning, where are you? I'll come and see you. I'm ten minutes away, fifteen minutes away. Get my pants on make a cup of tea and go and sit down and talk to him. If cries, he cries. No one here — Just me and you! Sometimes you need that release — Depression. So old school and classic. You're keeping it in.
My dad, “What are you doing? What are you crying for? You don’t want people to see you cry!”
That's the problem! You've got nowhere to go. Listen, it's like a goldfish bowl in your head. All them memories are flying around. They’ve got nowhere to go. You can't get out. But someone stops and says just stop the fish swimming. Talk to me. Let's deal with this, let's deal with that. You've got someone to talk to. I’m my own worst enemy, but the fellas who have got close to me — I can do that and they know that they can do that to me! Some really tough men have rang me, they say, “Are you alone, I shouldn't bother you.” “No, no, no! Let’s talk, what’s the matter?”
“My dad has died!” Sometimes the big hard case is close to their dad or close to their mum. That's the difference! Don't talk a friendship to me. Do it.
LH: Makes sense! Do you know your family heritage?
RN: We are all over the place! Me great, great grandad comes from Sicily. And that's why my mum used to say to me. My mum, she's from there and she used to say, as a kid, “You’re a bad tempered little bastard!” And I'd go, “That's funny because people say I'd take after me mum.” And she would go, “Arrgghhhh! [feigning anger] And I’d be like, “Oh there we go, there we go!” [Laughs] But he, it's funny how people evolve. I'm talking to you now, 65 years of age. It's because he over in Sicily, done somebody at 14 years of age! Feuds with other families — 14 years of age he's let loose with a gun, so they got him out and they put him on a ship and sent him away. He went around, he met my great-great grandma. Two kids, my mum's dad and his brother. So it's funny how it evolves through that nasty little act on the other side of the world, years and years ago. He comes over, meets my great grandma, has his son, my grandad and here we are! Bizarre isn't it?
LH: Yeah, yeah, yeah! Are you still learning when you are?
RN: Yeah, never stopped. And I'm trying to learn with the help of the missus — otherwise, I’ll just carry on, like a lemming… go over the cliff! It's hard, it's hard. So, I listen to her — the faults I’ve got, etc. But sometimes the faults you've got — and you recognise it — you're so stubborn because of the way you have brought up that you resist. You resist, invariably she’s right and I’m wrong — I’m such a lemming, I’ll go over that cliff! So stubborn! Pride — so pride is a good thing it'll get you off the floor! Sometimes pride is a bad thing, because you can end the relationship, it'll go to the point where you go, just say sorry, just say, and I can’t, and you can't. That's it! So pride is a good thing, but it can also destroy you!
LH: What if anything are you afraid of and why?
RN: Spiders!
LH: Really? [Turn to Ray’s wife] Does he call you to the bathroom to get them out? — She nods affirmatively!
RN: I don’t want to speak about them but sometimes you know, when I was a kid — I go back to where I was — a little outdoor toilet, sitting there, and there'd be spiders on the side of the door, and it would be looking at ya… and you’d go, “Oh my God!” Here’s a classic example… I used to have snakes, rats, you know, it doesn't bother me. I've got mates, big lads, a fella called Winston Ellis, doing Black Mask, a friend of mine, fought with Jet Li, Jacky Chan… one on one — big lad, does doors… terrified of rats! I can pick a rat up and chatter, chatter… spiders — I had a fella, I said, “Do us a favour, don’t joke about spiders, I detest them!” My temper just goes through the roof… I despise them! “I told you, I would never do it to you, that's my phobia.”
One of the lads, he turned around and said, “Guess what I’ve got?” And I looked it. I felt the pulse in my head — that’s a bad sign — and I'm looking at it, and here we go, I'm back to the kid, and I've thinking, why are you doing that to me? I wouldn't do that to you. I've gone quietly into myself, I’m going ballistic, that’s a bad sign. And I’ve said to him, “If that's what I think it is, and you're going to put that on me, don't you complain what I do to you afterwards!”
He went, “What?”
“Don't you complain, because I shared my phobia with you, and you're going to do it.
He said, “I've got nothing.”
“Oh, I didn't know that, why do that, I wouldn't do it to you. You've just gone down on my estimation!” You see, I’m getting angry at just the thought of it!
