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:

 

 

Advertisements

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.

 

The history of Xingyi (a podcast series)

Xing Yi part 1

57fd354968838

Tang Dynasty soldiers

We’ve been building up to this episode of the Heretics podcast for a while, but we’ve finally got there. Here it is, the history of the martial art of Xing Yi, right from the very beginnings.

Damon heads back to the Tang Dynasty to dig into the historical conditions that gave rise to the Song Dynasty and influenced the eventual creation of Xingyi, specifically the An Lushan Rebellion (https://en.wikipedia.org/wiki/An_Lushan_Rebellion) and its disastrous consequences (some scholars have estimated that we lost a 6th of the world’s population! Although that figure remains controversial) and the subsequent rise of the Wen and Li traditions in the new Song Dynasty, and how this was going to influence the mother of a certain young commoner who hadn’t even been born yet, but whose name would come to be known throughout all of China – Yue Fei.

This is probably starting a lot further back than most people would imagine a history of Xingyi would begin, but we’re not in a rush – we’re going to do it right, placing everything in its historical context. Lots of detail and lots of depth.

I’ll update this post with each new episode.

Podcast Link:

https://www.spreaker.com/user/9404101/13-xing-yi-part-1

 

Xing Yi part 2

yuefei2

Yue Fei being tattooed.

https://www.spreaker.com/user/9404101/14-xing-yi-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.

 

Xing Yi part 3

800px-Gaozong_Of_Song

Emperor Gaozong of the Song Dynasty.

 

https://www.spreaker.com/user/9404101/15-xing-yi-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.

 

Xing Yi part 4

Screenshot 2019-03-23 at 10.56.37.png

https://www.spreaker.com/user/9404101/16-xing-yi-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.

Here’s the picture by Fan Kuan ‘Travelers amongst mountains and streams’ which gets a mention often:

Fan_Kuan_-_Travelers_Among_Mountains_and_Streams_-_Google_Art_Project

 

 

The Rainbow Bridge

Not strictly part of the series, but a whole episode about the industrial revolution of the Song Dynasty using the famous painting “Along the river at the Ching Ming festival” as a window into the past.

We return to China in the Song Dynasty, looking through the eyes of artist Zhang Zeduan at the vibrant economy that developed among the common people while their confucian rulers were distracted by external events, and the nascent Industrial Revolution that it gave rise to, which lasted until the early part of the Ming Dynasty.

https://www.spreaker.com/user/9404101/1 … bow-bridge

Kaifeng-bridge-c.1100

The Rainbow Bridge

 

This link gives you access to the whole scroll to look at as you listen. It’s 17 foot long!

https://en.wikipedia.org/wiki/Along_the … g_Festival

 

Xingyi Part 5

 

220px-Zhu-xi1

Zhu Xi

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.

Zhu Xi was responsible for what we call the “Woo Woo Tai Chi world view”. If you practice Tai Chi, or almost any of the Chinese martial arts that had input from the intellectual class, then you need to know about Zhu Xi, although you might not like what we’ve got to say about him

https://www.spreaker.com/user/9404101/20-xing-yi-part-5

New Tim Cartmell interview

ep354-wide

Tim Cartmell (not “Tim Cartwell” as stated in the graphic above)’s name will probably be familiar to most Xingyi enthusiasts. He’s a practitioner of Chinese martial arts and a BJJ black belt. There’s a new podcast episode by him that’s worth a listen. Tim covers his training in different martial arts systems and the differences between sport and street martial arts.

The interview has also been transcribed. Get audio and text version here.

Heads-up! New Xingyi book coming soon. Tai and Tuo Xing.

book

Just a heads up that there’s a new Xingyi book on the horizon that deserves your attention. It’s called A Study of Tai and Tuo Xing and it’s by my old training partner Glen Board.

Tai and Tuo (Asian paradise flycatcher and Chinese crocodile) are two of Xingyi’s 12 animals. They’re considered advanced in the sense that the methods they use are difficult and subtle. The book is a thorough investigation of the fighting strategies and methods of both animals.

I’ve had access to a pre-final draft and I think it’s shaping up to be an excellent book. The illustrations are great, there’s plenty of historical background on Xingyi as well as technical discussion. The book also features good quality photographs showing martial applications and linking sequences for both animals. All in all, it looks great.

Look out for it soon. It should be on Amazon.

