Coach Jim Roselando leads MIT Qigong Club in Siu Lin Tau

The Art of Siu Lin Tau

Excerpt from an article by Jim Roselando from Wing Chun Illustrated:

There is one thing that is common across all lineages of Wing Chun Kuen.  The universal foundation set of our art, the Siu Lin Tau.  This mother set is preserved in its original platform within the Cho family and also a Siu Lin Tau Kuen Kuit "boxing poetry" which is designed to holistically strengthen and unite the whole body with our Gongfu.  This one long mother set would later be broken or split into three smaller sets during the Red Junk period.  

 

Most Wing Chun lineages state that our art originated from a fusion of Snake and Crane technology.  Research provided by the Cho family and their decedents supports this theory.  Miao Shun's fusion of Ng Mui's White Crane boxing with his own knowledge of Emei internal art (Snake Qigong) resulted in a "Snake" Body with "Crane" Boxing art.  Snake & Crane!  This new hybrid was rooted in two giants of Chinese martial and internal technology, which thus became a new advanced soft style of boxing.   

 

Across the spectrum of Wing Chun lineages,  almost everyone agrees that Wing Chun is a soft style of boxing.  Well, the term soft has specific criteria within internal arts.  This means the body, breath & mind must be cultivated with softness with your Gongfu.  The set directly develops ones physical body by loosening each joint from the tip of the fingers to the foot.  So not only does a practitioner use the Siu Liu Tau technology to develop their combat skills, and concepts, but also to achieve a deeper state of cultivation. Physically the muscles, tendons, joints all are to be targeted and trained.  This will not only loosen the body but also gradually realign the skeletal structure.  The benefits for real life situations are many.  A loose body will have the qualities of heavy and light, enabling it to react and respond dynamically.  A loose body has a greater range of elasticity allowing for maximum open, close, rise & sink which are essential for issuing and receiving force.  

When one begins to study breathing in their Siu Lin Tau practice they must only bring a light awareness to breathing from bellow the belly button.  Our ancestors placed a special importance to this practice.  Commonly known as Som Bai Fut (three prayers to Buddha), this section is known as Kang & Rou (release and load) is specifically performed slowly in order to target your breath with stillness during our boxing.  Why is it important for the reality of fighting?  If the breathing isn't freely flowing then the body immediately tenses up and the body becomes sluggish, clumsy and weak rather than dynamic and spontaneous.  

 

The first stanza in the Siu Lin Tau Kuen Kuit states: "Collect the Yi, Union with the Shen in the Equal stance".  This maxim clearly discusses the third area of discussion in this article regarding basic cultivation: the mind.  First, let’s break down this Kuen Kuit for you.  Collect the Yi is telling us that over-active thoughts must be quieted and then it will Union with the Shen (spirit) or have equilibrium of a relaxed mind, relaxed breath & relaxed body in the Yee Jee Ma or Character "=" Stance.  This equal stance is discussing the concept of neutral power, which allows for stability, strength and movement in any direction.

 

The fundamental purpose of lower abdominal breathing is to gradually quiet the mind over time and this is why is must be isolated and trained faithfully.   The process isn't complicated, but is often neglected by practitioners.  The simple truth is the above knowledge is the basic Gong in Gongfu.  What benefits does this bring us in the reality of the streets?  Emotions are extremely powerful before and during a heated exchange.  The ability to stay calm will cage those emotions allowing your full athletic potential to surface.

The Art of Siu Lin Tau

THE ART OF SIU LIN TAU

Over the past few weeks, Coach  Roselando has introduced the MIT Qigong Club to the art of Siu Lin Tau. 

The Cho families preservation of Red Boat actor Yik Kam's 'Baan Jung' Opera Wing Chun system takes us back to a time before the art was split into what later became the three fist sets. 

Their Siu Lin Tau long set is an internal set that had four sections. They also preserve a set of SLT Kuen Kuit as guidelines to not only the practice of their SLT but to be used for ones nei gong cultivation. 

In 2007, Coach Roselando wrote/published an article showing the relationship between the Yik Kam art and the mother systems of Fujian Crane Boxing & Emei Snake Qigong. Today many system can be traced back to Fujian Crane but for Wing Chun the uniqueness is the 'Snake' component. 

There is no question that the 1st generation of our art certainly had a close physical relationship to Emei as well as a close relationship with its poetry.  

Interview with Coach Jim Roselando

Interview with Coach Jim Roselando on MIT Radio: 

http://www.youtube.com/watch?v=7pQaDv8i_Y4

"Qi is a form of energy. Gong means work. So Qigong is a form of energy cultivation. Through still exercise you can cultivate balance and smooth the energy through the whole body. The Dan Tien will be robust, the meridians will be flowing smoothly, which will gradually realign the body. You can stand and be still and cultivate the mind, the body, the breathing, just by relaxing." 

Pin Sun Wing Chun "Training Sampler"

Gulao Boxing Association USA 

Pin Sun Wing Chun "Training Sampler"

This video contains many different elements of our Pin Sun Gongfu system! Footwork, punching, partner training, sticking hands and of course free sparring. 

http://www.youtube.com/watch?v=lKc1cQRTPo0

***

Fight Footage - BUF Fight Night (October 2013) "Boston, Chinatown"

GBA USA vs Nam Pai (Pin Sun Wing Chun vs Hung Gar)

Pin Sun Representative

1st Fight: Will (3 months experience)

2nd Fight: Dave (5 years experience)

3rd Fight: Dave (5 years experience)

***

Most if not all of this footage was shot on cell phones. Sorry for the low quality...