LH: All right, let's move on then. What’s the most memorable class you have done? As in a class that you've taken, they thought, that was a brilliant class, a brilliant job there.
RN: Do you know what… most of them! If I've seen improvements in somebody, I’m buzzing! I’ve done something creative. They'll come in, and like you see out there, some who've got it, some are struggling. And they've gone into themselves… Stop, don't go inside yourself. Come here, put your leg there, do that… I give them some extra tuition, and when you see them improve, you’ll go — I’ve done something! And I think I've done something for them mentally
as well. Mentally, he's got stronger, he’s got a bit of pride. Anything like that reminds me when I was a kid, I'd go back to my childhood time… he needs help, he needs someone to coax him, he needs someone to encourage him. Someone needs to believe in him, so he'd make him believe in himself.
I was the first stuntman to get on the British Stunt Register from Liverpool. There was no one before me. Now we’ve got a group of lads from Liverpool ,but I was the first one. In my own city, my own dad's own mate said, take the piss… “There you go, there he is, the fall guy!”
RN: But when I got on, then they all wanted to know… I” believe you're on Braveheart, I believe you’re back from doing Bond?”
“Yeah, yeah!”
“What’s it like?
“I haven’t got time to talk to you! Remember when you took the piss out of me? You took the piss out of me! You should’ve given the encouragement I needed back then. I wanted you then, not now. I’m tired of you, move on, that’s what it’s like — move on mate!”
LH: Which book has influenced you the most?
RN: Book? I write scripts, I write my own little scripts, and I'm really harsh on myself. I remember reading a book many years ago, it was called The Ninja by Eric Van Lustbader. I read that and I was fascinated by his writing. I wanted to write my scripts and I wanted to match him, but I can’t because he's an actual writer, he's an inventor. The scripts, I can go into the violence, I can bring all that in, but I know that I'm not a writer, but I'd love to be a writer, a proper writer. There's so many books, so many stories I want to do, and I explain the backgrounds to the characters, but you can't do that in the scripts. You explain something, you've got like five lines, you only have 15 pages, and you've got five lines to get this character. But that's one of the first books which influenced me — The Ninja!
LH: What ridiculous thing has any one of your teachers ever made you do?
RN: Wear a stupid outfit and a wig. Because I'm bald now and I hate wigs anyway. I shave my head! Some of the most ridiculous outfits ever and also, when I was training for the stunt register, my brother used to have like these cartoon characters, and he made the costumes, and to get your equity card then, you had to have so many days of theatrical stuff, then you could apply to get on the register.
My brother's character was called Scouse Mouse. Little hardcore mouse and he had a array of friends like Big Bull, and one of them was a schizophrenic chicken with a broken beak and a quiff — Guess who he bought down to try the costume? Voila me! Thanks George!
So, he'd make you wear the costumes, you'd go down, and he'd do like apartments, garden fetes, he'd bust a Scouse to sell comics, and I was just like that mad little chicken — Full mask on! [Laughing hysterically]
LH: That’s funny! Nice… Who's been the greatest influence in your life?
RN: Fighting wise? Boxing wise?
LH: Whichever — you decide.
RN: Me mum! Me mum — no martial artists! So, me dad had a betting phobia, any money you would have would go to the betting shop and it was my mum — I touched upon this earlier — who’d work her arse off through the night! She was a fantastic tailor and would make these fantastic dresses. There was a woman round the corner who'd put hems on men's jeans, and she'd charge like in them days five pounds to put a hem on. They'd all come to me mum, she'd go, “Oh just give me 50 pence, or just give me a pound, or pay me later.” That was me mum. She's the one with these fantastic dresses, she would sell it, she would keep it going, etc, etc. But me dad would blow the money. So the influence was, me dad on the fight level, he'd teach us to box, he'd teach us the tenacity to get our arses off the floor.
We'd spar in the backyard, he'd say, “Drop your right hand, you drop your right hand… he’d throw a jab — classic — jab would come out, hand would go down. He warned me three times and suddenly… Bam! Stars and falling to the deck. I was like, “What the fuck?”
I looked up, He'd stand there, he'd look at me, I was stunned, and he says, “Whose fault is that? Now today's people go, “Oh my god, you shouldn't do that, phone the police!”
