3 Steps to Reduce Stress with Martial Arts Training

Martial art is regarded as one of the most effective ways of reducing our stress level. With the help of a trained martial arts instructor, you can understand the basic principles of stress reduction and also learn how to manage it successfully.

 

Is your lifestyle killing you? Do you feel so anxious that it's now getting in the way of sticking to a regular routine? Martial arts training could be the perfect stress buster for you.

 

Find a skilled and dedicated martial arts instructor near where you live and make the most of the training provided. It is psychologically proven that traditional martial arts training programs are highly effective in diminishing our stress level as well as aggression. It also induces positive attitude towards life.  Here are 3 stages of how to cut down stress level with a conventional martial arts training program efficiently:  

 

Step 1: Select a martial art form that is best for you

 

Take your time and learn about different martial art styles, techniques and their basic philosophies. Primarily focus on the traditional forms for maximum stress relief. You can either go for soft styles (such as aikido, tai chi, judo, wrestling, jujitsu etc. which involve throwing and grappling) or concentrate on hard styles like boxing and develop striking as well as blocking skills. Traditional Karate (taekwondo, kung fu etc.), which is a perfect combination of both the elements can also be practiced.

 

Step 2: Identify with the principles of stress reduction

 

Martial arts training helps us to know the causes of stress and understand the basic principles of reducing them. It polishes our mind and fosters our warrior spirit which is essential for developing as well as strengthening some of our stress-reducing characteristics. With the help of efficient martial art training sessions, we can sharpen our decision-making capacities, overcome our fears by dominating the associated aspects, establish true focus, project self-confidence and enhance self-management skills greatly in order to build your coping mechanisms against stress.  

 

Step 3: Learn to expose yourself to the fear factors

 

When you start practicing martial arts under the proper supervision of a proficient martial arts instructor you undergo a routine that involves facing an opponent. It makes you confront several fear-evoking circumstances. When you are exposed to such situations again and again, you learn how to tackle these successfully. It is extremely helpful in eliminating the fear as well as anxiety as you learn how to take action sensibly and coolly. This is why, martial arts training is considered as one of the most effective ways for boosting our confidence level and self-esteen. However, with time, endurance and regular practices, you would be able to achieve better posture as well as stronger movements. You just need to enlist yourself in a suitable program offered by a martial arts instructor and you would soon find yourself being stress-free.

CHI : The Power to Confuse

This is the article that was published last month in the UK magazine 'Martial Arts Illustrated'. I said I'd post here later for those outside GB, to read it.

 

気 : THE POWER TO CONFUSE.
BY ANDY MOORHOUSE

KI/QI/CHI - Is one of the most confusing and divisive subjects within the oriental martial arts. Even what we say is confusing. Most people refer to it by the Chinese CHI, or the more modern QI, rather than the Japanese KI , irrespective of where their art originates. This is in no way definitive , or meant to convince others one way or the other. This is a personal reflection of my views on KI/QI/CHI and how I got there. My view has changed repeatedly over the years, and no doubt will again. From ignorance, to ignoring, through to rejection. To surprised belief, then rational rejection. The developing a theory of understanding its circumstance’s, while remaining neutral. To the bewilderment of the basis of that theory falling apart, because a scientific fact has undermined my reasoning for not believing ! As I said CHI has the power to confuse. One of the major factors in the controversy surrounding CHI, is the fact that what CHI actually is, has had to changed repeatedly. Revised in response to science continually proving that that given definition of CHI does not exist or is incorrect. Despite this the concept retains its importance with many.

NOTE. 気 : Chi / Qi are the anglicisations from Chinese. Ki is from Japanese. CHI is the most commonly used and understood expression, so for ease I'll stick with that in this article. They all relate to the same ideograph ( 気 ), which in martial arts terms can defined as 'intrinsic energy' , 'vital energy', 'inner power', 'spiritual energy', 'life force', 'power', 'breath', 'spirit', or any of a dozen different translations and explanations. It is a concept of central importance to the internal martial arts of China and is aligned with the YIN or soft aspect of the of the Yin/Yang process. For our purposes, Chi is best seen as the sum total of the action of the Yin/Yang process.

BACKGROUND. 気 Chi is not just import to understanding the internal Chinese martial arts and medicine, but to all of Chinese culture – it's that important ! Yin / Yang are two diametrical opposed forces (soft and hard) constantly acting against or with each other, flowing inward from their isolated extremes, to merge together. It is central to the ancient Chinese world view for thousands of years. A period that only ended at the start of the 20th century. It is the 'operating system' underlying this world view. In martial arts terms, it is this central, it is Chi that drives the muscles. Nothing more nothing less. The muscles move the limbs and the limbs strike at the opponent. Causing impact, damage and pain. This is for hard /external systems. For internal systems, the Chinese believed that they were striking with Chi itself. It is the Chi, that causes the impact, damage and pain. The striking limb is merely a conductor for Chi. It is that important. In fact it goes deeper, the ancient explanation of the flow of Yin and Yang, is this. It shines down from heaven as Yang – passing through all things and activating the Yang elements. It then reflects back up from the earth as Yin, again passing through all things and activating the Yin elements. It is the power of life itself ! The sum total of this Yin /Yang cycle, its circulation, and its effect is Chi. A key point, often misunderstood, is the need for both and the need for them to be kept in balance. To the ancient orientals, illness was caused by an imbalance of Yin / Yang within a persons Chi or its circulation. It is also associated with the Prana 'life energy' concept of Yoga. By the way, this is obliviously where the writers of 'Star wars' got their ideas on 'the force' from. But, science has continually proved that this and every other attempt to prove the validity of Chi, as a fact, as a genuine scientifically identifiable force, to be false. It hasn't stopped the Chinese from continually revising the concept of Chi. So the definition of Chi has constantly changed through the 20th century, in the light of this. For many Chi has been relegated to the position of a philosophical concept rather than a physical force.

