A unique property of Yiquan is that it can be practiced at any time, at any place, and by anyone in any age group.  It is simple, easy to learn and understand, and is practical for improving health, for self-defense, and for studying the true essence of martial arts.  This article is an outline of my experience of using relaxed-standing (Zhan Zhuang, 站桩) to cultivate the balanced-force (Hun Yuan Li, 浑元力).  While the training methods and procedures are based on the teachings of Master Yao ChengRong (姚承荣老师; Beijing Yiquan Martial Arts Academy, http://www.yiquan-zywg.com/english/home.php), all errors and mistakes are mine.

 

In Yiquan Beginner’s Guide, we have outlined a method of Yiquan training.  We have emphasized the importance of merging and synthesizing all categories of Yiquan training; relaxed-standing (Zhan Zhuang, 站桩), trial-and-feel (Shi Li, 试力), footwork (Zou Bu, 走步), grunting (Shi Sheng, 试声), power-discharge (Fa Li, 发力), push-hands (Tui Shou, 推手), and sparring (San Shou, 散手) must be integrated.  And, throughout Yiquan training, mind-intent (Yi, 意) is the primary directing/guiding factor; your thinking/visualization determines your feel and your feel determines your action.     

 

To start Yiquan training, you should decide which maneuver/technique is to be made into your “habit”, to be trained to become your spontaneous reflex; you must be selective.  Then set realistic goals that you know you can achieve; focus on one realistic goal at a time by breaking down big goals into small stages.  And you should award yourself for achieving each goal to encourage further development.  In this article, we will illustrate this procedure with the hold/press posture (Fu An Zhuang, 扶按桩).

 

The hold/press posture (Fu An Zhuang, 扶按桩) is a basic relaxed-standing posture for improving health and push-hands (Tui Shou, 推手).  From the perspective of seeking/sensing/perceiving the six directional balanced forces (forward/backward, upward/downward, and laterally open/close; Liu Mian Mo Li, 六面摸力) the dominant dimension for this posture is the forward/backward dimension.

 

 

Paralell Step hold/press Posture (Ping Bu Fu An Zhuang, 平步扶按桩)

 

Stand erect, feet shoulder width apart; with the outside edges of your feet approximately parallel to each other (toes turned slightly inward).  Bend the knees slightly (Si Qu Fei Zhi, 似曲非直); visualize holding a balloon between your knees.  Imagine applying inward pressure below your knees and outward pressure above your knees (Kai He Zheng Li, 开合争力).  Relax the lower back filling out the small of the back as if you are sitting on a high stool.  Keep your spine erect and imagine a string pulling the top of your head upwards, tuck-in the chin slightly as if holding a small balloon between the chin and the neck.  The head and neck should be held erect; visualize stretching imaginary springs between your head and feet, lengthening your spine (Shang Xia Zheng Li, 上下争力).  Relax the facial muscles; almost smile.  Direct your eyes to an imaginary distant object; imagine looking through a light fog.  Lightly touch the teeth together.  Part the mouth slightly.   Allow the tongue to lie naturally; do not be concerned with it touching any particular place in the mouth.  Keep your shoulders down and relaxed, lift arms up, palms facing down, fingers pointing forward, hands higher than your elbows.  Keep your hands two to three fists width apart about a foot in front of your hips, below your shoulders, and above your navel.  Separate your fingers; visualize resting your hands and forearms (holding and pressing down; Fu An, 扶按) on a floating log.  Keep relaxed and do not use unnecessary strength to maintain your posture.  Use this parallel step posture for Stage One and Stage Two training.

 

 

Stage One (Jing Zhong Qiu Song, 静中求松):  Acquire whole-body relaxation (Song, 松) from stillness (Jing, 静).

 

Visualize holding fragile paper balloons in your armpits, between your arms, under your chin, and between your knees.  Applying too much force will break them while too little force will result in dropping them.  Use skeletal support to maintain your frame (Jian Jia, 肩架) with minimum muscular tension; do not be conscious of your breathing; let your breathing be natural and instinctive; mentally, simultaneously, be mindful and detached.  However, total relaxation and absolute stillness in relaxed-standing training will lead to “empty-standing” (Kong Zhuang, 空桩).  On the other hand, if you use your musculature to maintain your posture with unnecessary tension and rigidity, turning your relaxed-standing into an endurance of strength contest, your relaxed-standing training becomes “dead-standing” (Si Zhuang, 死桩).  Thus, you must use relaxation/tension exchange appropriately (Song Er Bu Xie, 松而不懈; Jin Er Bu Jiang, 紧而不僵); proper comprehension of relaxation and tension is necessary to mentally induce the motion-in-stillness (Jing Zhong Zhi Dong, 静中之动) into your relaxed-standing training.  Use the following visualization (directed mental imagery) and mind-intent to guide (Yi Yi Ling Li, 以意领力) your relaxation/tension exchange:                  

 

1.      Visualize holding an imaginary ant under each foot.  Imagine the ants attempt to escape backwards, shift your weight backward to prevent them from escaping; keep your toes grasping the ground.  Then imagine them trying to escape forwards, shift your weight forward to keep them from going forward; keep your heels on the ground.  Do this mentally induced intentional forward/backward shift with minimal external movement.  If the movement is too big, the imaginary ants can easily escape; you can loose your balance.  Keep the movement small so that you are always in perfect balance.  Visualize stepping down too heavily will kill the imaginary ants; lifting your heels will let them run away.  Keep your heels on the ground while your weight shifts upward/forward and downward/backward.

