Learning Martial Arts - Martial Arts Teachers in Modern Time

The following article that I am writing is going to be a rather controversial piece, and could differ slightly from individual reader's experience, background and location.
However, the main objective for this article, is for my personal development, to become whom I want to be.
For trainers, I wish this article will help you in educating your learners.
For learners, I wish this will help you establish the right attitude in training as well as finding a good trainer for yourself.

Titles for Chinese Martial Arts Teacher 

We often hear people calling teachers, whom are master in their craft/arts, in the oriental culture, sifu. We have similar in other culture, but I am going to just address this with regards to the Chinese culture.

Sifu/shifu 师父, literally means teacher+father. Grandmaster = 宗师, Master = 大师, Teacher = 老师, Coach = 教练。Another title that is pronounced exactly the same as sifu is, 师傅, which means Mentor.

There's are titles that Chinese are very familiar with, but could be confusing for people not exposed to the Chinese's culture. Also, there are certain instructors that are very particular about these titles.

Technically speaking, for an individual who has a high level of expertise in his art, the most honorable title one person could give to him would be "Master", "大师”。Titles like Grandmaster 宗师 are of course even more honorable. Not only does it mean that this individual is highly skilled, but it usually means that he also has a huge number of students, and even grand-students. Not many people are able to earn this title, or deserve this title within their lifetime, and those who does are truly commendable. One could address another as master, or grandmaster as a respect for his achievement, but need not necessary a student of this master or grandmaster. Due to the Chinese's virtue of humility, such titles are often conferred, and should never be self-proclaimed.

The title of Sifu 师父, is not a title earned easily. In fact, most Sifu should be 师傅, rather than  师父.
Please understand that, even difference in a single word could have a total different meaning in the Chinese language. Let's break up these 3 syllabus，师，傅，父。

师, generally means specialist in a particular topic, or teacher.
Example, 工程师=Engineer, 医师=Doctor, 设计师=Designer.
老师 is teacher, simply because in ancient times, teacher are usually elders, as 老=Elder, and students do not go to school to study mathematics or science, but simply virtues. Thus, the studied elderly are usually the teachers in the school.

傅，means tutor, or to assist.

父，simply means, father.

Origin of the Title: Sifu 师父

In older times, especially the pre-republican period in China, martial arts is not widely spread and learnt like it is now. Back then, martial arts are only taught in a few situations, I'm not going to talk about every situations here, but only a few pertaining to the topic of this article.

A lot of Master whom made a name for themselves by teaching, or by defeating several opponents on in fights/challenges/ring, were often hired by rich businessmen or officials, to teach martial arts to their sons. The Chinese believe that learning martial arts will instill discipline, perseverance and endurance in their sons, as well as improving their health. Several well known martial artists were actually from wealthy family whom started learning martial arts because of their weak physique when they are young. Very often, such engagement of the master's services was a rather long term, and the Master will be residing within the family's compound, and be paid and have his meals provided by the hirer.

One such example was Grandmaster Liu Yun Qiao whom popularized Ba Ji Quan in Taiwan. As a child, Grandmaster Liu was in very poor health. At the age of five, at the request of his father, he learned Tai Zu Changquan (Emperor's Longfist) from their family bodyguard Zhang Yao Ting in order to help improve his condition. His initial martial arts training was intended to activate improved blood circulation and activate his qi. When Liu was seven, his father hired the Ba Ji Master Li Shu Wen. Well known for his martial arts skills throughout five Northern provinces, he became Liu's personal trainer, living in the Liu estate. For more than ten years Liu was personally trained daily in Li Shu Wen's system of bajiquan, pigua zhang, and liuhe da qiang (six harmony big spear). This provided Liu with a solid foundation in the martial arts which lasted throughout his life.

During the tenure of services, the martial arts master often taught more than just martial arts, and often play an important role in the upbringing of the student, and as the teaching usually begins as a rather young age, it is not uncommon for them to be seen as a fatherly figure in the eyes of the student.

Apart from such engagement, martial arts master would either roam the country seeking for people in need of their services, or start a martial arts school in a town to pass on his arts. A master whom have a school in town was often very well respected in the town, and will be the go to guy if there's dispute, robbers or pirates attack. The master will usually observe, and selectively pick his "in-door" disciples, whom he will passed all, or most of his arts to, and usually along with certain medicine prescription that was passed down to him by his own Sifu. Disciples of this caliber, often end up staying with the master, and are taken care of by the master and his family. Thus, to the student, this master became his martial arts father, thus the term, Sifu 师父. When it reached such stage of learning, most teaching were no longer part of a commercial dealing, but simply like a father to son relationship.

Most people continued the traditional of addressing their martial arts mentor, Sifu 师父 today. Personally I am perfectly alright with this, but as much as it could be just a title, the mentor have deserve this title. For the learner, addressing your mentor as sifu shows the respect you have for him, and for the trainer, to earn this title, you have to work hard to earn it.

Undesirable Traits of a Mentor in Chinese Martial Arts

Chinese martial arts is a complex subject to learn, and even more so to teach. As such, there's a few traits that I have observed from several martial arts instructors that I feel should be corrected.

I am your father sifu

As I mentioned in the above passages, the role of the instructor in Chinese Martial Arts have differed from older times, and as such, titles that address the mentor as a second father is no longer deserving anymore. At least in most part of the world. 

There are martial arts teachers out there today that still insist on being address, and even treated as a Sifu/martial arts father. Such individuals often exert their authority by claiming that such respect and authority should be given to them as part of the traditional of Chinese martial arts. However, they do not often treat their students as a son or daughter as part of what the real traditions really mean, and thus, I have my doubt if they should deserve the kind of treatment they desired.

These teachers could be highly competent in their skills, and feel they deserved to be given the fatherly authority and respect due to the commitments they put in to master their skills. Very often, the real reason for them to be holding martial arts classes is not to pass on or spread the arts, but rather to boost their ego and make them feel good about themselves. 

Furthermore, the lines between teachers and students are more clearly drawn nowadays. Often, it's simply a commercial transaction. Modern days students treat learning martial arts no different from attending a cooking class, or a tennis lesson. He will pay a school fees for X number of lessons, and have a desired outcome of that particular subject at the end of the course.

Students are more influenced by the western education system and culture nowadays, where respect are given to individuals whom have proven themselves to the student, unlike oriental culture where one must naturally submit to anyone who is more senior in age or status.

Such mentality in teaching generally backfire, as they make students feel uneasy and getting pushed around for reasons they couldn't understand. In my observation, it is very unfortunate if an individual (especially adult learner) meet such teacher as their first Chinese martial arts class. When they leave the class, they typically when dismiss that all Chinese martial arts instructors are like this, and when likely not learn Chinese martial arts again.

Acting Smart

Pretty often, we will see a Grandmaster featured in a Kung Fu movie, say a short Chinese phrase, or do a simple gestures, and while the rest of the people were confused by what the Grandmaster is doing, the lead actor would be enlightened. This has to do with the Chinese's culture again where they believe, 智者不言，言者不智. "The wise will refrain from speaking, the one speaking is not wise." Conservative and traditional Chinese feels that, there's a lot to be learn from the unspoken, and often think that one should teach by hinting, rather than imparting the knowledge directing.

To a certain degree, I am in agreement. For many crafts and arts to be learned, it is true that many people ask too many questions before attempting and practice, and they end up confusing themselves. Say in drawing, one would have to learn to draw a straight line first. Everyone assume they can draw a straight line, but just take a piece of paper and try to draw a straight line without a ruler, can you do it?

Chinese always say, you got to learn to walk before you can learn to run.

However, some instructors don't truly why their teachers only tell them certain martial arts phrases 口诀 at certain time, or do not fully understand such teaching pedagogy, and perhaps their teachers also didn't understand what their teachers are doing. We have to understand that in the conservative Chinese environment, it is often deem to be a rude behavior to question your senior's action. So, they ended up with, monkey see, monkey do, continuing to teach the new generation of students just like how they were taught; except, students in today's time are no longer the way they used to be.

Adult learners nowadays are comparatively more inquisitive when learning, and very goal oriented when learning. In fact, that is how modern education system mould them to be like. Learners are not able to learn blindly if they do not understand the intention behind the practice that they are doing, and even if they do so, they would not be able to last too long if their curiosity is not fulfilled. 

The problem with some teachers are, they might have feel that they are smarter than you because he could read out the phrase that you didn't know, or they understand it themselves, so should you. Or, it could be simply the case of, they do not know what it means either. Another problem that we are facing today is, most of these martial arts phrases are written with old Chinese grammar, that sometimes doesn't make sense even if you could read the words.

Teachers have to be a bit more patient with explaining this theories to the learners, and also, only reveal the information at the right time to avoid confusing the learners. Some teachers like to tell all the kung fu phrases to the learners at one go, explain a small part of it, and then dismiss it. I personally do not think it's a right idea, and think it's the teacher's duty and responsibility to understand and explain, verbally or non-verbally any information he would want to disseminate to the students.

Over-Teaching

Another aspect that is often ineffective and harmful to the learners is over-teaching. There are some teachers whom are well versed in various martial arts styles, and seems to be proficient in multiple martial arts forms and style to the unknowing students. As much as one could argue that different martial arts styles share many similarities, but for one to be highly proficient in both theory and martial arts in just a single martial arts style requires a lifelong dedication. 