MY TALE

Ignorance. When I began in the martial arts, I had neither knowledge of or interest in CHI, having started in Shotokan Karate-Do, it wasn't something ever raised . Later , I came into contact with Chinese martial artists, who tried to educate me in the concept of CHI. Sadly, I was a teenager, to full of himself to listen or try to understand. I'm an avid reader on the Martial arts, I have a collection of martial arts magazines going back to this period (1970's), any discussions on Chi in them, at that time, never made any impression on me.

Ignoring : By the early 1980's I had become a student of Goju Ryu Karate-Do, under Sensei Tony Christian. Goju Ryu, does of course mean 'hard and soft style' , in the same vane as Yin and Yang. Sensei Christian had already begun to revise what he had been taught, partly due to dissatisfaction with the rather rigid training and, in his view, impractical formality of classical Goju Ryu. It lacked the direct simplicity of kick boxing, which he was also involved in at that time. But, kick boxing suffered from a lacked the depth of content, compared of Karate-Do. He also had an issue with an aspect central to Goju Ryu, both philosophically and physically. He felt something was missing. So having identified problems, he set about trying to rectify them. I was a brown belt during this period, in my twenties and obsessed with the physical, with the Yang / GO aspect of the 'hard and soft style'. Any changes that Sensei Christian made that made me a stronger, faster, fitter, harder fighter, I embraced . The philosophical outlook of the martial arts also appealed to me, but Sensei was introducing a change that was, at that time beyond me, so I ignored it. One of Sensei Christian's best friends in the martial arts, was the late Danny Conner, then chairman of the British Karate Association. Conner was one the first to introduce the Chinese internal martial arts, bring in many highly skilled martial artists to conduct courses etc. Through this Sensei Christian came into contact with the principles of Chi and many highly experienced internal martial artists . This provided an answer too the issue he had found within Goju Ryu. The definition of Goju Ryu is 'hard and soft style' , like Yin and Yang and the two central Kata of Goju Ryu : Sanchin Kata and Tensho Kata are always used to illustrate these two differing aspects of the art. Sanchin is always cited as a demonstration of the hard / Yang / Go(of Goju Ryu) aspect and Tensho is cited as a demonstration of the soft / Yin / Ju (of Goju Ryu) aspect. Yang, the hard, external, muscular, conventional mode of power development. Yin, the soft, internal, esoteric and non-conventional mode of power development, as used by the internal arts. Now Sensei Christian's issue within Goju Ryu is this, having been constantly been told the above about Sanchin and Tensho Kata , and when watching and training. Yes, Sanchin obviously showed the hard / Yang / Go aspects of power, no problem with that, but Tensho ? He had to question why when he was taught it and every demonstration etc of Tensho Kata, it was just an open hand version of Sanchin ? Surely if Tensho illustrated the soft aspect, it should feel different to Sanchin, carry different lessons to Sanchin ? This was one of the reasons why Sensei Christian became involved with the internal martial arts. He had come to the conclusion that at some point in the past, Tensho Kata carried a different lesson to Sanchin Kata and had been performed with soft, internal energy. So acting on this and using the experience into the internal arts, afforded by Danny Conner, he revised Tensho Kata and the practises coming from it.

Rejection. This revision of Tensho Kata by Sensei Christian, forced me to try to understand Chi and the concept of Yin and Yang. I talked with Sensei Christian, went through the back issues of my magazine collection, I bought books and borrowed books from the library, to do research on the subject. I worked at it, trying to generate the feeling that marked this relaxed energy (Yin), but couldn't let go of physical, muscular power (Yang). An interesting point came out of this, when I talked to Sensei Christian. It is the attractiveness of the hard and physical (Yang / Go ) power, that he believes, caused a change. His view is that Tensho Kata, in its original Chinese form (Rokushu) and in the first half of the twentieth century within Goju Ryu, is that it was performed as a internal exercise. Using soft, relaxed, Yin / Ju energy. At some point following the end of WW2, or the death of Chojun Miyagi (1888 to 1953), the attractiveness of hard over came soft. Goju Ryu's initial training methods focused on Sanchin Kata and hard psychical training and conditioning, to create hard / Yang / Go power development. The attractiveness of this mode of training lead to an excessive focus on 'hard'. The following, differing, mode of training , to create soft / Yin / Ju power development, is neglected and fades away. So, in Sensei Christian's view, this changed the feeling and power of Goju Ryu from a combined system, using both external and internal energy, both the aspects of Chi. Changing the feeling and energy from, Go and Ju: hard and soft, to Go and Go : hard and hard (in Goju terms). This is not what is meant by the name, Goju Ryu ? This had been the issue that he had had, with orthodox Goju Ryu Karate-Do. It is fair to say that Sensei Christian is a believer in Chi, not just a philosophical concept, but as an active physically energy. Sensei Christian had put a great deal of thought, study and practise into the revisions that he carried out. He had come to the conclusion that Sanchin Kata created Chi and Tensho Kata showed how to use Chi. Like wise I put a great deal of thought, study and practise into understanding , not a problem with the other revisions, but I struggled with Chi. I continued , but something always came up. Rational, western scientific thought and experiment proved Chi did not exist ! Having a rational, western mind meant that Chi did not exist as an active physical energy. I struggle and partly grasped the philosophical concept and it helped me to become more relaxed and my techniques to flow and become smooth. But , my rational western and rather cynical mind, rejects Chi. Just one thing, an issue I could not resolve rationally. Whenever Sensei stuck me with the soft striking of Chi , it was a special kind of pain.