This is a different environment, not like now, you didn't know phone the police! If you came in just been beat, your dad beat you up and sent you back out — It was that attitude, don’t come in here crying, go back out! So, he said to me, “Whose fault is that?”
And I thought about it, and I said, “Mine!”
“Why?”
“I dropped my right hand”, and he said, “Are you going to do that again?” And I said, “No, oh no.”
He said, “What are you going to do? You had enough”
You stand back up, wipe your mouth, wipe your nose, wipe the blood off your nose, put your hands up, and we started again. That was what he gave me, tenacity, pride, I'm going to carry on… that’s what I owe him — The sense of humour, tenacity, boxing ability… there were other things where he fell on his arse basically!
LH: Has anyone ever tricked you into doing something?
RN: No, not really!
LH: Alright, so this is a confession…
RN: I never touched that sheep! [Laughs]
LH: Have you ever messed up really badly and nobody found out it was you?
RN: What’s that about? [Laughing hysterically] Why would I tell you? No, no, I mean, I'm not drunk, I'm above board, there you go. I'm a Scouse, I'm not giving a confession. What do you want to do? Put a spotlight on me!
LH: [Laughing] That’s a fair enough answer! So, if someone made a movie of your life, what kind of movie would it be? Comedy, drama, horror, sci-fi?
RN: It would be a bit of each! I look back… A lot of people say, write a book, write a book, write a book. I'm not ready to do that yet, yeah. And again, this is new to me. To write a book, I'm exposing everything about me. I might do later down the line.
It has to be a bit of each! It has to show, I don't want to be making any excuses, but I am — it has to show the reason why I am, is where I come from and my upbringing. Because I'm a great believer, what you are is a culmination of all of this. The traumas, the terror, the laughter, the joy, you are now a culmination of all of them. That's what makes you now. Because if you have none of them, then what a bland, vanilla character you are. At least I can sit there, I've got fair memories, I'm never going to get bored. Right, wrong, good, bad, I've got memories, that's what works!
LH: Nice… nearly done now, if you could just select one person from history who would the person be and what would the question be?
RN: Genghis Khan! Genghis took over virtually two-thirds of the world, my question would be, how much do you want? I mean, how much devastation do you want? How many deaths do you need to satisfy you, you greedy bastard? You got that, you took over that, you virtually took over two-thirds of the known world, when are you going to be happy? When are you going to be you? When are you going to say to the folks, you know what, I've had enough, let's have a laugh? Suppose that you couldn’t… because you've done that, so much bad to people, you're forever looking over your shoulder. You've got bodyguards around you, you can't be yourself, what a horrible existence that would be.
LH: Did you achieve what you wanted in life?
RN: No, I don't think you ever do, and the thing is maybe if you do, you stop trying. As much as I'm happy, it's like some people who do, stunts, or do acting, or stunts in particular, and they get so far, they start believing in their own press! I’ll say to them, never be happy, never be happy, because it will stop, keep trying to get better. Try and get better, try and get faster, try and improve. Don't settle, when you start believing in your own press, you stop trying!
LH: Absolutely, absolutely! OK, last question, you're there, you're there… [laughs as Ray crosses himself] — Describe your art.
RN: My art?
LH: Your art, what you do.
RN: I got asked once to do the fight scene in a Bollywood movie, and a young lad came over, the classic one basically. I was getting on a bit — I was doing the fight scene, he actually watched it.
RN: I got our stunt lads, and I’ve got him, and I'm playing a part. So, the Bollywood lads, and this young lad — 22 years of age, lithe, good body, physique, etc, and he came walking over to me, and I'm talking. We stopped and we looked at him, and he looked at me, just me, like that, and he looked at me, and he looked up and down. He shook his head slightly and walked away. My mate says, “What was that?”
I said, “What was that? I'll tell you what that was, that was basically, what are you doing here, you old bastard? That’s what that was about!”
“Really?”
“Yeah, that’s what it was!”
I’ve just done The Witcher. Loads of lads, special action extras — stunts — who know me, extras at the back. My mate, who is ex-army, SAS, he’s doing the drills and I was standing there. He said, “Listen, we’re passionate about blah, blah blah. Ray’s been in the business for 33 years, good lad, blah, blah, blah! He’s done major movies and he’s going to be going through the fights…”
And, I just scanned, like that, and I see four, five, six, and that look… what? Especially with the old beard, it's grey, I look like a psychotic Papa Smurf! And I see them all looking at me — who him? I look at their physiques, they look the part, I look down, I think — I’ll remember you, and I’ll remember you and you!
