The Complete Guide To Northern Praying Mantis Kung Fu - PDF Room [PDF]

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Copyright © 2005, 2010 by Stuart Alve Olson. All rights reserved. No portion of this book, except for brief review, may be reproduced, stored in a retrieval system, or transmitted in any form or by any means—electronic, mechanical,

photocopying, recording, or otherwise—without written permission of the publisher. For information contact Blue Snake Books c/o North Atlantic Books. Published by Blue Snake Books

Originally published by Valley Spirit Arts, 2005 Blue Snake Books is an imprint of North Atlantic Books P.O. Box 12327

Berkeley, California 94712

Cover design by Brad Greene This book contains translated selections from:

Shih Yung T’ang Lang Ch’uan by Wei Hsiao-T’ang

Shih Yung T’ang Lang Ch’uan Hsu Chi by Wei Hsiao-T’ang Shih Pa Lohan Kung by Huang Han-Hsun

The Complete Guide to Northern Praying Mantis Kung Fu is sponsored by the Society for the Study of Native Arts and Sciences, a nonpro t educational corporation whose goals are to develop an educational and cross-cultural perspective

linking various scientific, social, and artistic fields; to nurture a holistic view of arts, sciences, humanities, and healing; and to publish and distribute literature on the relationship of mind, body, and nature.

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PLEASE NOTE: The creators and publishers of this book disclaim any liabilities for loss in connection with following any of the practices, exercises, and advice contained herein. To reduce the chance of injury or any other harm, the reader should consult a professional before undertaking this or any other martial arts, movement, meditative arts, health, or

exercise program. The instructions and advice printed in this book are not in any way intended as a substitute for medical, mental, or emotional counseling with a licensed physician or healthcare provider. The Library of Congress has cataloged the printed edition as follows:

Olson, Stuart Alve.

The complete guide to northern praying mantis kung fu / Stuart Alve Olson. p. cm.

eISBN: 978-1-58394-692-3 1. Kung fu. I. Title.

GV1114.7.O58 2009 796.815′9—dc22

v3.1

2009038598

Attributed Praying Mantis Kung Fu Founder, Wang Lang—Seventeenth Century

Acknowledgments

I wish to o er my deepest gratitude to the late masters Wei Hsiao-T’ang and Huang Han-Hsun (Wong Han-Fon), whose works provided an incredible amount of information I was able to draw upon in forming this book. I also o er my deepest thanks to Master T. T. Liang for teaching me the Praying Mantis Kung Fu styles he learned from Wei Hsiao-Tang and Huang Han-Hsun, and to Master Kung Wei for instructing me on the Plum Blossom Praying Mantis style. I truly miss both of these great men and wish the entire world could have known them the way I had. Special thanks to Patrick Gross for his editing and design work on this book and for appearing in the photographs of the Lohan exercises, Daniel Dale for appearing in the Theory and Practice section, Vern Peterson for sharing his knowledge of Southern Praying Mantis Kung Fu, Louis Sacharske for sharing many of his insights into the world of Praying Mantis Kung Fu, and, lastly, Lily Shank, Karen Morodomi, and Annetta Luce, my initial female Praying Mantis students, for all their support, dedicated learning, and insights regarding how e ective and bene cial Praying Mantis Kung Fu can be for women—after all, it is the female mantis that dominates this particular insect species, so it seems just that women take their rightful place in both the lineage and practice of this particular martial art.

Contents

Cover Title Page Copyright Acknowledgments Introduction

Praying Mantis Kung Fu Brief History of Praying Mantis Kung Fu The Story of Wang Lang Creating Praying Mantis Kung Fu Praying Mantis Kung Fu Lineage … Northern Praying Mantis Kung Fu Styles Theory and Practice of Northern Praying Mantis 1. Twelve Principles for Self-Defense and Offense 2. The Eight Hard and Twelve Soft Ways I 3. The Eight Hard and Twelve Soft Ways II 4. The Twelve Ideals for Body Movement 5. Eight Training Divisions 6. Eight Striking and Eight Non-Striking Points 7. Eight Long and Eight Short 8. Five Internal and Five External Activities Student and Teacher Requirements Student Requirements Teacher Requirements Skills Acquired from Practicing Activating the Qi Mind-Intent Strength Developing the Breath Intrinsic Energy Gaining a Root and Agility Skills of the Eight Hand Uses The Process of Internal Refinement Advice on Practice Sessions

PART O NE Eight Kung Methods

Prelude Exercise 1: Iron Ox Ploughs the Earth Exercise 2: Riding a Horse, Single Fist Pulling Exercise 3: Riding a Horse, Double Fist Pulling Exercise 4: Mantis Colliding Its Arms Exercise 5: Tyrant King Raises the Cauldron Exercise 6: Immortal Pushes the Void Exercise 7: Planting Flowers, Left and Right Exercise 8: Pushing Over a Mountain to Uproot a Tree

PART TWO Eight Stance Methods Prelude Song of the Eight Stances Stance 1: Riding the Horse Stance Stance 2: Mountain Climbing Stance Stance 3: Seated Tiger Stance Stance 4: Seated Coil Stance Stance 5: Empty Stance Stance 6: Tiger’s Head Stance Stance 7: Pretending to Be Defeated Stance Stance 8: Chicken Standing in the Snow Stance

PART THREE Eight Footwork Methods Prelude Footwork Method 1: Up-Rooting Step Footwork Method 2: Striding-Over Step Footwork Method 3: Folding Step Footwork Method 4: Encircling Step Footwork Method 5: Shifting Step Footwork Method 6: Backward Crossing Step Footwork Method 7: Walking Step Footwork Method 8: Long-Striding Step

PART FOUR Eight Kicking Methods Prelude Kicking Method 1: Pulling the Yin Kick

Kicking Method 2: Mandarin Ducks Kick Kicking Method 3: Axe Blade Kick Kicking Method 4: Penetrating the Heart Kick Kicking Method 5: Knocking Over the Tablet Kick Kicking Method 6: Sweeping Away the Lotuses Kick Kicking Method 7: Closing the Gate Kick Kicking Method 8: Whirlwind Kick T’ai Chi Ch’uan Master Liang Tung-Tsai About the Author Other Books by This Author

Introduction

Praying Mantis Kung Fu is the only martial art based on the ghting abilities of an insect. The Chinese, in particular, have had a fascination and preoccupation with modeling their martial arts on the inherent skills of animals. The indigenous martial art forms of Shaolin Temple Boxing were based on the movements of ve animals: Crane, Tiger, Leopard, Dragon, and Snake. Praying Mantis Kung Fu, on the other hand, incorporated defensive and o ensive maneuvers stemming from the insect world, namely the manidae (praying mantis). Biologically designed for fighting and killing prey with e ciency and technique, the praying mantis is capable of destroying other insects six times its own size. Few animals can achieve this feat, and those that can do so only by sheer ferocity and strength. The mantis, however, relies on methodical, swift movements for defense and o ense. Considering the incredible skills of this insect, it is no wonder the martial artist Wang Lang created a style of martial art based on the mantis three hundred years ago. Wang Lang was not the first to notice the great fighting skills of the mantis, especially in regard to its preying upon its larger and blustering natural enemy the cicada. An example comes from the T’ang dynasty poet Lo Hung-Chien, who makes the following analogy about life through the actions of a mantis: The desires of men are as insatiable as a snake desiring to swallow an elephant; while life itself resembles a praying mantis seizing a cicada. The praying mantis was named for the look of its front forelegs, which appear to be folded in prayer as it patiently awaits its prey. They have a voracious appetite, and the females are larger and ercer than the males. After mating, a female will turn on the weakened male and quickly devour his head. Scientists theorize that this may be a response to her need for added nourishment for her upcoming pregnancy or that it is a way of maintaining population control. Or, it may be that they just attack and eat whatever is available at the moment. In Chinese thinking the praying mantis represents greed and perseverance: greed in how voraciously it devours its prey and perseverance in how patiently and constantly it hunts. No other insect is quite as skilled or persistent as the praying mantis. Nature obviously designed this slender insect for ghting, with its spiny raptor-like forelegs attached to a cylindrical prothorax that gives it complete articulation of body movement and allows for wide arcing of its entire body. The praying mantis is exactly what Master Liang humorously called it, “a lean, green, fighting machine.” The martial art of Praying Mantis Kung Fu (traditionally called T’ang Lang Ch’uan, or Praying Mantis Boxing), like most of the martial art styles created in China, developed into both southern and northern systems. In the case of Praying Mantis Kung Fu, the

northern school is the original system and was rst created in Shantung Province of northern China. The southern school developed later in Kuangtung Province. The di erences in style between these two systems are very apparent. Brie y, the southern school has two basic forms of training: the Three-Step-Arrow and the Eighteen-PointStrike forms. The footwork of the southern style is more xed, making use of sliding step actions. The northern school is based on the original twelve movements and eight basic kicking methods. The footwork is much more active, agile, and swift than that of the southern styles. Both systems are very e ective and adhere to many of the same principles. My rst introduction to Praying Mantis Kung Fu occurred in 1979 when I was living at the City of Ten Thousand Buddhas in Talmage, California. A young Caucasian man had come to the monastery to pay his respects to the abbot. While visiting, he recounted stories about his Praying Mantis teacher and of living at his wu kuan (martial art monastery) in Taiwan, which he would do for six months out of each year. One curious story was about how his teacher came into the hall one day to tell his students that he was going into town. Instead of leaving by the front gate, however, he went out the back entrance, where there was no gate or walkway, just a twelve-foot chain-link fence. The young man said that out of curiosity he had followed his teacher outside and saw him leap over the fence and land softly on the other side. At the time, I believed this was just an embellished, fanciful story from an overenthusiastic student. Later, however, the abbot substantiated the story by saying that he knew this teacher well and that this was actually one of his skills. From that point on I wanted to learn Praying Mantis. Considering my desire and interest in learning Praying Mantis Kung Fu, I was fortunate to have ended up living and studying with Master Liang, who studied with two great icons of Northern Style Praying Mantis: Master Wei Hsiao-T’ang (Practical Praying Mantis) and Master Huang Han-Hsun (Plum Blossom Praying Mantis). During this time I was also blessed with having learned a smattering of Southern Praying Mantis from fellow student and friend Vern Peterson. He also introduced me to Southern Praying Mantis Masters Tommy and Art Wong, and Gin Foon Mark, all of whom were very strong inspirations. My fortune was later accentuated when I was able to learn Plum Blossom Praying Mantis from the late Master Kung Wei in Indonesia as well. The information provided in this book is important to any martial artist of any style. Throughout the many years I have been involved in the martial art world, the one thing I nd consistently missing in most practitioners’ training are the fundamentals. Every style has them, but few practitioners put forth the e ort to master them or to gain even the coarsest of skills from them. But this is also understandable, for they are in many respects tedious and boring if a student has no deep interest in them or, in most cases, wasn’t urged enough to undertake the arduous training of standing in stances. They are not as impressive appearance-wise as, say, performing a ashy form or weapon set. But nonetheless, if you really want to master your martial art or are just looking to master your own self, then it is right here, with focused and determined body training, standing in stances, footwork, and kicks that you must begin. Many martial art books and videos overstate promises of quick and easy results for

acquiring powerful qi or unbeatable self-defense skills. The truth is, it takes hard work, determined e ort, and disciplined practice to achieve such results. There are no get-skillquick schemes in martial arts. You either work for it or you simply don’t get the bene ts, and it is with fundamentals that the journey toward those goals begins. If you really apply yourself to training in these fundamentals, however, you will arrive at the goals of qi and martial skills much faster than if you don’t. I know this from my own experience. Early in my T’ai Chi Ch’uan training I saw little reason to train the fundamentals of stances and footwork, only seeking to know the forms, weapons, and self-defense aspects. My teacher kept after me about standing in xed stances, but I was lax and dismissed them. Many years later I had to backtrack and begin all over the fundamental work that I had so long ignored. This was not only di cult to undertake but humiliating. With Praying Mantis Kung Fu, however, I started with xed stances and feel that my progress was much speedier, with the added bene t of making my T’ai Chi Ch’uan practice and skills much more e ective. There is a lot to be said about the bene ts of, starting on the ground oor. But then, in my defense and for others like me, when we rst see all these graceful and beautiful forms being performed we naturally want to do them ourselves as well. We either forget or are just unaware that all great Praying Mantis masters had practiced strengthening exercises, standing postures, footwork, and kicking drills long before learning the forms and fighting applications. After many years of practicing and studying Praying Mantis Kung Fu I had long wished for an English composition that clearly outlined both the traditional style and progression a beginning student needed for gaining some accomplishment with this incredible system of martial art. Unfortunately, no comprehensive English study of any style of Praying Mantis Kung Fu had been previously available. So in many ways this present book is as much a guidebook for myself as it is meant for others. In the end it is exactly what I wished I could have had when I rst began learning Praying Mantis Kung Fu. In Master Wei Hsiao-T’ang’s Chinese book Practical Praying Mantis Kung Fu he advises that beginning students should rst learn and train the solo drills of the Lohan Kung exercises to strengthen their body and internal organs, stimulate the circulatory system, and develop their qi. Next, they needed to train stances for developing root and to mobilize the qi, then footwork for developing agility, and, lastly, kicking methods for developing intrinsic energy. After learning these four fundamental divisions of training, a student could then approach the training of the hands, form training, and sparring drills. In conforming with Wei’s advice, this book has been speci cally designed to provide this traditional structure. It has always been the case in any of the Chinese martial arts that the function of the feet and legs is of paramount importance, as no amount of hand training will ever be fully e ective unless the feet are able to move, function, and root properly in conjunction with the hands. For many years Master Liang and I explored and practiced what he had learned from Master Wei and Huang, as well as translating and applying the many facets of Praying Mantis training provided in their books. During the last visit Liang had made to Taiwan

