Hsing-I Class Vol 1

Hsing-I Class Vol. 1: The Five Fist Postures

Ken Gullette

HSING-I CLASS VOLUME 1 THE 5 FIST POSTURES Sifu Ken Gullette ©2007 – Ken Gullette All rights reserved. No part of this e-book (except for the cheesy graphic on the cover) may be copied or distributed in any way (including electronically) without permission from the author. www.internalarts.typepad.com www.kungfu4u.com

CAUTION: Do not attempt to perform the techniques in this book or companion video without first consulting your physician. Due to the possibility of injury, use extreme caution when performing without the supervision of an instructor.

1


Ken Gullette

CONTENTS 1.

INTRODUCTION

3-4

2.

HSING-I CHUAN

5-6

3.

THE SAN-TI STANCE

7-9

4.

PI CHUAN (SPLITTING PALM)

10-15

5.

TSUAN CHUAN (DRILLING FIST)

16-20

6.

PENG CHUAN (CRUSHING FIST)

21-27

7.

PAO CHUAN (POUNDING FIST)

28-32

8.

HENG CHUAN (CROSSING FIST)

33-38

9.

FINAL THOUGHTS

39-40

2


Ken Gullette

INTRODUCTION This

book

was

written

as

a

companion and reference for the first video in a series titled Hsing-I Class. The video focuses on the foundation of Hsing-I Chuan—the five fist postures. This book contains dozens of photos from the video, showing the fist postures step-by-step. It’s intended to serve as a reference to help students practice. I’ve studied Hsing-I Chuan since 1987, and I’ve been teaching it since 1997. It’s a powerful and practical fighting art, one of the three main internal arts of China. Some external martial artists refer to author performs a Hsing-I form at an Illinois martial thThe arts tournament, February, 2005, winning first place in the black belt division at age 52.

the internal arts as the “soft arts.” There is nothing soft about these arts. A good

internal martial artist can break his opponent in the blink of an eye. In fact, power can be generated over such a short distance—by using proper body mechanics—that a little old Chinese man can knock a larger opponent across a room without appearing to exert a lot of effort—one of the reasons the mythology of “chi power” has developed over time. Hsing-I Chuan is often considered a bridge between the external and internal arts. It is effective in tournaments because of its straight-forward nature—punches and hand strikes are obvious. Fighting applications aren’t as hidden as in Tai Chi or Bagua. This is why Hsing-I forms do well in open martial arts tournaments. When I first began studying Hsing-I Chuan, I performed it in a very external way. I often see videos of Hsing-I performers from China who also appear stiff. There doesn’t seem to be a lot of “internal” stuff going on. Believe it or not, there is a lot of bad kung fu

3


Ken Gullette

in China. They look good even when they do bad kung fu, so to the untrained eye, it can be impressive even if done incorrectly. Good Hsing-I is very yin and yang. It’s a combination of relaxed strength and explosive power. A Hsing-I fighter takes ground. He wants to stand on his opponent’s spot when the attack is finished. He uses the power of the ground, transmits it through the legs, directs it with the dan t’ien, and manifests it in the hands—just like good Chen Tai Chi. And that’s the way that I practice Hsing-I. I won the gold medal at an international kung fu tournament in Chicago. The advanced Hsing-I division was judged by all Chinese teachers. Some of their students were competing. They came from all over the country. This is just one of the first place victories that made me realize that my method of Hsing-I was on target. There are teachers that have been very important to me through the years. Grandmaster Sin The, in Lexington, Kentucky, started me on the road in 1973. Sifu Karen Vaughn gave me my first taste of wushu in her T’ien Shan Pai kung fu school in Cincinnati in 1982. Then I met Sifu Phillip Starr, founder of Yiliquan kung fu, in Omaha when I moved there in September, 1987. Sifu Starr taught me the basics of Hsing-I. I owe several people a debt of gratitude for teaching me internal strength and the true internal art of Chen family Tai Chi: Jim and Angela Criscimagna of San Diego, Grandmaster Chen Xiaowang, Grandmaster Chen Xiaoxing, Master Ren Guangyi, Master Chen Bing, and Mike Sigman. A hundred years ago, videotape didn’t exist. You know the old story of the master who demonstrated a form one time for a student, then told the student, “I leave for one year.” He expected the student to learn the form after seeing it one time. These days, we have videos of great masters that we can study, slo-mo and analyze the body mechanics. But first, you have to know what to look for, and that knowledge is very difficult to come by in America. Many instructors are teaching the internal arts, especially Tai Chi, without understanding the basics of internal body mechanics. This series of videos is my effort to change that. Most internal arts videos contain very little real instruction. I hope you enjoy this book and the companion DVD, and I hope they both help you improve your internal arts. Mastery is a lifelong quest, and the journey is more important than the destination.

