Kung Fu Tai Chi - March-April 2017

2017 Year of the Fire Rooster Horoscopes

March + April 2017

Pushing Hands

Allen Joe

Remembers

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R

ight after the U.S. Presidential election, I left the country. I went on assignment to Dublin, Ireland, for a set visit for AMC’s Into the Badlands. It was a work trip, not out of protest, although I confess that after such a rancorous election I was hoping for a little break. But it wasn’t to be. In the Irish pubs over pints of Guinness, I found myself engaged by locals wanting to discuss the surprising results in context of their own situation with Brexit. The world is changing and we simply cannot afford to look away. The stakes are too high.

martial arts were profoundly affected by the political turmoil of the last century. And we’ve been paying close attention to how globalism is affecting martial sports like L-R: Mr. & Mrs. Ha Tak Kin, Gigi Oh and Li Siu Hung Modern Wushu and Chinese film. China was a major talking point throughout the election and is still controversial in the wake of it. Now, the U.S. and China are the two most powerful nations in the world so our relationship affects everyone. China has been touting its ‘soft power’. Any Chinese martial artist knows what that means. It’s pushing hands (see pages 58 & 64). If you push a push hands player too hard, you immediately learn the gravity of gravity when they absorb that push and send your butt crashing to the ground.

As a general rule, Kung Fu Tai Chi strives to be politically neutral. That’s not out of a lack of opinion by any means. It’s just that we are a magazine about Chinese martial arts so it’s not really our place. Besides, martial artists run the gambit when it comes to political views so if we did propound a political stance, we’d surely antagonize some of our readership. Actually, this is one of the many things I enjoy about our martial community. Martial artists come from every demographic: Democrat or Republican, left or right, communist or capitalist, progressive or conservative, rich or poor, educated or illiterate (well, hopefully literate enough to read our magazine at least). In the martial arts, you’ll find representatives from every side of the wall. As part of my job, I’ve dined with U.S. politicians, Chinese Communist Party members, Buddhist monks, Daoist priests, and Chinatown triad leaders. I used to train side-by-side with Newark Policemen and a senior Hell’s Angel. That was a great class. When we all bowed into class, we left any differences at the door and just focused on what we were there to do – train Kung Fu.

Associate Publisher, Kung Fu Tai Chi & KungFuMagazine.com

However, politics are unavoidable. We discuss a lot of Chinese history here because the development of Chinese

P.S. I’m under a Non-Disclosure Agreement for Into the Badlands so my Dublin trip won’t be covered until our next issue when that NDA expires. Stay tuned!

If there’s one thing America can agree upon right now, it’s that we are a nation divided. As martial artists, we know how to bow in and leave any differences outside to get the work done. As practitioners and aficionados of Chinese martial arts, we learn more than just fighting techniques. We study Chinese culture. So we have a deeper understanding of the cultural differences between our great nations, a valuable perspective in these estranged times. We need to bring the unity back to the United States. And we need to bring respect and understanding around the world. I’m a born American and proud of this country, plus this is an American magazine. As we go forward into the Year of the Rooster, I hope that we, as martial artists, as Americans and as Chinese, can all work together to help the world find mutual respect, understanding and peace. Happy Chinese New Year! Gene Ching

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Kung Fu Tai Chi March+April 2017 (ISSN 1050-2173 - formerly Kungfu Qigong) is published bimonthly by TC Media International, Inc., 40748 Encyclopedia Cir. Fremont CA 94538. All rights reserved. Contents copyright 2017 TC Media International, Inc. Nothing may be reproduced in part or whole without written permission from the publisher. Printed in the USA. Periodicals Postage paid at Fremont CA 94536 Second Class postage pending. FREE-LANCE SUBMISSION: All rights in letters, manuscripts and correspondence will be treated as unconditionally assigned for publication and copyright and subject to editorial revision. Send to the address below. For submission guidelines, see our official website at www. KungFuMagazine.com All Correspondence & DISCLAIMER: We, TC Media International Inc., as publisher, make no endorsements, Article Submissions representations, guarantees or warranties concerning the exercises and/or legalities of the 40748 Encyclopedia Circle products and services advertised herein. We expressly disclaim any and all liability from or relating to the manufacture, distribution, sale, use or misuse, or any other act of any party in regard Fremont, CA 94538 U.S.A. to such products and services. The publication is distributed on an international basis. Some Tel: (510) 656-5100 products may be illegal in some areas. Check your Federal, State and Local Laws. We make no Fax: (510) 656-8844 representations or warranties concerning the legalities or purchase or use of advertised products [email protected] or services herein. POSTMASTER: Send address changes to: 40748 Encyclopedia Circle, Fremont CA 94538 U.S.A.

4 KUNG FU B TAI CHI APRIL 2017

Master John Burns

APRIL 2017 KUNG FU B TAI CHI 5

Cover Story

30

Family of Lions By Jeff Hung and Stephen Chew

Features 30 COVER STORY

58

76

64


20 40 46 52

‘Uncle’ Allen Joe Remembers Bruce Lee

By Gene Ching

The Deceptive Double Daggers of Ying Jow Pai By Williy Pang

Bow Sim Mark’s Bagua Heritage By Jean Lukitsh

Health for the Four Seasons through Baguazhang By Liang Keming with Gigi Oh

58

Pushing Butterflies

64 70

Shaolin Push Hands

Reassessing Sport Taijiquan Push Hands By Emilio Alpanseque

By Chris Friedman

Shaolin Continuous Hand Short Strikes By Leon Zhang with Gigi Oh and Gene Ching

70

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76 82

Iron Finger, Soft Brush By Gene Ching and Gigi Oh

Featured Weapon Oxtail Saber

Tournaments - Events - News

10 16

Clawmarks

18

Oakland 1964

By Jonny Oh

Report on the 6th New England International Wushu Championships By Anthony Roberts

The Challenge that Became Legend, The Legend that Became Bruce Lee By Emilio Alpanseque

18

DEPARTMENTS

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Oxtail Saber 8 KUNG FU B TAI CHI APRIL 2017

4 12 84 87 88 90 92 96 98

Publisher’s Corner Web Fu Chollywood Rising: The Year of the Rooster and More MartialArtsMart Order Form MartialArtsMart Ordering Information Kung Fu Tai Chi Calendar Kung Fu Tai Chi Distributors Kung Fu Horoscope Kung Fu Wisdom: Wen ji qi wu

CLAW MARKS By Jonny Oh iger Claw is preparing for great things in 2017. New products, equipment, and events are all on the horizon. I already know our biggest event next year will be the Tiger Claw Elite Championships, held May 19–21, 2017, in San Jose, California. Every year we work to add stuff and make it better than the year before so that people will leave talking about how great the event is and want to come back. This year additions will be easy, but at the same time, a lot of hard work will be required to pull it all off successfully.

T

Kung Fu Tai Chi magazine turns twenty-five next year. Let that sink in for a moment. Twenty-five years of great Chinese martial arts coverage. It has been no easy task to keep it going over the last few years with print material dying left and right. The staff we have (all have been with us for many years) are dedicated and produce a magazine that our readers enjoy. So it’s a no-brainer to add the 25th anniversary to this year’s event. After much development, we are planning several additions, such as a live theatrical performance. And in special anniversaries past, we have held banquets for VIPs and readers

to come together and celebrate. For 2017, we decided to change the format a little because we have friends that are also celebrating a birthday. This year, 2017, will also be a big anniversary for another martial arts organization. The International Wushu Sanshou Dao Association (IWSD) is celebrating their 30th anniversary. Many of the grand masters that have come to our event as VIPs are members of this prestigious group. Once the organizing committee for their 30th anniversary got together with us, we decided that it would be a good show of unity to work together and hold a celebratory banquet and push hands competition in their honor. The excitement level builds every time we have a meeting regarding the

International Wushu Sanshou Dao Association invited all of these Martial Arts organizations to the United States to participate in the IWSD 30th Anniversary Celebration: ഭ䱵↖ᵟᮓ᡻䚃㚄ⴏ (IWSD) 30ઘᒤᒶި⢩䚰਴↖ᵟ㓴㓷䎤㖾৲࣐˖ Shandong Provincial Binzhou City Martial Arts Athletic Association (Zhang Fengyuan, Headmaster) ኡьⴱ┘ᐎᐲ↖ᵟ䘀ࣘॿՊ˄ᕐ仾ઈѫᑝ˅ Shandong Provincial Binzhou Hongquan Martial Arts Research Association (Liu Bingguo, Leader) ኡьⴱ┘ᐎ⍚ᤣ↖ᵟ⹄ウՊ˄ࡈ⛣ഭՊ䮯˅ Lanwu Municipal Martial Arts Athletic Association (Hou Jun, Headmaster) 㧡㣌ᐲ↖ᵟ䘀ࣘॿՊ˄‫ੋן‬ѫᑝ˅ Shandong Municipal Zibo Taiji Chanyuan Health Association (Ye Wei, Leader) ኡьᐲ⏴ঊཚᶱ⾵Ⓚޫ⭏Պ侶˄ਦՏՊ䮯˅ China Shandong Hua Xia Wu Dao Education School (Zou Lei, School Leader) ѝഭኡьॾ༿↖䚃ᮉ㛢ᆖṑ˄䛩䴧ṑ䮯˅ Shaoguan Athletics College Martial Arts Research Center (Chen Xingtan, Chief Director) 並‫ޣ‬ᆖ䲒փ㛢ᆖ䲒↖ᵟᮉ⹄ᇔ˄䱸ᱏ▝ѫԫ˅ China Taiji Yi Quan Dao Association (Song Aonan, Leader, Zhang Binzong, Coach) ഭ䱵ཚᶱ᱃ᤣ䚃ᙫՊ˄ᆻ㘡ইՊ䮯ǃᕐᮼᙫᮉ㓳˅ China Changan International Taijiquan Research Association (Wang Qingsheng, Wen Jianjun, Zheng Zhixiang) ѝഭ䮯ᆹഭ䱵ཚᶱᤣ⹄ウՊ˄⦻ᒶ⭏ǃ㗱ᔪߋǃ䜁Ც㘄˅ Shanxi Hongquan Cultural Research Association (Shao Zhiyong, Leader) 䲅㾯㓒ᤣ᮷ॆ⹄ウՊ˄䛥ᲪࣷՊ䮯˅ China Taiji Magazine ѝഭǉཚᶱǊᵲᘇ⽮ China Wudang Magazine ѝഭǉ↖ᖃǊᵲᘇ⽮ 10 KUNG FU B TAI CHI APRIL 2017

L-R: Ben Zhang, Gene Ching, Wayne Peng, Jonny Oh, Andy Ye event. Shifu Wayne Peng (Cover Master January+February 2013), Shifu Ben Zhang, and Shifu Andy Ye, representatives of IWSD, have been in constant communication with us, planning an amazing event for next year. The IWSD was originally founded by Grandmaster Shou-Yu Liang (Cover Master October 2000 & May+June 2007) from Vancouver, Canada. They have members all across the globe, many of whom will be in attendance at our Kung Fu Tai Chi 25th Anniversary Festival. We all have the goal of putting on the best Chinese martial arts event. It will be a great weekend of events. Please don’t miss out. Make sure you check back with us as we start announcing more events, more masters, and more fun you cannot miss! So far the feedback we have been getting has been great. Hope to see you all this May in San Jose!B Jonny Oh is the President of Tiger Claw. Kung Fu Tai Chi is published under TC Media International, a division of Tiger Claw. For more information on Tiger Claw martial arts products and activities, visit TigerClaw.com. And for more information about the Kung Fu Tai Chi 25th Anniversary Festival, visit KungFuMagazine.com.

IWSD Founder Grandmaster Shou-Yu Liang ഻䳋↖䚃㚟ⴏ ࢥ࿻Ӫằᆸ⑍

* * * *

IWSD Ambassador Master Changjun Zhao ഻䳋↖䚃㚟ⴏᖒ䊑 བྷ֯䏉䮧䓽

The International Wushu Sanshou Dao Association (IWSD) Push Hands King Championship The IWSD 30 Year Anniversary & the Kung Fu Tai Chi 25th ANNIVERSARY FESTIVAL Awards Banquet World Martial Arts Commemorative Album – A special limited-edition commemorative album will be published featuring world famous martial artists A Red Carpet route for the entry of VIPs and martial celebrities.

In cooperation with

25

Contact Info: Website: www.iwsd.us Email: [email protected] Phone: 1 (408) 823-0688 or 1 (408) 806-0166


WEB FU

Associate Publisher Gene Ching speaks on KQED’s Forum with Michael Krasney On December 14, 2016, Kung Fu Tai Chi’s Associate Publisher Gene Ching was on KQED’s Forum with Michael Krasney. The program was Bruce Lee and San Francisco’s Pioneering Martial Arts Scene and centered around Charles Russo’s book Striking Distance: Bruce Lee and the Dawn of Martial Arts in America. Also joining the program was Jeet Kune Do instructor Gary Cagaanan, who trained directly under Bruce Lee’s disciple, James Lee.

http://www.kungfumagazine.com/forum/showthread.php?69941-GeneChing-on-KQED-s-Forum-with-Michael-Krasney L-R: Charles Russo, Michael Krasney, Gene Ching, Gary Cagaanan

Shaolin Soccer is For Real Ever since Stephen Chow’s irreverent film Shaolin Soccer (2001), every time a real soccer player fouls another with a high illegal kick, Shaolin Soccer is evoked by the media. But more intriguingly, recurrent news stories cover real soccer training at the world’s largest martial arts school, Tagou Martial Arts School near Shaolin Temple in Henan China. Since 2010, trending stories have appeared regularly across web newsfeeds featuring photos of Tagou students clad in monk robes practicing extraordinary soccer moves. Chinese President Xi Jinping has been described as ‘soccer-mad’ as China has campaigned to become a global power in soccer by acquiring world class athletes with hefty salaries. Combined with the Kung Fu style training at Tagou, who knows what might happen next?

Heavy Guan Dao The Guan Dao, an ancient lance attributed to PIKIRHEV]+IRIVEP+YER=YHMIH') MWSRI of the signature weapons of Chinese martial arts. Some traditional Kung Fu practitioners work with extremely heavy Guan Dao, some weighing in at a few dozen pounds. A few extreme practitioners use Guan Dao that weigh over a hundred pounds. Kung Fu Tai Chi has published a few articles on heavy Guan Dao use and last November, China Xinhua News posted a video of ©Screen grab from China practitioners using a Guan Dao Xinhua News over 200 pounds.

http://www.kungfumagazine. com/forum/showthread. php?12332-The-Kwan-Daoweighing-100lbs-That-isridiculous!

©thesun

http://www.kungfumagazine.com/ forum/showthread.php?57758Shaolin-Soccer-for-real

Real Drunken Stylists Drink Baijiu Baijiu (literally ‘white liquor’ⲭ䞂 MW China’s distinctive liquor, has been making headway as a global libation. Baijiu is a potent drink, typically 40-60% ABV, distilled from fermented grains, typically sorghum. This is the stuff that drunken style Kung Fu masters are seen drinking in the movies; it’s a mainstay of Chinese alcoholic beverages. Given China’s massive population, it is likely the bestselling liquor in the world. Several marketing campaigns have been launched to promote baijiu outside of China, including connoisseur top-shelf baijiu tastings and new-fangled baijiu-based cocktails. World Baijiu Day was launched in 2015 in an effort to spread more worldwide acceptance. The 3rd World Baijiu Day is scheduled for August 9, 2017. August 9 is ‘ba jiu (literally ‘eight nine’‫ޛ‬ ҍ)’ – a homophone for baijiu.

http://www.kungfumagazine.com/forum/showthread. php?60794-Bai-Jiu


Exclusive articles that appeared on KungFuMagazine.com during NOVEMBER and DECEMBER 2016 Michelle Lin on ASSASSIN’S CREED and the TIGER CLAW ELITE CHAMPIONSHIPS by Gene Ching

Philip Ng on Making it in Martial Arts Movies by Gene Ching

The Shaolin Experience by Chris Friedman What a Long DOCTOR STRANGE Trip It’s Been… by Patrick Lugo and Gene Ching Interview with Roger Yuan on JASON BOURNE by david moore

Philip Ng on Working on Martial Arts Movies in Hong Kong by Gene Ching

San Diego Asian Film Festival 2016: An Old Game, A New Reign and A Hall of Fame by Craig Reid

Prizes awarded from the KungFuMagazine.com Online Sweepstakes during NOVEMBER and DECEMBER 2016. No purchase necessary to enter. Five winners are awarded for each sweepstakes.

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The Art and Science of Staff Fighting Autographed by Joe Varady

Focusing Emptiness Autographed by author Michael P. Staples, plus a rare Beijing Wushu photo print by the author


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By Anthony Roberts

O

n Saturday, November 5, 2016, Master Malee and Malee’s School of Tai Chi & Kung Fu played host to competitors from New England and all over the U.S. at the 6th New England International Wushu Championships, U.S. Traditional Wushu Team Trials, and 3rd USA Tai Chi Cup in Connecticut. The event took place at Nomad’s Adventure Quest in South Windsor. With close to three hundred competitors in attendance from twenty-six schools, it was one of the best attended Chinese martial arts tournaments on the east coast this year. Many special guests were in attendance, including Grandmaster Bai Wenxiang, (cover master November+December 2010) former head coach of the Shaanxi Wushu team, and Master Zhao Changjun (cover master November+December 2006), one of the top Wushu athletes of all time, (left to right) Master Zhang Guifang, Grandmaster movie star, principal rival to Jet Li, and Bai Wenxiang, Master Zhang Liyong, and Master champion of Chinese Wushu in the 1980s. Malee Khow Also present was Master Sitan Chen, the “Prince of Tai Chi” (ཚᾥ⦻ᆀ), with over 32 gold medals in competition.

Master Malee Khow with trophy winners from the 3rd USA Tai Chi Cup

Tournament Judges and Officials

At the team trials, over eighty people qualified for the U.S. Traditional Team, which will go on to compete at the 7th World Wushu Championships next year in China. At the Opening Ceremony, participants were treated to wonderful performances by Calvin Chin's Martial Arts Academy (MA), Malee's School of Tai Chi & Kung Fu (CT), Ju Long Wushu Center (CT), Ohio Wushu Academy, and Asian Performing Arts (CT).

26 schools lining up for the Opening Ceremony

Tournament Officials Tournament Director: Malee Khow

Grandmaster Bai Wenxiang , Master Sitan Chen, and Master Lynn Lin led a large group performing 24 Form Tai Chi. Then in the evening, many of the visiting masters performed wonderful and exciting martial arts routines, hard qigong, and more. Audience members said it was one of the best Masters Demonstrations they had ever seen.

Arbitration Committee and Performers: Calvin Chin (MA), Chaohai Lan (NY), Lingcheng Ma (NY), Wentao Wei (CT), Changjun Zhao (NJ)

Master Malee has been organizing tournaments in Connecticut since 1999, beginning with the 1st New England International Wushu Championships. Since then, she has organized this tournament six more times, as well as several USAWKF National Championships, adult and junior team trials, national instructors and judges courses (the first to do so in the U.S.), USAWKF duan ranking examinations, and the USA Tai Chi Cup, sponsored by the USA National Tai Chi Chuan Federation, of which Master Khow is president.B

Head Judges and Performers: Sitan Chen (NY), Sen Gao (OH), Yuan Zhang (NY), Lucien Zoll (MA)

For more information on Malee’s School of Tai Chi & Kung Fu, visit https://maleeschool.com

Master Zhao Changjun and Master Malee Khow

Chief Referee and Performer: Bai Wenxiang (MD)

Assistant Head Judges and Performers: Lynn Lin (NY), Kam Pang Cheung (NJ), Liyong Zhang (CA) Scoring Judges and Performers: Barbara Chan (CT), Xiaoyi Chen (MA), Mynor Diaz (MA), Cynthia Hoag (CT), George Hoag (CT), Ruibin Lin (NY), Alexander Liu (NY), Jiang Ma (China), Changrong Sun (NY), Mingxun Wang (NY), Rengang Wang (NY), Yanhua Wang (NY), Zhenshen Wang (NY), Zheng Xiao (NJ), Tie Ying (NY), Guifang Zhang (NJ) Other Performers: Master Lei Cui, Master Zheng Yi Guan, Master Ginger Jiang, Master Xin Ying

Grandmaster Bai Wenxiang, Master Chen Sitan, and Master Lynn Lin performing 24 Form with participating schools


Organizing Committee: Barbara Chan, Krystyna Dzwonkowski, Cynthia Hoag, George Hoag, James Kramer, Kevin LaBella, Lien LaBella, Vincent LaBella Sr., Amy LaRose, Hoa Nguyen, Daphne Pierce, Richard Preston, Jessica Reid, Anthony Roberts, Egils Vigants


L

By Emilio Alpanseque

ast November, the San Francisco’s Fort Mason Center for Arts & Culture hosted the 2nd “World of Bruce Lee” Exhibition, organized by the acclaimed Bruce Lee fan and collector Randy Wong. The exhibit celebrated the 76th birthday of martial arts legend Bruce Lee and the 50-year milestone of Lee’s groundbreaking role in The Green Hornet TV show. In addition, the lineup also included a special tribute section to the highly regarded Master Wong Jack Man, who was one of the first masters to openly start offering Chinese martial arts lessons in the US in the ‘60s (first in San Francisco’s Chinatown and for several decades later in the same Fort Mason Center’s building where this exhibition was held), and who famously battled Bruce Lee in a no-holds-barred match in 1964, a fight that is said to have profoundly altered the course of Bruce Lee’s life and martial arts path forever.

