yong (wing) chun, same source

7/30/2019 Yong (Wing) Chun, Same Source

1/79

YongYongYongYong ChunChunChunChun::::Same SourceSame SourceSame SourceSame Source

Written by: Lin Ai WeiWritten by: Lin Ai WeiWritten by: Lin Ai WeiWritten by: Lin Ai Wei


2/79

A l l i n f o r m a t i o n w i t h i n t h i s b o o k i s f r e e f o r p u b l i c u s e , p e r s o n a l u s e , a n d

A l l i n f o r m a t i o n w i t h i n t h i s b o o k i s f r e e f o r p u b l i c u s e , p e r s o n a l u s e , a n d A l l i n f o r m a t i o n w i t h i n t h i s b o o k i s f r e e f o r p u b l i c u s e , p e r s o n a l u s e , a n d

A l l i n f o r m a t i o n w i t h i n t h i s b o o k i s f r e e f o r p u b l i c u s e , p e r s o n a l u s e , a n d

d i s t r i b u t i o n , a n d m a y n o t b e c o p i e d , p r i n t e d ( p u b l i s h e d )

d i s t r i b u t i o n , a n d m a y n o t b e c o p i e d , p r i n t e d ( p u b l i s h e d ) d i s t r i b u t i o n , a n d m a y n o t b e c o p i e d , p r i n t e d ( p u b l i s h e d )

d i s t r i b u t i o n , a n d m a y n o t b e c o p i e d , p r i n t e d ( p u b l i s h e d ) p h o t o c o p i e d u n l e s s

p h o t o c o p i e d u n l e s s p h o t o c o p i e d u n l e s s

p h o t o c o p i e d u n l e s s

a l l o f t

a l l o f t a l l o f t

a l l o f t h e f o l l o

h e f o l l o h e f o l l o

h e f o l l o w i n g c o n d i t i o n s

w i n g c o n d i t i o n s w i n g c o n d i t i o n s

w i n g c o n d i t i o n s h a v e b e e n m e t

h a v e b e e n m e t h a v e b e e n m e t

h a v e b e e n m e t :

::

:

C o n t a c t t h e a u t h o r C o n t a c t t h e a u t h o r C o n t a c t t h e a u t h o r

C o n t a c t t h e a u t h o r

S t a t e w h y a n d h o w y o u w i s h t o u s e t h e f o l l o w i n g m a t e r i a l w i t h i n t h e S t a t e w h y a n d h o w y o u w i s h t o u s e t h e f o l l o w i n g m a t e r i a l w i t h i n t h e S t a t e w h y a n d h o w y o u w i s h t o u s e t h e f o l l o w i n g m a t e r i a l w i t h i n t h e

S t a t e w h y a n d h o w y o u w i s h t o u s e t h e f o l l o w i n g m a t e r i a l w i t h i n t h e

p a g e s o f t h i s b o o k .p a g e s o f t h i s b o o k .p a g e s o f t h i s b o o k .p a g e s o f t h i s b o o k .

R e f e r e n c e t h e u s e o f t h e m a t e r i a l i n t h i s b o o k i n y o u r : p u b l i c a t i o n s , R e f e r e n c e t h e u s e o f t h e m a t e r i a l i n t h i s b o o k i n y o u r : p u b l i c a t i o n s , R e f e r e n c e t h e u s e o f t h e m a t e r i a l i n t h i s b o o k i n y o u r : p u b l i c a t i o n s ,

R e f e r e n c e t h e u s e o f t h e m a t e r i a l i n t h i s b o o k i n y o u r : p u b l i c a t i o n s ,

w e b s i t e s , o r a n y m a n n e r o f a d v e r t i s i n g u s e d i n

w e b s i t e s , o r a n y m a n n e r o f a d v e r t i s i n g u s e d i n w e b s i t e s , o r a n y m a n n e r o f a d v e r t i s i n g u s e d i n

w e b s i t e s , o r a n y m a n n e r o f a d v e r t i s i n g u s e d i n r e f e r e n c e t o t h i s

r e f e r e n c e t o t h i s r e f e r e n c e t o t h i s

r e f e r e n c e t o t h i s

m a t e r i a l

m a t e r i a l m a t e r i a l

m a t e r i a l

C o m e t o a n a g r e e m e n t o f u s a g e c o n c e r n i n g y o u r i n t e n t i o n s f o r t h i s C o m e t o a n a g r e e m e n t o f u s a g e c o n c e r n i n g y o u r i n t e n t i o n s f o r t h i s C o m e t o a n a g r e e m e n t o f u s a g e c o n c e r n i n g y o u r i n t e n t i o n s f o r t h i s

C o m e t o a n a g r e e m e n t o f u s a g e c o n c e r n i n g y o u r i n t e n t i o n s f o r t h i s

m a t e r i a l m a t e r i a l m a t e r i a l m a t e r i a l

T h e s e c t i o n o f t h e

T h e s e c t i o n o f t h e T h e s e c t i o n o f t h e

T h e s e c t i o n o f t h e X i a o N i a n T o u X i a o N i a n T o u X i a o N i a n T o u X i a o N i a n T o u c o m m e n t a r y w a s w r i t t e n i n 2 0 0 4 , a n d r e v i s e d c o m m e n t a r y w a s w r i t t e n i n 2 0 0 4 , a n d r e v i s e d c o m m e n t a r y w a s w r i t t e n i n 2 0 0 4 , a n d r e v i s e d c o m m e n t a r y w a s w r i t t e n i n 2 0 0 4 , a n d r e v i s e d

i n 2 0 1 3 b y t h e a u t h o r .

i n 2 0 1 3 b y t h e a u t h o r .i n 2 0 1 3 b y t h e a u t h o r .

i n 2 0 1 3 b y t h e a u t h o r .

A u t h o r : E r i k J . O l i v a ( L i n A i W e i )

A u t h o r : E r i k J . O l i v a ( L i n A i W e i ) A u t h o r : E r i k J . O l i v a ( L i n A i W e i )

A u t h o r : E r i k J . O l i v a ( L i n A i W e i )

g u i z h e n h u i @ y e a h . n e t

g u i z h e n h u i @ y e a h . n e t g u i z h e n h u i @ y e a h . n e t

g u i z h e n h u i @ y e a h . n e t

g u i z h e n h u i . n e t g u i z h e n h u i . n e t g u i z h e n h u i . n e t g u i z h e n h u i . n e t


3/79

Yong Chun Tong Men


4/79

Dedicated to my son, students and disciples; my Yong Chun

brothers old and new, and all Yong (Wing) Chun Families.

Though we may practice in a different way, Our Yong Chun

came from the same source.

The seeds of a flower inevitably sprout roots,

Yet tradition is neither in the soil, seeds, roots nor the leaves.It is in how they are personally cultivated. Lin Ai Wei

Erik J. Oliva

a.k.a. Lin Ai Wei


5/79

About The Author

Founder and head teacher of Gui Zhen (Gway Jen) Philo-CulturalSociety, previously called Jing Xin Yuan, Lin Aiwei began his practices

in 1988 in Chan and Daoist meditation. In 1993 he began Qigong

practice and study of Qigong and Tui Na Therapy, teachings were

received via meditation. In 1999 he began Yong Chun Quan practice,

and two years later, 2001, he started Taiji Quan and Bagua Zhang

Practice which focused on application and internal cultivation.

Lin Ai Wei took discipleship under his Yong Chun teacher in 2004 yet

has formally/personally disassociated from that line in 2011 due to

internal politics. He learned his Taiji Quan from Shifu Rudy Curry Jr.,8 Mother Palms of Yin Style Bagua Zhang from Shifu Novel Bell (a.k.a.

Black Taoist), which he learned in a 1 day workshop in 2002 and

maintains his practice till this day.

Lin lived in China for several years teaching English and privately

teaching Yong Chun Gong Fu and Taiji Quan in Shandong Province,

China PRC under the founding of Jing Xin Yuan in the middle of 2006.


6/79

While in China, he became a Lay Disciple of the Buddha Dharma

through Master Xuan Hua's guidance and teachings, and became a Lay

Disciple under Liu Shifu of Wang Mu Chi Daoist Nunnery of the Hua

Shan Sect of Quan Zhen Daoism (Complete Reality Sect of Daoism) in

Taian City Shandong China.

Lin was born in Brooklyn NY, to the name Erik Oliva. His father was

from Italy and immigrated to America, and his mother born in

Brooklyn NY, Puerto Rican and American Indian. He was fortunate

enough to meet cultivation practices of meditation and guidance at the

young age of 8 years old by his second oldest sister.