in the mid-1970s, Wei had asked him if he could possibly translate his works into English. This would certainly have been a daunting task because Wei provided so much information in his books and some portions were purposely misleading so that others couldn’t just “steal his art,” so to speak. Liang had never promised Wei that he would translate his books, but on many occasions he expressed to me that he wished he had. Anyone who spent any time with Liang knew he loved Praying Mantis Kung Fu. In his more playful moods and antics he would always burst into mimicking Praying Mantis techniques. Some of my fondest memories are of those times when we would travel together, sitting in crowded airplane seats with Liang demonstrating various Praying Mantis hand techniques on me, which were more often than not motivated purely to show o in front of a stewardess how easily he could subdue me. Liang expressed to me how much he liked and respected Wei, even though others found it di cult to learn from him. Liang knew of all the hardships and su ering Wei underwent in his life, and that he was an extremely gifted martial artist who spent his entire life, and childhood with his teacher Feng, to gain his great skills. On many occasions Liang invited Wei to come to his home in Taipei to just socialize and enjoy himself, but Wei would always direct the conversations to Praying Mantis. As Liang surmised, “It was his entire life, so what else could he do?” Because of Liang’s friendship and admiration for Wei, I have felt joyfully compelled, in this small way, to present some of Wei’s work in English. I was a ected a long time ago by Liang’s love of Praying Mantis Kung Fu, and in many ways can say I inherited the same enthusiasm and love for it. But beyond this feeling I also have this personal issue that gnaws at me constantly. Liang had the good fortune of either meeting with, becoming friends with, or being a student of many of the greatest martial artists of his day—most of whom, unfortunately, have been written out of history or forgotten. It is also the case that we in the West are not culturally familiar enough to know who these great men and lineage holders were. So, if this book does nothing more than acquaint the martial art world with the names of Wei Hsiao-Tang and Huang Han-Hsun, and what they represented in the world of Praying Mantis Kung Fu, then my meager efforts here have not been in vain. I must make clear that I am making no claim of any formal Praying Mantis Kung Fu lineage. Liang was not a formal student of Wei or Huang, and so by extension neither am I. Master Kung Wei never involved himself with taking students formally as disciples and therefore I cannot claim a formal lineage from him either. I have stated my reasons for writing this book and I hope readers will understand that this book is more about preserving tradition than it is about myself. I do not pretend or make claim that the materials in this book are exactly the way any of these men might have taught them, or are without modi cations, nor is it everything Liang learned or taught me. It is at best a good shell of Praying Mantis teachings. But, as I learned so clearly from studying T’ai Chi Ch’uan with Liang, teachers teach di erently at di erent points in their lives. Students themselves learn and perceive what they have been taught according to their own abilities, and so the way those students approach teaching the art is a direct

re ection of their personal interest and perception. Therefore, I will not be surprised if the various generations of students stemming from Wei Hsiao-Tang do nd di erences, and at best some new information. I must, however, render an apology to the reader, as this book does not represent the great depth or vastness of what Wei or Huang present in their original works. This book, in the end, is a simple compilation of translations from their books, what I learned from T. T. Liang and Kung Wei, and from my own studies and practices. I hope it proves to represent well the beginning stages of Praying Mantis Kung Fu practice. —Stuart Alve Olson

Praying Mantis Kung Fu

Brief History of Praying Mantis Kung Fu

D

uring the nal days of the Ming dynasty (1628–1644 A.D.) a Taoist monk named Wang Lang (Wong Long in Cantonese) from Shantung Province reportedly created a new and more e ective system of martial art, becoming popularly known as Praying Mantis Boxing (T’ang Lang Ch’uan). Unfortunately, Wang Lang cannot be historically traced or authenticated in any concrete or reliable manner. The bulk of the history associated with him is purely that of oral traditions handed down through successive generations and the various lineages of his martial art. Given that, however, it should also be understood that the absence of veri able historical records is certainly not proof that Wang Lang did not exist either. It may well be that the oral traditions and lore surrounding him are based in truth. What is most curious about Wang Lang is that his life mirrors and occurs along the same lines as the reputed founder of T’ai Chi Ch’uan, Chang San-Feng. Both men reportedly lived in the same era (Ming dynasty), both were well versed in and yet disheartened by the techniques of Shaolin Boxing, both were Taoists, and both created a new system of martial art that was originally based on individual posture practice (katas). T’ai Chi has eight basic postures and Praying Mantis has ten. Also, around the mid- to late 1800s, each system began incorporating extensive correlations with the Eight Diagrams and Five Element theories, as well as combining the individual kata-like practices developed by their predecessors into continuous, connected moving forms. Even more interesting is that Chang San-Feng created T’ai Chi Ch’uan after watching a snake ward o the attacks of a bird, and Wang Lang created T’ang Lang Ch’uan after watching a praying mantis defeat a cicada. It is therefore little wonder that T’ai Chi Ch’uan and Praying Mantis Kung Fu have incorporated themselves into each other. In fact, the original school of Praying Mantis Kung Fu in Shantung Province is called T’ai Chi T’ang Lang Ch’uan (Great Ultimate Praying Mantis Boxing). T’ai Chi Ch’uan stayed exclusively within the rank and le of the Taoist communities and practitioners. Those of the Shaolin Kung Fu schools did not give much attention to T’ai Chi Ch’uan, even though the founder, Chang San-Feng, reportedly had been a Shaolin adherent practicing the Shaolin Temple Five Animal techniques. Praying Mantis Kung Fu, on the other hand, managed to appeal to Shaolin adherents and their counterparts in Taoist communities. Wang Lang was supposedly a Taoist priest, and during the three hundred or so years that passed before Praying Mantis Kung Fu became publicly known, the lineages passed down through several generations of Taoist monks. Nonetheless, it became more popularly associated with the Buddhists of Shaolin than with any sect of Taoism. Why this happened is a mystery, because there is no credible evidence that Praying Mantis Kung Fu was ever taught at Shaolin Temple. A persistent belief is that it became the sixth style of boxing with the Shaolin monks, but this is nothing more than a rumor

—granted, a rumor that has existed for a long time. No references within Ming or early Ching dynasty Shaolin Temple records mention the instruction of Praying Mantis Kung Fu. If it is true that Wang Lang had defeated the best of the Shaolin boxers and that it became their sixth style, why then is there no credible record or account of this ever occurring within the Shaolin school? In Chinese history, three major events occurred from which the rumors of this seeming marriage between Praying Mantis and Shaolin Kung Fu developed. The rst event occurred during the end of the Ming dynasty and beginning of the Ching dynasty when the Manchurians (Manchukuo) took over China. Many of the martial artists of this period, and supposedly Wang Lang was one of them, attempted to organize a coup to overthrow the Manchu, creating a public movement called “Overturn the Ching to Restore the Ming.” Although they were unsuccessful, the boxers who came into contact with each other during this adverse situation undoubtedly shared their skills with each other, and styles naturally adapted portions of other styles into their respective martial art. Likewise, during the Boxer Rebellion (1898–1900) martial artists attempted to band together to rid the country of all foreigners. Again, they were unsuccessful, but a great deal of evidence shows that practitioners of various martial art styles shared their techniques and training methods with each other. Then, in 1949, when Mao overtook China, large numbers of boxers escaped to Taiwan and Hong Kong, forcing all these accomplished martial artists to live in close proximity to each other. Generally, northern stylists headed to Taiwan (Wei Hsiao-T’ang and my teacher, Liang Tung-Tsai, were among them) and southern stylists went to Hong Kong. Mao’s takeover inadvertently created a golden age for martial arts, as all these great teachers were located on two small islands and in easy access to each other. Master Liang was able to study with fteen incredible teachers while living in exile in Taiwan. It was during this period, especially in Hong Kong, that the Shaolin Temple connection with Praying Mantis Kung Fu really took root and was propagated. Like most rumors there is a story behind the story, and this one seems to have found root in a misinterpreted comment by Master Huang Han-Hsun (Wong Han-Fan in Cantonese) in the introduction to his book on the Eighteen Lohan Kungs, which he selfpublished in Hong Kong based on his teacher’s writings. Huang merely mentions that some of the training exercises had in uences stemming from the Shaolin tradition, namely the strengthening exercises in the Eighteen Lohan Kungs. Huang mentions this because in his lineage of Seven-Star Praying Mantis Kung Fu, his teacher, Master Fan Hsu-Tung, compiled ve books and collectively titled them as A True Transmission of the Shaolin. The rst of these books was purely on herbology, however, and three books were on the practice and theory of Praying Mantis Kung Fu. The fth was on the Shaolin practice of the Eighteen Lohan Kung exercises. This can hardly be called an extensive transmission on Shaolin. Huang Han-Hsun had hand-copied the text on the Eighteen Lohan Kungs, reproducing and publishing them with photographs of himself demonstrating the movements, as the original illustrations and calligraphy in the manuscript were drawn by Fan Hsu-Tung. The text for the original Eighteen Lohan Kung

portion of the book is thought to have been hand-copied from an original Shaolin text by Fan’s teacher, Li San-Chien, but there is no way of substantiating this. It is more likely Fan Hsu-Tung obtained a copy through his own contacts. It must be pointed out that none of Fan Hsu-Tung’s students were ever instructed on the use of the Eighteen Lohan Kung exercises, and they were not part of their Praying Mantis Kung Fu training. It is also highly suspect that Fan Hsu-Tung himself would have trained in these exercises, considering that he weighed nearly three hundred pounds and most of the exercises would have been di cult, at best, for him. The actual introduction of the Eighteen Lohan Kungs didn’t occur until one of Fan Hsu-Tung’s students, Lo Kuang-Yu, who was in possession of Fan’s books, added it to the Seven-Star Praying Mantis Kung Fu system. In the end, all that Huang Han-Hsun was referring to in his introduction was that some of the strengthening exercises used in Praying Mantis Kung Fu had Shaolin origins, but he did not state that Praying Mantis Kung Fu was taught in or as part of the Shaolin Temple tradition. In 1975, Yuan Hao-Pin (H. B. Un) mentions in his book that Praying Mantis Kung Fu was taught at Shaolin Temple in Henan Province, and even has Wang Lang studying at Shaolin Temple as a young boy, but o ers no documentation for either of these statements. The author Li Ying-Arng was the only other author during this period who rightly con ned Praying Mantis Kung Fu to the Shantung Peninsula region, and not to Shaolin Temple. The rumors of all these Shaolin connections are persistent and seem to be propagated with each new generation of students. Not that I personally feel the connection is a negative one, it has just been much too embellished. Unless some credible documentation comes forth that clearly demonstrates Wang Lang’s actual connection with Shaolin, it can only be surmised that the connection was made within the last seventy- ve years or so with the introduction of the Eighteen Lohan Kung exercises. It is clear that a system of martial art called Praying Mantis Kung Fu was taught on Shantung Peninsula during the mid-1700s, especially in the famous Taoist areas of Lao Shan and north in the Yantai region. Shaolin Temple is hundreds of miles away in the neighboring province of Henan, so it is doubtful that there was either frequent or continued interaction between the two. One of the more frequent pieces of evidence cited to make the Praying Mantis Kung Fu and Shaolin Temple connection appears in the book Praying Mantis Boxing Manual (T’ang Lang Ch’uan Pu) that is supposedly dated to 1794. In it, the unknown author talks about a Shaolin Temple book—citing no speci c title or author—that refers to a former abbot, Ch’an Master Fu Ju, who had invited eighteen martial artists to come to the temple for a symposium on the various martial arts of his day. From this event, a list on the best eighteen styles was created, which the author of the Praying Mantis Boxing Manual uses to validate the Praying Mantis connection with Shaolin. Because the list happens to coincide with what Wang Lang reportedly incorporated into his new style of Praying Mantis Kung Fu, it appears that it was created to substantiate the idea of Wang Lang’s inclusion of seventeen great family styles and techniques into Praying Mantis

Kung Fu. Here is how the list appears in the Praying Mantis Boxing Manual: The Gathering of Eighteen Great Teachers and Styles 1. Initially there was Long Boxing (Chang Ch’uan), the style practiced by Emperor Tai Tsu. [First emperor of the Sung Dynasty, circa 960–1280 A.D.] 2. Penetrating the Back Boxing (Tung Pei Ch’uan) of Master Han Tung is considered the parent of martial arts. 3. Hand techniques of Binding and Sealing (Chan Feng) of Master Ts’ang En are especially profound. 4. Short Strikes Boxing (Tuan Ta Ch’uan) of Master Ma Chi is very remarkable. 5. It is impossible to come close to Master Huang Yu, who knows the Close Range Hand Techniques (Kao Shou). 6. The technique Blocking Hands and Penetrating Fist (Ke Shou Tung Ch’uan) of Master Chin Hsiang. 7. The hand techniques of Hooking, Seizing, and Grabbing Hands (Kou Lou Tsai Shou) of Master Liu Hsing. 8. The Methods of Sticking, Grabbing, and Falling (Chan Na Tieh Fa) of Master Yan Ching. 9. Short Boxing (Tuan Ch’uan) of Master Wen Yuan is the most extraordinary. 10. Monkey Boxing (Hou Ch’uan) of Master Sun Heng is also flourishing. 11. Cotton Fist (Mien Ch’uan) techniques of Master Mien Shen are lightning fast. 12. Throwing, Grabbing, and Colliding (Shuai Lu Ying Heng) techniques by Master Huai Te. 13. Ducking, Seizing, and Penetrating the Ears (Kun Lou Kuan Erh) of Master Tan Fang. 14. The strongest leg kicking technique is Mandarin Ducks Kick (Yuan Yang Chiao) of Master Lin Chung. 15. The Seven Postures of Continuous Fist Strikes (Ch’i Shih Lien Ch’uan) techniques by Master Meng Su. 16. Hand Binding and Grabbing (Kun Lu Chen Ju) techniques of Master Yang Kun are instantaneous attacks. 17. The techniques of Cannon Strikes into the Hollow Parts of the Body (Wo Li Pao Ch’ui) by Master Ts’ui Lien. 18. Praying Mantis Boxing (T’ang Lang Ch’uan) of Master Wang Lang adopted all the above techniques and coalesced them into one style. The author continues with the following statements:

A Shaolin Temple book confers the same list but lists the styles in a di erent order and ends with the following passage, “All these masters were gathered and brought together by Ch’an Master Fu Ju of Shaolin Temple.” Eventually Fu Ju reorganized Wang Lang’s Praying Mantis Kung Fu techniques into boxing manuals. At that time, Praying Mantis Kung Fu was called Secret Hands (Mi Shou). Later, all the documents and records on Praying Mantis Kung Fu were collected by Fu Ju, whereupon he passed them on to Taoist Priest Sheng Hsiao. All consequent transmissions of Praying Mantis Kung Fu are unknown and no records were kept after this. Praying Mantis remained secret for three hundred years, but then reappeared again sometime during the Chien Leng reign (1736– 1796 A.D.) of the Ching dynasty. The above account has numerous problems. First, there are no records substantiating a Shaolin abbot named Fu Ju. This doesn’t mean he didn’t exist or that he wasn’t the organizer of the symposium, but the Shaolin book from which the list of masters is supposedly taken has never been found to exist. It is not even named but referred to as “a Shaolin Temple book.” If such a book did exist, the author of the Praying Mantis Boxing Manual would have cited it by name and author. Another problem is the dating as to how and when Praying Mantis Kung Fu reappeared. A Taoist monk, Sheng Hsiao, supposedly received all these collected works on Praying Mantis Kung Fu from a Buddhist Shaolin monk, Fu Ju, sometime during the early Ming dynasty (approximately 1436 A.D.), and for some reason Praying Mantis remained solely within the Taoist ranks for three hundred years. If Fu Ju really thought that Praying Mantis Kung Fu was a superior martial art, why would he just hand over all the records and teachings to a Taoist monk and not have the style remain within the walls of the Shaolin Temple? Also, if the style was considered so superior to Shaolin, why then would it be hidden for over three hundred years? It is best to view this account not from a logical standpoint but as wild history meant purely to show the techniques incorporated within Praying Mantis Kung Fu—which are true—and to predate the creation of Praying Mantis Kung Fu and make that allimportant Shaolin connection. Even if a person wanted to believe the account, there would still be the problem of dating the masters and styles cited. Cotton Fist Boxing, for example, certainly did not exist in the early Ming dynasty, and only appeared in the late Ching dynasty. Most likely, the Praying Mantis Boxing Manual itself was written in the late 1800s. When I was in Indonesia learning Plum Blossom Praying Mantis Kung Fu from Master Kung Wei (1909–1998), he was quite adamant about Praying Mantis Kung Fu never having been taught at Shaolin Temple in Henan Province. Master Kung Wei’s family was originally from Fukien Province and he had ve generations of uncles who were all monks at Shaolin Temple, spanning more than 150 years. The rst of these uncles entered the Shaolin Temple in 1746, and each successive generation kept diary notes that were preserved within the family. There were no mentions of any of them ever studying Praying Mantis Kung Fu at Shaolin. Master Kung Wei felt that, considering the

high regard and reputation of Shaolin boxers, early Praying Mantis Kung Fu adherents embellished accounts of the connection with Shaolin and adopted some Shaolin practices into their style in order to gain a broader acceptance within the martial art communities. Regardless of the tremulous connection, he felt that Praying Mantis Kung Fu was not only equal to Shaolin but because of its use of softness in combination with hardness, it was more accessible and easier to train than traditional Shaolin. Two of his uncles, who moved to Indonesia at the outset of the Boxer Rebellion, had studied Praying Mantis Kung Fu in Fukien Province. They were also insistent that Praying Mantis Kung Fu was purely a Taoist sister art of T’ai Chi Ch’uan and said that T’ai Chi Ch’uan originally developed out of the principles and theories of Dragon and Snake styles of Shaolin Ch’uan. Master Kung Wei said that even if the stories of Wang Lang and Chang San-Feng were true, the Shaolin tradition was so embedded and de ned that it would never have allowed a new system of martial art to come in and disrupt its centuries of traditions and reputation. He conceded that there were probably rogue Shaolin monks who went outside the walls of the temple to learn Praying Mantis and T’ai Chi, but Praying Mantis was never formalized as a sixth style within the temple itself. The most likely scenario is that Praying Mantis Kung Fu originated and was taught only to men within the Shantung Province peninsula, and knowledge of it did not extend further until many years after Wang Lang’s death. This would be in keeping with the tradition of “secret societies” so prevalent in Chinese culture at that time—especially within the martial art communities. Everyone listed in Wang Lang’s lineage appears to have been born and lived within close proximity to Lao Shan. It is also more probable that Wang Lang taught Praying Mantis Kung Fu exclusively at Lao Shan, as did his immediate descendents. Some of the accounts of Wang Lang relate that he did not test his skills against Shaolin monks; instead, it was Taoist priests in his own region on Lao Shan who trained in Long Boxing (Chang Ch’uan). This seems to be the logical scenario of how his new system of martial art was propagated and developed. The Story of Wang Lang Creating Praying Mantis Kung Fu In a preface to his Collected Writings on the Practical Use of Praying Mantis Kung Fu, Master Wei Hsiao-T’ang provides the following account of Wang Lang. Based on the style of writing this story appears to come from an older source. It is most likely a piece from Chiang Hua-Leng’s earlier work, Summary of Pa Pu Praying Mantis Kung Fu. Praying Mantis Kung Fu originated with a man named Wang Lang from Chi-Mo Prefecture in Shantung Province. From an early age he was naturally gifted and intelligent, and excelled in his martial art studies even though he had no teacher. He proved to be a capable martial artist. Near his home in Chi-Mo Prefecture, on Mount Lao Shan, there were numerous Taoist temples and all subordinate under just one organization. These were

arranged in three public temples, six monasteries, seventy-two nunneries, and other smaller Buddhist temples that were not part of the organization. But Wang Lang felt he had no affinity or destiny with any of these places. Within the mountains there were also around eighteen hundred Taoists, having three large public temples there: Kuang Ping Kuan (Temple in the Moon), T’ien Hou Kuan (Heavenly Ruler Temple), and San Ching Kuan (Three Pure Ones Temple). This later temple was the o cial seat for the three venerable spiritual images of the Three Pure Ones—T’ai Ching (Ultimate Purity), Yu Ching (Jade Purity), and Shang Ching (Foremost Purity)—and the Taoist priests there had the honor of their care and offerings. From their early youth these Taoist priests practiced martial arts, as San Ching was also a school for the practicing of Chang Ch’uan (Long Boxing). Wang Lang had paid obeisance to the priests at San Ching, requesting they be his teachers. Wang Lang then became part of their lineage and brethren to the Taoist priests and hermits living within the mountains there. The Taoist priests could clearly see that Wang Lang was very intelligent and excelled other students, and for future posterity transmitted all their martial skills to him. Afterwards, Wang Lang became a Taoist priest named Yeh Yu and was honori cally called “Treasury of Guarding the Mountain.” So when some of the priests decided to descend out of the Lao Mountains to travel to another province, Wang Lang went with them to keep watch and guard them. During their travels they passed through Shaolin Temple in the Sung Mountains [Henan Province], and there he compared his martial arts skills with the Buddhist priests, but was unable to be a match for any of them. After this Wang Lang left the temple, but at this time it was the heat of summer. Tired and needing to cool o , he rested under the shade of a willow tree. By chance he saw a praying mantis and cicada ghting in a life or death struggle. Watching the praying mantis he weighed how it advanced and retreated, pondering its methods of seizing and releasing, and how it exhibited the use of long and short methods of attack. From this he could see the greatness in the praying mantis’s ingenious martial art skills, which deeply and profoundly affected him. So he then captured the praying mantis and returned back home with it. With the barrel of a writing brush he enticed the praying mantis into playful sparring so he could witness more closely the natural opposition tactics of the insect. Wang Lang then came to fully apprehend the tactics it used in Closing, Turning, Crossing, and Shifting; its methods of Sticking, Adhering, Tagging, and Leaning; as well as its arm techniques of Hooking, Seizing, Pulling, and Grasping. With these twelve movements and hand methods, as well as selected techniques from eighteen other family styles of martial art, and the frolicking footwork of the Monkey, Wang Lang combined them all into one complete style of martial art, and thus was the origin of Praying Mantis Kung Fu. Later on two Taoist priests, Yu Chou and Sheng Hsiao, who inherited his robe and bowl [euphemism for inheriting his teachings], perpetuated Wang Lang’s style

of martial art to the world. But at the end of the Ming dynasty there came about the complete tyrannical rule of the Ching (Manchu) and so Wang Lang hastened to travel everywhere throughout Kwangsi and Chekiang provinces to unite all the martial heroes in an attempt to help organize the public movement called, “Overturning the Ching to Restore the Ming.” But because of the Ching’s political motives, which were by no means a secret, the evil Ching had their soldiers arresting everyone connected to the movement. Wang Lang had attempted to spread his spiritual and martial skills to the common people, but his guardianship of his venerable teachers took precedence, and so to remove them from danger he absconded with them sorrowfully to the K’un-Lun Mountains so they could cultivate their original nature. There are several interesting aspects in the above account. First, it states that Wang Lang was a gifted martial artist at an early age, even though he had no teachers. This contradicts the notion that he was sent to Shaolin as a child to learn the Five Animals Kung Fu and the Eighteen Lohan Kung exercises. It accurately depicts the number and names of the temples on Lao Shan, one of the most famous Taoist areas in China. Today, it is commonly referred to as “The Mountains of Immortals” because of all the Taoist temples still located there. For Wang Lang to learn martial arts on Lao Shan, especially Long Boxing, would not have been di cult. At that time, Lao Shan was already famous as the home of some martial art lineages, because the main temples for Kuan Kung (General Kuan, the God of War) and General Yu Fei were situated there. The account states that Wang Lang went to Shaolin, but his skills at that time were not adequate enough to defeat any of the monks there. He left and then observed the mantis and cicada. After this, he returned to Lao Shan, and not to Shaolin Temple as many popular stories relate. I do not believe it is a credible statement to say that Wang Lang added the methods of eighteen family martial arts or that he adopted the footwork of Monkey Style Kung Fu to Praying Mantis Kung Fu. First there are no records proving Wang Lang traveled far and wide to learn all these various family martial arts, and they certainly wouldn’t have been available on the peninsula of Shantung. Nor is there any evidence that he knew Monkey Style Kung Fu. This obviously occurred later in Praying Mantis Kung Fu’s development. Sheng Hsiao can tentatively be traced to the mid-1700s, but in those accounts he supposedly went to Lao Shan fty or more years after Wang Lang’s death. So he couldn’t have been taught directly by Wang Lang. More probably he was taught either by Yu Chou or one of Yu Chou’s disciples. However, there are no records of a Taoist priest named Yu Chou. Curiously, the name Yu Chou in Chinese means “the universe.” So, Yu Chou could just have been a universal name to designate all of Wang Lang’s students on Lao Shan. Master Liang, however, thought that Wang Lang’s family name was actually Yu, and that he was either related to or was in fact Yu Chi, a famous swordsman from Shantung

during the late Ming period. This seems logical because if Wang Lang had created a new style of martial art, his rst duty would have been to teach family members. Since he was living on Lao Shan near his home, this would be even more probable. It is doubtful that Wang Lang traveled the entire length of China’s eastern and southern coasts mustering support from all the martial heroes of his time. There are simply no records or accounts of a man named Wang Lang being a forerunner to the movement of Overturn the Ching to Restore the Ming. If this were true, he would certainly have been mentioned in historical records of that time. Saying that he went to the Kun Lun Mountains, the highest peaks in the Himalayas, is another way of saying that he went into seclusion. Since the time of Lao Tzu (Han dynasty), who also reportedly escaped to the Kun Lun Mountains, this has become a common Taoist expression. Wei Hsiao-T’ang provides the following lineage list in his book. The dates and names of the teachers preceding Wang Yung-Sheng and Chiang Hua-Leng can’t be accurately validated, but after them the lineages are for the most part intact. Along with the teacher’s names, I have included approximate dates and the styles with which they were known to have practiced or created. Praying Mantis Kung Fu Lineage Wang Lang Late 1500s–? Founder and Taoist Priest, Recluse Yeh Yu Shantung Province Chi-Mo Prefecture Sheng Hsiao 1747–? Taoist Priest Lao Shan, Shantung Li San-Chien Early 1800s–? Shantung Province Hai-Yang Prefecture Crushing Step Praying Mantis Obstruct-Intercept Praying Mantis

Yu Chou Late 1600s–? Taoist Priest Lao Shan, Shantung Li Erh-Kou Mid-1700s-? Shantung Province Hai-Yang Prefecture Obstruct-Intercept Praying Mantis Plum Blossom Praying Mantis

Fan Hsu-Tung Mid-1800s–? Shantung Province Yan-T’ai Municipality Introduced the Lohan Kung writings Seven-Star Praying Mantis Wang Yung-Sheng 1854–1926

Liang Wen-Ch’ao 1810–1890 (?) Shantung Province Mo-P’ing Prefecture Plum Blossom Praying Mantis Created the Embodiment Forms Chiang Hua-Leng 1855–1926

Shantung Province

Shantung Province

Fu-Shan Prefecture

Lai-Yang Prefecture

Plum Blossom Praying Mantis Seven-Star Praying Mantis

Created T’ai Chi Plum Blossom Praying Mantis Created Pa Pu Praying Mantis

Lo Kuang Yu

Feng Huan-I

Late 1800s–?

