Xing Yi Quan, a study of Tai and Tuo Xing, a review

 

I finally got myself a copy of my friend Glen Board’s new Xing Yi book: Xing Yi Quan: A study of Tai and Tuo Xing. It arrived in the post today:

Screen Shot 2019-10-21 at 12.54.15 PM.png

UK link to Amazon.

US link to Amazon.

Firstly, the book looks great. It’s thick, there are a lot of photos, some of which are colour, but most are black and white. They’re well taken and it’s easy to see what’s happening. In terms of content, there is lots of historical information about how Xing Yi was created in the book and the philosophical and martial ideas that lie behind it, but there’s also lots of very practical real-world applications of the movements shown as well. Glen even covers that tricky subject of how Qi is used in Xing Yi Quan as well as taking in the Xing Yi Classics, San Ti Shi and weapons. It’s a pretty hefty volume.

The real focus of the book though is on two of Xing Yi’s 12 animals: Tai and Tuo.

Full disclosure: Glen and I have the same Xing Yi teacher and this book follows on from my Xing Yi teachers first attempt to write a book on each of the Xing Yi animals. He only got as far as Bear Eagle, before stalling on Snake. So, it’s good to see that Glen has picked things up in our lineage and got something into print on a couple more of the animals. I’d like to see him do the same thing for Horse and Snake (if you’re taking requests Glen? 🙂 )

(You might also like the podcast series I’ve been doing with Damon on the history of Xing Yi).

Tai and Tuo

Tai is a fly-catching bird from Asia with a long tail. It’s sometimes referred to as “Phoenix” in English. It’s quite an agile little bird that’s good at evading predators by using its long tail to confuse the attacking bird and also good at catching insects in flight. As you’d expect, there are a lot of changes of direction and spiraling type actions amongst its martial applications.

Tai uses a special fist formation to strike with where you protrude the middle finger knuckle ahead of the others when you form a fist. You use it to strike with in the same way that a “Phoenix-eye fist” can be used in Shaolin arts to strike with. The book explains all these aspects of Tai.

Tuo is the Crocodile. Sometimes you see it translated as “Water lizard”, (but come on people – just put the pieces together 🙂 )

Tuo doesn’t have any specific fist shapes, but emphasizes the ambush nature of the crocodile when hunting. It also makes use of the side to side rolling action that a crocodile performs when trying to drown and rip apart any prey it has captured in its jaws.

The book has a linking sequence (a form) for each animal as well as applications of the movements in a huge amount of detail. There are 31 applications shown for Tai and 22 for Tuo with photographs of the steps involved in each. They’re all bare-hand applications rather than weapons applications, but that’s fine by me.

Overall I’d say that this book is one of the most accessible and practical books you’ll find on Xing Yi Quan. It doesn’t matter if you’re new to the art or pretty experienced – you’ll find something new here to pique your curiosity. If you’ve got any interest in the art of Xing Yi Quan at all then I’d suggest you get yourself a copy, because you’ll really enjoy it.

Here are some photos of what it looks like inside:

 

 

Screen Shot 2019-10-21 at 1.12.05 PM

Screen Shot 2019-10-21 at 1.12.16 PMScreen Shot 2019-10-21 at 1.11.38 PM

 

Advertisements

Kung Fu Tea on Sun Lu Tang

sun_lutang-self-portrait-for-publication

There’s a great article over on Kung Fu Tea about the life of one of the most influential Chinese martial artists of all time, Sun Lu Tang.

One of the persistent problems that I see in amateur discussions of “Chinese martial studies” is a lack of understanding of how broad the traditional martial arts really were, and the variety of life experiences that they encompassed.  In fact, rather than discussing China’s martial culture in the singular, it would probably be better to think about these cultures in the plural.  The martial arts never were just one thing, and our experience with the modern “traditional” arts tends to seriously skew our perceptions of the past.

It’s a good read, so sit down with a cup of tea and put your feet up with your laptop.