As a young child he learned various Daoist cultivation practices of

sitting, lying, walking and standing meditation. In 2005 he received

Buddhist Pure Land and Chan teachings which thrust his Daoistcultivation to a higher level. At that point he realized both Buddhist and

Daoist cultivation are truthfully no different except for one thing, one's

intent of cultivation. By the time he was 22, he received Daoist practices

such as Yi Jin Jing, various methods of Zhan Zhuang (Standing

practices), Taiji Quan, Yin Style Bagua 8 Mother Palms, and Wu Dang

Sword.

Between the years 2003 and 2005, Lin wrote a manuscript on

cultivation called "Shen Yi Zhi Dao", "The Way of Spiritual Intention".

It is comprised of 3 chapters with each chapter consisting of over 40

sub-chapter-like paragraphs covering everything from energetic

cultivation to mental, emotional and societal problems as well as

solutions to these conditions.

After the closing of his first two locations in China, which were semi

public classes, he returned to New York and re-opened his school as a

Lay Buddhist cultivation center.

-Some History-

In 2006, Gui Zhen Society was founded under the name "Jing Xin

Yuan" by Lin Ai Wei, privately, in China. At that time it was a center

for martial arts where students, both domestic and international, would

come and learn Taiji Quan, Qigong and Yong Chun. Most classes were

held in the local city parks, or in its rented premises, and sometimes in

the founder's home.


7/79

In 2009, Jing Xin Yuan came to NY, and was established in

Bensonhurst Brooklyn. During its years in China, it developed to not

just be a martial arts center, but a Chinese Cultural center, delving into

Confucian behavioral practices, Buddhist and Daoist studies in terms of

cultivation of mind and Qigong

as well as establishing a clinic ofChinese Medicine; Acupuncture, Herbal Formulas, Tui Na and Qigong.

From 2009-2011, Jing Xin Yuan evolved to not only include the above

activities, but also take on minor community service roles like street

clean ups, local assemblyman festivals and services, as well as personal

services to the residents of Bensonhurst Brooklyn, which included, but

were not limited to, translations of bills, social security paperwork,

immigration advice (basic), and housing services all for free.

Jing Xin Yuan began connecting with local community organizations tooffer more help and also learn more about service in the community

vector. Soon, Jing Xin Yuan began working on Chinese cultural

projects with both the Confucius Institute at Pace University and the

Chinese Consulate in Manhattan.

The founder, Lin Ai Wei, began teaching, independently through the

Confucius Institute, Taiji Quan, Yong Chun and Basic Wushu. Lin also

gave a lecture as a guest to one of Pace University's classes on Buddhism

in 2009.

In 2010, Lin accepted 5 students of Buddhist and Daoist cultivation to

be his disciples in those teachings, which meant that he would always be

available for them to guide them in their spiritual and personal growth;

and in 2011 accepted another 4 as his 1st

generation disciples in Yong

Chun.

At the end of 2011, Jing Xin Yuan closed its doors and moved out of its

premises in Bensonhurst for 2 reasons. The first was the founder had

been offered opportunities in China to lecture on Chinese Culture and

Taiji Quan, and could not pass up such a chance to do so. The second

reason was internal conflicts of interest with his Yong Chun teacher.

Such actions during that time period were the catalyst for Jing Xin

Yuan to change its name to Jing Xin Tang, representing stability and

growth. Later, upon returning to China, Lin further sought a change of

his organization and not only changed the name, but also the


8/79

mannerism in which his organization was to go in. Thus, Gui Zhen

Philo-Cultural Society was born.

It is such that through conflict and pressure, growth is realized, and it

is through said conflicts the realization of one's true strengths and

visions can mature and manifest.

Lins organization, Gui Zhen Philo-Cultural Society, has a history of 7

years of development from 2007-2013, and still progressing, as well as

22years of conceptualization, from 1991-2013.


9/79

Clarifying Statements

In preparation for the inevitable criticisms for writing this book, as

well as for my history with Yong (Wing) Chun, I write this short

statement to open any dialogue between any one who gets caught up in

the politics of my past affiliation with my previous Yong Chun lineage,and wants to know what I have experienced and the factual story I have

to tell.

In my Wing Chun line, as well as various others, there has been, is, so

much inner politics, and deceit, that at the end of 2011, I resigned out of

my teacher's line. Even though one's "Sifu" is always their "Sifu", one

does not have to sit back and not speak up when things are unjust,

unfair, and just plain out wrong.

I will not go into full details, for everyone is welcome to contact me andask me personally what had transpired within my experience. What I

may say is that just because one is a Sifu, that doesnt mean what ever

one says is always true, reasonable, fair and beneficial to their students

as well as peers and short/long term acquaintances.

Due to inner conflicts, and various other influences, I am not a

recognized Sifu by my old teacher as per late November 2011. In

short, after I had closed my previous school, left the location, and

offered and prepared the premises for my old teacher, as well as paid

his first months rent for his commercial concession time; a week afterhe decided to not recognize me as a Sifu under his line, and began a

character assassination campaign against me.

Note, I already had taken disciples with his blessings in July of 2011,

and had been given the Sifu title to use when I opened 2 locations for

teaching Wing Chun in China in 2006, as well as permission to take

disciples in 2009, along with several interviews issued by him with the


10/79

reference of me being a Sifu. Of course, after certain situations in

late 2011, those articles have been taken off the internet, and or

replaced with status of rank unverified. I have saved those articles

and would gladly share them to anyone who asks for them in light of

researching this situation.

There is much more to go into, but for public eyes, its not necessary.

Any inquiries you may have will be gladly responded to by me

personally.

I don't fight for things that have already been given to me. My

problem with this situation is not about a title, but about principle,

respect and character.

Thus, I write this statement in order to make sure it is publicly knownthat this is the situation, that I have nothing to hide and am very willing

to confront this issue if need be, as I always was and tried to.

In this light, understand that this situation is common amongst western

martial arts schools due to the misunderstanding of Chinese Martial

Arts Culture, Chinese language and Martial Arts lifestyle, along with

ones personal attachments to status and recognition.

Understand that in the past, many stories of various martial artists

history become embellished, or even misconstrued. Hence, I write this asa way of maintaining clarity as to my history, should anyone in the

future who studies with me, and or is curious of my statements, may

attain a written reference to work from.

Respectfully,

Erik J. Oliva

a.k.a.. Lin Ai Wei


11/79

-Foreword-

I write this book for many reasons, building a name isnt one of

them. I will not use the actual names or pictures of my old teacher of

Yong Chun, or anyone I learned from or studied with within the pages

of this book, for I did not ask their permission to use their identities as a

reference in this publication, and it is not a book dedicated to specificpeople.

One of the reasons I write this book is to contribute to the growth of

those who practice Yong (Wing) Chun and those who are interested in

practicing. In this book I will present my own personal history and

experiences in practicing Y.C. (Yong Chun), western/eastern

comparison of the title Sifu and its meanings, an un-biased

perspective on Y.C. (Yong Chun) generally, and much more.

In my years training Y.C. (since 1999) I encountered many different

types of characters, both in myself and those around me. I learned that

when we surrender our humility and judgment, and place it with

anothers, we basically end adhering to that persons every whim. I

figured not to let my own students become a follower, especially of me.

Let them learn through me and take only what they need to push

themselves further; To make sure they do not fail in questioning and

researching what I tell them.

Perhaps its a misunderstanding that student almost act as though theyare worshipping their teacher, to adhere to every beckon call, which

westerners have developed when observing how students treat their

teachers in China,. Maybe it was an observance of some egotistical

mannerisms from various schools of martial arts, and then believed to

be the right way. Who knows, but at least we can make our own

decisions when we have understood what kind of culture and

behaviorisms lay as the foundation of Chinese Martial Arts.


12/79

I never found Yong Chun to be confusing. Though I was told many

times that if it is not confusing, I dont understand it, I still felt

something was just incomplete with that. Saying things that way may

have worked when I was 19 and just starting Yong Chun, but now, at 33,

I still say the same thing, Its not confusing, nor is it complicated or too

simple.

There are so many types of views people have about Yong Chun, and in

the west it has gotten to a point that the more one tries to simplify their

explanations, the more fluff gets spoken. Many also try to speak so

simply as to almost make understanding Yong Chun a bit of a

mysterious journey; or even speak in reference of scientific expressions

to almost prove that the principles of Yong Chun are true and can not

be proved wrong.

Firstly, learning anything regarding movement, coordination, stability,

and application martially will always revert to understanding anatomy,

distance and placement. Yong Chun is not exclusive to this, for every

martial art out there deals with close quarter combat in some manner

or another.