Acceptance. The philosophical concept helped, even though rational thought rejected it, it had a positive effect, and this puzzled me. As I relaxed I felt more of myself, my internal processes. Breathe, muscle action etc. Breathing is obvious, Goju Ryu derives its name from a line in a poem. “ The way of breathing is both hard and soft.” But, for me it was the action, the inter-change, of the muscles that caused a revelation. Feeling the inter-change of tension and relaxation as my limbs perform each technique. The muscles of the upper arm, the biceps and triceps, are the easiest ones to use as an example. The agonist muscle is the term for contacting muscle, that provides the power and the antagonist muscle is the term for the relaxing muscle. The biceps contacts, tenses (agonist), this folds the arm (flexion), but this action is only possible as the triceps relaxes and extends (antagonist), allowing the action. To extend the arm the biceps must relax – becoming the antagonist, and the triceps contracts – becoming the agonist. These actions need to be coordinated and balanced or the action of the limbs will be poor. Extension and flexion of the muscles create all actions and motions, and thus techniques. Look at the parallels between this and Yin / Yang. The inter-change between the two aspects of the whole : agonist and antagonist : Yin and Yang. The need for this to be coordinated and in balance. A revelation that matches Yin and Yang. The feeling that Chi is inside me, a physical force. Yes this is subjective, but the feeling is real, so are the effect. Remember, when I , or anyone else was struck by Sensei Christian, it hurt in a different way to any thing else. Over the years I'd been hit by just about everything, the pain of these 'soft', Tensho derived strikes, sent pain straight through you and out of the other side, like nothing I'd experienced before. All this is subjective but it brought about an acceptance of Chi, I believed.

Rational Theory. There was a problem, I couldn't strike with the same result as Sensei. I tried and tried, very rarely could I ever produce the same results. This confused me and lead me to doubt. This was re-enforced by the research, no matter what the various explanations of Chi I looked at, science disproved it. So rationally I should reject the concept and yet there was that special kind of pain when struck. This was confusing to me and I struggled to understand this contradiction. Perhaps it is the subjective nature of the subject and the ancient view point, like the expression 'sun raise'. All ancient civilisations thought the sun went around the earth, why ? We stand still, on the earth, and the sun comes over the horizon and moves across the sky. So obviously the sun is the only thing moving, so the sun is going around the earth, a subjective view. Of course science tells us this is incorrect, the earth goes around the sun, but it took science centuries to work that out. So, what would sun raise look like, if the sun did go around the earth ? The answer, it looks just the same ! The mechanism is different, but the result is the same. Perhaps the theory of Chi may be incorrect, but the effect of the training still produces the effects that were termed Chi. Perhaps, following the example of sun raise, the mechanism is different , but the result is the same or in same way the mechanism that is 'Chi' , is awaiting scientific discovery ? Anyway , into the 1990's and a Dan grade, I continued training and studying Tensho, and had been able to reproduce the soft striking of Sensei Christian on demand. But, what was the basis of this soft striking ? I didn't know ! Through out this period not only was I working with Sensei Christian, but attending courses with many practitioners of Chinese martial arts. All of whom explained the concept of Chi and the internal arts to me, and this time I listened. The problem was, everything I was being told was contradicted by science : confusing ! By the late 1990's I had come up with a personal theory to over come this confusion. I'd found, in my opinion, a scientific mechanism for Chi, that would account for the subjective nature of feelings surrounding Chi and achieve the similar results. This also helped eliminate the confusion I felt. The theory was to apply 'The Placebo effect' to the subject. This effect is a physiological one, that then brings about a physical one, coming from medical research. It was found that a percentage of those told they had been given medicine to make them better, yet had not. Reacted as if they had been truly given the medicine ! And this is not imaginary, but a measurable physical effect. This illustrates the power of the mind. So, back to Chi , because it is believed that there will be an effect , there is. I applied this to soft striking and Chi to account for the feelings and the effect, I felt and saw. The effect of this was that I could accept the results of training to strike 'softly', why ignoring the non-scientific mechanism of Chi. Now I was neutral in the debate over Chi, when talking to those who believed in it or opposed it, instead of joining in the opposition. This lasted until around 2005, when for the only time, I was teaching on a regular basis. This was at the late Barry Strettles Martial Arts Centre in Preston. This was situated next to the university. I was stunned by how many university students , with no prior martial arts experience , came in asking about or wanting to talk about Chi ! This happened so regularly, they gave me the impression that they were looking at Chi as the genuine embodiment of 'the force' from 'Star Wars'. They wanted 'The Force' ! I couldn't really understand why university students were interested in this archaic and discredited mechanism. Based on these conversations, my conclusion was that the students were interested in Chi, as a way avoiding the hard work of training required to develop the skills and power that Chi appears to bring. They viewed Chi as an intellectual way to create physical skill and strength, a way of avoiding physical effort ! This had a negative effect on my view of Chi, as I could not understand why highly educated university students were attracted to the archaic concept of Chi and so were averse to physical effort.