This once-in-a-lifetime experience was honored with many special guests such as legendary Hollywood still photographer Dave Friedman (assistant cameraman on The Green Hornet and unit photographer on the classic Enter the Dragon), who brought with him an outstanding collection of vibrant images of Lee that only he was able to capture during those days. Other guests included Master Malia Bernal, one of Wong Jack Man’s most famous students; Master Rick Wing, also a longtime student of Wong, writer of several books on the Northern Shaolin style plus the e-book, Showdown in Oakland: The Story Behind the Wong Jack Man - Bruce Lee Fight; Charles Russo, author of Striking Distance: Bruce Lee and the Dawn of Martial Arts in America; Jeremy

Arambulo, creator of A Challenge, a comic book tale based on Wong Jack Man and his fight with Bruce Lee; along with other surprise guests.

First Generation Students Speak Up

Many first generation students of Wong Jack Man’s Jing Mo Athletic Association, also known as the “880” since it was located at 880 Pacific Avenue in San Francisco’s Chinatown, were in attendance. In fact, the organizer of the exhibit is one of them himself: “I am presenting a tribute to both Wong Jack Man and Bruce Lee at my ‘World of Bruce Lee’ exhibit this year”, explains Randy Wong. “Wong Jack Man was my sifu from 1969 to 1971 before Bruce Lee rose to fame in Hong Kong. Having witnessed Master Wong in his prime, I can attest to his extraordinary martial art skill. Whatever your interpretation and opinion of the few facts that surround their fight could be, I speak from firsthand knowledge and experience to say that Wong Jack Man has been unfairly and unjustifiably vilified as depicted in print and film; foremost in regards to the reason for this legendary clash and its outcome.” Another of Master Wong’s first generation students, Sifu Robert Louie, also comments: “Looking back, it is strange that two martial arts masters had crossed their path over 50 years ago and as history has it, both became heroes. One of them is Bruce Lee, an icon in the martial community and famous in the entertainment world which in many ways influenced many people to make them better in their lives. And although people took advantage of his name for notoriety or monetarily after his death, he is a hero because of his own accomplishments. The other is Sifu Wong Jack Man, who will also be remembered as he enriched his student’s lives in many different ways. He inspired and touched all of us deeply, teaching us to believe in ourselves, to be honest, patient and, most importantly, to observe the martial arts morality and ethics.”

Unveiling the Truth The original first generation students of Wong Jack Man; left to right – Rick Wing, Michael Chong, Arthur Chin, Chock Lee, Randy Wong, Malia Bernal, Herb Leung, Robert Louie and Bendrew Jong (also in the picture is younger generation practitioner Jason Louie) 18 KUNG FU B TAI CHI APRIL 2017

Randy Wong has a lot to say around this famous confrontation: “First, there was no personal animosity between them leading up to their fight and it was never due to Bruce Lee teaching non-Chinese as it has been propagandized all these past decades. Like Lee, Wong also had non-Chinese students at that time, being Master Malia Bernal one of them.” In this regard, Sifu

Louie adds, “Yes, people wrote numerous accounts that made Sifu Wong Jack Man to be a villain, a gangster, a coward, a dirty fighter, a person who hated non-Chinese; that is because everyone wants a bad guy, someone who people can freely write lies because they fear no retaliation in what they write. In reality, Sifu was the opposite of what people wrote. To say he had a strong backing of other Kung Fu masters of San Francisco’s Chinatown or to be part of the Chinese mafia is laughable to say the least. But by living through his entire character assassination, Sifu Wong taught us that as long as the truth is known within, it does not matter what others write or say.”

individual completion – most certainly for Bruce Lee, as this single fight was a major turning point of his life and the catalyst that led to his creation of Jeet Kune Do. This challenge fight was real and all-out. By the few remaining credible accounts of those present, the two squared off and then clashed in a vicious flurry of blows. Hands and fists were flying; blows were deflected, blows landed, all in a rapid blur. At the fight’s end, both men walked away from their duel without serious injury, a testament to the skill level of each. Neither men felt he had lost. The actual outcome will be forever open to controversy and endless debate. I ask all fans to open their minds and put aside this decades-old story.”B

Back on topic, Randy Wong comments: “Wong Jack Man and Bruce Lee were virtual opposites. I really view their fight as the embodiment of the Daoist metaphysical symbolism of yin and yang, two halves of a whole, a pair of interdependent opposing forces. Ironically, their coming together in a battle was perhaps necessary for their

Emilio Alpanseque currently teaches in El Cerrito, CA and can be contacted through his website EastBayWushu.com. He invites all readers to support Randy Wong’s next “World of Bruce Lee” exhibition coming in July 22, 2017. Find more information at: facebook.com/ World-of-Bruce-Lee-Exhibit-2015-598352063637501/

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By Gene Ching Photos courtesy of Allen Joe

Allen Joe with Bruce Lee on the set of The Green Hornet (1966-67)

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randmaster Allen Joe is the last surviving member of the Four Musketeers. That’s what they called themselves, Allen and his three best friends: James Yimm Lee, George Lee, and Bruce Lee. Allen Joe was there with Bruce from the beginning. He gave Bruce his first weight set and was instrumental in bringing him to Oakland, California. He was one of Lee’s closest confidants. But their fateful meeting over a half century ago almost didn’t happen. Who knows what would have become of the Little Dragon had he not relocated to the San Francisco Bay Area, which was a hotbed for martial arts back in the day and remains so now. Today, Allen remains a respected fixture in the San Francisco Bay Area martial arts community. He eschews formal titles; most know him as “Uncle Allen.” Now in his nineties, he still has a powerful grip and a qi-filled twinkle in his eyes. A WWII veteran, Allen was a bodybuilder before he was a martial artist. He and James Lee were childhood friends, growing up in the impoverished Chinatown of Oakland. Allen’s father had abandoned his family when he was ten. James was like an elder brother to him, sharing his one room place with him. “Sometimes he would give me a few bucks, like five bucks or whatever, a month. That was a lot of money.”

James and Allen were school mates and James was a schoolyard scrapper. “We were fighting. Just brute strength. No technique. Nothing. James was a good street fighter.” To fortify himself, Allen took up gymnastics and bodybuilding. Both he and James became obsessed with fitness. “James and I were all interested in bodybuilding and stuff like that. Be strong. We never miss a work out.” During the war, Allen was drafted and learned some Judo in boot camp. His strong physique gave him an advantage and he quickly became the assistant to the Staff Sergeant in charge of combat training. “I let them throw me around in the sand. It was pretty easy for me. That was part of my basic training. But it’s a shame. What can you learn in six weeks? You ready to go fighting? Some of these guys never made a long hike. They worked in an office and had no exercise.” After the war, he studied some Kung Fu and continued with bodybuilding. He became First Asian American to win the title of Mr. Northern California Bodybuilding Championship in 1946.

Meeting Bruce

It was James that sent Allen to meet Bruce. George Lee and James’ brother had seen Bruce and were impressed. “Bruce Lee came to San Francisco from Seattle to teach Cha Cha. During the intermission, he did some Kung Fu – the Praying Mantis and teaching Cha Cha at the same time. George came back and told James, ‘Hey, this guy is pretty good at Kung Fu.’ Bruce Lee won the championship of Cha Cha in Hong Kong. That’s how he made his money and supported his school in Seattle. When he came to Seattle, his father only gave him a hundred dollars. He had to stay at the restaurant – Ruby Chow restaurant – as a busboy and dishwasher. Bruce Lee’s family - Brandon, Linda and Shannon, with Allen Joe and his wife and son. 20 KUNG FU B TAI CHI APRIL 2017

“So in 1962, there was the Seattle World Fair. I was going with my family so I went to Ruby Chow’s to check

him out to see how good he was. Good thing I had a hotel called Montecello and it was only a few blocks away from Ruby Chow’s restaurant. Otherwise, if it was too far, I would have never gone. So I went there early and met Ruby Chow. She said, ‘Bruce is not here. It’s his day off.’ So I spent my time with my family at the World’s Fair. They had the Space Needle. That was something. After that, I had to go to Canada to meet my family. But I went back to Ruby Chow’s. I got there but Bruce was not there. Ruby Chow said, ‘He should be here. Why don’t you wait?’ In the meantime, Ruby Chow was very nice. The restaurant was closing up and she asked me if I wanted a drink. I said, ‘I’ll have a scotch.’ That’s how I was famous for scotch. I had my first scotch, and in that time, no Bruce. Ruby said, ‘He should be here any minute. Would you care for another drink?’ I said, ‘Yes!’ So I had two scotches. “Bruce came in the back way. He was all dressed up. He looked like more of a model. Nice looking, all dressed up in a suit, like he just went out with his girlfriend. He was very puzzled. ‘Allan Joe?’ He thought someone had come to challenge him. ‘Joe’ – that’s not a Chinese name, you know? Joe is very popular in Canada. I told him who I was and I was from Oakland, and that James Lee’s brother had seen him in Chinatown. Then he was all relaxed. He said, ‘Wait a minute. Let me take off my clothes and go to my room.’ He had a room there. He came back in a sweatshirt and pants with his notebooks. He was all excited to talk about Kung Fu. “We went out to eat. He wanted to see my Kung Fu. Then I go through some moves. ‘That was good.’ And then he said, ‘Okay, I want you to hit me as hard as you can.’ So I go in and give him a punch. He lap sao (grasping hand ᬨ᡻) me. He yanked my shoulder. Dang. He grabbed me so strongly. “After that, we went to get a hamburger and root beer. The hamburger stand was open all night. He showed me his notebooks. It was all full of his drawings and philosophy. That’s what he majored in. He asked me, ‘How long you going to stay here?’ I said, ‘I have to leave pretty soon because I have to go to Canada.' I only

Allen Joe and Bruce Lee at Joe’s grocery store.

had a few days. I had to go back to my grocery store because I only closed it for a few days because I had to take a vacation. Then he took my address in his book. “After my trip to Canada, I gave the report to James Lee. Bruce wrote back to me. James Lee wrote to him. He was coming back down to San Francisco again to teach dancing. Bruce Lee cutting meat in the back So James saw him of Allen Joe’s grocery store. and said, ‘This guy’s fantastic!’ In those days in the other Kung Fu schools in Chinatown, there was no fighting there. Bruce Lee started fighting right away. That’s what you learned in the Wing Chun. Wing Chun was good for street fighting. That’s how Bruce got started.ā

The Wong Jack Man Fight and Bruce’s Passing

In 1964, Bruce opened his second school, the Jun Fan Gung Fu Association, in Oakland, but it was met with resistance from the Bay Area Kung Fu community. Bruce Lee’s challenge match with Wong Jack Man remains one of the most debated duels in American martial arts history. Today, a half century later, it’s still discussed. Allen is quick to admit he wasn’t there the day that Master Wong came knocking at Bruce’s school door, but he remembers it well. “The only ones who were there were Bruce, Linda and James. Wong Jack Man brought all his friends and he tried to set up the rules. Bruce Lee said, ‘You challenged me. No rules.’ Later I saw an article that said that I was there, that I saw the fight. No. All Bruce threw was straight punches, chasing Wong – he couldn’t hit him. He chased him all around. And then, he got him in the front and beat the heck out of him, kept punching him. And Linda said

Allen Joe and Linda Lee Cadwell. APRIL 2017 KUNG FU B TAI CHI 21

Allen Joe in his bodybuilding days.

Bruce said, ‘You give up?’ But the Chinese people with him, I think people from the Kung Fu community, they say it was a draw. As soon as that fight was over, James called me on the phone: ‘Hey, it’s all over.’” When Bruce died, it shocked the world. Allen was shocked as well. “My mother died in ’70. James died in ’72. Bruce died in ’73. Just before that, he called me. ‘Allen can you come down to L.A.? I’d like to talk to you and we’ll have lunch. I’ve got some time.’ He told me that he was in good shape, so I tried to make my flight to L.A. Then he called me: ‘Hey Allen, I got some problems in Hong Kong. I have to go back. Will you come to Hong Kong? I’ll pick you up in my Rolls Royce.’ ‘Oh, you gonna pick me up?’ He said, ‘No. My chauffeur is going to pick you up.’ ‘Oh, that’s cool!’ So he went back to Hong Kong and that was the last I heard from him. “My wife answered the phone and said, ‘He don’t sound like Bruce Lee.’ And then we found out, it was another student of Bruce Lee’s and he called. ‘Bruce died.’ I don’t believe it. They shipped him over here. I didn’t know. I thought he was going to be buried in Hong Kong, but then they shipped the body back to Seattle. They didn’t tell me. It was too fast when it happened, you know? That was the last I heard from Bruce, when he called me.” Today, Allen Joe is on the Board of Directors for the Bruce Lee Foundation, a charitable organization founded by Bruce’s widow and daughter, Linda Lee Cadwell and

Bruce Lee choreographing Nancy Kwan and Sharon Tate for The Wrecking Crew (1965) 22 KUNG FU B TAI CHI APRIL 2017

A painting of Allen Joe and Bruce Lee that compares their physiques.

Shannon Lee. He still keeps a photo of him and Bruce in his wallet and not a day goes by when he doesn’t remember his dear friend. “He said, ‘I never want to be Charlie Chan, or Number One Son. I’m going to be the star.’ When he told me, ‘I’m going to be a household name,’ I laughed at him.” Allen recalls helping Bruce sell his book, Chinese Gung Fu: The

Philosophical Art of SelfDefense, a book that James

helped to publish and one of the earliest publications on Chinese martial arts in English. “When he put out that book – five bucks. I sold a lot of books at my store. And you know, I didn’t get any signed by him.”B

For more information on Allen Joe, see his new book, The Last of the Four Musketeers, available through Balboa Press (see http://bookstore.balboapress.com/Products/SKU-001037214/ The-Last-of-the-Four-Musketeers.aspx). For more on the Bruce Lee Foundation, see https://bruceleefoundation.org. Thanks to Sigung Bob Gomez, owner of Island Style Kajukenbo, for his assistance with this article.

A small portion of Allen Joe’s collection of Bruce Lee mementos.

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By Jeff Hung and Stephen Chew

tall column of smoke filled the skies of San Francisco’s Chinatown as the sound of 10,000 firecrackers burst into the sunny August afternoon. The thunderous roar of synchronized drumming gathered the onlookers celebrating the 30th Anniversary of San Francisco’s branch of the Shaolin Yau Kung Moon Sports Association. The portrayal of an awakening dragon kicked off four unique lion dance performances followed by demonstrations of Yau Kung Moon style Kung Fu. As the evening approached, the festivities relocated to the historic Far East Cafe. Another captivating performance by dragons and lions accompanied by the driving rhythm of the drum, gong and cymbals enthralled guests and tourists. A host of dignitaries proceeded to fill both floors for a lavish banquet. Rose Pak, a local political activist, and the San Francisco police regaled the audience with colorful tales from


Yau Kung Moon’s inception during the wild days of Chinatown, and how the association became a leading voice as the community evolved. An auspicious 8 lion awakening and a spectacular Kung Fu demonstration capped off the evening entertainment. Masters or their top disciples represented a spectrum of styles. YC Wong (Hung Gar), Lily Lau (Eagle Claw), John Leung (White Crane), Li Siu Hung (Choy Li Fut), Rick Wing (Northern Shaolin) and Tat Mau Wong (Choy Li Fut) were just a few of the luminaries in attendance. The exhibition concluded with the leadership of Yau Kung Moon demonstrating the intricacies of their style.

Yau Kung Moon (Ḅ࣏䮰) traces its roots back to the Shaolin Temple. Early last century, the patriarch Ha Hon Hung (༿╒䳴) studied both Kung Fu and Dit Da from a Shaolin monk named Tit Yan Sim See (䩥䳡⿚ᑛ) in China. Ha was the first secular student of Tit Yan to master his skills. Impressed with Ha’s level of understanding, Tit Yan directed Ha to teach Kung Fu to others and to call the style Yau Kung Moon. The lineage passed through his son, Sifu Ha Kwok Cheung (༿഻⪻), onto his grandson, Sifu Ha Tak Kin (༿ᗧᔪ), who directs Yau Kung Moon International from their base in Hong Kong. While in Hong Kong, Yau Kung Moon became renowned for its dragon and lion dancing. Under the direction of Sifu Ha Tak Kin and his son, Sifu Ha Kingmen (༿ᮜ᮷), the team performs over a thousand shows every year. They have taken part in countless notable events such as China’s President Jiang Zemin’s visit to Hong Kong in 1997 and the equestrian competition at the 2008 Beijing Olympic Games. As a family, the Ha’s are focused on spreading the culture of dragon and lion dancing. The Ha family travelled to San Francisco for the anniversary celebration in which Sifu Ha Kingmen played a major role in choreographing the dragon and lion dances. After the celebration, Sifu Ha and many of the senior leadership from San Francisco Yau Kung Moon visited the Tiger Claw headquarters to share their insights on lion dancing’s past and their view on its future. Before the ‘90s, most southern lion dance followed a decidedly traditional script. A lion dance performance not only entertained but also bestowed good fortune and chased away evil. A show typically took an average of 30 minutes to complete. The choreography drew inspiration from folk rituals integral to Chinese culture. Lion dance also gave Kung Fu schools a chance to demonstrate their martial arts prowess in a non-combative format. While props, like benches and pots, had their place, they were secondary to stacking, a technique in which the head dancer jumps up and lands on the thighs or shoulders of the tail dancer. Stacking was a core skill that reflected the strong stances, power generation and solid footwork of a Kung Fu style.

During the ‘90s, southern lion dance evolved with the advent of international lion dance competitions, which emphasized showmanship. Instead of shows taking 30 minutes and more, a performance must be completed in less than 10 minutes. As a consequence, many of the traditional and cultural rituals of lion dancing were condensed. For example, a traditional routine may make three long “tests” or approaches to an object, highlighting the importance of three as a lucky number in Chinese numerology. A modern routine may substitute three “short” tests, perform only one long test or merely represent the tests symbolically. To heighten the excitement in the abbreviated time, lion dance teams emphasized more acrobatic moves taken from northern lion dance with its Beijing opera roots and displayed fewer of the stylistic moves originating from Kung Fu. Sifu Ha Tak Kin recalls telling his father that most people in the audience did not grasp the rituals expressed in a traditional performance. He convinced his father to utilize the shorter tails that allowed more acrobatic routines. He also incorporated shoulder straps under the tail in addition to the waist strap to keep the tail from flying around while jumping. He felt that the lightness training of Yau Kung Moon would benefit the switch to routines on poles that were high off the ground and spread far apart. APRIL 2017 KUNG FU B TAI CHI 31

Just prior to stacking, the lion reaches a base position typically associated with low dance. In this first example, the lion is on the ground. The head dancer leans slightly forward in a horse stance (photo 2A). If the head dancer sits in a horse stance with a vertical torso, a sharply angled kink appears in the lion’s back. The tail dancer also sits in a horse stance, but the upper torso is horizontal. The tail dancer’s head should be level with his torso to avoid manifesting a hump in the lion’s back. The level head combined with the head dancer’s inclined torso creates a posture with a smooth, natural curve (photo 2B).

2A.

2B.

Posture in base position on the ground.

The lion initiates the stack from the base position. The head dancer makes a small jump straight up and brings his feet together in a low crouch upon landing (photo 3A). The tail dancer can just provide minimal lift during this preliminary jump. 3A. Head dancer brings feet together and crouches during stack.

At this point, the head dancer jumps up, trying to achieve the maximum vertical height. The head dancer should avoid a strong jump backwards, because this can lead to excessive contact that knocks the tail dancer off balance. The tail dancer adds additional lift and guides his partner backward by rotating his arms from horizontal to vertical. During the lift, the head dancer raises his knees waist high. In the vertical arm position, the tail dancer holds his partner up until his partner’s feet are placed where the hip and thigh meet on the tail dancer (photo 4A). The head dancer lands softly with knees bent and toes pointed out. 4A-4B: Head dancer jumps during stack.

4A.

4B.

Upon landing, the head dancer straightens his legs and extends the head diagonally up with bent arms (photo 5A).). The tail dancer leans back until his torso is slightly off vertical. This backward tilt aligns the weight of the head dancer directly over the horse stance of the tail dancer, maximizing stability. The head dancer can make further adjustments by moving the extended head forward or backward. To dismount, the head dancer crouches partway down and jumps off. A big jump is not necessary, but sliding off is not recommended. While the head dancer is airborne, the tail dancer rotates his arms from vertical back to horizontal. This degree of guidance is sufficient to return to the base position. Continued on page 36 34 KUNG FU B TAI CHI APRIL 2017

5A: Head dancer lands on partner during stack stack. ^partner

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Continued from page 34: Family of Lions

6B.

6A.

he second example begins with the lion in a base position on a single bench (photo 6A). The upperbody posture of the dancers is the same as the base position on the ground. However, the dancers simply stand with their feet together in lieu of sitting in a horse stance. The dancers avoid positioning their feet beyond the legs of the bench. The central position prevents the bench from flipping when either dancer leaves their feet. 6A-6B: Base position on the bench. The lion once again initiates the stack from the base position. The head dancer makes a small, preliminary jump straight up and brings his feet together in a low crouch upon landing. The tail dancer provides some minor lift and, more importantly, helps balance his partner. At this point, the head dancer jumps straight up (photo 7A). 7A.

7B.

7A-7B: Head dancer jumps and rotates during stack. Since the lion is rotating clockwise in this example, the tail dancer simultaneously steps forward with the left leg and pivots on the right foot. This movement rotates the airborne head dancer into position for the soft landing (photo 8A).

8A-8B: Head dancer prepares for soft landing during rotation.

The head dancer begins the dip by squatting while the tail dancer sinks into a lower horse stance (photo photo 10A). The head should be kept relatively upright to avoid upsetting the balance of the tail dancer.

