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Sifu Randy Choy on training: part two

Second in a series: Sifu Randy Choy is a well-respected martial arts teacher in Hawaii. Sifu Fong thanks him for graciously sharing his thoughts on training here.

Taijiquan's Natural Theory, Han Shung Bah Bei

During one of my lectures on the practice of Taijiquan, I discussed how, after practicing Taijiquan for a long time, one's movements become natural. This is an effect. But is it a theory of Taijiquan? Or is there such a thing as a "Natural Theory"? To all Taiji practitioners, the following is my explanation.

Yes, this is both a theory and a method of training in Taijiquan as a result of long, continuous practice. But, do not confuse this effect with the Natural Theory. The little-known Natural Theory refers to the practice of collecting or storing power called in Chinese Han Shung Bah Bei. In the movements of Han Shung Bah Bei, the chest is slightly inverted. Usually this is done while performing yin steps when the posture is closed. When performing yang steps, the posture is open. The spine must be upright: correct the posture and the power can come out. Remember, if one does not practice this, the power cannot come out.

The last question asked was, "Does Han Shung Bah Bei apply to every Taji movement or every Taiji step?" The answer is no. It does not apply to every Taji movement or every Taiji step. For further information, please consult your Taji instructor.

What are the 13 Sections of Taijiquan?

In the 17th year of the Republic of China, my teacher Grandmaster Pan Wing Chow learned the old frame Chen family Taijiquan shadow boxing from Mr. Chen Fa-Ke, styled Fu-Sheng, in the city of Peking. Grandmaster Pan learned the 64 movements old frame form consisting of the following 13 movements.

Begin with the preparatory form to the first Buddha's warrior attendant pounding the mortar.
Continue with the first block and fasten the coat, the first single whip to the second Buddha's warrior attendant pounding the mortar.
The first white goose spreading its wings to the first diagonal form.
The first brush knee twist step to the second diagonal form.
The second brush knee twist step, cover hand and forearm, and punch to the third Buddha's warrior attendant pounding the mortar.
Draping over the body fist, the green dragon coming out of the water, the fist invert and twist forearms, the second white goose spreads its wings, to the third diagonal form.
The first flash through the back to the second single whip.
The first transportation hand to the fists protecting the heart, the tornado kick to the third single whip.
Beckon to the front, to the rear, parting the wild horse's mane to the fourth single whip, the fair lady works the shuttles, the second block and fasten the coat to the fifth single whip.
The second transportation hand, swing leg and fall, golden rooster stands on one leg, the second invert and twist arms, the third white goose spreads its wings, the fourth diagonal form, the second flash through the back, to the sixth single whip.
The third transportation hand, the second high pat on horse, the white ape offers fruit to the seventh single whip.
Dragon presses against the earth, step up to the 7 stars, and step back to the straddling stance.
Finally, turn the body with leg swing, cannon to the head, ending with the fourth Buddha's warrior attendant pounding the mortar.

White Goose or White Crane?

Referring to the thirteen movements of Chen style Taijiquan, one of my students asked why I use the term "the white goose spreads its wings" rather than "the white crane spreads its wings"?

When my teacher Grandmaster Pan Wing Chow learned his Chen style Taijiquan in Peking, "white goose spreads its wings" was the term used. The phrase bai e liang chi (the white goose spreads its wings) is similar in pronunciation to bai he liang chi (the white crane spreads its wings).

Chenjiagou village was a farming community and, in the 64 forms Chen style Taijiquan that was taught there, the movements of the white goose were used. Its movements were not so outstretched and they appeared in postures 6, 18, and 48. At that time, teacher Pan's schoolbrother was Mr. Hong Junsheng. Both were students of Master Liu Musan who introduced them to Master Chen Fa-Ke. Mr. Hong taught the 81 forms of Chen style Taijiquan. He used the term "white crane spreads wings," which is found in postures 6, 22, and 63. Those movements were more outstretched.

It is my belief that after living in Peking for a while and after associating with many of the other top martial arts masters, Mr. Chen Fa-Ke decided to use a more scholarly terminology, using "the white crane spreads its wings" rather than "the white goose spreads its wings." Today, most of the writings of Chen style Taijiquan use the phrase, "the white crane spreads its wings." In my opinion, both phrases are acceptable. I'll leave it up to you.