Example, Grandmaster Yip Man of the Wing Chun Style, Grandmaster Chen Xiao Wang of the Chen Style Tai Chi, Grandmaster Wong Fei Hung of Hung Gar. All of these Grandmasters became a grandmaster, highly skilled, lots of great students, simply because, they spent their lifetime honing a single craft.
The truth is, despite the similarities among various martial arts, each of the martial arts are able to be known as a particular style is due to each of their unique approach in both training and applications. It would be foolish and shallow to undermine the depth of each martial arts style. 

However, it is pretty common for martial arts practitioners to be doing cross training, be it out of curiosity, for complementing what they know, family traditions, or sometimes, just luck of fate. But usually, any highly skilled martial artists are accomplished because of a strong foundations in  just 1 or maybe 2 martial arts style. Once they have acquired a strong fundamentals in one style, it usually become easy for them to learn new styles due to their improved body coordination and body efficiency. But when it comes to natural reflex actions, they will still execute their foundation martial arts instinctively until they practice another martial arts hard enough that it became instinct as well.

The problem of over-teaching comes when the teacher have to teach a complete syllabus of a martial arts style that is not his core subject to a new martial arts learner. Usually when the teacher learns the new style, due to fact that he already have a high level of fundamental skills in another arts, he do not learn from the ground up. As such, unless he spend a lot of time thinking about it, he would more likely find it challenging to teach the subject from ground up. The problem with most Chinese teacher is, "face", or simply put, ego. it would damage their ego to admit that they are not familiar with teach the basics of that style, after basic is easy right? 

Thus, when being put into such situation, they will often try to supplement what they do not know with either more exercises, or with exercises from other styles and try to convince the learners that all of these skills are the same. Simply state, "If you can't convince, confuse."

Such instructors usually overwhelms their students at the beginning with lots of different exercises and applications, and after a short while, seem to run short of specialized subject to teach. Learners will often feel that they are not learning or improving and give up considering that martial arts is too complex for him.

Master Awesome 

Some teachers spend alot of time training talking about the kind of tough exercises they did in their younger days, or how students nowadays are incomparable to those during his time. The subconscious objective of such effort is simply to make themselves feel good by putting his students down. Simply, ego boosting.

Such.types are usually tandem with the "I am your sifu" types as they both seek ego magnification rather than martial arts education.

Such behaviors often discourages students then to motivate them to prove themselves better.

See no touch
One of the most common kind of teaching is what I call the see but no touch teaching. What it means it, whatever martial arts that are being taught, are meant to be performed and display as a form, but not meant for any practical applications. I could be offending many teachers or even martial arts practitioners. But this is something all Chinese martial arts practitioners need to change to lift the reputation of Chinese martial arts.

A lot practitioners, teachers or learners alike are doing Chinese martial arts as a dance performers. Thus, in Europe, people are classifying them as Wushu, and those with practical usage as Kung Fu. But in reality, there should be no such differentiation. The real face of Chinese Martial Arts is fighting and self defense. But take the set routine or application out of the equation is like remove a steering wheel from a car, or blade from a samurai sword.

There are teachers whom teach, and probably also learn that Chinese martial arts is a culture, used to build up discipline, health, and perseverance, and because the modern have no longer any need for martial abilities, we do not have to learn it anymore. If such thoughts were to continue and widespread, Chinese martial arts will evolve to be another dance in 20 years time, and we will definitely lose it culturally.

Learning Chinese Martial Arts - Purpose of the Set Routine

David Lines, my Tai Chi buddy brought up the topic of me writing about "Training Tai Chi" several times, so I thought, maybe I should just start writing down my thoughts when it come to my mind.

Common Reasons People Practice Chinese Martial Arts

Probably one of the most common problem I have seen with fellow Chinese Martial Arts (CMA) practitioners among me is, the attitude towards CMA, regardless it's Internal or External forms.

In today's time and day, alot of people never regard training CMA as a way of self defense, or never prioritize their combat effectiveness when deciding to practise CMA. Well, at least from what I seen in Singapore. I believe this could be very different in a place like China where some people are born in a CMA family, or in poor villages, where they would send their children to CMA school since young so they have a chance to be out of poverty.

1. Some people train CMA, because they are inspired by movies. Every time a  CMA movie is screened, like Ip Man, Once Upon a China, there will be a huge following for around 3-6 months. These people don't often do enough research regarding the CMA that's being featured, and didn't realise in today's cinematography, much of what we seen in movie looks really inspiring because of video editing, sound effects, lighting, and of course visual effects. I do not mind such reason, in fact, I don't mind any marketing strategy so long we can promote CMA. My concerns however will be, will they find a teacher that can show that what that CMA is about, or will they end up finding a teacher that teach the subject just because of it's "market value".
2. Some people do CMA because they are intrigued by Chinese cultures. This applies to chinese and non-Chinese. Non-Chinese start learning because curious about the concept of Yin and Yang, and the seemingly health and self defense benefits. Some Chinese do it, because they want to do something that remind them of their roots. I have met training brothers whom do it, because they feel this is what their ancestors did, and thus, as tradition, being Chinese should continue doing this. A pretty noble reason, and I definitely respect that.
3. Some people do CMA because they believe in how doing CMA will train one's chi. This usually applies to many people who decide to internal forms. Many believe in the benefits of chi to health, though alot of people are not able to explain what exactly chi is. People who falls into this category usually spend most of their time doing stationary stance training known as 站庄, doing the patterns, or doing breathing exercises or, gathering chi 采气.

Personally, I do not see wrong in any reason of why one would want to start practising CMA. In fact all of them are legit, except they might be good cause to start, but may not bring one too far if the thinking and approach doesn't change, or get influenced.
Also, there are plenty of CMA instructors out there, whom adopt the same thinking and approach towards CMA. However, I shall reserve my comments regarding their competenc

Moving on here, let's us look at, what is Chinese Martial Arts today?

Chinese Martial Arts as It is Today

The origin of CMA, like any martial arts, is the same. To kill, to defeat, to defend. As much as how many often CMA have been perceive to be dance, or a chereographed gymnastics, it's martial arts! Any martial arts are instructed, to do a simple objective; To defeat your opponent. So, to remove this objective out of CMA, is akin to removing the steering wheel from a car.

So, why do CMA take the form it is today?

1. This first point is an opinion I formed from reading several sources, and honestly, I can't be sure of it's authencticity. I welcome any reader to correct, or provide me any concrete information to affirm or to dispute this point.
   I believe, up to the Ming Dynasty (1368–1644), the last empirical dynasty of the "Han Chinese", CMA was commonly practised. In fact, people probably don't call it Chinese Martial Arts since there are no needs to differentiate it's nationality. Martial arts are probably called, Kung Fu 功夫 (which means effort), or Wushu 武术 (which is a more direct translation of Martial Arts). Several martial arts, like Hua Quan, Tang Lang Quan (Pray Mantis) are known to be invented during this era. It's also during this era, that people start to record, and document down martial arts.
   When the Manchurian overthrown the Ming Dynasty, and started the Qing Dynasty, they started movements to wipe out the martial arts fraternity with China as, the Manchurians are actually a minority race of China, and majority of the martial arts fraternity are the "Han Chinese". The Hans always have the ambition to overthrow the Qing Dynasty and return the governing authority back to the Hans. This is when we always heard about the slogan 反清复明 (Rebel the Qing and recover Ming), and of course, during this period, there's also rise of anti-Qing faction like "Hung Men" etc.
   Probably the most "iconic" incident that the Manchurian government did to overthrow the martial arts faction, was the destruction of the Shaolin Monastery.
   I believe that, during this period, many martial artists who have to "repackage" their martial arts, so that instead of appearing as martial arts, they look like exercises, or aerobics practices. This is probably to help them avoid getting into troubles with officials or patrols.
2. Secondly, set routines and patterns that are probably designed to allow teacher to structure their teaching, so that they could do one-to-many teaching within the shortest period of time. I could see how this could be necessary, especially during war times where generals will have to train their recruit to be ready for battles within the fastest time possible.
3. Also, there's a probability during peace time, teacher teaches set forms and routines to a whole group of students, while observing their potentials and attitudes. The teachers would then selectively choose which are the students that are worth their time and effort in further development so that they would bring glory to their martial arts and ancestors. Only upon specially selected by the teacher, would the students then learn the real usage and any underlying purposes and meaning of the taught routine.

So, now we look at the root of routine/set pattern creation, let us analyze how it reached it's "form" today.

Firstly, based on point 3 above, we see that a teacher will be selective in passing down his "secrets" to his students, thus, from that one teacher, we are going to assume, there will be mainly 2 groups of disciples. One, will be a small and selected group of students that learnt the "real" martial arts and acquired the complete knowledge of that particular arts. They will be a second group, that learn the set form, and routine, probably learned some basic functions of the moves and acquired physical conditioning due to practising of the routines.
Sooner or later, all these students will leave the teacher for various reasons, and obviously quite a few of them will return back to their villages and attempt to make a living by teaching martial arts. Back in the village, if one is fortunate, he will meet the teacher whom learn the "real" arts, and of course, they will be others whom ended up learning from the other type of teacher whom appear physically strong and abled to people whom have never done martial arts.