Upon landing, the head dancer straightens his legs and extends the head diagonally up with bent arms (photo photo 9A). 9A The vertical alignment of the head dancer over the legs of the tail dancer is critical, since the tail dancer can no longer move his feet to regain balance. The stack on the bench is now complete. 9A-9B:: Head dancer extends head to complete stacking on the bench.


10A:: Head dancer squats to begin the dip.

12. 13A. Once the team is ready, the tail dancer tilts his partner from a vertical to a horizontal position (photo 11A). The head dancer remains in the squatting position during the entire lowering process. The pushing force of the squat combined with the pulling force of the lowering acts as a loaded spring, forming a robust connection between the head and tail. The length of time the head dancer stays in the lowered position depends on what the lion is doing. If the lion is looking at its reflection in the water, a quick tilt can be sufficient. Conversely, if the lion is retrieving the chang,, an extended period in the horizontal position may be required. 11A

After the head dancer completes his task in the lowered position, he arches his back, raising the head as much as possible (photo 12). ( Arching reduces the dead weight of the head. At the same time, the tail dancer lifts his partner back into the upright squatting position Once the head dancer is stable, he straightens his legs and extends the head up, returning to the bench stack position (photo 13A). ( 13B.

11B 13A -13B: Head dancer extends head, returning to the stack position. :: Head dancer is lowered into position. The stack dismount on the bench resembles its counterpart on the ground. The head dancer prepares for the dismount by crouching. Then he jumps up and moves the head counter-clockwise. A large head motion is not required. Meanwhile, the tail dancer simultaneously pivots counter-clockwise on his ( right foot and steps back with his left leg (photo 14A).). This movement rotates the airborne head dancer counter-clockwise. [14B: Head dancer dismounts from the stack.

14A. While rotating in the air, the tail dancer is responsible for lifting and guiding his partner back over the bench. Finally, the head dancer descends, returning to the base ( 15A position on the bench (photo 15A). 15B: Returning to the base position on bench.

Sifu Jeff Hung instructs Eagle Claw and Lion Dance at Lily Lau Eagle Claw in Milbrae, CA. Sifu Stephen Chew instructs Hung Gar, Sun Style Internal Martial Arts and Lion Dance for the Southern Shaolin Lion Dance Team in Cupertino, CA. The authors would like to thank Sifu Li Siu Hung for hatching the idea and bringing everyone together. We extend a large thank you and congratulations to Yau Kung Moon’s leadership, Sifu Bill Lee, Sifu Michael Lau, Sifu Lok Sang Lee, and Sifu Richard Ow for their 30th anniversary and the warm welcome they gave us. Finally, a special thanks to Wendy Chew whose knowledge of Mandarin, Cantonese and Lion Dance was crucial in translating and interpreting Chinese content.

15A.


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The Deceptive Double Daggers

of Ying Jow Pai

L

inear, circular, spherical – they sound like geometry terms from a 6th grade math class. But in this particular context, they describe the martial sophistication and complexity of seung bei (䴉ॅ), the double daggers of Ying Jow Pai (吩⡚ ⍮; ying jaau paai) in Yale Cantonese standardization), otherwise known as The Eagle Claw Kung Fu system.

This Northern fighting method attributes its inspiration and origins to famed General Yue Fei (ዣ伋; Ngok Fei in Cantonese) of the Southern Song Dynasty (ই ᆻ; 1127–1279 CE) in China. It gained attention and popularity when Master Chen Zizheng (䲣ᆀ↓; Chan Ji Jing) was invited to teach the system at the Jing Wu Athletic Association (㋮↖億㛢ᴳ; Jing Wu Ti Yu Hui / Jing Mou Tai Yuk Wui ) in Shanghai, China, during the early part of the 20th Century. The system continues to flourish in the 21st Century. 40 KUNG FU B TAI CHI APRIL 2017

By Williy Pang

The Anatomy of the Double Daggers The unique nature of seung bei begins with the construction of the weapons themselves. Each dagger is forged as a single flat piece, double-edged with a circular ring at the base of the handle. This construction caters to the deceptive nature of the daggers; when held together in a single hand, the two daggers align perfectly. Assailants, believing they are confronting a single dagger, are surprised when it’s revealed that there are actually two. While an overly confident adversary may be able to dodge a single visible dagger, it is the unexpected one that brings defeat. The handles are typically wrapped with just enough cloth to be comfortable in the practitioner’s eagle claw grip. This is essential, as the system incorporates much switching of grips and flipping of blades, which requires a handle that is neither too bulky nor too thin. The circular pommel at the base of each dagger facilitates blade-balance, and tactically provides both defensive and offensive applications.

In Practice, the Skills Are Honed Weapons are typically an extension of the individual and the evolution of one’s Kung Fu skill. Within the Northern framework of Chinese martial arts, the seung bei assumes a rigorously athletic and acrobatic martial flavor. This is based upon the idea that athleticism enhances ability, and ability inspires multiple alternative applications. Through the lens of the Ying Jow Pai methodology, this athleticism assumes a gymnastic flair emphasizing the physical qualities of flexibility, dexterity, and agility while impressing the mental attributes of focus, fortitude, and fearlessness in the face of adversity. The sum of these qualities contributes to the martial potential at the heart of seung bei, and indeed all traditional Chinese martial arts. The daggers act as an eagle’s talons swooping low and mid-level.¨

The Eagle Claw system’s double daggers set contains hallmark movements native to the fighting style which include: syun ji (butterfly kick ᯻ᆀ; xuanzi in Mandarin); fan lit (split ࠶㻲; fenlie); jak sau faan (cartwheel ‫ڤ‬᡻ 㘫; ce shao fan); and faan gan dau (handspring 㘫ㅻᯇ; fan jindou). The optimal performance of seung bei’s acrobatic movements requires the harmonious integration of ng faat (ӄ⌅; wu fa), or the five methods: ngaan (eyes ⵬; yan); yi (mind [intent] ᜿; yi ); sau (hands ᡻; shou); san (body 䓛; shen); and bou (stepping ↕; EX). This form, with its complex acrobatic techniques, demands a high degree of hand-eye-weapon competence. Dagger dynamics require a combination of blade deftness with whole-body coordination in conjunction with stealthy stepping patterns such as tau ma (stealing stance ‫ڧ‬俜; tou ma) and sou geuk (sweeping legs ᦳ㞣; sao jiao). Arm extensions let the daggers swirl in wide circular arcs to generate momentum and reach a distant opponent; retracted elbows enable the use of close-quarter, fast stabbing techniques. Concurrently,

© Syun ji – butterfly kick (᯻ᆀ).

the footwork maintains both linear and multidirectional advancing and retreating configurations. In this manner, the exponent can quickly and seamlessly transition from confronting an armed individual to contending with multiple attackers. The practice of the seung bei also serves as a supplemental training apparatus for reinforcing the ying jaau (eagle claw 吩⡚) – the principal hand method of the system. In gripping the double daggers, the practitioner uses the same grasping method as for many kam na (ᬂ᤯; more commonly called qinna) – literally, seizing and grasping techniques that are the foundation of the fighting methods of the Eagle Claw system. When the daggers are flipped or tossed, the practitioner catches them in a manner that mirrors the clutching of an opponent’s extremities, with the same coordination, timing, and precision in which qinna techniques are executed.

In Praxis, the Deceptions Arise From the onset, the seung bei are designed to ja (deceive 䂀; zha). A true Eagle Claw exponent would never openly expose the weapon or initiate attacks with the double daggers since they are considered a last resort tactic for situations that require more than a weaponless

§ Jak sau faan (cartwheel ‫ڤ‬᡻㘫). APRIL 2017 KUNG FU B TAI CHI 41

individual can handle. However, when they are revealed, their sole purpose is to end the conflict quickly and efficiently before returning to their hidden locations, housed within the sleeves of the practitioner. The key to effective seung bei techniques is the blade and body balance that subscribes to the Chinese concept of yin and yang (䲠䲭). The dagger techniques convey a sense of passive and active, flexible and firm, and indirect and direct. The two combative components of the dagger, the blade and the ringshaped pommel, assume yin or yang phases of relevance, always moving in relation to each other, sometimes close, sometimes far, but always bound in intention. In Fan lit – split (࠶㻲)


an actively yang state of the blade, the two primary attacking methods are jaat (to plunge into ᡾; zha), and chi (to stab ࡪ; ci ). These yang characteristics of the blade are determined by the intent behind the technique. The yin or passive characteristics of the blade are usually defensive: the blade discreetly defends with sou (to sweep as in a disarming slash ᦳ; sao), or jin (to toss in a distracting feint 䕮; zhan). Each dagger supports the offensive tactics of the other as, together, they complement and complete techniques. The ring-shaped pommel of the dagger also has its active and passive qualities. This distinctive base of the knife can be used offensively yang in the form of da (to hit ᢃ; da), and mo (to scour ⼘; mo). Da is a direct strike and mo is a scraping action intended to inflict excruciating pain or to strip away an adversary’s weapon. In the yin state, the ring can be employed as laan (to block ᭄; lan), or dong (to deflect ᫻; dang). As a blocking device, the uniquely shaped circular pommel is easily underestimated and overlooked by an opponent. This circular design can furnish effortless

deflections that easily slide off the arc of the pommel. The dagger’s unexpected ability to defend is another deceptive feature of this weapon.

Jin (䕮) – tossing in a distracting feint.

But even with the seung bei in hand, the body itself is still the exponent’s main line of defense. Whole-body coordination enables the jaang (elbows 䑝; zheng), bok (shoulders 㞺; bo), bui (back 㛼; bei), sat (knees 㟍; xi ), and geuk (legs/kicks 㞣; jiao) to fully support the dagger techniques. When combined with the sophisticated footwork of linear stepping, angular shifts, and circular turns, the practitioner becomes a whirlwind of blades and body parts, attacking while defending all entry points like an unstoppable ball of energy. In a full-pressed response, the yang initiative marshals the fusion of advancing footwork, optimized body positioning, and relentless attack. In a transitional yin phase, the practitioner evades attacks and lures adversaries by means of feints, traps, and set-ups into compromising positions. It is here that retreating stepping methods, subtle body maneuvers, and surreptitious dagger manipulations deceive and confuse opponents. The seung bei of Ying Jow Pai teaches a subtle level of awareness and spatial precision that comes in time with practice, patience, and a practical mindset. As with all Chinese weapons, this approach is the standard operating procedure of all dedicated practitioners.B

Part of the double daggers vs. empty-hand routine in Ying Jow Pai

Williy Pang is a regular contributor to Kung Fu Tai Chi Magazine. Sifu Dario Acosta (headmaster) and Sifu Julie Ann are the founders of North Sky Kung Fu Eagle Claw Martial Arts, offering comprehensive martial instruction and wellness programs, located in Midtown Manhattan in New York City. They can be reached at www.northskykungfu.com / (917) 657-6104. APRIL 2017 KUNG FU B TAI CHI 43

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By Jean Lukitsh The Yen Family

u Zhensong (‫ڵ‬ᥟ᎙), the founder of the Fu style lineage of Taiji, Bagua, Xing Yi and Wudang arts, was a legend in martial circles in the early decades of the 20th century. Fu not only studied and trained with some of the most famous exponents of Chinese internal Kung Fu, but over his lifetime he also refined his practice into a rich body of specialized technique.

F

In his youth, Fu learned Chen style Taiji from Chen Yanxi (䱸ᔦ⟉), remembered now as the father of the prominent Beijing-based teacher Chen Fake (䲣Ⲭ、). He also studied Bagua with several masters from the Beijing school founded by Dong Haichuan (㪓⎧ᐍ). By the 1920s, he had found employment as a military coach under Li Jinglin (ᵾᲟ᷇), an army commander in China’s northern provinces. General Li, nicknamed “Miracle Sword,” was a lifelong martial arts enthusiast who gathered many of China’s most prominent fighters into his circle. Besides Fu Zhensong, Li’s associates included Sun Lutang (ᆛ⾯า), Yang Chengfu (ᶘ▴⭛), Li Yulin (ᵾ⦹⩣, father of Simplified Taiji founder Li Tianji [ᵾཙ傕]) , and “God of the Spear” Li Shuwen (“⾎´”ᵾҖ᮷). Li Jinglin specialized in Wudang sword, which he learned from a Taoist master named


Photo 1

Photo 2

Sung Wei-i (ᆻୟа). According to some sources, Fu Zhensong had also studied sword with Sung Wei-i earlier in his career. These men were all part of the same circle, training together, sharing ideas, and challenging each other to excel. Fu’s son Wing Fay (‫≨ڵ‬䕍) matured in this environment, absorbing the best that the coaches had to offer, including Sun Lutang’s Xing Yi (ᖒ᜿) and Li Shuwen’s Baji (‫ޛ‬ᾥ).

⌕↕), which Mark teaches as coming from the pelvis, which tilts forward and back to propel the legs. The front foot is extended further than the practitioner’s natural stride, resulting in a “springiness” as the pelvis snaps the back foot forward to catch up when the weight shifts. Without a break, that same pelvic movement continues with the next extension forward, creating a propulsive momentum. The feet should feel “slippery,” like walking in mud or wet sand. (See photos 1 and 2) The Fu photos show clearly that the original version of Zhen Zhong was very similar, if not completely identical, to the form now practiced by Mark’s students. “My Sigong (Fu Zhensong), he did the Bagua his way, my Sifu (Fu Wing Fay) did it his way, you do it your way!” as Siu Yin Mark puts it. “My Sifu upgraded the movement, not just doing everything the old way. He didn’t change it, but he made it better.” Siu Yin Mark studied with Fu Wing Fay through the 1970s, before coming to the US to teach at her sister’s school. According to both Bow Sim Mark and Siu Yin Mark, the Fu style Bagua and Taiji forms share the same characteristics and requirements, as set down by their Sifu, Fu Wing Fay.

Fu Wing Fay’s school in Guangzhou carried on the family tradition until his death in 1993. His students, including his sons Victor Fu Shenlong and Fu Wenlong, as well as Bow Sim Mark (mother of Kung Fu actor Donnie Yen, cover master July 2000) and her sister Siu Yin Mark, have passed the art on to their students, continuing the lineage into the 21st century.

Internal Characteristics: Circular, Relaxed, Calm, Continuous, Intent, Energy. Internal Requirements: Head and spine naturally straight, shoulders and elbows relaxed downward, chest empty, lower back and pelvis naturally straight, yin and yang clear in every movement, all movement originates in the waist.

Contemporary sources agree that the elder Fu’s primary art was the Bagua (‫ޛ‬খ) that he learned from Jia Feng Ming (䋸匣匤), Ma Gui (俜䋤), and possibly Cheng Tinghua (〻ᔧ㨟). All three men were students of Dong Haichuan, the acknowledged founder of modern Bagua. The Fu Bagua system includes the Zhen Zhong (↓ᇇ‫ޛ‬ খ) form, the Yin and Yang forms, and Fu Zhensong’s signature Dragon Palm Bagua (喽ᖒ‫ޛ‬খ). Tradition has it that the Zhen Zhong, or Orthodox Bagua was the original version, and was a major inspiration for Fu’s Dragon Palm form, which he created as a result of his personal research.

One important characteristic of the Zhen Zhong Bagua form is that the guas are all uni-directional, unlike the other Bagua forms of the Fu system, which switch back and forth. With one exception, all the guas continuously turn in the direction of the arm originally extended to the center of the circle; that is, if one begins with the left arm extended, all following turns will be to the left until the single palm change at the end of the gua which culminates in a turn to the right. The exception is gua 3, which changes from a left inward extension outward into a right turn, the extended arm coming up and clearing the head with the turn, and continues turning to the right

Recently a cache of photos of Fu Zhensong turned up during renovations to Bow Sim Mark’s school in Boston. These photos were given to her by her sifu, Fu Wing Fay, in the early 1970s. They appear to have been taken in the 1940s, when the elder Fu was at the peak of his powers, and show him demonstrating movements from Bagua. Many poses are recognizable as elements of the Zhen Zhong form, which Mark refers to as “old Bagua.” “The spine twists, and all the joints twist,” in Bagua, according to Mark. The signature footwork of Fu Bagua is the ripple step (䏏

Donnie Yen and Bow Sim Mark APRIL 2017 KUNG FU B TAI CHI 47

until the Single Palm Change (௞ ᨋᦼ) returns the practitioner to the left arm extension. For this reason, the third gua then requires a second Single Palm Change to re-orient the practitioner to the right for the second half of the third gua.

Photo 3

Photo 8 shows Fu Zhensong demonstrating the signature position of gua 4, a one-legged stance with strikes directed to front and back simultaneously. From the Fair Lady posture that begins the gua, the practitioner turns outward and

As a result, the waist turning with attendant power generation is exceptionally clear in the Zhen Zhong form. As in silk reeling (㒿㎢) exercises, the waist never stops moving, and when practicing the guas, one feels as though each sequence Photo 4

consists of a single waist turn, with strikes and coils spinning off of the rotating center. For example, the second gua, starting from a left arm extension to the center of the circle, turns to the left into Fair Lady Works the Shuttle (⦹ྣクờ, see photo 3, application in photo 4), then continues turning left, facing out of the circle as the lower arm coils up inside the upper arm (photo 5), and then extends up (photo 6) as the practitioner turns back towards the center of the circle. The vintage photo of Fu Zhensong shows his right hand piercing directly to the left side, while current practice requires the right hand to jab slightly downward, along the outside of the right thigh (photo 7). This is an example of adjustments made to the movement over the generations. In this case, the principle of “keep yin and yang clear” is emphasized. As Siu Yin Mark Donnie Yen and Bow Sim Mark 48 KUNG FU B TAI CHI APRIL 2017

emphasized above, instructors of the Fu system readily acknowledge that the form can change (within certain parameters) to show either the philosophy behind the movement or the martial character.

Photo 5

Photo 6

Photo 7

Continued on page 50

Taiyi Fire Dragon Palm

Dragon Style Eight-Diagram Palm

Eight-Diagrams Free-Hand Broadsword

By Grandmaster Lu Zijian Taiyi Fire Dragon Fist comes from the art of Bagua. Like Tai Chi, Bagua is an internal practice that emphasizes soft, circular movements. Created by Grandmaster Dong Haichuan during the Qing Dynasty, Bagua is based upon the Book of Changes. Taiyi Fire Dragon Fist is not only a system of self defense. It is also considered as a longevity practice that cultivates balance and harmony within the practitioner. DVD-OG001: $19.95

By Grandmaster Zhao Ziqiu Eight-Diagram Palm is known as Baguazhang in Chinese. Like Tai Chi, Baguazhang is an internal practice that emphasizes soft, circular movements. Created by Grandmaster Dong Haichuan during the Qing Dynasty, Bagua is based upon the Book of Changes. Dragon Style Eight-Diagram Palm emulates the spirit and movements of the China’s legendary dragon. DVD-OG002: $19.95

By Grandmaster Wang Sutian The Eight-Diagrams Free-Hand Broadsword is a unique weapon of Bagua or Eight Diagrams. Like Tai Chi, Bagua is an internal practice that emphasizes soft, circular movements. Created by Grandmaster Dong Haichuan during the Qing Dynasty, Bagua is based upon the Book of Changes. The swirling spinning movements of the Eight-Diagrams FreeHand Broadsword are very distinctive. DVD-OG003: $19.95

Emei Swimming Body Baguazhang By Master Helen Liang Bagua Palm is and internal art of self defense and self cultivation, based on the Daoist symbol known as Bagua, or eight trigrams. It is a series of eight postures and moves in circles. Emei Swimming Body Baguazhang descends from Emei Mountain, where some belief Bagua originated and the land of legendary warriors. The Swimming Body method is known for its sudden walking, turning and changing positions. It is also called Swimming Body, Walking Dragon Baguazhang. DVD-LH003 $25.95

Shu Shan (Emei) Xiao Yao Bagua Sword By Master Helen Liang Bagua is an internal martial art, akin to Tai Chi, known for its circular movements. It is based on the philosophical concepts of Yin and Yang, Tai Chi and I Ching. This Bagua sword comes from the Shu Mountain Range, where Emei Mountain lies. Many captivating stories and legends have told for generations about the sword immortals living in this area. Xiao Yao means to accord or comply with one’s heart, to do something one’s heart dedicates with no restraint. When applied to the martial arts, it means that when one’s martial arts skill reaches a certain level, one enters into a state of freedom. In this video, Master Helen Liang will reveal the techniques behind this mysterious and beautiful sword method. Master Liang’s videos are some of the most popular bestsellers in our catalog. We are very pleased to be able to offer another title from this award-winning master of the martial arts. Shu Shan (Emei) DVD-LH004 $25.95 Xiao Yao Bagua Sword Bagua Sword Master Kit DVDK-LH004 $$68.79

Deer Horn Knives By Master Helen Liang Deer Horn Knives are one of the unique weapons of Chinese Martial Arts. They are practiced in the style of Bagua, which is a major internal style alongside Tai Chi and Xingyi. Bagua is based on soft, circular movements. Related to the prophetic combinations of the I Ching, Bagua is constantly changing so as to always keep the opponent at a disadvantage. Bagua Deer Horn Knives combine grace and fluidity with razor-sharp precision. This is an excellent training tool for anyone looking to refine their skills. DVD-LH009 $25.95

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Continued from page 48: Bow Sim Mark’s Bagua Heritage Photo 8 Photo 9

around to the opposite direction, the upward-blocking hand circling in towards the chin and out again in front (a movement known as Dragon Spits Out the Pearl, 喽 ੀ⨐) while the lower hand hooks forward and then circles back to extend to the rear. Notice that both knees are bent, the upper body is slightly extended in the direction of the front strike, and the waist is turned slightly in the direction of the back strike, allowing power to be efficiently delivered through both front and back arms – all characteristic elements of Fu style Bagua and Taiji. (See also photo 9 for Bow Sim Mark’s version, which emphasizes the extensions.) In photo 10, we see Fu demonstrating a technique used in both gua 5 and gua 7. Stepping out of a turn into a slide step, the upper arm makes a small hook to protect the head and finishes at shoulder level, while the lower arm extends into a twisting jab along the yin leg. The way that the entire jabbing arm from shoulder to fingers, and even the torso, is torqued to deliver power to the point of the jab is another example of the deep internal technique of Fu style. The version of Zhen Zhong Bagua taught by Bow Sim Mark again emphasizes yin and yang by pulling the upper arm back along a diagonal line in opposition to the lower strike (photo 11), but protecting the center was no doubt of paramount importance to a seasoned fighter like Fu Zhensong. In both versions and both guas, the upper arm is poised to follow through with a piercing jab as the gua continues. Photo 10 Photo 11


The 8th gua repeats and combines signature postures of these earlier guas. A toe kick to the front segues into a back step/slide step with the downward jab. The upper hand pierces as the practitioner’s body continues to turn. That hand then hooks forward before striking to the rear, while the hand that did the downward jab in the slide step executes Dragon Spits Out the Pearl, and the turn finishes with the one-legged balance from gua 4 in the direction of the original kick, an impressive if difficult maneuver. Coming out of the stance, the practitioner strikes in the direction of the turn and moves into a Single Palm Change, as if wrapping up the gua. Instead, the turn continues once again for 360 degrees, finishing with a double palm strike to the front (photos 12 & 13) (note feet are together in modern version). The gua, and the Zhen Zhong form, then finishes with a Single Palm Change (photos 14 and 15). This powerful version of Bagua derived from the Fu lineage combines the propulsive energy of the ripple step with continuous upper body twisting and spiraling, and results in an execution that feels logical and unbroken to the practitioner while appearing utterly unpredictable to observers. Contemporary accounts of Fu Zhensong’s use of Bagua in combat remark on his ability to fight multiple attackers simultaneously with strikes that seemed aimed at an opponent in front but suddenly changed direction to hit to the rear before circling back to their original target. The elaborate coils associated with Chinese dragons of myth are an appropriate analogy for the spiraling energy of Bagua, and were an obvious source of inspiration for Fu as he researched the movement and made it his own.