1879–1985 (?)

Shantung Province Plum Blossom Praying Mantis Seven-Star Praying Mantis

Shantung Province Huang Prefecture Pa Pu Praying Mantis Added Grappling and Throws

Huang Han-Hsun 1919 (?)–1973 Hong Kong Plum Blossom Praying Mantis

Wei Hsiao-T’ang 1901–1985 Shantung Province Practical Praying Mantis Kung Fu

Seven-Star Praying Mantis On the left side is the popular sequence of lineage holders that lead down through history to the Seven-Star Praying Mantis Kung Fu schools, especially those in southern

China. Sheng Hsiao is said to have been a Shaolin adherent, as were Li San-Chien, Fan Hsu-Tung, Wang Yung-Sheng, and his student Lo Kuang-Yu. But none of this can actually be substantiated. It is apparent that Fan Hsu-Tung had an interest in Shaolin traditions, but curiously none of his students were indoctrinated with Shaolin methods or teachings. On the right side of the lineage chart, starting with Yu Chou the following lineage holders are in no way connected with Shaolin practices. It is sometimes thought that the Plum Blossom Style of Praying Mantis Kung Fu was taken directly from the Shaolin style of the same name. This is incorrect, however, as the two systems actually have nothing to do with each other. The Plum Blossom Style Praying Mantis Kung Fu is thought to have been created by Liang Wen-Chao (or his teacher, Li Erh-Kou) and was so named because they would practice footwork upon the stumps of cut down plum trees. This again is a good indicator of the fact that there could not have been this extensive intercourse between Shaolin Temple and Lao Shan, as they wouldn’t have purposely used the same name of the Shaolin style of Plum Blossom Ch’uan. It should also be noted that Liang Wen-Chao’s student Chiang Hua-Leng was previously a student of Monkey Boxing before learning Plum Blossom Praying Mantis Kung Fu, and late in life he then learned Eight Diagram Palm (Pa Kua Chang), Mind Form Boxing (Hsing I Ch’uan), and Connected Arms Praying Mantis Kung Fu. Keeping in mind that it was also Chiang Hua-Leng who opposed the idea of including Monkey footwork within Plum Blossom Praying Mantis Kung Fu, and if we look at the Pa Pu Praying Mantis Kung Fu he created, at least in the light of how Wei Hsiao-T’ang presents the Embodiment forms, there is little resemblance to actual Monkey footwork. The footwork of Pa Pu actually has a closer resemblance to the footwork of Eight Diagram Palms and Mind Form Boxing, not that of Monkey Ch’uan. In Wei Hsiao-T’ang’s lineage list there are two men missing who are commonly subscribed. One is a Taoist man by the name of Ta Tao, but he turned outlaw and so his name is rarely mentioned. The other is Chou Chi-Lu, who was reportedly the teacher of Li Erh-Kou and the student of Ta Tao. Wei does not explain why the original author excluded these two persons from the lineage chart. Summary In light of all these accounts, some credible and some not, we are ultimately left with very little information about the true origins of Praying Mantis Kung Fu and of Wang Lang himself, as well as most of the supposed lineages connected to him. Every school of Praying Mantis Kung Fu cites di erent personages, times, and places. It is just as confusing as the lineages of T’ai Chi Ch’uan and Shaolin Ch’uan. This is understandable, however, as none of these closed-door systems of martial art were known for record keeping, as the predominant concern was to keep outsiders from stealing their art. Only those of us in present times yearn, like armchair strategists, to know the actual history and personages of these respective martial arts. We may never really know how Praying Mantis Kung Fu was created or by whom, but we can all be comforted by the

thought that no matter what style we adhere to, we are in essence the same as Wang Lang, discovering how to improve ourselves and reach our full potential. I have never seen in any great martial artist, or in records of past ones, the undying need to be a superior fighter, rather to become a great person. Northern Praying Mantis Kung Fu Styles The following is a list of known styles of Northern Praying Mantis Kung Fu. ObstructIntercept, T’ai Chi, Plum Blossom, and Seven-Star Praying Mantis Kung Fu are the most widely known and taught. Obstruct–Intercept Praying Mantis Kung Fu (Lan Chieh T’ang Lang Ch’uan) is considered to be the rst style originating from Wang Lang’s initial ten movements of Praying Mantis, and so I placed it at the top of the list. Besides this list of styles, there are numerous types of forms practiced, and some styles make use of one or more of them. There isn’t a general rule of certain forms being practiced by certain styles, as each teacher may have studied from one or more teachers. The following list is just to help the reader understand how much development and change Praying Mantis Kung Fu has undergone over the last three hundred years or so, and especially within the last ninety years when the majority of the below styles were created. To those who may practice a style of Praying Mantis Kung Fu not listed here, I apologize. Obstruct-Intercept Praying Mantis (Lan Chieh T’ang Lang) T’ai Chi Praying Mantis (T’ai Chi T’ang Lang) Seven-Star Praying Mantis (Chi Hsing T’ang Lang) Crushing Step Praying Mantis (Peng Pu T’ang Lang) Six Harmonies Praying Mantis (Liu Ho T’ang Lang) Long Fist Praying Mantis (Chang Ch’uan T’ang Lang) Supreme Spirit Praying Mantis (Shen Chi T’ang Lang) Bright Board Praying Mantis

Plum Blossom Praying Mantis (Mei Hua T’ang Lang) Connected Arms Praying Mantis (Tung Pei T’ang Lang) Secret Door Praying Mantis (Mi Men T’ang Lang) Jade Bracelets Praying Mantis (Yu Juan T’ang Lang) Flower Forest Temple Praying Mantis (Hua Lin T’ang Lang) Shaolin Temple Praying Mantis (Shaolin T’ang Lang) Mandarin Ducks Praying Mantis

(Kuan Pan T’ang Lang) Eight Step Praying Mantis (Pa Pu T’ang Lang) Practical Praying Mantis (Yung Shih T’ang Lang)

(Yuan Yang T’ang Lang) T’ai Chi Plum Blossom Praying Mantis (T’ai Chi Mei Hua T’ang Lang)

Theory and Practice of Northern Praying Mantis

T

he following treatises form the basis of the theory and practice on Praying Mantis Kung Fu, regardless of the style an adherent follows. The first eight treatises are said to have been composed by Wang Lang after he observed the o ensive and defensive methods of the praying mantis. It is doubtful that he wrote them, however, and they were most likely composed by unknown students on Lao Shan. Regardless of who wrote them, they provide the structure and guidelines all Praying Mantis Kung Fu students should follow. The eight treatises previously appeared in Master Wei’s book Practical Praying Mantis Kung Fu and have been translated here with commentary. 1. Twelve Principles for Self-Defense and Offense Shih Erh Li Fang Shen The following principles were derived from Wang Lang’s observations of the arm and claw methods the mantis used to defeat the cicada. Even though they are listed as twelve separate principles they are actually grouped into eight different categories of function. One, Two, and Three: Kou, Lou, and Ts’ai—to Hook, Grasp, and Strike. Each are separate functions, but in application are used consecutively forming a connected and combined action. This is identical to the T’ai Chi Ch’uan functions of Neutralize, Seize, and Attack.

Four: Kua, which means to block upwards. But this is not a hard block as in other hard kung fu styles, being more like a receiving action to either raise up the attacker and/or circle around to strike with the blocking arm in one swift motion. This is identical in function to the T’ai Chi Ch’uan application of Fair Lady Weaves at Shuttles.

Five: Tiao, a hooking method similar to Kou but relying on applying techniques other than those of Lou and Ts’ai for attacking. Identical in function to Rolling-Back in T’ai Chi Ch’uan.

Six: Chin, which is the principle of advancing in on an attacker. Identical to the practical application of Advance-Stepping in T’ai Chi Ch’uan, which is to take the attacker’s center away.

Seven: Peng is the method of withdrawing so that the strike of the attacker lands on nothing. In T’ai Chi Ch’uan, this is Withdraw and Receive.

Eight: Ta literally means to “beat the attacker to the punch,” but in application is more like when an attacker rst draws in his energy to issue a strike, but is struck before he can release it. In T’ai Chi Ch’uan this is called “to arrive before he has left.”

Nine and Ten: Chan and Nien mean to “stick and adhere” to the attacker so that in- ghting techniques can be applied. In Praying Mantis Kung Fu these two skills are very important to acquire. The idea behind them is that when an attacker advances, contact is maintained; when an attacker seeks to escape he is chased after. Identical in function to “Stick to, Adhere, Join, and Follow” in T’ai Chi Ch’uan.

Eleven and Twelve: Tieh and K’ao mean to grasp and lean into an attacker so that he can be pushed over or knocked away. In T’ai Chi Ch’uan this can be most readily seen in the application of Warding-O , and in the transition from Lifting-Hands into Shouldering.

2. The Eight Hard and Twelve Soft Ways I Pa Kang Shih Erh Jou Fa The Eight Ways of Hardness (Pa Fang Fa) Techniques Requiring Advancing and Hardness 1. Hardness must be used when crushing the top of Mount T’ai. This is to strike hard onto the top of an opponent’s head in one swift advancing action. Similar to the technique of Turn Body to Chop with Fist in T’ai Chi Ch’uan. 2. Hardness must be used when greeting the face with one direct action. This is advancing in as the opponent is coming in and then striking directly into the opponent’s face. So it is called Greeting the Face. Similar to the technique of High Pat on Horse in T’ai Chi Ch’uan.

3. Hardness must be used when stepping and striking hard with the two palms. This is an advancing movement with a strike using both palm heels directly into the opponent. Similar to the technique of Pushing in T’ai Chi Ch’uan. 4. Hardness must be used when folding the elbows and circle striking. This is to trap the opponent’s elbow against his body and then use a circle strike. Similar to the technique of Crossing Hands in T’ai Chi Ch’uan. 5. Hardness must be used when leaning hard on the wall to tag the door. This is to make close contact with the opponent by leaning into his body to corner him and strike. Similar to the technique of Shouldering in T’ai Chi Ch’uan. 6. Hardness must be used when crouching low to strike with a firm chop. This is to use a squatting down maneuver so you can jump up to evade, feint, or make a hard chop or strike with a fist. Similar to the technique of Bend the Bow to Shoot the Tiger in T’ai Chi Ch’uan. 7. Hardness must be used when striking left and right with Double Sticks. This is to sidestep and hop to strike the opponent’s left and right sides. The arms resemble two staffs thrusting at the opponent, hence it is called “Double Sticks.” Similar to the technique of Strike Tiger Left and Right in T’ai Chi Ch’uan. 8. Hardness must be used when separating a grasp and throw down. This is to use both a Warding-Off maneuver and throwing technique at the same time. Similar to the technique of Diagonal Flying in T’ai Chi Ch’uan. The Twelve Ways of Softness (Shih Erh Jou Fa) Techniques Requiring Withdrawing and Softness 1. Softness must be used when you sense a hard and rigid action from an opponent and you then withdraw your hands. Don’t hang onto or try to overcome rigid actions of an opponent. Never pit strength against strength. Simply withdraw your hands to take another course of action. Similar to the technique of Rolling-Back in T’ai Chi Ch’uan. 2. Softness should be used when an opponent’s hands are on you; seize them so you can use in-fighting techniques. Once an opponent has his hands on you, immediately seize them so you can prevent him from toppling you and so you can use a throwing or grappling technique. Similar to the technique of Follow to Seal and Carry to Close in T’ai Chi Ch’uan. 3. Softness should be used when intercepting an opponent’s arm and then rolling it over to twist it. When you intercept the opponent’s punching hand, roll your hand over the top of it

and then keep turning your palm inward to trap and twist his arm. Similar to the technique of Intercept, Parry, and Punch in T’ai Chi Ch’uan. 4. Softness should be used when grasping (lou) an opponent’s hand and then rolling it over to strike with the other hand. When an opponent strikes at you, grasp his wrist, then roll it over to twist it. Simultaneously, strike directly at the opponent with your other hand. Similar to the technique of Step Back to Chase the Monkey Away in T’ai Chi Ch’uan. 5. Softness should be used when you counter with a Mantis Hook to redirect an opponent’s striking arm and then make a direct strike to his face with the same hand. This means to use Mantis Hook and Greeting the Face Palm in one continuous action with the same hand. Similar to the technique of Thrusting Hand in T’ai Chi Ch’uan. 6. Softness should be used when you use pull (ts’ai) with one hand and strike the opponent with the other hand. This is like a pulley action; when you attach your hand to the opponent’s wrist, you pull him a little downward and out while simultaneously hitting him with your other hand. Similar to the T’ai Chi Ch’uan technique of Strike Tiger. 7. Softness should be used when you use a Mantis Hook to the opponent’s wrist and then embrace (lou) his arm so you can advance a strike forward. This lou is di erent than the lou used above (#4) to describe a grasp. Here you rst hook the wrist of the incoming strike, then bring your other hand up to seize the elbow (embrace, which is to trap the arm against the opponent’s body), then step in to strike with the hand that was the Mantis Hook. Similar to the T’ai Chi Ch’uan technique of Fist under Elbow. 8. Softness should be used when redirecting an opponent’s strike while stepping over to evade it and then striking to his flank. This means to attach your arm to the outside of the opponent’s striking arm and then use backward cross stepping to turn his body so you may strike to his kidneys or side of the ribs. Similar to the T’ai Chi Ch’uan technique of Bend the Bow to Shoot the Tiger. 9. Softness should be used when redirecting the opponent’s arms and then striking forward with both palms. The arms of the opponent can be directed o to the side or even upwards using Mantis Hooks; then step in and strike downward with both palms. Similar to the T’ai Chi Ch’uan technique of Pushing. 10. Softness should be used when redirecting an opponent’s upward punch and then striking in with the same hand.