For more info:

Jim Roselando (Sifu)

www.apricotforesthall.com

web.mit.edu/qigong

mitqigong.blogspot.com
www.kungfuiowacity.com

Pin Sun Wing Chun Seminar with Sifu Jim Roselando

ApricotForestHall - NEWS

Combined Martial Art Seminar

3 Systems/3 Teachers

Pin Sun Wing Chun

Kuntao Silat

Bak Hok

Date: 5/18/13

Time: 12:00-3:00

Instuctor: Jim Roselando (Pin Sun Boxing)

Instructors: Wes & Jing (Kuntao & Bak Hok)

Where: Martial Art Research Institute

More Info:

info@apricotforesthall.com

MARI:

(978) 745-2555    

mike@combatkalisilat.com    may@combatkalisilat.com     

Preview of Gulao Village Gongfu Article

Gulao Village Gongfu

Pin Sun Wing Chun Kuen

***

"Coming Soon"

Gulao Yongchun Of Which I Know

{Translated by: Ganchun Huang & Jim Roselando}

Sample below:

In addition, the characteristics of Gulao Yongchun still include "side body, side hit, triangle steps, return to life waist" etc..   The significance and value of Pian Shen are focusing on rotate on center, meanwhile avoid the attacks, block the attack and attack quickly.  In the process your body and steps rotating quickly meanwhile reducing your body as a target, extending your arms and enlarge your strength.  The power and speed of this kind of "waist, steps and hands body cooperation"  set off together with the characteristic of being horizontal that are incredible, it often makes it difficult for your opponent to defend, especially under the situation of body and bridge contact it is very hard to stop from being attacked.   Therefore Gulao Yongchun, no matter what your doing such as attacking, defending, moving forward or moving backwards, hit side or hit center, it must be while rotating and sideways, only difference being how much rotation.......

www.ApricotForestHall.com

An Interview with Jim Roselando, Coach of MIT Qigong

Jim Roselando Sifu, of Ku Lo Pin Sun Wing Chun: www.apricotforesthall.com

Yun Hoi of Yuen Kay San Wing Chun: www.yunhoiwingchun.com

Yun Hoi: Thanks for the time from your busy schedule, sifu. May I first ask how your great love – noi gung training for the average guy or gal, which you teach at MIT, is going?

Sifu Roselando: MIT is a great place to share Yang Sheng and Yiquan Chi Gung.  It is the top science university in the world and there is a lot of interest in the healing process and technology of our art.  I get to meet people (students & professors) from many different disciplines (Taijiquan, Yoga, Buddhism, etc.) and am always happy to see how our art affects them in a positive way.  On average we have from 20-25 people every Monday night.  The training is simple but effective and thanks to the results of our Chi Gung I have had an amazing response.

Yun Hoi: What’s your aim in teaching noi gung, divorced from gung fu, to the general public?

Sifu Roselando: I made a promise to my Chi Gung teacher that I would share the process and conditioning of natural Chi Gung with anyone who needed it or was willing to train. I only share Pin Sun Wing Chun boxing with a few friends.  Anyone who is looking for healing, meditation or even something to boost their athletic performance levels I am happy to help guide them in this process.  Medical Yiquan Chi Gung is formless and core so it is a great platform of Noi Gung that anyone can gain benefits from its practice without creating foreign or odd habits so it is excellent for cross training or on its own.

Yun Hoi: How were you first accepted into Ku Lo Pin Sun Wing Chin, sifu?

Sifu Roselando: I trained martial art and Wing Chun for about twelve years before I located and performed the disciple ceremony with Master Sifu Henry Mui.  This was in April 2001.  From that moment on I discarded all my previous training and devoted myself to his teaching.  This was a special time as we were at the right time and place to absorb, train and then promote this rare system properly.  My teacher specifically asked that I help rebuild his art and clean up many misconceptions by sharing more information on the art with the public. I trained regularly with Sifu for about seven years to learn his entire art and still maintain close contact.  I am lucky to be his pupil and respect him tremendously.

Yun Hoi: Could you tell us a little about your sifu, Henry Mui?

Sifu Roselando: Mui Sifu is a very rare breed.  In all my travels and research I can honestly say that few people have his skill and knowledge.  Mui Sifu is one of the few authentic masters of Pin Sun Wing Chun in the world.  Mui Sifu was a close student of the late Master Sifu Fung Gen Ju.  Fung Sigung was regarded as the top fighter from the 4th generation in the Ku Lo family.  My teacher trained with him when he relocated to Hong Kong in the mid 60's to early 70's.  Mui Sifu has been training and teaching Sigung's Pin Sun Wing Chun for almost 50 years!  He is a Pin Sun Wing Chun treasure, in my opinion.

Yun Hoi: What impressed you most about Ku Lo Pin Sun Wing Chun? What makes you so passionate about it?

Sifu Roselando:  Many things but none more than the results of our training!  The art is a refined masterpiece of solo, partner, sticking and other Wing Chun methods, and, because of this the training hits the body in a very rapid way.  In many ways Master Leung Jan did to Wing Chun what Master Wang Xiang Zhai did to Hsing Yi & Chi Gung.  Cut out the frosting and focus on the cake! This is one of the reasons I am very passionate about Pin Sun Wing Chun.

Yun Hoi: Can we ask you to tell us a little about your visit to Ku Lo village and time with Sigung Fung? What impressed you most?

Sifu Roselando: Grandmaster Fung Chun is a living legend in the Wing Chun family and when you are near him you can see that his love for this art is as strong today as it has ever been, but, the one thing that impressed me more than anything is that Grandmaster Fung Chun is always eager to show you via "hands on" coaching.  If he has something he wants you to know he will perform it on you so you get to feel how and why it is done.  I hope to have a third of his love and skill when I am his age.

Yun Hoi: It seems that some people have “discovered” Ku Lo village, maybe make a brief visit and take some photos, and seem to be using their visits to promote themselves, to be frank, with some fairly poor material. What is your feeling about this sort of commercial exploitation?

Sifu Roselando: The Fung family are happy that their art is getting more popular as tourism is good for Ku Lo but like anything you need a lot of exposure and direct training to grasp any art.  So, while a little training/exposure is better than no training/exposure I always prefer to see the inner family members promoting the art.  Every art has similar levels of players but as long as people are honest about their training that is all anyone can hope for!

Yun Hoi: Could you comment from your first-hand knowledge, on the origin of what is called “twenty two point” Ku Lo Wing Chun and why it was devised after Leung Jan and Wong Wah Sam had passed on?