Photo 12

Photo 14

Photo 13

Photo 15

For modern practitioners, the health benefits of the coiling and spiraling movements are as valuable as the self defense aspects. Proper internal technique in the Fu Bagua system requires the ability to rotate the joints through their full range of motion, stretch and flex the spine, and twist the waist in a manner that massages and invigorates the abdominal viscera. The complex footwork, with alternating inward- and outwardturning steps, improves the practitioner’s balance, while the constant switching between left and right in the strikes challenges the brain and enhances neurological functioning. The many beneficial aspects of regular Bagua practice make it an ideal exercise for all ages. Great-grandmaster Fu Zhensong and the Fu family practitioners and their students have researched and promoted this excellent art for almost one hundred years. It is to be hoped that future generations will continue to pass it on, as a treasure worthy of worldwide acclaim.B

YMAA

Jean Lukitsh, RN, MSN, is a retired gerontology nurse who has studied Taiji and Bagua with Bow Sim Mark since 1978, and now manages Grandmaster Mark’s school and non-profit Association in Boston. She specializes in teaching older students. Chinese translation courtesy of James Young www.facebook.com/jmagicyoung

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HEALTH for the

4 Seasons through

B

Baguazhang By Liang Keming with Gigi Oh

aguazhang, an old but fashionable name in Chinese, together with Taiji and Xingyi, are said to be the three internal Chinese martial arts systems. They are homologous yet have distinct characters and complement each other to progress together. The difference between internal and external forms is in the basic practice, which has different exercising methods. In the end, regardless of the differences, when they reach the peak, they are the same thing. But due to differing initial concepts, they take different routes. It is often said that practicing the external martial arts is good to a certain age, then switching to practice the internal boxing is better for fitness and health. The internal styles have both the skills of the combat and the function of health, and are also in line with the traditional Chinese philosophy of yin and yang, as well as the Five Elements theory.

In the period of Qing Emperor Xianfeng (1850–1861 CE ૨Ѡᑍ), Baguazhang founder Dong Haichuan (㪓⎧ᐍ) left his hometown, Hebei Wenan County Zhu Wucun Village (⋣े᮷ᆹ৯ᵡᇦඎᶁ). He traveled through Wuyue Bashu (੤䎺ᐤ㴰, today’s Sichuan and South Anhui area) to visit martial friends. When he toured Jiuhua Mountain in Anhui Province (ᆹᗭҍॾኡ), he pursued the study the Cloud Disc Ancestral Secret (yun pan laozu mi chuan Ӂⴈ㘱⾆〈Ր). After that, Dong created Baguazhang (eight diagram palm ‫ޛ‬খᦼ) in harmony with Chinese theories of Heaven and Earth, Yin and Yang and Five Elements. Because the majority of Dong’s disciples were older and already had other martial arts training, he taught them each according to their ability to play to their individual strengths. Therefore, there are a variety of Baguazhang systems that have been passed down. The most influential ones are Yin-style, Cheng-style, Liang-style, Fan-style and Si-style (ቩᔿǃ〻ᔿǃằ ᔿǃ›ᔿǃਢᔿㅹ), among others.

Baguazhang is a unique martial arts system. It combines the health and martial techniques, self-cultivation and moral ethics into one. It uses a circle as movement orbits, walking in circles as movement method. Walking is one of the simplest forms of human exercise. Baguazhang walks in a circle, both in revolution and self-rotation. The revolution is to walk the large circle with eight steps, while at the same time the body is self-rotating to face the center of the circle. Through these conscious revolution rotations, muscle, blood vessels, and abdominal organs are repeatedly twisted and massaged, which can elicit vasoconstriction and vasodilation so that blood vessel wall attachments are reduced and dissolved into the blood. The body’s internal vessels become unobstructed naturally, which will increase the blood flow rate. The impurities are excreted through the sweat. The blood vessel walls increase flexibility and the blood is cleared, allowing a return to normal function. 52 KUNG FU B TAI CHI APRIL 2017

Walking the Baguazhang circle for a longer period of time can reduce the risk of high cholesterol, high blood pressure, and heart and brain disease. When it comes to disease, prevention is better than treatment. In the Yellow Emperor’s Internal Classic (Huangdi Neijing 哴ᑍ޵㓿), the first text Suwen (basic questions ㍐୿) said this more specifically and profoundly: “The Sage does not cure disease – cure before it’s not yet ill; do not treat chaos, govern before it’s not yet chaotic (൓Ӫн⋫ᐢ⯵⋫ᵚ⯵; н⋫ᐢҡ⋫ᵚ ҡ).” The purpose of achieving health is not only to exercise but also to conserve. Just exercise without conservation is equivalent to expense without income. Likewise, being only conservative without exercise is equivalent to only consuming without expelling out the waste. Bias in favor of either side will make the body out of balance. Therefore, in the traditional Chinese philosophy, there is Yin and Yang theory; a good combination of Yin and Yang is called Tao. Yin and Yang coexist in harmony, not to be biased on either side. This is what Dong Haichuan founded Baguazhang based upon.

guide qi and uses the shen to dissolve stagnation. Persistent practice will improve the health and prevent illnesses. By intuitively approaching Baguazhang from a health perspective, combined with certain acupoints for health treatment and subconscious ideas and mental observation, you can refine and maintain your body. There is a distinct difference between Baguazhang and other martial arts. At the beginning, based on Yin Yang and Five Elements theory, Grandmaster Dong separated the Yin and Yang of each hexagram (the ‘gua ’ in Baguazhang খ) of its eight diagrams palm. Each palm has left and right movements, while most other forms of Chinese boxing only have the left movement. When Grandmaster Fu Zhensong (1872–1853 ‫ڵ‬ᥟ᎙) compiled Fu-style Taijiquan (also according to the principle of Baguazhang), he blended in Chen, Yang, and Sun-style Taijiquan. Therefore, the first half of the Fu-style Taiji is the left postures and the latter half is the right side movements. Left side and right side movements will enhance the body’s balancing ability, so that the muscles of the body are evenly rounded. As human activity is dominated by the human brain, ordinary people usually depend on one side to work; so it is easy to have one side of the brain not fully utilized, with the muscles on that side soft and loose, while the other side is often overworked and the muscles over-tight. In result, the left and right side of the body have uneven development. In the Baguazhang exercises, training is on both sides of the body so the brain and limbs can be fully mobilized for usage. This will make the expenditure of endocrine balanced and unblock the meridians. It will also have a significant effect on the prevention of cardiovascular and cerebrovascular diseases, stroke, and brain degeneration.

Liang Keming with his father Liang Qingya

In the practice of Baguazhang walking, the palm, body posture, and footwork have specific requirements. The head and neck are upright. Sink the shoulders. Drop the elbows. Pull the chest back. Converge the buttocks. The tongue gently touches the upper palate. The qi sinks in the dantian (energy center ѩ⭠). Bend the knees slightly. Sit on the hip joints. The two feet move flatly up and down. Hold the upper body in stillness while lower body moves. Keep a static and dynamic form from top to bottom, with Yin and Yang distinct. Exercising and nourishing were originally opposed, but if there is no exercising, one cannot achieve the purpose of nourishment. And if there is no nourishing in mind, the exercising is an empty word. When following the above-mentioned Baguazhang exercise methods for practice, combine with your shen (spirit ⾎) and yi (mind ᜿). The mind directs and qi follows. Yi is a guide. Shen trains you to focus, to concentrate. Yi is like an invisible acupuncture needle. Shen is like an invisible moxibustion. Where the needle penetrates, moxibustion follows. Practice often uses mind to

Humans live on Earth and are the product of nature, so the human body is bound with the natural world of Yin and Yang and the information of Five Elements. Throughout the year, the body follows the changes in the four seasons and will need to make adjustments. Due to the pressure of excess work, the human body needs to use exercise and nurse the body back to health, so that the body regains its Yin and Yang balance. Exercise and health are inseparable from the world and follow the “Tao of the Five Elements of Yin and Yang.” The natural law of the four seasons is “sprout in spring, grow up in summer, harvest in autumn, preserve in winter.” All the health work is summed up in four characters: guban zhumo (പᵜ䙀ᵛ). Guban means consolidating thru fitness and exercise. Zhumo is nursing back to health. Through means such as meridians, solar terms, diet, and therapeutic regimens to balance Yin and Yang, practitioners can achieve health. Thousands of years of ancestral wisdom concludes, “Nourishing Yang in Spring and Summer, Nourishing Yin in Autumn and Winter (chun xia yang yang, qiu dong yang yin ᱕༿ޫ䱣ˈ⿻ߜޫ䱤).” Accordingly, Baguazhang predecessors created a lot of training methods. The following method is to introduce the Baguazhang Four Seasons Health Work (si ji yang sheng gong ഋᆓޫ⭏࣏).


Baguazhang Four Seasons Health Work The Baguazhang Four Seasons Health Work are four basic walking exercises from Baguazhang attuned to each season. Each exercise should be practiced during their according season. Generally three or four circles of repetition are recommended for daily practice. Each circle is eight steps. And each circle is repeated on both sides for a complete and balanced sequence.

yi consciously on the Baihui (top of the head ⲮՊ) point. Shen focuses on observing the Baihui point. According to the Five Elements theory, spring belongs to wood and it is the growth of all things with Yang energy rising. The health work is characterized by homeopathy and balance. Baihui is the connecting point of the Ren (conception vessel along the anterior of the body from pubis to mouth ԫ) and Du (governing vessel along the anterior of the body from the root of the spine to the nape of the neck ⶓ) vessels. In Chinese, bai (Ⲯ) means one hundred and hui (Պ) means to meet or join, so the name Baihui comes from a hundred meridians intersecting there. Baihui has the Yang energy, rising to awaken and resuscitate the brain. Sheng and yi stay in Baihui, so that the human body constantly germinates Yang energy upward, all the while gently pulling up the Huiyin point. Baihui and Huiyin line up so that the body connects in a straight line of Yang up and Yin down to channel and balance the body’s Yin and Yang energy.

SPRING

Spring exercises: Your palms open facing up. Raise your palm higher than the shoulder yet below the head with yi of “supporting.” Twist the waist so your body is facing the center of the circle. The tongue gently touches the upper palate in the mouth. Gently pull up the Huiyin (perineum Պ䱤イ) point. Walk in Bagua steps with

SUMMER


Summer exercises: Your palms are flat, extending in front of your body at shoulder height. Your arms are circular as in an embrace in front of the chest; however, your palms are facing outward with fingers pointing at each other. Twist the waist so the body faces the center of the circle. The tongue gently touches the upper palate in the mouth. Gently pull up the Huiyin point. Walk in Bagua steps with the yi focus on the leg zusanli point (below the knee on the anterior tibialis muscle 䏣й 䟼). Summer in the Five Elements theory belongs to fire. The long summer belongs to Earth, which is the growth of all things. Health work consists of avoiding summer heat illness, nourishing Yin energy and creating saliva. Zusanli is the body’s most healthcare-oriented acupoint. With its ability to strengthen vital qi function, it can strengthen the spleen and stomach.

FALL


WINTER

Winter Exercises: Your palms press down around the waist on both sides, at hip height. Twist the waist so the body faces the center of the circle. The tongue gently touches the upper palate. Gently pull up the Huiyin point. Walk in Bagua steps with the yi focus on dantian (energy center located just below the navel ѩ ⭠). Shen and yi withhold internally. Winter in the Five Elements theory belongs to water, so it is the collection of the season. Health work is characterized by the hidden, by concealment, by adaptation. Dantian is the most important acupoint of the body. It anchors our fundamental qi and tonifies kidney function. The Yellow Emperor’s Internal Classic states, “If winter does not reserve essence, spring will bring illness (ྲ᷌ߜཙ⋑ᴹ‫⮉؍‬㋮ॾˈ᱕ཙՊᑖᶕ⯮⯵).” Therefore, we must attach importance to the meaning of winter reservation. Baguazhang and the core theory of traditional Chinese medicine are mutually integrated and reciprocally influenced, a profound reflection of the relationship between man and nature with a common theoretical basis. B 56 KUNG FU B TAI CHI APRIL 2017

Master Liang Keming (ằ‫ݻ‬᰾) grew up following his father, Master Liang Qiangya (ằᕪӊ) in practicing Baguazhang and Taijiquan. He is a 5th generation descendant of Baguazhang and an inheritor of Fu-style Baguazhang, derived from Dong Haichuan’s disciple Jia Qishan (䍮ዀኡ), then passed to Grandmaster Fu Zhensong (‫ڵ‬ᥟ᎙). Master Liang’s father was one of the few indoor disciples of Grandmaster Fu. As a child, he joined the Guangzhou city middle school student Wushu team and later studied under Guangdong Province Wushu Association 7 duan Wu-style Taijiquan master, Chen Zihao (䱸ᆀ ⎙). Liang has won numerous gold medals for Bagua, Taiji form and weapons at Guangzhou Province Traditional Championships and other noted tournaments. Master Liang current resides and teaching Bagua and Taiji at Hercules, California. He can be reached at [email protected]. To see Master Liang Keming recite Baguazhang Four Seasons Health Work, visit the KungFuMagazine.com Youtube Channel.

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Reassessing Sport Taijiquan Push Hands


AS

with any competitive sport, a code of rules not only governs the way coaches and athletes focus their competitive pursuit but ultimately shapes the way the sport is delivered and perceived. Now, with something as deep and multidimensional as Taijiquan (ཚᶱᤣ), the development and adaptation of traditional Push Hands into a competitive sport to later be exported on a global scale wasn’t going to be an easy endeavor. This article examines the historical background and early developments in this competitive discipline as well as its differential advancement among various international authorities up to the present, including an assessment of what could be considered the best rules for the sport from Master Juan José Estrella, a world-class leading specialist in this field from Guadalajara, Spain.

Form and Application Taijiquan surfaced as a martial art during the second half of the 19th century with a comprehensive curriculum that included a complete progression of learning methods ranging from basic skills practice, solo practice, partner practice, and so forth to eventually allow practitioners to use Taijiquan in actual combat. Within that context, routine practice (Taolu ྇䐟) represents the way to grasp and absorb the theoretical framework of Taijiquan, whereas Push Hands practice (Tuishou ᧘᡻) provides access to the martial applications. As training methods, Taolu and Tuishou are two sides of the same coin. As practitioners evolve, both methods complement each other in a progressive manner until becoming inseparable. Initially known as Dashou (hitting hands ᢃ ᡻), Geshou (scraping hands ᬆ᡻), Dashou (joining hands ᩝ᡻) or Roushou (rubbing hands ᧹᡻), traditional Tuishou is a twoperson exercise, not an actual sparring or sport confrontation, that allows practitioners to safely develop their abilities with a real partner in real time. Available in most styles of Taijiquan, Tuishou is a major learning tool for improving one’s understanding of the principles and techniques that exist in the various routines. Furthermore, Tuishou is the fundamental training method for mastering the 8 Gates and the 5 Steps, which together form the 13 Postures of Taijiquan (see side column) as described in the classic manuals, essays and other textual traditions around the style.

Changing Times, Changing Perspectives Due to societal changes – cultural, social and historical – Chinese martial arts at the beginning of the 20th century were pursued for reasons beyond actual combat. Organizations such as the Nanjing Central Guoshu Institute (ইӜѝཞഭᵟ侶) promoted martial arts alongside other traditional sports as a means to build national unity and a stronger population. As a result, masters were encouraged to teach their knowledge openly, refine traditional methods, develop closer relationships, publish teaching materials, etc., shaping the transmission of Chinese martial arts thereafter. Taijiquan masters such as Yang Chengfu (ᶘ▴⭛), Sun Lutang (ᆉ⾴า) and Wu Junshan (੤‫׺‬ኡ) were in charge of the traditional instruction at the Central Guoshu Institute. However, inconsistent blends of martial arts elements with western physical education philosophies also emerged during this time, such as the Chinese New Wushu (ѝॾᯠ↖ᵟ) in 1911 or the Taiji Calisthenics (ཚᶱ᫽) in 1930.

After the founding of the People’s Republic of China in 1949, efforts were made to revive and promote Chinese martial arts as sports, with Taijiquan becoming one of the main areas of attention in Modern Wushu (⧠ԓ↖ ᵟ). In 1957, the National Physical Culture and Sports Commission published a series of works around Taijiquan including the routines 24-step Simplified Taijiquan and 32-step Taijijian (Straight Sword), together with the basic standards for Tuishou practice. In 1958, the Chinese Wushu Association was founded to further promote Wushu both at home and abroad. In 1959, the 66-step Combined Taijiquan and 88-step Yang Taijiquan routines followed. This new Taijiquan was based on traditional movements but with fitness/sports APRIL 2017 KUNG FU B TAI CHI 59

and recreation as a clear objective. In fact, Taijiquan may well owe its worldwide popularity to these new routines with their emphasis on slow movements and rhythmic pace, Chinese philosophical principles and health benefits.

While Across the Formosa Strait After 1949, many martial arts masters from Mainland China retreated to Taiwan as refugees or members of the Nationalist Government, where they soon formed a local Guoshu Association. Among these masters was Chen Panling (䱸⌞ዝ), a deputy director at the Central Guoshu Institute and chair of the Guoshu Teaching Materials Committee that published over 50 instructional manuals, competition rules, and more. In 1950, Chen arrived in Taiwan and initiated a Taijiquan Club with Wang Yannian (⦻ᔦᒤ) as the director and Qiao Changhong (҄䮯㲩) as the head instructor. Shortly after, Chen published the first of his many contributions in Taiwan entitled Chinese Guoshu Taijiquan Teaching Material (ѝॾഭᵟཚᶱᤣᮉ ᶀ), featuring the 99-step Taijiquan routine which was previously compiled at the Central Guoshu Institute with a selection of movements from Yang, Wu and Chen styles, together with their training methods and practical applications. 60 KUNG FU B TAI CHI APRIL 2017

This was the genesis of the traditional Taijiquan movement in Taiwan, which hosted many important masters such as Xiong Yanghe (➺伺઼), Zheng Manqing (䜁ᴬ䶂), Guo Lianyin (䜝䘎㦛) and others; these last two would help popularize Taijiquan in the United States a decade later. The Taijiquan Club used several different names and in 1966 became independent from the Guoshu Association. In 1975, it became the R.O.C. National Taijiquan Association, having gained recognition from the R.O.C. National Sports Association. As the main governing body responsible for the promotion of Taijiquan activities, it enjoyed several decades of steady expansion, organizing domestic and international martial arts exchanges, competitions, education programs, and more. Meanwhile, in Mainland China, all efforts to promote Wushu were forced into hiatus during the Cultural Revolution (1966–76), followed by a slow resumption of work that started around 1973.

Whatever Happened to Tuishou Although Tuishou was a standard course promoted by the Nanjing Central Guoshu Institute, and interim rules for Tuishou competition were drafted prior to the 7th National Sports Games in 1948 (and supported later by the R.O.C. National Taijiquan Association), in Mainland China it remained almost exclusively underground, found amongst traditional collectives and folk martial artists. In fact, apart from a few efforts done officially in the late ‘50s, it was not until 1979 that the National Physical Culture and Sports Commission decided to bring back a number of application-based sport events into the Modern Wushu competitions that initially consisted of Sanshou (full-contact sparring ᮓ᡻), Tuishou, Duanbing (short weapon sparring ⸝‫ )ޥ‬and Changbing (long weapon sparring 䮯‫ – )ޥ‬though weapon sparring didn’t gain the necessary acceptance. The provisional rules for Tuishou were drafted and tested in different cities of China for three consecutive years.