Such effects, will definitely trickle downwards, and as of the time we are today, I doubt I will be paranoid to think that, there are plenty of CMA instructors whom don't completely apprehend the arts that they are teaching and thus, would just focus of the display of the routine sets.

Secondly, the society we are living in this past 20 years are definitely very different from how it was in the past. In the past, many have to take justice into their own hands, personal safety is your personal responsibility as opposed to the law and order we have instilled in the recent decades, especially since we could empower authority with weapons like guns, and banned anyone else from carrying any weapons at all.

Due to such transition of the society, which is definitely a good thing for mankind, more and more people do not see the need for having self defense capability, and even due to lower risks, and in fact, less intimidating risks, CMA which are designed to be lethal and devastating start to lose it's ground.
Most people who want to learn self defense, just want to get themselves out of trouble quickly, and run away. If I were to kill someone in self defense, I would probably be apprehended on the charge of manslaughter. Frankly speaking, this is definitely not what I wished to happen no matter how much I wish I will be competent in CMA.

Traditional CMA are designed to kill in battlefield, and have plenty of moves that designed to strike eyeballs, hitting at vital points or breaking opponents' limbs, all for a simple reason, we Chinese have smaller physical statures than our neighbors. It would be foolish to try to defeat your opponents with brute forces due to the natural differences in physical strengths. These are very "unfriendly" fighting methods, and thus are unsuitable for sports fighting. However, if we were to remove these techniques from CMA, the CMA will be greatly weakened for it's intended purposes. Honestly, if one were to think that CMA is just a dance and do not have any combat effectiveness; let's ponder, how could it have survived and get passed down after hundreds of years?
In summary to this point, peace time have watered down CMA, so much so, most people stop talking about it's combat usage, and what's left is the set forms and patterns.

Mentality in Training Chinese Martial Arts

We might not have much usage for what CMA is designed for, but for people who want to seek higher grounds and capabilities in CMA; I think it's highly important to analyze it's functionality. I had personally train in set forms and routines for many years, and eventually, I reached a bottleneck and wondered what all these are for?
If it's for physical training, it will be more effective if i do swimming and running. If it's for self defense, I probably learn something really quickly with Arnis or Muay Thai. If it's for chi,why not just do meditation? Doing the set forms without knowing the purpose behind it gets boring very quickly, and one will either give up very quickly, or move on to learning one set after another so he is constantly learning.

Purpose of Practicing a Set Routine

1. Posture correction and Physical Conditioning
2. Building subconscious actions and reactions
3. Improving body mechanics efficiency
4. Continuous movements/ Follow up movements
5. Improving Chi's energy capacity and flow
6. Building space awareness

Posture Correction and Physical Conditioning

One of the most commonly known and important aspect of practicing Set Routine in CMA is actually to attain a correct, or rather "effective" body posture. Effective in a  way that applies to the family of martial arts that one is practicing. Common corrections are, keeping the body upright, relaxing the shoulders, pushing out the knees so it doesn't become a weakness etc.

Also, maintaining the low stances in training, and doing impractical high kicks are all part of physical conditioning and training. Of course, no one will sit that low in an actual combat situation, it's merely to strengthen your thigh. Bruce Lee always perform high kicks in demo, or in movies, but when he is in a real sparring situation, he never kick above waist level. We have to understand, there's no gym or training equipment that we have around us more than 100 years ago, so trainers have to be creative in designing their training to fulfill the training in their core muscles group.

Building subconscious actions and reactions

Although alot of CMA have similar stances and moves, they could differ mechanically. Thus, every CMA family would have their own unique set routines which are designed for the trainees to practise so that they will get familiar with utilizing the moves in a combat situation. The fastest way to react to an opponent, is but reflex action, rather than intended reactions. The only way we could do to hone our relax action, is to repeat the same actions repeatedly.It is also importantly for the trainee to be thinking about the intended usage while practicing the set routine so that he could react subconsiously during the situation. 

Almost all highly skilled opponents I have met, usually counterstrike first, before being able to explain what they did. In fact, those whom have lesser experience in teaching, are able to explain precisely what they will do in any preassumed situation as their subconscious reaction will differ with even a slight change in opponent's move.

However, most CMA practitioners don't often have the patience and the vision to be commit themselves to constant practising of the same set routine over and over again. I believe one of the reason is because most of them practice their set routine to perform rather than to fight. Thus, instead of training til it became subconsicious, they are more interested in achieving a appealing posture which can be achieve considerably alot faster than implanting the moves into the subconscious minds.

Improving body mechanics efficiency

When a trainee repeats the same moves repeatedly, another outcome than one could achieve is body mechanics efficiency. Body mechanics efficiency could apply in throwing punches, evading moves, warding punches etc. Body mechanics efficiency is particularly important in CMA due to the philosophy of using weaker effort against strength. Chinese reverred the Water aspect in nature, and believe that "Water" though appear to obliging and compromising, can be strong and powerful. For water to be strong and powerful, the flow will have to be smooth and efficient. In fact, alot of CMA refer to water as the way to move, continuously, minimum effort yet very powerful; and those these can only be achieved by being efficient in body mechanics.

Also, as brought up earlier, for hundreds of years, chinese have be fighting opponents from Russia, Mongols, whom are larger and stronger physically and have thus develop their techniques to be more efficient so as to counter the strength their opponents' possessed.

Continuous movements/ Follow up movements

As mentioned, being like water, means having moves their are being executed consecutively and seamlessly like water flowing. Most traditional CMA set routines are designed making assumption of all the possible scenarios in a combat situations. Having that said, some designed to face an opponents using a saber, long weapon, on horseback etc. It's often good to study the root of that particular routine set when practising. Having said, most of the moves are designed to be executed one after another, and are not often singular in usage as it will be overconfident to assume one can knock out an opponent with a single blow. Thus, by practising the routine set, with understanding of the movements, along with subconscious actions, trainee also acquire abilities/knowledge in following up attacks or defense.

Improving Chi's energy capacity and flow

In this article, I do not intend to talk alot about this mystical topic of Chi. In my opinion, chi is a sensation of body mechanics efficiency within the bloodflow. It's my personal opinion that, when the body learn to be relax in execution of the move with it is efficiency. Body relax = Increased sensitivity, efficiency = more blood flow in the vessels, and all these, are called, "Chi"

Building space awareness

Most, if not all traditional CMA set routines are not designed assuming enemies will only come from the front. As such, they are planned so the practitioners will be familiar with turn around to face opponents, are moving in different directions so they develop their sense of space and direction. Most set routines usually begin with the practitioner starting in a particular position, facing a certain direction, and ends with the practitioner ending facing the same direction, and around the same area.

With sufficient practices, the practitioners learn to more familiar with where they are in relevance to where they started which could be very important when they are fighting in a formation, or fighting in a rather enclosed space which they could use it to their advantage.

Also, there are certain CMA which focus on throws that actually make the practitioners throw and flips themselves intentionally so they to deal with the change in space in the event they get thrown in a fight.

Correct Attitude in Practicing Set Routine

In conclusion to this article, I would want to emphasize the importance of practicing set routine, and the mentality one carries with him/her when practicing it.

By learning CMA via it's set routine with just the purpose of performing, one will be nothing more than a dancer or a stage performer, and could not consider one as a martial artists. In fact, the practitioner will lose faith in training sooner or later, and be frustrated and confused regarding his/her progress.

When a person learning CMA without sufficient practice of the set routine, and attempt to use it in combat situation, he/her will very quickly find him/herself in a situation where he/her start utilizing brute force, and run out of moves very quickly, or, end up revert to other moves.

By learning multiple CMA at one go, without having a priority or focus on anyone of it, one will never be good or competent. Very simple, multitasking when never allow one to be accomplished in a particular task. As the saying goes, Jack of all, master of none.  

In my opinion, for one to be accomplished in CMA training, one of be diligent in practising in the set routine designed for that art. Do it everyday, 3-5 times, even 10 times a day. I understand it's not easy in today's hectic work/life routine, but we should not not do it just because we can't. Meanwhile, one have to study the combat usage of the art. I'm not encouraging anyone to be aggressive, or challenging, but to spend time to study about the purpose of every single movements that you practice in your set routine. All of them are there for a reason, and they are follow up with the next moves with a reason too.

In today's world, the needs of one to be highly skilled in martial arts is diminishing, however, if anyone were to have interest in Chinese martial arts, I encourage you to be diligent and intelligent in training. The learning curve is steep, but once you start to understand what you are doing, you will achieve a mental accomplishment that will spur you on in learning. Learning Chinese martial arts is a lifelong pursuit, and I would hate to see martial arts fade off with time. In fact, sometimes I am afraid, in another 50 years, Chinese martial arts will be nothing more than a dance.

I will be devoting my time in learning this art, and hope that we, together will keep this art true intention in time to come.

Fajin in Taijiquan by Howard Choy

This article appeared in T'AI CHI Magazine, Vol. 34, No. 1, Spring 2010:


 

Taijiquan and the Qi Connection By Howard Choy

Whenever I introduce Taijiquan and Qigong to a new audience, invariably I am asked the question, "What is the difference between Taijiquan and Qigong?" I would go through with my audience a list of attributes for Taijiquan and then Qigong. We would look at the similarities and the differences between the two and then arrive at the simple conclusion that Taijiquan is a form of Qigong with self-defence applications. So far, so good . . . until I was asked the follow-up question, "Is Kung Fu also a form of Qigong then?" "Yes," I would reply. "All Chinese martial arts are forms of Qigong. As a matter of fact, at the highest level there are no differences between Kung Fu, Taijiquan and Qigong." By then everyone is confused.

