Xingyiquan / Hsing-I

The whole body is a fist

/ Tai Chi Notebook / 2 Comments

There is a phrase in Tai Chi that the whole body is a fist. I think it actually comes from Chen style, but applies to all styles of Tai Chi. Now, you can interpret that in different ways, but I think all of them are valid.

Let’s look at a couple.

Photo by NEOSiAM 2024+ on Pexels.com

Firstly, it’s saying that it doesn’t matter what part of the body you hit with, so if you’re using Jin channeled from the ground into the target, the path it takes could go through the shoulder, or elbow, or head, for example, just as easily as it can to the fist. Tai Chi in application tends to be at close range, sometimes body to body, so limiting yourself to boxing range doesn’t make much sense.

Another way to look at it (and I think this is potentially more useful) is to think of the action of opening and closing the body as being similar to opening and closing a fist. While the concept of opening and closing the body is hard to grok, everybody is familiar with the idea of opening and closing the fist. In Tai Chi (and other ‘internal’ arts) that opening and closing is done with the whole body. While some internal arts (particularly Xin Yi) go for a open/close/ followed by a hard stop then repeat type of action, Tai Chi is particular amongst the internals in that is opens and closes in a smooth, continuous motion in a fluid series of motions. There’s never a hard stop in the form. You could say that this is defining feature of Tai Chi.

Practical training

So, let’s get to practical training. The ins and outs of how you open and close the body are to do with the 6 harmonies and silk reeling. I created a short video series years ago now, that looked at this. Watching the video is a lot easier than me trying to explain it all in text.

But here’s a training idea: do your Tai Chi form, and try and feel where the open and close movements are in the form. Even just doing the form with the mental attitude of ‘listening’ for where the body naturally opens and where is naturally closes is a practice in and of itself, that can reap rewards.

Further listening

There was an excellent podcast interview from the Gung Fu Crew that I listened to recently by Derek Notman of Island Physical Culture on the subject of Xin Yi Liuhequan.

Derek frequently refers to this idea of ‘the whole body is a fist’ in the podcast and how that applies to Xin Yi. I think that it’s a good listen for Tai Chi practitioners because the idea of opening and closing the body and the 6 harmonies all come from Xin Yi – one of the oldest documented Chinese martial arts. That’s where Tai Chi gets them from.

Derek also talks a few times about another interesting idea, which is that Chinese martial arts aren’t there to teach you to fight, they’re training systems. He suggests going to learn boxing, MMA, or whatever it is that appeals to you first, to get it out of your system before you approach Chinese martial arts. Now, that’s going to be a controversial idea for a lot of my readers, but it’s also a very interesting idea that I don’t think is without merit. Have a listen and see what you think.

Tongue behind the two front teeth

/ Tai Chi Notebook / 3 Comments

If you’ve been doing Tai Chi, meditation or yoga for any length of time you’ll have heard the old adage to ‘put your tongue behind the two front teeth‘. The explanation given for this is usually that it “connects the two meridians that go up the back and down the front of the body called the Ren and Du meridians, creating the micro-cosmic orbit”.

Micro cosmic orbit connected… man. Photo by Elina Fairytale on Pexels.com

From a Chinese medicine or Taoist perspective the perceived wisdom seems to be that “circulation of the Qi/Breath in Ren Mo and Du Mo is a bit like an electrical circuit. The two ends of the vessels must be connected for there to be an uninterrupted flow.”

Personally, I have my doubts about the whole idea of ‘energy’ or Qi ‘flowing’ around the body. I often think it’s really an ancient aberration of the simple idea of forces moving inside the body. In Chinese martial arts there’s a phrase you often hear – rise, drill, overturn, fall, which matches this circuit in the body with a martial technique. The best example of which is Pi Quan from Xing Yi, during which forces in the body (jin) rise up and then come crashing down into a strike.

Strength and balance

However, it’s not just Chinese medicine that recommends this tongue position. I’ve recently discovered that there are a lot of Western sources advocating the same tongue position. For example, Colgate toothpaste has an article about correct tongue position on its website that recommends the exact same thing – the tongue resting on the upper palette behind the two front teeth. The article links to a study in Radiology and Oncology called “Three-dimensional Ultrasound Evaluation of Tongue Posture and Its Impact on Articulation Disorders in Preschool Children with Anterior Open Bite“, which notes that “children with poor tongue posture were reported to have a higher incidence of anterior open bite, a type of malocclusion where the front teeth don’t touch when the mouth is shut. This may be because the tongue puts pressure on the teeth which can shift their position over time.” (Colgate).

