Tuesday, September 27, 2011

Saturday, September 24, 2011

1911 - Jackie Chan - Official Trailer

Could be good. I like the premise.

"At the beginning of the 20th century, China is in a state of crisis. The country is split into warring factions, the citizens are starving, and recent political reforms have made matters worse, not better. The ruling Qing Dynasty, led by a seven-year-old emperor, is completely out of touch after 250 years of unquestioned power.
With ordinary citizens beginning to revolt openly, the Qing Dynasty has created a powerful, modern army (the "New Army") to quash any rebellion. But weapons are expensive, and desperate for cash, the Qing leaders are trading anything they can get their hands on with foreign countries... and selling China's future in the process.
Huang Xin (Jackie Chan) has recently returned from Japan, where he has studied the art of modern warfare. When he finds his country falling apart, he feels he has no choice but to pick up the sword, leading an increasingly desperate series of violent rebellions against the powerful Qing Dynasty and the New Army- several with tragic consequences.
From the walls of the Forbidden City to the battlefields of China, with no expense spared in production and no detail ignored in its quest for historical accuracy, 1911 is a true epic in every sense of the word."

Friday, September 23, 2011

Xingyi Quan - Five Element Chain Whip!

Liu Fuquan – Xingyi Wuxing Lianhuanbian (Five-Element-Linking-Nine-Section-Whip) pt 01

Liu Fuquan – Xingyi Wuxing Lianhuanbian (Five-Element-Linking-Nine-Section-Whip) Pt 02

Wednesday, September 21, 2011

Shuai Jiao Bad Ass - Chang Dong Sheng (1908-1986)

1970's footage of Chang Dong Sheng, "The Shuai Chiao King". The clip starts with Chang Dong Cheng demoing his Shuai Chiao. Second he performs his Chang Taiji and third he performs his Xing-Jing as learned from Liu Er Bao.
original source:

Monday, September 19, 2011

Seven Stars of Xingyi Quan - Mike Patterson

Li Tsun I was once quoted saying, "If you want mercy, best not raise your hand." It was furthermore said of Li that when challenged, "He put forth his hand, strode forward easily and achieved his objective."

In actual combat, a fighter needs three things, a calm mind, no hesitation and a system that supports the kind of fluid energy necessary to win. Combat should be lucid, unbridled and succinct. "Stick like glue until conclusion." The opponent must be thought of as, not a system of arms and legs, but as one big target with unlimited points of attack.

Hsing I is well known for its rapid closing and punishingly powerful attacks. Anyone who has had the unpleasant experience of crossing arms with an adept of the Art will attest to this fact. They will probably also babble incoherently about the seeming impossibility that their nemesis seemed to have many more than just two arms and two feet. Blows seem to literally rain in from all angles and elevations, sometimes several at once.

Hsing I fighters from Hsu Hong Chi's school of thought have a credo, "Fold in, fold out, stick like glue until conclusion." Just how this is accomplished is the focus of this article. We show this to our opponents through use of the "Seven Stars " of Hsing I in fluid combination. These principles of striking hold that there are seven weapons of the body that can attack with devastating power. They are as follows:

1. Elbow hit. "To strike is to be all out. To move hands and legs together. Fists as cannons, body as a dragon. Move as if you have flame all over in the face of an attacker."

The elbow is an extremely damaging tool when used by someone who understands it. It is obvious that the bony tip can be quite destructive to various areas of the opponent's anatomy. Its limitation being, of course, its range. You must work diligently o n learning to "fold in" from a parried hand attack and upon gaining control of the opponents center line, utilize quick stepping and angular footwork as a vehicle of delivery of sequential elbow attacks.

2. Head hit. "The whole body moves as one. The feet take position in center."

The head is often unexpected in the clinch position when hands have been trapped and elbows neutralized. If you strike quickly, you can control the situation adroitly.

3. Shoulder hit. "One is Yin (back) one is Yang (front). Hands are hidden. Right or left depends on the situation."

The shoulder is a punishing weapon when used in the beginning of a clinch (sometimes in conjunction with the head) or as an adjunct fold immediately after a successful elbow. The "bracing" posture must be utilized when using either the shoulder or head as a striking weapon. My teacher used to say "When you strike with the shoulder, you think 1,000 dollars stay ground. You GET!"