Sifu Roselando: The Ku Lo 22 San Sau art was developed by Sifu Fung Lim and taught to some public pupils.  All Ku Lo 22 lineages can be traced back to Sifu Fung Lim but it is does not have much in common with Master Leung Jan's Pin Sun Wing Chun platform, training and principles.  It should be known that Sifu Fung Lim's own son (and student), Sifu Fung Sang, who was also trained by Sifu Koo Siu Lung, was taught and then preserved the Pin Sun Wing Chun art.  In 2010 I interviewed the late Sifu Fung Sang's family and senior student (Fung Ho Chiu).  They confirmed that Sifu Fung Lim was the founder of the 22 San Sau art.  I have not found any 22 San Sau in Ku Lo but did have contact with Sifu Fung Lim's grand student from Canada.  To the best of my knowledge this art is mainly practiced by a few in Canton.

Yun Hoi: Could you also comment from your first-hand knowledge, on the origin of what is called “forty point” Ku Lo Wing Chun?

Sifu Roselando: I visited this lineage a number of years ago.  In all honesty there are a great many similarities between the 22 & 40 San Sau arts which makes me believe the 40 San Sau is just an expanded 22 San Sau system but this is just my own speculation.  Similar to other Ku Lo San Sau arts the 40 San Sau has very little in common with the Pin Sun Wing Chun platform, training and principles of Master Leung Jan.  I have not found any 40 San Sau in Ku Lo.  The Ku Lo 40 San Sau art is mainly known today because of one book: “Complete Wing Chun”.  This art is mainly practiced by a few in the USA.

Yun Hoi: Yes, I've not been impresssed by any of the so-called 22 or 40 point sytems I've seen. It seems that Ku Lo Pin Sun is being taught, even in China, to varying degrees of correctness and comprehensiveness? There seems to be at the same time some secretiveness and a closed door approach to the genuine art and at the same time some mixing of other Wing Chun into the art taught more openly. Could you comment?

Sifu Roselando: The basic protocol of any family system is: "The art is to be passed on and not openly taught!".  Now, even though the art has gained considerable popularity lately, thanks to the internet, one can see that outside of Sha Ping Town, Heshan (and Boston, USA) there are no public schools for Pin Sun Wing Chun anywhere in the world and only a handful of qualified instructors from each generation.  The private nature of this art has not changed in over 100 years but Wing Chun in Ku Lo is similar to Soccer for the Italians.  Just about everyone plays it for a few years (it’s cultural).  So some of these odd arts were developed for those who are looking for a crash course in some Ku Lo Boxing and some are just a teacher’s own modifications.  Knowing this you can see that a few odd systems coming out over the years is normal for any art and actually can serve a purpose.  Luckily this art has not been around very long. Its evolution and main players are well documented which helps avoid lineage debates. 

My grand-teacher was a bit different with regards to his public teaching.  For example: In Hong Kong Sigung mainly taught the 1st 4 hands, footwork, a few drills and some Chi Sau/Sparring.  Sigung told my teacher: “If you give them more they will have a better chance of doing more stuff wrong but if you keep their training to a core you will have a better chance of helping them develop.  It’s better to do a few things well than a bunch not so well”.  Sigung was a fighter and it is clear that he wanted his people to develop a strong base which is a little different (and more important) than some of the other people who taught odd or expanded San Sau systems to the public.  Sigung was also very proud of his Pin Sun Wing Chun boxing.  He would often say: Do not teach anyone who will make the art look bad!  This may sound odd.

Yun Hoi: Not at all! I hold the same belief and wish my students to also believe this! There is too much rubbish out there, I’m afraid! Some, sadly, from bogus sources, other equally poor material comes from people in a legitimate line of transmission!

Sifu Roselando:  OK. For the Ku Lo people their Gung Fu is very special and Sigung wanted to make sure a certain level of quality was to be maintained by his lineage which explains why he focused on the core for his public class rather than a simplified or modified number of odd skills. 

Mui Sifu was a little different than most others with his public school.  For example: In his early teaching his art would be only known as Juen Ma "turning horse" Wing Chun and his teaching was organized into three small mini sets each containing four skills.  Sifu taught in this method as most were expecting "three forms" in Wing Chun training.  Mui Sifu's schools were not open very long but some of his later students that spent more time with him were taught a little differently - in a more traditional or classical platform.  How much difference was there?  Not much. And, if you ask, Mui Sifu will tell you, It mainly depends on the amount of time a teacher and student are able to spend together.

All of these arts have similarities as all Wing Chun has similarities but I prefer my Sigung's approach but don't tell my Sifu that!  (Winks) By teaching the way Sigung did you are able to share the core of the art while not having to tweak the art.  I firmly believe that none of us have the training, teaching and fighting experience of Master Leung Jan.  Knowing this you can see why I prefer to be a modern traditionalist by not altering or expanding Master Leung Jan's system that allows everyone to develop properly and then they can base their application on their own body type! Remember, there was only one Gung Fu King so I trust his system. 

Yun Hoi: What would you most like to tell everyone about Ku Lo Pin Sun Wing Chun?

Sifu Roselando: The art and teaching of Master Leung Jan is not just a few actions for self defense.  This is the biggest misconception about our art.  Master Leung Jan developed the Pin Sun system of Wing Chun that is a comprehensive art built around a "modern core training platform" rooted in twelve skills or stages of cultivation.   Essentially a compressed or refined Siu Lin Tao, Chum Kiu & Biu Jee that would focus on the art’s principles, development and dynamics.  The Pin Sun boxing art is rich with training.  In all honesty I can tell you that most arts do not have a third of our Choc Sau, Chi Sau & Jau Sau training.  The Fist, Dummy and Pole are all designed to develop your empty hand boxing/fighting skill.  I often tell people the Pin Sun art is Master Leung Jan's final masterpiece and is  "Wing Chun on steroids".  This soft internal system of Gung Fu is one of the rarest in the world and gives us a deeper look into the training and applications of the famed Gung Fu King as preserved by his own family.

Master the five elements and then you can see the other world

From the Chronicles of Tao

By Deng Ming-Dao

The Grand Master summoned Saihung as soon as his disciple had returned to the mountain.

"You think you're talented, don't you?"

Saihung nodded confidently.

"You're not. You've been lucky. If you want to be good, you need meditation. Your internal system must be perfect. It is the internal that is the source of power, and you must go deep inside and use the totality of yourself in order to develop."

"I have won tournaments and challenges."