THE SURPRIZE. As I have repeatedly stated in this article, science does not believe in Chi and continually proves the alternative theories for how it operates to be wrong. Chi provides the theory for Acupunctures operating system. Some scientists believe that it operates via the 'placebo effect'. Others say the pins stimulate the nervous system, but this is disputed by other scientists, who say it is impossible for a pin stuck into some extremity, to effect an internal organ. Especially as there is no direct connection within the nervous system that relates to the Chi meridians and the organs they influence. Despite all the arguments over how it works , the scientific fact remains, it works. As I've said, I'd adopted the 'placebo effect' as my theoretical mechanism for Chi. In the context of acupuncture , the placebo effect works like this. The patient is told “This will make you better”, so it does ! So, earlier this year (2012) I was watching a documentary following the work of Vets. At one point a Vet decides to deal with an ill animal by using acupuncture. It wasn't a revelatory moment, it took time, but slowly, over the following days and weeks, this event played on my mind. The knowledge that the ancient Chinese had been using acupuncture on horses, cattle etc, and the fact, scientifically – it is shown to work - had an undermining effect on my placebo effect Chi theory. The fact acupuncture is used and is effective with animals, removes the psychological component. It removes the whole : ' The patient is told “This will make you better ”, so it does ! ', process - the placebo effect : you just can't tell animals this. My theory falls apart. So this begs the question, just what is the mechanism that we describe as Chi ? The fact remains it works, in the context of acupuncture, but science cannot explain the mechanism of how, other than the placebo effect. The fact remains that when struck with these soft strikes, they went through you and hurt your back. And this is not an artificial awed hero worship of Sensei Christian, false way. Visitors to the Dojo, away on courses, anyone on the receiving end in a of these soft strike knew about it ! These strike have a demonstrable effect and I can do these soft strikes, that hurt in a different way. Is it all purely subjective ? All I can say to end is perhaps the mechanism that is Chi, is still awaiting scientific discovery. I'm confused.

NOTES - PLACEBO EFFECT : this effect is a physiological one, that then brings about a physical one, coming from medical research. It was found that a percentage of those told they had been given medicine to make them better, yet had not. Reacted as if they had been truly given the medicine ! And this is not imaginary, but a measurable physical effect. This illustrates the power of the mind. So, back to Chi , because it is believed that there will be an effect , there is.

AGONIST & ANTAGONIST MUSCLES : The muscles of the upper arm, the biceps and triceps, are the easiest ones to use as an example. The agonist muscle is the term for contacting muscle, that provides the power and the antagonist muscle is the term for the relaxing muscle. The biceps contacts, tenses (agonist), this folds the arm (flexion), but this action is only possible as triceps relaxes and extends (antagonist), allowing the action. To extend the arm the biceps must relax – becoming the antagonist, and the triceps contracts – becoming the agonist. These actions need to be coordinated and balanced or the action of the limbs will be poor. Extension and flexion of the muscles create all actions and motions, and thus techniques.  

How can T’ai Chi Chuan be used for Self Defence?

 

 

The art of T’ai Chi Chuan has gained a reputation world wide, as a system of meditation, healing and promoting longevity. However, the heart of this art is based in the boxing methods of China, dating back as far as the 1600’s, and possibly beyond.

 

How can T’ai Chi Chuan be used for Self Defence?

Many would be surprised to learn that T’ai Chi Chuan is, in fact, a method of combat. It is not that it could be applied thus, but in fact how the art developed in the first place.
Historically, China was a dangerous place, and there were many methods developed which taught how to defend ones-self from attack using both weapons and bare hands.
It was in this violent history that T’ai Chi Chuan was developed, and in the golden era of Chinese boxing in the mid-to-late 1800’s where it found popularity. It was not until the early 1900’s when T’ai Chi Chuan came to be recognised for its positive benefits to health and well being. Since then, the softer side of the art has taken prominence over the original purpose.

Many are familiar with the slow motion choreographed sets, which have become the iconic image of T’ai Chi Chuan. But how are these sets translated into fighting methods?
As a martial art, T’ai Chi Chuan has the same range of basic fighting techniques as other martial arts, such as Karate, or JuJutsu. Techniques ranging from punches, to palm strikes, grabs and holds, to throws and takedowns, kicks, stamps, fore-arm strikes, hammer fists… The list is as long as your arm!
The techniques are all contained within the movements of the choreographed sets. Some are quite apparent; techniques such as ‘Parry & Punch’ or ‘Kick with Heel’ are quite obvious in their meaning. However, there are also techniques such as ‘Jade Lady Threads Shuttle’, or ‘Single Whip’, where the basic fighting techniques may not be immediately apparent.

There are multiple ways of applying any technique found within a T’ai Chi Chuan set. Some of which may be immediately obvious; such as the afore-mentioned ‘Parry & Punch’, where one arm deflects an incoming strike, whilst the other hand punches towards the opponent. Other techniques, such as ‘Waving Hands Through Clouds’ may not appear to have any functional application, but are, in fact, methods of applying locks and holds to limbs, or ways of throwing or taking an opponent onto the floor.

Which brings us onto the ‘how’ of this article:
What is the fighting strategy of T’ai Chi Chuan? How does this art plan to defeat an opponent?
As has been mentioned, the techniques of T’ai Chi Chuan cover striking, kicking, locking, holding, throwing and sweeping. As a close-range fighting system, T’ai Chi Chuan seeks to draw an opponent in close, whereby our well built structure will be able to topple our opponents. We seek to absorb his incoming force, and – when he is off balance, we plan to send him smashing to the floor, whereby we can either make an escape from the situation, or apply a submission hold to keep our opponent from causing us further harm.