When I start kicking in, they see I can move a little bit, I’m quite nippy for my age, right? And in particular, when I've got one of them, I'm on it. Especially when you’re doing your thing, I’m cutting, I’m striking I hold them, I stare at them, and I’ll go, “What do you think? I’m not bad for an old git, yeah?” They’ll give you respect! Until then, you see, they're looking, they see what they're looking at, which is an older man, until they start moving around, then I'm on them — that’s the difference! Don’t judge people just by looking at them because you don’t know where they’ve been and what they’ve done.
LH: Brilliant, brilliant! Absolutely brilliant! Thank you, sir. That's been fantastic! So, wonderful of you to give us your time and sharing insights from within your life’s experiences.
RN: Thank you very much! It’s been nerve wrecking fun!
“Taiki-Ken: The Essence of Kung-Fu” is a seminal work by Kenichi Sawai, originally published in 1976. The book delves into Taiki-ken, a martial art developed by Sawai after his extensive training in both Japanese and Chinese martial traditions.
Kenichi Sawai (1903–1988) was a distinguished Japanese martial artist and a colonel in the Japanese army. He held high ranks in judo, kendo, and iaido. During his time in Beijing, he became a disciple of Wang Xiangzhai, the founder of Yiquan, a Chinese internal martial art emphasizing natural movement and intuitive combat techniques. Upon returning to Japan after World War II, Sawai synthesised his martial experiences to create Taiki-ken, aiming to capture the essence of Yiquan while adapting it to Japanese culture.
Under the chapter, “History of Taiki-Ken”, we are told by the author that the “subject of this book, has developed from Hsing-i-ch’üan” specifically and that the name Taiki-Ken, is the “Japanese reading of T’ai-ch’i chüan”.
In “Taiki-Ken: The Essence of Kung-Fu,” Sawai provides an in-depth exploration of Taiki-Ken’s principles, training methods, and philosophical underpinnings. The book emphasizes the importance of natural movement, mental focus, and the cultivation of internal energy (ki) as foundational elements of the practice. Sawai’s writing reflects his deep understanding of both Japanese and Chinese martial arts, offering readers a unique perspective on the integration of these traditions.
The training methods have clearly taken their inspiration from within the ‘internal’— Baguazhang, Taijiquan and Xingyiquan — schools and you can see the cross-over of these methods found within the book. I first came across this book several years ago after learning the 8 Walking Qigongs with my own teacher, Erle Montaigue, and found the same methods, albeit with a variation here and there.
The book is structured to guide practitioners from basic postures and exercises to more advanced concepts, making it accessible to both beginners and seasoned martial artists. Sawai’s clear explanations and illustrative anecdotes provide valuable insights into the practical application of Taiki-ken techniques. Additionally, the text delves into the philosophical aspects of martial arts training, encouraging a holistic approach that encompasses physical, mental, and spiritual development.
“Taiki-Ken: The Essence of Kung-Fu” has been praised for its comprehensive coverage of Taiki-ken and its contribution to the broader understanding of internal martial arts. Sawai’s firsthand experiences and his dedication to preserving and adapting traditional martial arts make this work a significant resource for martial artists and enthusiasts alike.
While the book is out of print, it remains a valuable resource for martial artists interested in internal martial arts and the development of personal combat skills. Occasionally, secondhand copies become available through online retailers.
In summary, “Taiki-Ken: The Essence of Kung-Fu” provides an insightful exploration into Taiki-Ken, offering both theoretical and practical guidance. Kenichi Sawai’s work stands as a testament to the depth and adaptability of internal martial arts, making it a worthwhile read for practitioners seeking to enhance their understanding and application of these principles.
Reverend Anthony Sean Bedlam Pillage 1961 - 2018
Grandmaster Brian Jones
A Pioneer of British Martial Arts 1939 - 2019
1973 - 2018
Scott ‘The Devil’ Caldwell
Alexander M. Krych 1957 - 2014 Chief Instructor of the Erle Montaigue System North America
Pictured here with the legendary Fu Shu-yun - his teacher before meeting and continuing his training under Erle.
