Interview series with Jarek Szymanski

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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.”

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Book review: Internal Body Mechanics for Tai Chi, Bagua and Xingyi, by Ken Gullette

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Anybody who has attempted to learn Tai Chi in any depth instantly realises that the choreography of a form is just that – choreography – and that the devil is in the details. Internal Body Mechanics is all about the details: How you move, what you move and where you move it to.

It’s author, Ken Gullette is a veteran of the Internal arts, having started with Yang style Tai Chi way before China opened up to the West and before the Internet appeared. Over the years he’s trained with some of the best, especially in Chen style. He’s interested in the practical use of the internal arts as actual martial arts, rather than a method of communing with the universe, feeling your Qi or healing your body. While he’s been presenting this information in DVD and video format for years via his website kungfu4u.com, this book is his first attempt to capture the “body mechanics” of the internal arts in print.

Like most Western Tai Chi enthusiasts who started when Tai Chi was just breaking into the West, Ken inevitably ended up going down many dead ends before he could find good quality instruction, which is why he’s written this book. Ken’s ambition is to write a Tai Chi book that is all killer, no filler, which immediately sets him apart from 99% of Tai Chi teachers out there, whose books usually give you a lot of boring history and then try to teach you a form, which is impossible to learn from a book in the first place.

Instead, Ken is going straight to the meat of the matter, for which he deserves recognition and praise. Internal Body Mechanics covers 6 core principles of the internal arts:

  1. Centred stance and Ground path
  2. Maintaining Peng Jin
  3. Use whole body movement
  4. Use spiraling movement of silk reeling energy
  5. Internal movement and the Kua
  6. Dantien rotation

The book is structured so that one chapter leads naturally into the next, so once you’ve grasped one principle you are ready for the next one. The chapter on the Kua, how to open and close the kua, and what it is, is especially good. This is a tricky subject to convey in text and Ken does it through telling stories of training with Chen Xiaowang and quoting what he said to him during form corrections. I felt like I “got it” immediately. So much so, in fact, that when Ken used the posture “Sweep the rider from the horse” to demonstrate how Chen Xiaowang was saying people close the Kua “too much”, I immediately put the book down, tried out the posture and realised I was making the same mistake. There you go Ken – you got me! It’s not often you can instantly improve your Tai Chi and correct your form from reading a book, but Internal Body Mechanics proves it is possible.

The book also comes with a website containing videos of all the techniques and demonstrations that are pictured. Obviously a video is superior, but I found the pictures sufficient to get the points being made… except for the large silk reeling chapter of the book – that is where you’d really need to access the videos to ‘get it’ – especially if you’ve never done silk reeling exercise before. But the videos are not free – you have to pay an additional one-off fee to access them.

Qi and Jin

When you get down to the heart of the matter with Internal arts, I find that you are dealing mainly with two things: Qi and Jin. Because these are initially obscure Chinese terms, that don’t translate easily into English and require thought, experimentation and good teaching to master, they become the initial stumbling blocks for all Tai Chi practitioners. Ken spends a lot of the book dealing with the subject of Jin – with chapters on the ground path and Peng Jin specifically. He covers it really well. There are lots of partner exercises to try out that are illustrated with photos from his DVDs. Jin often accounts for the overly-theatrical demonstrations that Tai Chi ‘masters’ like to do on their overly compliant students at seminars, where they send them bouncing away at the slightest touch. Once you understand how Jin works you can see what is really going on, and it stops being so mysterious. Ken’s book will give you that kind of understanding.

It’s on the subject of chi/qi that I find I depart a little from Ken’s thinking. Ken has little time for mystical thinking on qi. By the time Ken gets to his Dantien rotation chapter he is slaying sacred Tai Chi cows like he works in an abattoir and the concept of qi takes a bolt through the head early on.

“As a 21st-century college educated American who applies critical thinking skills and expects evidence before I cling to a belief, there is no evidence whatsoever that our bodies contain Chi or a Dantien…”  – Ken Gullette

I’d agree with him on the critical thinking, but there’s always the danger of throwing the baby out with the bathwater when this staunchly non-mystical approach is adopted. Especially when it comes to qi.

Is qi a mystic substance in our bodies, as some would like us to believe, or is it just a term that the ancient Chinese used to describe parts of the body that is still functionally useful when learning how to move in non-standard ways?