Proficiency in the fighting skills of T’ai Chi Chuan comes only with practice and exploration. A T’ai Chi martial artist must break apart their choreographed sets into their composite parts, and then explore how those parts can be used, both singularly, and in varying combinations with each other. These fighting combinations should then be tested against other practitioners until they flow smoothly, and the practitioner can apply them under pressure of attack.

Shaolin Pao Quan (Cannon Fist)

1. Preparatory Form

Essentials: stand by feet chasing with both hands close to both sides of the body; head out, chest out and stomach in; eye to the front (see figure 1).

Figure 1 

2. Bing Bu Bao Quan (hold fists in chasse)

Essentials: keep feet still, lift up fists to the waist and turn the head left rapidly; eye to the left side (see figure 2).

Mistake: the head is not turned to the right place.

Correction: turn the chin to the left shoulder.

Figure 2 

3. Jiao Long Chu Shui (flood dragon flies out of the water)

Essentials: unfold the fists and swing to the right; step the right foot; take a step by the left foot to be the left empty step and push the palm; eye to the left hand direction (see figure 3).

Mistake: the center of gravity falls between the two legs.

Correction: left foot lands falsely to place the center of gravity on the right leg.

Figure 3 

4. Shuang Long Tan Tou (two dragons stretch out heads)

Essentials: step forward the right foot to be the T-shape step; punch fists from the chest; eye to the front (see figure 4).

Figure 4

Mistake: the left sole lands on the ground.

Correction: left tiptoes touch the ground and the place in the same line with the center of the right foot.

5. Gong Bu Shuang Tui Quan (double palm push in bow step)

Essentials: move the body to the left; take a left step by the right foot to be the right bow step; cross hands in front of the chest and push to the right; eye to the front (see figure 5)

Mistake: arms are pushed straightly.

Correction: bend arms slightly reserving strength without exerting.

Figure 5

6. Zhen Jiao Xia Zai Quan (shake foot and plunge fist)

Essentials: move the body to the left; chasse the right and left feet; squat both legs; cross hands and then, plunge the right fist; place the left fist to the right armpit (the picture is omitted).

Mistake: punch fist from the waist.

Correction: lift the fist to the shoulder before fist plunging.

7. Zuo Gong Bu Shuang Tui Zhang (double palm push in left bow step)

Essentials: withdraw the left foot to be the left bow step; push hands from the chest to the right; eye to the front (see figure 6).

Mistake: the heel of the bow step is above the ground.

Correction: stroke the right leg straightly, chest out and head out.

Figure 6

8. You Gong Bu Shuang Tui Zhang (double palm push in right bow step)

Essentials: turn the body right for 90 degrees; step the right foot to be the right bow step; push both palms forward from the waist; eye to the front (see figure 7).

Mistake: the left heel of the bow step is above the ground.

Correction: stroke the left leg straightly, chest out and head out.

Figure 7 

9. Jin Ji Du Li (golden cock stands on one leg)

Essentials: turn the body right for 180 degrees; clench both fists; lift up the left leg; place the right foot on the head and place the left fist on the left knee (see figure 8).

Figure 8 

Mistake: stand on one leg unstably and the center of gravity is unstable.

Correction: hold the ground by tiptoes to support the leg.

10. San Pao Chong Quan (three fist punching)

Essentials: step the left foot forward to be the left bow step; punch fist three times continuously; eye to the front (see figure 9).

Mistake: sink head and shoulder.

Correction: head out and shoulder back.

Figure 9 

11. Cha Bu Chuan Zhang (penetrate fist in cross behind step)

Essentials: turn the body right for 180 degrees; withdraw the left foot; unfold hands to be palms; penetrate the right palm from the right; place the left palm to the right armpit; eye to the right palm (see figure 10).

Mistake: the left palm penetrates in level; eye in level.

Correction: penetrate the left palm to the above and eye to the palm.

Figure 10

12. Huai Zhong Bao Yue (embracing the moon)

Essentials: turn the body left for 270 degrees; step the left foot to the left; step the right foot to be the T-shape step; swing hands and embrace the chest; eye to the both hands (see figure 11).

Mistake: the distance between the two palms is too large.

Correction: the distance between the two palms is about 10-15 cm.

Figure 11

13. Ma Bu Tuo Chui (beat with fist in seated position)

Essentials: step the right foot to the right and squat both legs to be the seated position; move the right fist horizontally to the right side of the body; hold the waist by left fist; eye to the right side (see figure 12).

Figure 12

Mistake: the tiptoe directs outward and the seated position is too high.

Correction: hold the ground by both feet and squat for 90 degrees.

14. Luo Han Shui Jiao (Arhat sleeps)

Essentials: turn the body right, insert the left foot backward; step the right foot to the right in bow step; cross the hands before chest; raise the right fist to the lower jaw; lift up the left fist to the back side and eye to the left side (see figure 13).

Mistake: place the right fist to the cheek and place the left fist to the side of the thigh.

Correction: place the right fist to the lower jaw and place the left fist to the place above the thigh.

Figure 13 

15. Ma Bu Bao Quan (embrace fist in seated position)

Essentials: turn the body left for 90 degrees; withdraw the left leg to be the seated position; embrace the waist by fists; eye to the front (see figure 14).

Mistake: the fists are placed above the legs.

Correction: embrace the waist by two fists.

Figure 14

16. Zhuan Shen Tiao Gong Bu Chong Quan(turn back, jump up and punch fist in bow step)

Essentials: move the body to the left; jump to the air for a circle and land to be the left bow step; punch the right fist; withdraw the foot fist to the waist; eye to the front (see figure 15).

Mistake: the bow step is unstable.