Many would love to say Yong Chun is so simple that its sheer simplicity

presents a complexity of principles and thus one will never really

understand its true uses until they spent years upon years of practicing

and contemplating Yong Chun. I say, if that was the case, then how was

it promoted back after it was created as a fast to learn art, to be

proficient (not mastered) in a short amount of time, approximately 3-4

years?

Also, those who began practicing Yong Chun were not scholars, at least

the majority. Many were rebels, with little or no academic education.

Some were singers, policemen, or even government officials. The

capacity of these practitioners varied then, and still do to this day.

I always figured that no matter the method being practiced, any one

can gain a basic understanding and be very proficient in their basic

skills, create and or emphasize with their own insight, the basic guiding

principles of Yong Chun, or any other system. So really, ones

development isnt based on how Yong Chun is as a system, but rather


13/79

the individuals capacity to understand and apply what they are

learning.

Given this, we can also find that different styles of Yong Chun have

different mannerisms of practice, thus offering different views of

application, different positioning for the various hand techniques, and

last but not least different philosophical principles. Yet they all seem to

have the fundamental concepts of Yong Chuns positioning to a degree.

This point is their commonality, at least on of them, and we can come to

understand that no one persons understanding of Yong Chun is

superior to anothers. It is such that they may have specificity to their

focus as their difference. One can learn much from observing and trying

to understand the whys and hows of others explanations and concepts.

Yong Chuns movements are amazingly easy to learn, simple to applyand its concepts are not difficult to understand. What brings complexity

to the table is ones own character, fear, emotional state, personal views,

world views and capacity to apply the techniques in sparring. We can

see that Yong Chun is more about discovering the transitional

combinations, rather than being taught and sticking to fixed technical

practices.

Using fixed technical practices is the first step, then understanding

their practicality and how to augment it to certain changes that occur in

application, is where discovery begins.

There are myriad ways to combine and apply the hand techniques of

Yong Chun. All you need is an imagination, open mind and the

guidance to learn how to apply them. If Yong Chun was a maze of

complexities, there would be much more to understanding it, and if it

were completely a mass of simple applications, it most likely wouldnt

have lasted too long.

So, we can say here that it doesnt take much to truly learn Yong Chun,but it most certainly requires the practitioner to learn how to put down

what they assume to be true, and re-learn the application of movement

done daily all over again.

How one chooses to practice Yong Chun is totally based upon their own

lifestyle and understanding. What may seem complicated to one may be

extremely simple to another. Thus is the dichotomy of the relative world.


14/79

Yong Chun faces a history many are familiar with. A history filled

with untraceable origins and legendary people. Yong Chun must be one

of the most confusing arts to understand in terms of its history. Because

of this, many begin with Liang Zan (Leung Jan) as their origin, for he

has a traceable history. I will not go into the various Yong Chun origins,

for we can easily find such information online.

Besides that, adding information that is simply stuffing will take

away from the main idea of this book which is to share some views,

practice methods and philosophical principles which may aid the fellow

Yong Chun practitioner on their journey.

Each practitioner of Yong Chun in the past made their own changes to

the system. The reasons vary, and most likely we will not get a deep or

profound explanation, or even one that we can research.

I have made some changes due to my own development in this system,

and felt some things I learned were just touching the surface, but were

enough to thrust me into deeper contemplation of my character in terms

of finding something which fits for my personal lifestyle. Instead of

going out and learning another style altogether, I decided to work with

what I had, and augment it to fit my development.

To ease the journey of climbing a mountain, one must leave behind the

unnecessary in order to not add extra burden along the path.

The title of this book, Yong Chun, Same Source, comes from the

realization that all types of Yong Chun come from the same people, no

matter how far into the lineage tree we want to travel. Its development

basically began in the same place as well, and then moved on to various

regions for further development. Since all Yong Chun practitioners

share this same origination of the art, we are all one family, of the same

source.

Actually, the words literally mean same door, yet we can

translate it contextually, and make the door mean source due to the

fact that all houses have doors, and we all use them to enter and exit

from a house or building. In that, not all houses look the same, but they

all have doors. We need to understand that Chinese language can be

translated literally, and contextually, but most of the times contextually.


15/79

It, the Chinese language, is not like English at all. Many cultural

aspects of Traditional Chinese Culture are not present in western

culture at all, and so a translation would be impossible if it werent for

behaviorisms and context. We will see this with the term Shifu/Sifu,

later on.

When a cultural art passes to another region of the world, that

regions socio-cultural mannerisms do not change to fit the cultural art.

The cultural arts characteristics change to fit the socio-culture of the

region it moves into. Hence a watering down of, and or a changing of

the meanings of literal aspects, as well as a manipulation of contextual

aspects of the imported cultural art; This is prevalent in martial arts,

art, music, philosophy, etc, and Yong Chun is not excluded.

I hope those who read the following pages understand that what ispresented here is my understanding of how things are, through my

experiences and contemplations. It is only what I have come to

understand, and will indeed change as the years go by. Hopefully what I

write may be used as a reference, and possible guidance, yet not to take

place of an actual in-person teacher.

Also, when it comes to descriptions of the first form name translation,

it is mostly not based on my previous training in my Y.C., but rather my

own idea based on my understanding of the Chinese language, and

cultivation practices involving the mind; Qigong, Chan (Zen),

Buddhism and Daoism. Hopefully some things presented here can be of

use to those who are cultivating Y.C.

By all means, take what you find useful, and disregard what doesnt.

Lastly, remember that there are so many different ways to practice the

same exact thing, resulting in the same exact result, and some variations.

One persons style of Y.C. will be different from another. What is

more important is that the foundational teachings of the practitioner

were that of what Y.C. was influenced by, or at least what we have cometo know as its foundational influence.

I have revised the first, second and third forms of Y.C., changing the

appearance of several hand techniques and sequences, adjusting other

hand techniques and positions, as well as combining various transitions

from another Y.C. form.


16/79

I did this because I felt what I had learned, and am still learning, was

missing a more in depth aspect to the physical cultivation of the issuance

of force, as well as the internal cultivation as to the application of mind,

breath and qi. It is thus my own expression, but nothing new.

Erik Oliva

a.k.a.

Lin Ai Wei


17/79

A Martial Artists Greatest Misconception

(Understanding the Title, Shifu/Sifu)

An article written by Lin Ai Wei in 2012, revised in 2013


18/79

A Martial Artists Greatest Misconception

(Understanding the Title, Shifu/Sifu)

In the last hundred years we have seen much from international trade

and cooperation. This bridging of cultures has brought much

traditional culture to the fore-front of our modern-era. One suchculture is that of martial arts.

When martial arts are introduced to a society, the first aspect that is

seen as special is the fighting applications. The martial aspects are

what catches peoples eyes at first glance, and becomes rooted in their

minds as the most important aspect. This root-thought further breeds

thoughts of superiority; empowering ego, separation; empowering ideas

of various social levels, and thus manifests a culture of misconceived

notions which points back to egotistical lifestyles and behaviors.

One such idea is the title of Shifu, Sifu. What does this

title mean, and what is the reason for its use? The title Shifu, in the

Chinese National Language, or Sifu, in Cantonese, has two very distinct

meanings. Lets investigate what it is, and then we can further realize

the misconception that has been rooted deep in western culture.

1). Shifu (Sifu): Refers to one who is skillful at what they do. For

example; a computer technician, chef, driver, dog walker, doctor of

medicine, window/dish washer, etc.

2). Shifu (Sifu): Wrongfully translated to mean Master. Refers

to one who teaches what they are skilled at, and accepts an apprentice,

or many.


19/79

Both terms in Chinese carry the same intonation. In regards to the

second translation of Shifu, there is a saying in Chinese culture, not just

in regards to martial arts, but to anything one teaches,

: One day a teacher, a lifetime a father. Obviously, the title of

Shifu has nothing to do with the word master.

If we were to say master in terms of how it is used today by martial

artists, we would be better off using the term, ( Zhu Ren) which

would best be described as an overseer of ones life, for example,

someone who takes you in and takes care of you, if you are an orphan.

An example of its use would be: Master, I bought the groceries.

Using the term Shifu to mean one who is in mastery of their skills

would insinuate that the person called Shifu would be undefeated in a

fight. Unfortunately, there is no such thing. Yet, it is used to insinuatethat the person is proficient in their practice.

Traditionally, and just for respect, anyone who teaches a martial art, is

called a Shifu out of respect. Whether or not their teacher gave them

the title or not, most people in society bestow the title out of respect. In

Yong Chun in the west, a majority assume that this title means one is

indestructible, or at least almost undefeatable. A whole cultural context

behind the use of this title is disregarded, and the modern movie idea of

it is taken as fundamentally true.