"You can be better if you meditate before your practice. It will unleash unusual energy."

"I already know internal martial arts. I can fight."

"But you do not go deep enough into meditation, and the spiritual, after all, is higher than fighting."

"Perhaps I'm not interested. It's great fun out there. I have, in my wanderings, been in the Peking Opera, joined a circus, and learned from many boxers. I would never have been able to do this if I had no been a wandering Taoist. Members of a holy order can't learn the most brutal parts of martial arts. I want to learn the ultimate techniques, and I'd never be able to do that here on the mountain."

"You think your skill is so great?" asked the Grand Master casually.

"Yes, I do."

"Then fight me. If you win, I will introduce you to many masters. You'll be free to enter the outside martial world. But if you lose, you return to your studies. Agreed?"

Saihung looked at his master. Standing on a terrace overlooking a vast view of mountain ranges, they seemed alone at the top of the world. Saihung asked himself why he had climbed all the way simply to talk with this recluse who lived such a spare and severe life. Life seemed better down below, and in spite of years of training, the Grand Master looked like any other old man. Saihung judged his master's weight. Saihung knew he outweighed him.

"I agree," said Saihung with a confident smile.

"All right," returned the Grand Master. "Fight!"

Saihung attacked immediately with strong and sure whirlwidn strikes so swift that most men would have fallen simply because of their slower reflexes. The Grand Master, however, only retreated calmly before Saihung's advance. He let Saihung try all but not even a single blow touched the Grand Master's robes.

Saihung grew angry, and gathering in his full might, charged his master. The Grand Master gracefully launched himself in a spinning leap over Saihung's shoulders. Saihung turned and struck out, but a whipping force sped by his face. A moment later, a devastating slap turned his head. It was the Grand Master's sleeve.

His master now took the initative, and Saihung backed frantically away from his spinning arms. Through his blocks, he could seee the Grand Master glaring ferociously at him as sleeve after sleeve came. Before long, his arms had been whipped numb. He dropped his guard. His master struck him with a plam blow, and Saihung flew across the terrace.

Saihung lay stunned on the stone pavement. The Grand Master came over t ohim. He was kind and smiling again. Helping Saihung up, he patted him reassuringly.

"You've lost," the Grand Master said softly. "You lost beacuse you do not have enough concentration. I won because my concentration is complete. Concentration is impossible without meditation."

Saihung stood up and caught his breath.

"I'd still rather be a wandering Taoist. Look at you. Yes, you're a holy  man. But what has it gotten you? You're starved. You live in a damp room on a lonely mountaintop. You're a nobody. Are you successful? Do the gods listen to you? Will you go to heaven? How do you know there's even such a thing as heaven?"

"You can only see the godds and heaven by mastering this world," replied the Grand Master patiently. "Then you can see the next world."

"I admit that if I were to see heaven, I might believe, but how can I go to heaven? Wouldn't I fall out of the sky?"

"Not the body," laughed the Grand Master. "Your spirit travels to heaven and returns. That is the way."

"Your spirit? Can come out from the body?"

"Oh yes. But you must control the senses. When you realize that this world is an illusion, you can control the senses, master the world, and travel on."

"The world is an illusion?"

"Yes. Nothing is real."

"What do you mean, 'Nothing is real?' Of course this world is real!"

"It isn't. It's illusion. Once you  master your senses and the five elements, you will know that too."

"I don't believe you. How do I know what 'mastering the senses' and 'masters the world' mean?"

"Master the five elements and then you can see the other world. But you have to study if you want to achieve this. Contemplate this. Make a decision. Some things must be begun in youth to aceive success later. A tree grows from a seed. I know it's difficult for yout o believe. You're young. You haven't seen fruit. That's why I shwo you. But you cannot always demand complete proof efore you begin something. In some things, you  must have blind faith. The gods are supreme. They will know."

Anecdotes of Wang XiangZhai

by Wang Xuanjie (Translated by Chen Shengtao) 

This article first appear in China Sports magazine

When Wang Xiangzhai created Dachengquan half a century ago, wushu which was popular among the folk was not close to the original and had become a show piece rather than a fitness exercise and combat skill. To preserve the quintessence of traditional Chinese wushu, there was every need for all martial artists to pay attention to the prevailing deviation and make concerted efforts for a renewal. His determined resolution strengthened as he saw the Japanese invaders beating their victim of occupation for fun in Beijing. “We are a great nation”, he said indignantly. “How can we put up with such insults?” Then, while absorbing strong points of various schools of wushu, he created a style of barehanded exercises – Dachengquan. To spread the newly-emerging routine far and wide, Wang recruited a large number of youngsters and gave them lessons personally. His aim was very clear and that was to help boost the morale of the Chinese people and counter foreign pugilism. He issued a statement in a local newspaper and declared that he was ready to take on any rivals including those coming form foreign countries. Wang’s remark angered Kenichi Sawai, a Japanese martial artist then living in Beijing. Sawai was good at karate, swordplay and judo. In his eyes, Chinese wushu was only something like gymnastics, having little value in actual fights. So, one day he went to call at Wang’s in the hope of showing off his prowess, when he saw Wang Xingzhai, he found that the Chinese shadow boxer, a man of middle stature clad in a long gown, looked very gentle and suave. He was very happy to meet with such a weakling, thinking that he would win without fail. After introducing himself and explaining why he had come, he produced a newspaper which carried Wang’s statement and tossed it on the table.

“You are ready to have a duel, aren’t you?” asked the Japanese karate practitioner, his face wreathed in contemptuous smiles. “Yes, I am”, retorted sneeringly my instructor. “I always mean what I have said. I would never refuse anyone who wants to compete with me. Foreign martial artists are especially welcome”. Hearing that, Sawai went out of the drawing room and stood in the courtyard waiting for a duel. Without any hesitation, Wang came out with his hands placed behind his back. Directing his strength to both hands through concentration, Sawai assumed a horse-riding stance and launched a sudden attack on Wang’s face with hands. Seeing this, my instructor, his left hand remaining still, extended his right forearm to parry Sawai’s hands. Then with a slight exertion of strength, Wang threw the Japanese muscleman 10 feet away. Before realizing what had happened, Sawai was already lying on the ground on his back. Not admitting defeat, Sawai wanted to have a swordplay contest with Wang because he was so skilled at it that he could cut an apple on the head of a man into two without hurting the head. Considering that Sawai should get an idea of what Chinese swordplay was, Wang agreed to have another contest. With a sword held overhead in his hands, Sawai delivered a hard blow at Wang’s head. Wang stepped a bit to the right and wielded his sword to block the opposing sword. As the two swords clanked, Sawai was also thrown several feet away and flattened with his palms benumbed.