Correction: when landing after jumping up, land the right foot first and then the left foot; press down the center of gravity.

Figure 15 

17. Tiao Pu Bu Xia An Quan (downward palm press in crouch step)

Essentials: turn the body right; jump to the air and turn right for 90 degrees to be the left crouch step; press palms from up to down; eye to the front (see figure 16).

 

Figure 16

Mistake: the left leg is bent and the right heel is above the ground.

Correction: stretch the left knee joint outward; stand in crouch step steadily.

18. Qian Deng Ma Bu Heng Quan (sweeping fist in forward seated position)

Essentials: turn the body left for 90 degrees; hold both fists before the chest; stroke the right foot and land to be the seated position; sweep fists to right and left; eye to the right side (see figure 17).

Mistake: right and left fists are not on the same line.

Correction: both fists should be on the same level with the shoulder.

Figure 17

19. Ce Deng Pan Zhou (hook elbow in side stroking)

Essentials: turn the body right for 90 degrees; stretch both hand to the chest and then punch forward; left leg strokes forward taking this opportunity to be the left bow step elbow hooking; eye to the front (see figure 18).

Mistake: hands are withdrawn slowly.

Correction: withdraw hands quickly.

Figure 18 

20. Bing Bu Qian Chong Pao (punching forward in chasse)

Essentials: step the right foot to chasse with the left one; punch forward the right fist; place the left fist near to the temple; eye to the front (see figure 19).

Mistake: the left palm is not place at the right place.

Correction: place the left palm near to the temple; lift up the left elbow.

Figure 19 

21. Luo Han Shui Jiao (Arhat sleeps)

Essentials: turn the body left for 90 degrees; step the right foot forward to be the right bow step; cross the hands before chest; withdraw the right fist to the right chest; place the left fist on the left leg; eye to the lower place (see figure 20).

 

Figure 20 

Mistake: the positions of both hands are incorrect.

Correction: withdraw the right fist before the chest and place the left fist on the left leg.

22. Luo Han Bai Fo (Arhat worships Budda)

Essentials: turn the body left for 90 degrees; squat both legs to be the seated position; place the left palm levelly in front of the abdomen; erect the right palm in front of the chest; eye to the front (see figure 21).

Mistake: the left palm is too close to the chest.

Correction: keep the left palm in front of the abdomen; erect the right palm in front of the chest with the distance about 30 cm.

Figure 21 

23. Deng Tui Ce An (stroke leg and press to the side)

Essentials: press right hand to the right side; chasse the right foot and the left foot; punch the left fist; withdraw the right fit to the waist and then, jump to the air and beat the foot; land to be the seated position; pres palm to the side; eye to the right palm (see figure 22).

Mistake: the foot beating in the air and the side pressing in seated position are inconsistent.

Correction: chasse first and then punch fist, jump to the air and beat the foot, and finally press to the side.

Figure 22

24. Shuang Long Chu Shui (two dragons fly out of the water)

Essentials: cross hands in front of the chest, turn the body left; take a left step by the right foot to be the right bow step; punch fists from the waist to the upper area; eye to the right fist (see figure 23).

Mistake: distance between two hands is too large.

Correction: punch two fists close to the ears with the distance about 30 cm.

Figure 23 

25. Shang Jia Qian Chong Pao (erect above and punch forward)

Essentials: move the center of gravity to the left; squat the left leg to be the right crouch step; land the left palm in front of the chest; withdraw the right fist behind the waist and then, move the center of gravity to the left to be a left bow step; at the same time, push left palm forward and punch the right fist; eye to the front (see figure 24).

Figure 24

Mistake: the place of the left palm is incorrect.

Correction: the left palm shall be placed right above the head.

26. Pai Jiao Xia Chuan Zhang (smack foot and penetrate palm downward)

Essentials: kick up the right leg; beat the foot by left palm and then land to be the right bow step; penetrate the right palm downward in inclined form; eye to the right palm (see figure 25).

Mistake: the beating of foot by the left palm is inconsistent.

Correction: the beating of foot by the left palm should be continuous, complete and higher than the shoulder.

Figure 25

27. Ding Bu Luo Han (Arhat in T-shape step)

Essentials: turn the body left for 90 degrees; chasse the right foot with the left foot; bend the left elbow and erect in front of the chest; hook the right hand downward; eye to the front (see figure 26).

Mistake: the two hands are not placed at correct position.

Correction: hook hand from up to down to the rear upward direction.

Figure 26

28. Huai Zhong Bao Yue (embracing the moon)

Essentials: take a left step by the left foot; step the right foot to be the T-shape step; cross arms and embrace the waist; eye to the both hands (see figure 27).

Mistake: the distance between the two palms is incorrect.

Correction: the distance between the two palms is about 30cm.

Figure 27

29. Huai Zhong Bao Yue (embracing the moon)

Essentials: take a right step by the right foot; step the left foot to be the T-shape step; cross arms and embrace the waist; eye to the both hands (see figure 28).

Figure 28

Mistake: the distance between the two palms is incorrect.

Correction: the distance between the two palms is about 30cm.

30. Jin Ji Du Li (golden cock stands on one leg)

Essentials: lift up the left knee and support by right leg; place the right foot on the head and swing the left hand backward; eye to the left side (see figure 29).

Mistake: the palm pushing is inconsistent.

Correction: push both palms with the right palm above and the left palm down.

Figure 29

31. Zhen Jiao Shuang Tui Zhang (foot shaking and double palm pushing)

Essentials: turn the body left for 90 degrees; land the left foot to the original place; shake the right foot and push forward palms with right palm above and the left palm below; eye to the right palm (see figure 30).