4


Ken Gullette

HSING-I CHUAN Hsing-I Chuan means “Mind Shape Boxing.” The foundation of this art can be found in five fist postures: • Pi Chuan (Splitting Palm) • Tsuan Chuan (Drilling Fist) • Peng Chuan (Crushing Fist) • Pao Chuan (Pounding or Exploding Fist) • Heng Chuan (Crossing Fist) If you master the five fist postures and their fighting applications, you can be a powerful fighter. The first step in learning the art of Hsing-I Chuan is to learn the five fist postures, starting with the San Ti stance. After learning the fist postures, students learn basic forms, beginning with “Lien Huan Wu Hsing,” or “Linking the Five Elements.” Every school of Hsing-I in the world must have their own version of this linking form. But each school will do it differently. If you collect different videos from

Chinese

Hsing-I artists and watch their versions of Lien Huan Wu Hsing, you can see that they include the five fist postures, but the sequence of movements will vary. Legend says that Hsing-I Chuan was created by a Chinese general, who taught it to troops. Like most Chinese martial arts legends (including Da Mo), the legendary history of Hsing-I may not be literally true. For example, many people still say that Tai Chi was created by the “legendary” Chang, San-Feng before 1278 A.D. But there is absolutely no proof that Chang, San-Feng existed. More likely, Tai Chi was created by Chen Wangting, and his

5


Ken Gullette

descendants still practice it in the Chen Village. All the major Tai Chi styles can be traced back to Chen Wangting but no further. The origin of Hsing-I can’t be pinpointed as accurately. The art is known to have been practiced in the 17th Century during the Ching dynasty, and there are stories of it being used by soldiers 500 years earlier. In American Tao, we don’t worry about the legends. We know that Hsing-I is a powerful art and we work to infuse Hsing-I with good internal body mechanics. I’ve read that some outstanding Hsing-I fighters used only Pi Chuan—Splitting Palm—and others used only Peng Chuan—Crushing Fist. I believe that’s possible. In this book (and the accompanying DVD), we demonstrate and break down the fine points of each fist posture. In the next book and DVD, we’ll explore the fighting applications in depth. Nothing beats hands-on instruction from a teacher. Unfortunately, a lot of internal arts teachers in America don’t know anything about internal body mechanics. It’s true, and it will offend most of them if you tell them this, but it’s still true. I encourage you to use this book as a reference, watch and study the DVD very closely, and concentrate on the internal mechanics. Even though you think you’re doing it correctly, you probably aren’t unless you have a teacher to watch and correct your postures and mechanics. Each year, you’ll see improvements in your power and mechanics. Each year, you’ll become more internal. There is nothing magical or mystical about the internal arts. It’s all about proper posture, structure, and movement. It’s a physical skill. This book and DVD will point the way.

6


Ken Gullette

THE SAN TI STANCE “San Ti” is pronounced “sahn tee.” It means “the trinity.” It’s the most important stance in Hsing-I Chuan. Each of the five fist postures, when performed in their own “form,” begins with the San Ti stance. To do San Ti correctly, look for these three things: 1. The hip is directly over the rear heel. 2. The front knee is over the front heel. 3. The front fingers are over the front toes. San Ti is a great stance to hold in a “standing meditation” practice. Hold it as long as possible and then switch sides. If you can hold San Ti for 30 minutes on each side, your leg strength will be phenomenal. Descriptions of photos on the next page: Photo 1 – Stand with feet together and hands at sides. Relax. Photo 2 – Raise arms with palms facing up. You should press the hips downward slightly. Photo 3 – Fold the arms in. Palms are downward and fingers almost touch. Photo 4 – Push your energy to your dan t’ien and sink. Knees will bend. Photo 5 – Your hands become fists. Begin spiraling your right fist outward, pushing the ground from your right foot through the right fist. The left fist is also spiraling. The body closes. Photo 6 – Right fist becomes a centerline block outward. Fist rises to chin-nose level. The left fist is at the crook of the right elbow, on top of the right arm. The body is closed. Photo 7 – The hands open and the left hand slides over the top of the right hand as the left foot begins to step out. Photo 8 – Step out with the left foot and bring the left palm out. The foot and hand come out together. The right hand pulls downward. These movements are done slowly and with relaxed strength, ground strength and peng. Photo 9 – You are now in the San Ti stance. Sink and relax. Maintain peng in both hands. The ground path is evident in the lead palm. The rear palm (right palm) will have a downward energy as if pressing peng downward.

7


Ken Gullette

8


Ken Gullette

Practice Tips for San Ti • • • • • • • • • • •

Back hip over rear heel – front knee over front heel—front fingers over toes. Fingertips of front hand should be at chin-to-nose level. About 80% of your weight is on the back leg. Your stance is centered, even though your weight is on the back leg. Your back is straight, your head up. On your lead arm, the elbow should be hanging slightly downward. The arms are rounded. The thumb on your rear hand is pointed at your dan t’ien. Relax and sink your weight into the ground. Load the back leg in preparation to explode forward. Rear hand has downward energy (intent is pressing or pulling downward).

Common Mistakes in San Ti • • • • • • • • • • •

Rear heel behind body (it should be directly under hip) Front knee not over front heel. Front hand not over front toes. Hand held too low or too high (fingertips should be chin-to-nose level) Leaning backwards No ground path to the front hand. No downward energy in the rear hand. Weight distributed evenly on the feet. Rear foot at 90-degree angle to front foot. Front arm straight and locked at elbow. Head looking downward at ground.

9


Ken Gullette

PI CHUAN (Splitting Palm) Pi Chuan is the first of the five fist postures, and it’s a powerful and flexible fighting technique. Pi Chuan means “Splitting Palm” and relates to the element of metal. You can think of an axe falling, splitting its target. Those who master Pi Chuan could use it exclusively in a self-defense situation and win. It’s effective against punches, kicks, grabs—virtually any attack you can imagine. The grab and pull part of the move can jerk an opponent off-balance while the strike takes his head off. At the end of Pi Chuan, you are in the classic San Ti stance. The Pi Chuan strike is delivered most often in an arc. There is an upward arc and then the strike turns downward. The dan t’ien rotates forward. Power, as usual, is delivered by storing and releasing energy along the ground path. The photos on the next page show you step by step: Photo 1 – You begin Pi Chuan by getting into the San Ti stance (see San Ti photos). Photo 2 – Pull your left hand in a slight circular movement to your dan t’ien. The entire body moves because the dan t’ien leads the movement. Both hands turn to fists. Photo 3 – Take a step as you push the fist out and up at an angle from your dan t’ien. Your step will be slightly toe-outward. Push the ground strength through the fist from your rear leg. This is the block. Your right fist rests at the inside crook of the left elbow. Photo 4 – Step through powerfully, taking ground with the right leg as your right hand slides over the top of your left hand. Your body is slightly closed and the hands have a slight twist to them (the little finger of the both hands should have a slight twisting energy upward). Keep the hips beneath you as you move.