Irreconciled, Sawai rose to his feet and pounced upon Wang with his sword towards the throat. This skill is very famous in Japanese swordplay, with which one can catch his rival off guard. However, Wang was so good at Chinese swordplay that it seemed as if he did not make use of eyes but sense only in a fight. Wang turned his body to the right slightly, leaving Sawai’s attack wide of the mark. In another instant, Wang pressed his sword against his opponent’s. Sawai tried hard to draw his sword back, only to no avail, since it was “pasted” to Wang’s at the guard of the hilt. When Wang mustered up his strength, Sawai was flung out and slammed against a nearby door, which caved in as a result. Later on, Sawai engaged Wang in a qinna contest. By then, he was already a 5th dan judoka in Japan. However, he could never get hold of Wang by the sleeve or the front in competition, no matter how hard he tried. Instead, he was grasped by Wang as soon as they came to grips. Then came an Italian boxer who had made a name for himself in West Europe. His surname was James. When he was on a tour in Beijing, he learned that Wang Xiangzhai, founder of dachengquan, was looking for a rival, so he was also eager to have a try, believing that it was a good chance for him to earn fame in China.

James was an experienced boxer endowed with long a powerful arms and highly proficient in the art. With his right hand in front and left hand at his lower jaw, he suddenly delivered a straight left to Wang’s face. As James raised his right forearm for a parry, Wang in quick succession made a powerful push that shot James up and grounded him six feet off. Without knowing what it was all about, James rose to his feet and composed himself for another bout. This time, he changed tactics. He first made an arm feint and then gave his chest a right uppercut. Turning slightly to the left, Wang put his right wrist gently on the left elbow of James, who felt benumbed all over at once, and collapsed on the ground after tottering for a moment. Now, he realised that he was not as good at fighting skills as Wang, which should account for his previous defeats. However he thought he could outplay his rival in the third bout; he believed that he was much more powerful than Wang. To show this Italian boxer what Chinese boxing was really like, Wang asked James to punch his chest and ribs. A hail of hard blows followed and Wang was as firm as a rock. Getting desperate, James gathered all his strength and landed a heavy punch on Wang’s abdomen with his right hand. Wang’s abdomen heaved a bit and James fell down onto the ground with his right wrist sprained. Later, a Mongolian wrestler, who had been living in the suburbs of Beijing, came to compete with Wang Xiangzhai.

This story sounds quite incredible, but it has been on the lips of martial artists to date, named Bator, this lad was a son of a former official in charge of military affairs in the Qing Dynasty (1644- 1911). Bator began to learn Xingyiquan (form-and will shadow boxing) from his father at the age of 14 and took a fancy to archery and horsemanship four years later. When he was 20 years old, he started to practise wrestling under the guidance of a former imperial court trainer. After five or six years of training, he made rapid progress and became quite versed in wrestling. He was strong enough that he could subdue a galloping horse. One day on his way home, a shying horse ran up to him, pursued by a yelling crowd. When the horse arrived in front of him, this Mongolian wrestler first moved aside, then to the great surprise of the pursuers, jumped forth to catch the horse by the neck and upset it.

When he heard that Wang Xiangzhai was willing to have contest with other wushu devotees, Bator went into the city to rise to the challenge. At the start of the contest in Wang’s courtyard, the two stood a few metres apart, face to face. Bator moved forward, trying to throw Wang down with a unique skill he had mastered in wrestling training. As they were about to come into contact, a small insect buzzed into Wang’s left ear. Disturbed as he was, Wang continued with his form steps forward while picking his ear with his left little finger. At the sight of this, Bator jumped out of the way and, bowing to Wang with his hands folded in front, said, “You are so good at martial arts. I am no match for you”. The two exchanged a smile out of their tacit understanding for each other and the contest thus ended. The onlookers were all in amazed. One of them asked Bator, “How come you acknowledged defeat? You should have a try for it”. “As an old saying goes, a master knows what a man is fighting against the moment he takes the opponent on. He was so sedate and self-assured at this juncture that he could afford to pick his ear. If he was not an adept in the art, how could he have so much confidence in winning the contest?” In the year he developed Dachengquan, Wang Xiangzhai kept having contests with dozens of martial artists, Chinese and foreign. They all came in confidence, but went in failure. Since then, the name of Wang Xiangzhai has spread far and wide and Dachengquan become a beautiful blossom in the flower garden of Chinese wushu.

Dachengquan Martial Essence of Wang Xiangzhai

Dachengquan Martial Essence of Wang Xiangzhai

By Michael Tse

Qi Magazine | Issue 53 | February 2001

There is a saying in Chinese martial arts that “All heroes have the same ideas.” On doing some research into different master and founders of styles this seems to hold very true. But although the ideas might be the same, the way in which they make them into reality can be different.

Chinese martial arts are fascinating. They contain many unusual movements that you will not find anywhere else in the world. Even Hollywood movies today, like Mission Impossible, The Matrix, Charlie’s Angels, etc. have all been influenced by Chinese martial arts and movement. They have flying kicks, tumbling and other acrobatics and in these you can see the shadow of Chinese martial arts. Some people will say there is also a Japanese and Korean martial arts influence as well, but do not forget, these originally came from Chinese martial arts as well, although they eventually developed into their own styles. Of course, there will be other people who will say the movies also have Brazilian, Thai and Philippine styles in them as well. This shows that film makers will take all different styles and movements to create an action movie and its fight scenes. However, the deeper influence still comes from the Chinese martial arts. If the movies kept to their old ways to movie fighting, only punching and perhaps boxing, I do not think the audience would like it.