 

2.      Visualize standing in chest deep water with your hands and forearms resting on top of a floating log.  As the water flows in from the front, shift your weight forward to meet it; press downward on the floating log as if lifting yourself upwards; twist your knees inwards and compress the imaginary spring between your knees (Nei Luo Xuan, 内螺旋).  As the water flows in from your back, shift your weight backward to meet it; release the downward press (as if to lift the log upwards slightly), twist your knees outwards and stretch the imaginary springs between your knees (Wai Luo Xuan, 外螺旋), sinking your body backwards and downwards.  Do not put too much weight on your heels.  Relaxation is achieved when you are simultaneously mindful and detached; when you become one with the imaginary surrounding water, not knowing whether the water is moving your body or if you are moving the water. 

 

Do these motionless-movement (Bu Dong Zhi Dong, 不动之动) exercises with “passive” mind-intent and with no brute strength (Yong Yi Bu Yong Li, 用意不用力).  Keep the magnitude of your motion small.

 

 

Stage Two (Song Zhong Qiu Zheng, 松中求整):  Develop whole-body unity (Zheng Li, 整力) from relaxation (Song, 松).  Synthesize and harmonize mind-intent and force (Yi Dao Li Dao, 意到力到).

 

The primary goal is to perceive and develop the “path of force propagation” (Xun Zhao Jing Lu, 寻找劲路) through your properly aligned and connected whole-body (Lian Tong Yi Guan, 连通一贯), to take up power from the ground (Li Cong Di Qi, 力从地起).  In cultivating and nurturing this whole-body “balanced-force” (Hun Yuan Li, 浑元力), you must adhere to:  using curved external physical form to deliver linear force (Xing Qu Li Zhi, 形曲力直); moving each body element only as part of your whole-body movement (Yi Dong Wu Bu Dong, 一动无不动); and incorporating the natural winding of your musculature, twisting your core and limbs concurrently (Yi Dong Quan Shen Zhuan, 一动全身转).  The primary measure use to synthesizing your whole-body is the mentally induced “isometric-opposing-force” pairs (Nei Wai Zheng Li, 内外争力).

 

1.      Visualize standing in chest deep water with your hands and forearms resting on top of a floating log.  Visualize imaginary springs connecting your fingers to a distant wall, connecting your wrists, and connecting your wrists to your neck.  As the imaginary water flows in from your back, shift your weight backward to meet the pressure, sink your body downward and pull the imaginary springs and the log backward, downward, and outward, twist knees outwards, stretch the imaginary spring between your knees.  Immediately, as the imaginary water flows from the front, shift your weight forward to meet its pressure, compress the imaginary springs towards the front wall and twist knees inwards, compress the imaginary spring between your knees; push the log forward, upward, and inward (lift the log upwards).  Sense the forward/backward, upward/downward, and lateral open/close forces (Liu Mian Mo Li, 六面摸力).  Shift your entire body to and fro to feel and resist the imaginary water motion (Ti Yan Zu Li, 体验阻力).  Eventually, do this with mental tranquility, your mind between conscious-ness and subconscious-ness, simultaneously mindful and detached.

 

2.   When you can perceive and feel the sensation of the resistance of the imaginary water on your body, you can add arms, legs and head movement to integrate your neuromuscular coordination into your whole-body movements.  When you shift your weight backward, simultaneously stretch the imaginary springs connecting your fingers to the distant wall, compress the springs between your wrists and neck, and stretch the imaginary connecting spring between your wrists and knees.  Pull your hands backward, upward, and outward with outward twisting of your limbs (Wai Luo Xuan, 外螺旋).  When you shift your weight forward, simultaneously compress the imaginary springs connecting your fingers to the distant wall, stretch the springs between your wrists and neck, and compress the imaginary spring between your wrists and knees.  Push your hands forward, downward, and inward with inward twisting of your limbs (Nei Luo Xuan, 内螺旋).  This mentally induced intentional movement should be very small; as you pull your hands backward, upward, and outward, visualize your palms remain touching the surface of the water; as you push your hands forward, downward, and inward, visualize submerging you hands only to the back of your hands.

 

Initially, do these motionless-movement exercises slowly to feel and reinforce the sensation of the sequential overlapping concurrent movement of your joints and body elements in propagating the force from the ground to your hands (Huan Yun Zhong Qiu, 缓运中求).  “Actively”, synthesize your neuromuscular coordination (Ji Rou Ru Yi, 肌肉如一) and merge all force components as one (Quan Shen Li Yi, 全身力一).  In the beginning, you may focus your awareness, attention, and emphasis on any one force direction, but you should not neglect any of the other directions; althought one direction may be dominant; forces in all directions are always present (Liu Mian Tong Shi Mo Li, 六面同时摸力), simultaneously.  When practicing switching your focus from one dominant direction to another, it should be done at random; there should be no conscious sequence or pattern (Da Luan Cheng Xu, 打乱程序).  The ideal mental state is to be aware of all directions and no direction in particular; you are simultaneously mindful and detached; mind-intent and force become inseparable, indistinguishable (Yi Li Bu Fen, 意力不分).

 

When you have mastered these two stages, you can proceed to training with the small step hold/press posture described in Part II of this article.