Link.

Real world uses for Taijiquan, Aikido and XingYi, from a real police officer

2.2-udegaeshi-or-daojuangong

I love this article by Bill Fettes, a retired Australian police officer, I came across recently on Ellis Amdur’s blog. It discusses real world uses for the techniques found in the Internet Arts he has trained- Aikido, Tai Chi and XingYi. I like the mix of no nonsense description and practical demonstration.

What’s great is that Bill gives clear recollections of the techniques he actually used “on the streets”, then provides demo pictures of how it played out with a partner. Take a look!

My overwhelming observation is that what he’s showing looks exactly like the kind of techniques my Tai Chi teacher does all the time in push hands/sparring. In fact, I recall being on the end of them several times!

5.4-eagle-bear-or-ji

A lot of the time I see people training Chinese Martial Arts with too much emphasis on getting a single hit in, as if that would be the end of everything. It won’t. “One strike one kill” is a nice idea in theory, but I don’t think you’re meant to take that idea litterally.

One thing my Tai Chi teacher emphasises is that he wants the fight to end with the other guy controlled at his feet, pinned to the ground in some way so he can be incapacitated or restrained. If you want to run away then why not give yourself a head start by breaking something first, or calming them down? Or if you want to hold them in place until help arrives you need to have trained that skill.

You can’t just keep hitting people – it prolongs the conflict and turns what started as a self defence situation into an assault by you on the attacker, even if you were the original victim. Just imagine how it’s going to look on CCTV, which is everywhere in the UK.

Homework time

Tai Chi people! I would suggest you incorporate these techniques into your push hand if you are not doing so already – it’s not hard to see where you could fit them in.

XingYi people! – Note, there’s also a nice reference to one of my favourite XingYi animals, the bear eagle, in the article. And also check out the quote below about the observation of wild animals – this is your homework 🙂

Everyone! One more thing to consider about this article – he’s not really talking about weapon assaults or multiple opponents. How do you think that would change outcomes and what he’s doing? Discuss.

Animal observation

Quite often in martial arts like XingYi we are encouraged to observe actual wild animals and the way they fight. I really like the part of the blog post where he describes a similar instruction from a teacher, and real world example of usage:

When living in Japan, I attended several meetings of martial minded fellas, organized by Phil Relnick. Phil was kind of a godfather to most of us non-Japanese martial artists, having lived and trained in the country since 1955. At once such meeting, a U.S. student living in Singapore, who was studying the Shaolin animal forms, was invited to speak. He told us that his teacher had him go to Singapore zoo each day and study his animal: the boar. He then had to report back with anything he had learnt. I thought that was a pretty cool idea until Master Wang Zhong Dao designated me a ‘tiger,’ and gave me the same instructions. Then it became hard work. I was not sure why he designated me a tiger, maybe my big paws or shoulders, or maybe because I was always pacing or prowling, never being able to keep still. Most masters don’t explain their reasoning to plebs, anyway, so I spent a lot of time observing my namesake behind bars. One thing I did notice about the tiger was that when attacking, it generally uses its weapons on the throat; I used this a couple of times on the street with quite unusual results.

 

 

XingYi Part 9

Four_Generals_of_Song

Yue Fei (right) from The “Four Generals of Zhongxing” painted by Liu Songnian during the Southern Song dynasty.

In this episode we discuss the role of General Zhang Jun in the survival of Yue Fei’s tradition, as well as in the survival of members of Yue Fei’s extended family. We also discuss how Zhang Jun managed to protect himself from the purges carried out by Qin Hui.

Previous episodes:

XingYi Part 8

This episode is about Song Dynasty arms and armour. This is a slightly shortened version of the episode from which a few of the more controversial topics have been omitted. The full uncensored version can be found inside Patreon.

XingYi Part 7

As a background to our upcoming discussion of late Song Dynasty armour and weapons, in this episode we give a brief overview of a few animal strategies applied on the battlefield at strategic and tactical levels, as well as in individual combat.