In this article from Healthline, Dr. Ron Baise, dentist of 92 Dental in London explains “Your tongue should be touching the roof of your mouth when resting… It should not be touching the bottom of your mouth. The front tip of your tongue should be about half an inch higher than your front teeth.“

While dentists may be aware of the benefits of good tongue position for your teeth and preventing problems with your speech, or mouth breathing from occurring, some exercise enthusiasts are going further and claiming that proper tongue position actually increases your strength and balance, something that is undoubtedly important for martial arts, like Xing Yi.

Pi Quan is said to be like the swinging of an axe. (Photo by Ivan Samkov on Pexels.com)

Now, I’m as aware as the next Tai Chi blogger that cherry picking studies that confirm your beliefs (and presumably ignoring everything that doesn’t) is a bit of a red flag. However, the idea that your tongue position effects strength and balance makes more sense to me than imaginary energy channels (Du/Ren) that may, or may not, exist in real life.

Apparently, good tongue placement can give you superpowers!

I remain slightly skeptical about the whole issue, however, my tongue does naturally rest behind my two front teeth on the upper pallet of my mouth… I can feel it there now as I write this. Was it always there? Or have I turned this into my natural position thanks to starting Tai Chi in my 20s?… I don’t know. All I can say is that it feels comfortable, and if my Ren and Du channels are connecting because of it, and my strength and vision is better because of it then…. so much the better.

Happy New Year (of the Dragon)

/ Tai Chi Notebook / Leave a comment

It’s 2024, if you’ve ever commented, read or shared a post of mine, then a big thank you for contributing to the story of The Tai Chi Notebook. I feel privileged that I get such good comments here, and quite often they inspire new blog posts, so we all play a part. Let’s see where it goes in 2024.

I’ve already done one post of a training idea for the New Year, however, for New Year’s resolutions I thought I might introduce you to the more professional side of my writing – here’s an article I’ve written for the iMore website on iPhone apps that will help you stick to your New Year’s resolutions. Since most of us have smart phones these days I think it’s widely applicable to my readers here (I’m sure Android versions of most of the apps also exist). I hope you enjoy it! I’m certainly going to be using some of those apps this year.

Photo by Eva Bronzini on Pexels.com

2024 will be the Year of the Wood Dragon, (which starts on 10th February). Japan Times says “In a dragon year, people are said to be able to harness the creature’s intelligence, leadership and abilities to pursue their dreams with creativity, passion, courage and confidence.”

So, here’s a bit of Xing Yi Dragon I recorded in 5 spare minutes I had between opening presents and eating another round of Christmas dinner/left overs/chocolates – it’s out of focus, but not out of mind 🙂

In a way Dragon is the most Xing Yi animal of them all. I’ve done lots of posts about Dragons before, so check some of them out here:

  • The Azure Dragon and Shuai Jiao
  • Dragon Dance and street theatre
  • The importance of Dragon to Xing Yi

Making up your own forms – it’s not as easy as you think

/ Tai Chi Notebook / 4 Comments

I had an interesting comment on my last post that made me think about the whole idea of making up your own forms (or Tao Lu) – in Tai Chi, Xing Yi, or whatever.

I’ve tried to do this over the course of several years and I’ve come to a few conclusions about it, which I’ll elaborate on here. Firstly, it’s hard. Making up new forms is not as easy as you think. But secondly, it depends what martial art you are making up a form in.

Author, performing Xini Yi Chicken (Ji) posture

If your martial art has forms that are constructed like lego bricks that can be slotted together in any order and still seem to work then it’s pretty simple to concoct a new form. Xing Yi is a good example of a martial art that has this quality. I was always told never to call Xing Yi tao lu by the English name “forms” because the correct term was lian huan which means “linking sequence” for this very reason.

The idea, (in our Xing Yi at any rate), is that all the links you learn are just examples, and you need to be constantly moving towards being able to spontaneously vary them as required, and then ultimately spontaneously create them. This idea has become heretical in the modern Xing Yi world to a large extent because modern Xing Yi has lost a lot of this spontaneous feel it used to (I admit that’s a subjective point) have, and things have become set in stone – forms that were once supposed to be fluid and flexible have become fixed and rigid. Forms of famous masters from the past now tend to be fixed forever. When words like “orthodox” start appearing to describe something you know it’s already dead, or on the way to dying.

But of course, anybody can make up a form, but is it any good? That’s a different matter. And it usually depends on the person doing it, not the moves themselves. With Xing Yi animals you can also ask the question – can I see the character of the animal being used coming out through the moves?