When looking at the term Shifu being used to refer to Buddhist monks,

we must understand the culture behind its use. When calling a Buddhist

monk, Shifu, we are stating that they are our teachers of the Buddha-

Teachings for this lifetime, a teacher and father. The monk would be in

a high skill of control over their mind, and in a state of great wisdom to

assist those he has fate with in studying the Buddhas teachings.

In this case, the monk would be seen as doing something that is very

hard to conceive of to non monks. That is, having put down sexual

desires, greed, anger and ignorance. In comparison to martial artists,

not many can do that at all.

Referring to the first description of Shifu, meaning one skilled at what

they do, we see that it is a respectful title offered by people as a way of

having proper manners, being nice to the person. Calling one a Shifu at


20/79

what they do acknowledges that persons hard work and shows

appreciation for them in giving us their service. This is a Chinese

cultural behavior, and not exclusive to just martial art culture.

Never has there been a martial artist who refers to another martial

artist as Shifu (). If he did, then he is referring to the other as a

father and teacher, his own. Yet, one martial artist calling another one

Shifu (), is a very common, respectful mannerism.

Due to the misuse of the term Shifu, many have held their martial arts

teachers in a high regard, sometimes taking all they say as the golden

rule, with no room for error. Some even have taken to the idea that

because their teacher is very skilled at fighting, and teaching, that the

teacher is some how spiritually enlightened.

Last but not least, many see martial art teachers as one sees movie

stars, and even in some cases a god. As it is, none of these views lead to

wholesome lifestylesunless it is true that the martial art teacher has

become spiritually enlightened; and if so, it most definitely wouldnt be

from learning how to beat someone up, but from principles and proper

education in the way towards enlightenment. That being the case, the

teacher most likely wouldnt be teaching how to fight unless the student

displayed mannerisms of humility and selflessness.

The misuse of this term has resulted in such a deeply rootedmisconception, and plagues the modern culture of the western martial

arts world with infighting amongst schools, ego, superiority and

separation.

In taking on the title, realize that it is just a title, a word in the Chinese

language, and any persona attached to the title is simply just the

mannerisms of those who have been called such a thing. When being in

the expression of the above first example of Shifu, the mannerisms of

such a person vary, and there are billions of people with billions ofdifferent character traits to them. The term Shifu does not carry any

character traits behind it, nor does it hold any standard of attainment.

It is simply a term in the Chinese language.

The same goes for the above second example of the term. The only

difference between the two is the manner of responsibility one

undertakes. Taking a specific responsibility doesnt make you any

better than the next person. It only states that you have more on to do


21/79

than most people. Usually it is seen in movies how a Shifu has many

disciples who serve and abide by all the Shifus demands.

Why would this be the case? Simply because that Shifu has taken inthose disciples to live in his home, offer them work, give them money,

food, a room to live in and guidance in their studies.

I see this as a good reason to listen to ones teacher, given this would be

the case. Yet, it doesnt mean that whatever a Shifu says is 100% correct,

full of humility and good principle. Another point, it is just a movie, and

life 100 years ago in China isnt what the movies depict. Usually when a

Shifu took one into their home, the student was either an orphan, or

chose to tend after the teacher.

The relationship between student and teacher had Confucian ethics of

Filial Piety as its foundation, yet nowadays, there are only remnants of

certain behaviorisms within the martial arts; most of which neglect

actually having the quality of virtue and merit, which determines ones

personal character and level of given respect and regard.

The quality of all tasks performed and all methods taught depends on

the understanding of the person teaching. Their responsibility is to be

sure their apprentices (s) are safe, educated according to the methodstaught, and can develop the skill to apply what they are taught. Usually,

the teachers personal character and views influence the apprentice(s),

and the apprentice thus becomes a copy of the teacher, mixed with their

own lifestyle and behavior.

This is an important issue, and must not be taken lightly. Historically,

the persona of a person taking on apprentices is one of a serious, well-

mannered, well educated, and cultured with positive principles, conduct,

virtue and stands for the morality they believe in; all for the good of the

people. This kind of example is a very high standard within traditionalChinese martial arts culture as well as traditional culture generally.

This kind of education has not been taken serious by a vast majority of

western martial artists, and thus leads their students to focus solely on

the aggressive mannerisms of martial practice. We have a saying in

Chinese for this manner of lifestyle. It is called to : To walk

along the fiery path and enter demonic states. Basically it means to


22/79

focus only on the aggressive and controlling aspects and thus causing

the mind to mature to an overpowering, egotistical one. This way

eventually leads to violence, health problems and conflicts.

Martial Arts culture has within it an education of conduct, virtue,

morality, humaneness, academics and service. Teaching requires one to

not just be skilled at what they do, but to be educated so as to lead an

example for students in principle and righteousness towards being a

humane person.

If one carries either of the Shifu terms, do not think you are

someone better than most, and it would be wrong to think that others

should respect you just because you carry that title. It doesnt matter

how long you have practiced, and it doesnt matter how much other

martial artists like you. You are still a human, and still must do humanthings. Do not let the idea of a title cloud your mind.

To those who are students, it would be wise to observe the character of

the person you wish to study under. Learning how to fight is only a

small aspect of martial arts culture. One must investigate the culture of

what they are studying and observe the potential teachers character,

for such a person will be a big influence in your life and eventually

shape how you behave and see the world.

In conclusion, the term Shifu is just a word in the Chinese language.What is more important is the personal character of the one using the

title. Choose your teachers wisely, and develop yourself with

humaneness, virtue and conduct first. Because it doesnt matter how

well you fight, what does matter is how good of a person you truly are.


23/79

WhyWhyWhyWhy TheTheTheThe Plum FlowerPlum FlowerPlum FlowerPlum Flower????


24/79

Adversity is the catalyst of change ---Lin Ai Wei

The plum flower has been an icon in Chinese Martial Arts culture for a

very long time. Hong Quan has a form called Plum Flower Fist, Mei

Hua Quan, Yong Chun also pays its tribute to the plum flower, in most

of its traditions at least. Though many reference the plum flower in

their Yong Chun, few know the cultural significance of such a flower,

and usually many fail to even research. In my experience, knowing just

the idea about something isnt enough to gain the actual merit and

virtue of truly finding out by humble inquiry.

For example, many in the martial arts simple place their fists and palm

together as a way of greeting and saying thanks to another practitioner.

Yet, is the use of such a gesture, along with its cultural significance

understood? Is it enough just to have some idea, or is it better to

actually be educated about what one is doing?

When I didnt know, and asked my teachers and received a very basicanswer, I researched to find out if anything I was told had merit to it.

Most of the time, it didnt. That is because in Chinese martial arts, its

very important to understand the culture behind it. That doesnt mean

wearing Chinese style clothing and round-top cloth shoes and acting a

part like in a movie.


25/79

It means actually inquiring to older generations, preferably those older

than ones teacher, and only to those who are actually Chinese and are

well versed in Chinese cultural history, literature, behavior and lifestyle.

This is important because if you are studying a Chinese martial art, and

can not, in a confident but humble manner, explain what you are doing,

then whats the point? People do not have true respect for this kind of

person, and one will be seen as a laughing stock.

So, why the plum flower in Yong Chun? Well, I have heard a story

stating that the Northern Shaolin Temple had five posts positioned in

the shape of a plum flower which was used to practice standing and

walking methods in the martial arts. Well, if this is true, then why

would Shaolin utilize posts in the shape of a plum flower?

Culturally, the plum flower is revered for its opposing the forces of

winter. Basically, it stands in the face of adverse weather conditions and

blossoms in the freezing cold. This says a lot about how to gain skill and

perseverance.

Martial arts practice is about eating the bitter. As a result, one

develops proficiency in what they do and can handle most adverse

situations. Just like the plum flower which blossoms in the winter,

taking a beating from the harsh cold and freezing rain, snow and wind,

we too can endure the pain and fatigue from martial arts practice.

Eventually one will attain a proficiency good enough to protect

themselves.

We can look at the time that Yong Chun was said to be developed;

between 1644-1911. Well, thats a big round about figure, so we will

have to look at the conditions of government, society and lifestyle in

order to understand the use of the plum flower in some Yong Chun

traditions.

The time period from 1644-1911 was full of mostly internal rebellions

against the Qing Dynasty (1644-1911) and foreign invasions. If one were

to take the time to research this time period, one would find an

enormous amount of stories of pain and suffering, though there were

some good times, the bad out weighs the good to most.