About the training method of Taiji Push Hands

Today, fighting is the most fascinating topic in my class, more popular than exciting qi. Fighting is to rap music as qi is to the classics. So, I give them what they want. I line up the fighters with the qi practitioners and have them do some push hands exercises. Yes, push hands is to Taiji as sticky hands is to Ving Tsun.

What is the training method of Taiji Push Hands? I asked a similar question to my Chen Taiji teacher, Grandmaster Pan Wing Chow. With eyes opened wide, he gave me that look. He then smiled and asked if I would like to attend a Taijiquan push hands tournament. So in November 1980 I sat with Grandmaster Pan and his friends in the VIP section of a Taijiquan push hands tournament in Taipei City. I sat through two days of taijiquan hand and weapon forms, and hours of Taijiquan push hands competitions from morning to night. The masterful Taijiquan push hands demonstrations by Master Huang Hsing-Hsien was forever embedded in my mind. I took pictures of his push hands demonstrations. He was "rough and tough" and I aspired to become like him.

So then, what is the training method of Taiji push hands? To begin, follow the "Rule of Quan." You must practice and train the eight energies of Taijiquan. Begin with "peng, lu, ji, an." These are the first four energies you must train. Your taiji instructor will begin by teaching you "peng jin" referring to inflated energy, "lu jin" referring to pulling back energy, "ji jin" referring to pressing energy and "an jin" referring to pushing energy.

First practice the stationary step push hands exercises and later the fixed step. Then you can practice the three steps forward and three steps back push hands called, "Jin Sin Tui Sau." For the more advanced Taiji practitioner, you need to practice and train the next four energies. Starting with "cai jin" referring to pulling down energy, "lie jin" referring to spiralling energy, "zhou jin" referring to elbow energy and "kao jin" referring to shoulder energy.

At this point, you might think you are looking pretty good, but you are far from that. You are just "good looking" and you need more instructions. You must consider the "Principle of Yin and Yang." Either your upper hand begins with yang and is followed by yin, or your lower hand begins with yin and is followed with yang, and so on. If your opponent uses "an jin," you must use "peng jin." If your opponent uses "ji jin," you must use "lu jin."

Confused? Look at it from another viewpoint. If you "an jin" your opponent, he will use "peng jin" in order to neutralize your energy. If you "ji jin" on your opponent, he will use "lu jin." If you are still having problems in push hands, consult your instructor. There is no fun getting tossed all over the place unless you're doing the tossing.

Use your intelligence. Go back to the dualities of what is hard and what is soft in Taiji push hands. Hard is what your opponent feels when he tries to move against you. He feels your rigidity. Soft is when your opponent makes contact with you and feels no tension, as if you are no longer there. Softness is when you follow your opponent smoothly, versus hardness, when you no longer follow him.

Remember, if your opponent uses 300 hundred pounds, or 30 pounds, or 3 pounds against you, do not use any force against him. Allow his force to go down to zero. The hard and soft of Taiji push hands is what your opponent feels. If you grasp your opponent's hand, he knows your power. You're at a disadvantage. Do not let him know your power. Don't give him any power. This is the training method of Taiji push hands.

SIFU RANDY CHOY COMMENTS ON FONG'S ARTICLES

Dear Professor Gregory Fong,

My students just love your article, Push hands: the Purpose of Making Contact. Many of them come from a karate or hard kung-fu background. Being sensitive, being humble are not really in their vocabulary. Power and brute strength are.

My students who attended your I-chuan seminars in Hawaii know that being sensitive, fast, and powerful is hard work. In fact, everything you teach them is hard work. I used to smile when you placed your finger onto a student's pelvis and asked him to lower his stance. As soon as you removed your finger, the pelvis slowly moved upwards. When you instructed them to embrace a pose and relax, I saw the "stare" in their faces. It was like no other stare. I just couldn't describe it.

I make no claim to making anyone a good fighter: all I can do is prepare them for a fight. That is why I have them read your in-depth articles on the martial arts. Your latest articles, The Meaning of Relaxation, and Up/Down Training: the Key to I-chuan's Six Powers, were super high-octane material. We at the Chinese Athletic Arts Academy appreciate your wisdom, your guidance, and your articles on the internet.