Asian-paradise-flycatcher-portrait

Asian paradise flycatcher

yang2-1024x683

Chinese alligator

 

What makes Xingyi’s Bengquan different to a normal straight punch? Part 2: The bow draw.

manchu_soldiers_2

Chinese archer, photographed in the 1870s

Following on from my previous post about Bengquan, one of the 5 Element fists of Xingyiquan, I want to take a closer look at some of the internal characteristics of the strike.

In learning to do a Bengquan correctly you must first learn the mechanical way to do it, then later you can tackle what should really be going on. By the ‘mechanical way to do it’ I’m talking about things like weight distribution, a slight contraction and a slight expansion as you punch, a counter rotation on the spine between hips and shoulder, and the way the fist continues straight forward like an arrow shot from a bow. Generally, these are the things I talked about in the last article. A lot of this is simply maintaining the requirements of San Ti Shi – the 6 bodies posture – while in motion.

Once you are able to do these ‘mechanical’ actions it’s time to look a little a little deeper at some of the internal aspects.

At this point, we need to introduce the concept of the leg bows, arm bows and the back bow. Together that makes 5 bows, all of which need to be coordinated together to produce a perfect bengquan. The word ‘bow’ is used here in the sense of a bow and arrow – the string can be drawn to create potential energy and released to fire that energy.

beng bows

Arms, legs and spine form the 5 bows.

By utilising the 5 bows we are able to source power from areas of the body that aren’t used in normal movement. The process that co-ordinates the 5 bows working together is known simply as opening and closing. I’m going to try and explain how it works with a bengquan, in a very basic way. Obviously, the situation is more complex than I’m trying to make out, but let’s just go with a basic explanation for now.

I’ve mentioned the muscle-tendon channels before. We try and condition them in the internal arts. They run from the fingertips to the toes on the same sides of the body. The opening, or Yang channels, run roughly along the back of the body. The closing, or Yin channels run roughly along the front of the body.

The connection along these channels start as very weak and difficult to get a sense of, but with repeated conditioning, in the correct manner it can be strengthened, so that the limbs can be manipulated using the channels, rather than by using normal muscle usage. Your muscles are still involved, of course, but you are repatterning the way you use them, so they can be controlled from the body’s centre, known as the dantien.

(Try my free Qigong video course for details on how to do this.)

Think of the channels as elastic connections. You need to be relaxed to access them. If a joint is tense then it reduces your access to the elastic force (hence the constant admonitions to Sung “relax’ in internal arts). Ultimately it is your breath, via reverse breathing that enables you to access these bows. Pulling in along the Yin channels creates the action called closing, and pulling in along the Yang channels creates the action of opening. This phenomenon is observable in most animals in nature. Similarly, in internal arts, one side of the body is always contracting as the other side is expanding, and so on. This opening and closing action enables us to use the ‘bows’ of the legs, arms and back in the same way a bow can power an arrow. There’s a storing phase, and a releasing phase.

While the bows certainly ‘add’ to the power, it’s important not to think of them as ‘additives’ that you can apply on top of the wrong sort of movement. They fundamentally are the correct way the body should move if you are using the muscle-tendon channels.

The image at the top of this post shows a Chinese archer, photographed in the 1870s using what’s known as a recursive bow – the very top and bottom actually curve away from the archer when in a neutral position and are pulled back when he draws the arrow. This type of bow was popular throughout Asia.

Here’s one being built using traditional methods:

https://www.youtube.com/watch?v=F0nEocphm-M

If you think of a recursive bow mapped over the top of a human body, then you get some idea of how the bows concept works.

beng2

Of course, this is just to get the general idea – the overal feel. There are actually 5 bows involved, as I’ve said.

In the last article we looked at how a bengquan has a storing phase of the movement, then an expansive phase of the movement. Now we can form a parallel with the action of drawing and releasing a bow.

However (and Mike Sigman needs credit for pointing this out to me) instead of thinking of the bow as firing an arrow out from your middle behind you, think of the string being pulled inwards towards the shaft of the bow, on the storing/closing cycle, and then released back to normal with a snap on the expansive punching section as you punch. That’s more like what is actually occurring within the body.

In the drawing phase the arms bend, the legs bend and the back bows and the dantien contracts.

The spine would ‘bow’ out. The bottom tip of the spine bow would be the coccyx and the top tip the head.

spinebow3

Spine in a neutral position before the ‘string’ is pulled back towards the ‘bow’.