 

 

Yiquan staff practice (Gun Fa, 棍法) is used as supplemental training of the fundamentals.  While the staff can be used as a weapon, today, our emphasis is using this training to further develop/cultivate the balanced force (Hun Yuan Li, 浑元力) and whole-body power release (Fa Li, 发力).  Here, the term “staff” is used to cover pole, staff, or stick weapons between 6 foot to 7 foot in length and about an inch in diameter. 

 

In traditional Yiquan Gun Fa (棍法) training, the staff is made of white wax wood (Bai La Gan, 白蜡杆).  This plant has a relatively straight main trunk.  When this trunk grows to between 1 to 2 inches in diameter, the trunk of the sapling is used as the traditional staff.  Because of the grain structure, it is very tough, virtually unbreakable or indestructible.  Since white wax wood staff is difficult to come by outside of China, you can use any flexible wood or synthetic polypropylene staff as a substitute.  (For a short time, the white wax wood staffs were available from Cold Steel Special Project: www.ltspecpro.com.)  

 

Simply, self-defense with any (cold) weapon is to make the weapon an extension of your arms/hands to discharge/release your balanced force (Hun Yuan Li, 浑元力) through the weapon onto your opponent.  Even though we do not place too much emphasis on the use of (cold) weapon for self-defense today, still you should not waste your training time on flowery solo sequences or patterns (Tao Lu, 套路).  You must never fall into the trap of developing sequential patterns (“if this than that”) as response and solution to the dynamic changing problem of fighting/combat.  Rather, you should develop un-conscious decision-making references for your spontaneous instinctive fighting reflexes through mental visualization and sparring.  To be useful, skills must become spontaneous reflexes. 

 

Staff practice must follow the training and conditioning theories and principles of Yiquan:  Understand the theories and principles involved; use interactions with external/internal isometric opposing forces pairs (Mao Dun Zheng Li, 矛盾争力) to harmonize, synthesize, and ingrain your maneuvers/techniques into “habit”; and learn distance intervals, timing, angle, accuracy, and agility (the ability to adapt and change according to your opponent) with real experience gained from sparring with real partners.  Remember that Neuro-Linguistic Programming (NLP) consists of modeling and imaging.  In modeling the student mimics the movement of the teacher and in imaging the student thinks through the movement to "ingrain" the skill.  Both mental and physical exercises are necessary.

 

诀曰: 拳成兵器就, 莫专习刀枪。

 

Oral Tradition:  Skill is more important than the weapon.  It is easier to learn to use a (cold) weapon after you have mastered the basic skills of empty hand fighting.  Do not train exclusively with swords and spears.

 

We will start exploring Gun Fa (棍法) with a description of the half-grip and the on-guard posture.

 

Grip

 

Yiquan uses the half-grip (Ban Wo, 半握) to remove your fingers from being hit by your opponent’s staff sliding down the staff shaft (Shun Gan Hua Da, 顺杆滑打).   Here, your right front hand grips the staff shaft with the base of your thumb and your middle, ring, and little fingers on opposite sides half way around the circumference of the shaft, with your right thumb and index finger lying along the length of the shaft pointing towards the point.  Your left rear hand grips the shaft near its butt end with the base of the thumb opposite your four fingers halfway around the circumference of the shaft.  The left rear hand thumb may lie along the length of the shaft pointing towards the point or wrap around the circumference.   The section of the staff between the hands must contact the waist or body, above your hipbone at navel level (most of the time).

 

On-Guard Posture

 

From the right-lead small step on-guard posture, use your right leading hand to hold the staff point at mouth/throat level, right palm facing left, with the left rear hand hold the butt end in contact with your waist just above your hip, left palm facing right.  The left rear hand is on (touching) your waist.  The right front hand, slightly flexed and bent, keeps the staff point at your opponent’s mouth/throat level with the point centered at the central line.  The staff point, your nose and your front foot are on the same vertical plane.  Always threaten your opponent with the point; keep the staff between you and your opponent.

 

Next, we will very briefly describe the five overlapping categories of Yiquan basic Gun Fa (棍法) training:  resistance drills (Mo Gan Shi Li, 磨杆试力), trial and feel (Hua Gan Shi Li, 滑杆试力), power release (Hua Gan Fa Li, 滑杆发力), slip staff drills (Shuang Ren Dui Hua Dui Za, 双人对滑对扎), and sparring.

 

A.  Fixed step resistance drills (Mo Gan Shi Li, 磨杆试力)

 

The purpose is to seek, sense, be aware of, explore, and experience the interaction of frictional resistance forces in the (six) principal directions:  forward/backward; upward/downward; left/right lateral.

 

Forward/backward:  Start with the on-guard posture, with the front section of the staff (towards the point end ) resting on a tree branch at throat level to provide friction/resistance.  With whole-body harmony effort, drill your rear leg, take up power from the ground, mildly opposing with the front leg, compress the imaginary spring between your knees, push your staff forward and downward, rotating your right leading hand counter clockwise to palm facing down (Nei Luo Xuan, 内螺旋), left rear hand to palm facing up.  Then, push off your front leg, mildly opposing with the rear leg, stretch the imaginary spring between your knees, pull your staff backward and downward, rotating your right leading hand clockwise to palm facing up (Wai Luo Xuan, 外螺旋), left rear hand to palm facing down.  Sense, perceive, explore, and experience the dominant forward/backward friction forces as if trying to “saw” off the tree branch.  Feel for the dominant forward/backward force against the light frictional resistance as the staff shaft rub on the tree branch.  Be aware of your whole-body synthesis.  These actions cover the forward thrust (Za, 扎; Tui, 推; Chuo, 戳; Ci, 刺) and backward pull (Dai, 带) maneuvers.