26/79

With this in mind, we can understand why some Yong Chun uses a

plum flower as its symbol. Due to the Chinese societys hatred for the

Qing Dynasty, many rebellions took place; many militias were born to

fight against the government. Yong Chun has a historical tradition of

being used by those who were fighting against oppressive forces.

It is said that the plum flower is revered for its endurance of the cold,

its strength in dealing with freezing weather and its beauty. For within

the cold brittle weather of winter, the plum flower blossoms into

something very beautiful and perfect.

Culturally, the plum flower represents the difficulty in enduring

hardships and the perfection in the end result of successful efforts. In

the past, those who practiced Yong Chun, at least those who were rebels

fighting for their cause, felt that the times they were in were hard, toughand they needed to break free from what they felt was oppressive.

Their winter would be the Qing Dynasty, and their spring time would

be the return of the Ming Dynasty. Unfortunately that didnt happen,

but throughout the time they utilized Yong Chun for their efforts, it is

safe to say that they could have utilized the plum flower as a symbol of

their fight against the oppressive forces.

Maybe some would like to say that the plum flower represents the 5

elders of Shao Lin who created Yong Chun. Perhaps, yet that doesnt

change the cultural significance of the plum flower. Also, the story of

Yong Chun Quan has no written historical record of its founding, only

oral tradition. Most traditions simply base their founder as Liang Zan,

Leung Jan.

One can basically say any story they feel they like, yet when met with

someone who is educated in the field, one may be at a loss for words

when certain things are brought to light. Therefore, it is best to educate

oneself about the history, culture and behaviorisms of what they arelearning.

In the Yong Chun I practice, there is a turning method I was taught.

Its name was Plum Blossom Turn. It only had two turns and had no

reference to a plum flower whatsoever. When I mentioned it to others

older than those I learned from, both in age and practice, they never

heard of it. Perhaps it was a name given by my old teacher and or his


27/79


28/79

Xiao Nian TouForm of Refining Concentration

I have augmented the original first form I learned, slightly, in order to

place more care on the joints. For example, in the past I was taught a

full circular hand which meant to run the palm totally around,

stretching the little finger and causing the hand to be able to stretch well.

I noticed after years of doing this that my wrists began to ache, and

soon was experiencing numbness in my fingers and forearm, along with


29/79

lack of strength and constant pain. I thus changed the circular hand to

something more wrist friendly.

The slightly augmented original form I learned is a basic foundational

practice, and a prerequisite to the revised first form I have

formulated; which allows for a more fluid and tighter center protection,

as well as offer a different perception of angles and gates. So this slightly

augmented form which we will see below will be called Old Form.

Some names in this form have been changed as well. When I was taught

Yong Chun, I was not told all the names of the techniques within the

form, even upon asking, I guess my old teacher didnt know. Who

would? Originally, it is a Chinese art, so its understood some names

would be lost and remembering them would be nearly impossible. Since

I speak Chinese, I decided to adjust the names according to theirfunction. Therefore, names in this form may be different from other

Yong Chun styles, yet they do the same thing.

I have put together a few methods of practicing the first form in order

to develop awareness of the various energies one cultivates when

practicing a martial art. These methods of practice are put into stages,

each with 3 levels, which practicing the first form simply to control the

mind, relax the body from unnecessary tension as well as remember the

techniques and their sequences is the first stage with no following levels.

The cultivation of the form in the beginning, in and of itself, is the

foundational practice and much effort should be used in order to

remember and become familiar, not just with the sequence and

techniques, but with ones own mind, emotions and personal views.

If one only has muscular strength applied to their discipline, they are

only one half complete in their personal training. Internal strength mustbe developed in order to have completed their training. Therefore, the

first form practice is necessary in order to develop the capacity to apply

the concepts of application of all of the forms at a deeper level.

In the first form, you will begin to understand the use of several

different types of energies:

Intention


30/79

Will Pressing Pushing Spiraling Sinking Rooting Pulling Bending Crashing Drilling Snapping Embracing Wrapping Sticking Grasping Controlling Cutting Expanding

It isnt till the 2nd

and 3rd

forms that these energies become apparent

while in form practice. These energies are manifest within performing

the movements of the form, as well as in hand to hand application. They

rely on the alignment of nine aspects of the body which can issue force:

Ankles Knees Hips Lumbar spine Thoracic spine Cervical spine Shoulders

Elbows Wrists

These 19 energies and 9 joints are cultivated in Xiao Nian Tou, in

the 2nd

and 3rd

stages of its practice, and are combined in movement in

the Xun Qiao and Biao Zhi forms.


31/79

Xun Qiao Seeking the BridgeOld Form- A Brief Commentary

The Xun Qiao form will not be observed this time in full detail, for

there is so much information to display regarding transitions and

positioning. Thus, we will save the Xun Qiao writings for another book.

Yet we can take a brief look at what it entails and get an idea of the

revisions I made.

The Old Form Xun Qiao is a name I gave to the original form I

learned. I have thus revised it and made the revisions applicable as a 2nd

level Xun Qiao practice, rather than having the revisions be the

foundation. It is important to learn the movements in a stop and go

manner in the beginning so as to understand the fluidity of thetechniques as applied in the revised 2

ndform.

The Old Form is a basic representation of the movements and their

fundamental positioning of each hand technique, stance movement and

kicking posture. It is indeed needed to move onto the 2nd

level Xun Qiao

form practice.

The revisions make the form more of an in depth practice providing

more focus on internal cultivation and continuous movement than just a

stop and go redundancy.

The transitions within Xun Qiao, generally, are very important, for

they display a live expression of Yong Chun. The first level Xun Qiao

also emphasizes the basic foundation of movement for specific angles.

The second level Xun Qiao emphasizes continuous movement in

transition from each section of the form previously taught.

Xun Qiao also lays out the positioning of a few hand techniques that

werent emphasized in Xiao Nian Tou, such as the Upward Cutting TuoShou, Downward Thrusting Chen Shou, Angular Rotating Chen Shou,

Tan Hu Shou combination, lower Bang Shou to upper-cut transition,

Moving Bang Tan Shou, and Pulling and Stabilizing (done with

simultaneous hand pulling and rear-foot extension).The stepping, kicking and turning methods found in Xun Qiao have

been practiced prior to learning the 2nd

form. These methods which are


32/79

not found in the Xiao Nian Tou sequence are; Forward stance, Kou Bu

and Bai Bu, Zou Ma, Leg extension, San Jiao Zhuan Fa, Front heel kick,

45 degree side kick.

Form of Refined ConcentrationXiao Nian Tou

This form should be done intending confidence in your character and

skill, no matter what level of the form you are on, or how long you have

been practicing the form (s).

The name of the first form is , Xiao Nian Tou. It is usually

translated as Little Idea Form, yet such a translation in English

doesnt offer a deeper sense of understanding why Yong Chun has such


33/79

a name for a form. We can thus translate Xiao Nian Tou to Form of

Refining Concentration, due to an observation based on Chan

Buddhist practice.

The term Xiao Nian Tou, through my observation, which is not to be

taken as fact, only as reason, is referring to the Chan Buddhist practice

of holding to one thought, or to apply concentration to the act of

investigating a phrase. The word Xiao: refers to something small,

or little; thus we can see that if one has no false thinking, their thoughts

are lessened, and remaining thoughts become so miniscule that they

appear small.

We can also apply the use of the word Xiao to be that the application

of the mind to what you are doing requires you to focus only on what

you are doing at the time; thus minimizing your false thinking (flippantthoughts, daydreams) in order to not be disturbed in your practice.

In order to do so, one must have refined their mind, and strengthened

their concentration to be able to hold focus on one specific thing,

without interruption. Refining ones mind means to have enough

concentration power (ability) in order to not have your focus moved to

something else, basically to not be distracted. This occurs after

practicing the methods for a long while.

The word Nian:, when put together with Tou:means thought,

or idea. When adding Xiao to Nian Tou we see that applying

concentration to a single thought is what is meant. The ability to gain

strength in concentration comes after a long time of practice.

The last part of the name of the form, Tou, refers to the term Hua

Tou, or word head. This term is used in Chan Buddhism to refer to a

stanza, or phrase, and the beginning of the idea, the Chan cultivator

focuses on.

So we can look deeply into the meaning of the first form of Yong Chun,

and realize that we are to refine our movements and concentration not

only to fit into our bodys range of motion, but also to strengthen our

mind, which thus cultivates Qi.

Not only that, but we are reminded that our Yong Chun comes from a

background of Chan cultivation, and thus our application of our


34/79

concentration will allow us to develop a clearer, stronger mind, and a

healthier body.