The flexing and straightening of a leg, for example, is another bow. Same with an arm. All the bows need to be utilised as a team, lead by the dantien, and activated using the muscle tendon channels rather than just local muscle.

On release, the dantien is going down and out, which releases the back bow. The leg bows release which add a vertical component to the power. These combined forces drive and the arm bow to extend on the punching side.

The visual image of drawing a bow has long been associated with Xingyi’s Bengquan because the Bengquan ‘form’ is a perfect training vehicle to work on developing your back, leg and arm bows.  I haven’t mentioned intent (Yi) yet or Jin yet, so there’s more to the story, which I hope to mention next time, but if you’re looking for a way to practice the 5 bows in conjunction with a power release then Bengquan is a perfect mechanism to practice it with.

A new take on an old challenge video…

For a while now (10 years in fact!) there’s been a video on YouTube purporting to show a push hands challenge match that went down between Chen Xiao Wang, the recognised head of Chen style Taijiquan, and a XingYi practitioner from Taiwan called Liao Bai.

The challenge is often cited as a rare example of an uncoperative push hands exchange featuring Chen Xiao Wang, and one in which he doesn’t come off looking as proficient as he normally does. While nothing of substance happens at all in the clip, the fact that Liao Bai is able to launch a couple of strong attacks through Chen Xiao Wang’s defences, and occasionally make Chen move a foot is seen as some sort of a victory for him.

Firstly, I find the idea that this is some sort of victory slightly bizarre to begin with – I mean, he made him move his foot? Really? Is that it?

Secondly, the explanation that accompanies the YouTube video is written by only one side of the two parties involved, and heavily partisan. The clip is described as a “freestyle push hands”. However, it may turn out that what we’re seeing is nothing of the sort.

Mike Sigman posted recently:

Liao came to a workshop of CXW’s and bragged that no one can take his Tiger Fist releases. The video pretty much starts where CXW calls him on it and says, “OK, you do it”. Liao attempts a number of times to release his Tiger Fist (you can see it is the same release every time) and CXW attempts to absorb and instantaneously release back into Liao Bai, by CXW’s use of Receiving Jin. A lot of people embarrassed themselves and their reputations by publicly posting this video and saying it was “push hands”: it wasn’t even close … it was an example of CXW trying to use Receiving Jin in an open, unrehearsed setting, thus making it a good video to study.

OK, Mike is clearly a paid-up member of Team Chen Style :), but even so, I find his explanation persuasive. What they’re doing in the clip is clearly not push hands in any way, shape or form.  There’s just some awkward feeling out – a touching of the arms, then Liao Bai tries to launch attacks, while CXW tries to absorb them, without attacking back. Chen is clearly not even trying to attack back. If his only aim was to show he could absorb the attacks (using Receiving Jin), then this makes sense. And for the most part he succeeds.

Either way, it’s rare to find a clip of Chen Xiao Wang that’s not cooperative, so it’s instructive. Most of the time Chen succeeds, but not always. That’s what ‘real’ looks like. It’s not going to sell seminars or generate income, and it comes with risks to both health and reputation so I can see why he does so little of it, but you know it when you see it.

I created this blog post to counteract the popular narrative that surrounds this video. If we’re going to get to the bottom of it then it’s important to hear from both sides, and so far the idea that it’s a push hands challenge has gone pretty much uncontested.

It might be time to view it again, with fresh eyes.

 

My podcast with Ken Gullette – BJJ, XingYi, Tai Chi and Choy Lee Fut

safe_image

I was interviewed for Ken Gullette’s Internal Fighting Arts podcast recently. It was a fun show and Ken is a gracious and generous host and a new friend in martial arts. We had a really wide-ranging discussion about so many different subjects. I’m sure each topic we touched on could have been a podcast in itself, but Ken did a great job editing it to keep it on track.

We start talking about what it’s like starting BJJ later in life, then move on to Chinese martial arts like Tai Chi, Choy Lee Fut and XingYi and if they are still relevant today for self-defence. Hopefully, you find something here of interest.

Thanks to Ken for the opportunity. I’d suggest checking out his other episodes, too.

Here’s the link to mine.

 

What makes Xingyi’s Bengquan different to a normal straight punch?