With Tai Chi I find it a lot harder to make up a form. Tai Chi’s approach to a form is quite different to Xing Yi, or other Kung Fu styles. The Tai Chi form tends to be a highly crafted piece of work that has been honed to perfection over many years. It is fixed because you need to be able to forget about the moves and concentrate more on what’s inside. It helps to do that if you don’t have to worry about what’s coming next because you’ve done it so many times that you can let go of that part of your brain and let it be aware of other things.

Tai Chi forms tend to start and finish in the same place for this reason. Usually, anyway. While long forms don’t tend to be balanced on left and right, a lot of the more modern, shorter forms make more of an effort to balance left and right movements.

If you understand Tai Chi and how to ‘pull’ or direct the limbs from the dantien movement then, sure you can make up your own Tai Chi forms, however, there is almost zero history of doing this in Tai Chi circles and it’s not really encouraged. I think this is because Tai Chi has push hands, which can be used as a kind of free-form expression of Tai Chi, completely away from the form and in contact with a partner to give you something to respond to, which is the whole strategy of Tai Chi Chuan, at least according to the Tai Chi Classics it is. To ‘give up yourself and follow the other’ you have to be spontaneous. There’s no other choice!

So, to conclude. I think that’s it’s in its application where the spirit of improvisation and spontaneity can be found in Tai Chi, not in the forms. I don’t think Tai Chi is particularly concerned with creating endless variations of forms and patterns like Xing Yi is, at all. Xing Yi, having a weapons starting point, doesn’t use this hands-on feeling and sensitivity to get started with spontaneity. Instead, it likes to create patterns, then vary them endlessly. Of course, you work with a partner when required, but it’s a different approach. Which is all quite natural, as these are two different martial arts, created by entirely different groups of people in a different locations and time periods.

You might like our Heretics history of Tai Chi and Xing Yi for more on that.


Don’t be that guy – Blind spots, martial arts and cult-like rituals

/ Tai Chi Notebook / 2 Comments
Photo by Artem Podrez on Pexels.com

We often label other martial arts groups as a cult, and laugh at their silly behaviour and rituals, but at the same time we are a bit blind to the cult-like aspects to the things we do, because that’s ‘normal’ to us.

I went to a different BJJ school one time and they kept making jokes about my home school being a cult because we have to wear an official gi when training, which is more expensive to buy than a normal gi. There were a few other things mentioned, but that was their main issue. A white belt from another branch of my school had visited previously and he had committed the cardinal sin of facing the corner while tying his belt – that was apparently also a sign of a cult and they recounted the story with much hilarity – “I thought he was having a piss in the corner!”.

However, in that school I observed students doing several things that were equally cult-like, but were apparently completely normal to them:

  1. If you stepped on the mat without bowing, that was 10 burpees.
  2. Classes started and ended by lining up and bowing to the teacher.
  3. I (a grown man) had to ask permission from the teacher to have a sip from my water bottle, or if I wanted to leave the mat for any reason. And then ask permission to come back on.
  4. If a black belt asked somebody to roll, they weren’t allowed to say no, even if they had already agreed to roll with another person.

Now we do some of those things in my school too – we line up and bow at the start, for example, and bow onto and off the mat, but some of those things we don’t do. However, they’re all just different versions of showing respect to each other before and during training. We are learning techniques that have the ability to kill and maim, and people could easily get hurt in the training if we weren’t respectful of our partners safety. Building an atmosphere of respect around the training will hopefully instill that in the actual training.

There is something of an uneasy tension in modern martial arts between capitalism and customs. In modern times the people in a martial arts class are usually paying to be there – they are, as modern capitalism likes to call it “paying customers”. The phrase “the customer is always right” has not entirely entered the martial arts vocabulary yet. It still retains these throwbacks to its “traditional” student and master martial arts heritage, for the reasons outlined above.

But let’s not muse on capitalism too much. The point of this post is to draw attention to the blind spots we all have. To return to that BJJ school – the higher belts were technical, but also fighty without being overly aggressive or dangerous, and the instruction was good and clear, the rolls were good too. But I could have done without the undercurrent of tribalism that that had been instilled in the students and was reinforced by the higher belts.

I think it’s worth repeating that all martial arts are cults, and if you think yours isn’t… then isn’t that exactly what a cult member would say? My attitude is to accept the various rules and customs of each particular cult or organisation as the price for them existing. Without any rules anarchy and disorder would break out and there would be no club at all. The Xing Yi classics famously say – “There is only structure, and there is only Chi”. With no structure, the Chi just leaks all over the place, and with too much structure I guess it can’t flow anywhere. A happy medium is what you’re after.