XingYi Part 6

We examine the life of Yue Fei’s best friend, General Han Shizhong, and the circumstances immediately following the death of Yue Fei. We also take a look at the the life of Han’s heroic wife, Liang Hongyu, and internal politics of the Jin Empire at that time.

XingYi Part 5

In this episode we examine the work of the Confucian Scholar Zhu Xi, who lived during the time period we have reached in the narrative (during the Song Dynasty). His philosophy did not impact Xing Yi until centuries later, but when it did, the effect was a large one, so this episode sets the scene for other episodes to come.

XingYi Part 4

We come at last to the great general Yue Fei’s greatest victories, and ultimate betrayal and death – at the hands of corrupt officials on his own side.

XingYi Part 3

In part 3 of our series on Xing Yi, we look at how the Li movement influenced Yue Fei and other Song generals in formulating effective strategies for use against the Jin, and how they managed to challenge the previously unbeatable dominance of the Jin cavalry. We also discuss the rise to power of chancellor Chin Hui in the regime of Emperor Gaozong.

XingYi Part 2

In this episode the look at the early life of Yue Fei, some of the factors that link him to the Li Movement, the meaning of some of the symbolism surrounding him, and the reasons for the transition between the Northern Song and Southern Song Dynasties.

XingYi Part 1

In this episode we discuss significant events that occur between the end of the Han Dynasty and the beginning of the Song Dynasty, in particular highlighting issues that form the background to the life of the famous Song Dynasty general, Yue Fei, who has traditionally been attributed as a progenitor of Xing Yi and other martial arts.

XingYi footwork explained

photo of walking rooster

Photo by Đàm Tướng Quân on Pexels.com

Byron Jacobs has another video out in his XingYi series, this time focussing on footwork. If you’re after the basics of XingYi then this is the best place to start. I think footwork is especially important in XingYi as much of the defending is done not by deflecting things (like you find in Tai Chi) but by moving your feet.

“Chicken leg” forms one of the requirements of San Ti Shi, and refers to the ability to keep most of your weight on one foot so the other is free to move.

Take a look:

Byron also has another episode of his Drunken Boxing podcast out, also worth a watch/listen. This podcast is about what it’s like to actually live and train martial arts in China. This time he’s talking to Michael Ashley Wix, who is a student of Beijing Shuai Jiao Master Li Baoru (李宝如).

“Originally from New Zealand, Michael has lived in Beijing for 23 years learning various Chinese martial arts, including studying for 3 years at the Beijing University of Sport, and studying Yi quan for 5 years.

Michael was involved in the early development of Brazilian Jiu Jitsu and MMA in China, and introduced Chinese wrestlers to the sport with champion Yao Honggang being one of them.

One of Michael’s missions is promoting and preserving Shuai Jiao which he used to do through the popular but now defunct website Shuaijiao.tv. Currently, he is working on publishing Master Li Baoru’s extensive body of books and articles.”

 

 

The Drunken Boxing podcast. Episode 1 Marin Spivak.

Screen Shot 2019-07-15 at 9.41.12 AM.png

Byron Jacobs, who produced the excellent XingYi San Ti Shi primer I posted recently, has launched a new podcast that’s well worth checking out.

In the first episode, Byron talks to Marin Spivak, Chen Tai Chi disciple of Chen Yu, about what it’s like going to live and train gung fu in Beijing as a Westerner back in the 1990s and 2000s. Both Byron and Marvin made the jump to live and train in Beijing, so they have a good insight into Chinese culture, and particular gong fu culture.

I really liked the discussion of the tangled network of gong fu culture a prospective student has to find their way through in China, and which the average western student has no idea exists at all.

Enjoy. Link.

 

 

History of Xing Yi parts 7 and 8 – Armour, weapons, and their influence on Xing Yi

Screen Shot 2019-06-19 at 4.07.23 PM.png

Jurchen Jin Cavalry. Illustrations of Auspicious Omens [Public domain]

After looking at the rise of the Mongol Empire for a few episodes my Heretics podcast has come back around to looking at Xing Yi and in particular the use of weapons, military strategy and armour in the Song Dynasty armies.