4. Hand hit. "Moving from your chest, it is like a tiger catching a lamb. Strength put in hands should be instantly variable. Elbows are to be lower than armpits."

All proper Hsing I hand blows exemplify this principle. Keeping the elbows down allows proper kinetic alignment of the skeletal system for massive impact, and alignment of the sinews for tremendous kinetic potential. If the elbow is raised the flow of kinetic power is diffused at the shoulder and cannot reach the hand.

5. Hip hit. "Yin or Yang, left or right is up to the situation. Be natural while moving feet. Be quick as a sword while attacking."

The hip is the hardest of all the weapons to manifest power in as it is closest to the pivotal point of the waist. Therefore there is less distance for the wave of potential energy to travel and gain momentum. The key here is as implied, you must be ex tremely quick with your issuing (fah jing).

6. Knee hit. "Strike on vital points can be fatal. Hands up balancing body."

The knee is an excellent midrange tool if used in conjunction with the hands to immobilize and then attack. The knee must be snapped up from the strength of the abdominal muscle groups. It should not be swung up as a pendulum.

7. Feet hit. "Steps are firm. The strength comes from foot rooted to the ground, never let your attempt be known. Power of a tornado."

Too often, the novice in an attempt to gain more range or elevation in their kicking techniques will violate the root from their support foot by coming up on the ball of the foot. It is imperative that there exist a strong anchor from which to rebound the kinetic wave, or much of the energy potential will be scattered.


The reality of utilization of the Seven Stars principles in combat relies strongly on the development of Fah Jing (issuing energy) skills to ensure that the very close range weapons of the shoulder, hip and head carry sufficient force to accomplish the goal. This is one of the reasons this skill is so heavily emphasized in my family's training curriculum.

Also, two person exercises in the San Shou (pushing hands) category is an excellent place to hone these skills in a relatively safe environment before putting them to the test in contact training. Try occasionally limiting your push hands practice to d oing only shoulder or only elbow strikes or any of the other weapons or combinations of weapons where you feel deficient in skill. This "isolation" approach can work wonders in virtually any deficient area of skill. Start soft and slow and as you develop more familiarity and confidence with the new techniques, gradually increase the speed for a more realistic look at the true potential.

As a secondary step, try reduced speed sparring. This requires cooperation on the part of both combatants. The idea is to move at approximately one third to one half speed in a consistent manner, without suddenly speeding up to intercept or strike. If done properly, it will allow the time to think a bit during the evolution of combative flow, giving both participants a chance to grow in their appreciation of possible technique.

Learning the use of any new weapon simply requires a focused study of that particular weapon. Learn the techniques of usage and then practice, practice, practice.

Sunday, September 18, 2011

Chinese Archery

Chinese Archery demonstration from Stephen Selby of the Asian Traditional Archery Research Network (ATARN)

Tuesday, September 13, 2011

The Song of Pi Chuan by Mike Patterson

The Song Of Pi Chuan

From the mouth, come the two fists closely held.

Up to the eyebrow, drills the forefist.

Close behind the forefist, follows the hind fist.

Together with the crossing arms, the heart unites. Chi falls to Tan Tien as body moves, hind foot forward as the arms separate.

In a hemisphere the Tiger's mouth opens while all fingers apart.

Forehand pushes to between eyebrow and heart.

Under the armpit, the hind hand stays.

Hand, nose, and foot form the three point set.

So as Pi Chuan tsuans upward, to the eyebrow, turned up the little finger.

Together sink the feet and hands, upthrust the tongue.

Advancing, changing styles, hind palm sinks downward.

In performance of Pi Chuan, the Splitting posture, there are several key elements that must be harmonized before the posture will feel balanced and powerful. Until these component parts are intuitively understood, the movements will feel only awkward at best. We will address the first two lines of the song first.

Initially, the fists must twist (drill) upward from their palms downward position at the waist, keeping near the torso, so as to almost brush the skin, and then shoot outward from the mouth. This will ensure a circular connected strength in the fist and the twisting will both augment power from central muscle groups and serve to coil the limb for power in the subsequent pulling action.

And now the third line reminds that the hind fist follows at the elbow of the striking fist to protect the ribs from attack and to be closer to the opponent for secondary attack.

As this action is completed, and the thrusting from the rear foot dissipates, bring the rear foot up to light foot (foot level at medial ankle of support foot) position and feel the suspension from the Pai Hui (crown of head) point anchoring your center of balance.