Ken sees the use of Qi and Dantien as merely useful mental visualization tools, so that’s the approach adopted in the book. He also dismisses the idea that you must control your fascia to control your dantien as “poppycock”. This pleases me, and I raised a wry smile as I’ve got into similar arguments with fascia fanatics on the Internet, who attribute almost magical powers to it. He’s right, of course – you cannot consciously control the movement of your fascia or skin, only muscles (let’s not get into the sticky issue of consciously making the hair on your arms stand on end or subconscious control of body functions). However, you can use your muscles to stretch both skin and fascia (and tendons and everything else)  to create a feeling of connection, and that feeling of connection can be slowly built up into something tangible that you can use to manipulate the body from the dantien area. To me, this is the real meaning of Qi, and means it still deserves its place in the creation of whole body movement.

So, while Ken’s Dantien rotation chapter is purely about manipulating the musculature in the area of the lower abdomen, which of course, it is, I’d also add in that you can also use it to connect to the arms and legs via this “qi” connection, which you can build up over time. I went over this idea in my video series, but anyway, I digress.

Conclusion

Ken’s approach is not that of an almighty Tai Chi teacher who is imparting precious wisdom to you, his lowly disciple, from on high, but rather, a healthy attitude of “we can all learn together” flows through the pages. You never feel like you are being preached at. Instead, you encounter a fellow traveler on the path who is as curious as you are to see what lies ahead. Most importantly, he wants you to avoid the dead ends he’s ended up in.

So, while I find myself at odds slightly with Ken on the issue of how Qi relates to internal body mechanics, I don’t find that stops me enjoying the book and learning from it. In terms of practicing Tai Chi as a martial art, grasping the idea of Jin and how to use the power of the ground in your techniques, not local muscle, is the most important thing, and Ken’s book excels in this respect.

It should also be noted that if you’re a fan of “martial” Tai Chi (like me) then you’ll love this book. It doesn’t teach you any martial techniques (that’s Ken’s next book, apparently) but everything is looked at through a lens of why this body method is useful for combat. I actually find that more valuable.

There’s not much Xingyi and Bagua presented in this book really, so while I appreciate the catch-all requirement of the title will widen the book’s appeal, it’s really focussed on Tai Chi, and Chen style in particular. Sure, the body mechanics of Tai Chi cross over into XingYi and Bagua, but the sayings of Chen Xiaowang to the author are repeated frequently through the book and this is really a detailed explanation of his Tai Chi teachings so I would have been happier if that had been reflected in the title.

Don’t let my minor points of contention put you off. This is one of the most practical books on Tai Chi on the market right now and you need to get it. It annoys me that there aren’t more Tai Chi books like Ken’s around that actually deal with the mechanics of movement that you need to develop for Tai Chi, and I hope that Internal Body Mechanics is the first of a turning tide, because the world needs more Tai Chi books like this one.

Ken’s blog: www.internalfightingartsblog.com

Amazon link on US and UK.

Xin Yi Squatting monkey basics

Xin Yi (also called Xin Yi Quan) is the oldest of the ‘internal’ martial arts, and possibly something of a precursor to Taijiquan. It was certainly the precursor to XingYi Quan.

There are numerous different regional and family styles of Xin Yi. The basic exercise used to develop the body in the Dai family version of Xin Yi is known as Squatting Monkey. Here Xin Yi practitioner Steve Chan goes through the basics of the exercise. It’s a fascinating look into the fundamentals of ‘internal’ movement.

Natural movement in Chinese martial arts

I just wanted to say a few words about natural movement, and what we mean by it in Chinese martial arts, before I post part 4 of my 8-week course on Tai Chi movement on Sunday.

If you’ve been following the videos you’ll notice that I did a kind of ‘universal’ open and close exercise in part 1, which cycles between two phases

Open:

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and close:

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From: https://www.youtube.com/watch?v=fV3DaNZz3hI

If you’ve been following up to week 3 you’ll know by now that it’s not a case of just mimicking these postures – you need to be going into and out of them using the elastic connection you’ve been developing by doing the arm circle exercise.

You can see these open and close postures in nature all the time, in movement – when a squid or octopus swims it kind of pulses between open and close.