We (human beings) have the same attitude to our own bodies as well – we don’t see our own blind spots. The way we walk feels natural to us, but that might involve pointing the toes outwards at 45 degrees, compromising our lower back, instead of forward, for no good reason except habit. We might have been doing that for 30,40,50 years, and will probably keep doing it until the day we die without question, until somebody comes along and points out our blind spot, at which point it has become our ‘normal’ and it feels weird to walk in any other way.

A little period of self refection on the subconscious and conscious beliefs we hold true, without thinking about them, is always a good thing.

Heretics episode 100! Xing Yi DOUBLE XL episode

/ Tai Chi Notebook / 4 Comments

We should stop now and again to look back to see how far we’ve come. The Heretics podcast has reached episode 100! It’s a podcast designed to challenge the way you see the world, hence the name. We cover a lot of religious topics, but also a lot of esoteric topics and martial arts. To celebrate episode 100 we’ve done a 2 hour special on Xing Yi. The first hour is a continuation of our History of Xing Yi series, but the second hour is an off the cuff discussion about Xing Yi that you might enjoy more. Expect some heretical ideas and controversy!

Mixed Martial Xing Yi Fight Analysis #2: Tom Aspinall vs Sergei Pavlovich

/ Tai Chi Notebook / 1 Comment

So, in my original post about using the Xing Yi 12 Animals to anaylse the fighting styles of modern MMA athletes (I know, it’s a small niche, but hey, I’m the only one in it!) we looked at Alex Pereira vs Jiri Prochazka and I speculated that they were good examples of the Chicken and Swallow Xings respectively.*

I left the reader with a question at the end… I asked them to take a look at another fight on the same UFC 295 card where British heavyweight Tom Aspinall took the interim heavyweight belt by defeating Sergei Pavlovich. The question was what animal style could we say that Tom Aspinall was a good example of. Take a look at the fight before reading further if, you haven’t already.

So, nobody decided to answer in my comments section but I got a few replies in private groups on Facebook, etc. One person got it half right, but they mixed two animals together in their answer, and only one was right. Interestingly most people seemed to opt for Tom being a rather large Monkey (Hu Xing). I get why, Tom is clearly bouncing in and out on his toes, despite being a massive human, but really that’s where the similarity with monkey ends. Monkey would try to attack from further out than Tom is standing, or from further in – it’s a very ‘in your face’ animal, but also a joker and a trickster. Taking pot shots, then running away. Remember the classic Monkey vs Tiger fight video? That’s Monkey. I can think of at least one modern MMA fighter who is a classic monkey – I’ll post about him in the future.

This charming man

So, let’s look at what Tom actually is. He’s 100% Snake because Snake has Yin and Yang aspects. The key feature of snake is a coiling body, which can be used for either very quick strikes (Yang snake) or wrapping and coiling actions (Yin snake) for defence and grappling/locking. You can see this defensive coil aspect (Yin snake) particularly well when Tom is defending. There’s a little section in the round where he slips punches from Sergei while he coils and winds his body as he circles off – this is classic snake behaviour – just imagine if you were stupid enough to try to grab an angry snake by the neck – it would bend and coil around your hand, particularly if it was a python.

Snake’s are very aggressive, successful predators dating back to the time of the dinosaurs, and they’re always sensing forward, flicking out their tongue, and of course, they have the famous (and sometimes) venomous bite. When a snake bites the action is incredibly fast – you’ll notice that when Tom flicks out his jab the speed catches Sergei completely by surprise. For a big man he punches very quickly. The finish is so fast it’s hard to see, but Tom punches Sergei twice before Sergei can even react, steps back, looks at him, then punches him again sending him to the canvas:

Throughout the fight, Tom is flicking out single jabs and single low kicks too, very quickly.

Snake in Xing Yi is also associated with locking and grappling actions – we didn’t see any from Tom in this fight, but that doesn’t change the character that Tom is showing. (He’s actually a very accomplished grappler as well).

But what about Sergei? Well, we didn’t see much from Sergei in this fight, but from what we saw I’d vote Bear for him. His stepping is short as are his rounded punches. He’s incredibly powerful, and he landed the first strike of the match on Tom, which was so powerful he almost finished it there and then. Luckily for Tom he managed to absorb it. In our style we always include Bear and Eagle together, so I think Sergei’s got the potential for some Eagle strikes too, but the fight simply didn’t last long enough for him to show them.