"Together with crossing arms," begins the next line. And as the arms cross in preparation to perform the palm separation, the mind stills and the intention takes shape. This is what is meant by "The Heart Unites". Be sure that the armpits remain open to keep the proper energetic and kinetic linkage.

The next section of the poem is very important in that it tries to impart to the reader the necessary harmony of mind and body as the intention is completed.

As you change styles into the Splitting palm, drop your mind to lower Tan Tien (a spot three fingers below your navel) and settle your Chi as you perform the Tearing Silk action.

The next four lines of the song give details as to positioning of the posture. Tiger's mouth (the space between the thumb and index finger) must be open and stretched as is the whole hand. The attitude should be one of holding a six inch ball lightly. This shape is to aid the energetics of the posture. The forward hand should reside at a height that sits between the eyebrow and heart. "Under the armpit, the hind hand stays." This detail occurs immediately after the arms cross in transition into the Splitting Palm posture. The hind hand must circle through the armpit on its way down to the abdomen. This action creates a double interacting spiral, one vertical and one horizontal, in the torso and waist magnifying kinetic potential. At completion, the lead finger, nose and the lead toe should all be on a single plane, forming the "three point set" of the San Ti (three leg) stance.

The final lines of the song relate to the first fisted posture of Pi Chuan and again reiterate that when you perform this part of the change to tsuan (twist) the striking hand so that the little finger is turned upward in relation to the fist. The tongue should be upthrust to insure the energetic connection of the Du and Ren pulses in practice. And the body and hind palm should sink downward in the "changing styles" of the Splitting palm.

Pi Chuan is often called the soul of Hsing-I practice. What you learn (or don't learn) in your Pi Chuan practice will transfer to every other part of your Hsing-I Chuan.

The essence of Pi Chuan is Rising and Falling energy. When you advance to the light foot position, the whole body must be light and suspended while coiling every muscle fiber for the subsequent strike of the palm. Even the striking palm is brought upward in a coiled position with the pinky turned upward.

When you advance forward, you must do so with solidity. Tan tien motivates the strike and the whole body sinks at the spacial focal point. This is effortless power.

The Palm strike of Pi Chuan is mostly downward. The forward part of the blow is largely a result of the corresponding foot movement. The strike must be performed like an axe stroke. The movement must be natural, allowing the force of gravity to act on the hand, and be coerced, guided and accelerated by the rest of the muscular/skeletal system

The state of mind must be pure and focused on only the movement being performed until completion. If you allow your mind to leap ahead to the next movement in an effort to gain more speed, you shall gain only disharmony and your movements shall lack power as a result of the absence of real intention. The conscious and subconscious mind must be linked together to manifest absolute power. There can be no disparity of command issued to the body.

The strength of Pi Chuan is imparted mainly through the waist and intercostal muscles. The half step of the feet does not vector power in Pi Chuan as it does in some of the other elements. The kinetics are simply not there to apply vectored force. Rather, the half stepping in Pi Chuan should be applied in synchronicity with the arrival of the body's center at it's pre-determined spacial point when the actual blow is delivered, thereby maximizing the body's rooted connection to the ground. More solidity means more potential power.

Lastly, power originates in the waist, is rebounded through the legs, developed through the torso and manifest in the fingers. But Hsing-I has been best likened to a whipping piece of rattan. It moves at once in a brisk wave. When practicing, remember to lead with the hands when performing Pi Chuan and connect them to Tan Tien so that the whole body moves as a unit. If you think of leading with the waist, you will move too sluggishly. The wave will be too big. It is simply not possible to think about the individual parts of the kinetic process and manifest it with any speed. The movement has to be like a pulse. The image of intent is formed and the body and energy obey that intention.

Remember quality over quantity in your practice. The internal arts are unique and they must be practiced in a unique and thoughtful way...

From Hsing Yi.Com

Sunday, September 11, 2011

Saturday, September 10, 2011

Luo Dexiu Denver Seminar this Weekend!

Friday September 9, 2011 ~ 5:30 - 8:30, $75
3 hours Ba Shi ~ Eight forms linking. This is a high level form emphasizing the rising, falling, opening and closing aspects of Xingyi's drilling, crushing, cannon pounding and crossing mother fists along with rooster, sparrow hawk, swallow, and horse animal shapes.