This means to use a clockwise circular block of the opponent’s incoming strike and then slide your arm down along his arm to strike him. Similar to the T’ai Chi Ch’uan technique of Turn Body and Chop. 11. Softness should be used when counterstriking over the opponent’s punching arm. This means to seize the punching arm with one hand and then fold over the opponent’s arm with the other hand to strike him. Similar to the T’ai Chi Ch’uan technique of Chop with Fist. 12. Softness should be used when an opponent grabs your arm; you should then trap his hands and strike. This is to use a chin na technique of seizing his wrist and arm with both hands and then sinking low, and then immediately releasing the arm, rising, and striking. Similar to the T’ai Chi Ch’uan technique of Needle at the Sea Bottom. 3. The Eight Hard and Twelve Soft Ways II Pa Kang Shih Erh Jou Fa The Eight Ways of Hardness (Pa Fang Fa) 1. Colliding (Ch’ung): Colliding is probably the hardest of all the hard energies used in Praying Mantis. One illustration would be to imagine an attacker rushing at you. You then advance directly toward him and bring up your st to meet his face. This is Colliding; you become like a wall and the attacker collides into it. In T’ai Chi this is seen in the analogy of “a coin tossed onto a drum head.” 2. Throwing (Ch’uang): Throwing is also a very hard energy. One illustration would be to imagine that an opponent comes in to kick you. You then seize the underside of his ankle and leap quickly toward the backside of the attacker, bringing his leg with you, causing him to ip directly onto his head and neck. This is Throwing, as it resembles the act of throwing a ball. In T’ai Chi this is the very technique of Brush Knee and Twist Step. 3 . Snapping (Peng): Snapping can also be thought of as a falling or crashing action. One illustration would be to imagine you attempted to elbow your attacker but he seized your elbow. You would then simply snap the fist over to strike him. In T’ai Chi this is called Folding-Up, and the idea is that if an attacker pushes on your hand your wrist folds and snaps inward to strike. If he pushes on your wrist, then your elbow strikes him. If he seizes your elbow, then you strike with your shoulder. If he pushes a shoulder, the head strikes him. The whole idea behind snapping relates to the action of a snake being

attacked. If the head is attacked the tail will snap up to strike, if the tail is attacked the head will strike, and if the body is struck both the tail and head will strike. 4. Striking (T’a): Striking in Praying Mantis can take many forms, such as striking with the hand, elbow, shoulder, legs, knees, feet, etc. All of them are executed with a quick and instant hardness. The hallmark of Praying Mantis is its ability to strike in a lightning-fast manner, repeatedly, until the attacker is felled and defeated. In T’ai Chi this is identical to the idea of being in a state of yin (soft) when attaching to an attacker, but then instantly becoming yang (hard) when issuing out a strike, and then immediately returning to yin again. 5. Thrusting (Kun): Thrusting is a long and hard energy. The uniqueness of it is that it is directed past the point of impact. For example, a Praying Mantis thrust to an attacker’s heart is not aimed at the front of the chest of the attacker but rather is focused on a point beyond and behind the heart. In this way all the force is thrusting through the heart of the attacker. Thrusting takes on various meanings in Praying Mantis Kung Fu, from an open palm thrusting into an attacker’s throat, to ngertips thrusting into an attacker’s eyes, or a single finger thrusting into a vital point. In T’ai Chi the principle of Thrusting is identical. For example, when executing a push in T’ai Chi one pushes through an attacker’s center, not just on the front surface of his body. The hands may attach to the front of his body, but the energy is delivered beyond and past that point. 6. Provoking (T’iao): Normally the term t’iao means to stir up, pluck, or clear something out. But in connection with hard energy it takes on more of the meaning of provoking an attacker so that you can take advantage of him. For example, when an attacker strikes out with his hand, most mantis techniques will redirect his strike while simultaneously kicking him below to upset his root. So the idea of provoking is using a hard force to cause confusion in the attacker so the techniques can better be applied. In T’ai Chi this is called Enticing Energy, or Skill, and is used to get an attacker o balance or to double weight his body so he has no chance of recovering from an attack. 7 . Splitting (P’i): Splitting in Praying Mantis is primarily a means of separating or cutting o an opponent’s root or incoming energy. For example, one form of Splitting is to use a Knife Hand on the forearm of an attacker’s incoming striking hand. Another example would be to trap the attacker’s arms against his body and bring the back of the forearm across his chest, toppling him and cutting him o from his root. So Splitting can take many forms in Praying Mantis, but the essential idea is to sever an attacker’s force. In T’ai Chi this is again identical in function. Posture applications like Lifting Hands and Playing the Lute make use of Splitting energy.

8. Crushing (Ya): This hard way is the most brutal of them all. In Praying Mantis it is said that the apex of e ciency in dealing with an attacker is when your skill is competent enough that you may simply advance and hit an opponent on top of the head and crush the skull without your being touched. There are other minor techniques of Crushing used in Praying Mantis, such as the technique of Split and Crush, which can be a strike to the collarbone with one hand, followed by a downward strike to the chest. The Twelve Ways of Softness (Shih Erh Jou Fa) 1 . Closing (Pi): Closing means to obstruct an attack by cutting o an attacker’s outgoing energy. For example, when a strike comes at you it is best to use a Knife Hand to the attacker’s elbow joint, a Hook Hand on his wrist, or a push on his shoulder. This is because a punch, for example, has all the energy in the st, making the rest of the arm vulnerable to Closing. In T’ai Chi, Closing is a very extensive subject, but in regard to closing o an attack it means to go behind the forceful concentration of energy and strike the weak point, thus closing off the energy or force. 2 . Turning (Ch’uan): Turning is ultimately about turning the attacker so he is vulnerable to an attack. In Praying Mantis this is taking an incoming force and redirecting it so the attacker not only extends his energy out onto nothing but also opens his backside or flank for a counterattack. In T’ai Chi this is viewed as creating a superior position. Meaning, if an attacker pushes on your body, you turn so that the force is redirected, causing the attacker’s body to turn and open his backside to you. 3. Crossing (T’eng): Crossing is the ability to evade an attacker by stepping away to the side of his attack, making it di cult for him to follow up with another immediate attack as he will have to recover his stance and bearings. If an attacker strikes out with his right hand to your chest, for example, and you cross over to your left so that you are now on the outside of his right arm, it will be easy to counterattack him, with little chance for the attacker to recover his body position. 4 . Shifting (Nou): Shifting has several meanings, but primarily it means to constantly keep your root in one foot, not two, so that an attacker will nd it impossible to take you o your center and will never know exactly how to attack your legs. It also means being able to follow-step with an attacker. This means that you know where his feet are, so you can better place your feet and weight to issue and attack. 5 . Chasing (Nien): Chasing means that if an attacker attempts to turn, withdraw, or

evade you, then you simply stay with him so he cannot escape. When he turns, you turn with him; when he withdraws, you advance; when he attempts to evade, you follow. This is one of the most important principles of Praying Mantis because its most e ective techniques are those of in- ghting. Letting an attacker escape will only mean he will return to attack again. 6 . Adhering (Chan): Adhering is all about keeping contact with an attacker. This is done so you can constantly interpret in a tactile manner what his intentions are. In T’ai Chi, Adhering maintains several meanings because it allows you to not only listen tactilely to his body but also interpret his coming intentions. When Adhering you cannot use strong energy with your contact; it must be soft so that the attacker doesn’t know you, but you will know him. 7. Confronting (T’ieh): Confronting is seen when an attacker strikes out and you simply evade the strike so you are not on the receiving end of his force, which all hard strikes depend upon. You then move in close to Seize or Lean into him. Confronting is really about disappearing and then suddenly reappearing. 8 . Leaning (Kao): Leaning is about getting inside and directly onto an attacker’s body so that in- ghting techniques can be used. In principle it is like stepping in on an attacker’s center and then shifting into him. No two people can occupy the same space at once, and Leaning makes use of that fact. So the idea of Leaning is really to take away an attacker’s sense of space and balance. 9. Hooking (Kou): Hooking is using the Mantis Hooking Hand technique and using your foot to hook behind an attacker’s ankle for sweeping or toppling him o balance. Hooking with the hands must be done with little energy, and actually little is needed. Hooking is similar to Rolling-Back in T’ai Chi, which maintains the principle of “to remove a thousand pounds with four ounces of energy.” This is the same idea with applying Hooking, as its main function is simply to redirect a strong force with little energy. This is analogous to a large ball coming at you, and with just a nger and a turning of your waist and body the ball can easily be redirected and sent away. 10. Grasping (Lou): Grasping is used when you want to keep an attacker’s hand or arm from intruding or counterattacking your attack. Grasping should never be done with hard nger strength. It is more like the grasp of young babies when they grab a nger, which doesn’t rely on muscular strength. Rather, it is pure intrinsic energy and has a quality of stickiness, so it is more difficult to get away from.

11. Pulling (Ts’ai): Pulling is not a hard forceful pull, but more like a quick jolt that causes an attacker to momentarily lose his root and sense of balance. Pulling functions in the same way as Grasping, with the analogy of a baby’s grip. The purpose of Pulling is to take the attacker o balance so he can be counterattacked, and also to lead an attacker’s energy o and away from you. For example, in the T’ai Chi application of Chop with Fist, one hand performs Peng (to collapse the attacker’s arm), and the other hand comes over it to Ch’ui (Chop). Peng then relies on the principle of Pulling. 12. Suspending (Kua): The method of Suspending can be confused with a hard block seen in hard style kung fu forms. In Praying Mantis, blocking is done more with the idea of bringing out the arm to receive the attacker’s strike and then suspending it up or over while making a counterattack. The act of Suspending is much like when a soccer goalie reaches out to catch the ball to soften the force, rather than just blocking it. How to Apply the Twelve Soft Ways against the Eight Hard Ways If you are the object of any of the Hard Ways of Colliding, Throwing, Collapsing, or Striking, use any one of the Soft Ways of Closing, Turning, Crossing, or Shifting to counter the attack. If you are the object of any of the Hard Ways of Thrusting, Stirring, Splitting, or Crushing, use any one of the Soft Ways of Chasing, Adhering, Confronting, Leaning, Hooking, Grasping, Pulling, or Suspending to counter the attack. 4. The Twelve Ideals for Body Movement Shih Erh Hsing 1. Movement (Tung) Move like the ocean waves. When moving it should resemble a strong ocean wave changing from crests to troughs, so that an opponent is confused by your intentions and is therefore unable to determine how high you are leading him or how low. This is also seen in T’ai Chi. When your intention is to push your opponent upward, you rst lead him down. If your intention is to push the opponent downward, you must rst lead him up. Just like a wave, rising and falling with great force. A praying mantis will move one arm upward so it can strike its prey low with the other arm. 2. Stillness (Ching) Be as still and solid as a mountain. Before an opponent actually advances to attack you, be still and solid. Don’t shu e around and give the attacker an opening. In T’ai Chi it is taught, “If the opponent does not move, I do not move.” In Praying Mantis, just as in

T’ai Chi, you never make the rst move on an attacker. Rather, let attackers reveal their intention so you may use their energy and movement against them. A praying mantis will wait in absolute stillness when stalking its prey—waiting for the prey to initiate an attack, or maybe to determine the prey’s intentions, or simply to let it walk into its field of attack. 3. Rising (Chi) Rise like a balloon into the sky. When rising feel as if you were oating o and upward. If you rise up with tension in your body, the opponent will be able to detect it and so thwart your intention or seize your body. In T’ai Chi this is likened to the way in which a cat leaps upward. It sinks and relaxes its entire body rst, and then in an instantaneous burst of energy it leaps up gently. The intent here is like holding a string attached to a balloon, and when you let go of the string the balloon rises quickly and is almost imperceptibly gone. A praying mantis has wings, and when necessary it will quickly rise up to seize prey with its claws in midair. 4. Descending (Lo) Descend like a bird landing on a tree branch. After leaping or jumping, descend lightly, not like you are collapsing or falling. Think of your knees and feet as being natural shock absorbers that allow you to land lightly and with agility. When a cat leaps it always lands with softness and lightness so that it can quickly make its next move. In T’ai Chi there is a technique called “Hop Like a Sparrow” that is used to escape an opponent’s attack. It is precisely the same idea of descending. A praying mantis has four legs, always bent and light so that it can spring o of them when the need arises. 5. Standing (Li) Stand like a crane on one leg. When standing on one leg be steady and completely calm. If you have ever watched a crane standing on one leg, you will understand how di cult it is to determine whether it is actually alive or is just a statue of a crane, because it renders all its body movement imperceptible to the eye. In T’ai Chi this is called “Golden Rooster Stands on One Leg” and it requires a great deal of discipline to master the technique. When you can stand perfectly still and balanced on one leg, all your defense and offense skills will excel, and much more so than just always practicing on two legs. A praying mantis has four legs but will rear back and stand on two legs so that it may use its front legs in conjunction with its arms as well. 6. Rooting (Chan) Be rooted like a willow tree. The two legs should be rooted like a willow tree. Root is

central equilibrium, meaning you never lose your balance. Like a willow tree the wind may blow hard upon its branches and cause them to sway, but the trunk remains rmly in place because of its deep roots in the ground. In T’ai Chi rooting is one of the most important skills to acquire and is accomplished by imagining all your weight going directly down and through the bubbling-well points in the feet, so that all the weight is actually dispersed evenly throughout each foot. Rooting is never achieved by pressing the feet into the ground, rather by imagining the bottoms of the feet as wet mops sticking to the floor, without a downward pressing force. A praying mantis has excellent root, with four legs that can stick to any surface. Its prey can never topple it. 7. Turning (Ch’uan) Turn like a fast wheel. Turning is generated in the waist and legs and should resemble the fast and smooth turning of a wheel. In T’ai Chi this is analogous to a suspended beam. If you push on the left side of the beam the right side will turn directly at you, and vice versa. Likewise, if you push down on the left side of the beam the right side will come up and over directly at you. So, if an attacker strikes your left side, you turn naturally and counter with a strike from your right side. A praying mantis is skilled in turning with its exible body so that it can counter any attack a prey may initiate. 8. Bending (Che) Bend like a bow. Bending comes from being pliable and has the stored energy of a bow. Being too pliable is not good because you will lose the intrinsic energy within your muscles and joints. This is why in Praying Mantis it says to bend like a bow. A bow is exible but not limp, because the Bending must be reserved enough to store energy that can be issued back at the opponent. In T’ai Chi this is called “to receive and attack” and is analogous to a metal spring. When pressed on, a spring will release ten times more energy than was pressed or pushed into it. The praying mantis has a unique body structure and joints that allow it to bend and fold in almost any direction, yet it maintains a springlike and hinged reaction force in all its limbs and parts. 9. Lightness (Ching) Be as light as a feather. This actually means to be light, nimble, active, and agile. The lighter and more active you train your body to be, the harder it will be for an attacker to both seize and keep up with you. Lightness not only makes you quicker in responding to an attack but protects the body from injury if hit, because lightness contains the skill of relaxing. In T’ai Chi this is called sung, which means “to maintain a sensitive and relaxed alertness.” This is analogous to a cat that appears to be in a deep sleep, but the instant a mouse appears its whole body and spirit becomes alive and aware.