I think the confusion comes about because our Western logic teaches us that if A is A, then A cannot be A + B at the same time. We tend to compartmentalise things that we have to do or to learn intellectually. There is no place for integrated thinking. Specialisation is the order of the day. It is not uncommon for some teachers to advise their students not to study Taijiquan and Kung Fu at the same time. They say that one is an internal art and the other is an external art and that the two just don't mix. We now have Kung Fu tournaments as distinct from Internal Arts tournaments. Guoshu is considered to be real Kung Fu while Wushu is not. Meditation is not Kung Fu and Chen style Taijiquan is not the same Taijiquan as Yang style Taijiquan and so forth. What a misunderstanding of the essence of Chinese martial arts and the diversity of its expressions!

Take Taijiquan as case in point. From its humble beginnings in the Chenjiaguo Village, we now have a large variety of family and "official government" styles, as well as a distinct separation between what Tung Ying-chieh would have termed the martial and civil accomplishments of Taijiquan .
To quote a passage from Tung's Secret Method as translated by Douglas Wile: "In Tai Chi Chuan, the ability to cultivate oneself physically and spiritually, but not to defend oneself, is civil accomplishment. The ability to defend oneself but not to cultivate oneself is martial accomplishment." He goes on to say, "The ability to teach people the art of self-cultivation and self-defence, both cultivation and application, is complete civil and martial Tai Chi."
Instead of integrating the martial and civil components of Taijiquan we now have teachers who specialise in Taijiquan as fighting art, or as a health and healing exercise, or Taijiquan as a philosophy and a way of life. They don't understand or refuse to acknowledge that Taijiquan in its complete form is an integration of self-defence, self knowledge and self well-being.
It is good business to advertise: "Real Taijiquan is declining because real Taijiquan is about fighting and no-one knows how to fight with Taijiquan anymore except me". Or, "Real Taijiquan is about self-enlightenment. We can show you the way because our teacher is a Taoist Monk and we teach Taoist Taijiquan". In this way, Taijiquan is simplified and made into a clear image of black and white to sell to the gullible public. It is a gross misrepresentation of Taijiquan, not unlike trying to draw the Yin/Yang diagram with a straight line through the middle. The straight line divides the circle into two separate halves instead of holding it together with dynamic tension as would an 'S' line through the middle.

What is this force that holds the opposites together in dynamic tension? I got my answer when I once asked my teacher, Master Chen Xiao-wang, "What is the essence of Taijiquan?" I was expecting a complex answer. Instead, he simply said, "It is all about the interaction of Yin and Yang and Qi circulation." He said that Qi, our vital force, is a bit like electricity. It requires a polarity of negative and positive, or Yin and Yang dynamics for it to flow. The movements of Taijiquan, if executed properly, with correct breath and mind intent, will provide the polarities to activate and to maintain qi flow to nourish our body and our mind. Illnesses result from qi blockages and qi deficiency, which Taijiquan can prevent from happening. The Seven Emotions will affect our health and well-being because they are also forms of qi blockage. Unless we gain control of our qi circulation, we have no hope of being healthy, let alone being enlightened.

Master Chen Xiaowang

 

"What about self-defence with Taijiquan?" I asked. He said that to fight is to let loose a series of concentrated doses of your qi. Fajing is an explosion of qi flow. In Taijiquan, you don't pre-plan your fight, you react to your opponent's attack with an air of relaxed mindfulness. The Classic says, "Where the mind goes, qi will follow and action results. "Fear and tension will hinder our qi flow. We need to remain relaxed and loose at all times, as we struggle with our opponent. Without warning, my teacher proceeded to strike my head with his palm. Without thinking, I blocked him with my arm held upward. He smiled and said, "There you are, 'White Crane spreads its Wings!"
The next obvious question is: "How do you gain this Qi connection and Qi circulation?" Again he replied succinctly: "By getting the feel of it first." He said that the reason we repeat the Taijiquan movements slowly and deliberately, over and over again, is so we can feel the qi on our body gradually. We do Push Hands with each other so our qi can be put under pressure to test its connections (Peng jing). If our posture is out of alignment, our qi will break and we will be pushed over. If we lose our concentration or lose the feeling of the connection of qi in our body, we will be "penetrated" and be pushed over also. We perceive and react to the outer world through our five senses. Without feeling, or the awareness of qi in us, we are not really alive.

Press jing	Peng jing

One simple way to get in touch with our qi is to do "Zhan Zhuang", or "to stand like a stake". One of the earliest references to Zhan Zhuang appeared in the ancient Taoist Classic, the Tao Teh Ching: Standing alone and unchanging, One can observe every mystery, Present at every moment and Ceaselessly continuing - This is the gateway to indescribable marvels.

As a matter of fact, Taijiquan is full of Zhan Zhuang postures. For example, the first movement, Taijiquan Preparation, is in fact the same as Wuji Zhuang. You simply stand with your legs apart at shoulder width, and slowly cultivate your qi in the dantian area. While standing, you should adhere to all the Taijiquan principles such as: Keep the energy at the top of the head light and sensitive. Sink the chest and raise the back. Relax the waist. Distinguish full and empty. Sink the shoulders and drop the elbows. Use the mind and not the strength. Unite the upper and lower body and unite the internal and external, and so forth. After standing still for five to ten minutes, you will begin to feel blockage and confused patterns of qi in your body. You will feel pain in certain parts of your body and the boredom may drive you crazy. If you persevere and make adjustments by following the task of observing your posture, observing your breath and observing your mind consciously, you will slowly feel a sense of fullness of qi in your dantian. After you learn to adjust your posture, adjust your breath and adjust mind accordingly, your qi will then gradually spread out to the rest of your body as you keep up your practice.

 

The posture of Golden Cock Stands, with the application shown below:

The end result is a highly energised body whose structure can be likened to a three-dimensional bicycle wheel. The hub of the wheel is your lower dantian, with your qi spreading out to the perimeter of the wheel, that is body, limbs and extremities, and connected to the centre of millions of qi sprockets. It is important that you remain centred at all times, otherwise the qi sprockets will break and your wheel will collapse into a heap as you move from one posture to another (metaphorically speaking). You can practice Taijiquan form as through it is a series of Zhan Zhuang potures joined together to ensure that your qi stays together and centred throughout the form.

Another simple exercise you can do to improve your qi flow is the Reeling Silk Ji Benggong with one or two hands. In Master Chen Xiao-wang's Taijiquan class, he always starts with half an hour of Zhan Zhuang, followed by 20 or 30 repetitions of the various Jiabenggong exercises. He says that after nearly 40 years of practice, he still does his Jiabenggong each day, especially when he is too busy to go through the forms.

In the final analysis, this essence of Taijiquan lies in Qi circulation and Qi utilisation. We lose balance in Push Hands because our qi is broken or out of alignment. Jing, or dynamic force, comes about when our qi is full and connected. When you have Jing, no-one can push you over. The more your qi is connected, the more Jing you have. When our qi is connected, we can use it to fight (as in using Peng jing and Faijing to push your opponent) and we can also use it for health benefit. This is where the martial and civil components of Taijiquan come together to make us an integrated and wholistic human being.

The application of Lu jing in Yang family Taijiquan:

All photos courtesy of my Polish Taijiquan students. My thanks to their efforts and entusiasm.

Chen Xiaowang - Keeper of the Taiji Secrets

The following article first appeared in “Inside Kung Fu” Magazine October 1991:

Chen Xiaowang, grandson of the famous Chen Fake, is recognized as the present-day keeper of Chen style taijiquan. In this rare interview, master Chen reveals the true history of his family’s style.

It is not very often one comes across a genuine kung-fu master. In my 20 years of searching the world over (especially in China) for a true teacher, I can honestly say I have not met more than six martial artists whom I can consider a “master” in the true sense of the word. So it was with great fortune that I have managed somehow to have master Chen Xiaowang stay with me for a while in my home, and to study with him daily. Master Chen is the son of Chen Zhaoxu, the eldest son of the Chen family taiji master, Chen Fake. As such, he is recognised as the present-day (19th generation) keeper of the Chen style taijiquan. Master Chen was born in 1945 in Chenjiagou Village, Henan province. He began the study of his family art of taiji at the age of 7 by his father and his uncles Zhaokui and especially Zhaopi. Master Chen was awarded the taijiquan gold medal at three consecutive National Wushu Tournaments from 1980 – 1982 and was again crowned the taijiquan Champion at the First International Wushu Competition held in Xian in 1985. Before he left China, master Chen was chairperson of the Henan province Chen Push Hand Taijiquan Association, deputy head of the Wushu Academy of Henan province, and technical advisor and official assessor for the standardised competition routines for the Chen, Yang, Wu and Soon styles of taijiquan. Since 1988, he has been a senior wushu instructor (equivalent to a university associate professor) in China. Apart from his martial prowess Master Chen is also a keen calligrapher and a noted author. He has written three books on taijiquan and is the committee member of the Society of Chinese Calligraphy and Literature. Since 1985, Chen has travelled to teach in Japan, Singapore, Malaysia and the U.S. At present he is visiting Australia and is conducting seminars in major cities. Our interview was conducted in Mandarin. I have translated and edited master Chen’s conversation with the help of his written notes in Chinese and his books.