10


Ken Gullette

Photo 5 – The front foot and the strike land at the same instant. Notice that the hips are underneath. The rear foot is taking a “follow step” toward the front so you can maintain your balance. Photo 6 – After the follow-step you are in the San Ti position before beginning the same movement on the opposite side (photos 7-12).

Turning in the Pi Chuan Form. When you run out of room and need to turn to do the form going the opposite direction, follow the steps in the next series of photos. Photo 13 – You are doing the Pi Chuan form and run out of room. Photo 14 – Bring your front foot across the body (but not too far) and begin to pivot. As you turn, your hands turn to fists and you begin pulling your lead hand back to the dan t’ien. Let the dan t’ien lead the movement as your body turns. Photo 15 – Complete the pivot, face the opposite direction, and the fists will be at dan t’ien level. The leg that had been the rear leg is now the front leg after the pivot. Now, you’re ready to continue Pi Chuan just as before. Photo 16 – Step out in a toe-out movement with your lead foot and block by pushing the fists out along the ground path. Photo 17 – Step through with the rear foot. Notice the sequence – when your rear foot is alongside the lead foot, your hands are virtually on top of each other – the hand that is about to strike is above the other hand. Both palms are upward with a twisting energy. Photo 18 – The strike lands at the same instant the stepping foot hits the ground. The rear foot is beginning its follow-step. Photo 19 – At the end of the strike, you’re in a classic San Ti posture, ready to continue with the next strike.

At the end of the form, turn, do one more strike, then the left foot goes to the right foot and you close the form. See the accompanying DVD for instruction.

11


Ken Gullette

12


Ken Gullette

13


Ken Gullette

Practice Tips for Pi Chuan • The dan t’ien leads all movements. If your arms move independently of the dan t’ien, you’re doing it wrong. • Maintain the ground path through all movement. • Maintain a relaxed strength until the strike. The strike is fa-jing. • When blocking, push the ground path through the fist. • The rear hand slides up the lead forearm as you begin to step through. When the rear foot has come up alongside the lead foot, your striking hand should be right on top of the blocking/pulling hand. • Take ground. Your step should explode out. • The strike comes up and down in a slight arc. • The strike lands at the same instant that the stepping foot hits the ground. • Follow-step into a classic San Ti stance. Don’t slide the rear foot. Make it a quick follow-step. • Throughout the movements, keep your head up. Don’t look down. Watch your imaginary opponent.

Common Mistakes in Pi Chuan • Moving the arms by themselves rather than with the dan t’ien. You must use whole body movement. When pulling the fist to the dan t’ien, the dan t’ien rotates and the waist turns slightly. • Not bringing the fists to the dan t’ien before stepping out into the block. Many people cut this short and don’t make a good circular movement with the lead fist as it returns to the dan t’ien. • Not taking a step as they block. As the fists come out to block, you should take a step with the lead foot and it should be toe-out. Remember the Six Harmonies are at work here. Your fist can’t go out without corresponding movement of the feet. Likewise, the elbow can’t go out without corresponding movement from the knee. • Pulling the hands to the chest before striking. A lot of beginners don’t understand that the Pi Chuan strike is a smooth, fluid movement that comes up in an arc and then strikes. Beginners often want to “wind up” by pulling the striking hand back 14


Ken Gullette

toward the chest before striking out. Don’t make this mistake. From the moment you begin to move forward, your hands are moving forward to your target smoothly and without stopping. Since the hands follow the feet, and the feet are moving forward, the hands can’t move backward. • Shooting the strike straight out instead of in an arc. The Pi Chuan strike, as performed in this form, is an arcing move and smoothly goes slightly upward— about eye level—and then downward for the strike.

Other Mistakes to Avoid • Don’t raise the striking or blocking hand too high. Some beginners, when they block or strike, raise the hands to forehead level or even higher. When you do that, your energy is extended. Don’t raise the hands above eye level. • Don’t let the ground path leave you. Maintain it even when stepping. That requires an instructor to show you so you can feel it. • Don’t slide the back foot during the follow-step. Make it clean.

15


Ken Gullette

Tsuan Chuan (Drilling Fist) Tsuan Chuan (pronounced “tzwon chwan” or “dzwon chin”) means “Drilling Fist.” It relates in Traditional Chinese Medicine to the element of water. When I think of Tsuan Chuan, I think of oil building up under the ground and bursting out of an oil rig. Some people think of water exploding out of a geyser. Like Pi Chuan and the other fist postures, one hand is able to block or deflect an attack or pull down while the other hand strikes, however the fighting applications are varied and encompass many different combinations of blocking and striking. The strike in Tsuan Chuan drills up the centerline, as if you’re going to punch yourself in the chin, then it fires out. There is spiraling in each of the movements in Hsing-I (the subject of another video and e-book). The striking fist is almost like an upside-down punch, and you will strike with the same knuckles as you would in an ordinary punch. The fist often twists slightly outward (the pinky finger twisting up very slightly toward the sky when the strike lands). Tsuan Chuan is also sometimes delivered like an uppercut, striking the opponent under the chin, although as you’ll see in the applications video and e-book, there are many striking targets with Tsuan Chuan. Power is released along the ground path, usually from the rear leg, directed by the dan t’ien and through the fist. It’s crucial to maintain peng and the ground strength throughout your movements. There will be downward energy in the “pulling” hand and very strong peng and ground strength in the lead hand. When delivered properly, a Tsuan Chuan strike comes in under the radar of an opponent. Most people punch with their hands up, often in “haymaker” type punches. Tsuan Chuan comes up the centerline and out. It can be very surprising, because most people aren’t looking for punches coming from that direction.