Octopus:

Open:

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Close:

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From: https://www.youtube.com/watch?v=oxawhfXGGt8

The classic example in the animal world is the Cheetah, since it’s the most majestic animal when it comes to running. It cycles between open and close quite obviously too, which helps.

Cheetah:

Open:

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Close:

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From: https://www.youtube.com/watch?v=V8vejjVgIHg

In the Chinese martial arts, all the ‘internal’ martial arts like Bagua, XingYi and Tai Chi should be using open and close. The martial art that best exemplifies it though is XingYi, as all the 5 element fists go through a very obvious open and close cycle.

For example, in Pi Quan:

Closing:

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Opening:

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Closing:

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from: https://www.youtube.com/watch?v=9HNML_k9a-s

When we say “natural movement” is used in internal arts, this is what is being talked about.

Of course, you can use the open and close sequence in everyday life too. Just yesterday I was kicking a ball about with my kids in the park and I started to play around with open and close as I kicked the ball, rather than just doing it with my leg in isolation. When you use open and close your whole torso and back get involved – I was quite surprised by how much extra power and direction I could give the ball when I started to use open and close to kick it. Like everything, it starts off big and clumsy and first, but you soon learn to remove the excess movement and refine it.

Look out for part 4 on Sunday when we’ll be taking a look at how breathing factors into the whole thing.

Byron Jacobs: incovenient truths in “Da Dao Taiji” documentary

My Facebook friend Byron Jacobs is the Technical & Events Manager and Technical Committee Member at International Wushu Federation in China. That’s a pretty high up in Chinese Martial Arts for a guy from South Africa 🙂

This is a YouTube video about him:

As you can see from the video, he’s fluent in Chinese and lives in China. He trains Xingyiquan under his Sifu, Di Guoyong.

Recently Byron appeared in an episode of the Chinese TV documentary “Da Dao Taiji” in which he was interviewed about traditional Chinese martial arts, its utility in the modern age and the problems it is facing both in the mentality of practitioners and their methods today.  I don’t think they were quite expecting such a frank interview!

Unsurprisingly, it was edited quite heavily, and they only kept some of these “inconvenient truths” in the documentary.

The good news is that here on Tai Chi Notebook you can view his whole interview, complete with subtitles. It may have been too hot for Chinese TV, but nothing is too hot for you, my dear readers!

(As an interesting sidenote, the new laws in China were passed last year prohibiting people with tattoos from being shown on TV, so they had to smudge out his tattoo for the aired version of this!)

Enjoy the inconvenient truths video:

 

And here is the entire episode 2, as it appeared on Chinese TV:

“The teachings of Li CunYi on XingYi’s 5 Elements” – a new translation.

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Paul Brennan of Brennan Translation has completed a new work, that’s worth a look if you’re a XingYi practitioner. It’s called “The teachings of Li CunYi on XingYi’s 5 Elements“, which are said to be the oral teachings of the famous XingYi boxer, Li CunYi as recorded by Du Zhitang of Guangzong [in Xingtai, Hebei]. There’s no date on the manual, but 1916 is a good guess.

The manual covers the 5 Elements of XingYi (Pi, Zuan, Beng, Pao and Heng) together with a “continuous boxing set”, which is a linking form, where the techniques are linked together in one continuous flow.

The linking form presented in the book is very close to this one:

 

Monkey see, monkey do

A visit to Monkey World gives me new insight into the name of one of the most famous Tai Chi sequences – Repulse Monkey.

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Yesterday we had a family trip to a local ape rescue centre called Monkey World. All the larger apes were suitably majestic, and the little ones suitable cheeky. The ones that stole the show though, were the white cheeked Gibbons. In terms of dancing through the trees these guys have got it made – they look so totally effortless with their arm hanging and swinging. They have no tails, so they swing in the classic way that humans attempt when using the monkey bars, but it looks so utterly effortless for them, because their arms are extrodinarily long when compared to the length of their body and their shoulder and wrist joints are different to ours. They swing one hand at a time, like this:

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Gibbon, swinging

That’s when it occurred to me that this must be where the famous Repulse Monkey sequence in Tai Chi forms gets its name.