Mahalo,
Professor Randy Choy
Founder of the Chinese Athletic Arts Academy
Advisor to the Hawaii Martial Arts International Society
Chuk Kai Tai Chi Preying Mantis Organization-Hawaii

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	Sifu Randy Choy on training: part two Second in a series: Sifu Randy Choy is a well-respected martial arts teacher in Hawaii. Sifu Fong thanks him for graciously sharing his thoughts on training here. Taijiquan's Natural Theory, Han Shung Bah Bei During one of my lectures on the practice of Taijiquan, I discussed how, after practicing Taijiquan for a long time, one's movements become natural. This is an effect. But is it a theory of Taijiquan? Or is there such a thing as a "Natural Theory"? To all Taiji practitioners, the following is my explanation. Yes, this is both a theory and a method of training in Taijiquan as a result of long, continuous practice. But, do not confuse this effect with the Natural Theory. The little-known Natural Theory refers to the practice of collecting or storing power called in Chinese Han Shung Bah Bei. In the movements of Han Shung Bah Bei, the chest is slightly inverted. Usually this is done while performing yin steps when the posture is closed. When performing yang steps, the posture is open. The spine must be upright: correct the posture and the power can come out. Remember, if one does not practice this, the power cannot come out. The last question asked was, "Does Han Shung Bah Bei apply to every Taji movement or every Taiji step?" The answer is no. It does not apply to every Taji movement or every Taiji step. For further information, please consult your Taji instructor. What are the 13 Sections of Taijiquan? In the 17th year of the Republic of China, my teacher Grandmaster Pan Wing Chow learned the old frame Chen family Taijiquan shadow boxing from Mr. Chen Fa-Ke, styled Fu-Sheng, in the city of Peking. Grandmaster Pan learned the 64 movements old frame form consisting of the following 13 movements. Begin with the preparatory form to the first Buddha's warrior attendant pounding the mortar. Continue with the first block and fasten the coat, the first single whip to the second Buddha's warrior attendant pounding the mortar. The first white goose spreading its wings to the first diagonal form. The first brush knee twist step to the second diagonal form. The second brush knee twist step, cover hand and forearm, and punch to the third Buddha's warrior attendant pounding the mortar. Draping over the body fist, the green dragon coming out of the water, the fist invert and twist forearms, the second white goose spreads its wings, to the third diagonal form. The first flash through the back to the second single whip. The first transportation hand to the fists protecting the heart, the tornado kick to the third single whip. Beckon to the front, to the rear, parting the wild horse's mane to the fourth single whip, the fair lady works the shuttles, the second block and fasten the coat to the fifth single whip. The second transportation hand, swing leg and fall, golden rooster stands on one leg, the second invert and twist arms, the third white goose spreads its wings, the fourth diagonal form, the second flash through the back, to the sixth single whip. The third transportation hand, the second high pat on horse, the white ape offers fruit to the seventh single whip. Dragon presses against the earth, step up to the 7 stars, and step back to the straddling stance. Finally, turn the body with leg swing, cannon to the head, ending with the fourth Buddha's warrior attendant pounding the mortar. White Goose or White Crane? Referring to the thirteen movements of Chen style Taijiquan, one of my students asked why I use the term "the white goose spreads its wings" rather than "the white crane spreads its wings"? When my teacher Grandmaster Pan Wing Chow learned his Chen style Taijiquan in Peking, "white goose spreads its wings" was the term used. The phrase bai e liang chi (the white goose spreads its wings) is similar in pronunciation to bai he liang chi (the white crane spreads its wings). Chenjiagou village was a farming community and, in the 64 forms Chen style Taijiquan that was taught there, the movements of the white goose were used. Its movements were not so outstretched and they appeared in postures 6, 18, and 48. At that time, teacher Pan's schoolbrother was Mr. Hong Junsheng. Both were students of Master Liu Musan who introduced them to Master Chen Fa-Ke. Mr. Hong taught the 81 forms of Chen style Taijiquan. He used the term "white crane spreads wings," which is found in postures 6, 22, and 63. Those movements were more outstretched. It is my belief that after living in Peking for a while and after associating with many of the other top martial arts masters, Mr. Chen Fa-Ke decided to use a more scholarly terminology, using "the white crane spreads its wings" rather than "the white goose spreads its wings." Today, most of the writings of Chen style Taijiquan use the phrase, "the white crane spreads its wings." In my opinion, both phrases are acceptable. I'll leave it up