 

Upward/downward:  Repeat this exercise using different angled tree branches to explore and experience the dominant downward and forward force or upward and forward force while pushing forward with Nei Luo Xuan (内螺旋), and the dominant upward and backward force or downward and backward force while pulling backward with Wai Luo Xuan (外螺旋).  These actions cover the upward lift (Beng, 崩; Tiao, 挑) and downward chop (Pi, 劈; Dian, 点; Ya, 压) maneuvers.

 

Lateral left/right:  Repeat this exercise using different angled tree branches to explore and experience the dominant lateral leftward forward or leftward backward forces with Nei Luo Xuan (内螺旋), and the dominant rightward forward or rightward backward forces with Wai Luo Xuan (外螺旋).  These actions cover the left/right lateral parry (Na, 拿; Lan, 栏; Heng Dou, 横抖) maneuvers.

 

When you have mastered the whole-body harmony of the actions with these, mix up the sequence for sensing and exploring the resistance forces in all the six principal directions.  Reverse the rotational direction along the axis of your staff whenever you feel inclined.

 

B.  Trial and feel (Hua Gan Shi Li, 滑杆试力)

 

Use solo trial and feel exercise (Hua Gan Shi Li, 滑杆试力) to ingrain whole-body harmony of action of each technique/maneuver.  Do forward thrust and backward pull, upward lift and downward chop, left/right lateral parry, etc.  Sense, perceive, explore, and experience the internal/external opposite forces; harmonize and interact with the surrounding.  Change, adapt, and refine to achieve whole-body harmony of action and force; ingrain each maneuver/technique into “habit”.  Initially train in fixed-step (Ding Bu, 定步), then incorporating footwork and use free-step (Huo Bu, 活步).  Repetition is the mother of all skills.

 

C.  Power (Hua Gan Fa Li, 滑杆发力)

 

From the right lead on-guard posture, use solo Fa Li (发力) exercise (Hua Gan Fa Li, 滑杆发力) to practice power discharge/release (Fa Li, 发力) in the six principal directions: forward thrust (Za, 扎; Tui, 推; Chuo, 戳; Ci, 刺), backward pull (Dai, 带), upward lift (Beng, 崩; Tiao, 挑), downward chop (Pi, 劈; Dian, 点; Ya, 压), right lateral (Lan, 栏; Heng Dou, 横抖), and left lateral (Na, 拿; Heng Dou, 横抖).  Use the staff with whole-body harmony of action and balanced force (Hun Yuan Li, 浑元力); initially train in fixed-step (Ding Bu, 定步), then incorporating footwork and use free-step (Huo Bu, 活步). 

 

D.  Slip staff drills (Shuang Ren Dui Hua Dui Za, 双人对滑对扎)

 

This is two persons “push hands drills” using the staff.  Timing, distance, angle, and accuracy can only be learned from experience, with basic two persons slip staff practice (Shuang Ren Dui Hua Dui Za, 双人对滑对扎) with a teacher/partner.  Actual hands-on instruction is required for this phase of staff training. 

 

Let your mind-body experience your intellectual learning by doing these two persons trial and feel exercises.  Initially, slow is smooth; eventually, smooth is fast.  Cooperate with your slip staff training/sparring partner; learn the timing, angle, and distance.  Do it correctly every time will reinforce your automatic response and un-conscious competence.  Repetition is the mother of all skills.  You must practice both mental and physical training and conditioning.   Use your imagination to refine and invent new drills.  For continue development, you must modify, adapt, change, and add to what is given to you.

 

E. Sparring

 

When you have questions concerning a maneuver, the answer can usually be found in sparring.  Use appropriate protective equipment.  Set up safety rules of engagement.  Free form “touch sparring” seem to be the appropriate place to start.  Full contact sparring with even modified weapons is definitely still dangerous.

 

 

 

 

Yiquan body mechanics stresses whole-body synthesis; every maneuver must conform to whole-body harmony (Zheng Ti Xie Tiao, 整体协调) using curve physical form to deliver linear whole-body balanced force (Xing Qu Li Zhi, 形曲力直); every element must move as part of a whole-body movement (Yi Dong Wu Bu Dong, 一动无不动) using natural core/limbs rotations/twisting (Yi Dong Quan Shen Zhuan, 一动全身转) to take up power from the ground (Li Cong Di Qi, 力从地起) through proper alignment and connected-ness of your whole-body (Lian Tong Yi Guan, 连通一贯).  You must use core/body movement to guide/drive your hand movement (Yi Shen Cui Dong Shou, 以身摧动手) while adhering to the principle of guarding your central line and attacking your opponent’s central line (Shou Zhong Yong Zhong, 守中用中).  In this WebBlog we will explore a class of Yiquan Shi Li (试力) training exercises called “core/torso maneuvers” (Shen Fa Shi Li, 身法试力).  The emphasis is on “torso moves” or “body methods” (Shen Fa, 身法) designed to improve/cultivate Yiquan body mechanics. 

 

In YIQUAN TACTICS: THREE HITS AND THREE NO-HITS (Monday, December 31, 2007) of this WebBlog, we have explored the time-based tactic of “Hit on Execution” (Shan Da, 闪打) where you either deflect your opponent’s attack by changing his force direction (e.g., using a parry) or by evasive action to move from your opponent’s line of attack (e.g., slipping  pass a fully developed blow in its “strike focus zone”) and simultaneously attack his opening from another line (e.g., using a hit-on-the-slip).  To this end, you use core/torso maneuver Shi Li training (Shen Fa Shi Li, 身法试力) to enhance your whole-body coordination, and to cultivate/develop your abilities to:

 

1.   Integrate your whole-body, to accomplish proper alignment and connected-ness to drive/guide your striking limbs (Yi Shen Cui Dong Shou, 以身摧动手) from your core/torso (center), and to take up power from the ground.