16


Ken Gullette

The photos on the next page show how to do Tsuan Chuan properly: Photo 1 – Begin by getting into the San Ti stance. Your left foot and left hand are forward. Photo 2 – Step with your left foot as you open the left hand to intercept or block the attack. Your step should be slightly toe-outward to help with balance. Photo 3 – As the right foot comes forward, the left hand begins pulling downward and the right fist begins rising up the centerline. Notice how the hips are beneath the body, not dragging behind during the step. Photo 4 – Step out with the right foot. The left hand continues pulling down as the right fist travels up the centerline. Photo 5 – Explode forward as the punch comes out. The harmonies are in play as the fist and foot come out together. Photo 6 – The right foot lands at the same instant that the right fist strikes. The left foot comes forward in a follow-step. Photo 7 – Your feet are in the same position as a San Ti stance at the end of your attack. Photo 8 – Step with the right foot and open the right hand to intercept or block. Photo 9 – The left foot comes forward as the right hand begins to pull downward and the left hand begins rising up the centerline. Photo 10 – The left foot steps through and the left fist shoots out as the right hand pulls downward. Photo 11 – The left foot lands at the same instant that the strike lands on the target. The right foot comes forward in a follow-step. Photo 12 – End with feet in a San Ti stance at the end of your strike.

17


Ken Gullette

18


Ken Gullette

Turning in the Tsuan Chuan Form Photo 1 – When you run out of room practicing Tsuan Chuan, step across with the lead foot as you begin turning the waist. Turn the fist and arm with the waist. Photo 2 – After stepping across with the lead foot, pivot as your waist and arm turns. Photo 3 – This shows the pivot continuing and the turning of the waist. Photo 4 – Your waist reaches the end of the turn. When doing this turn, you can think of the lead arm doing a block, as if someone was punching you from behind. Photo 5 – Pull the lead hand down to the dan t’ien as your other hand begins rising up the centerline. Photo 6 – Continue the strike and you’ll end with feet in the San Ti position and now you’re ready to continue the form heading in the other direction (see video for more details).

19


Ken Gullette

Practice Tips for Tsuan Chuan • Silk-reeling is evident throughout the movements. There is a spiraling that begins in the foot, through the body and is expressed in the lead hand as it opens and circles before blocking or intercepting. Likewise, the striking hand spirals as it goes up the centerline and out. • Use the ground strength through all movements. • Take ground when striking—you should explode through your opponent. • Follow step with a distinct step. Don’t drag the rear foot. • Your feet are in the San Ti stance at the end of each strike. Your hip is over the rear heel, the front knee is over the heel and the strike is basically over the lead foot. • Remain in a state of relaxed strength throughout the movements. The “yang” part is the strike. Your movements prior to the strike should appear relaxed but with underlying strength. No tension!!

Common Mistakes in Performing Tsuan Chuan • Many beginners don’t smoothly bring the striking fist up the centerline. They just strike out with it. The fist moves up the centerline and out before striking. • Make sure you keep your hips beneath you as you move. • Remember the Six Harmonies—the hands and feet move together, so your strike lands at the same instant your lead foot hits the ground when you explode forward. • Many beginners use too much muscular strength. They’re too tense. Just as in Chen tai chi, you should move like iron wrapped in cotton. You may appear relaxed by observers who don’t understand that you are using very strong body mechanics and postures. • Too many beginners fail to step when they’re blocking. The first movement when going forward is to open the lead hand and step at the same time with the lead foot. It’s best to step with toes slightly outward so you can be balanced after the rear foot steps through for the strike. • It’s easy when you’re a beginner not to be in proper San Ti position with your feet after each strike. Most people have their rear foot behind the hip. Practice proper foot positioning. It’s very important in Hsing-I. 20


Ken Gullette

Peng Chuan (Crushing Fist) The third fist posture is Peng Chuan (pronounced “pung chwan” or “pung chin”). Translated, it means “Crushing Fist.” In Traditional Chinese Medicine, it’s related to the element wood. Peng Chuan is the least intuitive of the fist postures. It begins with three strikes, delivered in a particular way. Some Hsing-I schools practice Peng Chuan with the fist turned slightly upward, like a Wing Chun punch. Others practice as a regular punch and some use a phoenix eye (the knuckle of the index finger protruding). I teach it as a sunfist punch, with the fist held vertically to the ground (the palm facing to the inside of the body). No matter how you practice Peng Chuan, the body mechanics should be the same as the previous fist postures. As always, it’s important to use the ground strength and peng. It begins in the feet, travels through the legs, directed by the dan t’ien and expressed in the fist. You should be relaxed, using the same relaxed strength as in Chen tai chi or Bagua. It is said that great Hsing-I masters of days gone by could defeat anyone using Pi Chuan or Peng Chuan. I believe that’s possible if you’re really good, but those legends are hard to verify since these masters have been dead for a long time, and you know how stories tend to be exaggerated over time. Sometimes I tell my students not to worry so much about Peng Chuan. In the end, it’s just a punch, delivered with internal body mechanics. These mechanics and the footwork are the hardest parts of doing the form.