to you. About the training method of Taiji Push Hands Today, fighting is the most fascinating topic in my class, more popular than exciting qi. Fighting is to rap music as qi is to the classics. So, I give them what they want. I line up the fighters with the qi practitioners and have them do some push hands exercises. Yes, push hands is to Taiji as sticky hands is to Ving Tsun. What is the training method of Taiji Push Hands? I asked a similar question to my Chen Taiji teacher, Grandmaster Pan Wing Chow. With eyes opened wide, he gave me that look. He then smiled and asked if I would like to attend a Taijiquan push hands tournament. So in November 1980 I sat with Grandmaster Pan and his friends in the VIP section of a Taijiquan push hands tournament in Taipei City. I sat through two days of taijiquan hand and weapon forms, and hours of Taijiquan push hands competitions from morning to night. The masterful Taijiquan push hands demonstrations by Master Huang Hsing-Hsien was forever embedded in my mind. I took pictures of his push hands demonstrations. He was "rough and tough" and I aspired to become like him. So then, what is the training method of Taiji push hands? To begin, follow the "Rule of Quan." You must practice and train the eight energies of Taijiquan. Begin with "peng, lu, ji, an." These are the first four energies you must train. Your taiji instructor will begin by teaching you "peng jin" referring to inflated energy, "lu jin" referring to pulling back energy, "ji jin" referring to pressing energy and "an jin" referring to pushing energy. First practice the stationary step push hands exercises and later the fixed step. Then you can practice the three steps forward and three steps back push hands called, "Jin Sin Tui Sau." For the more advanced Taiji practitioner, you need to practice and train the next four energies. Starting with "cai jin" referring to pulling down energy, "lie jin" referring to spiralling energy, "zhou jin" referring to elbow energy and "kao jin" referring to shoulder energy. At this point, you might think you are looking pretty good, but you are far from that. You are just "good looking" and you need more instructions. You must consider the "Principle of Yin and Yang." Either your upper hand begins with yang and is followed by yin, or your lower hand begins with yin and is followed with yang, and so on. If your opponent uses "an jin," you must use "peng jin." If your opponent uses "ji jin," you must use "lu jin." Confused? Look at it from another viewpoint. If you "an jin" your opponent, he will use "peng jin" in order to neutralize your energy. If you "ji jin" on your opponent, he will use "lu jin." If you are still having problems in push hands, consult your instructor. There is no fun getting tossed all over the place unless you're doing the tossing. Use your intelligence. Go back to the dualities of what is hard and what is soft in Taiji push hands. Hard is what your opponent feels when he tries to move against you. He feels your rigidity. Soft is when your opponent makes contact with you and feels no tension, as if you are no longer there. Softness is when you follow your opponent smoothly, versus hardness, when you no longer follow him. Remember, if your opponent uses 300 hundred pounds, or 30 pounds, or 3 pounds against you, do not use any force against him. Allow his force to go down to zero. The hard and soft of Taiji push hands is what your opponent feels. If you grasp your opponent's hand, he knows your power. You're at a disadvantage. Do not let him know your power. Don't give him any power. This is the training method of Taiji push hands. SIFU RANDY CHOY COMMENTS ON FONG'S ARTICLES Dear Professor Gregory Fong, My students just love your article, Push hands: the Purpose of Making Contact. Many of them come from a karate or hard kung-fu background. Being sensitive, being humble are not really in their vocabulary. Power and brute strength are. My students who attended your I-chuan seminars in Hawaii know that being sensitive, fast, and powerful is hard work. In fact, everything you teach them is hard work. I used to smile when you placed your finger onto a student's pelvis and asked him to lower his stance. As soon as you removed your finger, the pelvis slowly moved upwards. When you instructed them to embrace a pose and relax, I saw the "stare" in their faces. It was like no other stare. I just couldn't describe it. I make no claim to making anyone a good fighter: all I can do is prepare them for a fight. That is why I have them read your in-depth articles on the martial arts. Your latest articles, The Meaning of Relaxation, and Up/Down Training: the Key to I-chuan's Six Powers, were super high-octane material. We at the Chinese Athletic Arts Academy appreciate your wisdom, your guidance, and your articles on the internet. Mahalo, Professor Randy Choy Founder of the Chinese Athletic Arts Academy Advisor to the Hawaii Martial Arts International Society Chuk Kai Tai Chi Preying Mantis Organization-Hawaii < PREVIOUS \| Article Index \| NEXT >

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