As an insect, the praying mantis is well equipped to be light, nimble, active, and agile. Its four springy legs and hinged body parts allow it to respond with either great force or great sensing abilities. 10. Heaviness (Tung) Be heavy as lead. Being heavy is a combined action of rooting, relaxing, and sinking so that if an attacker grabs hold of your body and wishes to topple you, he will find himself unable to move you in the manner he intended. Likewise, Heaviness is used to entrap the attacker so you may use in- ghting techniques against him. In T’ai Chi, Heaviness is used to both entice and entrap an opponent, because the rst reaction to your Heaviness creates a situation in the opponent’s body for easily uprooting or seizing them. When sensing a provocation to its underside, a praying mantis does not jump away in alarm, rather it quickly collapses its body and then immediately twists around to capture the intruder. 11. Quickness (K’uai) Be quick like a gust of wind. In Praying Mantis when an attack is issued, it is done with lightning speed. To an attacker it would feel like a strong gust of wind had encompassed him and left him with nothing to hang onto or defend against. In T’ai Chi Quickness is the immediate issuing of yang (hard) energy and then returning to yin (soft) energy. Quickness is like the lashing of a whip. The length of the whip is soft, yet from the tip a strong burst of energy is issued, and then the whip length returns immediately to softness again. A praying mantis uses its arms much like quick prods or a lashing whip and does so at lightning speed. 12. Slowness (Man) Glide slowly like an eagle searching for prey. This is used when searching for an opening as an attacker approaches. Just like an eagle you oat lightly around the attacker, patiently waiting and sensing out the most e cient point and time of attack. In T’ai Chi this refers to Listening and Interpreting skills. It doesn’t necessarily mean that you walk slowly around your opponent, but rather that your mind doesn’t race and panic. Like an eagle you are just calmly intent on sensing the opportune moment of attack. It will do you no good to rush an attack—ever. Calmly and patiently listen with your eyes and interpret with your mind, then you will be able to determine the right point and time for attack. Just like an eagle soaring above its prey. This skill is what makes the praying mantis the king of the insect world, as it will determine with absolute resoluteness the precise point of attack and do so with great patience.

5. Eight Training Divisions Pa Fa 1. Hands (Shou) The hands need to be trained so that they move lightning fast. To accomplish this a beginning student needs to practice the Eight Hand Positions, Eight Hand Methods, Eight Striking Methods, and Eight Chopping Methods. Like stances and footwork these are also trained on a solo basis. Be like a praying mantis seizing a cicada, swift and accurate. 2. Eyes (Mu) The eyes need to rst be trained to follow all the quick movements of the hands, and then to have a spatial view of an attacker and his surroundings. The eyes, as the Chinese say, are what express the spirit, so the eyes must be kept strong, clear, and focused when training. Be like an eagle intently focusing its eyes on its prey. 3. Posture (Shih) Constantly pay attention to re ning all your body postures, stances, footwork, and hand techniques. Most important, exercise your waist so that it is strong and exible. Be just like the body of a snake, strong yet pliable. 4. Footwork (Pu) Train your footwork so that the feet can be either rooted to the ground or agile and fast in motion when needed. Be like a crouching tiger rooting itself or like a monkey frolicking quickly about. 5. Alertness (Shen) Train so you can achieve a sensitive-relaxed alertness, so that you are in a constant state of readiness and paying heed. Alertness also means that you build your selfcon dence and physical vitality. Be like a cat preparing to pounce on a rat, attentive and ready. 6. Strength (Li) Train your inner and external strength, as both must work harmoniously. Inner strength comes from acquiring intrinsic energy, and external strength comes from developing your physical stamina and endurance. Be just like a tiger chasing down its prey, strong yet flowing.

7. Energy (Qi) Train your qi so that it is in abundance and can be issued and expressed when the need arises. Always keep your breath in your lower abdomen and adhere it to your spine, then you can will your qi at any given time. Be like a dragon, formidable and energetic. 8. Effort (Kung) Constantly apply su cient e ort when either practicing or sparring; it is the only way to achieve perfection of all the above training requirements. Practice requires e ort and mastery requires e ort. Be like the praying mantis, whose survival depends on constant and sustained perseverance. 6. Eight Striking and Eight Non-Striking Points Pa Ta Pa Pu Ta Eight Striking Points These are the nonfatal areas on an attacker’s body that can be struck when just defending or wanting to defeat an attacker. 1. The point between the eyebrow and eye socket. 2. The point between the upper lip and under the nose. 3. The points under the ears on the jawbone hinge. 4. The point on the center of the back. 5. The point in the middle of the ribs. 6. The points in the lower and middle abdomen. 7. The points on top of the kneecaps. 8. The points on the middle front of the shins.

Eight Non-Striking Points These are the fatal areas on an attacker’s body that should never be struck unless it is a life-or-death situation. 1. The temples. 2. The throat. 3. The Solar Plexus. 4. The sides of the diaphragm. 5. The groin. 6. Bottom of the spine. 7. The kidneys. 8. The ears.

7. Eight Long and Eight Short Pa Chang Pa T’uan Eight Long and Eight Short is more of a principle of function within Praying Mantis Kung Fu than a speci c treatise. It is viewed as both a method of posturing and an expression of energy (jin). In other styles of Praying Mantis, this is usually referred to as Seven Long and Eight Short, coinciding with seven long attacks and eight short ones. Chiang Hua-Leng changed this to Eight Long, which seems to be just the inclusion of one additional long or hard attack. It appears that he did this to connect the Eight Hard Ways with the Eight Long Energies and Skills. The theory and practice of Eight Long and Eight Short is extensive, and unfortunately space does not permit a full study of the subject here. Below I provide a brief and, I hope, succinct explanation of it. The principles of Eight Long and Eight Short are applied in almost every aspect of Practical Praying Mantis Kung Fu. As stated above, in other styles of Praying Mantis it is termed “Seven Long and Eight Short,” because there are seven primary long strikes and eight short ones. However, in Practical Praying Mantis, the basis of these principles can be viewed as Eight Long Energies and Eight Short Energies. For example, strikes

that extend out (out- ghting) are considered Long Energy because the energy for the strike is generated and expressed from the shoulder through the arm. Conversely, strikes that are compact and do not extend out (in- ghting) are considered Short Energy because the energy for the strike is generated and expressed from the elbow to the wrist. Eight Long and Eight Short can also be viewed in the light that Practical Praying Mantis always maintains one arm extended outward (Long) and the other back and inward (Short), and this is true for the feet and legs as well. Therefore, the Eight Hard Strikes of Colliding, Throwing, Snapping, Hitting, Thrusting, Stirring, Splitting, and Crushing are considered Eight Long Energies because they are out- ghting techniques. Whereas, the Soft techniques of Chasing, Adhering, Confronting, Leaning, Hooking, Grasping, Pulling, and Suspending are considered Eight Short Energies because they are in-fighting techniques. It is also the case that the Eight Kicking Methods are considered Long Energy: 1. Pulling the Yin Kick 2. Mandarin Ducks Kick 3. Axe Blade Kick 4. Penetrating the Heart Kick 5. Knocking Over the Tablet Kick 6. Sweeping the Lotuses Kick 7. Close the Gate Kick 8. Whirlwind Kick The Eight Leg Methods are considered Short Energy: 1. Seizing Leg 2. Treading Leg 3. Threading a Bow Leg 4. Extending Leg 5. Grinding Leg 6. Double Flying Leg 7. Parting Leg 8. Treading Sweep Leg Kicks then are long methods (out- ghting) as the energy is generated and expressed from the hip to the foot; and leg maneuvers are short methods (in- ghting) because the energy is generated from the knee to the foot. The primary principle behind the idea of Eight Long and Eight Short is to always keep one hand or one foot in reserve, to never extend both hands out with the energy or force being issued by both. This is true in T’ai Chi Ch’uan as well. One hand is yin, and the other yang. One foot is substantial and the other insubstantial. The only di erence is that Praying Mantis makes greater use of Long Energy, and T’ai Chi rarely does. Both are predominately in- ghting styles, but Praying Mantis Kung Fu will use Long Energy to ensure that Short Energy can be used. This is seen in the praying mantis insect as

well. It will extend its arms out to strike a prey but does this to then move in quickly and use its close-range tactics with its claws and hooks. 8. Five Internal and Five External Activities Nei Wai Wu Hsing Examining the meaning and locations of the Five Activities (or Elements) will be combined with the words of Yu Chou. In the northern direction is Water; in the southern direction is Fire; in the eastern direction is Wood; in the western direction is Metal; and within the center of these is Earth. These then are the locations of the Five Activities. Those who begin their martial art studies should become familiar with the Five Internal and Five External Activities. The ve internal activities are ching (physical energy), shen (spirit and mental energy), yi (mind-intent or will energy), qi (vital-life and breath energy), and kung (skill and e ort energy). These are formless and imageless; people are unable to see them, but they are the original essence of each person. Accumulate ching, collect the shen, apply the yi, activate the qi, and employ the kung. These are the conditions of how martial artists obtain the skills and the methods of the Five Activities, and binding them together into a complete whole is what makes the Five Activities so marvelous. It is what enables a person to attain what is in his grasp and give certain success to a plan of action. The Five External Activities are revealed in a person’s four limbs and hundred joints and bones, and these have form and image. Men, if they study other men, can also see these in each person. Therefore, the hands, eyes, body, posture, and footwork are the Five External Activities. But these Five External Activities must also be trained and studied carefully. Within each movement the entire body must move. Likewise, if one condition is lacking, then all the conditions are lacking. Every movement must have principle, because without principle there is no correctness of movement. A martial artist will unite the Five Internal and Five External Activities accordingly: • The • The • The • The • The

activity activity activity activity activity

of of of of of

Water is seen in the use of the Hands and the functions of the Ching. Fire is seen in the use of the Eyes and the functions of the Shen. Wood is seen in the use of the Body and the functions of the Yi. Metal is seen in the use of the Posture and the functions of the Qi. Earth is seen in the use of the Footwork and the function of the Kung.

When a martial artist understands the creation and destruction patterns of the Five Elements, he will understand the full use of the Five Internal and Five External

Activities. Student and Teacher Requirements It is not enough to just learn a martial art for purposes of self-defense and o ense. It is far more important to learn how to improve your character and how to deal with the people and world around you. In the end, martial art is really more about self-discipline and self-discovery of a person’s full potential, not just ghting or becoming the world’s most formidable martial artist. A futile goal anyway because someone will always be your better no matter how skilled you become. As Lao Tzu said, “He who puts himself first ends up last, and he who puts himself last will end up first.” Martial art is about disciplining the mind and body for the betterment of each other, not the detriment. So, in the practice of martial art, at least traditionally speaking, there were rules of conduct. These rules of conduct were mainly about showing respect for the teachings, the teacher, and yourself. Without maintaining these “three respects,” a person’s martial art will greatly su er, and the student will just end up jumping from one method and one teacher to another, culminating in broken and missing pieces of a puzzle. The following student and teacher requirements serve as guides for all students of Praying Mantis Kung Fu, or any other branch of martial art for that matter. They represent the traditional view of how a student should properly conduct him or herself toward the teachings, teacher, school, and self. Student Requirements 1. Respect the founder of your martial art Students should always consider that the founder is the principle reason for their physical and spiritual betterment. Founders spend their lives developing and teaching their system so that those in the future can bene t. There is an old Chinese adage, “The green comes from the blue, but excels the blue.” This means that even though a student may become better than his teacher, the student should never forget or disrespect the origin or lineage of the teacher. 2. Respect your teacher and instructors On each occasion of meeting with the teacher, or instructors he has entrusted you with, the student should show respect by making a slight bow with both hands clasped. When departing from the teacher the same gesture should be made. Never be concerned with whether the teacher returns the gesture or not. The normal and most accepted verbal greeting is to call your teacher sifu (instructor) or simply “teacher.” For those teachers who take on actual formal students or disciples the term used is shihfu (spiritual father).