1949 - 2011
Erle Montaigue
Taijiquan, using a couple of passages which appear in a piece of classical text attributed to Yang Ban-hou — the only other Yang to have been given the title “Invincible’ or ‘Unmatchable’ after the founder Yang Lu-ch’an, himself.
Since this is a classical text with deep philosophical implications, it should be noted that alternative interpretations of certain passages are possible and most certainly exist, and that some nuances may be lost in translation. I must clarify — I can neither read, write or speak Chinese as a language. My Chinese is limited to the lexicon of Taijiquan, having said that, in today’s modern era, there are many online sources — dictionaries and thesauruses — available which can help even a novice gain better understanding. The language of Taijiquan, like any martial arts, is a specialist language containing nuances and technical meanings specific within a given tradition. If this is not your tradition or understanding — so be it!
The term ⽂武 (wén wǔ) is particularly rich in meaning:
⽂ (wén) can refer to: scholarly, refined, gentle, internal, or cultural aspects
武 (wǔ) can indicate: martial, dynamic, forceful, external, or physical aspects
An Explanation of the Civil and Martial Aspects of Taiji
The civil/cultural is the foundation, and the martial is its application. The achievements of civil cultivation lie in how martial applications utilize the essence, energy, and spirit. This constitutes physical education. Martial achievements gain their cultural foundation in mind and body. This constitutes martial affairs.
For both civil and martial matters, there is timing to consider — like the heat control in firing a kiln. In studying texts, finding the right timing is the foundation of physical education. In martial affairs, using civil and martial aspects in confrontation lies in knowing when to store and when to release energy — this is the root of martial matters.
Thus it is said: In martial affairs, the civil aspect provides suppleness and physical training — it is the sinew and strength of essence, energy, and spirit. The martial aspect provides hardness and practical application — it is the bone and power of mind and body.
Without martial preparedness, the civil has form but no function. Without civil accompaniment, the martial has function but no form. Like a single tree cannot provide support, a single palm cannot make a sound. This principle applies not only to physical education and martial affairs, but to all things.
The civil is internal principle, the martial is external technique. Having external technique without civil principle will surely result in reckless courage that loses sight of one's true nature — attempting to deceive the enemy will surely lead to defeat. Having civil principle without external technique means only pursuing peaceful studies without knowing practical application — the slightest error in combat will lead to destruction.
How can one not understand the meaning of these two characters — civil and martial — in their application to human affairs?
The Threefold Division of Tai Chi's Scholarly and Martial Principles
This text describes three levels of mastery in the integration of civil [⽂] and martial [武] arts:
a. Highest Level: Complete integration of internal and external practices
b. Middle Level: Achieving one aspect through the other
c. Lower Level: Mastering only one aspect while neglecting the other
Speaking of the Way, one cannot achieve it without self-cultivation. It is divided into three vehicles (levels) of cultivation methods. 'Vehicle' means achievement. The upper vehicle means great achievement, the lower vehicle means lesser achievement, and the middle vehicle means achieving through sincerity.
The methods are divided into three, but the achievement is one. Civil cultivation is internal, martial cultivation is external. Physical education is internal, martial affairs are external. When the cultivation methods of both internal and external, surface and depth, come together in achievement — this is the great achievement, or upper vehicle.
Either achieving martial ability through physical education's civil aspects, or achieving physical education's civil aspects through martial ability — this is the middle vehicle.
However, those who only know physical education without entering into martial affairs, or those who focus solely on martial affairs without engaging in physical education — this is the lesser achievement, or lower vehicle.
Taiji Fa Shuo Explaining Taiji Principles
Yang Ban-hou [circa 1875]
So, what has this to do with the boxer’s greeting?
In our inherited tradition, this exemplifies the ideas of Wén Wǔ as described above.
Wén is represented by the open hand/palm, representing the scholar, or the civil/cultural aspects — akin to a blank piece of paper upon which you are free to create.
Wǔ is represented by the closed fist, reflecting the boxer, or the martial/military aspects.
When Wén Wǔ unite, we have balance and harmony both within and without. At this level of attainment, the self and ego has been destroyed. The scholar and boxer coexist peacefully — contemplating and learning
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Tommy Joe Moore
Gavin Mulholland
Krish Pillay
Colin Power
Gavin Richardson
Editor: Nasser Butt
The Art of Louiseneige Be
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