HC: Master Chen can you start by telling us the origin of Chen style taijiquan?
CXW: We can start with my ancestor, Chen Bu, the first generation. He was originally from Shanxi province. Nearing the end of the Ming Dynasty, over 500 years ago Chen Bu migrated to Henan province and moved his family to present day Chenjiagou Village in the County of Wenxian. At that time the village was called Changyang village (mainly consisting of people with the surnames Chang and Yang). When the Chen clan prospered and its population increased, the village name was changed to Chenjiagou (‘Chen’ - surname, ‘Jia’ - the family of, ‘Gou’ - gully or ravine, because the village lies in a gully not far from the Yellow River). Chen Bu was an accomplished martial artist, so everyone in my village has been practising kung-fu since then. Nothing very much happened until the ninth generation, the time of Chen Wanting, who was an outstanding scholar and martial artist.


HC: I have heard Chen Wanting was a fearsome fighter. Was there anything written about him in the family record?
CXW: Yes, in our “Genealogy of the Chen Family”, it was recorded: “Wanting, alias Zhouting, was a knight at the end of the Ming dynasty and a scholar in the early years of the Qing dynasty. He was known in Shangdong province as a master of martial arts, once defeating more than 1,000 bandits. He was the originator of the bare-handed and armed-combat boxing of the Chen school. He was a born warrior, as can be proved by the broadswords he used in combat…”


HC: Is the sword still there?
CXW: (Smiling) No. It was a long time ago…besides, the Cultural Revolution has destroyed most of the relics. We are lucky to have kept some of the written records of the family.


HC: So Chen Wanting invented taijiquan?
CXW: Yes. Between 1930 and 1932 Tang Hoa, a well known and respected martial arts historian, was commissioned by the then government to find out the truth. He came to our village three times, went through our family records and did a lot of research. He was sure that taijiquan was originated from Chen Wanting of Chenjigou in the middle of the 17th century.


HC: Do you agree with him?
CXW: Yes I do. After the downfall of the Ming dynasty, the political scene was volatile and the society was in turmoil. Chen Wanting withdrew from public life and retired to live in the village. He wrote not long before his death: “Recalling past years, how bravely I fought to wipe out enemy troops and what risk I went through. All the favours bestowed on me are now in vain! Now old and feeble, I am accompanied only by the book of Huang Ting (a classic on qigong). Life consists in creating actions of boxing when feeling depressed, doing field work when the season comes and spending leisure time teaching disciples and children so they can be worthy members of society”. Because Chen Wanting had fought in many battles and travelled and read widely, he was able to combine many good points from other schools and from his past experience, and build upon what was passed down by Chen Bu to create a unique system of martial arts.


HC: What was so special about Chen Wanting’s taijiquan?
CXW: One, he synthesized many forms of boxing into one system. He was especially influenced by the writing of General Qi Jiguang (The 32 forms of the Canons of Boxing) – a collection of forms from 16 schools. Two, he utilized the theory of yin and yang as the theoretical basis of his martial arts. Three, he combined traditional Chinese medical theories (e.g. jingluo and acupuncture) and techniques of daoyin (the concentrated exertion of inner force) and tuna (deep breathing exercises) into his system. Four, he invented the chanxi (‘reeling silk’) techniques and the push hands exercises.


HC: What was the content of Chen Wanting’s taijiquan?
CXW: It had five sets of taijiquan, one set of paocui, one set of changquan; consisting of 108 movements, all types of weapons, five methods of push hands and two-person “sticky spear” and other types of practice routines with weapons.


HC: Is there anyone still practising these routines?
CXW: No, not the fist forms anyway. During the 14th generation, Chen Changxing (1771 –1853) condensed all the fist forms into two sets. We now call them ‘laoji’ (the ‘old family’ sets) to distinguish them from the ‘xinjia’ (the ‘new family’ set) created by my grandfather Chen Fake (1887 – 1957). The first set of laoji is quite slow, it can be used to train the student to awaken and to get a feel of the qi. The second set, also called paocui, is fast and powerful, where the student is taught to ‘fa jing’ (explosive power). The two sets of xinjia are similar to the laoji except they require more subtle use of energy and dynamic force and are generally more difficult to perform well than the laojia. The push hands and the weapons routine remain much the same to this day.


HC: I understand you have now further condensed the laoji and xinjia forms into one ‘thirty eight’ form. Can you tell us something about this new creation?
CXW: In the ‘thirty eight’ form, I have tried to do away with all the repetitions and to simplify the too-difficult moves, without destroying the characteristics of Chen style taijiquan, especially the attack-defence content and the chanxi techniques. The whole set is divided into four sections each with nine movements. It takes three to four minutes to perform. You can practice it either in a slow gentle way or in a fast and vigorous fashion with jumps and ‘fa jing’, it all depends on your age or inclination. It’s quick and easier to learn and I think it is a good way to popularise the Chen style taijiquan.




HC: We all know the Yang, the Wu and the Soon styles evolved from the Chen, Can you tell us the main difference between Chen and the other styles?
CXW: Well, they all have unique characteristics. Generally speaking, the names of the movements are different and sometimes the intentions are different. Chenjiagou tai chi has more weapon forms – apart from the sword and the sabre there is the spear, the staff, the kwan do and the two-person weapons forms. In Chen style taijiquan all the sets have ‘fa jing’ movements that other styles tend to neglect or not show at all. Chen style taijiquan is for fighting as well as for health.


HC: What about chanxi jing (‘reeling silk energy’)?
CXW: Chanxi jing is a unique characteristic of Chen style taiji. The other styles don’t have much of these spiral-like spinning and twisting movements.


HC: And push hands?
CXW: Chen style push hands tended to be done in a moving fashion. One attacks forward while the other retreats backward, front on or side on and so forth. The other styles like to do it in a more or less stationary manner, with less ‘fa jing’ and less aggressive moves. We also tend to use chin na and take-downs a lot. We treat push hands as a mockfight rather than an exercise. You have to be thrown around a lot to know what your ‘qi’ or your ‘jing’ is doing.


HC: Speaking as one who has only done Yang style, can one achieve mastery of taiji by doing any one of these styles?
CXW: Of course. They all come from the one source. The principles are the same. What style you do is immaterial. With a good teacher, hard work and perseverance, everything is possible.


HC: Master Chen, you are making it sound so easy. I have also heard that you are a keen calligrapher and that you apply the same taiji principles to your calligraphy. Is that so?
CXW: Yes. Both taiji and calligraphy involve the same ‘transportation of qi’ (yun qi) in our body. When I fight, I try to transport my qi to the point of impact without friction, still maintaining maximum efficiency. When I write, I try to do the same, except it is the tip of my brush. I practice my calligraphy the same way I do my taiji – with correct postures, relaxation and efficient ‘yun qi’. Both activities complement each other.

Master Chen Xiaowang's Five Levels of Skill in Tai Chi Training By Howard Choy and Ahtee Chia

Here's a more summarized version of the Five Levels of Skill in Tai Chi by Master Chen Xiao Wang. This material ap­peared in the May 1992 edition of Inside Kung-Fu magazine

 

Since the publication of our interview with Master Chen Xiaowang (see "Chen Xiaowang: Keeper of the Tai Chi Secrets" in Inside Kung Fu Magasine), many readers have requested more inform­ation about Chen family tai chi. Most people want know what they can do to improve their tai chi training. I posed this question to Master Chen, and replied that just as we learn to crawl before we walk and walk before we run, tai chi training is done a progressive way.

He emphasizes that initial training in the basic principles provides the foundation on which more advanced skills are built. You must be patient and master one level before attempting the next. Progress in tai chi does not depend on how many forms you have learned, but rather on how well you are able to absorb and integrate the principles in your form. It does not matter which style of tai chi you practice or whether your stance is high or low. What important is that you are able to harness your chi and circulate it to all parts of your body. Your movements will then look soft yet powerful, your demeanor relaxed yet alert.

According to Master Chen, there are five levels of proficiency in tai chi training, as described here, and each has its own aims and training methods. Knowing these can help you assess your own level of achievement and what you need to work on to make progress.

Level One: Form and Posture

Correct posture forms the foundation of tai chi chuan. This is necessary before the chi can flow prop­erly. To adopt the correct posture, keep the body vertical, the head held as if suspended from above, the shoulders and chest relaxed, the waist supple, the knees bent, and the groin open. Let your intrinsic chi settle and sink to the dan tian, or lower abdomen. You may not be able to do this straight away, but aim for gradual correctness in relation to direction, angle, position, and movement of the limbs to attain the right postures.

Do not aim for perfection. Your tai chi form will be angular and disconnected. This is normal for a beginner. With diligent and proper practice, after six months you should be able to master the shape of the form. You will also start to feel the chi in your body. At this stage, you are using the movement to generate the chi. As you become more familiar with the form, you will begin to understand the intrinsic jin, or dynamic energy. However, you will start to feel some movements of the chi even though you can­not get it to flow smoothly and join them up.

This stage is said to be one yin and nine yang. It is like a pole that is poked into the ground. Being shallow and lacking a proper base, it is easily pushed over. At this stage, there is too much yang and not enough yin. Sparring and push-hands are not recommended.