The photos on pages 24 and 25 demonstrate the proper way to perform Peng Chuan: Photo 1 – Begin by getting into the San Ti stance. Photo 2 – Step out with the left foot as the left hand opens, preparing to block and pull down. It’s hard to see this in the photos (it’s explained in the video) but the dan t’ien is rotating to the right, preparing for the first strike. Photo 3 – As the left hand begins to pull down to the dan t’ien, the rear foot begins coming up.

21


Ken Gullette

Photo 4 – The rear foot reaches the front foot at the same instant that the right hand strikes. The strike is at groin level. This is sometimes called a “springy-leg” stance. Some Hsing-I schools perform this with the right foot on the ball of the foot with the heel up. Others perform it flat-footed. We perform it with the feet both firmly rooted on the ground. The feet are not necessarily parallel—usually the rear foot comes up and is alongside the front foot, but slightly behind (in other words, they don’t have to be even). Photo 5 – Step back with the right leg, and when it hits the ground, establish the ground path and fire the left fist out to strike at solar plexus or stomach level. The right fist pulls in to the dan t’ien. Photo 6 – Explode out with the left leg. The left hand begins pulling down again toward the dan t’ien and the right fist shoot out. Photo 7 – The right hand strikes at face level at the same instant that the left foot hits the ground. It’s important to take a lot of ground with this strike. The right leg is beginning its follow-step. Photo 8 – After the follow-step, your feet will be in a San Ti stance but your hands will remain in the same position as they were at the completion of the previous strike in photo 7. Photo 9 – From here, you will explode out with the left leg and punch with alternating fists. First, you’ll punch with the left fist. As you begin the step, the right fist pulls down to the dan t’ien as the left fist begins the strike. Photo 10 – The left fist will strike at the same instant the left foot hits the ground. Notice the right foot beginning the follow-step. Photo 11 – Finish each strike with your feet in the San Ti position (hip over rear heel, front knee over front heel, striking hand above front foot). Photo 12 – Explode out again with the left leg. Begin pulling the left fist in while you begin to strike with the right fist. Photo 13 – The left hand is pulling in as the right fist goes out. Photo 14 – The right fist lands at the same instant that the left foot lands. The rear leg begins coming forward in a follow-step. Photo 15 – End in the San Ti stance.

22


Ken Gullette

Turning in the Peng Chuan Form Photo 16 – You’ll finish each side of the form with the opposite leg and arm out. In other words, if you’re taking ground with the left leg, you’ll want your right fist out at the time you begin your turn. Likewise, after the turn your right leg will be used to take ground, so after you change directions and come to where you want to turn, the right leg and left fist will be out. In photo 16, you’re on the left leg side, so bring the left leg across your body and begin to pivot. Your right fist is out, as it was at the end of the last strike. Photo 17 – Pivot until you’re facing the opposite direction. Your right fist will still be out and now your right leg is forward. Photo 18 – You’ll repeat the three strikes that you did at the beginning of the form. Step forcefully out with your right leg and take ground. The right fist begins pulling down toward the dan t’ien. Photo 19 – The left hand strikes at groin level as the left foot lands next to and slightly behind the right foot. The right fist is at or next to the dan t’ien. Photo 20 – The left foot steps back around the San Ti position and when ground is established the right fist fires out at stomach or solar plexus level. The left fist goes to dan t’ien. Photo 21 – The right foot explodes out, the right fist pulls back to dan t’ien and the left fist fires out to strike. Photo 22 – The left fist strikes at the same instant that the right foot hits the ground. The left foot begins the follow-step. Photo 23 – The feet end in a San Ti stance position. Now you’re ready to begin the other side, exploding out with the right foot as you alternate punches, as shown in… Photo 24 – On this side, you explode forward with the right foot, striking with the right fist, then alternate fists each time you explode forward with the right foot. At the end of this side, you’ll turn as you did before, only this time your right foot will be forward, your left fist will be forward (opposite foot and hand are out). You’ll bring the right foot across the body and pivot. Please study the video for details.

23


Ken Gullette

24


Ken Gullette

25


Ken Gullette

Practice Tips for Peng Chuan • Whole body connection is crucial in all the fist postures. This means you don’t throw the Peng Chuan strikes with the arm and shoulder, you throw it with the entire body, using the same mechanics as in Chen tai chi. In fact, you use very little arm and shoulder muscle to throw the punches. This is the most difficult thing for a beginner to learn, and for the first couple of years, most students are still doing it wrong even when they think they’re doing it correctly. That’s why you need a teacher to correct you. • Rotate the dan t’ien. Each strike—each movement—begins with the ground and ends at the fists. • The first punch in this form is groin-level. Second is stomach-solar plexus level. Third is face level. • When doing the second punch in the opening three-punch series, establish the ground quickly when the foot steps back and fire the ground strength through the body. • Take ground, particularly during the third punch and the subsequent punches as you alternate fists. • Remember that there is downward energy in the blocking/pulling hand that’s going to the dan t’ien area. • Each movement has opening and closing. During the first punch in the three-punch series, there is closing power. The second and third punches feature opening power. Let the body open powerfully as the whole body connection and ground strength throw the punch. Common Mistakes Beginners Make in Peng Chuan • Throwing the strikes with the arm and shoulder, not the whole body. • Exaggerating the movement of hips and shoulders when rotating the dan t’ien. This rotation should not be expressed by wild swinging of the hips or shoulders. The rotation of the dan t’ien is part of silk-reeling, and “when one part moves, all parts move,” but this shouldn’t result in hips turning very much or the shoulders shrugging or turning to widely.

