The article has some great ideas, especially about forms being memory holders for principles, rather than catalogues techniques.
“you need to use the forms, or techniques not as platonic ideals to be chased forever, but as examples from a broad set of ‘what is possible’. It is possible to hit this way, that way and another way. It is possible to unbalance this way, that way and another way. And so on. No perfect techniques, just the capacity to recognise possibilities”
I often come across a particular attitude to Chinese martial arts history amongst martial artists. They treat it as if it happens all together and all at the same time.
One common refrain you’ll hear is something like “the principles are all the same between Tai Chi, Bagua and Xing Yi.” True, viewed from a certain perspective the “internal” arts are all based on the same principles, but I find this idea is often really being used to shut down debate and ignore historical facts.
It’s a lazy cop-out for doing actual research into the history of these martial arts. It’s a kind of “get out of jail free” card that squashes together events that happen decades, or even hundreds of years, and sometimes thousands of miles apart. It’s easy to forget just what a vast country China is, and how long its history is.
In a way, the last people you want doing your history research are martial artists. (My preference is for history scholars who are also martial arts hobbyists.)
I believe it was Sun Lu Tang who first grouped together Tai Chi, Bagua and Xing Yi as “internal” arts in his 1915 publication, A Study of Xing Yi Boxing. Sure there had been talk of Neijia before this, but this was the point where the idea of grouping those three arts really took off.
“I myself have barely scratched the surface of the Xingyi Boxing art. It contains the states of nonpolarity and grand polarity, the five elements and eight trigrams, a starting posture and various techniques. When we examine for its origin, it can be said to be of the same source as the two arts of Taiji and Bagua, as well as the two schools of external and internal, but was then gradually turned into its own system by later generations and has evolved into various styles, as is the normal way of things.”
Sun Lu Tang – A Study of Xing Yi Boxing
The idea stuck, and later, when the Guoshu Research Academy was set up in 1928 to promote national unity initially the organisation was split into two sections – one dedicated to teaching “Shaolin” arts and the other to “Wudang” arts. (This proved disastrous because the two sections immediately started fighting with each other, in one case with bamboo spears!)
But the grouping of the Big Three, survived, probably with a little help from the Guoshu and then Wushu movements, and is still used today.
China was going through periods of tremendous change during the 19th and 20th century – 10 years here or there can make a huge difference to the political, social, cultural climate in which these arts operated and have profound implications on them.
Martial arts blew in the same breeze – swinging one year from being bastions of a return to traditional Confucian values, often with bloody outcomes, see the Boxer Rebellion, to being radical trailblazers in new scientific Western thought – see the Guoshu movement.
And the influence of Western powers on China during this time was all pervasive. As were opium and guns! It’s often forgotten that guns were in common usage during the time period that all of today’s household names in Chinese martial arts were being developed – Tai Chi, Wing Chun, Choy Li Fut, White Eyebrow, etc,
My point really is simple: If you’re going to comment on Chinese martial arts then you need to take the wider Chinese historical perspective into account.
Jarek Szymanski’s website, China from Inside was one of the first and best resources on the web for the history and practice of Chinese Martial Arts, written by a European living and working inside China. It was particularly good for finding out how internal martial arts, like XinYi, XingYi, Bagua and Taijiquan were actually practiced in their native environement.
I remember reading his website back in the 1990s, and it’s still there!
Nick at Masters of the IMA has been working together with Jarek over the last few months on recording some of his experiences in China back in the 90s – how he came to end up living in China, his experiences investigating the history of various CMA, etc.
He’s posted the first parts of the interviews on his website, and it’s well worth a read. You can find out all about his experiences on Mount Wudang and Beijing, and get his opinions on how modern Chinese martial arts related to the older traditions, and how they differ. I really liked his insights into places like the Shaolin temple and Mount Wudang (see part 5) and how they’ve changed over the years compared to his visits there in the 90s.
“When we got there, we saw some Shaolin monks (wuseng) giving performances not in a stadium, but just in an open space outside the temple. As far as I can tell they were demonstrating some forms and hard qigong, iron shirt (tie bu shan), etc. My Polish friend and I had great fun ‘testing out’ the iron shirt guy – when he invited members of the audience out to test his iron shirt, I don’t think he was expecting to be punched full force in the stomach by two 6-foot Polish guys (laughter). It was at that point that I realised so-called iron shirt is not that special, most demonstrations of iron shirt are just a combination of timed breathing and muscle contraction, similar to what I had practiced in my early karate years.”