If you ask yourself who has had the most influence on martial arts movies, your answer will most likely be Bruce Lee. His popularity is still growing today and I do not think it will ever stop. Since his death, his skills and philosophy have attracted the newer generation and the older generation still love him, maybe even more than before. What made Bruce Lee’s fighting style different to the traditional martial arts was the fact he said that in martial arts you should be able to freely express yourself. You should be like water, when water is poured into a cup, it becomes the cup and when it is in a teapot, it become the teapot. From this you can see his fighting style Jeet Kune Do is about freedom and freedom of expression. You are not controlled and do not need to follow a traditional style, thus, his fighting style could be any style and anything. This is what made him so powerful. However, how can you be free and not follow any system, without learning anything first? In some way, beginners need to learn something first, and that something is fixed. Otherwise, if you had some one who had learned some martial arts and someone who had not learned anything, there would be no difference between them. If these same people were to fight and as long as one person defeats the other, then that sounds okay. But if you think about how injured they will be and that the longer it takes to win the more tired they will be, then finally you will see that you need to learn from someone who has more experience of fighting.  

So therefore, even Bruce Lee’s Jeet Kune Do still has a way to teach you how to fight. Of course, at the end, when you have learned enough, then you can freely express yourself. When you fight, you will have your own style. So everyone who studies Jeet Kune Do will be different to each other because even the teachers will have there own style and way to interpret Bruce Lee’s Jeet Kune Do. But if fighting is really about “free fighting”, then should we then say that the thousands of years of martial arts development in China has been a waste of time? In the 1920’s there was a famous martial arts master who had very similar thinking to Bruce Lee. He combined all his martial arts studies into one style. In particular, he was very good at Xingyiquan, which is a very powerful and popular martial art style in China People always talk about, Taiji, Xingyi and Bagua together as internal martial arts, although, personally I do not like to separate martial arts styles into internal and external styles as all Chinese martial arts have internal and external training. Only the training is different. As long as they develop Qi, then it is internal training. This famous master’s name was Wang Xiangzhai. Wang Xangzhai started his martial art’s training when he was fourteen under the guidance of the famous Xingyi master, Quo Yunshen, who had a very high level of skill and was very a traditional teacher. Wang Xiangzhai inherited his teacher’s skill, and when his teacher died, he travelled all over China meeting masters of different martial arts styles. On one of his journeys, he met a Buddhist monk from Shaolin Temple named Xing Lin who had a very high level of Shaolin Martial Arts skill. They compared their skills with each other, shared their knowledge and had friendly discussions about the differences between their martial arts skill. They became each other’s teacher and also good friend. Even Xing Lin’s teacher, Ben Kong Shang Ren, who was already ninety years old, liked Wang very much. He also passed some of his skill on to Wang. Wang Xiangzhai stayed at Shaolin Temple for a while and absorbed more martial arts knowledge. Afterwards Wang continued to travel to different areas, provinces, cities and villages to meet famous martial arts masters. In Zhejiang he met a famous mast er named, Fang Shizhuang, who was very famous for his skill at “Five Hands Technique” which contained some very good fighting techniques. In Xian he met Master Liu Peixian who was very famous for his unpredictable kicking technique. In Fujian he met a famous Wudang martial art’s master, Xie Tie Fu. Xie Tai Fu had a very long beard and people called him “Big Beard Xie”. He was famous for his Crane Fist which was well respected in Southern China. Both Wang and Big Beard Xie compared their styles and learned together, not only bare hand techniques, but also weapons, especially the sword. In the end they had a great respect for each other’s styles, skill and knowledge. Wang Xiangzhai he also met one of Dong Hai Chuan’s (the creator of Bagau Palm) students, Cheng Jianhwa. They studied together and Wang realised that hand techniques in Bagua were very smooth, and could twist in all directions and angles and co-ordinated with the fast and turning footwork. All this meant you could really take your opponent by surprise. In Beijing Wang visited the famous Yang Style Taiji master Yang Shouhou. Meeting all kinds of different masters and learning about different styles gave Wang a lot of knowledge and also made him understand his own style, Xingyiquan, more. 

“Xing” means shape and refers to external movements, “Yi” means mind and refers to the internal mind. “Quan” means fist. The whole name means “External Shape and Internal Mind” martial art. However, when Wang went back to Beijing, he realised that many people only concentrated on the external shapes and missed the internal mind. Originally Xingyiquan was called Xinyiquan. “Xin” means heart, and so the name meant “Heart and Mind Fist”. This meant the heart and mind were more important than the external shapes. Master Wang had seen any different martial arts styles in China and found that most people only concentrated on the external shapes and forms and missed the internal spirit. When they were confronted with another high level martial artist they were lost, because they only concentrated on the external shapes and did not spent too much time on them in order to develop the internal Jing, Qi and Shen. Jing, Qi, Shen is the martial arts meaning of internal spirit. So he began to change his Xingyiquan and called it Yiquan. This went back to the internal spirit, and he said that studying martial arts was for developing true spirit and the mind and not external shapes. Master Wang found that the most important thing in all martial arts skill was true spirit and mind or internal spirit. At the end he even gave up the external shapes and had no forms, only concentrating on Zhang Zhuang - standing positions and Tui Shou – pushing hands (Although this is not exactly the same method as Taijiquan’s pushing hands, it is similar , but the method of training is not the same although the meaning is the same.) This new art he called “Dachengquan” which means, “Great Success Fist ”. It also means the essence of martial art Zhang Zhuang develops internal power, the mind, Qi, spirit, relaxation and breathing. Tui Shou develops fighting techniques, by learning how to read different people’s energy when you come into contact with it, and how to use your own energy in all different kind of techniques. Master Wang combined all his knowledge of Xingyiquan, Taijiquan, Baguazhang together with principles of Confucianism, Buddhism, Qigong training and philosophy to create Dachengquan. He used Xingyiquan’s strong foundation, Taijiquan’s sticking and contacting skills, Baguazhang’s fast and twisting body movements and foot work, plus his own knowledge. The principle of Dachengquan, Master Wang said is that “There is no method for martial art. Even with a method there is still nothing. If we do not accept any method, then we can have all kinds of methods.” In this case method means styles, skills and techniques. He also said, “Something comes from nothing and steadiness is the mother of movement.” Dachengquan concentrates on developing the mind and spirit. Practising Zhan Zhuang will develop the mind, calmness, relaxation and a strong foundation. When the spiritual energy is high and you need to defend yourself, you will be able to move naturally, powerfully and instinctively. Just like an animal living in the natural world fights instinctively and powerfully. Everything comes from natural instinct, just like a baby needs milk from its mother and bees need honey. Sometimes even a very weak person, if they have a sudden mad fit, can be very powerful and it can take many people to hold them down. This is spiritual instinct, but this power needs to be developed through stillness and a calm mind. This is what meditation develops and so when you need power it will come naturally. 