Part 7 starts with a rebuke to the criticism “You haven’t even got to talking about Xing Yi yet!” then looks at some animal-based military strategy. These are the same strategies that are used in the Xing Yi animals today.

In particular, we look at Ma Xing – Horse strategy – but also look at Snake (She Xing) and Eagle (Ying Xing).

Listen to “#29 Xing Yi (part 7)” on Spreaker.

 

animal animals backlit beach

Photo by Pixabay on Pexels.com

Part 8 looks at Chinese armour in more detail, but also talks about Xing Yi fighting tactics in relation to armour and how the armour influences the way the art works – stepping, continuous movement, minimal movement, twisting the fist in Tzuann, etc…

There are two versions of part 8, the first is for public consumption, available here:

https://www.spreaker.com/user/9404101/30-xing-yi-part-8-short-version

and we got into some controversial topics at the end of the episode, so the full version is reserved for our Heretics/Woven Energy Patrons ($5 and up):

https://www.patreon.com/wovenenergy/posts

Here’s some nice Song Dynasty style armour a google search turned up

19060162_299812483804082b2

Image Credit: Dragons Armory.

From:

http://dragonsarmory.blogspot.com/2017/07/heavy-song-dynasty-armor.html

Like Damon says, you could show that to a ‘normal’ person and tell them it’s Samurai armour and they would probably believe you 🙂

Also, here’s an interesting clip showing how effective Lamellar designed armour was. This design is taken from the much earlier Tang Dynasty armour:

 

 

Tucking the tailbone in Tai Chi Chuan

women s white top and orange floral skirt

Photo by Samuel Silitonga on Pexels.com

There’s a lot of debate about “tucking the tailbone” in Tai Chi. Some people are big exponents of ‘tucking’ or centring the pelvis, which removes the curve of the lumbar spine. Other people prefer a more ‘natural’ lower back which has more of an inward arc.

For me, it’s not that either of these positions are wrong in Tai Chi, it’s that the idea of holding your spine in a fixed position that is wrong.

If I see anybody practising Tai Chi with a fixed, ‘held’, lower back shape I think it’s just time to sigh and move on.

The lower back is part of the dantien area. This area must be relaxed and free to move.

By far the most common way people hold the spine in this position with tension is with an inward curve. If you see a curved-in back then this area is not relaxed. It might be more aesthetically pleasing but there is no way to connect the power of the ground and legs through the dantien area like this – it’s essentially cut off from that power.

Sure, you can generate power in other ways, but unless you relax the lower back power can’t be transferred from the ground.

Xing Yi is the oldest of the ‘internal’ martial arts. If you look at videos of a precursor art to Xing Yi, called Dai family Xin Yi Lie He, you can see their art has an exercise called squatting monkey as its foundation practice. Look at how it bows and unbows the spine. There’s a lot of flexibility being trained here.

These exercises are like basic, large frame, training exercises for conditioning the muscles and tendons of that area, and the movement can become a lot smaller in usage.

If you’re a Tai Chi practitioner you don’t need to start doing Squatting Monkey practice. I’m not saying that, but you do need to start paying attention to your lower back as you do whatever exercises you are doing – form, Pa Tuan Chin, Silk Reeling, Chi Kung, etc…

Ask yourself what your lower back is doing. Am I holding tension in it? (Here’s a big clue – you are!) and how should I release it? How about when walking around town, or pushing a trolley in Sainsbury’s? You’ll be surprised by how often we hold tension in this area.

Next think about the role of breathing and how it relates to the lower back. If we are doing deep diaphragmatic breathing (which makes the abdomen swell) then it should also be expanding at the back of the abdomen too.  Ask yourself, do you have any flexibility here when you breathe in?

If not, then you know what to do.