Taijiquan Definitions 13 Postures (ॱй࣯): refer to thirteen skills that consolidate the foundation of all Taijiquan abilities. The 13 Postures should not be confused with actual Taijiquan movements such as Part the Wild Horse’s Mane (䟾傜࠶儳) or White Crane Spreads Its Wings (ⲭ咔Ӟ㗵), etc., although the various skills contained in the 13 Postures manifest as the essence of the movements. The 13 Postures are based on the harmonious interactions of the 8 Gates and the 5 Steps. 8 Gates (‫ޛ‬䰘): also known as the 8 Methods (‫)⌅ޛ‬, refer to the eight fundamental movements/energies, including the 4 Primary or Straight methods (ഋ↓) – peng (ward off ᧔), lu (roll back ᥻), ji (press ᥔ), an (push ᤹) – and the 4 Secondary or Corner methods (ഋ䲵) – cai (pluck ᧑), lie (split ᥂), zhou (elbow 㛈), kao (bump 䶐). 5 Steps (ӄ↕): refer to five directions which form the stepping patterns of Taijiquan including: qianjin (advance ࡽ䘋), houtui (retreat ਾ䘰), zuogu (left step ᐖ亮), youpan (right step ਣ⴬), and zhongding (central equilibrium ѝᇊ).


ush Hands (tuishou ᧘᡻) is a two-man drill most commonly associated with the internal style of Taijiquan. Baguazhang, another famous internal system, has a similar drill called roushou (Ḅ᡻), often referred to as soft hands practice. Both systems incorporate choreographed routines to develop sensitivity, relaxation, sticking skills, neutralizing and redirection as well as practicing one’s rooting ability. What might come as a surprise to most Kung Fu enthusiasts is that Shaolin has its own form of Push Hands drills. The Shaolin version of Push Hands consists of two simple patterns incorporating free-style balance games as well as various application work. These drills, affectionately referred to as tuinashou (push, lock hands ᧘᤯᡻), can be practiced along with other Shaolin two-man drills such as arm banging and partner conditioning work to further enhance the Shaolin student’s fighting abilities.

By Chris Friedman Photos by Kuang Weiwei

Shaolin Push Lock Hands Hand Pattern

Before beginning Shaolin Push Hands training, one must first be familiar with all the basic Shaolin stances. After developing this basic but important skill set through jibengong (basics สᵜ࣏) as well as learning the first form, wubuquan (five stance fist ӄ↕ᤣ), one can begin with the simple two-man pattern drill. To begin, face your partner in a right foot forward horse stance. Your partner does the same. Cross the lead forearm with your partner's palm facing inward and begin to do a clockwise circle, maintaining contact with your partner's arm. You will naturally shift forward and back in synch with the hand movement. The direction of the circle is opposite what Taiji players do. This clockwise circle can deflect the forward pressure of a push, blow or grabbing attempt and helps set up for a counterattack. During this initial pattern training, the Shaolin student learns to be comfortable interacting with a partner at this striking and grabbing range. While forms practice familiarizes the student with the system's fighting methods, it doesn't expose the student to close-range contact with an opponent.

Application Work

After Shaolin students have spent a significant amount of time in this pattern training and feel comfortable at this range, they can work on applications off this drill. Applications flow smoothly from this Shaolin Push Hands pattern; it’s a great way to partner up


and practice applications from the forms. Shaolin Master Song Shuangping (ᆻৼᒣ) has shown several applications that can be done off this pattern, and the possibilities are limitless. One application practiced at his Songshan Shaolin Traditional Kung Fu School (Songshan Shaolin Chuantong Gongfu ᎙ኡቁ᷇Ր 㔏࣏ཛ) is the popular elbow and Shaolin Push Hands help develop sticking, rooting and uprooting, which can be easily applied to the shoulder qinna (ᬂ᤯) lock seen traditional throws of Shaolin Kung Fu. in most all Chinese systems. To do this lock off the Push Hand The forth application is to catch pattern, wait until your partner’s the partner’s lead arm at the triceps arm is extended towards you. using your rear hand when the arm Quickly grasp his wrist while is extended towards you. Shuffle simultaneously stepping forward forward and reap your partner’s with your rear foot. Lock your lead leg with your lead leg while partner’s elbow or shoulder while using your right elbow to either turning his wrist over and bending strike the chest or throat. Be sure his knee with your now lead foot. to alternate left and right sides The bent knee can be pinned to when performing these drills. the floor with your knee or simply bent to further break your partner’s balance and secure the lock. Another application practiced off this drill at the Songshan Shaolin Traditional Kung Fu School is to catch the wrist when the arm is extended towards you, advance with a shuffle-step while switching your grip to your left hand, then reap your partner’s lead leg with yours while simultaneously performing a tiger mouth strike with the right hand to your partner’s throat. This combination of strike and throw is seen often in Shaolin’s throwing techniques, which often incorporate a strike to set up the throw. A third application is to advance with a shuffle-step when the partner’s arm is furthest away from you, with the intent of trapping his arm against his body while shoving him backwards. This creates a pushing type of attack, off-balancing the opponent and sending him flying backwards.

Shaolin Leg Push and Lock Drill

After Shaolin students have become familiar with the push and lock pattern and applications, they can begin the lower body drill. This simple but important drill requires both students to face each other in horse stance. Interlock the feet behind each other’s lead legs. Take turns shifting forward and leaning into your partner’s shin with your shin. This is the classic trip seen in most systems. However, don’t complete the takedown; simply go far enough to slightly break your partner’s balance, then allow him to do the same to you. Take turns going back and forth. You can also play around with angles by slightly shifting your foot, knee, and shin to attack your partner’s lead leg from different directions. This drill again gives the Shaolin Student a realistic feel for close-range contact with an opponent. It also

1a. The author and his Shifu engage in a clinch.

1b. Shifu shuffle-steps in and wraps the author’s head in a headlock.

1c. Shifu twists his body while bulling the author forward, creating the throw.

helps develop strong stances for offense and defense in close-quarter combat. This drill also familiarizes the Shaolin student with breaking an opponent’s balance using the legs. As with the hand routine, it is important to switch sides to work both right and left sides evenly.

By havin ng a stron ng horse e stanc ce or fron nt ce,, on ne can resist take edown atttem mptts in n sttanc San nda sparring and in n mattch hes.. APRIL 2017 KUNG FU B TAI CHI 65

2a. Begin by crossing arms while both partners are in a right foot forward horse stance.

Balance Games

Just as in Taiji Push Hands, where the student eventually applies the rules and principles of Push Hands in a more freestyle manner, Shaolin Push Hands also has freestyle versions of push and lock drills. For the first freestyle exercise, you and your partner face each other in a right foot forward horse stance. Embrace your partner as if to firmly shake hands, then try to pull your partner out of their stance while trying not to be pulled out of yours. This exercise will not only train your rooting ability under pressure but also work on your waist movements and grip strength. Repeat the exercise with the left foot forward.

2b. Do clockwise circles, maintaining contact with the partner’s arm.

The second freestyle drill is to face your partner either in a front stance or horse stance. Cross your lead forearms, then try to grab your partner’s wrist and pull him out of his stance. Your job is to not allow your partner to grab your wrist and be pulled out of your stance (contact must be maintained at all times during this drill). This drill trains the root as well as grip strength, waist movement and wrist-escaping techniques. This drill can also be done implementing qinna locks. Be sure to work both sides.

Sanda and Push and Lock Hands Connection Sanda (free sparring ᮓᢃ) is a popular part of modern-day

2c. Continue circling in a clockwise direction while maintaining arm contact.

Shaolin training; its drills and exercises as described in this article can benefit anyone's martial training. Unlike other popular forms of kickboxing, Sanda allows shuai (throws ᪄). Shuai is one of the four categories in the Chinese Kung Fu curriculum, which are ti da shuai na (kick punch throw lock 䑒ᢃ᪄᤯). With throwing techniques so important in both traditional Shaolin Kung Fu and modern Sanda, the push lock drills can help Shaolin students develop better balance and entering skills. In a Sanda sparring match, when they are not attempting to catch a kick for a throw, two students will often end up in a clinch. The Shaolin push and lock drill teaches one how to flow into a clinch and execute a takedown upon contact with the opponent’s arm. This is done by neutralizing the initial blow, sticking, then Continued on page 68


2d. Make sure to shift slightly forward and back in the stance, coordinated with the arm movements.

Continued from page 66: Shaolin Push Hands

Working an application of the push hand pattern

A) Face the partner in a right foot forward horse stance; cross arms.

B) Begin to circle the arms in a clockwise direction.

C) Shift stance in a coordinated manner while maintaining arm contact.

Leg Pattern A) With both partners standing in a left foot forward horse stance, cross lead legs with the lead foot behind your partner’s Achilles heel.

B) Begin with one partner leaning forward and pressing into the opponent’s shin while locking the foot movement behind.

D) Shuffle forward and grab your partner’s wrist with your left hand while simultaneously executing a right hand tiger mouth strike to the throat; right leg reaps your partner’s right leg.

C) After reaching the point of broken balance, it is now your partner’s turn to press forward, leaning into the lead leg to the point of slightly broken balance.

D) Repeat, back and forth; after getting the rhythm down, start varying the angle of the leg when attacking.

following in with a throw. The stability of horse stance or front stance crosses over nicely to Sanda. By having a strong horse stance or front stance, one can resist takedown attempts in Sanda sparring and in matches. Whether the Shaolin student’s Sanda training is hardcore or just casual, the push and lock drills will inevitably improve one’s offense, as well as defense in avoiding takedowns. By incorporating these drills and free style games into your daily training, along with partner conditioning drills, Sanda, sparring and padwork, the Shaolin student can gain valuable fighting skills applicable in the ring or on the street.B Chris Friedman has been doing martial arts since his early teens. He has lived in China for the past decade, and now lives as a disciple of Shaolin Kung Fu in Songshan Shaolin. He has competed in and won gold and silver medals in Push Hands competitions. For info on Chris or training with Master Song go to www.shaolinwithchris.com


E) When going back and forth, cooperate with your training partner. Don’t follow through with the takedown; attack only enough to slightly break your partner’s balance.

Bodhidharma Cane is very rare and special Shaolin weapon. Known only to monks and local folk masters, Shaolin monk Shi Yantuo reveals the methods of Bodhidharma cane. Shi Yantuo also demonstrates double Bodhidharma Cane, which many believe to be the Shaolin precursors of Okinawan Tonfa and modern-day police batons. With assistance from Shaolin Monk Shi Yanfei, learning Bodhidharma Cane and Shaolin Tonfa are described in easy to understand lessons.

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By Leon Zhang with Gigi Oh and Gene Ching

S

haolin martial arts originated in the nineteenth year of the Northern Wei Dynasty (495 CE). History credits the Shaolin Temple with its creation, but the folk masters and military generals who passed through Shaolin were as important as the monks. They brought civil and military tactics into Shaolin, constantly perfecting their methods and providing an abundant curriculum. As a result, Shaolin martial arts can be divided into three categories: training methods (gongfa ࣏ ⌅), routines (taolu ྇䐟), and fighting skills (gedou Ṭᯇ).

One of the outstanding traditional routines of Shaolin martial arts embodies all three: Shaolin Lianshou Duanda (ቁ᷇䘎᡻⸝ᢃ) or Shaolin Continuous Hand Short Strikes. This is a unique routine because the three are one. It is actually a two-man routine or duilian (literally “opposed practice” ሩ㓳), but either side of the routine can be practiced as a solo form. Legend says the Shaolin Lianshou Duanda was created by the Song dynasty abbot of the Songshan Shaolin Temple, Fuju (1203–1275 CE ⾿ ት). Abbot Fuju spent three years studying and researching to develop the skills in this fighting routine as part of his contribution to Shaolin martial arts. However, nowadays very few still practice this routine. It has almost been forgotten by Shaolin practitioners. Thirteen years ago, Master Leon Zhang had the privilege of learning this traditional Shaolin routine from two of the greatest Shaolin masters. One was Master Wang Zhantong (⦻ঐ䙊), a 31st generation Shaolin disciple who bears the Shaolin name Shi Dezhou (䟺ᗧᐎ). He is the Vice-President and Chief Instructor of Shaolin Jinwuyuan (ቁ᷇㋮↖䲒). The other was Master Qiao Hongliang (҄㓒Ӟ), a 70 KUNG FU B TAI CHI APRIL 2017

34th generation Shaolin disciple who bears the Shaolin name Shi Yangong (䟺ᔦ࣏). He holds a Shaolin ninth duan (rank ⇥), the highest rank awarded at Shaolin. He is also the Chief Instructor of the Henan Province Chinese Gongfu Troupe, the coach of Shaolin’s movie star prodigy Shi Xiaolong (a.k.a. Aston Chen 䟺ሿ嗉) and the martial arts director of the international live theatrical show, Shaolin in the Wind. Shaolin Lianshou Duanda is one of the outstanding traditional routines for joint locks or qinna (ᬂ᤯). It emphasizes quick close-quarter combat. The complete routine is divided into four sections. Each section has nine fighting techniques for a total of thirtysix. Each fighting technique has multiple hidden techniques. Classical descriptions typically list the attributes of a routine in terms of techniques and stances. In the Shaolin Lianshou Duanda list are blocks (lan ᤖ), cuts (jie ᡚ), presses (ji ᥔ), leans (kao 䶐), kicks (ti 䑒), strikes (da ᢃ), clinches (lou ᨲ), holds (bao ᣡ), hooks (gou म), hangs (gua ᤲ), trips (ban 㓺), and sweeps (sao ᢛ). However, what distinguishes the documentation of Shaolin Lianshou Duanda from so many other routines is its Shaolin chuipu. Shaolin Chuipu (ቁ᷇䭔䉡) refers to the names of the movements, often referred to as lyrics or poems because they are usually composed in an abstract prose. Chuipu means “hammer music-score” – these lyrics are more commonly known as quanpu (fist music-score ᤣ䉡); however, with some traditional Shaolin routines like this one, chuipu is used. Chuipu not only label the technique, they often describe it in a poetic fashion. Sometimes they are quite literal. Other times, they are more abstract. Master Zhang examines some of the techniques from the Shaolin Lianshou Duanda routine in terms of Shaolin tactical concepts.

Dig rib with palm (ᦿ㚻ᦼ)

Scissors hand (࢚ᆀ᡻)

(reverse angle)

Pi Shen Xiao Jia (Split body, small stand ᣛ䓛 ሿᷦ) In this method, your hand, foot, elbow and knee movements are not open wide but rather small. They do not extend very far out but stay close to home. Strikes are curved but not too curved, straight but not too straight. You must be able to roll out and roll in, move forward and backward freely. There are four "fasts": forward fast, backward fast, seal fast, and strike fast. This is exemplified in two techniques of Shaolin Lianshou Duanda: 3. Dig rib with palm (ᦿ㚻ᦼ) and 5. Scissors hand (࢚ᆀ᡻). APRIL 2017 KUNG FU B TAI CHI 71

Kao Ti Shuai Da (Lean body, trip

Twist hand turn (㔎᡻㘫) (reverse angle)

strike 䶐փ᪄ᢃ)

This method means to lean in or close quarters. In Shaolin Chuipu, it is said, “Strike when you get close to your opponent’s body; only get close then to strike (da ren xu jin shen, kao jin cai da ren ᢃӪ享䘁䓛ǃ䶐䘁᡽ᢃ Ӫ).” In Shaolin Lianshou Duanda, the body movement is mainly to roll in and roll out – close the body distance, throw and strike. This is exemplified in two techniques of Shaolin Lianshou Duanda: 4. Twist hand turn (㔎᡻㘫) and 18. Discard wrapped bundle (⭙व㻡).

Yin Shou Ru Kou (Draw out hand, enter knock ᕅ᡻‫ޕ‬ᢓ)

Discard wrapped bundle (⭙व㻡)

Yin Shou means to lure your opponent to strike first. In Shaolin Chuipu, it is said, “Your front hand is the empty (luring) hand. Your back hand is the real hand (qian shou xu hou shou shi, qian jiao yi sheng hou shou yi di ࡽ᡻㲊ਾ᡻ᇎˈࡽ ਛа༠ਾ᡻а䙂).” You lure your opponent to strike first with a feint. If your opponent doesn’t move, strike for real. If the opponent moves, use your empty hand, luring your opponent’s hand into the trap you set, and then strike. This is exemplified in two techniques of Shaolin Lianshou Duanda: 2. Double piercing throat (ৼクஹ) and 32. Crotch kick (㼔ẓ㝊). Double piercing throat (ৼクஹ)

Crotch kick (㼔ẓ㝊) 72 KUNG FU B TAI CHI APRIL 2017


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Continued from page 72: Shaolin Continuous Hand Short Strikes Preparation posture (亴༷࣯) First Section (ㅜа䏏) 1. Cross tiger (䐘㱾ᔿ) 2. Double piercing throat (ৼクஹ) 3. Dig rib with palm (ᦿ㚻ᦼ) 4. Twist hand turn (㔎᡻㘫) 5. Scissors hand (࢚ᆀ᡻) 6. Single split palm (অࢸᦼ) 7. Double split hammer (ৼ࠶䭔) 8. Guard gate posture (ᆸ䰘࣯) 9. Linking palm (䘎⧟ᦼ)

Second Section (ㅜҼ䏏) 10. Submit hand and foot (亪᡻㝊) 11. Carry course basket (᤾∋㈞) 12. Open bow style (ᔰᕃᔿ) 13. Through the sky cannon (䙊ཙ⛞) 14. Downwind palm (亪仾ᦼ) 15. Double bundle method (ৼ᥶⌅) 16. Circling dragon elbow (ⴈ嗉㛈) 17. Silk reeling cannon (㕐э⛞) 18. Discard wrapped bundle (⭙व㻡)

Third Section (ㅜй䏏) 19. Embrace double root (ᨭৼṩ) 20. Down the silver bottle (‫ق‬䬦⬦) 21. Wash the sleeves (⍇㻆ᆀ) 22. Push mountain palm (᧘ኡ䶐) 23. Turn the Palm (䖜⧟ᦼ) 24. Holding cattle hammer (⢥⢋䭔) 25. Horse down forward (傜ࡽ‫)ق‬ 26. Front cut leg (ࡽᡚ㞯) 27. Pocket arch fist (‫ތ‬ᕃᤣ)

Fourth Section (ㅜഋ䏏) 28 Horse kick backward (എ傜㝊) 29. Horse rope (᣼傜㍒) 30. Intercept elbow (ᤖᡚ㛈) 31. Cut down waist (ᤖ㞠ᯙ) 32. Crotch kick (㼔ẓ㝊) 33. Block turn backward (ᤖਾ㘫) 34 Defeated hammer (䍕࣯䭔) 35. Pull down willow (‫ق‬ᤄḣ) 36. Cover head hammer (ᣔཤ䭔) Ending Posture (᭦࣯)

Linking palm (䘎⧟ᦼ)

Lian Mian Shou Fa (Continuous cotton hand method 䘎㔥᡻⌅) This hand method means one hand follows another hand, a series of linked hand combinations, one after another, continuous without ending. If the opponent doesn’t attack, strike again, strike after strike. Don’t let your opponents have any time to catch their breath. This is exemplified in two techniques of Shaolin Lianshou Duanda: 8. Guard gate posture (ᆸ䰘࣯) and 9. Linking palm (䘎⧟ᦼ).B

Guard gate posture (ᆸ䰘࣯)

Master Leon Zhang, a.k.a. Zhang Liyong (ᕐ࡙≨), is a U.S. National Wushu Coach and Judge who won Silver at the International Wushu Competition and Gold at the Hong Kong Traditional Wushu Championships. He participated in the Top Ten Chinese Dance Drama with the production Shaolin in the Wind. He was a member of Shaolin Temple Wushuguan Warrior Troupe and visited the world for cultural exchange. Master Zhang is assisted by Will Rogers. To see Master Leon Zhang recite the first two sections of Shaolin Lianshou Duanda, visit KungFuMagazine.com’s YouTube Channel.


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By Gene Ching and Gigi Oh

“I

t’s like a finger pointing away to the moon. Do not concentrate on the finger or you will miss all of the heavenly glory!” –Bruce Lee as the Shaolin Monk “Lee” in Enter the Dragon (1973)

Every martial arts fan has probably quoted Bruce Lee’s immortal movie lines at some point in their life. However, like several of Lee’s lines, this one wasn’t originally his. Lee was very scholarly and never hesitated to quote from wiser masters. Perhaps some of Lee’s wisdom lay within his literacy; he knew who to quote. The origin of this quote goes back to the Sixth Patriarch of Zen, Venerable Huineng (638–713 CE ᜐ㜭). The nun Wu Jincang (❑ⴑ㯿) asked him to help her to understand some Buddhist sutras, but he was illiterate so in turn asked her to read them to him. Nun Wu was shocked and asked how he might understand them if he couldn't read. Huineng replied that truth has nothing to do with words. “Truth is like a bright moon in the heavens. Words are like the finger. The finger points to the moon, but the finger is not the moon. To look at the moon, you must look beyond the finger, yes?” When it comes to Kung Fu, fingers and Buddhism, one Shaolin Monk stands above all the others: Venerable Hai Deng (1902 or 1907–1989 ⎧⚟). A noted Buddhist master, a skilled calligrapher, and a controversial figure within the Shaolin brotherhood, Hai Deng was renowned for his mastery of the special Kung Fu skill erzichan (two-finger Zen Ҽᤷ⿚ Note: Chan is the original Chinese word for Zen). This is the method that hardens the fingers to such a degree that masters can perform two-finger handstands and breaks with just the fingertips. Only Hai Deng took it a finger further. He was one of the few to ever be able to do it all with just one finger. Master Wang Quanyi (⦻‫ޘ‬а) claims he was the last closed-door disciple of Venerable Hai Deng. “Hai Deng had many disciples, both Buddhist and martial,” says Wang in Mandarin. 76 KUNG FU B TAI CHI APRIL 2017

“I learned martial arts, Buddhism and calligraphy from Hai Deng. Many learned his martial arts, but very few learned all three.”