Level Two: Chi Flow

At this level, you will begin to feel the movement of the intrinsic chi. Keep practicing the form to gain more fluidity and smoothness of movement. Do not bob up and down. Keep an even height of posture throughout. Although you are now able to feel the intrinsic chi, you are not yet able to direct it. There are two reasons for this.

First, your chi is uncoordinated and your posture is not quite right. You still do not understand the sub­tler details. For example, in trying to hollow the chest, you collapse it too much, or in trying to keep the waist supple, you make it too loose. Or you may stick your buttocks out too far and push your chest forward. Your posture will need to be adjusted in order for you to gain proper coordination of the body and eliminate all contradictions of purpose, to gain unity of the internal with the external.

Internal harmony means that the heart unites with the mind, the chi with the strength, and the sinews with the bones. External harmony means that the hand is coordinated with the feet, the elbow with the knee, and the shoulder with the hips. It is only then that the external is unified with the internal, where the open exists within the closed, and the closed exists within the open.

The second reason is that you may be doing the form either too fast, so that you lose the smoothness of the movement, or too slowly, so that your move­ments become disjointed.

At this stage, the "reeling silk" exercise is very important, and you should use the technique in your movements. The Classics say, "In 'reeling silk' the chi originates from the waist, permeates everywhere, and is ever present."

To do "reeling silk" properly, first relax the shoul­ders, sink the elbows, hollow the chest, drop the waist, open the groin, and bend the knees. Start with the hand at the dan tian. The hand leads the elbow, the elbow leads the shoulder, the shoulder leads the waist. On the return cycle, the waist acti­vates the shoulder, the shoulder activates the elbow, and the elbow activates the hand. On the upper hall of the body, the wrist is coordinated with the trunk, and on the lower half, the ankles turn the legs. The body is like a tree—the roots represent the legs, the tree trunk the body, and the branches and leaves the arms and fingers. The chi circulates from the roots to the trunk and then to the leaves and then retraces its path to the roots again.

During the first level, you will feel that you are making rapid progress. However, at the transition from the first to the second level, you will feel that you are not making progress at all. Your chi moves sometimes and not at other times. When you express energy (fa jing) in a punch, you may make a snapping sound, but when you try to do the same in push- hands, nothing seems to work.

At this stage, it is easy to feel discouraged or frustrated, and you may even give up. A strong determination and persistence is required. What you need to do is re-examine your form; go back to basic principles. Correct your posture, and move the whole body as a unit. When one part of the body moves, the whole body moves. There is no excess or deficiency; flow with the changes, and rotate and move naturally.

Everybody has the potential to achieve success in tai chi with proper training. This level usually takes four years to complete. Your chi will start to flow, and you will understand how to use it. Your confidence will increase, and your tai chi will start to become more interesting.

Push-hands and form practice require the same skills. Any problems or gains that you acquired in your push-hands practice will also manifest in your form, and vice versa. Pay attention to the basic movements of peng (ward-off), lu (rollback), ji (press), and an (push). If your upper and lower body are coordinated, you are not easily defeated: you will be able to use four ounces to deflect a thousand pounds.

The problem at this level is that you may find it difficult to attain perfect coordination; your opponent can use this weakness to defeat you. An opponent can also lead you into a weak position and then defeat you. You may use too much or too little force. You may not sink your energy enough. Because you still cannot deflect your opponent's energy, you tend to use force against force. You may need to step back, you may lose your balance easily or may hang on to your opponent when pushed. Generally your movements are not crisp and clean. This level is two yin and eight yang—still incomplete and uncoordinated.

Level Three: Moving from a Large Circle to a Medium Circle

"Circle" implies not just the movement of the hands and feet, but also the internal chi movement. To improve your tai chi, you must progressively decrease the circle—from large to medium to small, and finally to no circle. You start with the big circle to make it easier to feel your chi, but as you progress, your sensibility and control is more subtle and you can decrease the circle.

Third-level training is the transition from big circle to medium circle. The Classics say "Where the mind goes, the chi goes and the body follows."

Once at this level, you need to learn to use your mind. During the first level, you concentrated on learning the shape and postures of the form. At the second level, you worked on eliminating the contra­dictions of body movement and chi flow and learned to correct your posture so that your intrinsic chi flows freely. At level three, you have a good under­standing of the chi flow, you are beginning to use your mind and not just brute force, your movements are light but not floating, and you can sink your chi without being stiff. You try to make the external look soft and the internal strong. There is softness within the hardness. Your whole body is coordi­nated, and you have eliminated most of the bad habits.

At this stage, you must not just concentrate on the chi flow and neglect the external movements. There must be a synthesis of body and mind; other­wise the chi will not flow freely. During the second level, your breathing may be too shallow or too deep because you are not relaxed or your movement is not coordinated with your breathing. Pay attention to your breathing—let it be natural and coordinated with your movement, especially where the move­ment is complicated or requires speed and subtlety.

Work on gaining a better understanding of the martial application of the movements. Do more push-hands training, fine-tune your posture, under­stand how to express your jin, how to deflect and change your energy flow and increase your intrinsic chi. By working on the practical application, you gain a better understanding of correct posture. In addi­tion, you will become stronger and can start prac­ticing the tai chi weapons forms such as the broadsword, double-edged sword, spear, and staff. You will also be able to practice the explosive move­ments on their own. Your confidence will increase, and after about two years you should progress to the fourth level.

In summary, at the third level, you gain a basic understanding of the coordination of the internal chi flow with the external movement. You are able to correct yourself if necessary, your movements are natural, and your internal chi is full. However, your intrinsic chi is still relatively weak, and your body-mind coordination is not yet perfect. When you push hands with someone of lesser skill than yourself, you can use technique to overcome him. However, if you do it with someone more advanced, you will feel that you don't have enough peng jing, or ward-off energy, and your chi is easily penetrated. You will lose your bal­ance and your body-mind coordination, and your energy is easily read.

This level is said to be three yin and seven yang. Your skills are still not altogether proper.

 

Level Four: Moving from a Medium Circle to a Small Circle

At this level, you progress from the medium circle to the small circle. This is quite an advanced level. You are very close to ultimate success. The martial appli­cation is even more important at this stage. Work on circulating your chi, and pay attention to coordinat­ing your breathing, the movement, and the martial application. All your movements must be continu­ous, without weakness in any part of your body, and the intrinsic chi will permeate your whole body.

When you practice the form, imagine that you are surrounded by attacks, but when you fight, imag­ine that there is no one around so that your move­ments are swift and natural and you will maintain your composure. The training method for this level is the same as for the third level, except that the cir­cle is smaller. Your internal jing will be strong, and you will be able to attack and defend with the same movement. Your chi and your mind will be coordi­nated. Your chi will circulate wherever you direct it.

Your posture is now stable, and you are not eas­ily defeated in push-hands. You can deflect the other's energy with subtle body movements and can change direction and energy in rhythm with the changes in direction and energy of your opponent. Your inter­nal chi is completely coordinated with your external movement, and you can sense what your opponent is going to do before he moves. Your fa jing, or expressed energy, is cleaner, and your attack is accu­rate. You can easily find your opponent's weakness.

This stage is said to be four yin and six yang—you are now an accomplished martial artist. This level takes about three years.

 

Level Five: Moving from a Small Circle to No Circle

From form to the formless. Your movements are now alive and coordinated, your internal jin is full, and you seek excellence within excellence. A day's work is a day's achievement. You can change endlessly, and your energy is invisible. Internally, there is move­ment between the substantial and the insubstantial, but externally no movement or change is visible.

From a fighting point of view, the hard and soft become one, and you are relaxed and alert. Full of springy energy, you can defend and attack at will. You can express chi with any part of your body. Your whole body is sensitive and alive. In other words, you can use any part of your body like a fist and strike anywhere at will.

This level is said to be five yin and five yang - perfect balance. Your yin and yang is continuous without end; when you move, it is in harmony with he tai chi principles, so everything is possible. You lave gained mastery of the body and the mind. Your mind is tranquil and calm, and even when you are attacked suddenly, your equipoise is undisturbed. There is no limit to your tai chi development, and the ultimate goal seems attainable.

Now You Have the Road Map

Master Chen explains that the five levels of proficiency in tai chi training can be likened to a road map. If you are lost and want to get to your destination, you must first find out where you are at prese­nt and in which direction you should be heading. Although the tai chi journey is one without an end, at least now you can find out where you are and roughly how you can achieve your goal.

Howard Choy and Ahtee Chia are both architects studying Chen Family tai chi chuan with Master Chen Xiao Wang in Sydney, Australia.

The Five Levels of Skill in Chen Style Taijiquan by Chen Xiao Wang translated by Tan Lee-Peng, Ph.D.

Learning taijiquan is in principle similar to educating oneself; progressing from primary to university level, where one gradually gathers more and more knowledge. Without the foundation from primary and secondary education, one will not be able to follow the courses at university level. To learn taijiquan one has to begin from the elementary and gradually progress to the advanced stage, level by level in a systematic manner. If one goes against this principle thinking he could take a quick way out, he will not succeed. The whole progress of learning taijiquan, from the beginning to achieving success consists of five stages or five levels of martial/combat skill (kung fu). There are objective standards for each level of kung fu. The highest is achieved in the fifth level.