If your teacher asks a student to do a certain task, the student should gladly and politely perform it without argument or hesitation. Just simply try your best to complete the task efficiently. A teacher normally spends many years learning an art, and a student should understand and respect that whatever he gives a teacher, be it monetary or work intrade, it will never equal the e orts and time the teacher made to enable students to learn the art. Students should always be grateful for the instruction they are given and for the patience the teacher has shown in teaching it to them. Good students always attempt to help their teacher and the school itself by o ering their skills and services to the best of their abilities. 3. Follow the school regulations and the regimes of the teacher Whenever students are about to enter the practice hall they should make a short bow of respect. When leaving the practice hall they should make a short bow of respect. A student should attend, help organize, or provide assistance in the celebration of both the founder and teacher’s birthdays. New students should show respect to the older students and not act with jealously or malice toward them. Older students should show respect to new students and never act arrogant or treat them with disregard. Each student, new or old, should respect each other and help each other, just as good friends would. All students should be humble toward all their fellow students. Students should never criticize other students. The purpose in becoming part of a school and learning from a teacher is to develop martial skills in direct unison with improving one’s nature and wisdom. It is not appropriate or bene cial for students to gossip or criticize other students. Otherwise, unnecessary rivalry and discord within the school will occur. A teacher accepts students based on a judgment of their characters, so students who criticize other students are actually offending the teacher. Students should be diligent in class and attempt to practice everything they are taught by the teacher to the best of their ability. Students should pay close attention to whatever the teacher instructs them to do. Students should not be hasty and seek too much instruction too quickly. Students should always come to class on time, be clean, and dressed in appropriate practice clothing. 4. Proper conduct outside the school Students should not mix with undesirable people who drink in excess, take drugs, steal, break laws intentionally, or are abusive to women, elders, or children. Students should never use their skills to show o in public or to better someone for reasons of ego. The martial skills learned should only be used in the defense of others and in life-threatening situations.

Students should not go outside the school to teach on their own unless the teacher has granted permission. Teacher Requirements 1. Good Lineage A good teacher will have a good lineage and will have studied with his teacher for a minimum of six years, but even longer is better. Without this lineage and time spent under a teacher’s tutelage, it is doubtful someone can assist students in mastering even the coarsest aspects of the art. 2. Selecting Students Even though a teacher will normally welcome anyone to begin learning, a good teacher will scrutinize the nature of new students carefully to determine whether or not to teach them the deeper aspects of the art and formally accept them as students. 3. Proper Instruction A good teacher will, after formally accepting students, teach them to become teachers in their own right. It is the teacher’s responsibility to teach his students everything so that they become good representatives of the founder, the teachings, and the teacher. Skills Acquired from Practicing In practicing the kungs, stances, footwork, and kicking methods there are several skills, bene ts, and energies that can be developed and utilized. First, the Eight Kungs are designed to help strengthen the internal organs, give more pliability and strength to the muscles and joints of the body, and develop the breath in coordination with body movement. Second, the Eight Stances are the most e cient means of activating the qi, developing root in the feet and legs, concentrating the spirit, and opening the tan-t’ien in the lower abdomen. Third, the Eight Footwork Methods not only develop agility in conjunction with root but are the foundation for acquiring intrinsic energy. When you learn the footwork methods and how they function properly, you will also be able to interpret the footwork of an opponent much better. In T’ai Chi Ch’uan it is said, “Know yourself and you will know others.” So when you know how to move your feet, it will become apparent from an opponent’s slightest movement what his strategy is. Fourth, the Eight Kicking Methods further develop root in the feet and legs, but they greatly enhance the development of intrinsic energy in the waist and legs. One of the big attractions to Praying Mantis Kung Fu is the hand techniques, but it is the manner of

kicking that makes Praying Mantis so unique. The kicks, for the most part, are straight leg techniques directed at the groin or knees and are used in combination to draw an opponent into you. For these kicks to be e ective, however, the skills gained from stances and footwork must be acquired. Activating the Qi Master Wei states, “There is no other more e cient way of activating the qi than with standing.” The practice of standing in xed stances is normally called Chuang Pu in martial arts, meaning to stand like a post. Anyone who begins this practice will soon discover how much heat is acquired in the body and hands, and initially the student will sweat a great deal. These are good signs that the student is progressing, but it is always surprising for beginners that they sweat so profusely from doing nothing. Heat is the rst sign of qi developing in the body. Normally you will feel it rst in the hands and feet because the blood begins circulating at a greater rate to the extremities. Later, you will feel the heat in your lower abdomen, in the tan-t’ien to be more precise. In the beginning, it is not good for students to think too much about qi cavities and meridians. It is better to focus on what is called “free circulation of qi,” meaning that you will feel heat and a new sense of strength throughout the entire body. Eventually, when you can feel the qi in your tan-t’ien and will it to any part of your body, you will experience a strength that you didn’t know existed. It is not the same as the adrenaline e ect some people experience in ight and fright experiences. Actually, too much adrenaline can kill you, whereas qi will only continue to make you healthier and stronger. Mind-Intent Mind-intent is what gives you the ability to direct the qi, spontaneously issue energy, and intuitively ward o an attack. In essence, it is a strong will and spirit—much like that of a small animal who when needed can defend itself against much larger predators. Try to pick up a frightened cat and you will witness a strong spirit. Each of the Eight Stances contains an exercise in mind-intent, something on which to focus your spirit and mind. This not only develops your mind-intent but also takes your focus o qi. Too much attention on the breathing and qi will actually hinder their development. It is better to have a strong mind-intent so that the breath and qi can be directed. In old Chinese warfare, generals had a unique system for ensuring troops arrived where they were supposed to in battle. Keep in mind that they had no electronics with which to send orders and messages, so the generals and commanders communicated by banners. In brief, a commander would position himself on high ground where he could see the battle eld clearly. When he located a position where he wanted to station his troops, he would send a banner wielder to that area, thus signaling the troops to march

there. In martial arts this same technique is used internally, wherein the mind-intent is the commander, the qi the banner, and the blood the troops. When Standing, the mindintent is most important, because it is like taking the high ground so you can envision exactly what you want. If the mind-intent is to focus on a hand, then the qi will go there. If the qi is directed there, the blood will follow. This produces a great strength. Don’t think that just by focusing on qi and breath that they will develop. The mindintent is the most important. With Standing Exercises, the mind-intent can be fully developed to direct the qi, breath, and blood ow. In Standing, you are training yourself to focus on an area. Qi and blood are like the troops in that they need to move. Mind-intent is like seeing, or focusing, on the location where you want the qi and blood to go. Strength From Standing, you will soon discover a new strength in yourself. This is a result of the increased blood ow to your muscles, tendons, and bones. Big muscles do not equate or imply strength. They just have the appearance of strength. Actually, big muscles slow down a person’s reaction time. They lessen one’s endurance in a ght because the breath is intrinsically tied to the blood ow. Since big muscles require more blood ow, too much strain is put on the heart and breathing. Big muscles are unhealthy because the heart has to work harder to provide the necessary blood they need. It is common for weight lifters to su er from heart problems and musculature problems later in life. This is primarily because they spend so much time in their early years exercising to enlarge their muscles, but then as they slow down later in life the heart is weakened from having been overworked for so many years. As a mainstay of traditional martial art, Standing was always considered the best exercise for the heart and muscles. Not because they grew externally in size, but because they grew healthy inside and did not overtax the heart. The strongest of animals do not rely on big muscles for strength, rather healthy muscles and a strong spirit is what makes them strong. A tiger, for example, derives the majority of its strength from both its state of relaxing the muscles and its strong spirit. Lifting weights and working out to produce large muscles and a chiseled body may get you noticed, but it doesn’t mean you will have any internal or external strength, speed, or lasting endurance. I once had the pleasure of teaching a police o cer some martial techniques. His biggest concern was to gain endurance. He said that when he really had to wrestle with someone, his breath would immediately rise in his upper body and cause him to breathe pensively and he would run out of strength quickly. So, even if you have big muscles and a chiseled body, if your breath gives out your big muscles will serve you no purpose. Real strength starts with breath control, not big muscles. Developing the Breath

When reading in martial art books about “sinking the qi into the tan-t’ien” most people assume this means they must take deep, slow, and long breaths, and forcibly push the breath deep into the lower abdomen. This assumption is false and will only aid in obstructing the breath. The secret, if you wish to think of it that way, is really no secret at all. The Chinese character for the term “sink” (chen in Chinese) simply depicts a rock falling down into water. The breath should be the same. When standing, all you need do is allow the breath to sink into the lower abdomen. Let it happen; don’t make it happen. “Qi” and “breath” in Chinese carry the same meaning and are expressed with the same written character. Qi is gathered from the breath, and it is the breath that develops qi. If you just put your mind into your lower abdomen, you will soon discover that the breath follows there as well. Again, focus on the area and the breath will follow. When the breath is calmly directed to the lower abdomen, the qi can then accumulate there. It is so simple that we overlook it completely. Hence, it protects itself from being idly discovered. Like with muscles, we normally think the more forcefully we practice the more potent and strong our qi will become. Actually, if you really want to discover qi in your tan-t’ien, the rst step is to just relax and sense your lower abdomen. The breath and qi will follow naturally. When Standing, practice “natural breathing.” This means the stomach is expanded on the inhalation and contracted on the exhalation. There are nine di erent types of breathing in traditional martial arts, but for beginners and the development of qi, natural breathing is the best, safest, and most e ective. You will also discover that as you progress in your practice with natural breathing, the qi will sink and accumulate more strongly over time. This is why I encourage and advise students to be patient. Just stand, pay attention to your lower abdomen, and allow it to happen rather than trying to force it. Intrinsic Energy Intrinsic energy is too broad and deep a subject to go into here. Basically, however, intrinsic energy comes from training your body to be in a state of sung, which is normally translated as “relax.” Using the term “relax” can give the impression of “collapse,” which is not sung. The idea of sung is something that can best be de ned and seen in the actions of a cat. For example, a cat may appear to be fast asleep, but when a mouse runs past, the cat is immediately awake and alert. The meaning of sung, then, is closer to the idea of “alert awareness in a state of relaxation.” Stance training is truly about being in this state of sung. Thus, Standing is actually better for the development of intrinsic energy than the form practices. Intrinsic energy is developed in the muscles and tendons. When they are fully relaxed, the qi can enter and make them more pliable and elastic. Thereby, we become more agile and able to issue energy from them—akin to the energy coming o the end of a whip. When you crack a whip, the length of the whip is soft and pliable but a strong

energy comes o the end of it. Intrinsic energy is the same in the human body. You can also think of it in terms of a rubber band, which is soft and pliable. When a rubber band is stretched and then released, it can fly a great distance. In your practice of Standing one of the things that will occur after a few minutes is a shaking or tensing of the leg muscles, and the reaction most will have to this is to raise the body up in hopes of relieving it. This will only be a momentary solution. What needs to be done, and what helps develop the intrinsic energy, is to let go of the tension—just let it drop, much like letting a little air out of a tire. Over time, when your body naturally responds by letting go of tension, the intrinsic energy will start to develop. Then you will gain the ability to issue the intrinsic energy instantly and imperceptibly to an opponent. Since no hard energy is involved, an opponent cannot detect it and is therefore unable to neutralize or evade it. Gaining Root and Agility One of the obvious bene ts of Standing is the ability to develop root, or central equilibrium. Root is not only important for practicing the forms, but for combat as well. One needs to be standing to win the bout, so to speak. Root comes from the ability to sink all your weight into the bottom of a foot and not in the legs or upper body. A good analogy is a dharuma doll, those in ated dolls that have sand on the bottom. When you punch one, it topples over but then snaps right back and wobbles to its center. The idea behind rooting is the ability to take an opponent’s energy and direct it down through your foot rather than have it a ect your upper body and legs. Just as with developing intrinsic energy, when the body or legs start to shake or get too tense, you must let go of the tension and send it down into the foot so that the thighs and calves are constantly being relaxed. With root, no matter when standing or moving, you will always maintain balance and centeredness. You cannot acquire true root by pressing your foot or feet into the ground. Root comes from a relaxed foot, not a tense one. Agility also comes from keeping the feet relaxed and light. The idea of agility is to be sure footed, knowing exactly where and when to place your feet. The rst step of acquiring agility is through practicing the Eight Footwork Methods so that you know where your feet are going and why. Plum Blossom Praying Mantis Kung Fu was so named because the footwork was originally practiced on stumps of plum trees. This was done not only to make the footwork exact and precise but also to heighten the skills of agility. It is one thing to practice footwork on solid ground where mistakes in moving the feet go unnoticed, and quite another to have to direct the center of the foot onto a small surface. When I learned the footwork for Plum Blossom Praying Mantis, I was taught to step onto bricks, just so I would have to pay full attention to where my feet were going and my center of balance. Agility is important to any martial art, but especially for Praying Mantis Kung Fu.

Since the hands are trained to be lightning fast, so must the feet, which work in conjunction with the hand movements. In the T’ai Chi Ch’uan Treatise attributed to Chang San-Feng, the opening line reads, “With every movement string all the parts together, keeping the entire body light and nimble.” Praying Mantis Kung Fu applies the same ideas when engaging in forms or applications. Skills of the Eight Hand Uses The hands are extremely important to the functional use of Praying Mantis Kung Fu. They become very precise instruments, just as the claws of the praying mantis are its tools for defeating prey. The following descriptions of Praying Mantis Kung Fu Hands provide a solid overview of exactly how precise and functional the hands become in Praying Mantis training. Primarily, there are eight divisions of hand positioning in Praying Mantis Kung Fu, but because of variations there are actually eighteen speci c types of hand positions for martial application. 1. Hook Hand This is the signature Hand style of Praying Mantis Kung Fu, and there are four variations for use. a) This is used for neutralizing an opponent’s strike. b) This is used for striking vital points on an opponent’s body. c) This is used for clawing actions. d) This is used for seizing an opponent.