Hai Deng leading a Dharma talk © DRBA

To Have No Technique

Wang Quanyi began studying martial arts with local folk masters in Anhui province when he was a youth. By the time he reached his twenties, he was so dedicated to Kung Fu that he went to Shaolin Temple to deepen his studies. Wang was a pupil of Shaolin Monk Shi Yongwen (䟻≨᮷). He trained at Shaolin for three years. It was during that time when Wang met Venerable Hai Deng. By all accounts, Venerable Hai Deng was the real deal when it came to warrior monks. Those fortunate members of both the martial and Buddhist communities who were lucky enough to have actually met Hai Deng always speak of him in the highest regard. They often share tales of being awestruck by his presence, recounting episodes they witnessed that border on the mystical and miraculous. Hai Deng initially took his monastic vows in a temple in Sichuan province, near where he was born. He lost his parents at a young age. His father was killed by bandits, and like something straight out of some movie, legend has it that Hai Deng entered the temple to learn Kung Fu to someday exact revenge. Some believe he eventually did track those bandits down and killed them, but this is mostly hearsay. Naturally Hai Deng studied Kung Fu at Shaolin Temple. He resided there for short periods during the late forties, early fifties and early sixties. In the eighties, when Shaolin Temple began its restoration after the Cultural Revolution, Hai Deng was brought back to Shaolin to help train a new generation of monks and represent the temple. In the mid-eighties, the Central Newsreel and Documentary Film Studio came out with a documentary on Hai Deng titled Abbot Hai Teng of Shaolin (ቁ ᷇⎧⟸བྷᑛ). It was a propagandist film. To add "star power," the documentary inserted a somewhat incongruous segment on Jet Li from another documentary from the same period, titled Dragons of the Orient (ᶡᯩ ᐘ喽). Abbot Hai Deng of Shaolin does document Hai Deng at 86, which is fascinating on its own, although some of the stunts demonstrated in the documentary appear faked, including a finale demonstration of Hai Deng’s alleged one-finger handstand. Nevertheless, Hai Deng went on a tour to promote the film, and somehow wound up in the United States even though the film was never distributed theatrically here. It marked the first time any Shaolin monk ever set foot on American soil, and Hai Deng took the opportunity to visit his Dharma brother in California, the pioneer of Chan Buddhism in America, Venerable Hsuan Hua (1918–1995 ᇓॆ).

Venerable Hua founded the Dharma Realm Buddhist Association (DRBA), an international organization, and the City of Ten Thousand Buddhas, the first Chan Buddhist monastery in America; both organizations are still going strong today. However, the documentary brought Hai Deng into the spotlight in a way he disdained. He was a modest man, a humble monk who kept no possessions beyond his clothes and a toothbrush, and accepted no offerings. The media blew him up. In the late eighties, a 20-episode mini-series based on Hai Deng (but entirely fictional) was televised on Sichuan TV. Hunan Fine Arts Publishing House created a comic book series based on Hai Deng. Worst of all, some media outlets claimed Hai Deng was the Abbot of Shaolin Temple. In the late fifties, Hai Deng was named Abbot of Zhenru Temple (ⵏྲሪ) in Jiangxi, but he was never Abbot of Shaolin. The media-created scandal marred his reputation. “There are still legal actions going on about it,” says Master Wang, shaking his head. Master Wang studied under Hai Deng after he came back from the U.S. documentary tour. They first met at Shaolin Temple, but soon Hai Deng moved back to his native province of Sichuan. Wang followed him there to continue studying under the great master. After extensive training, Wang eventually struck out on his own. He left Sichuan and returned to his own native province, Anhui. There he established the Shaolin Wushu Xuexiao (Shaolin Martial Arts School ቁ ᷇↖ᵟᆨṑ) to propound his martial teachings. In 1991, he changed the name of the school to Hai Deng Fashi Wen Wu Xuexiao (Hai Deng Buddhist Master Scholar Warrior School ⎧⟸⌅ᑛ᮷↖ᆨṑ) to honor his master. Five years later, the school earned such an excellent reputation that it was named one of the leading schools of the nation by the national governing body, the Wushu Guanli Zhongxin (Martial Arts Management Center ↖㺃㇑⨶ѝᗳ). That was the first time that the organization had made such a recommendation. In 2008, the Hai Deng Fashi Wen Wu Xuexiao was named one of the best private schools in the nation. “The academy trained over ten-thousand students,” adds Master Wang with pride. Erzichan training. It is impossible to convey all of erzichan training through a magazine article, but Master Wang shares some of the basics here, strictly for illustrative purposes. Like most forms of qigong, Wang states that erzichan begins with meditation in zhan zhuang (post standing ㄉẙ). This position must be trained until the practitioners unblock their baihui (acupuncture point at the top of the skull ⲮՊ) to their yongquan (acupuncture point in the middle of the foot ⎼⋹).


In 2011, Master Wang closed his Anhui school and relocated to the neighboring province of Zhejiang to open a new martial arts school, but this one was different. Wang's new school was focused on training students for film, particularly focused on martial arts and stunt work. The school enrolls about two-hundred students per session. Their most notable graduate so far is Ge Hangyu (㪋㹼ᆷ), who appeared in Stephen Chow’s 2013 film Journey to the West: Conquering Demons (2013) as Killer Wu and the Short Monkey King.

Martial Arts Fist King ⎧⚟↖ᵟᤣ ⦻). The tournament usually draws about a dozen teams from across China, and is not limited to fighters of the Hai Deng lineage.

Beyond Master Wang’s school, there is one more Hai Deng-affiliated training center still going in Hai Deng’s hometown of Jiangyou, Sichuan. The Jiangyoushi Hai Deng Wuguan (⊏⋩ ᐲ⎧⚟↖佘) was established in 1998 and is government run. It hosts an annual sparring tournament known as the Hai Deng Wushu Quanwang (Hai Deng

While Master Wang continues to practice and teach martial arts, nowadays he has also earned an outstanding reputation for the third skill he inherited from Hai Deng – traditional Chinese calligraphy. An avid practitioner of the brush, Wang has won many awards and his calligraphic works are displayed in galleries and special shows. Many Chinese martial arts masters practice calligraphy as a complementary discipline to their Kung Fu practice. Art is art, whether it be martial or calligraphic, but there is a deeper connection according to those who practice both. Master Wang explains, “There are four main characteristics of calligraphy: ti, an, dun and cuo (holding, pressing down, pausing and pushing down ᨀ᤹乃ᥛ). These are analogous to the four techniques of Kung Fu: ti, da, shuai, na (kick,

When the opponent expands, I contract. When he contracts, I expand


Shuai Shou (falling hand ᪄᡻): This technique is a qigong exercise to relax the hands and start bringing qi to the fingertips.

Chuan zhi (piercing fingers クᤷ): This technique is another qigong exercise, specifically to bring qi to the fingertips. 78 KUNG FU B TAI CHI APRIL 2017

Cha zhang (inserting palm ᨂᦼ): This is the classical iron body conditioning technique of thrusting the hands into a bowl filled with mung beans and then sand. This is accompanied with special liniments and exercises to protect the hands from injury. For erzichan, it is just the fingertips so extra precautions must be used.

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Continued from page 78: Iron Finger

For more information on Venerable Hai Deng, read “The First Shaolin Monk in America” by Gene Ching, Kung Fu Tai Chi November+December 2007. For more information on Kung Fu and calligraphy, read “Wushu on Paper: The Connection Between Chinese Calligraphy and Wushu Routines” by Emilio Alpanseque, Kung Fu Tai Chi November+December 2016.

Tie niu geng di (iron ox plows the field 䫱⢋㙅ൠ): Fingertip pushups are used to strengthen the fingertips. The first stage is against a wall, then on an incline, then on the floor. It begins with all the fingers, and then fingertips are removed as the practitioners build strength.

punch, throw, lock 䑒ᢃ᪄᤯). Beyond this, martial arts have four other qualities of dong, jing, gang, rou (movement, stillness, hard, soft अ䶌ࢋḄ). These are parallel to the four qualities of ink: nong, dan, huang and ji (thick, watery, slow and quick ◳␑ 㐙ᙕ). Both arts also have the eight methods (ba fa ‫)⌅ޛ‬. In the martial arts, we say, 'shou yan shenfa bu; jing shen qi ligong (hand, eye, body attitude, footwork; essence, vitality, qi, power ᡻ ⵬䓛⌅↕ˈ㋮⾎≓࣏࣋).' In calligraphy, we have the eight brush strokes: ce le nu ti ce lu zhuo zhe (leaning, tightened, striving, jumping, whipping, plundering, pecking, downward-slanting ‫ࣚंח‬䏟ㆆ᧐୴⼄)." When the practice is referred to as a martial "art," there must be some "art" to it. This is often forgotten in today’s modern world where martial skill is measured in trophies, medals, belts and lethality. Art by definition must act in accord to a higher aesthetic. It must rise above the ordinary significance in beauty, appeal and emotional content. Kung Fu (࣏ཛ) by definition means a practice cultivated over time and hard work. It literally isn’t "martial art" as it has come to mean in English. But there is Kung Fu in good martial arts, just as there is Kung Fu in good calligraphy. Master Wang has his finger on the pulse of three magnificent legacies from one of Kung Fu’s most legendary grandmasters, Venerable Hai Deng. But don’t concentrate on the finger or you will miss all of the heavenly glory.B

Wang Quanyi can be contacted at 277 Wangfujing Street, World Friendship Office Building Suite 366, Dongcheng District, Beijing (ेӜ॰ь෾४⦻ᓌӅབྷ㺇277 ਧྭ৻ц⭼߉ᆇᾬ366). The authors gratefully acknowledge Joshua Wang Zhonghua (⦻ѝॾ), Lead Martial Arts Instructor at Studio Kicks in Palo Alto, CA (www.studiokickspaloalto.com), for his assistance with this article.


For video of Master Wang breaking boards with his erzichan, visit www.youtube.com/ user/KungfuMagazinedotcom in February.

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Cutting edge: 29 ½” Overall in scabbard: 38” Weight: 1.5 lbs. Late Qing Dynasty or early Republic of China period his Dao was originally found at the Norton Flea Market in Norton, Massachusetts during the 1980’s. The previous owner of the sword claimed it was given to his wife’s great-uncle at the turn of the century from the Chinese government. He was a consulate to China and leaving his post. A great farewell gift! According to the present owner, John White, “I trained with this blade personally for many years mainly for my Tai Chi Broadsword form. Its weight and balance suited me perfectly for this form and was a great pleasure being able to use an antique sword such as this for training.” This blade is not of the soft flexible training steel one usually finds but of a hardened battle-type of steel. Cuts in the steel from blade blocks can be found on the edge of the blade.B From the collection of John White. This blade and several others will be available for sale at nihontoantiques. com. Nihonto Antiques is a website devoted to the restoration and preservation of Japanese swords. Other exceptionally made swords are also entertained. The owner of the site, Moses Becerra, welcomes all to take a look at his items and restoration work.

The following are comments from noted sword experts Peter Dekker and Philip Tom (http://mandarinmansion.com) regarding this style of sword: From Peter Dekker: “This is an oxtail saber or niuweidao. This type with black lacquered, wire-wrapped scabbard is usually associated with the late 19th to early 20th century. This is the time where traditional Chinese martial arts started to re-invent themselves into ever more showy or health-focused practices. This example is in pretty good state of preservation, most of them are in far worse condition. The blade is interesting, usually you see these with two grooves, a wide one with a narrower one above that. This example has three grooves of equal width, a somewhat rarer configuration.” From Philip Tom: “The 3 groove format is a distinct subtype although the dual wide/ narrow is more common. The triple style seems derived from Solingen export blades, both straight and curved, that were sold in Asia during the 18th-19th centuries, particularly in India and Batavia. Not many reached the Chinese market though the stylistic influence may have come in via an expat Chinese living in Southeast Asia during the late Qing Dynasty.”


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CHOLLYWOOD RISING

By Gene Ching s this column was going to press, the Chinese Box Office was in its third consecutive month of decline. It was a marked change from the alarming growth of the Chinese film industry, which was predicted to overtake Hollywood’s Box Office sometime this spring. Accordingly, that transition date has been pushed back, some say to late 2017, others say for five years. Due to the slump, HollywoodReporter.com reported that the Chinese Box Office flatlined in 2016. It was projected to grow less than 5% for 2016, a far cry from the previous years. Since 2003, China’s annual Box Office has averaged 35% growth, and in 2015 it grew 48%. In the first quarter of 2016, it was at 50%, but that’s surely due to the Chinese New Year, China’s biggest seasonal film rush. Nevertheless, in late December, Indo-Asian News Service (IANS) reported that China has more film screens than the U.S. Throughout 2016, China has added an average of 26 film screens per day. The grand total at the time of the IANS report was 40,917 Chinese screens compared to 40,759 U.S. screens. With the Year of the Rooster beginning on January 28, the Chinese Box Office will surely get a major bump for 2017. But to catch up with what happened at the end of 2016, The Sword Master had a limited U.S. theatrical release on December 9. Directed by Derek Yee and produced by Tsui Hark, the film is an adaptation of a wuxia novel by Gu Long (1938–1985 ਔ喽) titled Third Master’s Sword (San Shaoye De Jian йቁ⡪Ⲵࢽ). This was previously made into the 1977 Shaw Brothers film Death Duel, with Derek Yee in the lead role. 84 KUNG FU B TAI CHI APRIL 2017

Star Wars: Rogue One premiered on December 16 and took in a staggering $260+ million internationally over opening weekend, catapulting Donnie Yen into Hollywood like never before (Rogue One opened in China on January 6, after this column went to press, so China’s Box Office isn’t factored in here). With Donnie in a lead role, Rogue One caters to China in a way that Star Wars has never been able to before. Donnie is one of the highest paid Chinese actors of all time, with some seventy films to his credit. Donnie’s character, the blind Forcesensitive Chirrut Imwe, emerged as one of the most charismatic roles of the film, stealing every scene he was in. Rogue One has positioned Donnie to burst into Hollywood like no other Chinese actor before him. He has made a few Hollywood films before – Highlander: Endgame (2000), Blade II (2002), and Shanghai Knights (2003). But unlike Bruce, Jackie or Jet, Donnie was raised in Boston so his English is perfect (see Bow Sim Mark’s Bagua Heritage

by Jean Lukitsh on page 46 for more on his background). With his next Hollywood effort, xXx: Return of Xander Cage, opening on January 20 (just before this issue hits newsstands), Donnie’s cinematic one-two punch has him wellpositioned to catch the eye of Hollywood and become a truly global star. Like any Chinese actor, where film production time is much quicker than in Hollywood, Donnie has several films queued up already for

2017: American Revenge, Big Rescue, King of Drug Dealers and Iceman 2. However, given potential new opportunities, future development of these projects isn’t clear. Iceman 2 is in the can, but given the performance of Iceman (2014), that’s the least interesting of the lot. For the most interesting one, we’ll have to wait for 2018; that’s when Ip Man 4 is scheduled to premiere. The same weekend Rogue One was premiered in the U.S. and abroad, Zhang Yimou’s $150 million ChinaU.S. co-production, The Great Wall, opened in China to a $67 million debut. While that pales to Rogue One, it’s actually quite promising for the Chinese market, placing it fourth for biggest Chinese openings of the year behind Stephen Chow’s The Mermaid, Marvel’s Captain America: Civil War and Legendary’s Warcraft. Starring Matt Damon, Andy Lau, Eddie Peng and Willem Dafoe, The Great Wall was branded for whitewashing by Constance Wu, lead actress in CBS’s token Chinese sitcom Fresh off the Boat, but whitewashing is a Hollywood issue, not a Chinese one. Given the magnitude of this co-production, many film observers view it as a potential gamechanger for Chinese film. The Great Wall is scheduled to premiere in the U.S. on February 17.

Assassin’s Creed

premiered on December 21. This potential film franchise is based on a globally-successful videogame and stars such stellar actors as Michael Fassbinder,

Michelle Lin in Assassin’s Creed. Photo credit: Kerry Brown

Marion Cotillard, Jeremy Irons and Charlotte Rampling. It also stars Michelle Lin, a Tiger Claw Elite Champion discovered through a TCEC video posted on KungFuMagazine.com’s YouTube channel. For an exclusive interview on this, read Michelle Lin on ASSASSIN’S

CREED and the TIGER CLAW ELITE CHAMPIONSHIPS on KungFuMagazine.com.

Chinese New Year Premieres

Jackie Chan accepted his Honorary Oscar for Lifetime Achievement last November, but didn’t stop to rest on his laurel leaves at all. His latest film, Railroad Tigers, enjoyed a limited U.S. theatrical release on January 6. The film is a period piece where Jackie plays a freedom fighter in 1941 attempting to ambush a Japanese supply train. Railroad Tigers premiered in China around Christmas, and leapt over The Great Wall at the box office. This joins a slew of films in Jackie’s ever overstuffed “coming soon” queue. Most notable is his Sino-Indian co-op project, Kung Fu Yoga. Jackie has a huge fan base in India, a following that he first tapped into with The Myth (2005), in which a third of the film was shot in India. Kung Fu Yoga is a major collaboration between India and China filmmakers and is set for release on January 28 for Chinese New Year.

Joining his other films queued for 2017 (The Foreigner and Bleeding Steel), Jackie added two new projects. Jackie joins Arnold Schwarzenegger for a Sino-Russian production of Viy-2, a.k.a. Journey to China. This is a very mysterious project as the early trailer doesn’t include either megastar. Jackie also signed on to Joe Carnahan’s Five Against a Bullet. With echoes of the Seven Samurai (1954), the film is reputedly about five jaded bodyguards who must protect someone from a band of hooligans – in this case, a Mexican drug cartel. The premiere dates for these two new films was unknown at press time. Stephen Chow returns to produce Journey to the West: Demon Chapter, directed by Fant-Asia master Tsui Hark. This is the sequel to Chow’s Chinese recordbreaking blockbuster Journey to the West: Conquering Demons (2013). Released for the Chinese New Year of the snake, it went on to become the highest grossing Chinese-language film. For last year, Chow dominated the Chinese New Year of the monkey with his film, The Mermaid. And speaking of monkeys, Monkey King 3 was announced for next year’s Chinese New Year of the Dog. This third installment of a Monkey King franchise

“One elephant is killed every 15 minutes for its ivory. You have the power to make DGL̆HUHQFH´ –LI BINGBING, CHINESE ACTRESS


includes Monkey King 2, which premiered against The Mermaid in 2016, and Monkey King (2014), starring Donnie Yen in the titular role. The first Monkey King film premiered on the Chinese New Year of the horse, and became the highest grossing film for the global box office for its opening week.

John Wick: Chapter 2 is set to premiere on February 10. John Wick (2014) astonished

audiences with its gritty action; the visceral fight scenes were coordinated by Jonathan Eusebio and Jon Valera, both of whom have been the “go to” choreographers for many recent Hollywood blockbusters. Justin Yu is heading the fight team for the sequel. Yu has also worked on many recent actioners as a stunt man. Additionally, John Wick: Chapter 2 director Chad Stahelski has signed on for a reboot of Highlander (1986). Iko Uwais, Tony Jaa and Tiger Chen are also teaming up for Triple Threat, with Stahelski as the action coordinator. After his brief cameo in Star Wars: The Force Awakens, Uwais returned to Indonesia for Headshot, his first film with the Mo brothers, directors Timo Tjahjanto and Kimo Stamboel, who are known for their previous work in the horror genre. The film debuted at TIFF to lackluster reviews and no U.S. release has been announced. Tony Jaa, who also has a role in xXx: Return of Xander Cage, has begun work on Kill Zone 3 (a.k.a. Sha Po Lang 3). On March 24, the reboot of Power Rangers premieres. Starring Elizabeth Banks as villainess Rita Repulsa, it has received some criticism for whitewashing because the original character was played by Machiko Soga. However, it’s a misplaced accusation as Power Rangers was derived from a Japanese Tokusatsu TV series, Kyoryu Sentai Zyuranger, where all of the original characters were Japanese. The original American version stripped out all of the Japanese actors and replaced them with a more diverse cast, retaining only the costumed sequences of the Japanese series. It was the ultimate whitewashing, but that was television in the early ‘90s. Scott Adkins and Ray Park team up for Accident Man, based on a UK graphic novel. Step Up 6 is another installment of the hugely popular dance film franchise. This sixth installment, set for release in 2017, 86 KUNG FU B TAI CHI APRIL 2017

goes to China and adds Kung Fu. Ron Yuan of Marco Polo is helming the project.