The standard and martial skill requirements for each level of kung fu will be described in the following sections. It is hoped that with these, the many taijiquan enthusiasts all over the world will be able to 'assess' on their own their current level of attainment. They will then know what they need to learn next and advance further step-by-step.

The First Level of Kung Fu

In practising taijiquan, the requirements on the different parts of the body are: keeping a straight body; keeping the head and neck erect with mindfulness at the tip of the head as if one is lightly lifted by a string from above; relaxing the shoulders and sinking the elbows; relaxing the chest and waist letting them sink down; relaxing the crotch and bending the knees. When these requirements are met, one's inner energy will naturally sink down to the dan tian. Beginners may not be able to master all these important points instantly. However, in their practice they must try to be accurate in terms of direction, angle, position, and the movements of hands and legs for each posture. At this stage, one need not place too much emphasis on the requirements for different parts of the body, appropriate simplications are acceptable. For example, for the head and upper body, it is required that the head and neck be kept erect, chest and waist be relaxed downward, but in the first level of kung fu, it will be sufficient just to ensure that one's head and body are kept naturally upright and not leaning forward or backward, to the left or right. This is just like learning calligraphy, at the beginning, one need only to make sure that the strokes are correct. Therefore, when practising taijiquan at the beginning, the body and movements may appear to be stiff; or 'externally solid but internally empty'. One may find oneself doing things like: hard hitting, ramming, sudden uplifting and or sudden collapsing of body or trunk. There may be also be broken or over-exerted force or jin. All these faults are common to beginners. If one is persistent enough and practices seriously everyday, one can normally master the forms within half a year. The inner energy, qi, can gradually be induced to move within the trunk and limbs with refinements in one's movements. One may then achieve the stage of being able to use external movements to channel internal energy'. The first level kung fu thus begins with mastering the postures to gradually being able to detect and understand jin or force.

The martial skill attainable with the first level of kung fu is very limited. This is because at this stage, one's actions are not well coordinated and systematic. The postures may not be correct. Thus the force or jin produced may be stiff, broken, lax or on the other hand too strong. In practicing the routine, one's form may appear hollow or angular. As such one can only feel the internal energy but is not able to channel the energy to every part of the body in one go. Consequently, one is not able to harness the force or jin right from the heels, channel it up the legs, and discharge it through command at the waist. On the contrary , the beginners can only produce broken force that 'surge' from one section to another section of the body. Therefore the first level kung fu is insufficient for martial application purposes. If one were to test one's skill on someone who does not know martial arts, to a certain extent they can remain flexible. They may not have mastered the application but by knowing how to mislead his opponent the student may occasionally be able to throw off his opponent. Even then, he may be unable to maintain his own balance. Such a situation is thus termed "the 10% yin and 90% yang; top heavy staff".

What then exactly is yin and yang? In the context of practising taijiquan, emptiness is Yin, solidity is yang; gentleness or softness is yin, forcefulness or hardness is yang. Yin and yang is the unity of the opposites; either one cannot be left out; yet both can be mutually interchanged and transformed. If we assign a maximum of 100% to measure them, when one in his practice can attain an equal balance of yin and yang, he is said to have achieved 50% yin and 50% yang. This is the highest standard or an indication of success in practicing taijiquan. In the first level of skill in kung fu, it is normal for one to end up with '10% yin and 90% yang'. That is, one's quan or boxing is more hard than soft and there is imbalance in yin and yang. The learner is not able to complement hard with soft and to command the applications with ease. As such, while still at the first level, learners should not be too eager to pursue the application aspect in each posture.

The Second Level of Kung Fu

The level starting from the last stage of the first level when one can feel the movement of internal energy or qi to the early stage of the third level of kung fu is termed as the second level of kung fu. The second level of kung fu involves further reducing shortcomings such as: stiff force/jin produced while practising taijiquan; over- and under-exertion of force as well as movements which are not well coordinated. This is to ensure that the internal energy/qi will move systematically in the body in accordance with the requirements of each movement. Eventually, this should result in smooth flowing of qi in the body and good coordination of internal qi with external movements.

After acquiring the first level of kung fu, one should be able to practise with ease according to the preliminary requirements of the movements. The student is able to feel the movement of internal energy. However, the student may not be able to control the flow of qi in the body. There are two reasons for this: firstly, the student has not mastered accurately the specific requirements on each part of the body and their coordination. As an example, if the chest is relaxed downward too much, the waist and back may not be straight, or if the waist is too relaxed then the chest and rear may protrude. As such, one must further strictly ensure that the requirements on each part of the body should be resolved so that they move in unison. This will enable the whole body to close or unite in a coordinated manner (which means coordinated internal and external closing/union. Internal closing implies coordinated union of heart and mind, of internal energy and force, tendons and bones. External closing/union of movements implies coordinated closing of hands with legs, elbows with knees, shoulders with hips). Simultaneously, there should be an equal and opposite closing movement of another part of the body and vice versa. Opening and closing movements come together and complement each other. Secondly, while practising one may find it hard to control different parts of the body all at once. This means one part of the body may move faster than the rest and result in over-exertion of force; or a certain part may move too slowly or without enough force, thus resulting in a under-exertion of force. These two phenomena both contradict the principle of taijiquan. Every movement in Chen style taijiquan is required not to deviate from the principle of the 'spiralling silk force' or chan-si jin. According to the Theory of Taijiquan, 'the chan-si-jin originates from the kidneys and at all times is found in every part of the body'. In the process of learning taijiquan, the spiralling-silk method of movement (ie. the twining and spiralling method of movement) and the spiralling-silk force (ie. the inner force produced from the spiralling-silk method of movement), can be strictly mastered through relaxing shoulders and elbows, chest and waist as well as crotch and knees and using the waist as a pivot to move every part of the body. Starting with rotating the hands anti-clockwise, the hands should lead the elbows which in turn leads the shoulders which then guide the waist (the part of the waist corresponding to that side of the should that is being moved. In actual fact the waist is still the pivot). On the other hand, if the hands rotate in a clockwise direction, the waist should move the shoulders, the shoulders move the elbows, the elbows in turn move the hands. For the upper half of the body, the wrists and arms should appear to be gyrating; whereas for the lower portion of the body the ankle and the thigh should appear to be rotating; as for the trunk, the waist and the back should appear to be turning. Combining the movements of the three parts of the body we should visualise a curve rotating in space. This curve originates from the legs, with the centre at the waist and ends at the fingers. In practising the quan, (or the form), if one feels awkward with a particular movement, one can adjust one's waist and thigh according to the sequence of flow of the chan-si-jin to achieve coordination. In this way, any error can be corrected. Therefore, while paying attention to the requirement on each part of the body to achieve total co-ordination of the whole body, the mastering of the rhythm of movement of the spiralling-silk method and spiralling silk force is a way of resolving conflicts and self-correction for any mistake in practising taijiquan after attaining the second level of kung fu.

In the first level of kung fu, one begins with learning the forms, and when one is familiar with the forms, the student can feel the movement of internal energy in the body. The student may well be very excited and thus never feel tired or bored. However, in entering the second level of kung fu, the student may feel there is nothing new to learn and at the same time misunderstand certain important points. The student may not have mastered these main points accurately and thus find that their movements are awkward. Or, on the other hand, the student may find that he or she can practise the quan smoothly and express force with much vigour but cannot apply them while doing push-hands. Because of this, one may soon feel bored, lose confidence and may give up altogether. The only way to reach the stage where one can: produce the right amount of force, not too hard and not too soft; can change actions at will; and can turn smoothly with ease, is to be persistent and strictly adhere to principles. One has to train hard in the form so that the body movements are well co-ordinated, and with 'one single movement can activate movements in every part of the body' , thus establishing a complete system of movements. There is a common saying, 'if the principle is not clearly understood, consult a teacher; if the way is not clearly visible, seek the help of friends'. When the principles as well as the methods are clearly understood, with constant practice, success will prevail eventually. The Taijiquan Classics state that, 'everybody can possess the ultimate, if only one works hard.' And 'if only one persists, ultimately one should achieve sudden break through'. Generally, most people can attain the second level of kung fu in about four years. When one reaches the state of being able to experience a smooth flow of qi in the body, one would suddenly understand it (the command of qi) all. When this happens, one would be full of confidence and enthusiasm as one goes on practising. One may even have the strong urge to go on and on and wouldn't feel like stopping!

At the beginning of the second level kung fu the martial art skill attained is about the same as in the first level kung fu. It is not sufficient for actual application. At the end of the second level kung fu one is nearing attaining the third level kung fu, as such the martial skill acquired may be applicable to a certain extent.

The next section introduces the martial skill that should be attainable half-way through the second level kung fu (so are the third, fourth and fifth levels of kung fu in the subsequent sections. They are discussed with reference to the skill attainable in the half-way stage in each level.)