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Me, doing Repulse Monkey

The “repulse” bit I’ve always thought was kind of obvious, because you’re pushing (or striking) something away, but I could never understand what was monkey-ish about this sequence, since you are used large extended postures, rather than what I’d come to associate with monkey styles of kung fu, which are usually full of small crouching postures and darting and rolling about. However, if you look at Gibbons swinging from branch to branch, it makes sense.

Of course, Gibbons are native to south China and were even kept as pets:

“Interactions between humans and gibbons have a long history in China, as reflected in the Chinese literature and art. Especially in early China, gibbons made the objects of many literary and artistic compositions.

The popularity of captive gibbons being kept as pets appears to go as far back as written history, although a proverb by the philosopher Huai-nan-tzû (died 122 B.C.) stated: “If you put a gibbon inside a cage, you might as well keep a pig. It is not because the gibbon is then not clever or swift anymore, but because he has no opportunity for displaying his abilities” (van Gulik, 1967, p. 40).”

An example of Gibbons in historical Chinese painting:

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Unknown artist from Southern Song Dynasty.

Moving away from Gibbons, one unique character I observed in all the apes was a kind of nonchalance. One Gibbon came to the edge of their enclosure, on the farthest out branch and hung there for a few minutes by one arm looking at the strange humans who had come to see her. They are really unhurried and unbothered by anything. The Chimpanzees on patrol walk the edge of their territory unconcerned with all the people watching. Apes don’t ever appear stressed or worried by thoughts – they just do. Perhaps they’re the ultimate masters of mindfulness.

XingYi, the great internal martial art from China, has Monkey (Hu) as one of its 12 animals. I often find myself doing this sequence in a hurried way, since the movements are inherantly quick and fast, but now I think I’m going to try and slow down a bit and add an element of nonchalance to the moves as well. I think to really get that monkey character right you need to appear unconcerned about the attacker – after all, a monkey can often retreat to the safety of the higher branches after engaging, a luxury other animals don’t have when hunting or defending themselves. I think this nonchalant feel is be a key element to being able to master the XingYi animal in the correct way.

 

Spiralling the shield-fist — Viking martial arts and Xingyiquan

A discussion of the similarities between Viking and Chinese martial arts

XingYi Quan is considered to be one of the big three ‘internal’ Chinese martial arts, alongside Tai Chi Chuan and Bagua, but isn’t as widely practiced as the other two because it’s less aesthetically pleasing and less fun to practice. It’s known for its 5 fists, which map onto the 5 elements of classical Chinese thought, the most famous of which is Beng Quan, or “crushing fist”. In application XingYi is quick, sudden and effective, rather than arty and effeminate (like Tai Chi) or flashy and mysterious (like Bagua), which is strange when you consider that this art was not designed from the ground-up as an empty hand art. Its origins lie in weapons usage.

Of course, in modern times the stories of famous XingYi practitioners like Guo Yun Shen killing a man with a single Crushing Fist (he was a real historical person, and he really did this in a challenge match and was sent to prison for it) have given more weight to the popular narrative amongst martial artists that empty hand usage was always taught first, and weapons were merely an outgrowth of barehand material. That is to say, ‘the sword becomes an extension of the arm’. While that may be true for many martial arts, I find no basis for this view in XingYi’s history. If anything, it’s the other way around.

The characteristic XingYi hand shapes, footwork, striking angles, the backward-weighted stance, are all unusual in comparison to other martial arts styles. This is because XingYi is a weapons art that has evolved, over time, to the point where it is now done almost exclusively barehand. But you only have to scratch the surface of XingYi’s empty-hand visage and its weapons roots become glaringly exposed.

To me this sets XingYi appart from something like Tae Kwan Do or Western boxing. Those arts were developed with barehand striking (or kicking) first and foremost. XingYi however, under its older name of XinYi, was originally developed for stabbing people with pointy things, and as the pointy things fell out of favour, or were dropped from every day civilian use, the techniques were adapted to barehand strikes.

In the 1600s in China it made little sense to learn barehand martial arts as a distinct entity if you were going to be a soldier, caravan escort or security guard, since people carried weapons for self defence and (despite what the movies say) you can’t effectively fight somebody with a weapon if you don’t have one yourself. And more to the point, why would you want to? Similarly, a soldier fighting in the English Civil War (1642–1651) would find limited application for old English wrestling or boxing on the battlefield. You’d grab a weapon and lean how to use it, fast.