Martial Arts Television

Netflix’s Marco Polo was cancelled after only two seasons. The series was reported to be responsible for a $200 million loss. However, Michelle Yeoh, who appeared in seven episodes of Season Two, has moved on. Michelle had supporting roles in two 2016 Hollywood productions, Mechanic: Resurrection starring Jason Statham, and Morgan starring Kate Mara. This year, Michelle has signed on for the upcoming CBS All Access series, Star Trek: Discovery. She will be playing Captain Georgiou of the starship Shenzhou. This is the eighth Star Trek TV series and it launches this May. Marvel’s long-awaited Netflix series Iron Fist debuts in March. The fourth member of the upcoming series The Defenders, Iron Fist follows the previous Marvel Netflix shows Daredevil, Jessica Jones and Luke Cage. Rosario Dawson reprises her role as Claire Temple, tying the four series together. Lead actor Finn Jones also received criticism for whitewashing, even though the comic book character of Danny Rand was originally white. AMC’s Into the Badlands wrapped filming its second season in Ireland last December. Season One ran in 2015 for six episodes and was filmed in New Orleans. Season Two expands to ten episodes and has added Nick Frost to the cast. Your author was invited to visit the set in Ireland last November, so there will be lots of exclusive coverage in our next issue and on KungFuMagazine.com when the new season debuts in March 2017.B To keep up with the latest martial arts films, read reviews and discuss, visit our KungFuMagazine.com Martial-Media-andPopular-Culture forum.

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7RHQVXUHEHVW¿WSOHDVHWU\RQSURGXFWZKHQSRVVLEOH,IVL]HE\KHLJKWLV GLIIHUHQWWKDQVL]HE\ZHLJKWXVHWKHODUJHUVL]HUHFRPPHQGHG SINGLE WEAVE JUDO NINJA KEIKOG HAKAMA SILK K/F TRAD. K/F HVY WT. LT. WT. WEIGHT

2. Fax your Credit Card Order: 865-686-4881 3. Mail Order Just mail the order form, money order or cashier’s/personal check with the correct amount. Send to: MartialArtsMart 5613 N. Broadway Knoxville, TN 37918

4. e-mail Your Order: [email protected] 5. Our Online Store: www.MartialArtsMart.com Use our secure electronic shopping cart.

00

XXS

0

XS

XS

24

4

M

L

5

L

6

XL

7

DOUBLE WEAVE MED. WT. UNF. JUDO GI

2. Out of Stock/Back Orders We will notify you if your request is currently out of stock. In most cases, back orders should be received within 3–4 weeks.

95 LBS.

4’9”

2

2

2

115 LBS.

5’2”

3

3

3

125 LBS.

5’5”

4

4

4

150 LBS.

5’7”

L

5

5

5

175 LBS.

5’9”

28

6

6

6

195 LBS.

6’0”

XL

7

7

WEIGHT

7

225 LBS.

6’2”

8

260 LBS.

6’5”

HEIGHT

45 LBS.

3’5”

60 LBS.

4’0”

0

0

80 LBS.

4’5”

1

1

100 LBS. 4’8”

2

2

120 LBS. 5’2”

3

3

140 LBS. 5’6”

4

4

175 LBS. 5’9”

5

5

185 LBS. 6’0”

6

6

200 LBS. 6’4”

7

201+LBS.

Shipping INFORMATION •Please check the price chart on the order form for the correct S & H cost to include it in your purchase order. •Weapons Shipping: Long weapon shipping is extra. Please call for details. Weapons over 42” can not be shipped outside of the United States by International Airmail. They may be sent by UPS. Please Call for details. •When a parcel with broken pieces is received, please keep wrapping/ package intact and immediately call us for the correct procedure to issue a claim against a carrier.

TC 2000 KICKS

KUNGFU

SIZE

SPARMASTER KICKS SIZE

CHILDREN

CH06

6

CH08

8

CH10

10

3

5 7

07

7

9

09

9

11

11

11

13

13

13

4

5

5H 6

7

6

6H 7

8H 9H 10 11 11H 12 12H 13

3-6

CHS

7-10

CHM

11-13

CHL

1-4

8 8H 9 10 10H 11 12 12H 13

STRAW ZORRIES

CHILDREN MEN WOMEN

PeeWee

SIZE

XS

S

M

L

MEN’S SHOES

5

7

9

11

6½

8½

10½

12½

WOMEN’S SHOES

S

5-6

5-7

M

7-8

8-10

L

9-10

11-12

XL

11

13

XXL

12-13

SIZE

BRA SIZE

T

UP TO 34A

A

34B & UP

CUP & SUPPORTER WAIST

MEN WOMEN

27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48

CHILDREN 12 13 13H 1 1H 2 2H MEN’S AMERICAN WOMEN’S AMERICAN H= Half Size

SIZE


4’6”

80 LBS.

00

KUNGFU SHOES

Order Toll Free 1-800-824-2433

4’4”

1

000

3. Returns/Exchanges/Repairs: •Please have your Invoice No. and/or customer No. ready and call us to get a RETURN AUTHORIZATION NO. within 7 days of receipt. Unauthorized returns will be rejected without liability. •Unless it is proven to be a manufacturer’s defect, improperly used merchandise will not be accepted for refund or exchange. •We will repair or replace manufacturer’s defective merchandise at no charge. •Videos and books can be only exchanged for the same title if defective from the manufacturer.

California Retail Sales Tax All items listed in this catalog/issue which are shipped to CA are subject to sales tax. We will accept an exemption from sales tax on UHFHLSWRID&DOLIRUQLDUHVDOHWD[FHUWL¿FDWH6DOHVWD[UDWHVDUHVXEMHFW to change and tied to Alameda County sales tax rates.

65 LBS.

CUSTOMER SERVICE 1. Delivery/Ship-A-Gift We will ship your order out the same day if payment is made upon receiving a money order or by Credit Card before 2:00 PM Eastern Time. Personal Checks have to be held for 10-14 working days before shipping. Normal methods of shipping are UPS ground service and 3RVW2I¿FHVHUYLFH*LIW&HUWL¿FDWHVDOVRDYDLODEOHEXWRUGHUVDUHQRW sent gift-wrapped. Need it fast? Please ask our sales person to review the quick delivery options that are available.

Attention! Weapons Buyers . . . You must check Federal, State and Local laws because weapons may be illegal in your area. MartialArtsMart.com Products will not sell weapons to minors and disclaims all liability from the sale and use of products in this catalog/issue.

4’0”

00 0

M

30

3’0”

1

26

XL

50 LBS.

0

S

3

000

1

S

2

35LBS.

0

1

GUARANTEE ,I\RXDUHQRWVDWLV¿HGZLWKLWHPV\RXSXUFKDVHGIRUZKDWHYHUUHDVRQ SOHDVHLPPHGLDWHO\FDOORXURI¿FHWRDUUDQJHDVHWWOHPHQW)RUGHWDLOV please see Returns/Exchanges/Repairs below.

00

HEIGHT

0000

18” - 23” CHS

23” - 26”

26” - 32”

32” - 36”

37” - 42”

CHL

S

M

L

XL

Elite Competition Swords

Sharpened Ninja Sword

(sharpened stainless steel blade 26”)

16-30 $134.99

Ninja Series DVD

Long Sword

by Grand Master Harunaka Hoshino Ninja Style Kenjutsu: Part I - DVD-HH001 $24.95 Ninja Style Kenjutsu: Part II - DVD-HH002 $24.95 Ninja Shuriken - DVD-HH003 $24.95 Tanto-Jutsu - DVD-HH004 $24.95 Vol. 1 & 2: DVD-HH010 $39.95

(Sword length 38”) 35-15L $132.99

Short Sword (Sword length 34”) 35-15M $123.49

Yawara

Rubber Stars

16-12 (wave) 16-13 (8 Points) 16-14 (4 Points) $ 1.49

*Ninja Star Pack 12 assorted stars 16-12PAK $17.88

Wood (45-25) $9.99

Ninja Keychain

Black Aluminum (45-24) $16.65

16-11K Black 16-11C Chrome $7.99 each

Manriki Chains

Ninja shogee

Hanwei Sword Oil

Solid steel with a 115 inch chain and a 13 inch hook head

Alicia Forbrich

16-20 $31.99

45-2110 $9.99

45-20C Chrome 45-20K Black $11.99 each

Ninja Boken (34”) 16-05 $12.49

Grappling Hook (30 - 33’) 16-25 $33.49

heavyduty plated steel (2’)

Foot Spikes 16-10 $17.99/pair Hand Claw 16-09 $17.99/pair Products may vary slightly due to different shipments by the manufacturers.

Ninja Uniform Set

Includes: Jacket, Pants, Hood, Mask & Arm Guards. Sizes: XXXS-XL

Black 16-01 $41.99 - $52.99

Steel Fan 16-06 $46.99 Lacquer Wooden Sword Stand Black or Natural 35-09 $22.99 ea.

Single Sword Stand (Sword not included)

Hi-Top Tabbi

35-08 $22.99 ea.

Sizes: 7–13 16-08 $48.99/pair

Kusara Kama 16-21 $31.99

For the most up-to-date listings, visit our online interactive calendar at KungFuMagazine.com

KUNG FU TAI CHI CALENDAR 72851$0(176 *$7+(5,1*6

:25.6+236

2017-04-29 (1 Day) World Tai Chi & Qigong Day Contact: Bill Douglas 913-648-2256 10100 Roe Avenue, Overland Park, KS 66207 [email protected] - www.WorldTaiChiDay.org 2017-05-19 (3 Days)

KUNG FU TAI CHI 25TH ANNIVERSARY FESTIVAL & 2017 Tiger Claw Elite Championships Held in Downtown San Jose, CA Celebrate 25 Years of Kung Fu Tai Chi magazine with this THREE DAY FESTIVAL along with the 2017 Tiger Claw Elite KungFuMagazine.com Championship TIGER CLAW SPONSORED EVENT Contact: Gigi Oh 510-656-5100 X141 or Gene Ching 510-656-5100 X137 40748 Encyclopedia Circle, Fremont, CA, 94538 [email protected] or [email protected] www.KungFuMagazine.com/info/tournament/KFTC25.html www.TigerClawElite.com & www.KungFuTaiChiDay.com 2017-06-23 (8 Days) Eastover Medical Qigong and Oriental Medicine Symposium 2017 Twelve Masters Unite! - Join internationally renowned leaders in Eastern philosophy at Eastover for our Medical Qigong and Oriental Medicine Symposium. We will dive deep into the wisdom of ancient healing traditions of the Orient and discuss the practical modern applications of powerful practices like Qigong and Taichi. Contact: Yingxing, Kristin Lee 866-264-5139 Eastover Estate & Retreat Center 430 East Street, Lenox, MA 01240 [email protected] - http://eastover.com/upcoming-retreats.html

2017-03-31 (8 Days) Junfeng Li’s Healing of the Heart Sheng Zhen (Sacred Truth) Qigong Training Contact: Yingxing Wang 866-264-5139 Eastover Estate & Retreat Center, 430 East Street, Lenox, MA 01240 [email protected] - http://eastover.com/upcoming-retreats.html 2017-04-21 (7 Days) Roger Jahnke: Medical QiGong A Comprehensive & Accessible 3-Level Workshop & Training Contact: Yingxing Wang 866-264-5139 Eastover Estate & Retreat Center, 430 East Street, Lenox, MA 01240 [email protected] - http://eastover.com/upcoming-retreats.html 2017-04-21 (3 Days) “One breath, One brush stroke, One movement” with Lorelei Chang & “The Chinese Tea Ceremony ~ One with its Healing Power” with Haiyan Feng Contact: Yingxing Wang 866-264-5139 Eastover Estate & Retreat Center, 430 East Street, Lenox, MA o1240 [email protected] - http://eastover.com/upcoming-retreats.html 2017-04-28 (3 Days) Four Pillars - Eight Characters Chinese Five Element Assessment Weekend Contact: Yingxing Wang 866-264-5139 Eastover Estate & Retreat Center, 430 East Street, Lenox, MA o1240 [email protected] - http://eastover.com/upcoming-retreats.html 2017-04-28 (3 Days) Chi Energy Healing Workshop Contact: Yingxing Wang 866-264-5139 Eastover Estate & Retreat Center, 430 East Street, Lenox, MA o1240 [email protected] - http://eastover.com/upcoming-retreats.html

For more on Tiger Claw Sponsored Events, go to

To get listed in our NEWS section, go to our official website at www.KungFuMagazine.com and click “Calendar” to register. Online listings are edited for content. Events are transferred to our print magazine if posted before deadline (up to 3 months in advance). If you cannot access the web, send your event information to: Kung Fu Tai Chi Magazine, 40748 Encyclopedia Circle, Fremont, CA 94538 or FAX 510-656-8844 ATTN: Gene. This is a public service to the Martial Arts Community. The publishers expressly disclaim any and all liability relating to these events.

There are nearly 600 videos available on KungFuMagazine.com's YouTube channel! Log on and watch NOW! https://www.youtube.com/user/KungfuMagazinedotcom/videos 90 KUNG FU B TAI CHI APRIL 2017

Traditional Solid Steel Spear

Overall length is approx. 91 inch; spear head is approx. 9 inch. 45-054 $59.99 (+ $15 S/H)

Wushu Guandao

Wushu Pudao

2-Pieces Dragon Head Guandao

Lightweight Steel, overall 60”, 21/2 lbs. 45-82WU $84.99 (+ $15 S/H)

8 lbs. Solid brass fitting, Steel, overall 80”)

Lightweight Steel, overall 75”, 4 lbs. 45-81WU $105.25 (+ $15 S/H)

45-88SS $199 (+ $15 S/H)

2-Pieces Wushu Pudao Dragon Head Guandao

8.5 lbs. Solid brass fitting, Steel overall 82” 45-88 $127.99 (+ $15 S/H)

Lightweight Steel, overall 65”, 4 lbs. 45-82WUC $94.99 (+ $15 S/H) Single Headed Spear overall 84” 45-051A $39.99 (+ $15 S/H) Carrying case NOT included

Also available:

Lightweight Wushu Spear overall 80”

45-051B $39.99 (+ $15 S/H) Carrying case NOT included

Wushu Spear Head

Lightweight spearhead w/red tassel

small

medium

45-01WS

$10.49

45-01WM

$11.39

Spearhead Tassel large 45-01WL

$12.29

traditional 45-01

$10.49

45-051ST

$2.49

MartialArtsMart.com advocates caution and courtesy in training and disclaims all liability from the use of our products.

Grandmaster Chen Tongshan Most long weapons come with a durable, custom-fitted, black nylon carrying case. (Unless stated otherwise)

Please Note: Long weapons may incur extra shipping charges. Contact us for details. Wushu Steel is usually lightweight, chrome-plated and rust free. Wushu swords are flexible with a 90180 degree bend.

KUNG FU TAI CHI DISTRIBUTORS

Kung Fu Tai Chi is distributed by the following ﬁne locations ARIZONA -----------------Hung Fa Yi Wing Chun of Arizona 1805 E. Elliot Rd. STE110 Tempe, AZ 85284 Mark Jones 480-820-2428 Shaolin Arts 4330 W. Union Hills Dr. B8 Glendale AZ 85308 Chris Workman 623-581-2000 www.shaolinarts.com CALIFORNIA -------------Shaolin Temple Cultural Center 9143 La Rosa Dr. Temple City, CA 91780 Shi Yanxu 626-292-1355 http://shaolinus.com Shaolin Temple Cultural Center 3628 Nogales St., West Covina, CA 91792 Shi Yanxu 626-292-1355 http://shaolinus.com Tai Mantis Kung Fu 758 E Highland Ave. San Bernardino, CA 92404 Don Newton 909-881-2226 www.taimantis.com John Cho’s Kung Fu School 2435 N. Fresno St., Fresno, CA 93720 John Cho 209-225-9796 Lily Lau Eagle Claw 1651 El Camino Real Millbrae, CA 94030 Sifu Kalman Wong 510-201-3098 www.lilylaueagleclaw.com Gee Yung Fut Ga Assoc. 922 Jackson St., San Francisco, CA 94133 Ricky Der 415-725-8700 Wow Cool® Alternative Comics 21607B Stevens Creek Blvd. Cupertino, CA 95014 Marc Arsenault 408-921-5164 wowcool.com O-Mei Tai Chi Culture Academy 10070 Imperial Ave Cupertino, CA 95014 Yun Jian Zou 408 252-3988 USA Shaolin Kung Fu Zen 1161 Redmond Ave. San Jose, CA 95120 Xing Le Ye 408-806-0155 www.shaolinkungfuzen.com USA Wu Chi Kung Fu Academy 40924 Fremont Blvd Fremont, CA 94538 He Tao 510-226-6813

COLORADO -------------U.S. Wudang Tai Chi Kung Fu Academy 2601 S. Lemay Ave. #7233 Fort Collins, CO 80525 Yun Xiang Tseng 970-221-3130 www.wudangtao.com Bob Cook Tai Chi Kung Fu Chi Kung 18076 Currant Creek Rd. Cedaredge, CO 81413 Bob Cook 970-234-1085 CONNECTICUT ---------Malee's School of Tai Chi & Kung Fu 249 Broad Street Manchester, CT 06040 Sifu Malee Khow 860-646-6818 www.malees-tai-chi-kungfu.com FLORIDA ------------------Wah Lum Temple of USA 851 N. Goldenrod Rd. Orlando, FL 32807 Sifu Pui Chan 407-275-6177 www.wahlum.com Wah Lum Kung Fu of Melbourne 662 N. Wickham Rd. Melbourne, FL 32935 Harry Lo 321-255-1048 Imperial Martial Arts 5116 US HWY 19 New Port Richey, FL 34652 Roger J. Roger 727-488-7985 ILLINOIS ------------------Lee's Martial Arts Supply and Academy of Martial Arts 15546 S. Cicero Oak Forest, IL 60452 Danny Lee 708-687-8707 www.leekungfu.com Academy of Chinese Martial Arts 9109 S. Western Suite #6 Chicago, IL 60620 Karl Knoble 773-723-2795 www.aocma.com KANSAS -------------------Ryukyu Imports 5005 Merriam Dr. Merriam, KS 66203 Bill Wiswell 913-384-3345 Grace Wu Kung Fu School 122. N. St. Francis Wichita, KS 67202 Grace Wu-Monnat 316-264-9640 gracewu.com LOUSIANA ----------------American Kung Fu Academy 88 MacArthur Dr. Ste.# A Alexandria, LA 71303 Chuck Perry 318-442-9422

MARYLAND --------------U.S. Wushu Academy 701 Russell Ave. Gaithersburg, MD 20877 Christopher Pei 301-869-7519 www.uswushuacademy.com Flying Dragon 10730 Connecticut Ave. Kensington, MD 20895 Tai Yim 301-946-0462 Chen Pan Ling World Family Maryland Chapter 5831 Buckeystown Pike Evergreen Plaza Frederick MD 21701 Sifu John Scott 240-675-1718 www.scottacademykungfu. com MASSACHUSETTS ------Mark Warner's Professional Martial Arts 43 Market St Ipswich, MA 01938 Mark E.Warner 978-356-9800 www.markwarnerpma.com Wu Dao Kung Fu & Tai Chi 675 Concord Ave. Cambridge, MA 02138 Tim Hartmann 617-812-2180 MISSOURI ----------------Wu Hsing Chuan 5 Animal Academy 6740 Olive Blvd. University City, MO 63130 Sifu Larry Adams 314-721-6003 Shaolin Lohan Pai 8348 Olive Blvd. Suite C St. Louis, MO 63132 314-432-4218 www.shaolinkungfu.org Midwest Chinese Martial Arts Center HQ 8201 Wornall Road, Kansas City, MO 64114 Sifu Scott Winokur 816-444-4777 www.kungfukc.com NEVADA -------------------Warrior Spirit Martial Arts Academy 8974 Slippery Rock Way Las Vegas, NV 89123 Robert L. Jones 702-260-4552 www.wsmaa.com NEW JERSEY -------------Yee’s Hung Ga Kung Fu Academy 68 Union Ave., Clifton, NJ 07011 Pedro Cepero Yee 973-772-8988 www.yeeshungga.com Tibetan Lama Dragon Crane 13-A Basswood Plaza Monroe Township, NJ 08831 Sifu Green 973-714-2748

NEW MEXICO -----------Mountain Path Kung Fu and Tai Chi Academy 7717 Roberts St. NE Albuquerque, NM 87109 Sifu Rob Bibeau 505-681-5603 www.shenabq.com NEW YORK ---------------Goodland Trading, Inc. 823 6th Ave. New York, NY 10001 Alex 212-643-8216 International Xin Wu Men Martial Arts Association /DID\HWWH6WUHHW$WKÁU New York, NY 10003 Long Fei Yang 917-577-5158 www.xinwumen.org City Wingtsun 1024 Sixth Ave. 4 FL New York, NY, 10018 Sifu Alex Richter 212-354-9188 Yee's Hung Ga Kung Fu Academy 366 7th Ave. Brooklyn, NY 11215 Sifu Peter Berman 718-768-7762 Sitan Tai Chi & Martial Arts / America Taiji Health Qigong 227 Michael Drive Syosset, NY 11791 Lynn Lin 516-677-1798 www.sitantaichi.com NORTH CAROLINA ----Hung Gar Kung Fu Academy Rt. 21 North, Mooresville, NC 28115 Rick Panico 704-663-6305 David Chin’s Hop Gar and Tai Chi Center 2444 Dunn Rd. Fayetteville, NC 28301 Sifu David Chin 910-485-0039 OHIO ----------------------Ving Tsun Museum 5715 Brandt Pike Dayton, OH 45424 Benny Meng 937-236-6485 www.vtmuseum.org OKLAHOMA -------------Academy Of Self Defense, Siu Lum Pai Gungfu 2603-D S. Memorial Dr., Tulsa, OK 74129 Ray Hildreth 918-664-8202 PENNSYLVANIA ---------Academy of Ving Tsun Kung Fu 424 3rd Ave New Brighton, PA 15066 Dale Steigerwald 724-847-3300 www.academyvingtsun.com