Push-hands and practising taijiquan are inseparable. Whatever shortcomings one has in his quan form will show up as weaknesses during push-hands and thus giving the opponent an opportunity to take advantage of them. Because of this, in practising taijiquan every part of one's body must be well coordinated with the rest, there shouldn't be any unnecessary movement. Push-hands requires warding-off, grabbing, squeezing and pressing to be carried out so precisely, so that the upper and lower bodies move in co-ordination and it is thus difficult for opponents to attack[. As the saying goes: 'No matter how great is the force on me, I should mobilise four ounces of strength to deflect one thousand pounds of force'. The second level of kung fu aims at achieving smooth flowing of qi in the body by correcting the postures so as to reach the stage when qi should penetrate the whole body passing through every joint as if it (qi) is sequentially linked. However, the process of adjusting the postures involves making unnecessary or unco-ordinated movements. Therefore, at this stage, one is unable to apply the martial skill at will during push-hands. The opponent will concentrate on looking for these weaknesses or he or she may win by surprising one into committing all the errors like over-exerting, collapsing, throwing-off and confronting of force. During push-hands, the opponent's advance will not allow one to have time to adjust one's movements. The opponent will make use of one's weak point to attack so that one will lose balance or will be forced to step back to ward off the advancing force. Nevertheless, if the opponent advances with less force and in a slower manner, there may be time or opportunity to make adjustments and one may be able to ward off the attack in a more satisfactory manner. Drawing from the above discussion, for the second level kung fu, whether one is attacking or blocking-off an attack, much effort is needed. Very often, it will be an advantage to make the first move, the one who moves last will be at an disadvantage. At this level, one is unable to 'forget' oneself but 'play along with' the opponent (ie. not to attack but to yield to the opponent's movement); unable to grasp an opportunity to respond to change. One may be able to move and ward off an attack but may easily commit errors like throwing-off or collapsing and over-exerting or confronting [the?] force. Because of these, during push-hands, one cannot move according to the sequence of warding-off, grabbing, pressing and pushing down. A person with this level of skill is described as '20% yin, 80% yang: an undisciplined new hand.'

The Third Level Kung Fu

'If you wish to do well in your quan (or form), you must practice to make your circle smaller.' The steps in practising Chen-style taijiquan involve progressing from mastering big circle to medium circle and from medium circle to small circle. The word 'circle' here does not mean the path/trail resulting from movements of the limbs but rather the smooth flowing of the internal energy of qi. In this respect, the third level kung fu is a stage in which one shall begin with big circle and end with medium circle (in the circulation of qi).

The Tiajiquan Classic mentioned that 'yi and qi are more superior than the forms' meaning that while practising taijiquan one should place emphasis on using yi (consciousness). In the first level of kung fu, one's mind and concentration are mainly on learning and mastering of the external forms of taijiquan. While in the second level of kung fu, one should concentrate on detecting conflicts/unco-ordination of limbs and body and of internal and external movements. One should adjust body and forms to ensure a smooth flow of the internal energy. When progressing into the third level kung fu, one should already have the internal energy flowing smoothly: what is required is yi and not brute force. The movements should be light but not 'floating', heavy but not clumsy. This implies that the movements should appear to be soft but the internal force is actually strong/sturdy, or there is strong force implied in the soft movements, and the whole body should be well-coordinated and there should not be any irregular movements. However, one should not just pay attention to the movement of qi in the body and neglect the external actions. Otherwise, one would appear to be in a daze and as a result, the flow of internal qi may not only be obstructed but may be dispersed. Therefore, as stated in the Taijiquan Classics, 'attention should be on the spirit and not just qi, with too much emphasis on qi there will be stagnation (of qi)'.

One may have mastered the external forms between the first and second level kung fu, but he may not have attained co-ordination of the external with internal movements. Sometimes, due to stiffness or stagnation of the actions, full breathing-in is not possible. On the other hand, without proper co-ordination of the internal and external movements, it is not possible to empty one's breath completely. Thus, when practising quan one should breath[e] naturally. After entering into the third level kung fu, there is better co-ordination of internal and external movements. As such generally the actions can be synchronized with breathing quite precisely. However, it is necessary to consciously synchronize breathing with movements for some finer, more complicated and swifter actions. This is to further ensure co-ordination of breathing and actions so that it gradually comes on naturally.

The third level of kung fu basically involves mastering the internal and external requirements of Chen-style taijiquan and rhythm of exercise as well as the ability to correct oneself. One should also be able to command the actions with more ease and should also ha[ve] more internal energy (qi). At this level, it is necessary to further understand the combat skill implicit in each quan form and its application. For this, one has to practise push-hands, check on the forms, the quality and quantity of the internal force and expression of the force as well as dissolving of force. If one's quan form can withstand confrontational push-hands then one must have mastered the important points of the form. He would gain more confidence if he continues to work hard. He may then step up his exercise routine and add in some complementary practice like practising with the long staff, sword or broad sword; spear and pole as well as practising fa jin i.e. expression of explosive force on its own. With two years continuous practise in this manner, generally one should be able to attain the fourth level of kung fu.

With the third level of kung fu, although there is smooth flow of internal qi and the actions are better coordinated, but the internal qi is weaker and the coordination between muscle movements and the functioning of the internal organs is not sufficiently established. While practising alone without external disturbances, one may be able to achieve internal and external coordination. During confrontational push-hand[s] and combat, if the advancing force is softer and slower, one may be able to go along with the attacker and change one's actions accordingly; grab any opportunity to lead the opponent into a disadvantageous situation[; or] avoid the opponent's firm move but attack when there is any weakness, manoeuvring with ease. However, once encountering a stronger opponent, the student may feel that his peng jin, i.e. blocking force, is insufficient, and there is a feeling that one's form is being pressed and about to collapse (this may destroy the unfailing position which is supposed to be never-leaning and never-declining but with all round support), and cannot manoeuvre at will. The student may not achieve what the Taijiquan Classics describe as 'striking with the hands without them being seen, once they are visible, it is impossible to manipulate'. Even in leading-in and expelling-out the opponent, one [may] feel stiff and much effort is required. As such the skill at this stage is described as '30% yin, 70% yang, still on the hard side.'

 

The Fourth Level Kung Fu

Progressing from the stage with medium circle to that with small circle is required of the fourth level kung fu. This is the stage nearing success and thus is of high level of kung fu. One should have mastered the effective method of training, be able to grasp the important points in the movements; be able to understand the martial/combat skill implicit in each movement; to have smooth flow of the internal energy or qi; and the co-ordination of actions with breathing. However, during practice, each step and each movement of hands should be carried out with a confronting opponent in mind, that is to say, one has to assume that he is surrounded by enemies. For each posture and each form, each part of the body must move in a linked and continuous manner so that the whole body moves in unison. 'Movements of the upper and lower body are related and there should be a continuous flow of qi with the control being at the waist.' So that when practising quan, one should carry it out 'as if there is an opponent although no-one is around'. When actually confronted, one should be brave but cautious, behaving 'as if there is no-one around though there is someone there.'

The training content (like quan and weapons) is similar to that in third level of kung fu. With perseverance, generally the fifth level kung fu can be reached in three years. In terms of martial skill the fourth level differs much from the third level kung fu. The third level kung fu aims at dissolving the opponent's force and to get[ting] rid of conflicts in one's own actions. This is to enable oneself to play the active role and forcing the opponent to be passive. The fourth level kung fu enables one to dissolve as well as express force. This is because at that level, one would have sufficient internal jin, flexible change in yi and qi and a consolidated system of the body movements. As such, during push-hands, the opponent's attack does not pose a big threat. On contact with the opponent, one can immediately change one's action and thus disolve the on-coming force with ease, exhibiting the special characteristics of going along with the movements of the opponent but yet changing one's own actions all the time to counteract the opponent's action, exerting the right force, adjusting internally, predicting the opponent's intention, subduing one's own actions, expressing precise force and hitting the target accurately. Therefore, a person attaining this level of kung fu is described as '40% yin, 60% yang; akin to a good practitioner.'

 

The Fifth Level Kung Fu

The fifth level kung fu is the stage in which one moves from commanding small circle to commanding invisible circle, from mastering the form to executing the form invisibly. According to the Taijiquan Classics, 'with the continuous smooth flowing of qi, with the cosmic qi moving one's natural internal qi, moving from a fixed form to invisibility, one realises how wonderful nature is.' At the fifth level, the actions should be flexible and smooth, and there should be sufficient internal jin. However, it is still necessary to strive for the best. There is the need to work hard day by day until the body is very flexible and adaptable to multi-faceted changes. There should be changes internally alternating between the substantial and insubstantial but these should be invisible externally. Only until then that the fifth level kung fu is achieved.

As regarding the martial skill, at this level the gang (hard) should complement the rou (soft), it (the form) should be relaxed, dynamic, springy and lively. Every move and every motionless instant is in accordance with taiji principle, as are the movements of the whole body. This means that every part of the body should be very sensitive and quick to react when the need arises. So much so that every part of the body can act as a fist to attack whenever is in contact with the opponent's body. There should also be constant interchange between expressing and conserving of force and the stance should be firm as though supported from all sides.

Therefore the description for this level of kung fu is that it is the 'only one that plays with 50% yin and 50% yang, without any bias towards yin or yang, and the person who can do this is termed a good master. A good master makes every move according to the taiji principles which demands that every move be invisible.'

After completing the fifth level kung fu a strong relationship has been established between the co-ordination of the mind, contraction and relaxation of the muscles, movements of the muscles and functioning of the internal organs. Even when encountering a sudden attack such co-ordination will not be hampered as one should be flexible to change. Even then, one should continue to pursue further so as to achieve greater heights.

Development in science is beyond boundary, so is practising taijiquan: one could never exhaust all its beauty and benefits in one's life time.