Remember, this is in my opinion from my years of being unsatisfied

with an explanation that seemed empty, as well as finding I n research

that Yong Chun came out of the Shao Lin Buddhist monastery. I am

only sharing some thoughts on this matter. Right or wrong, we will

never know unless we go back and ask those who created Yong Chun.The following descriptions were written by me back in 2004, and have

been revised throughout the years. They have been previously used,

with my permission, by one of my older Yong Chun brothers in his book

on Yong Chun. I had always made my developments available to those I

associated with.

This time is no different, yet if the following descriptions interest the

reader, and they wish to use the following as a reference for students

and or in any form of literary pursuits, please ask, and give an

explanation as to how the following information will be used, as well as

reference to where you found the information. If agreed upon,

permission will be granted to use the following descriptions of the first

form Xiao Nian Tou.

Beginning Posture

From upright position, feet together and hands at your sides; form a

fist and lift your hands to the sidelines of your chest inline with your

pectorals with the front of your fists facing forward; bend your knees,tail bone pulls down slightly, shoulders over hips, toes turn out, then

heels turn out with toes slightly pointing inwards. Thigh bone and knee

rotate slightly (left to the left, right to the right), causing the knees to be

over the foot, neither pressing in, nor pushing out. This is to be done

simultaneously.

Left hand performs a Gang Shou (Downward block/cutting block)

along with the right hand, palm up, meeting the elbow crease.


35/79

Simultaneously pull the left hand to chamber position while the right

hand cuts downward to a Gang Shou. Then place the left hand back

down to Gang Shou position over the right hand/wrist. Simultaneously

pull both hands to chamber with fists facing forward (do not turn fist to

have the palms upwards.

Er Zi Qian Yang Ma

All beginning students learn: Er Zi Qian Yang

Ma. This has two meanings. I prefer the first one which refers to the

compression of Yang Qi into the body, which is a manner of Qi Gong.

The second meaning, which Im not too sure where it came to be used,in the above parenthesis, means "clamping the sheep".

Your knees shouldn't squeeze inward. They should be placed over the

feet, pushing lightly into the feet. Weight should be centered in the

middle of the foot, and spread equally to the balls of the feet and the

heels.

The pelvis/tail bone does not press forward all the way, but only on

certain instances in issuance of force, especially when posture dictates

such a tail bone press. They are positioned where the tail bone feelspressed forward to a point in between all the way forward and all the

way back. The lower back should be almost straight, spine upright,

shoulders over the hips. Sternum, middle of chest, slightly pulled down.

Da Shou

Punch

For any Dao Shou, or punch, performed in the first form, remember to

let the elbow guide the fist forward into ones center. The fist, beforeextension, remains about three to four inches from the chest, between

the nipples.

Within executing extended punch, the elbow guides the fist forward.

Extend arm forward, wrist relaxed, and elbow in the center of the pecs

with forearm slightly angled in front of the chest/sternum. Stop

extension just before the elbow locks, let the wrist settle forward with

the bottom three knuckles pressing slightly forward and up.


36/79

Remember to not extend the shoulder. The shoulder remains relaxed

and in its fixed position, not stiff.

Quan ShouCircular Hand

From above position, open finger pointing them forward, turn palm

to face upwards. Then, flex the wrist causing the fingers to point

towards your chest, and then rotate the hand stopping when the fingers

are pointing downwards. Deviate the wrist causing the hand to be inline

with the wrist and arm; making a Zhi Shou like movement: see Zhi

Shou transition). After, bring your fist back to the chambering position,do not turn the fist.

Tan ShouDispersing Hand

The Tan shou has an intention to pierce, cut, redirect and intimidate.

When opening hands to perform Tan shou, fingers are open from the

knuckles and are slightly pointed in the center line direction at a 45

degree angle.

The elbow guides the hand forward, and stops its motion at a fist, and

or fist and a half, distance from the chest. Since the fingers were pointed

in a 45 degree angle into the center, the Tan sau automatically is placed

in an angle to the center line, ending with the inner side of the elbow at

the side of the solar plexus and half of the forearm and hand in the

center line.

From the tip of the fingers, one can measure a straight line to the top

of the nose. This Tan sau alignment is proper.

Zhi ShouBreaking /Forward Cutting Hand

The Zhi Shou is performed off of the Tan shou in the first part of the

form. From the Tan shou hand, make sure to keep wrist in center.


37/79

Perform half of a circular hand (quan shou)and snap wrist downward

without dropping, and or pushing, the wrist, forearm and ridge hand

down, passed the solar plexus.

There is no tension through out the Zhi shou, yet there is intention

placed forward during the Zhi shou motion.

Hu ShouProtecting Hand

In following the sequence of the form, Hu Shou will be next.

The Hu Shou returning to center constantly has a forward intention

until it is placed in the center. Its motion ends fist distance from thecenter, and wrist remains slightly above the tip of the sternum.

Fu ShouControlling Hand

The Fu shou, following Hu shou, is performed with an intention

forward focusing on the place between one inch of the back of the hand

to the wrist. The lower portion of the palm to the wrist, as with alltechniques, remains in the center of the chest, inline with the sternum.

The elbow guides Fu Shou forward and stops a fist, or fist and a half,

distance form the chest.

Zhi shou is performed following Fu shou. This is done two more times

on both hands individually.

Pai Shou

Parrying Hand/Slapping Hand

On the last Hu shou, following form sequence, the wrist slightly

loosens and elbow guides the palm to the side of the under arm, finger

tips at shoulder level, for a Pai shou. The motion is done smoothly to the

side, without dropping or raising the hand, and returns to the center.


38/79

For the forward palm strike, following side Pai shou and Hu shou

transition, there is a forward palm strike and or Pai shou. The extension

of the arm does not exceed the shoulder and does not lock at the elbow.

Upon extension, the wrist loosens slightly; fingers slightly angle down

and forward. Do not drop hand so the palm is parallel to the floor.

After palm strike, assume circular hand and return fist to chamber

following center line.

San Qin Zhang

The 3 Pressing Palms, San Qin Zhang: Shuang Ce Qin Zhang (2

sided pressing palms), Hou Qin Zhang (Pressing Behind), Qian Qin

Zhang (Forward Pressing), begins with a cut and simultaneous snap

downward to the side of the pelvis. Remember, elbows do not lock,

palms are pressing down, and fingers are slightly pointing into the

center.

Turning the hand to execute the first section of this movement is done

smoothly, and gradually. By the time you reach your extension, your

hand will be finished turning. This is done on both sides individually.

From the first part, transition to Hou Qin Zhang, back palm, behind

the sacrum, and return to Qian Qin Zhang, or forward pressing hand,

wrist positioned at the navel, fingers pointing inward in a triangle

position.

The transition from the first part to the backwards palm is very basic.

Both wrists release while moving around to the sacral area. Elbows are

pressed back, behind the body; they do not float out to the sides.

After palms press downward from the sacrum in place of the

buttocks, the fingers are pointed inward to form a triangle.

To transition to Qian Qin Zhang, forward pressing palms, wrists

release their press, and rise to the hip level. Elbows remain pointing

backwards while wrists move to navel level, and arms extend forward

wrists to navel level. Elbows are now in front center, fist distance away

from chest.


39/79

Shuang Qiao Shou

Transition to Shuang Qiao Shou (Double Bridge Hands), elbows lift toshoulder level, as forearms lift, ending with left arm over right arm.

Fingertips and elbows are in line with each other.

Elbows lead transition for Hacking elbow. As this is done, wrists

release gradually with fingers pointing to a side angle. Wrists lead for

throat cutting hands, Bai Shouand gradually straighten, performing a

throat cutting technique.

Returning hands to front center, wrists gradually release, making thefinger tips point backwards. Once both hands reach the center, the right

and left hands cross, with the right hand over the left. This is done in a

cutting motion; hands cut inward from backwards angled fingers,

which lead to right arm over left to form Shuang Qiao Shou again..

Shuang Chen Shou

Performing Shuang Chen Shou, elbows and wrists slightly bend to

clear the center for movement, and forearms and elbows fall into the

center with fingers; Wrists in Zhi Shou position, fingers pointing in

forward center, creating a triangle at the solar plexus level. There is a

slight expression of forward energy when performing this technique

focused at the wrists to the forearm.

Shuang Tuo Shou

This technique is done by causing the wrists to deviate with ridge of

thumbs, from the first knuckle of the thumg to the wrist, turning away

from the center from a Chen Shou. Fingers pointing towards the

center line.