 

human fist

Photo by Pixabay on Pexels.com

I got into a discussion about Bengquan, one of the 5 fists of Xingyiquan, a Chinese martial art I’ve written about before, recently, which prompted me to consider what really made a Bengquan different to a regular straight punch that you’d find in any number of other martial arts. I thought I’d just jot down a few of my ideas about it, because that forces me to organise my thoughts, but it has turned into quite a long post. So, apologies for that, but I’m going to post it anyway 😉

Xingyi is the oldest of the 3 big internal martial arts of China. Because it is so old and has gone through the hands of so many different practitioners and been secreted into several different secretive families, who often don’t teach outsiders, there are various different ways of doing Xingyi/Xinyi these days. They all employ different exercises and can look pretty different to each other, so it’s hard to talk generally about XingYi without somebody disagreeing with you. Still, all the different branches of the art remain one family, and you can talk about the art in general to some extent while still making sense. Which is what I’m going to attempt to do.

One thing to note is that historically Xingyi was developed as a barehand adaptation of military spear fighting methods. Ji Jike, (died 1662) also known as Ji Long Feng “God of spear”, was the oldest historically record practitioner. He was a soldier for the Ming Dynasty who found himself on the losing side and had to hand over his weapons and adapt to civilian life. He kept practicing his spear skill but adapted it for barehand work.

These days Xingyiquan is famous for having 5 fists. Each of these is a different kind of strike. Bengquan, “Crushing fist”, is one of the most famous of these fists. It’s representative of the Wood element, and consists of a very direct, forward strike, usually kept low, to the solar plexus or abdomen.

Xingyiquan has been featured in a few movies recently, and it’s its Bengquan that always gets the glory so you can consider it a kind of representative technique for the whole art.

In this scene from The Grandmaster a Xingyi master runs through the 5 fists, ending with Bengquan, then proceeds to fight Wing Chun master Yip Man, who is quite impressed with the Bengquan fist.

 

In the clip he then goes on to fight a second master who is doing a Shaolin art (my guess would be that it’s meant to represent Hung Gar) – it’s interesting to contrast the two styles (something I will be doing below).

What I would consider a good example of Bengquan outside of movies is this XingYi performer Yang Hai, originally from China, but now living and teaching in Canada:

I think most people I know who do XingYi, regardless of their particular style, would regard this performance “good”.

So, the question I want to answer here is what makes what he’s doing a Bengquan as opposed to a regular straight punch? In short, if you were just to punch forward in a straight line, with your body weight behind it, would it be a Bengquan?

Unsurprisingly, my answer is “no”, so let me explain.

Starting at the top of the body and working down, the first thing to look at is the arm movements. One arm is retracting in Bengquan as the other punches – that action utilises the whole body in a very relaxed way because it makes the spine rotate. Nothing is stiff. The arms are working together in harmony, the spine is rotating and the hips are also moving around it.

One hand coming back to the hip as the other strikes is also a feature of the Reverse Punch in Karate. So how is this different? Notice that in Bengquan the two fists cross over the top of each other, rather than being unconnected, and on different sides of the body. (Does the similarity point to a common ancestor? Possibly, back in the mists of time… it’s hard to say).

On a deeper level, the whole action of Bengquan is formed by the opening and closing of the body to move the arms. The section where the hands end up just in front of the body (meeting in the middle) is the ‘close’ part, the section where one hand punches out and the other retracts to the hip is the ‘open’ part. (A half-step Bengquan is where you punch on the close section as well).

The concept of opening and closing goes a bit outside the scope of this article, and involves the dantien usage and back bow, amongst other things, but I’ve talked about it before. You find this opening and closing action in Taijiquan, Baugazhang and other Chinese martial arts.

The question of why the arm retreats all the way to the hip in bengquan is also a good one. It doesn’t initially seem like something that particularly practical to do in a barehand combat situation. (Note different styles of Xingyi retract the arm to different degrees, too). However, I believe it’s there for a couple of reasons. Firstly, considering the spear origins of the art, the hip it’s a natural place to hold the butt of the spear, and where it naturally ends up when you retract after a spear thrust. Secondly, bringing the hand all the way back (an exaggerated movement) helps with the feeling of opening and closing. If you can do it big, then you can (over time) learn to do it small.