Mistake: the palms pushing are not correct.

Correction: press the thumb, put other four fingers together with the palm pointing forward; stretch the arms straightly.

Figure 30 

32. Ma Bu Jia Da (stand in seated position)

Essentials: turn the body left for 90 degrees; take a left step by the right foot; step the left foot to chasse with the right foot; cross arms; place the right fist above the head and place the left fist on the left knee; eye to the left side (see figure 31).

Mistake: actions of the upper and lower limbs are inconsistent.

Correction: place the right fist above the head and place the left fist on the left knee.

Figure 31

Shou Shi (Closing Form)

Essentials: step the left foot to chasse with the right foot; beat hands above the head; clench fists and withdraw to the waist; eye to the left side (see figure 32).

 

Figure 32

Shaolin Damo Sword

Section 1

1. Commencing Form

Gist: Feet standing together, right arm bent and right palm withdrawn to the front of chest, left hand holding falchion with arm bent and withdrawn to waist side, eyes front　(Picture 1).

2. Jirugi with Feet Standing Together
Gist: Body turning right slightly, feet moving forward by turn, left hand horizontally throwing falchion, right hand in fist playing jirugi from waist, looking at the right fist (Picture 2).

Mistake: Feet separated.

Correcting Method: Soles closed together when moving forward.

3. Empty Stance and Hiding Falchion

Gist: Turning left 90°,right knee bent, right hand holding falchion, horizontally swinging around, right foot withdrawn and horizontally squatting , left foot bent with tiptoe touching down, left palm horizontally pushing, right hand holding falchion in empty stance and pushing palm, looking at left front (Picture 3).

Mistake: Empty stance unstable.
Correcting Method: Squatting with thigh leveled with knee, right foot grasping land with five toes.
4. Skipping Step and Holding Falchion
Gist: Body turning with right hand cutting falchion, skipping step and body turning left into left bow stance, left hand resting on right hand, looking at the point of falchion (Picture 4).

Mistake: incorrect action when shifting steps.
Correcting Method: Keeping the size of horse stance in the air.
5. Stepping Forward and Stabbing Falchion
Gist: Body turning right and withdrawing right foot, right foot forward into right bow stance, right hand pricking reversely， left hand resting on right wrist, looking at the point of falchion (Picture 5).

Mistake: Falchion downward, pacing too high.

Correcting Method: Blade upward, right foot parallel with thigh.

6. Head up and Looking at the Moon

Gist: Right hand cutting wrist figure, left hand holding on falchion back, feet closing together and body squatting, both hands pushing falchion overhead, eyes up (Picture 6).

Mistakes: Feet separated, falchion leveled with the head

Correcting Method: Feet closed together with falchion right above the head.

7. Lifting Knee and Swinging Falchion

Gist: Body turning left, left foot moving forward into left bow stance, pushing falchion with both hands, withdrawing left leg, both hands swinging falchion backward from left front knee, into independent form, looking at the point of falchion (Picture 7).

Mistake: Falchion point touching the ground when swinging falchion.

Correcting Method: Hands bringing the falchion upward when swinging the falchion.

8. Performing Wrist Figure with Relaxing Stance

Gist: Body turning left slightly, left foot treading back, left foot landing, right feet covering step, right hand performing wrist figure at both body sides into relaxing stance and swinging falchion, left hand holding on falchion back, looking at the point of falchion (Picture 8).

Mistake: Kneeling down when playing wrist figure in relax stance.

Correcting Method: Knees closed tightly into relaxing stance, not kneeling down.

9. Rolling Body and Mopping Falchion

Gist: Body bent left and rolling left front, left side turning and sweeping falchion, rolling forward and horizontally mopping falchion, legs in kneeling stance, left palm horizontally side lifting, looking at right front (Picture 9).

Mistake: Falchion touching the ground when rolling forward.

Correcting Method: Falchion sweeping in the air when rolling forward.

10. Tornado Legs Hiding Falchion

Gist: Getting up and playing three ready steps for running, swinging falchion around the head, right foot treading and jumping, tornado legs followed by huddle stance, withdrawing the falchion to the left side of body, eyes left side (Picture 10).

Mistake: Falchion touching body when performing tornado legs.

Correcting Method: Falchion in vertical position when performing tornado legs.

Section 2

11. Withdrawing Step and Bringing Falchion

Gist: getting up and body turning right 270°，horizontally bringing falchion for three times, left palm pushing forward, looking at the falchion body(Picture 11).

Mistake: Bringing falchion inconsistently.

Correcting Method: falchion leveled with shoulder, horizontally bringing falchion.

12. Continuously Cleaving Falchion

Gist: turning left 45°, left foot moving forward and cleaving left for two times, hands gripped the falchion in front of left chest, looking at laterally (Picture 12).

Mistake: Falchion back not touching the body when cleaving.

Correcting Method: Falchion straight up and down, cleaving down closing to the body side.

13. Kicking and Pricking Falchion

Gist: Turning left, lifting right leg and turning body laterally, then turning backward into left crouch stance, hands holding falchion and horizontally pricking. Eyes front (Picture 13).

Mistake: Falchion direction not smooth when in bow stance.

Correcting Method: Falchion passing up down closing tightly to legs.

14. Treading Back and Blunting Falchion

Gist: Falchion around head, right leg forward, turning body leftward, left leg treading, stepping forward into horse stance then left bow stance, right hand grasping falchion, reversely hand horizontally wrist blunting falchion forward, eyes front (Picture 14).