Xing Yi snake (She Xing)

If you’re talking about snake movements performed in Xing Yi then it looks something like this:

You’ll notice you can see the elements I’m talking about here – fast strikes, coiling movements and grappling applications.

Here’s a video of me doing some Xing Yi Snake. I’m showing some berehand and sword here, but you can see it’s all the same thing.

Your mileage may vary

Photo by will on Pexels.com

* I suppose this post needs to end with some sort of “this is just my opinion” type of disclaimer. But I find people tend to get offended about everything they possibly can regarding Xing Yi these days, so I’m not going to loose too much sleep over it. And obviously Tom has probably never heard of Xing Yi – I’m just using it as a tool to analyse his fighting style. And if you want to enter an MMA match then MMA training is obviously the best way to train for it, not Xing Yi.

There are different lineages of Xing Yi, it’s been transplanted to different countries, and it’s very old, so it’s quite possible that none of my understanding of Xing Yi snake resonates with your particular lineage. It’s a sad fact that most Xing Yi animals have become just a set of techniques or moves, that have long since lost any connection to actual biological animals – successive waves of crushing political ideology, (both nationalism and communism) imposed on a marital art at the barrel of a gun will kind of do that. I will say however, that my understanding of Xing Yi snake is not really based on a particular style of Xing Yi, or a way of doing the move, but on tying to get back to what real snakes do. And I won’t say I wrote the book on Xing Yi Snake, but I did write one chapter of it.

Photo by Jan Kopu0159iva on Pexels.com

UFC 295 – Alex Pereira vs Jiri Prochazka: Chicken vs Swallow fight analysis

/ Tai Chi Notebook / 5 Comments

One of the things I like to do when watching UFC fights is to try and analyse what the fighters are doing in terms of Xing Yi’s 12 animals. Now, I’ve got at least one friend who hates when I do this because he believes it makes people think that by practicing a few Xing Yi moves twice a week in your back yard you can somehow be on the level of professional MMA fighters. Yeah, I get that. Comparing martial arts can easily lead to delusion… however, my No. 1 one rule for The Tai Chi Notebook is this: this is my blog and I can write what I want! So, I’m going to do it anyway. But also, I genuinely think that if you’re a Xing Yi practitioner yourself, then trying to analyse MMA fighters in terms of the 12 animals is a really valuable hobby to get into. It will increase your understanding of not only the animals, but also of fighting itself.

Viewed through the modern Xing Yi lens (by modern, I mean, post Boxer Rebellion, from the early 20th century onward) it’s popular to understand the 12 Animals of Xing Yi as merely variations on the 5 Elements. This approach is indicative of the reductive, simplistic, winds of change that blew through Chinese martial arts over that century. It’s not a wrong view technically (the 5 elements are the basics, so of course they are inside the 12 animals), but it’s also a huge misunderstanding. The 12 Animals are more than just variations of the 5 Element fists, they are older and contain the essence of the art. They’re a continuation of a tradition that started back in the Song Dynasty. If you really want to understand that point of view then I’d point you towards the History of Xing Yi series we’ve been doing on the Heretics Podcast for a few years now – and is currently up to part 15, about to start the Ming Dynasty section.

But coming back to the present day, last week saw Alex Pereira vs Jiri Prochazka for the UFC Light Heavyweight belt at UFC 295. It was a great fight resulting in a knockout for Pereira, but honestly it could have gone either way. There was some debate about the finish being an early call from the ref, but Jiri himself said he was out cold, so it was fair. Highlights here:

Looking through my Xing Yi lens at what the fighters were doing, UFC 295 was a good one because it was very clear what animal strategy each of them was using. (Obviously, neither gentleman has probably ever heard of Xing Yi, however, like I said earlier, I’m simply using the 12 animals to analyse fighting styles.)

Swallow (yan xing)

So, on one hand we have Jiri Prochazka (red shorts) whose attacks frequently go from high to low:

He kicks high to the head, then kicks low to the ankle:


(Obviously a lot, but not all, MMA fighters kick to both heights, but it’s the alternating way he does it, as a strategy, that I’m interested in. It’s not the techniques that make something an animal style, it’s the intent and strategy behind them, but also certain styles lend themselves naturally to certain techniques – which is a subtle point)

He dummys a wrestling shot low but then comes up with an upper cut.