Today Dachengquan is becoming more popular. Although Master Wang Xiangzhai has passed away, his skill is still developing and so Dachengquan is becoming better and more effective. Sadly another famous Dachengquan master passed away on March the 6th this year. He was Master Wang Xuanjie who promoted and taught Dachengquan all his life and has students all over the world. Though another master has gone, I believe that if a skill is good it will live forever. 

Looking at the Limits. By Glenn Gossling

When studying martial arts one constantly finds oneself working against the limits of one's body. Different martial arts approach the limitations of the body in different ways, but all martial arts seek to develop the body and extend the limitations of its capabilities. 

For most martial arts this means doing physical exercises such as press ups and sit ups to make the body stronger and develop stamina, stretching exercises to make the body more flexible and thousands of repetitions of basic techniques to make the body more flexible and thousands of repetitions of basic techniques to make the body faster and more efficient. The approach of Taijiquan is slightly different, in that it begins by emphasizing the internal strength of they body. Basic exercises like Chan Si Gong and Zhan Zhuang strengthen the Dantien and improve Qi flow around the body. When the body is brought into balance and good health it can then be trained harder than by physical exercises alone. The danger with just doing physical exercises is that the body can easily be overworked and become exhausted, having a debilitating effects on the kidneys and pre-natal Jing - especially if the person has a deficiency to begin with. However, this does not mean that Taiji can overcome the physical limitations of muscles. 

Taiji's strategy is to side step the issue. Instead of using physical power or speed to overcome an opponent, it uses technique. A good technique does not need the same level of force that poor technique does. For instance a small insect or even a bit of dust can stop the strongest of people if it gets in their eye. 

Because Taiji does not prioritize physical power this strangely enough leads to it developing more. Taiji emphasizes posture, minimum effort and the coordination of breath and movement. In the majority of training one is taught to let one's skeleton carry the weight of the body, so that the muscles remain loose and relaxed. This means that one finds the easiest path of movement for the body so that the body does not work against itself. 

Because of this approach of doing everything without effort one can actually train much longer than if one only relies on muscles. It also means that when Taiji uses physical power, a greater percentage of the muscle's power can be put into the attack. This use of force is known as Fajing and involves more than just the use of muscles as it concentrates the body's entire energy into a strike or kick. The power of a punch does not come from the arm but the coordinated movement of the whole body. After years of training one can deliver a really surprising degree of force, but this also is just an extension of the limits of the body and not an overcoming of them.

Good technique does not overcome the limitations of one's own body, but it allows you to work more effectively against the limitations of an opponent's body. Taiji, in its understanding of the energy flows of the body, has extended the range of techniques available to it. Taiji can use technique against bone, muscle, sinew, organ, vein, breath, channel, and acupoint. 

From simply working with technique Taiji looks at developing sensitivity. Sensitivity pervades all aspects of Taiji training. One has to develop sensitivity to one's own body and movements and one has to develop sensitivity to an opponent. Sensitivity can be used offensively to improve the application of one's own techniques and defensively to undermine the techniques of others. et the sensitivity of touch can also have its limitations.

It is in its uses of strategy and energy that Taiji extends beyond the limitations of the body and confronts the principles of the universe. "Still, yet in movement; in movement, yet still - this is spirit."

Qi Magazine - Issue 46 - Winter 1999  

Stances and Relaxation By David Poon

Qi Magazine - Issue 39 (1998)

When performing martial arts and Qigong stances, 
you will always hear your teacher telling you to relax. 
However, no matter how much you think you are relaxed, 

you are told that you look tense.

Stances are designed to transmit force through the body. For Qigong, the only force you need to consider is the weight of the body itself. Therefore a Qigong stance has to transmit the weight of the body down into the ground. However, for martial arts the stance has to transmit force from the ground, through the body, into the opponent. There are several mistakes we can make. The first mistake is not to line up the joints correctly. This is most often seen in the knees when in a squatting position. If everything is lined up, then the legs are capable of taking a lot of weight. If you have seen a suspension bridge, such as the “Golden Gate” in San Francisco, then you have seen how a lot of weight can be supported simply by a strong cable and two supporting towers. All the weight of the bridge is translated into tension in the cable. However if the supporting towers were not aligned correctly the bridge would not be able to support its own weight.

The muscles along the top of the leg, such as the quadriceps, are like the cable, and the bones in our lower leg are like the supporting towers. Misalignment here will damage the joints in our legs, and in the case of martial arts, prevent the strength from our legs from being transmitted upwards. The second mistake is to lock the joints in the legs and support your weight on them. For example if you want to perform a low stance, it is tempting to lock your hip joint, and sit on top of it. This takes the load off the muscles and puts it on the ligaments of the joint, eventually damaging the joint. Instead, you should gradually develop the strength of the muscles so that they are strong enough to support you in low positions. In order to increase the flexibility of the hip, however, you can break this rule a little. The third mistake is to use too much tension in your back or stomach muscles to keep your stance stable. This usually happens when there is a mistake in the lower body, and the upper body has to be tense in order to compensate. The fourth mistake is more related to martial arts, and is to use muscles that directly oppose the direction that the force is being expressed. For example, pushing someone with your arms uses the triceps under your arm. However it is common for people who weight train to develop the biceps. The biceps oppose the triceps and will prevent you from delivering your punch. Using the triceps only, and other related muscles under your arm is a common theme in martial arts, and is known as “Zhou di li”, or “Strength that comes from under the elbow”. It is difficult to achieve, since when we think we are going to get hit, we automatically tense our biceps in order to cover our face. Relaxed means that the joints are bending the way that they are supposed to bend, and that the load on the body is taken by the appropriate muscles. Initially, these muscles will be uncomfortable, but with time they will develop strength, and will feel relaxed even under load. The body will feel loose, and Qi will be able to flow freely. Most importantly, the strength will continue to develop by itself.