 

2.   Remove your body from the line of the attacker’s force by slip, duck, bob and weave, etc., while staying within your fighting interval to counter attack.  Here, your torso and hands usually move in opposite directions invoking the use of internal opposing force pairs (Shen Nei Zheng Li, 身内争力):  torso moves left/right while hands move right/left; torso moves up/down while hands move down/up etc.

 

3.   Add power to the delivery of your whole-body balanced force (Zheng Ti Hun Yuan Li, 整体浑元力) onto your striking target by torso oscillation (Gu Dang, 鼓荡), whole-body movement/momentum (Zhong Li Bo, 重力波) and hard tensed focus (Song Jin Zhuan Huan, 松紧转换).  Here, your torso drives your hands and they are usually synchronized to move in the same direction, e.g., both moving forward simultaneously.

 

As in all Yiquan Shi Li exercises, you must always keep your hands within your “comfort zone”:  do not raise your hands higher than your eyebrow, do not lower them below your navel; your left hand does not crossover your central line to your right, your right hand does not crossover the central line to your left; when retracting your hands, do not collapse your frame (Jian Jia, 肩架) and let your arms “touch” your torso; when pushing forward, do not push beyond your lead foot toe (左手不往身右来, 右手不往身左去).  Shi Li (试力) training should initially be in fixed step (Ding Bu, 定步); then extended to free step (Huo Bu, 活步); and finally synthesized into push hands and sparring.  However, at every Shi Li level, the emphasis should be on the perception and cultivation of the “path of force propagation” (Xun Zhao Jing Lu, 寻找劲路) to take up power from the ground, to deliver the internal power as external force (Ba Li Shi Chu, 把力试出).  You must train constantly to maintain combat readiness.

 

To simplify the description of the core/torso Shi Li maneuvers, we may consider your core/torso as a solid rigid body with six degrees of freedom: forward/backward, lateral left/right, upward/downward, and twisting along these three axis (DOF – see any text book on classical Newtonian mechanics).  However, due to our body construction and Yiquan’s requirement of whole-body synthesis, we must never train to isolate movement in any DOF of the core/torso.  That is, you should not limit your maneuver to only pure forward/backward movement in a single direction; all maneuvers should contain movement in all DOF with selected dominant force direction but forces are balanced in all directions. 

 

Let us briefly explore three quintessential core/torso maneuver (Shen Fa Shi Li, 身法试力) exercises in fixed step:

 

1.  Spinning/Turning (Xuan Fa Shi Li, 旋法试力)

 

Assume the palms down left-lead small step posture.  Visualize you are standing in waist deep water; your hands and forearms pressing down on an imaginary large floating ball, hands at shoulder level, elbows lower than your wrists.

 

Pushing with your left lead foot, stretching the imaginary spring between your knees, shift your hips backward, downward and slightly to your right, compressing the imaginary spring from your rear hip to the ground, pull the imaginary ball outwards to your left and backwards towards your body while pressing it downwards, rotating your wrists in synch to fingers pointing to your right.  Simultaneously as you shift your hips right visualize stretching the imaginary spring between your left foot and your head and turning the imaginary floating ball with both hands to the left.  Do not let your right hand cross to the left of your central line, keep your elbows prop out with your hands higher than your elbows.  Then, shifting your hips left stretching the imaginary spring between your right foot and your head; turn/spin the imaginary floating ball to the right, rotating your wrists in synch to fingers pointing left.  Do not let your left hand cross to the right of your central line, keep hands higher than elbows.  Continue by shifting your hips forward, pushing the imaginary ball forward away from your body while pressing down slightly, do not push your palm heel beyond your front toe.  Repeat this spinning/turning slowly and evenly, spinning/turning the ball counter-clockwise around a vertical axis.  Prop your elbows outwards; your hands must not cross your central line: left hand stays to the left of your central line and right hand stays to the right.  Rotate your wrists in synch.  Practice doing both clockwise and counter-clockwise spinning/turning.  In this spinning/turning (Xuan Fa Shi Li, 旋法试力) exercise, the dominant force is forward/backward and the hands are at or below shoulder level. 

 

Note:  When you move the ball to your left, your body shifts to your right and vice versa to remove your body from the line of attack.  Your center of gravity moves in an oval (elliptical) path with the short axis along the lateral left/right direction.  Though in this maneuver, the dominant forward/backward force is used to induce the secondary lateral left/right force (Zong Bo Dang Chu Heng Bo, 纵波荡出横波) the whole-body balanced force (Hun Yuan Li, 浑元力) requires that forces in all six direction be present and balanced. 

 

When you have mastered this in fixed step (Ding Bu, 定步), incorporate the wading step (Mo Ca Bu, 摩擦步) with your spinning/turning Shi Li maneuver.