26


Ken Gullette

• Beginners often punch too high during the first punch in the form, or they punch with their arms slanting downward toward the ground. The first punch is a strike to the groin. • Beginners often don’t take much ground and they drag the rear foot. Take ground and make a distinct step on the follow-step. • During the turn, beginners don’t always turn the lead arm with the waist. Don’t let the arm come around too early or lag behind—it should turn with the waist. • Many beginners lift themselves too high when doing the punches up and down the floor. Keep your weight (“chi”) sunk throughout these movements. If you rise up, you aren’t rooted.

27


Ken Gullette

Pao Chuan (Pounding Fist) I often refer to Pao Chuan as “Exploding Fist.” In my mind, it reminds me of a cannonball exploding out of a cannon after pressure builds. In Traditional Chinese Medicine, Pao Chuan relates to the element of fire. It’s a powerful technique with many useful fighting applications. Pao Chuan’s block is different than the blocking movements we’ve see so far. The primary block is at an upward angle and it incorporates a “warding off” movement that works to fling the attack away while opening the opponent to the strike with the other fist. There is a lot of lateral movement in Pao Chuan. In the form, before each strike, you move out of the line of fire with an angular step. The strike is then delivered by traveling a different angle across the “line of fire.” Please study the DVD for a more clear demonstration. The Pao Chuan strike is delivered in an upward direction. This is the primary essence of Pao Chuan—the block and strike are primarily delivered at an upward angle. If you deliver the punch at a level angle, you’re performing Peng Chuan, not Pao Chuan. The way we perform Pao Chuan, the wrists cross between strikes and the body closes as it prepares to burst forward. When the wrists cross and then separate, this also represents a blocking movement that is very effective, particularly against kicks. The crossing of the wrists also represents a joint lock, but you’ll have to wait for Volume 2 of the DVD series to see that. Spiraling movement and the utilization of the ground strength is crucial in Pao Chuan, just as it is in each of the fist postures. All of the mechanics of whole body movement are found in Pao Chuan. Study it deeply to unlock these movements.

28


Ken Gullette

There is a closing of the body before the powerful opening movement of the Pao Chuan strike. Energy is stored and released in a very strong movement. Please remember that each of the Hsing-I fist postures should be practiced slowly at first, as you learn the proper body mechanics and posture. As you grow more skilled, you should develop the speed and power required of this very explosive art.

The photos on the following pages show how to perform Pao Chuan: Photo 1 – Begin after getting into the San Ti stance (see video for details). Photo 2 – Pull the lead leg in and cross the wrists. Photo 3 – Close the body, separate the wrists and pull the fists to your sides. Photo 4 – Begin exploding out at an angle to the left. The fists have met at the dan t’ien and begin rising up the centerline. Photo 5 – The left arm blocks and wards off while the right fist strikes at an upward angle. This block and strike occur at the same instant that the front foot hits the ground. The rear leg begins the follow-step. Photo 6 – The feet are in the San Ti stance at the end of the strike. Photo 7 – Step out at an angle and begin to cross the wrists. Photo 8 – Pull the rear foot up as the crossed wrists pull toward the dan t’ien. Photo 9 – Finish closing the body and separate the fists. The fists go to the sides. Photo 10 – The fists meet in front of the dan t’ien and begin traveling up the centerline. At the same time, the right leg takes ground. Photo 11 – The block and strike hit at the same instant that the right foot hits the ground. Photo 12 – The left leg begins the follow-step. Photo 13 – The follow-step is complete and the feet are in a San Ti position. You are now prepared to continue. See the next page for these photos.

29


Ken Gullette

30


Ken Gullette

Turning in the Pao Chuan Form Photo 1 – You have run out of room with left foot outward. Photo 2 – Begin to turn by pivoting the right foot and turn the waist and arms. Photo 3 – The left foot crosses as the waist and arm turn. Photo 4 – The waist keeps turning and the arms turn, too. It’s as if someone is punching from the rear and you turn to block it with the arm that had been the blocking arm at the end of the last strike. There is a lot of relaxed strength here but there is a smooth and whip-like feel to this turn. Photo 5 – Cross the wrists and close the body, pulling the right foot in. Photo 6 – The closing is complete with the separation of the wrists as the fists come to the sides. Photo 7 – The fists come together in front of the dan t’ien and rise up the centerline as the right foot explodes outward. Photo 8 – The block and strike land at the same instant as the right foot. Photo 9 – The follow-step is complete. Continue doing the form.