Recently I had the good fortune to watch a video by a YouTuber called Dimicator (Roland Warzecha), who has done a lot of great work recreating European sword and shield martial arts using original source material. (You can support his work by becoming a Patreon). In this particular video he was using a reconstructed Viking shield, and showing the two thrusting actions that he uses with it, a spiralling upper thrust and a spiralling lower thrust. Anybody with a passing knowledge of XingYi will immediately recognise his upward thrust as being virtually identical to XingYi’s Zuan Chuan, or ‘drilling fist’, which is associated with the element of water and is characterised by a spiralling action.

Have a look. He talks about constructing the shield first, then at about 2.47 he goes on to explain how to do a workout with it.

If you took a freeze frame of the end of a XingYi’s Zuan Quan and the end of the lower shield thrust they look very similar:

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XingYi Drilling fist (Zuan Quan), shown without weapon.

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Viking Shield lower thrust, shown with shield.

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Viking Shield lower thrust, shown without shield.

In the video Dimiactor makes a point about the necessity for keeping the elbow pointing downwards (like it does in XingYi), since it causes the Latissimus Dorsi muscle to contract, which gives you the support necessary to hold a heavy shield with an outstretched arm.

Medieval weapons were heavy. We know this. It’s only in modern times that weapons became lightweight, as their usage moved from being primarily military to more civilian in nature, in a duelling or sportive capacity – the fencing foil is a perfect example of this. If you are going to strike somebody with a heavy weapon, like a Viking shield, for instance, in a way that would make sense combatively then there are only so many ways the human body can effectively do that, so it would make sense that XingYi would have a lot of similarities with viking shield use. And it does!

I should point out here that while the usage between the two arts is very similar, it is not identical. In the video Dimicator advocates getting power from the hips by turning them as a unit, with the waist, away from the shield arm, so that he is turning ‘side on’. In the XingYi that I was taught (note: there are a lot of conflicting ideas about the ‘correct’ way in XingYi) you isolate the hips movement from the waist movement, and turn them in opposite directions, creating a twist in the torso called the ‘Dragon Body’ (so the waist would turn away from the outstretched arm, but the hips would turn in towards it), meaning you don’t turn so ‘side on’, and can remain facing more forward. This is clearly a difference in application between what is presented in the video and the XingYi method, but not a crucial one.

To show you want I mean, here’s a video of Zuan Quan from XingYi, done in the style that I learned it in. Like all the 5 Element fists, Zuan Quan contains a Primary Fist and a Secondary Fist – it’s the Secondary Fist – the classic ‘Zuan’ – where the similarity can be seen with the ‘lower thrust’ in the Dimicator video. The majority of the video discusses the type of spiralling Jin (force) used in the fist, but he demonstrates the Secondary fist at the start and end.

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XingYi Zuan Quan by Paul Andrews

Hand position

It’s important to talk about the hand position that Dimicator is showing in the video – he talks about it at 4.30 – he makes the point that you don’t want to “fist grip” the shield and smash it into your opponent, because, as a repeated action, that will shock your wrist joint too much and lead to longterm damage. Instead he advocates “extending the hand” into the natural position the human hand conforms to whenever you are using a tool.

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Dimicator showing how to “extend the hand” with a natural tool-using grip.

Interestingly, this was the exact hand position that I was shown to use in XingYi. We were taught to punch using this fist formation, and despite what you might think, it actually works really well. There is no risk of damage to the fingers, and the strike is powerful. In fact, it limits the risk of damage as the fingers act as shock absorbers. There’s a video by Paul Andrews of XingYi Academy (you can become a Patreon of XingYi Academy to support its work) that explains the XingYi hand position in a tremendous amount of detail here:

The basic assumption in martial arts generally is that we should all be punching with a boxers fist or we’re doing it wrong – ‘let the punch bag tell you what fist shape is correct’, goes the accepted wisdom. I remember when my XingYi teacher first taught me to use the alternative XingYi fist he simply punched me with it in the stomach – my legs gave way and he floored me, so I didn’t need to question whether lining the bones up in this unconventional way was effective. Like a sudden Satori, there was no need to debate or question – it so obviously worked that I just knew.