Note that if you are doing a Bengquan with a spear in your hands then your other hand cannot retract to the hip while thrusting with the spear (since you are holding the spear with two hands), but apart from this the action is identical to the barehand method. But after the thrust, you’d retract the spear back, so the hand was back at the hip again. So, doing Bengquan with a spear (correctly called Beng Qiang) is repeating the action on one side of the body over and over (until you swap sides), while doing it barehand, you are alternating sides of the body with each punch. Like this:

giphy

The next thing I’d look at is the footwork. in Bengquan you step as you punch. You don’t land your feet, then punch, or punch without stepping. The step is an integral part of the movement. It’s part of the opening and closing of the body and part of the technique. In Xingyi your feet should always be moving.

giphy1

Notice that his back foot stays connected to the floor for a comparatively long time for a stepping-in punch. He’s keeping that ground connection for a long, long time. His body and head are generally kept quite upright – he’s not lunging forward. All this is down to the type of footwork that XingYi uses, where the feet are kept under the body on a comparatively small base, as opposed to a wider stand where you have a longer base.

I believe that part of the purpose of this footwork is to aid a key feature that makes a Bengquan different to a regular straight punch – that is its ability to penetrate deeply into the target.

If you track the path of the fist in this example, it is on a slightly upward but mainly forward trajectory, like an arrow being shot from a bow. It goes right through the target in a straight line. It should be doing damage to anything it contacts on its trajectory, just like an arrow would, not aimed to land at a particular spot.

This feature marks Bengquan out as being different to a lot of punching methods that aim to land in one particular place in time and space. If you look at the path of a typical punch that is ‘swung’ at a target it is mainly swinging in an arc. So you’re timing it to land on the target as you drop your weight forward onto your front leg. That produces power, sure, but I wouldn’t call that a Bengquan as it’s not going through the target like you see in the Bengquan example above. Even if the force then goes through the pad or target, the punch itself doesn’t. To me a typical punch is about “landing on the target with your weight”, like a sledgehammer hitting something. Yes, that hurts and it’s effective, but it’s not what you should be doing in Bengquan. Done correctly it should displace a pad holder significantly. This is much easier to train on a person than a pad holder to be fair, as the contact of the fist on a pad is not the same as the contact of a fist on a body – the body is softer and crumples more as you impact, making it easier to get the right feel.

A key to look for in Xingyiquan, when its applied under pressure, is that the footwork doesn’t devolve into other methods, like say, falling into a long riding horse stance to help make up ground.

Xingyi is a collection of particular body methods (Shenfa)- once you start to lose one of them, the whole thing unravels, and you have… something else.

 

 

 

 

 

 

 

Interview series with Jarek Szymanski

Screen Shot 2018-08-29 at 10.04.34 AM.png

Jarek Szymanski’s website, China from Inside was one of the first and best resources on the web for the history and practice of Chinese Martial Arts, written by a European living and working inside China. It was particularly good for finding out how internal martial arts, like XinYi, XingYi, Bagua and Taijiquan were actually practiced in their native environement.

I remember reading his website back in the 1990s, and it’s still there!

Nick at Masters of the IMA has been working together with Jarek over the last few months on recording some of his experiences in China back in the 90s – how he came to end up living in China, his experiences investigating the history of various CMA, etc.

He’s posted the first parts of the interviews on his website, and it’s well worth a read. You can find out all about his experiences on Mount Wudang and Beijing, and get his opinions on how modern Chinese martial arts related to the older traditions, and how they differ. I really liked his insights into places like the Shaolin temple and Mount Wudang (see part 5) and how they’ve changed over the years compared to his visits there in the 90s.

It’s well worth a read.

Jarek Szymansk interview part 1

Jarek Szymansk interview part 2

Jarek Szymansk interview part 3

Jarek Szymansk interview part 4

Jarek Szymansk interview part 5

Jarek Szymansk interview part 6

Fun quote:

“When we got there, we saw some Shaolin monks (wuseng) giving performances not in a stadium, but just in an open space outside the temple. As far as I can tell they were demonstrating some forms and hard qigong, iron shirt (tie bu shan), etc. My Polish friend and I had great fun ‘testing out’ the iron shirt guy – when he invited members of the audience out to test his iron shirt, I don’t think he was expecting to be punched full force in the stomach by two 6-foot Polish guys (laughter). It was at that point that I realised so-called iron shirt is not that special, most demonstrations of iron shirt are just a combination of timed breathing and muscle contraction, similar to what I had practiced in my early karate years.”