His preferred range is long, and when he punches he throws arcing punches that start low, go high and finish low:

To me this is clearly a Swallow strategy. Swallow is a bird you wouldn’t normally associate with fighting, but it aggressively hunts insects on the wing, and defends its nesting location by dive bombing potential intruders, including humans! Its characteristics are swooping low then going high, particularly over water and “swallow skims the water” is a name often given to a popular swallow movement in forms in Xing Yi, Bagua and Qigong. But the swallow is also famous for its absolutely beautiful aerial acrobatics that are always elegant and graceful.

A swallow defending its nest – I like this clip because you can see the speed that the swallow attacks with, and how unafraid it is of something as big as a human.
The classic “swallow skims water” in action, by the true masters of the art – the swallows themselves.

A typical “swallow skims water” movement found in Chinese martial arts. This one from Cheng style Bagua.

Chicken (ji xing)

But let’s get back to UFC 295. In contrast his opponent, Alex Pereira is famous for his minimal movement and crushing low calf kicks. There’s a great clip of him playing about with UFC commentator Daniel Cormier taking his low kick:

A native of Brazil, Pereira is also famous for his indigenous face paint he wears to the weigh in events:

(For people that like to argue that Shamanistic things have no part in MMA, I always like to point them to double UFC champion, Alex Pereira!)

You can see his famous calf kick in action in UFC 295, completely taking Jiri off his feet:

What’s remarkable about the Pereira calf kick is how little wind-up there is, which makes it hard to see coming – he just snaps it out. He does three identical kicks in a row in that part of the fight – the pictures above show the first – but all three hit home. His punches are delivered in the same way – the hand just snaps out with almost no telegraphing movement at all. You can see in the screen captures above of the kick that his body stays facing the opponent at all times. They don’t look like powerful shots, but you can see the deadly effect they have on his opponents. That very tight coil in his body around the spine that he’s using to pop his kicks and punches out is absolutely indicative of Chicken xing. “Chicken shakes its feathers” is a characteristic move of the animal found in Xing Yi links (forms) and somewhat resembles the Fa Jing expression that you see demonstrated in Tai Chi styles:

A chicken shaking its feathers.

Chicken step

When Pereira defends he is using footwork to evade rather than ducking his body – in fact, he stays very upright and his hands are kept high and defensive, just like they are in Xing Yi Chicken, which relies on footwork for evasion.

The blows which set up the finish from Pereira were so fast and minimal they were hard to see in real time, but it was a counter 1-2, again delivered with that very upright body with the hips underneath the shoulders that is so characteristic of Chicken:

The very tight techniques of Chicken in Xing Yi are very metal in nature – sharp and cutting.

A perfect example of this Chicken style applied to MMA is the standing guillotine. When somebody shoots in for a takedown, wrapping the neck and using your hips to stand tall, with a narrow base is a very chicken-like technique. In fact, Pereira almost finishes the match with Jiri earlier with one:

Standing guillotine attempt from Pereira.

Here’s a video of me doing some Xing Yi Chicken:

As I mention in the video, Chicken is an important animal in Xing Yi because it provides one of the requirements of the San Ti Shi structure – chicken leg.

Another thing Chicken (done by humans) is famous for are the knee strikes, which in real chickens are enhanced by the spurs it has on the back of its legs, and elbow strikes. You see this with fighting chickens especially. My teacher always said that the martial art that most resembles Xing Yi Chicken is Muay Thai, which is famous for knees and elbows.

The finish in UFC 295 was delivered by downward elbows from Alex Pereira and he has finished UFC fights with his famous flying knee before, delivered here in a way that looks very similar to the knee strikes in the Xing Yi link I do above:

Hopefully I’ve made my case.

To repeat: I’m not saying something simplistic like, “UFC fighters are doing Xing Yi”, but that as a tool for analysing fighting styles, I find Xing Yi really useful and the 12 Animals remain really fascinating.

A bit of homework for you…

Finally, I want to leave you with a bit of homework – also on that card that night at UFC 295 was British heavyweight Tom Aspinall. He managed to secure the interim heavy weight championship belt that evening. To me he’s a clear example of another one of Xing Yi’s 12 animals. The question is which one? You have 10 to choose from! Post your answers, compete with your reasoning, in the comments section below and I’ll give a prize for the correct answer (correct according to me, anyway, and I am the final word in this 😉 ).