The XingYi fist does feel different to being punched with a flat-knuckle fist – it seems to penetrate deeper, and hurt in a different way. It’s like being stabbed rather than punched. You might be wondering if it only works on softer surfaces. Indeed, my teacher’s favourite target was the soft spot on your stomach, just below the solar plexus, but he had no qualms about using it against harder targets like your skull with free abandon when demonstrating technique. You just tended to prefer him to strike to your body though, because getting it in the face was even worse and left more obvious bruises!

I’m wary of confirmation bias that is inherent to all human beings – we see what we want to see – but to me it’s clear that XingYi’s fist shape is a hang over from its primary function – tool/weapons usage. It’s the way you hold a sword, a spear, or a bread knife when cutting, or a viking shield, as can be seen in the Dimicator video.

While I was taught it this way, it should be noted that a lot of XingYi lineages don’t use this fist anymore. They prefer the flat-knuckled boxer’s fist, or they opt for the ‘phoenix eye’ fist shape you find in Shaolin-based arts. At this point in history it’s impossible to know which was the original fist used in XingYi, but I think on balance, I would go with the theory that the Karate-like fist and the Shaolin fist have come about because people trained those arts and also trained XingYi. The ‘XingYi fist’ is odd and counter intuitive at first and I can see it being dropped in favour of an easier fist shape. But I think, personally, that it’s the original fist.

(N.B. It should be added that in the XingYi animals there are a huge variety of different fist shapes used, some of which are flat-knuckled, others are palm strikes, etc).

Conclusions

Am I suggesting that the Vikings practiced XingYi, or that Chinese soldiers had Viking shields? No, of course I’m not. Instead, I’m suggesting that perhaps the action of Zuan Quan is so suited to weapons use that it has arisen independently in two distinct time periods and cultures. So many little details are the same – the elbow drop, the spiralling extension and the hand position because it is the optimum way of performing this action.

I’d also like to add  something of a diclaimer in that there is often hot debate amongst XingYi practitioners on the correct way to practice the art, so the views presented here are only the way I was taught – other people do XingYi differently, and I don’t speak for them. Also I’m in no way an expert in Medieval European weapons arts, and apologise for any mistakes I’ve made in their presentation here. That is purely down to my own ignorance. I’m not going to correct the article along the lines of comments like ‘my master in China says…’ but if I’ve got anything wrong then please let me know.

 

#RealXingYi

Exciting new website

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I want to give a ‘shout out’ here to my friend Paul and his amazing new venture, the XingYi Academy website, and Facebook page.

In his own words:

“There is not much there now but that will change very soon, regular blog updates and later a full members area with loads of content and instructional videos.

Just a few of the things we have planned:

I am already embarking on a project with one of my students who is fluent in Chinese to make a translation of Yue Fei’s Theses and interpret them from a martial context to show their relevance to Xing Yi practice. This will be added to the members area when we’re done and we hope to also publish our translation academically and in a simplified form as a paperback.

I’ve just bought an antique Chinese spearhead and hope to restore it and show some xing yi spear with a real spear with a real historical spear head. (I’ve also got a live spear head and hope to put up some video of test cutting with a live spear too). We might even film some Xing Yi Archery at some point ;)

We’re big on full contact fighting and we’ll definitely be showing how Xing Yi can be used for real, hence our tag line “Real Xing Yi”.

I’m hoping we’re going to raise the bar and set a new standard for Xing Yi online, in terms of depth and amount of content (we seem to have sheds of stuff and from experience I’ve not found any other school with the sheer amount of material I’ve managed to learn or discover especially in 12 animals xing yi), but also in terms of quality of the media, we’re looking to really up the game and make everything to the highest standard we can. As we grow we’ll even go over the older material and update it and increase the quality when we have new camera equipment or space to film in etc.

And at the end of the day we’re just going to put all our stuff out there, whether people are beginners, experienced, whether they like what we do or not I guarantee we’ll be presenting things that will be new to a lot of people and I’m sure all Xing Yi practitioners will find something to take away. And we’ll happily engage in debate and discussion, we hope to be able to provide members forum and some kind of Q&A/two way feedback discussion with members and with me and the other XYA guys once we get going down the line.

We hope to have a mailing list up and running by the end of next week, maybe even by Monday but for now if anyone would like to take a look please do so. Support and feedback is much appreciated.”