Saturday September 10, 2011 ~ 1:30 - 8:45, $125
~ 6 hours Post-heaven line 1: applications of single palm change circles

Sunday September 11, 2011 ~ 1:30 – 8:45, $125
~ 3 hours Post-heaven line 8: 8 body method applications
~ 3 hours Tai Chi Four corner push hand techniques

Monday September 12, 2011 ~ 5 - 8, $75
***@ Living Arts Center,
~ 3 hours Black dragon swings its tail 1~5

Location: Friday, Saturday, and Sunday @
Denver Dance Center

Friday, September 9, 2011

The Sword Identity (2011) - Movie Trailer

"In a martial arts event during the Ming Dynasty, a young swordsman must use not only his exquisite swordplay technique, but also his wits, when competing against the masters of four different philosophies of combat."

Kyuzo Mifune 10th Dan Judoka

Thursday, September 8, 2011

Gao Bagua application1972

Gao style Bagua Zhang, showing application of Hou Tian Palms, pictures taken at 1972.
何可才老師, 黃東泉, 鄧昌成於1972年在灣仔林波天台攝影之廣華山高式八卦掌, 後天六十四掌第一路攻勢.

Monday, September 5, 2011

Mind Form Fist Two Man Set

Xingyi Quan An Shen Pao - Mind Form Fist Stable Body Pounding Set

Yi Zong Founder Zhang Jun Feng - An Shen Pao at 14 sec:

Yi Zong Founder Zhang Jun Feng - An Shen Pao at 3:40

Saturday, September 3, 2011

Ba Gua Founder - Dong Hai Chuan

"No one knows the origin of Pa-kua. It is only known that Tung
Hai-ch'uan of Wenan Hsien in Hopeh Province during the Ch'ing Dynasty
(A.D. 1798 - 1879) learned this art from an anonymous Taoist in the
mountain fastness of Kiangsu Province. Tung, a young man then barely
into his twenties, is said to have been nearly dead of starvation when
the hermit chanced upon him. The Taoist ministered to him and Tung
stayed several years with him and from him learned a "divine" boxing....

Near middle age, Tung became a eunuch in the king's palace. He did
not get on with his fellows, however, and soon was assigned to the
royal family of Su Ch'in-wang as a servant. Su employed a Mohammedan
boxer and his wife as chief protectors of the houshold. Sha Hui-tzu,
the boxer, held everyone to immediate obedience, and his wife, an
expert postol shot, made them a solid combination. Once at a big
banquet where the congestion was beyond relief, Tung served tea to the
guests by lightly scaling the wall and crossing the roof to the
kitchen and back. Lord Su recognized from this that Tung probably had
boxing ability. Subsequently, he ordered Tung to show his art. Tung
did: he demonstrated Pa-kua. His sudden turns and fluid style
enthralled the audience. Thereupon, Sha challenged Tung but was
defeated. Tung watched for Sha to attempt revenge. Late one night
Sha crept into Tung's bedroom, a knife in hand, while his wife aimed
her pistol through the window at Tung. Tung quickly took the pistol
from her and turned on Sha, who pounded his head on the floor seeking
forgiveness. Tung agreed to forgive him and even accepted Sha as a

Later in life Tung retired and taught only a few selected persons his
Pa-kua. Although he withered, the stories did not. One had him in
the midst of several men with weapons who were bent on his blood. He
not only emerged unscated, but soundly beat his attackers. Another
time he sat in a chair leaning against a wall. The wall collapsed and
his disciples ran up, fearful that he had been buried. He was found
nearby sitting in the same chair leaning against another wall! But
the grandest story, told by Wan Lai-sheng, concerns Tung's death.
Certain that he was dead, some of his students attempted to raise the
casket prior to burial. But the casket would not move. It was as
though it were riveted to the ground. As his students tried again and
again to lift it, a voice came from inside the casket: "As I told you
many times, none of you has one-tenth my skill!" He then died and the
casket was moved easily.

Tung died at eight-four. His most famous students (of a reputed total
of only seventy-two) were: Yin Fu, Ch'eng T'ing-hua, Ma Wei-chi, Liu
Feng-ch'un, and Shih Liu."

From "Pa-Kua: Chinese Boxing for Fitness and Self-Defense" by Robert
W. Smith. Kodansha International, 1967.

-Jess Obrien