Have a watch here:

Swallow Photo by Rajesh S Balouria: https://www.pexels.com/photo/close-up-of-swallow-17484064/

Chicken Photo by Luke Barky: https://www.pexels.com/photo/white-chicken-on-a-concrete-pavement-2886001/

REVIEW: Dragon Body, Tiger Spirit: A translation and explanation of the classic texts of Xingyi Quan, by Byron Jacobs

/ Tai Chi Notebook / Leave a comment

Xing Yi is one of the oldest Chinese martial arts that is still practised today, and so naturally it has attracted a large variety of writings over the hundreds of years of its existence. These various writings can be found scattered about in different lineages and books, but now Byron Jacobs has collected them together in one weighty tome – Dragon Body, Tiger Spirit – and included not only the original Chinese texts, but also his own English translation and commentary on them.

Originally from South Africa, Byron is a student of Di Guoyong of the Hebei lineage of Xing Yi, and lives and trains in Beijing.  At one time he was a member of the technical committee of the International WuShu Federation, so he has been able to meet and talk to practitioners of other martial arts and Xing Yi lineages. He runs the Mushin Martial Culture website that offers online tuition, as well as provides excellent YouTube videos on all aspects of Chinese martial culture, history and practice.

(Full disclaimer for this review: I’ve known Byron for years, and while we’ve never met in person I’d consider him a friend. He’s been a guest on my podcast and I’ve been on his.)

The cover

Being interested in design, I always like to spend a bit of time talking about the cover of a book in my reviews, but in this case it’s not really an indulgence because discussion of the cover is properly warranted. Not only is it well designed but it contains a fully colourised reproduction of the famous black and white photo of Xing Yi masters Guo Yunshen and Che Yizhai, taken when Guo visited Che’s martial arts school. Now, since this is the only picture that can reliably be said to exist of Guo Yunshen, it has always been treasured by practitioners in the Hebei lineage of Xing Yi, of which I would count myself as one. Colourising the famous photo is an audacious and brilliant idea. The colours and shading on the faces in particular all look natural and really bring Xing Yi to life as a living breathing art practised by real people, rather than an ancient art lost to history. Did Guo Yunshen actually wear blue robes? I don’t know, but he looks great in them.

Incidentally, the photo is misleading, because the martial arts display Che and Guo are watching is definitely not Xing Yi. Che and Guo are the seated older gentlemen in the centre, watching two performers of what looks like a more Shaolin-derived art, or even a theatrical performance. The stage they are sitting on, complete with performers doing martial arts, and a painted city background behind them makes the whole thing look very much like a Chinese theatre.

What’s inside

The meat of Dragon Body, Tiger Spirit is the collection of all the classic writings on Xing Yi, including a lot of the stuff that came out during the Republican-era martial arts manual-writing craze, as well as older material. Everything is provided in original Chinese characters first, then as a translation into English and finally there is a commentary by Byron which explains what the classic is about. For me the most important classics in the Xing Yi corpus are Yue Fei’s 10 Thesis, since these are amongst the earliest writings on Xing Yi, and a lot of the other writings are based on these, but rest assured they’re included here. In fact, there’s everything you could want, including the Five Elements Poems, Cao Jiwu’s Key extracts of the 10 methods, the 12 animals poems and more. There’s also a section called “Nei Gong Four Classics”, which is a supplementary text included from the Song style lineage of Xing Yi. The classics are bookended with two different sections – the book starts with a short article about the history of Xing Yiquan, written by Jarek Szymanski, which aims to dispel some of the myths that have built up around the art, and ends with some well-researched biographies of famous Xing Yi masters written by Byron. As a practitioner of Xing Yi you’ll find these biographies useful because the names of old masters often crop up in Xing Yi discussion.

I can’t speak for the quality or accuracy of the translations themselves since I’m not a Chinese writer or speaker, however my impression through comparing Byron’s translation here to others is that Byron has used his martial arts knowledge, and specific Xing Yi knowledge to present what he thinks the real message that the classics are trying to be convey is, rather than go for a literal translation each time. This is the best way to approach martial arts texts, as often a literal translation will sound nonsensical, and  just make an English speaker scratch his or her head.

Having the actual text of the classics all gathered together in one place is an invaluable resource for any Xingyi Quan practitioner. That alone makes the book worth getting, but what really tips the balance is Byron’s commentary. He’s always clear, down-to-earth and practical. He does his best to interpret old texts that can often be esoteric and difficult to understand into something that makes sense to practitioners living in this day and age. Apparently, this book took him 10 years to complete, and you can see why. He must have spent a long time agonising over his translations and commentary before committing to a final version – nothing here seems rushed, hurried or half-baked. Everything has been carefully considered.