 

2.  Waving (Yao Fa Shi Li, 摇法试力)

     

From the left-lead small step posture, bring hands up to face/mouth level, keep shoulders down and elbows prop out at shoulder level.  Rotate your forearms to palms facing forward.  Visualize your hands intercepting an imaginary large ball rolling toward you.  As this ball approaches, receive it by sinking your whole-body onto your rear leg, backwards and to your right, compressing the imaginary spring from your rear hip to the ground, conducting its force to the ground (stretching the imaginary springs between your front foot and your head, and between your front knee and rear hip).  Direct the imaginary ball to your left with both hands while shifting your body to your right to avoid its force (Tactic: move away from the line of force).  Do not let your right hand cross over your central line to the left.  After neutralizing the ball's motion/momentum, next shift your body to your left while directing the imaginary ball to your right with both hands; do not let your left hand cross over your central line to the right.  Then push the imaginary ball forward.  Repeat this circular motion in a clockwise as well as counter-clockwise direction.  Feel with the entire body; let your mind-body experience a coordinated, whole-body effort.  Prop your elbows outwards; your hands must not cross your central line: left hand stays to the left of your central line and right hand stays to the right.  Your center of gravity moves in an oval (elliptical) path with the short axis along the forward/backward direction.  In this waving (Yao Fa Shi Li, 摇法试力) maneuver, the lateral left/right force is dominant and the hands remain approximately at face/mouth level, with elbows lower than your shoulder.  

 

Though in this maneuver, the dominant lateral left/right force is used to induce the secondary forward/backward force (Heng Bo Dang Chu Zong Bo, 横波荡出纵波) the “essence” of the whole-body balanced force (Hun Yuan Li, 浑元力) requires that forces in all six direction be present and balanced.

 

When you have mastered this in fixed step, incorporate the wading step with your waving Shi Li maneuver.

 

3.  The Bobbing Turtle (Shen Gui Chu Shui Shi Li, 神龟出水试力)

     

From the left-lead small-step posture, raise your hands to eyebrow level and rotate your forearms to palms facing downwards.  Visualize your hands are resting on an imaginary large floating balloon.  Pushing off your front foot, shift your weight back and to your right stretching the imaginary spring between your left foot and head and between your knees; sink down as if ducking your head under water, compressing the imaginary spring from your rear hip to the ground, while simultaneously lifting the balloon leftward and upward with your arms.  Your head moves back and right towards your right elbow and shoulder; do not let your right hand cross your central line to your left.  Then, move your hands to your right while pressing your hands downward, (press downward slightly to mouth level) while shifting your weight left and forward and upward like a turtle sticking its head above the water surface, stretching the imaginary spring between your right foot and head.  Your head moves left and forward towards your left elbow and shoulder.  Do not let your left hand cross over your central line to your right.  Your head moves in a circular motion between your arms.  Your up/down, left/right, front/back weight shift and arms movement are in coordinated opposing directions – weight sink down arms moves up, weight shifts left arms moves right and vice versa.  In this bobbing turtle (Shen Gui Chu Shui Shi Li, 神龟出水试力) maneuver, the upward/downward forces are dominant and the hands move between the eyebrow and the shoulder levels.

 

While the up/down and front/back weight shift provides the dominant power, the circular motion induces lateral left/right and forward/backward forces as well (Zhong Li Bo, 重力波荡出纵横波).  Feel with the entire body; let your mind-body experience a coordinated, whole-body effort. 

 

When you have mastered the fixed step (Ding Bu, 定步) practice, combine the wading step (Mo Ca Bu, 摩擦步) with this bobbing turtle exercise.  Evasive techniques in combat, slipping, bob and weave, and ducking, etc., are imbedded in this. 

 

It is common for beginners to fail to see/perceive the differences between these quintessential core/torso Shi Li maneuvers.  The above puts their similarities and differences in proper perspective; use it as a primer for your training and research.  Although it is not apparent, twisting and spiral/rotation of your legs, pivoting of the torso, twisting of arms, and rotating of your joints are embedded in every movement (Yi Dong Quan Shen Zhuan, 一动全身转).  Also, when advancing to free step (Huo Bu, 活步) training, pay special attention/awareness to external opposing force pairs (Shen Wai Zheng Li, 身外争力) and interactions with the surroundings (Jia Jie Yu Zhou Li, 假借宇宙力). 

 

Core/torso maneuvers are essence of Yiquan body mechanics.  To perfect your timing, fighting distance interval, attacking lines and angles, you must synthesized them into your push hands and sparring training.  However, we must not insist on which force is dominant and must train to be able to adapt and change according to your opponent. 

 

 

 

 

One purpose of Yiquan training is to enhance your spontaneous reflexes and develop your instinctive self-defense abilities.  To develop basic skills to achieve this, we have examined Yiquan’s emphasis on:

 

1.         Whole-body synthesis (Zheng Ti Xie Tiao, 整体协调):  combining proper musculoskeletal alignment and whole-body core connected-ness (Lian Tong Yi Guan, 连通一贯) by using appropriate mentally induced internal isometric opposing force pairs (Shen Nei Zheng Li, 身内争力) with natural whole-body movement and with rotation of your core and limbs to act as one harmonious unit.

 

2.         Whole-body balanced force (Hun Yuan Li, 浑元力):  combining the rotation of your core and the twisting of your limbs in a natural movement to cultivate and develop pathways for the transmission of your balanced force (Xun Zhao Jing Lu, 寻找劲路) from the ground to your contact/impact point (Li Dian, 力点), merging all force components into one (Quan Shen Li Yi, 全身力一). 