31


Ken Gullette

Tips for Practicing Pao Chuan • Use whole-body movement as you do in all the fist postures. The power for the block and strike comes from the ground. There is a powerful opening of the body and the dan t’ien rotates over the top. • Avoid tension on the arms and shoulders. Let the body throw the strike and block. • Step at angles. Beginning in the San Ti stance, imagine someone directly in front of you. Step at an angle to get out of the “line of fire.” • It’s important to cross the wrists when you close the body and during the turn. • Before striking, the fists come in together and then travel up the centerline before exploding out (see video for more details). • Take ground while striking. Common Mistakes in Performing Pao Chuan • Not crossing the wrists when closing the body. Many beginners skip this and just pull their fists to their sides. There’s a reason to cross the wrist and you’ll see why in the next video and e-book in this series (fighting applications). • Many beginners don’t bring the fists together at the dan t’ien and then up the centerline before the strike. Don’t cut this short and bring the fists out too early. See the video for more details. • Beginners are tempted to step straight forward instead of laterally at an angle. Make sure you get out of the line of fire. • The Pao Chuan punch and block are at an upward angle. A lot of beginners can’t quite get this, and you’ll see their punches are parallel to the ground. • One common mistake is not incorporating the closing and opening of the body. The entire body closes before exploding out. • Keep the energy sunk, even when exploding out in the strike. Many beginners rise up. Internal arts classics call this “keeping the chi in the chest.” Make sure that throughout these movements, you maintain your root by sinking your “chi.” You should always feel as if your weight is dropping into the floor, even when punching upward.

32


Ken Gullette

Heng Chuan (Crossing Fist) The fifth fist posture is Heng Chuan (pronounced “hung chwan” or “hung chin”), which translates to “Crossing Fist.” It relates in Traditional Chinese Medicine to the element of earth. It’s the most circular of the fist postures. Heng means “to intersect or cross.” It is sometimes pictured as a whirlwind. This is a very effective technique when you’re facing a fast opponent who likes to burst toward you with a punch to the head. You can evade the blow with a lateral move and strike the head with a backfist or hammerfist. Like Pao Chuan, Heng Chuan incorporates a lateral move—stepping forward at an angle. Heng Chuan has many applications that you wouldn’t think about by just seeing the form. There are blocks, strikes, joint locks and throws when you unlock the secrets of the movements. As in each of the fist postures, you store and release energy along the ground path. In Heng Chuan, the dan t’ien primarily rotates sideways. Often, an incoming punch is slapped away and the other hand strikes. Remember to throw the strike with the entire body. When doing the form, you will step and strike with opposite fist and foot. When the left foot is forward, the strike will be with the right fist. Likewise, when you step out with the right leg, the strike will be done with the left fist. On pages 36 and 37 you’ll find the photos demonstrating how to perform Heng Chuan properly: Photo 1 – Begin after getting into the San Ti stance. Photo 2 – Begin stepping forward at an angle. Open the lead hand as it prepares to block an incoming punch. Photo 3 – Pull the blocking hand down to the dan t’ien. The blocking hand comes down on the inside of the attacking hand, which is beginning its circle on the outside. Notice the hips are moving with the body, not lagging behind (so to speak). Photo 4 – The strike lands at the same instant the foot hits the ground. The rear leg begins the follow-step. Notice the left hand has ended at the dan t’ien. It arrives there at the same instant that the strike and the foot land. Photo 5 – End the movement with your feet in the San Ti position.

33


Ken Gullette

Photo 6 – After the strike, you step forward in a toe-out position as you open the hand to prepare for a block. This step is not lateral, it’s forward. Photo 7 – Pull the right foot up and close the body as you prepare to block with the right hand. The left fist is still at dan t’ien. Photo 8 – Step out at an angle and begin circling the blocking hand toward the dan t’ien, on the inside, while the striking hand begins circling around on the outside. Photo 9 – The left fist lands at the same instant that the right foot hits the ground. The right fist is at dan t’ien and the left leg begins the follow-step. Photo 10 – End with feet in the San Ti position. Photo 11 – Step forward with the right foot in a toe-out position as the left hand opens to prepare for the block. Photo 12 – The left leg comes up and the body closes as the left hand completes the block and begins pulling down, in a fist, to the dan t’ien. The right hand remains at the dan t’ien. Photo 13 – Step out at an angle with the left foot. The right fist begins its circle to strike and the left fist continues toward the dan t’ien. Photo 14 – The right fist strikes as the left foot hits the ground and the right fist reaches the dan t’ien. The right foot begins the follow-step. Photo 15 – End with feet in the San Ti position. You’ll continue the form until you run out of space and have to turn and do the other side.

Turning in the Heng Chuan Form Photo 16 – You’ve run out of room. Your right leg is forward and the left fist has just finished the strike. Remember, it doesn’t matter what side you’re on when you turn. Photo 17 – Step the forward foot across the body as you begin turning the waist and the striking arm, which turns with the waist. Photo 18 – The forward foot lands in a virtual pigeon-toe stance as the waist and arm continue to turn to face the opposite direction. Photo 19 – The pivot and the turn completed, your right fist is still at the dan t’ien and the arm that you struck with is still forward.

34


Ken Gullette

Photo 20 – Begin switching hands. The left hand pulls to dan t’ien in a fist as the fight fist circles around on the outside in a strike. Photo 21 – The switch is complete and now the opposite hand and foot are forward. From here, you’re ready to do the second part of the form (in the opposite direction). Photo 22 – Step forward with the left foot in a tow-out position and open the right hand to prepare for the block. Photo 23 – Bring the right foot up and close the body as the right hand blocks and the left fist remains at dan t’ien. Photo 24 – At the end of the next move, your right foot has exploded out at an angle and you’ve struck with your left fist. The right fist is pulled to dan t’ien.

See photos on next two pages.

35


Ken Gullette

36


Ken Gullette

37


Ken Gullette

Tips for Practicing Heng Chuan • The strike in Heng Chuan isn’t easy to pull off the way it’s supposed to be. It takes a lot of good silk-reeling and dan t’ien rotation, beginning with the ground and ending in the fist. • Before the block—before you close the body—your step is straight forward with the foot in a toe-out position. The reason it’s tow-out is so you’ll be more balanced when you throw the strike. • The dan t’ien rotates sideways as you throw the strike. Later, as you practice applications, the dan t’ien might rotate in different directions. • Close the body and let the power erupt as you open. • When you do the block, open the hand and imagine slapping a punch out of the way as you begin pulling the hand to the dan t’ien. Your hand becomes a fist as you pull it to the dan t’ien.