PENNSYLVANIA (continued)----------------Academy of Ving Tsun Kung Fu 424 3rd Ave New Brighton, PA 15066 Dale Steigerwald 724-847-3300 www.academyvingtsun.com Philadelphia Wing Chun Kung Fu 117 North 10th St. Suite #4 Philadephia, PA 19107 Art E. Eng 215-351-6227 www.philadelphiawingchun.com RHODE ISLAND ---------Way Of The Dragon 877 Waterman Ave. E.Providence, RI 02914 Wen-Ching Wu 401-435-6502 SOUTH CAROLINA ----Shaolin Kung Fu Studios 196 Stonebridge Drive Myrtle Beach, SC 29588 Shifu Fred Christie 843-597-5634 www.kungfu-sc.com TEXAS ---------------------USA Chin Woo Federation 899 East Arapaho Road Richardson TX 75081 Jimmy K.Wong 972-680-7888 www.chinwoo.com International Shaolin Wushu Center 6515 Corporate Drive #L2 Houston, TX 77036 Shifu Shi Xingying 713-272-0276 www.internationalshaolin.com The Kung Fu School 8811 Emmott Rd. Ste 1600 Houston, TX 77040 Sifu Houston Fuqua 713-474-6660 www.thekfschool.com USA Kung Fu Academy 4327 South First St. Suite 104D Austin, TX 78745 Jeff Hughes 512-707-8977 www.usakfa.com Shaolin Wushu Kung Fu 1721 Saulkleinfeld Dr. Ste H El Paso, TX 79936 Jaime Perez 915-820-8192 www.shaolinwushukungfu. com VIRGINIA ------------------Jow Ga Shaolin Institute 600-D Carlisle Dr. Herndon, VA 20170 Lee/Momenan 703-742-7800 www.jowgashaolin.com First Defense Martial Arts Center 291 Sunset Park Dr. Herndon,VA 20170 Nick Masi 703-835-9054

Become a Kung Fu Tai Chi distributor & get your school listed here. Call Joan Chien at 1-800-628-6552 92 KUNG FU B TAI CHI APRIL 2017

Kung Fu Tai Chi is distributed by the following ﬁne locations VIRGINIA (continued)---U.S. Wushu Academy 2979 Prosperity Ave. Fairfax,VA 22031 Christopher Pei 703-698-8182 www.uswushuacademy.com Laughing Dragon Kung Fu 3006 Berkmar Drive Charlottesville,VA 22901 Chris Goodbar 434-973-0318 Jow Ga Kung Fu Assn. HQ. 3221 Virginia Beach Blvd. Virginia Beach, VA 23452 Sifu Hoy Lee 757-463-8888 www.jowgakungfu.com WASHINGTON ----------Seattle Kung Fu Club 658 S. King St. Seattle, WA 98104 Master John Leong 206-624-3838

WISCONSIN --------------Shao Lin Boxing Methods 202 Travis Ln., Waukesha, WI 53189 Sifu Steve Kleppe 262-548-8824 www.shaolinboxingmethods.com

PUERTO RICO -----------Lily Lau Eagle Claw Latin America Headquarters Calle Ricci #40 Patillas, Puerto Rico 00723 Shifu Raul J. Abreu Tanon 787-647-5063 [email protected] SOUTH AMERICA ------Lily Lau Eagle Claw Rua Halfeld, Galeria Pio X 8-4 Piso, Sala 413 Juiz de Fora, Minas Gerais BRASIL 36.010.240 Sifu Clodoaldo de Silva Castro 32-3213-5778

EUROPE -------------------Lily Lau Eagle Claw Lesvou 12, T.K. 11 47 Galatsi, GREECE Sifu Christos Papachristos 69724-04665 [email protected] China Sports & Culture Heemskerkstraat 3 6971 DW, Brummen NETHERLANDS Patrick Willemse (0031) 6 1345 73 81 www.shaolinstore.nl Lily Lau Eagle Claw 48 Gainsborough Road Great Barr, Birmingham B42-1NA UNITED KINGDOM Sifu Hari Singh Dhesy 44-07739-536739 [email protected]

This list is available online! Join today and your school or store will be listed on KungFuMagazine.com. Listings include live hyperlinks to your website! Contact Joan Chien 1-800-628-6552 [email protected]


KUNG FU HOROSCOPES: Year of the Fire Rooster

F

ebruary 3, 2017 23:49 is the beginning of the Lunar New Year (lichun ・ ᱕), marking the Year of the Rooster, although conventional calendars celebrate this on January 28. Southern countries are prone to incidents such as fire and volcanic eruptions. The southern United States is forecasted to suffer natural disaster; global drought problems cannot be underestimated. In general health a high incidence of cardiovascular disease is predicted along with tropical epidemics. The world’s economic and political outlook includes unexpected changes. The world begins to emphasize education and a variety of cultural exchanges are welcome. Luck shines on Eastern countries. Southeast Asia’s economy will revive. Energy issues become the focus of research and development. Europe and Russia will make innovative breakthroughs in science and technology. Favorable healthy foods include red beans, tomatoes, raspberries, strawberries, grapes, carrots, amaranth, onion, garlic, and black fungus.

2017 is Ding You (б䝹). The periods between March 5–April 4, June 5–July 6, September 8–October 7 and November 6–December 6 are prone to disease and turmoil. The second and third of these periods may see political and economic turmoil, so beware. As serious disasters and unrest grows, heroes will emerge. This year will see crisis for the heads of countries, particularly male leaders with poor health. There will be continued political change and upheaval so the world leaders bear a heavy responsibility. Based on Feng Shui Theory, there are two lucky cardinal directions and two fearsome ones. The lucky ones are east and southeast. East favors wealth and career. To make a fortune, go east. Homes and businesses with eastern facing doors will have the advantage. The eldest son will ride high like the spring wind. Those in their fifties will have more opportunities to show their talent. They should give full play to their strengths and shape their careers, keeping in mind that they must constantly seek the new, learn more and upgrade. Old knowledge carries stagnant baggage. Keep the eastern part of the home or business clean and open, free of dirty things. Southeast favors wealth, communication, learning and progress. Home or businesses with southwestern facing doors will have a better turn in the market. The eldest daughter will be elated and proud. It’s a good time to improve interpersonal relationships, get married or improve a marriage. Companies with women in their forties will thrive if they let them have good roles. They must use their brains more, not parrot or go with the flow. Dragons should go all out at work. Keep any southeastern doors clean, bright, smooth and beautiful. South is adverse to health and prone to disaster. South facing doors beware. Seek Feng Shui preventative measures. The second oldest daughter or women in their thirties have unstable moods and health issues. Young women are prone to errors at work. Give them more space and rest, and attend to their emotions. This is worse for Horses. The northwest is related to health so resolve any Feng Shui issues for all northwest areas. Fathers and male leaders must focus on their health, especially Dogs and Pigs. Male bosses must mind their tongues and lawsuits. Males over fifty must be low key, and learn to forgive and forget. The other cardinal directions of concern are the center, north, west and southwest. The center favors wealth. A bright central hall or aisle brings a strategic win. Think and analyze – there’s no way out if one just stands still. Northern facing doors are also profitable. Second sons must dare more responsibility and intensive training. Companies should focus on males in their thirties and forties. If they are second sons too, they will be pillars of the company. Rats are high-spirited. West and southwest are fearsome. Do not leave swords, knives or any sharps in western areas. Eldest sons beware of injuries, lawsuits and disputes. Beware of theft. Third daughters and women under twenty should make new friends, but cautiously. Keep track of items when travelling. Fresh graduate female


By Wilson Sun (with Gigi Oh and Gene Ching) hires need more supervision. Southwest is prone to disaster and injury. Southwestern facing doors need careful examination. Mothers be cautious at home or in sports activities. Correct any bad posture. Employees over fifty must balance work and rest because absent-mindedness will bring injuries.

February 3 to April 4 This period belongs to the element of wood and is associated with liver and gall bladder. Accordingly, afflictions of the liver and gall bladder are prevalent, along with gynecological issues, eye problems and mental illness. Traditional Chinese Medicine believes it is easy to be invaded by evil winds in spring, resulting in colds, diarrhea and vomiting. Traditional Chinese Medicine advocates going to sleep and waking up early during winter. Sleeping earlier nourishes the blood, benefits the liver and improves the immune system’s ability to resist disease. Get up earlier and go outside for exercise. Breathe the fresh air and absorb qi from wood. This strengthens the liver, brightens your eyesight and increases overall health. In spring and autumn, temperatures change quickly, making it difficult for the human body to adapt. Your immune system is weaker so it is easy to get sick. It is best to dress in many layers of warm clothes. Keeping warm is of the utmost importance. Find a place with plenty of trees and grass to do your exercises. When spring arrives, it will be a good time to travel. More physical exercise will surely benefit your health. The following recipes are recommended for this time of year (for those of legal drinking age):

Wolfberry Wine (ᷨᶎ䞂) 500 gm baijiu (Chinese white liquorⲭ䞂) 200 gm wolfberry

Put wolfberry in a large glass bottle, add baijiu and close tightly. Soak for 21 days, shaking once every 3 days. Benefits: nourishes liver, brightens eyesight. Good remedy for dizziness and blurred vision. Drink no more than 30 gm with dinner or before bed. Avoid if suffering mouth sores or diarrhea.

Dihuang Wine (ൠ哳䞂)

60 gm dried dihuang (Rehmannia root ൠ哳) 500 gm baijiu

Cut dried dihuang (available at any Chinese herb store) into 2 cm square pieces. In a large glass bottle add dihuang and baijiu and close tightly. Soak for 36 days, shaking once every 3 days. Benefits: Nourishes yin and supplements blood. Good remedy for weak waist and knees, deafness and blurred vision. Drink no more than 40 gm with dinner or before bed.

Rat 啐: 1924 Wood, 1936 Fire, 1948 Earth, 1960 Metal, 1972 Water, 1984 Wood, 1996 Fire, 2008 Earth

Hare ‫ބ‬: 1927 Fire, 1939 Earth, 1951 Metal, 1963 Water, 1975 Wood, 1987 Fire, 1999 Earth, 2011 Metal

2017: You’ll have success at work if you stay optimistic, openminded, and dare to assume responsibility. Those who fear defeat will be defeated. Good fortune lies ahead, with excellent opportunities for promotion. Health comes from a good relationship of mind and body. Maintaining a happy heart will guarantee health. Don’t foster unfounded worries.

2017: Stability is the key. Listen, observe, then act. Slow down the pace of work. You are prone to illness and injury, so take preventative measures and treat anything early. But don’t take medicine excessively or blindly. Listen to experts. Partial listening will lead you astray. Beware of old maladies. Protect your limbs in sports and fitness. Avoid brute force and financial risks. Be sure to warm up. Be well prepared and researched.

2/3–3/5: Financial prosperity lies ahead, but it is an unfavorable time for women and you are prone to marital discord. Be careful with sharps like swords. Make sure you get enough sleep. 3/5–4/4: Stay alert for wealth opportunities. It’s an adverse time for men; beware of hand and foot injuries. Stay calm and all calamities can be extinguished. “We can lick gravity, but sometimes the paperwork is overwhelming.” -Rat Wernher von Braun Ox⢋: 1925 Wood, 1937 Fire, 1949 Earth, 1961 Metal, 1973 Water, 1985 Wood, 1997 Fire, 2009 Earth 2017: You can get the boss’s attention and the power to be a shot-caller. But beware of being rash, unfocused and half-hearted, for this will not only detract from your career development, but cause you to miss an opportunity too. Concentrate on your driving this year. Be sure to always drive safely. Also be attentive in sports and fitness. If you don’t warm up, you’ll get hurt. Find a Rooster ally. Finances are flat – don’t stress it. 2/3–3/5: You’ll have success at work. Maybe a promotion? But spleen and stomach are weak, so regulate your rest. Eat more soups and porridges. 3/5–4/4: It’s easy to get attention and appreciation. Show off your talent and get fame. Seize this opportunity. Avoid being slack. Be full of energy. “A moment’s insight is sometimes worth a lifetime’s experience.” -Ox Oliver Wendell Holmes Jr. Tiger 㱾: 1926 Fire, 1938 Earth, 1950 Metal, 1962 Water, 1974 Wood, 1986 Fire, 1998 Earth, 2010 Metal 2017: Don’t take risks. Think twice first, or you’ll get hurt. Change impatient habits. Take time and be stable. Check your home and workplace for potential obstacles that could cause injuries, particularly anything that may cause you to stumble. Be sure to do this before the Rooster year begins. Correct your posture to avoid repeated stress injuries. Don’t attempt to do that much with your finances this year.

2/3–3/5: Opportunities appear more than enough. But don’t waste yourself with exhaustive analysis. Stay focused on the key points. 3/5–4/4: Your health outlook is poor. Be sure to attend to your health and staying fit. Beware of gastrointestinal issues. Misusing drugs will bring you down. Talk less and do things carefully. “I’m an advocate of ‘it’s not what you are, it’s who you are.’” -Hare Sia Dragon 喽: 1928 Earth, 1940 Metal, 1952 Water, 1964 Wood, 1976 Fire, 1988 Earth, 2000 Metal, 2012 Water 2017: This year is conducive to communication, which will help your marriage. Unmarried Dragons will change to better luck. Your Rooster friend helps you a lot. Your health may take a sudden turn. Exercise actively, guarding against old maladies. Seek out a suitable fitness regimen. Wealth is tied to good interpersonal relationships. For prosperity, recognize the people, not just the money. Your vision must be larger. 2/3–3/5: Your immune system is compromised. Pay close attention to your personal hygiene. Eat well and get plenty of rest. Stay away from any sort of nearby fires. 3/5–4/4: An article puts you high on the hilltop. Fame follows. Your work will be smooth and successful. “Reality is that which, when you stop believing in it, doesn’t go away.” -Dragon Philip K. Dick Snake 㳷: 1929 Earth, 1941 Metal, 1953 Water, 1965 Wood, 1977 Fire, 1989 Earth, 2001 Metal, 2013 Water 2017: A good promotional opportunity will come to you this year. The major obstacle lies within your own mind. Improve your outlook and how you dress. It might be best to consult a professional. Changing your image will enhance your luck. Don’t be slovenly because that will drain your luck. Fortify your gall bladder by going to bed early and rising early. Your finances are stable, especially real estate and gold trading.

2/3–3/5: It’s a victorious time. Females are prone to family disputes. Relaxing your mind is the solution to all matters. Control your emotions; the best way is through meditation. 3/5–4/4: Your talents show, so much it is enviable. Good opportunities approach. Win by progress. You’ll get more help from elegant people.

2/3–3/5: Communicate frequently. More people ask for help. You’ll be busy with other people’s business, but do more good and good karma will return. Stay away from fires. 3/5–4/4: Life is like a rich brocade. Speak wonderfully and good luck will result. It’s better to help others more often.

“A preoccupation with the future not only prevents us from seeing the present as it is but often prompts us to rearrange the past.” -Tiger Eric Hoffer

“The bravest thing you can do when you are not brave is to profess courage and act accordingly.” -Snake Corra Harris APRIL 2017 KUNG FU B TAI CHI 95

Horse 俜: 1930 Metal, 1942 Water, 1954 Wood, 1966 Fire, 1978 Earth, 1990 Metal, 2002 Water, 2014 Wood 2017: It’s a good time for love, but married Horses must be careful. Don’t indulge in extramarital affairs. A careful and rational marriage is really important. This year will be full of emotional challenges and troubles. Transfer this energy into your career and you will succeed. Beware of old maladies. Maintain a good diet. And keep up with your exercise regimen. Lopsided movement will bring injury. Be conservative financially. 2/3–3/5: Health and fitness is of the utmost importance. Men should focus upon controlling their emotions. It’s a good time to check your home security measures. 3/5–4/4: Maintain a good balance between work and rest. Do not overwork yourself. Make it a point to push things away that you won’t be able to finish. “If I have ever made any valuable discoveries, it has been owing more to patient attention, than to any other talent.” -Horse Isaac Newton Ram 㖺: 1931 Metal, 1943 Water, 1955 Wood, 1967 Fire, 1979 Earth, 1991 Metal, 2003 Water, 2015 Wood 2017: Pay close attention to keeping yourself in good health. Take minor afflictions seriously. Do not show off. Play to your strengths and act low-key. Review your past injuries and work to correct any potential cause of recurrence. Don’t be overconfident with your training regimen. Maintain your wealth by decisively excluding temptation. Do what you are good at, focus on your skills and precision to succeed. 2/3–3/5: Be very cautious with your words. Go out less. Spend more time at home training and studying. Watch what you eat so you don’t get sick. 3/5–4/4: Resist any financial temptations, especially if they seem inappropriate. Stay away from dark places, especially those with a lot of yin energy. Spend more time in the sun. “Whenever you find yourself on the side of the majority, it is time to pause and reflect.” -Ram Eric Schmidt Monkey ⥤: 1932 Water, 1944 Wood, 1956 Fire, 1968 Earth, 1980 Metal, 1992 Water, 2004 Wood, 2016 Fire 2017: It’s a good year to get married. If you’re already married, beware of extramarital affairs. Do not be too ambitious at work. Finish the work in front of you first, and do your jobs one by one. Establish stronger communication with your market; this is the basis of your career development. Don’t be irregular with your schedule. Eat right or you’ll seriously damage your health. Maintain your finances calmly, without temptation. 2/3–3/5: Controlling your diet is of the utmost importance. Uncontrolled eating habits are the enemy of health. Keep your heart calm and good luck will come. 3/5–4/4: Heed advice. You’ll benefit from listening to the negative opinions of others. Avoid the temptation of rhetoric. Be in contact with more positive energy. “The past becomes a texture, an ambiance to our present.” =-Monkey Paul Scott 96 KUNG FU B TAI CHI APRIL 2017

Rooster 䴎: 1933 Water, 1945 Wood, 1957 Fire, 1969 Earth, 1981 Metal, 1993 Water, 2005 Wood, 2017 Fire 2017: Things go wrong. Mind your tongue because it’s easy to cause misunderstandings with intimate friends. Harsh words from an open mouth before closing a deal will make enemies. Your health outlook is poor and your immune system is weak. Overconfidence will make you ignore severe injuries and miss the window of treatment. A financial dilemma appears. Be humble with an open mind. Correct your faults. 2/3–3/5: It’s a good time to be seen and get promoted. A good career opportunity is ahead, but be prepared early before the rain falls and washes everything away. 3/5–4/4: You have to sort family affairs and trivial things. Opportunities appear but your health is poor. Your heart wants more but your energy is insufficient.

“There’s something very...spiritual about fighting. It’s physically very challenging. It’s for killing people, after all, so it’s taught me how to look at something head on. It’s like living – confronting something.” -Rooster Rinko Kikuchi Dog ⤇: 1922 Water, 1934 Wood, 1946 Fire, 1958 Earth, 1970 Metal, 1982 Water, 1994 Wood, 2006 Fire 2017: You’ll have little chance of promotion this year so lower your expectations. Your fight for status and honor may be shaken. Don’t be over-optimistic. Better to be on the defense. Your health outlook is poor and if you over-exercise, you’ll only cause a premature decline. Practice mildly, avoiding violent and damaging movements. Avoid financial risks and adventures. Study and reduce your deficiencies. 2/3–3/5: Pay attention to any profitable opportunities in real estate. Your wealth outlook is favorable for a decisive investment. 3/5–4/4: This is still a prosperous time for wealth. Pay attention to the latest trends. It’s a good time to invest. There may not be so many opportunities for you later this year. “Readers are plentiful; thinkers are rare.” -Dog Harriet Martineau Pig 䊜: 1923 Water, 1935 Wood, 1947 Fire, 1959 Earth, 1971 Metal, 1983 Water, 1995 Wood, 2007 Fire 2017: Don’t be overly ambitious or eager. Proper action combines the right place with the right time. This year has three adversities you must be vigilant against: Doing things accidentally, being counterproductive, and going against your will. Beware of injury with all activities. Prevention and timely treatment are very important. Your finances are vulnerable to fraud. Don’t misjudge transactions. Listen to others. 2/3–3/5: You’ll be tempted by property. Do things according to your own ability. Avoid any action that might be overreaching. 3/5–4/4: Deal with any good transactions decisively. Do not blindly seek the biggest result. Moving in and moving out quickly and efficiently is the most suitable path. “For me, it seems to help me take the pressure off if I don’t pay attention to what other people are telling me.” -Pig Missy Franklin

Astrologist Wilson Sun is a Feng Shui Master from Shanghai – [email protected]. Read more Kung Fu Horoscopes online at KungFuMagazine.com

KUNG FU WISDOM

Wen ji qi wu 㚎䴎䎧㡎 By Wang Quanyi Wen (2nd tone 㚎) means to listen or hear. Ji (1st tone 䴎) means rooster, cock or chicken. Qi (3rd tone 䎧) means to rise or begin. Wu (3rd tone 㡎) means dance. Here it is an abbreviation for the term wujian (㡎ࢁ), which means swordplay or sword dance. Wu is also a homophone with the wu in wushu (martial art↖㺃). This couplet can be translated as ‘Upon hearing the rooster crow, rise and practice

swordplay’. It is from the Jin Shu Zuti Biography (ᱻҖ·⾆䙆Ր) from the Jin Dynasty (264-460 CE). This calligraphy was written for Kung Fu Tai Chi in honor of 2017, the Year of the Rooster. It was written by Master Wang Quanyi (⦻‫ޘ‬а). For more information on Master Wang, see Iron Finger, Soft Brush by Gene Ching and Gigi Oh on page 76. 98 KUNG FU B TAI CHI APRIL 2017

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Kung Fu Tai Chi - March-April 2017

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