Mistake: Falchion not in place when blunting in bow stance

Correcting Method: Turning wrist to make palm face upward when blunting in bow stance.

15. Bow Stance Extending Falchion

Gist: Turning right 90°，falchion surrounding head from right side, shifting horse stance into right bow stance, right hand holding the falchion and surrounding head from body right side, shifting into bow stance and horizontally holding falchion, looking at left side (Picture 15).

Mistake: Eyes without focus when extending falchion in bow stance.

Correcting Method: Swinging head and make a show, looking at left side.

16. Horse Stance and Pressing Falchion

Gist: left foot stepping forward and horizontally mopping falchion, shifting into right crouch stance, left hand under right armpit, right hand holding the falchion and performing falchion figure on both sides, jumping right up and body turning over then landing into horse stance, hands horizontally pressing falchion, looking at left side (Picture 16).

 

Mistake: Body and falchion uncoordinated.

Correcting Method: Making body and falchion coordinated.

17. Turning over and Swinging Falchion

Gist: Turning right 90°, swinging falchion back to left armpit, right hand grasping falchion and turning right, swinging falchion, right foot moving forward into bow stance and stabbing, left hand in rib, eyes front (Picture 17).

Mistake: Body upright when swinging falchion.

Correcting Method: Knees bent and half standing when swinging falchion.

18. Stamping Feet and Shoveling Falchion

Gist: left foot moving forward and lifting falchion, right hand holding falchion and shoveling one time left then right, body turning right with left hand resting on right wrist, hands closing together, leveled with knees. Eyes front (Picture 18).

Mistake: Falchion not closed to body when shoveling.

Correcting Method: Falchion shoveling up down from top of the head, closing to body.

19. Bow Stance and Flipping Falchion

Gist: Turning body right slightly, right hand carrying falchion closing to right knee into right crouch stance, right foot moving forward into right bow stance and swinging falchion, left hand resting on right wrist, right hand wresting falchion, reversely swinging falchion at right side, eyes front (Picture 19).

Mistake: Exchanging crouch stance and bow stance uncoordinatedly.

Correcting Method: Right knee bent and squatting, left leg extended, tiptoe bent inward with feet affixed to the ground.

20. Dancing Figure and Cleaving Falchion

Gist: Center of gravity moving backward, performing figure falchion on both sides of body, hands holding falchion, in half horse stance and cleaving down, looking at right front (Picture 20).

Mistake: Incorrect horse stance.

Correcting Method: Laps keeping horizontal when horse stance.

21. Bow Stance and Mopping Falchion

Gist: Center of gravity moving forward into right bow stance, falchion point on left elbow, left and right feet moving forward by turn, shifting into right bow stance and horizontally mopping falchion, left hand staying on right chest, eyes front (Picture 21).

Mistake: Bow stance and mopping falchion uncoordinated.

Correcting Method: Right knee bent and half standing 90°, left leg extended, center of gravity moving forward and holding falchion, tiptoe bent inward with foot affixed to the ground.

22. Golden Rooster Standing on One Leg

Gist: Center of gravity moving backward, falchion around the head, lifting left knee, standing with only the right leg, left palm shifting into hook, right hand holding the falchion and putting it on shoulders. Eyes front (Picture 22).

Mistake: Forceless tiptoe when lifting knee.

Correcting Method: Knee lifted with feet extended, tiptoe downward.

23. Bow Stance and Blunting Falchion

Gist: Turning left 90°, left foot moving one step forward, right leg kicking up, left foot moving forward into left bow stance, right hand holding falchion and performing figure falchion on both sides of hip, then wrist bending forward and blunting falchion, eyes front (Picture 23).

Mistake: Kicking not quickly enough.

Correcting Method: Kicking quickly and forcefully.

24. Squatting and Sweeping Falchion

Gist: Hands holding falchion, performing figure falchion on both sides of body for four times, left hand resting on falchion back, left foot moving forward into bow stance then into T-shaped stance, right hand holding the falchion, reversely and horizontally sweeping to right side, left palm upward with left arm staying horizontally. Eyes front (Picture 24).

Mistake: Incorrect falchion figure.

Correcting Method: Falchion dancing figure closing tightly to the body, quickly and forcefully.

25. Lifting Knee and Swinging Falchion

Gist: Turning right 90°，lifting right knee, swinging falchion forward, left hand resting on right wrist, eyes front (Picture 25).

Mistake: Lifting knee with forceless tiptoe.

Correcting Method: Foot extended with tiptoe downward when lifting knee.

26. Roc Spreading Wings

Gist: Right hand holding the falchion and swinging around the head and springing right leg, spreading falchion to right side, lifting left arm laterally and horizontally, left bow stance wrapping head and pushing falchion, eyes front (Picture 26).

Mistake: spreading falchion incorrectly.

Correcting Method: falchion horizontally sweeping out when spreading.

27. Wrapping Head and Mopping Falchion

Gist: right hand grasping falchion and wrapping head from right side, the posing right bow stance, left hand horizontally pushing falchion, and eyes front (Picture 27).

Mistake: Height of falchion too high or too low.

Correcting Method: Falchion leveled with shoulders.

28. Arhat Falling Top

Gist: Right hand holding falchion, bringing it back and falling, feet jumping and kicking off, feet closing together landing and moving right foot forward into horse stance, left hand withdrawn to the front of right chest, right hand holding falchion and pressing in front of knee front. Eyes right front (Picture 28).

Mistake: Inconsistent movements of hands and falchion.

Correcting Method: practicing more of coordination of hands and falchion.