Common Mistakes in Practicing Heng Chuan • When throwing the strike, a lot of beginners bend the elbow and snap the strike like a TKD or karate backfist. It isn’t thrown that way in Heng Chuan. It’s a circular strike and the elbow doesn’t bend much at all. Naturally, the arm isn’t locked (the arms are never locked out) so the elbow is slightly bent as it is in all the internal arts, but the strike is thrown with the arm in the same position the entire time, from the instant it leaves the dan t’ien. • Beginners often step out at an angle before the block rather than stepping forward. • Likewise, beginners often step straight ahead in the direction of the attacker when throwing the strike, rather than exploding out at an angle as they’re supposed to do. • Many beginners circle the striking fist on the inside and the blocking hand comes down on the outside. Make sure you block and pull that hand down on the inside. Give the striking arm room to fire without getting tangled. • It’s hard for some beginners to land the strike at the same instant that the foot lands. Practice this and rely on a teacher or a partner with a good eye and honest mind to tell you if you’re not getting it right.

38


Ken Gullette

Final Thoughts on the Fist Postures It’s impossible to put everything you need to know about an internal art or even the five fist postures into one video. This e-book is designed to support the DVD “Hsing-I Class Volume One: The Five Fist Postures.” Other volumes will teach more about the basics of internal strength, fighting applications, and forms. Anytime you learn an internal art movement or form, the first step is learning the choreography. Most students want to rush through the choreography. They mistake an art like Hsing-I with other arts that they may have studied earlier, at schools that massproduce black belt students whose knowledge of their art is very shallow. In America these days, many schools expect students to test for the next highest belt every 3 months and pay a hefty testing fee. Each test level requires only a few techniques, and most of the techniques are relatively simple. Hsing-I is different. I’ve seen martial artists come into my classes with years of experience, and after a few weeks, when they see just how difficult the internal arts are, and how difficult these movements are to do properly, they run back to the familiar, the simple, and the shallow. They retreat to what’s comfortable for them. Don’t rush it. Believe me, after a few months, when you think you’re doing the fist posture properly, you’re not. It will take years to perform it with the proper internal body mechanics. Each year, however, if you practice, think, and study, analyzing your movements, videotaping yourself and watching with a critical eye, and getting good feedback from a qualified instructor, you’ll get better each year. That’s all any of us can expect. As long as we’re getting better, we’re successful. You’re not going to master it soon, so don’t worry about it. When I first began learning Hsing-I from Sifu Pete Starr in Omaha, Nebraska, I attended three or four classes a week and practiced at least an hour each day. I had been studying martial arts for 14 years at that point, but realized that I couldn’t rest on my knowledge. This was a new ballgame, and I approached it with an empty cup. I practiced hard—each fist posture—over and over and over. Each of these fist postures should be practiced as their own little form. Practice them with reverence. This is an art that has survived hundreds of years. You have a

39


Ken Gullette

responsibility to practice thoroughly, with quality, and pass it on. If you practice it poorly and don’t have enough pride to spend the time it takes to be really good, if you pass it on you’ll be doing a disservice to your students and to the art. I usually teach beginning students the basics of Hsing-I Chuan. By the time they begin studying Chen tai chi, they may think they know Hsing-I. After they study Chen tai chi for a while, and their understanding of internal body mechanics deepens, they realize how little they knew about performing Hsing-I. But then, when they apply the Chen mechanics to their Hsing-I, the light bulb goes on and they begin to see how all the internal arts are intertwined. As of this writing, I’ve been practicing martial arts for 34 years. I feel as if I’m just beginning. I have the ability to translate some of the concepts to Americans in ways that the Chinese won’t. I’ve been lucky to learn from some Americans who can do this, too. As I continue making videos and books, I’ll be working very hard to study deeper, and develop more insights. Studying the martial arts is like attending a university. You can’t just show up in class and expect to learn. Most of the learning happens on your own, as you study outside of class and reflect deeply on what you’re reading and hearing, from group study and group projects, and from your teacher’s lectures. The martial arts are no different. The successful martial artist is the one who takes what he or she learns in class, goes home and practices, then stops to think about what they’re practicing. How is the body working during this technique? Where is the weight? How does it shift? Where do I open and close? Is my “chi” sunk or is it rising to my chest, causing me to be unbalanced? Am I opening and closing? Am I relaxed enough? Am I using peng and have I established the ground path? What is the application of this technique? What else can the movement be used for? How can it be used against other types of attacks? How is it the same or different from other techniques I’ve learned? How can it be used in chin-na? Can it be used as a throwing technique? Thank you for taking part of this journey with me. I hope you’ll enjoy the video and others in the series that are coming soon. Until then, if you have any questions, email me at [email protected] and don’t forget to join the discussion on my blog at www.internalarts.typepad.com. Thank you, good luck, and remember to remain centered.

40


Ken Gullette

DVDs by Sifu Ken Gullette Basic Kung Fu Techniques

Tournament Point Sparring

Hsing-I Class Vol. 1: The 5 Fist Postures

Beginning Chi Kung for Stress Relief All DVDs available for purchase at www.kungfu4u.com

41


Ken Gullette

42

Hsing-I Class Vol 1

Recommend Documents