40/79

Shuang Quan ShouDouble Circular Hands

Shuang quan shou: elbows and wrists stay in place while performing a

circular hand, quan shou, stopping at palms parallel to the ground.

Shuang Qin Shou

Upon execution of Shuang quan shou, wrists press forward by

extending the hand. Wrists will be in line with the solar plexus,

positioned in front of the sternum, elbows will be an inch away from the

chest.

Shuang Biao Zhi

This technique is done by releasing the wrists from Shuang qin shou to

be inline with the arm, with a slight angle applied to the hand and

forearm, as the arm extends on an upward angle towards eye level. The

path is a forward upward angle. Finger tips will be at eye-brow level.

Shuang Xia Qin Zhang

Shuang Xia Qin Zhang (Double Palms in Downward Press) follows

after biao zhi; wrists release gradually, settling downward at the navel

level, elbows fist distance from the chest.

Shuang Ti Shou

Shuang Ti Shou, or lifting hands, begins with fingers pointing

downward, wrists lift to shoulder level, turn wrists to allow the fingers

to point inwards making a Hu Shou position; then from Hushou,


41/79

continue to Circular Hand. During execution of Ti shou, arms are

straight but not locked at the elbows.

Pai Shou

For Pai shou, fingers open pointing to the center. Once finger

tips reach the center of the sternum; the hand turns with palm

facing slightly forward, gradually snapping the palm forward

to the side. The motion ends at the sideline of the axillary

border. The snap is released upon returning to hu shou.

Ke Da

Ke Da is a chin strike. Following pai shou, as the wrist is slightly

relaxed, fingers are pointing in an upward angle. The elbow presses

forward, leading the arm upward to chin level. Fingers lead the wrist to

snap, fingers should be on a side angle upon snapping to the chin level.

After completing chin strike, perform quan shou (circular hand), and

return to chamber.

Geng Shou

Following Tan shou, release wrist slightly, and guide it down the

center of the torso. Do not make this movement circular. Ridge of hand

slightly cuts to a downward angle. Angle is to the direction of the handbeing used. After executing geng shou, reverse the movement to return

to tan shou, with a snap of the palm. Geng shou is a cutting hand.

Lei Da


42/79

In a similar motion as geng shou, lead the wrist down in the middle of

performing quan shou, and leading the palm towards the lower rib level.

Once your wrist reaches your lower rib level; slightly thrust forward

with a snap. After, return to tan shou and perform quan shou without

extending the arm. Keep the arm bent as though it is in a tan shou

position when performing circular hand. The wrist is the only part

which turns, thus guiding the forearm to turn slightly. Return to

chamber. Lei Da is a lower rib strike.

Bang Shou

Bang Shou follows in the form sequence. Open fingers pointing to the

center. The elbow leads forward, fingers are directed into the center linepath going forward and turning. The hand turns gradually, and begins

as soon as the wrist is in line with the nipples.

Upon extension of the arm to bang shou, After bong sau is executed,

the elbow drops to center in Tan shou.

Zhong Zhang

Following the tan shou, a lying, or mounding palm is executed, Zhong

Zhang. The wrist pulls up from tan shou to chin level and snaps up.

Fingers will be pointing slightly down with arm extended slightly

upward, not locked at the elbow, with a 140 deg angle at the arm.

Once this is finished, return hand to tan shou, and perform quan shou,

return to chamber.

Keep the transition from beginning Bang shou to full Bang shou, to Tan

Shou, Zhong Zhang, and back to Tan shou very small. All movements

should not be overextended.

All hand sequences are to be repeated on the right hand.

Geng Shou/Jian Shou


43/79

From chamber, both hands open with fingers pointing towards the

center. Left arms extends down in geng shou, right ridge hand meets the

crease of the inner part of the left elbow, palm up, in the center of the

chest.

Simultaneously, the right hand cuts down the inner left arm,

performing a cutting movement, as the left hand turns palm up, and

follows up the right forearm to the right inner crease of the elbow.

The right hand is now in geng shou. The left hand now cuts down the

right forearm, right hand turns palm up and follows up the left forearm

ending at the left inner elbow crease, palm up. Left hand is in geng shou.

Perform one last hand cutting technique, and as the left hand follows

up, it changes to a fist and is placed at the center of the chest, facingforward. Right arm in geng shou.

San Men Da

(Punching the 3 Gates)

Following from left fist in center, and right arm in geng shou, is

alternate thrust punches/chain punches; San Men Da.

Simultaneously, as the left arm extends, with fist, to punch, the right

geng shou moves to hu shou position closing to a fist at the center of the

chest. The left fist punches to the chin level, right hand punches to the

mid-chest level and finally, the left hand punches to the sternum level.

This means, on the last punch, the wrist is in the center of the nipples.

Right hand returns to chamber upon execution of the last punch.

Closing Xiao Nian Tou

After finishing San Men Da, you should be in Qian yang ma. Turn

your left foot forward, and as you take a step to the left with your right

foot, both hands open and turn so palms face and press down to end at

your sides.


44/79

Xiao Nian Tou Manual

Written by: Lin Ai Wei 2004Revised: 2013

2nd

Stage Form Practice

2nd

stage focuses entirely on developing muscle, tendon and posture

strengthening exercises. During the second stage, one may develop

stronger arms, stance, technique and concentration.

This stage has 3 levels of practice;

Gradual tension Ending tension Snapping tension

Each level requires breath control, and concentration. Without the

first stage form practice, one may hurt themselves performing tension

application during this stage. The reason is without familiarity of thefirst form sequence, your concentration may be diverted, and your

breathing will become anxious.

Without familiarity of the first form hand transitions, you may be

unsure when to start and end your applied tension.Gradual Tension

When starting the form, begin the opening sequence normally.Only after you are in Qian Yang Ma do you begin gradual tension

exercises.

Gradual tension application means upon beginning any technique, you

are to apply a gradual tension within the movements leading to the end

position of your technique.


45/79

Once you reach the end position of your technique, your applied

tension should be at full level.For example, from the beginning motion of the form:As the punch extends forward, from the beginning of the arms motion

forward, apply a slight tension which becomes stronger and stronger upon

the full extension of the arm. Once you reach the end position of the

punch, your tension should have become stronger and stronger. At the end

position, your tension should be at full strength, maintaining the tension

for 10 seconds and then release the tension gradually before applying the

return motion tension.Before the return motion tension, you should be performing the Quan

shou transition. The Quan Shou should be done with no tension at all.This allows for the previous applied tension to release from the tendons,

and free up any residual tightness in the arm.After the Quan shou is completed, and your hand returns to the punch

posture, apply gradual tension while moving to the chamber position

where your technique started. As you arrive at the chamber position, your

tension should become stronger and stronger until you are settled at the

chambering position. At the chambering position, your tension should be

at full strength and maintain the tension for 3 seconds due to your hand

remaining in the chambering position while the other arm will be

performing its technique.This example explains the manner of your applied tension while in

transition of your technique. Applied tension should be done to every

hand transition in your form except on Quan Shou and Quan Shou

transitions.

2nd

Level : Ending TensionThe second level of the 2

ndstage form practice is called Ending

Tension because your full tension is applied at the end of your

technique posture.For example:


46/79

When transitioning from Tan Shou to Zhi Shou, once you arrived at the

Tan Shou position, apply full tension to the Tan Shou. When transitioning

with Quan Shou to Zhi Shou, the transition is performed with no tension

at all. Once you are in Zhi Shou position, apply full tension.

Hold the full tension on each technique for 10 seconds, then release to

perform the movement to Hu shou. Upon Hu Shou apply full tension, and

then release to apply Pai shou.This manner of applied tension is to be followed throughout the 2

nd

level tension application for this stage of the first form.3

rdLevel: Snapping Tension

The 3rd

level of the 2nd

stage form practice is called Snapping

Tension for when you have reached your ending posture for the

technique, there is a quick snapping tension applied to the posture. The

snapping tension is applied quickly, and with force. Make sure the force

you apply does not cause your hand to come out of its fixed position.Meaning, do not jerk the hand causing it to move outside of your

control, and outside of the techniques postural limitations.For example:When transitioning from Hou Qin Shou to Qian Qin Shou, there is no

tension on the transition, yet when you are about to arrive at the end

position of the technique, apply a snapping tension to the hands.This manner of snapping tension is applied to every technique in the

form except on Bang Shou. Bang Shou Snapping Tension is applied,

NOT at the turning of the arm, because it will cause you to apply thesnap from the shoulder, which will harm your shoulder muscle and

tendons.The snapping tension of the Bang Shou, when in application is applied

4 inches from where your forearm and opponents body (or arm or

whatever your bong shou is contacting with) connects. In the form, the

snapping is applied only at the end of completing the bong shou

movement.