The casual reader, or beginner in Xing Yiquan, needs to be aware that this is not a “how to” manual – a lot of the Xing Yi classic are about things like endlessly dividing the body into sections and saying how one part works with another, which is not much use to you if you just want to learn how to do a Bengquan. They are full of things like “the eyes connect to the liver, the nose connects to the lungs” – i.e. things that aren’t that much use for practical application. There is a lot of this stuff to wade through if you are going to read the book from start to finish in full. However, having said that, Byron’s commentary on the 5 Element poems (the section of the book that deals with the Xing Yi 5 Element Fists – Pi, Beng, Zuan, Pao and Heng) is so detailed and practical that it does almost function as a bit of a How To. If you are in the process of learning Xing Yi you’ll find this section invaluable. You’ll learn where to put your elbow, fist, feet and how to move your body. And there’s a picture of Byron performing each fist, too. 

I did find myself having small differences of opinion with Byron’s commentary on occasion, but it’s always over very small details or emphasis, and it feels like nit-picking to list them all, but I think it highlights an important point, which is that translation relies on interpretation and because we come from different lineages of Xing Yi I think it’s only to be expected that we’d have slightly different ways of looking at the odd thing. And you too, dear reader, will probably have small differences too, if you are already a Xing Yi practitioner. If there weren’t small differences between lineages, then there wouldn’t be different styles of Xing Yi in the first place. 

My favourite part

For me the best part of this book is the 12 animals section. I’ve always found the 12 animals to be the most fun part of Xing Yi, and if you’re a fellow 12 animals fanatic like me then you’ll love this section. It’s also the largest section of the book, and is illustrated with pictures of the animals being described. For each animal there is a poem written by Byron’s own teacher Di Guoyong, followed by a discourse on the animal written by Xue Dian, taken from his 1929 Republican-era manual “Discourse on Xing Yi Quan” (which was written at a time when it had become popular to include aspects of Chinese philosophy and medicine in martial arts writings). Byron translates both and provides his own commentary. There’s such limited writing about Xing Yi animals available that it’s fantastic to hit such a rich vein of Xing Yi animal discussion. My experience has been that every lineage of Xing Yi has slightly different ideas about what a few of the 12 animals are, particularly “Tai” (which gets called everything from hawk to ostrich and phoenix) and “Water lizard” which gets called a turtle, an insect or a crocodile by some. The view presented here is Di Guoyong and Xue Dian’s (amongst many others), that Tai is a small hawk and Water lizard is a mythical creature being one of the 9 sons of the dragon that had a turtle’s shell.

It’s the spirits of these animals that infuse all Xing Yi practice – even if you’re doing the 5 elements or SanTi, you are still admonished to observe ‘bear shoulders’, ‘tiger head embrace’, ‘dragon body’, ‘eagle claw’, and ‘chicken leg.’ So, it’s great to see such a large section of the book, which gets its name from the dragon and the tiger, devoted to them. Di Guoyong’s poems and Byron’s commentary here are especially valuable, particularly in regard to the intent and particular features of each animal.

Should you buy?

As always with Chinese martial arts classics, these are not writings you read through once and put on the shelf, having absorbed all their insights. Instead, you need to return to them again and again over the course of your life and dip in and out. You’ll find this reinvigorates your Xing Yi practice and each time you re-read the same section you’ll discover new insights. Picking the book up and turning to any page, it’s not hard to find something to be inspired by and to get you motivated to go outside and practice.

If you are a Xing Yi practitioner then having everything here in a single book will prove invaluable to you and Byron Jacobs has done every practitioner a great service by completing his magnum opus. Even if you are a Tai Chi practitioner, I’d still say you should get this book, as many of the ideas contained in all internal arts found their first flourshings of life in Xing Yi and the Xing Yi classics. Highly recommended.

Rating: 5/5

—

Where to buy::

Amazon UK

Amazon US

Direct from Mushin Martial Culture

If you want to find out more about the book then I’d recommend listening to Byron’s interview about this book on Ken Gullette’s podcast. 

You can also buy a reproduction of the cover photograph from Byron’s Mushin Martial Culture website.

New podcast: Discovering Neijiaquan, with Jess O’Brien

/ Tai Chi Notebook / Leave a comment

My guest for this episode is Jess O’Brien, author of the book Neijiaquan and co host of the Neijiaquan podcast, which he runs with Isaac Kamins.

Since 1999, Jess has studied extensively under BK Frantzis. Over the years, he has also trained with other, preeminent internal martial artists like Luo De Xiu. He has been active in martial arts since his teens.

In this episode we discuss what drew Jess to the internal arts and how he trained with various different teachers before becoming a student of Bruce Kumar Frantzis.