 

These attributes are cultivated and developed primarily by relaxed standing (Zhan Zhuang, 站桩) and trial and feel (Shi Li, 试力) exercises.  However, genuine Yiquan training is much more than developing basic skills.  For ease of discussion, in Yiquan Beginners’ Guide (available as download in the BOOKS section of this website), we have separated Yiquan training into seven overlapping categories:  Relaxed Standing (Zhan Zhuang, 站桩), Trial and Feel (Shi Li, 试力), Footwork (Zou Bu, 走步), Breath Control (Shi Sheng, 试声), Power Discharge (Fa Li, 发力), Push Hands (Tui Shou, 推手), and Sparring (San Shou, 散手).  These categories merge into one another.  They are not sequential and must be practice together, integrated, and synthesized into one; and over emphasizing any one category is not genuine Yiquan training.  As a practical matter, every Yiquan training session should include all these categories and the only short cut to acquiring Yiquan self defense skills is to training hard every day.    

 

However, you must not train aimlessly; you should train with purpose to eliminate your “weakest links”.  While repetition is the mother of all skills; realistic training is the key to any expertise.  You acquire practical fighting skills only by actually doing and/or reacting with push hands and sparring exercises, not from meretricious solo exercises.  Push hands and sparring (using body protection) must be your “daily bread”; winning or losing is not important in training, learning from the experience is.  Learn to see Yiquan principles in practice; learn to see what Yiquan tactics look like when translated into actions.  During these practices, you must treat your partner as a real opponent; do not hold back.  Always follow through with an explosive push power release (with maximum force) or with a strike/blow because once you get into the habit of holding back, you will not be able to turn-on your power when your need it.

 

Explore the differences between various forces:  resistance forces, pushing forces and impact/striking forces.  Practice Fa Li with a variety of techniques from various angles and positions.  While Fa Li training should consist mostly of soft relaxed Fa Li (Song De Fa Li, 松的发力) interspersed with hard tensed Fa Li (Jin De Fa Li, 紧的发力), you should include “intervals training” where you would take your body to the limit, to your extreme endurance (mentally and physically).

 

Open your eyes and mind to all martial arts; adopt and absorb anything that is useful (Wu Zhang Bu Hui Ji, 无长不汇集); refine and invent techniques and tactics that suit your mentality and fighting style.  Training is “work-in-progress”.  Make training your daily activity and make all daily activity your training.  You must train continuously and keep re-inventing and refining to make your maneuvers into “habit”. There are no instant habits; it takes time to make a maneuver/technique into a habit; you must practice constantly to develop it.  The more a maneuver/technique runs counter to your instinctive natural abilities, the more you have to think about that maneuver/technique in order to accomplish it.  It is therefore harder for that particular maneuver to become a habit.  Thus, training a maneuver/technique that is against your instinctive natural abilities is futile because that training would fail under stress.

  

Finally, the hardest obstacle to overcome in training is perhaps to admit your mistakes and correct or eliminate them.  Whether in concepts or in techniques, we are inclined to think that we are correct and are reluctant to discard or modify them.  You should examine why things do not work; experiment; the answer can usually be found by sparring.       

 

 

 

Try this:  Assume a one-legged standing posture with all your weight on your left leg, then, circle your right leg and foot clockwise and simultaneously circle your right forearm and hand counter-clockwise, you will either find the combined motions to be very awkward or impossible to do; this combination is opposed to your innate neuromuscular coordination.  In fact, your neuromuscular coordination is “hardwired” for certain movement while some other movements are definitely un-natural.  According to the doctrine of Yiquan to enhance your spontaneous and innate fighting ability (Fa Hui Ben Neng, 发挥本能), it would be foolish to attempt to develop fighting/combat maneuvers/techniques consisting of un-natural movement.  Effective fighting/combat maneuvers/techniques are made up of instinctive, spontaneous, and natural movement. 

 

Validating natural biomechanics, Yiquan maneuvers/techniques use proper body mechanics (Shen Fa, 身法); use curved physical form to deliver linear balanced force (Xing Qu Li Zhi, 形曲力直) from a properly aligned and connected whole-body (Zheng Ti Lian Tong Xie Tiao, 整体连通协调).  You must use whole-body movement (Zheng Ti, 整体), moving each element only as part of your whole-body (Yi Dong Wu Bu Dong, 一动无不动), taking up power from the ground (Li Cong Di Qi, 力从地起).  Though it is not readily visible, you must “drill” (twist) your legs (Tui Si Zuan, 腿似钻) into the ground, to push off the ground to initiate most maneuvers. 

 

Before proceeding further, we need to define the terminology to be used to describe the natural twisting (drilling) force (Luo Xuan Li, 螺旋力).  Start with your thumbs pointing up, palms facing each other, and your toes pointing forward.  Rotating your thumbs or toes away from your central line (Zhong Xian, 中线) are defined as “twisting/drilling outward” (Wai Luo Xuan, 外螺旋) i.e., rotating your right thumb or right toes clockwise, your left thumb or left toes counter-clockwise are all defined as twisting (drilling) outward.  Rotating your thumbs or toes towards your central line are defined as “twisting/drilling inward” (Nei Luo Xuan, 内螺旋) i.e., rotating your right thumb or right toes counter-clockwise, your left thumb or left toes clockwise are all defined as twisting (drilling) inward.