Another of the Internal Arts of China is Bagua, the core practice of which is walking a circle with various different palm positions. While I don’t really practice Bagua I do have a great circle walking training tool at my local park. Check it out:
As you can see, it’s important to fit your training into your life, and the local park provides many different training opportunities.
As it says in the Tai Chi Classic,
“In motion the whole body should be light and agile, with all parts of the body linked as if threaded together.”
Obviously you need to be light and agile to keep your balance while stepping on this childrens’ ride. Lightness and agility are important qualities that need to be trained in Tai Chi, and always practicing on a perfectly flat wooden floor of a dojo, or the flat concrete of a patio won’t help you. I strongly advocate training the form on a variety of surfaces, both even and uneven, sloping, staggered and even moving, as shown here! Also, it never hurts to have a little fun time with your kids 🙂
Yang says: “2.) Sink the chest and pluck up the back. The chest is depressed naturally inward so that the ch’i can sink to the tan-t’ien [field of elixir]. Don’t expand the chest: the ch’i gets stuck there and the body becomes top-heavy. The heel will be too light and can be uprooted. Pluck up the back and the ch’i sticks to the back; depress the chest and you can pluck up the back. Then you can discharge force through the spine. You will be a peerless boxer.”
Personally, I like thinking of it as ‘shelter’ the chest, rather than “sink” or “hold in”, even if that’s not the exact translation. I think that works better in English for me, it implies a more natural position with less force being used than ‘hold in’ does. YMMV.
The whole thing is intimately related to the breath and ‘sinking the chi to the dantien’. If you change the focus of the breathing to the dan tien area, so that area expands when you breathe in and contracts when you breathe out (that’s ‘normal’ dan tien breathing, there’s reverse as well, but let’s not get into that) then your upper chest will natural soften and have the feeling of hollowing – so it’s not so much something you actively ‘do’, it’s more like something that happens as a result of doing something else. The old Wu Wei idea of doing without doing. The whole posture in Tai Chi should be as natural as possible without any artificial additions – but it does require effort (including mental effort) to do, paradoxically – you have to make an effort to be as relaxed as possible, usually by getting rid of the unnatural habits we pick up through doing things like typing on this computer or misusing our bodies in other ways, such as stiff shoulders and neck.
If you let the upper chest expand as you perform the movements then you are effectively ‘letting the chi rise up’ rather than ‘sinking it to the dan tien’. In Tai Chi you need to make your centre of gravity the dan tien area, and this requires letting the tension in the upper body release downwards (of course, you still need that opposite feeling of being drawn upwards from the crown that’s talked about in the classics, and in the above quote as “pluck up the back”, otherwise you slump, or get that crumpled ‘old man’ look I see too often in Tai Chi practitioners, which is not good either IMHO).
One of the meanings of chi is air, or breath, so you can see how ‘sinking the chi to the dantien’ relates to breathing from that area, and how ‘letting the chi rise up’ relates to the breath being too high in the body. All the posture requirements of Tai Chi (as featured in Yang Cheng-Fu’s 10 Important Points essay) are all part of the same thing really, so it can sometimes be misleading to consider them on their own as separate things – or as Mike Sigman said:
In relation to the tail-bone tuck (which I think really just says that the tail-bone should point downward and says nothing about “tuck”), one way of looking at that requirement is that it’s for the same reason the gua is sunk and relaxed, the back is relaxed, the head is suspended, the armpit is rounded, the crotch is rounded, the chest is hollowed and the back rounded slightly, and the stomach is relaxed. They are all done to affect the same thing which connects them all.
All this being said, there are a wide variety of interpretations of what these things mean amongst the different styles. Amongst Tai Chi stylists (mainly from Yang Lu Chan lines, since Chen guys seem to want to be a law unto themselves ) I think my view above is by far the most common IMHO, but you can counter pose it with the view amongst some Bagua stylists that the chest should be expanded outwards, but this seems to be part of a complete system and way of doing things that is very complete and detailed, and includes circulating energy in directions counter to the more usual way of doing it.