47/79

Make sure you follow the form explanation of where the energy is

applied within the techniques. Meaning if the energy is to be in the palm,

then apply the snapping tension at the palm, if it is at the forearm, wrist,

and elbow or back of hand, apply it properly to those areas.

3rd

Stage Form Practice

Third stage form practice is a revision of the first form itself. In the

first form we focus on learning a fixed center-line position which

enables our body to develop a muscle-memory like function of

positioning.

In the third stage revised form, we learn that our center-line is as wide

as our chest and as small as our sternum, depending on the direction of

rotation our hips and torso turn to.

The 3rd

stage form practice consists of 3 levels of practice. These

practices focus entirely on softening your arms, stretching the tendons,

maintaining a smooth transition from the beginning to the ending ofyour techniques, and learning how to perform the first form with two

hands simultaneously.

The 2nd

and 3rd

stages of the form practice are a manner of Qigong

practice called Muscle and Tendon Cultivation.

Due to the form techniques differing from the actual Muscle and

Tendon Cultivation system of Shaolin called Yi Jin Jing, we can not

call it actual Muscle and Tendon Cultivation of Shaolin itself, but only a

variation of the actual system.

The 3 levels of the 3rd

stage are called: Single Partial Continuous


48/79

Double Partial Continuous Complete Continuous

Single Partial ContinuousSingle partial continuous means performing the first form one hand at

a time, while stopping at the end posture of each technique.

While performing each posture, there is to be no tension applied at all.

Movements should be very slow, coordinating with your breathing

speed, which should be slow as well.The tip of the tongue should be placed at the roof of the mouth, and

anal muscles should be slightly tensed. This promotes the connection of

the Ren and Du meridians in the body which run down the front of

the body (Ren) and up the back of the body (Du).Breath is focused down to the Dan Tian which is located one inch

and a half down from the navel, and an inch and a half into the body.

On the inhalation, the breath is focused down the front of the body,flowing down to the genitals, around and up through the tail bone

leading up the spine, to the top of the head and down again to the front

of the body leading to the Dan Tian.

Once your breath reaches the Dan Tian, and you cannot take in any

more air, slowing exhale, keeping your focus on the Dan Tian.

Inhalation and exhalation is done through the nose only, causing the

abdomen to expand on inhalation and contract upon exhalation.This is called the Micro-cosmic orbit meditation. Each inhalation

follows the extension of your arm completing one technique. Once you

reach the end posture of the technique, exhalation begins. Upon

transition to the next posture, inhalation begins again, and the M.C.O.

(Micro-cosmic orbit) meditation can continue.This completes the first level of the 3

rdstage first form practice.


49/79

Double Partial Continuous

Double partial continuous is the 2nd level of this stage. It means usingboth hands to perform the movements of the first form simultaneously,

except during the punching techniques of the first part of the form, and

stopping at the end posture of each technique.During this level, you will need to be aware of the space between the

hands when performing certain transitions such as Quan Shou so as not

to hit your fingers together during the transition.This level is to be done slow, and application of the M.C.O. is to be inaccordance to the breathing speed, performed exactly as in the first

level of this stage.Double partial continuous allows the elbows to move in their fixed

position to the boundaries of the most lateral aspect of the rib cage. This

level also shortens the time the first form is completed.

Complete ContinuousComplete continuous is the 3

rdand final level of this stage of the form

practice. It means to perform all movements with both hands

simultaneously without stopping at the end posture of each technique.This level allows you to develop a flow of continuous motion, piecing

together all techniques within Xiao Nian Tou. Pay attention to the

extension of the elbow, and transition of the hands upon performing

each technique.

The non-stop application allows your internal energy to flow freely,

which promotes better blood and Qi circulation throughout the joints,

muscles and extremities of the limbs.


50/79

It also allows the techniques to be freed from their fixed positions of

their end postures, and allows an easier transition to other techniques

used during application.The first part of this level is to become familiar with continuous

movement and the second part is to apply the M.C.O. meditation. This

final level completes the first form 3 stages practice.

Commentary

In observing how the transitions of the 2nd

and 3rd

stages are done, we

can see that each movement from the 1st

stage are interchangeable, and

that they intermingle. Intermingling of techniques means that any onetechnique can change into any other technique, not just flow into the

sequential positioning of how the techniques of the first form are laid

out.

Some transitions within the 3rd

stage require a bit of commentary.

These transitions are from the first portion from the Hu Shou and Pai

Shou:

Hu Shou/Pai Shou Transition:

After the sequence of Tan Shou, Hu Shou and Fu Shou is completed,

both hands would be occupying the center. Therefore, the lead hand

should be 2 inches in front of the Hu Shou, and at an angle forward,

perform Pai Shou and Zheng Zhang (Palm Strike, which is forward in

center). On the return of the lead hand to the chambering position, the

Hu Shou begins its Pai Shou at a slight forward angle from the centerand proceeds to Zheng Zhang.

San Qin Zhang Transition:

During San Qing Zhang (3 Palms Down), both hands move

simultaneously in their respective patterns.

Pai Shou and Ke Da Transition:


51/79

During the Pai Shou and Ke Da (Chin Strike), follow the above

explanation of Hu Shou/Pai Shou transition, but replace the Zheng

Zhang with a Chin Strike (for Chin strike reference, please see 1st

form

explanation).

Technique CombinationsTechnique CombinationsTechnique CombinationsTechnique Combinations


52/79

AndAndAndAndPractice MethodsPractice MethodsPractice MethodsPractice Methods

Technique Combinations and Practice Methods

The following technique combinations and practice methods may vary

from different Yong Chun families, but overall, the ideas of application

follow similar guidelines. Some of these practices I have learned, some I

have put together myself, and overall they have been revised through

my own experiences in application.

Over the years I have found Yong Chun to be a system of specific

technical combinations. That being said, if a person only learned the

first form, basic shifting and forward stance practices along with a few

technique combinations, yet never learned the rest of the forms, etc,

they would be proficient enough to hold their own.


53/79

If a person only learned basic shifting methods, and a few technical

combinations, they would still be proficient, as long as they practiced

what they learned.

In light of this observation, we can see that understanding Yong Chun

isnt in the quantity of what you learn, but the quality of effort put into

what you learn.

By all means, if some of these methods seem useful to you, let the

following information be a reference for your own practice and feel free

to adjust them according to your understanding and way of practice.

Training ExercisesIn the year 2003 I began studying basic Shaolin martial arts practices.

Basically low stances, high kicks, a basic fist form, horse stance, cat

stance, etc. Once I started practicing, I felt as though my stances in

Yong Chun became more stable, legs stronger, and body more awake.

From that time I incorporated in my own personal practice, various

low stance training methods to strengthen the legs, root and body. In

2011 I began studying Hong Quan (Hung Keun), and again began

practicing horse stances, cat stances and a few more that really grew on

me, and ultimately changed my bridging and rooting power.

I saw the difference in Yong Chun, and decided to teach my students

such stances as part of their practice regimen in Yong Chun. Soon after,


54/79

my students reported back to me stating they felt their legs getting

stronger, body feeling tighter, and their Yong Chun applications feeling

more of a substance.

Contrary to popular belief, Hong Quan isnt a stiff, low stance fighting,

external only martial art. Dont take my word for it. It doesnt hurt to

go and learn things we are unsure about and come to an educated

perspective.

Regimen:

10-15 minutes 4 Point Horse Stance (Si Ping Ma) Bow Stance (Gong Bu) Unicorn Stance ( Qilin Bu) Cat Stance

This sequence is to be repeated for 15 minutes. Each posture held for at

least 30 seconds to 1 minute.

Basic Conditioning and Training: 500 Punches Forearm conditioning training 30 each arm 500 punches with one leg, switching feet every 50 punches. Feel

free to also do Tan Da and or Gang Da within your 500

200 palm - Either the 3 set palm striking( Palm, Ridge Hand, andBack of Hand) or just the palm. Slightly cup the palm, do not hit aflat palm

80 kicks each leg Pole Work, First stage pole work First Stage "Xiao Nian Tou" - Up to what you are familiar with

for 15 minutes


55/79

Partner PracticeChoose a partner for the following exercises and change your partner

every 5 minutes:Partnering Stationary Practice:

Crossed Over Punching (connecting the outside of the forearms) Pai Shou/Da La Shou/Da Bong Sao exercise Chong Shou exercise Tanda pad Application (shifting only) Gengda pad Application (shifting only) Tanda a

yong (wing) chun, same source

Documents