 

The typical muscular layering and musculoskeletal structure dictate that all natural movement consist of twisting of your torso (rotation) and limbs (drill) in multi-dimension spirals (Duo Mian Luo Xuan, 多面螺旋).  Yiquan maneuvers/techniques use and develop natural movement in which every element of your whole-body twists and turns simultaneously (Yi Dong Quan Shen Zhuan, 一动全身转).  Even though some twisting (drilling) are not readily visible (Luo Xuan Li Wu Xing, 螺旋力无形), these natural twisting of your core (Yao Ru Che Lun, 腰如车轮), drilling of your limbs and rotations of your joints (Guan Jie Li Gun Si, 关节力滚丝) are essential in taking up power from the ground (Li Cong Di Qi, 力从地起), transmitting the force components through your properly aligned and connected whole-body (Zheng Ti Lian Tong Yi Guan, 整体连通一贯) to discharge/release your balanced force (Hun Yuan Li, 浑元力; see my blog: Yiquan Twist, Nov 5, 2007).  They help to merge your force components into one (Quan Shen Li Yi, 全身力一), to provide directional stability for your blows, and to re-direct/deflect your opponent’s attacking force (Gai Bian Dui Fang Li Xiang, 改变对方力向).   

 

Yiquan emphasizes whole-body synthesis:  combining proper musculoskeletal alignment, upper and lower body (core) connected-ness induced by appropriate internal isometric opposing force pairs (Shen Nei Zheng Li, 身内争力), and natural rotation of your core and limbs to act as one harmonious unit.  To gain a better understanding of the natural musculoskeletal twisting, we should start by exploring the twisting (drilling) of your legs to take up power from the ground.  From the small step fighting posture (Hun Yuan Zhuang, 浑元桩), we can categorize maneuvers into four classes:       

 

1.         Both legs twisting inwards (Nei Luo Xuan, 内螺旋), squeezing the imaginary spring between your knees:  This is usually associated with shifting your hips (weight) forward (Tu, 吐), pushing both hands forward (双手齐出) with forearms twisting inward (Nei Luo Xuan, 内螺旋) as in forward push, or pushing both hands upward with forearms twisting outward (Wai Luo Xuan, 外螺旋) as in Bo Shui Shi Li (拨水试力).  Here, the inward twisting (Nei Luo Xuan, 内螺旋) of your knees are not readily visible.  

 

2.         Both legs twisting outwards (Wai Luo Xuan, 外螺旋), stretching the imaginary spring between your knees:  This is usually associated with shifting your hips (weight) backwards (Tun, 吞), pulling both hands backwards and upwards with forearms twisting outward (Wai Luo Xuan, 外螺旋) as in Gou Gua Shi Li (勾挂试力) or pulling both hands backwards and downwards with forearms twisting inward (Nei Luo Xuan, 内螺旋) as in Bo Shui Shi Li (拨水试力).  Here, the outward twisting (Wai Luo Xuan, 外螺旋) of your knees are not readily visible.    

 

3.         Lead leg twisting inward (Nei Luo Xuan, 内螺旋), rear leg twisting outward (Wai Luo Xuan, 外螺旋), stretching the imaginary spring between your knees (相连相争):  This is usually associated with using the lead hand to attack (单手独进); forward or downward with forearm twisting inward (Nei Luo Xuan, 内螺旋) as in lead hand forward or downward punches; or with the lead hand attacking upward with forearm twisting outward (Wai Luo Xuan, 外螺旋) as in lead hand upward punch.  Here, the rear guard hand may pull backward, upward, and outward while twisting the forearm inward (Nei Luo Xuan, 内螺旋).

 

4.                  Lead leg twisting outward (Wai Luo Xuan, 外螺旋), rear leg twisting inward (Nei Luo Xuan, 内螺旋), squeezing the imaginary spring between your knees (相连相争):  This is usually associated with shifting your hips (weight) forward (Tu, 吐), with your rear hand attacking forward or downward, forearm twisting inward (Nei Luo Xuan, 内螺旋) as in rear hand forward or downward punches; or with the rear hand attacking upward with forearm twisting outward (Wai Luo Xuan, 外螺旋) as in rear hand upward punch.  Here, the lead hand may pull backward, upward, and outward while twisting the forearm inward (Nei Luo Xuan, 内螺旋), as guard.

 

Thus, we note the following general rules.  To take up power from the ground, the natural twisting (drilling) movements are:

 

a.                   To push off the ground for forward/upward force, drill your legs inwards.

 

b.         To push backwards or when sinking your weight onto your leg, drill/twist your legs outwards.

 

The rules for the natural twisting (drilling) movements of your hands are:

 

a.         (起手如钢锉)

When pushing/thrusting your hands forward, twist your forearms inwards (Nei Luo Xuan, 内螺旋).

 

b.         (回手似钩杆)

When pulling your hands backward, twist your forearms outwards (Wai Luo Xuan, 外螺旋).

 

c.         (起是钻)

When thrusting your hands upward, twist your forearms outwards (Wai Luo Xuan, 外螺旋).

 

d.         (落是翻)

When thrusting your hands downward, twist your forearms inwards (Nei Luo Xuan, 内螺旋).

 

To be an effective maneuver/technique, the combining of the rotation of your core and the twisting of your limbs must result in a natural movement.  You are unique, what is instinctive and natural to you may not be for others and vice versa; you cannot blindly copy or mimic external forms; you must cultivate and develop pathways for the transmission of your balanced force (Xun Zhao Jing Lu, 寻找劲路).  The proper way to gain competence is through trial and feel (Shi Li, 试力) exercises.  Use slow motion movement, like pulling silk from a cocoon (运劲如抽丝), to experience and nurture the natural-ness of every movement of maneuvers/techniques.