The 12 Fists of Leung Jan's Kulo Wing Chun

'Like' this link to help support Coach Jim Roselando:

Sneak Peak at 2nd Issue of Wing Chun Illustrated

In the second issue of WC Illustrated, MIT Qigong Coach, Jim Roselando, discusses the 12 Fists of Leung Jan's Kulo Pin Sun Wing Chun:

1) Siu Lin Tau “Small First Training”

2) Dai Lin Tau “Big First Training”

3) Som Gin Choi “Three Arrow Fists”

4) Biu Choi “Darting Fist”

5) Sup Jee Choi “Cross Shape Fist”

6) Lan Kiu “Obstructing Bridge”

7) Wu Dip Jeung “Butterfly Palms”

8) Jit Jee Kum Kiu “Slicing Fingers Seizing Bridge”

9) Hok Bong “Cranes Wing”

10) Tang Ma Biu Jee “Jumping Horse Darting Fingers”

11) Wan Wun Yiu “Life After Death”

12) Fook Fu “Taming Tiger”

Order your copy today to find out more!

http://www.facebook.com/wingchunillustrated?sk=app_10531514314

Meditation Training for the Martial Arts

Meditation Training for the Martial Arts

By Sifu Zopa Gyatso

Meditate on the unborn nature of mind:
Like space, no center, no limit;
Like the sun and moon, bright and clear:
Like a mountain, unmoving, unshakeable;
Like the ocean, deep, unfathomable.
- Jetsun Milarepa 

Just as they hone the fitness of their bodies and their reactions, many martial artists practice meditation to hone and control their minds. Meditation can assist martial arts training and performance by giving the practitioner the ability to focus and relax the mind. In combat a relaxed but focused mind is essential and may well be the factor which ensures you are a survivor. Japanese samurai well understood this and sought out Zen masters to learn this skill and studied it assiduously. Likewise, Chinese masters, both Buddhist and Taoist, in various martial traditions, have stressed the necessity of mind training to attain superior skills. This is especially marked with respect to the internal systems, some of which have extensive chi gung and meditation curricula. Wing Chun Kuen, of course, has its Siu Lien Tao form, the first section of which can (and in my view, should) be used as meditative exercise.

In this article I will restrict myself to discussing seated meditation. Standing meditation is slightly physically different but involves essentially the same mental processes. Likewise I refrain here from commenting on chi gung. The thing to bear in mind, in both martial art and meditation, is that you must seek transfer of training to application. In other words, the calmness you achieve in practice must be transferred to the normal world by consciously practising the transfer. Otherwise, you are simply training something in isolation, "in an incense-filled room", as some-one recently put it. You need to practice your calm relaxation during training and to be aware of it during an actual self-defence encounter.

In the Tibetan tradition of mind training there are two types of meditation. These are: Shi-ne (Tibetan), Samatha (Sanskrit) or Calm Abiding meditation (English) and Lhag mthong (Tibetan), Vipasyana (Sanskrit) or Insight Meditation (English). Both are essential but one must master Shi-ne before Lhag mthong can yield any benefits. This article focuses on Shi-ne. In the words of my lama, Lama Choedak, Shi-ne tunes our minds to the wave length of spaciousness, freedom and happiness.

***

Here are the reflections on Shi-ne meditation: 

My mind has long been lost in search of happiness Without knowing how transient all things are. Seeing the unsatisfactoriness of real life experiences, I will not allow my mind to wander outside.

Turning back the forcers of harmful habitual inclinations And holding firmly to the peace and tranquility within I rejoice in the store of joy I have discovered I the happiness of observing the intrinsic calmness. Let this clear and luminous state of mind Not be overshadowed by my habitual tendencies; Abiding in the natural calmness and serenity of the mind Let me see all perceptions as nothing but its mere reflection.

Neither grasping nor rejecting any sensory perceptions. I shall see them as adventitious ripples and waves Of the sea of my mind in deep meditation And absorb them into the ocean of clear mind.

As I focus my mind to sit in the correct meditation posture Let the physical self express the deep yearning To experience the calm, still and spacious nature of the mind And transcend the problems I have with this body.

The incoming breath brings in all the positive things outside me And permeates the whole nervous system of my body; As the rays of the morning sun dispel the darkness It soothes the pain and temporary discomfort.

As I retain my breath, let me sustain The vital energy of wakefulness and awareness Enabling me to let go and forgive the past And enjoy the fresh manifestation of this bare moment. My outgoing breath releases all feelings Of tension, anger, stress, anxiety and worry As the masses of dark clouds suddenly disappear Let the adventitious circumstances lapse to dawn a new beginning.

Breathing and observing the bare moment of awareness Without assuming what it will become May I live every moment with pristine awareness Without delaying an unforeseen future to cultivate it.

Following the wise sages by respecting their words of wisdom Let me remember skillful ways to apply them to everything I do, say and think, so that my conduct brings no harm to others And may I not become a victim of what I do, say and think.

While watching the constant flow of thoughts Without discriminating between those that are good or bad Let me neither be overjoyed with meditation Nor depressed by my lack of concentration Sinking in a withdrawal of the senses Is relaxation of the conscious self, but not meditation. Let me not be excited by the slight virtues of concentration I have just begun to experience.

Holding the rope of mindfulness and the hook of alertness May I resolve to tame this mind which is like a wild elephant.

Steadily focusing the mind with moderate application of antidotes May I discover what causes its restlessness.

When I find no sensory objects which are not in my reflection All visions and experiences are the circumference of my self. Like trees, mountains, rivers and heaven and earth My existence is to give and share what I have with others.

How can I cling to and grasp what I have obtained from others? As soon as I let something go, I create space and experience joy. As soon as I give things away, I find a joy not found in keeping them. Learning to cherish others will bring me happiness that will last.

***

If you decide to add meditation practice to your training then you will not regret it. In my view meditation is an essential component of training in martial arts both for the practical benefits which flow from it in application but also for the training of a calm mind which can express Mo Duk .