2. Knife Hand

Two variations: one uses bent ngers and with the other the ngers are outstretched. The Knife Hands are normally used for striking the neck, throat, kidneys, and anks of an opponent. The Knife Hands are very powerful and use a very quick and hard energy.

3. Claw Hand Two variations: one uses four- nger and the other two- nger clawing. Primarily, the Claw Hands are used to the face and eyes. The two- nger Claw Hand is also used for what is called “The Butter y,” as the index and thumb are used to seize the skin of the opponent. Then with a twisting action, a butter y-like image is left on the opponent’s body, along with a very stunning and painful effect.

4. Seizing Hand Two variations: one uses a single nger and the other two ngers. Seizing Hands are applied to the opponent’s forearms, wrists, hands, and ngers. Seizing Hands are used not just to grasp an opponent but to apply what is called “Sinew Tearing and Bone Crushing.” For the latter the training is very arduous.

5. Internal Striking Hand Two variations: the Phoenix Eye makes use of the index nger knuckle and the Needle Finger uses the tip of the index nger. The Phoenix Eye is used extensively in Southern

Praying Mantis but is also found in the Northern Styles. The Needle Finger is more exacting but takes a great deal of training to use e ectively. Both of these are used for causing internal energy to an opponent.

6. Yang Fist Two variations: palm down and palm facing in. The Yang Fists, sometimes called Sun Fists, are used for causing external injury to an opponent. Note that the wrists are a little cocked. This is to create an absorption and torque e ect when striking an opponent.

7. Splitting Hand Two variations: one uses the outer edge of the hand and the other is a chopping st. The Splitting Hands are extremely dangerous as they are normally used to crush the neck, collar, or nose bones.

8. Open Palm Hand Two variations: one positions the hand vertically and the other horizontally. Normally the Open Palm Hand is used for internal damage to the heart but is also used in a defensive manner such as in Greet the Face Palm. When the Open Palm Hand is trained properly it becomes extremely dangerous, such as in Iron Palm or Water Palm training.

The Process of Internal Refinement When we talk about acquiring qi and martial skills, a certain internal process takes place. In all the internal arts, a category under which Praying Mantis Kung Fu de nitely falls, the idea is to develop a strong internal strength, not just a physical one. In learning the practices of a particular internal art, the student rst builds up heat and sweat, which is correctly accomplished through relaxation and breathing from the lower abdomen. When they are not dissipated quickly, heat and sweat will reach a point where they can enter the muscles and be absorbed. Heat and sweat are aspects of qi movement and are important to the process of internal re nement. Heat needs to build slowly and steadily. Hard exercise causes the heat to dissipate quickly. It is like a great ame that burns itself out. Instead, one should build up the heat as if it were coal, which has little ame but gives o a steady heat. Too much ame will burn the outside of a steak, for example, but steady heat from coal will cook the meat all the way through. By breathing from your lower abdomen and increasing the heat and sweat from your practices, you will increase your blood circulation and thereby carry the qi to all the various parts of your body. Master Liang aptly de ned qi as “an inherent oxygen within the blood.” He always thought there was too much emphasis on creating qi ow in meridians of the body, which is more of an end result from having qi, not a means to acquiring it. When the blood circulation is increased, so then is the free circulation of the qi. With this increased ow of blood and qi, the warmed blood and qi can enter into the sinews (those brous tendons and soft tissues that surround all the bones and joints of the body). Over time these tendons and soft tissues absorb more heat, blood, and qi, which then begins to penetrate into the bones and eventually into the marrow. All this makes the bones more pliable and increasingly stronger. Once the qi is concentrated in the

marrow, the body will begin to transform internally. The qi and intrinsic energy can then be issued at will and a great internal strength is acquired. It also means that the qi will begin accumulating within the tan-t’ien, creating the sensation of a solid object within the lower abdomen. From this experience, the process of circulating the qi through the meridians of the body can be accomplished. But it must all start with free circulation of qi. Advice on Practice Sessions The following tips will make your practice more productive, bene cial, and comfortable. Initiating a Practice Session Always try to wear a long-sleeve shirt and comfortable clothing. My teachers, Master Liang and Master Kung Wei, rarely practiced in a short-sleeve shirt. They did this so that the heat, qi, and sweat acquired during their practice would not dissipate too quickly and would penetrate into the muscles and bones. Try to never practice in direct sunlight or during the afternoon when it is too hot. To do so will cause fatigue and expose you to too much yang energy, which can cause a variety of weaknesses within the body. Drink a glass of water, preferably with a slice of lemon, twenty minutes before practicing. Lemon is a blood puri er and will calm the stomach. It is okay to drink cool water, but stay away from ice-cold drinks and from using ice. Ice and cold are too hard on the internal organs and over time will adversely a ect them, just as drinking really hot beverages will also harm the internal organs. Someone once asked me why traditional Chinese teacups didn’t have handles. If the teacup is too hot to pick up with your ngers, the tea is too hot to drink. Handles won’t tell you this. Always let your tea cool down a bit before drinking. Never eat immediately before practice. Wait until your food has been digested properly. Try and eat nourishing foods as well. Fresh vegetables and fruits will provide you with more energy than eating a lot of meat and starches. Taoist monks of old always limited their intake of starches so that their bodies would become lighter and more agile. Try to practice in a quiet and clean area. For years, I practiced in my backyard and always lit a piece of incense and stuck it in the ground prior to practice. It seemed to always set the proper mood for practice. Don’t rush your practice. Take your time. It is better to learn one exercise well than to be impatient and try to do everything at once. Whatever you’re working on feel like you’ve mastered it before moving on to the next exercise or stance. Always take a few moments to settle and calm your mind before practicing.

Concluding a Practice Session After nishing your practice, walk around a little. Even better, take a walk somewhere. This will help invigorate your spirit and allow ample time for the sweat to absorb into your body. Wait at least thirty minutes before showering after practice. Again, allow for the heat and sweat you acquired from practice to dry and absorb into the muscles and bones. Try to have a cup of green tea after practice. This will help restore some of the antioxidants your body needs, especially if you sweated a great deal.

Part One Eight Kung Methods

Prelude

Master Wei Hsiao-T’ang advised, “Before practicing you should rst train Iron Ox Ploughs the Earth three times. Also, in a xed stance of Riding the Horse, pull the hands into the body six times. Next, collide the arms against each other four times. Next, Tyrant King Raises the Cauldron three times, with both hands joining together and raising upward until they are above the head with the palms facing upward. Then, bend the waist over toward the front and push until the hands face the feet. Then do the same to the right and left sides one time. After the muscles are stretched out, work hard at practicing the following Eight Stances.” These warm-ups come from portions of the Eighteen Lohan Kung Fu exercises. Iron Ox Ploughs the Earth, for example, is the ninth Lohan exercise. Tyrant King Raises the Cauldron is the second Lohan exercise, and bending the waist forward comes from Planting Flowers, the third Lohan exercise. All the rest have similarities with other sections of the Lohan exercises. Master Wei recommends these warm-ups for good reasons, as they are e ective in not only stretching out the body but for strengthening the internal organs and muscles, increasing blood flow, nourishing the joints, and developing qi. In my opinion and from my years of practice, however, I recommend that students perform the complete sets of I Chin (Muscle Change) exercises and the Eighteen Lohan Kung Fu exercises before each practice session. For beginners, however, the following exercises will certainly su ce and will provide great bene t. Again, do not overlook the practice of these preliminary exercises. The body needs to be strengthened and mobilized properly before undertaking the rigors of practicing the Eight Stances. Exercise 1 Iron Ox Ploughs the Earth T’ieh Niu Keng Ti Step 1 The left foot is brought behind the right foot, hooking around and against the outer side of the right ankle and foot, with the toes pointing upward. The right arm is bent at the elbow with a st that faces palm up and has the intent of pulling energy. The left hand grasps the right forearm. There should be a feeling of resistance in the right arm with the left palm grasping it tightly, producing a necessary energetic force [1]. These actions all take place within the inhaling of the qi.

Step 2 From the above position the two arms and hands move straight downward by bending the waist over. With the arms joined together, the right st is directed to point straight down to the ground [2]. These actions all take place within the exhaling of the qi. Combine and harmonize the actions of these rst two movements, repeating them a total of eight times.

Step 3 The right foot is then brought behind and to the left side of the left foot, with the toes pointing upward. The left arm is then bent at the elbow with a st that faces palm up, and the right hand now grasps the left forearm [3].

Step 4 From the above position the two arms and hands move straight downward by bending the waist over. With the arms joined together, the left st is directed to point straight down to the ground [4]. These actions all take place within the exhaling of the qi.

Steps 5 & 6 To conclude, bring the feet together and stand upright so that the feet are crossed in front this time. Then, bring the left foot and place it on the heel in front of the right foot and toes. The hands are held like screens in front of the face. Stand this way for several inhalations and exhalations to harmonize the breathing [5]. Next, change the feet so the right foot is on the heel in front of the left foot and toes, and stand facing the palms for several breaths [6]. This concludes the Iron Ox Ploughs the Earth exercise. Shake the body gently and proceed to the next exercise.

Exercise 2 Riding a Horse, Single Fist Pulling Tan Ch’uan Ch’ou Chi Ma Step 1 Stand in an open Riding the Horse Stance with both legs in line with each other and the toes turned slightly inward. Make sure the back is straight and the buttocks slightly drawn down and in so that they don’t protrude outward [1]. Next, extend the left st and arm out at shoulder level, with the st palm facing downward. Apply energy to the left st and arm. The right-hand st is held along the right side of the ribs with the palm facing upward, but relax the arm and st—no forced tension [2].

Step 2 Now imagine the left st is holding a rope that is attached to a pulley on the wall in front of you with the other end of the rope attached to the right st. Energetically pull the left arm and st back to be alongside the left side of the ribs, and when pulling back turn over the left st so it becomes palm up when reaching the side of the ribs. The right st is then imagined as if it were pulled straight out and forward by the rope, feeling as though it had been whipped out, not forced by its own strength. As the right fist goes out it turns over to be palm down when reaching the front [3]. Step 3 Now, with the right st and arm extended out at shoulder level, and the st palm facing downward, apply energy to the right st and arm. The left-hand st is held along the left side of the ribs with the palm facing upward, but relax the arm and st—no forced tension [4].

Step 4 Again, energetically pull the right arm and st back to be alongside the right side of the ribs, and when pulling back turn over the right st so it becomes palm up when

reaching the side of the ribs. Then imagine the left st is being pulled straight out and forward by the rope, as though it had been whipped out, not forced by its own strength. As the left fist goes out it turns over to be palm down when reaching the front [5]. Repeat these actions eight times for each arm and fist.

This concludes the Riding a Horse, Single Fist Pulling exercise. Shake the body gently and proceed to the next exercise. Exercise 3 Riding a Horse, Double Fist Pulling Shuang Ch’uan Ch’ou Chi Ma Step 1 Stand in an open Riding the Horse Stance with both legs in line with each other and the toes turned in slightly [1]. Make sure the back is straight and the buttocks drawn down and in slightly so that they don’t protrude outward. Simultaneously, place both sts alongside the ribs, with the sts held tightly and firmly and the elbows drawn back.

Step 2 Extend both sts outward to the front at shoulder level [2]. Change the sts into clawlike hands facing downward, then imagine as though you are grabbing a handful of grass on a hill in front of you. Grab and pull as though tearing a handful away, and then immediately turn the closed sts to face upward [3]. Inhale the qi when extending out and grabbing.

Step 3 With some force pull both arms back into the body to their original position [4]. Exhale the qi when turning the fists over and pulling back the arms. Repeat these actions eight times. This concludes the Riding a Horse, Double Fist Pulling exercise. Shake the body gently and proceed to the next exercise.

Exercise 4 Mantis Colliding Its Arms Lang Pi Ch’uang Upper Colliding Step 1 Stand upright with the feet separated at shoulder width. Bring the left arm in front of the body with the elbow bent, st pointing upward, and upper arm parallel to the ground. The right st and arm are extended to the right side, with the palm facing front [1]. Inhale the qi when standing in this posture. Step 2 Bring the right arm across, colliding the inner forearm with the inner forearm of the left arm [2]. Exhale the qi when bringing the right arm across to collide. Step 3 Switch arm positions so that the left arm is to the side and the right arm is out front [3]. Step 4 Collide the inner forearms as in Step 2 [4]. Exhale the qi when bringing the left arm across to collide with the right. Repeat these actions of alternately colliding the arms eight times for each side.

Lower Colliding Step 1 Continue to stand upright with the feet separated at shoulder width. Bring the left arm to point diagonally downward in front of the body, with the elbow straight and the st pointing upward. The right arm is extended diagonally out to the right side, with the palm facing the back [5]. Inhale the qi when standing in this posture. Step 2 Bring the right arm across, colliding the back of the right forearm with the inner forearm of the left arm [6]. Exhale the qi when bringing the right arm across to collide.

Step 3 Switch arm positions [7]. Inhale the qi when standing in this posture. Step 4 Collide the arms as in Step 2 [8]. Exhale the qi when bringing the right arm across to collide.

Repeat these actions eight times on each side. This concludes the Mantis Colliding Its Arms exercise. Shake the body gently and proceed to the next exercise. Exercise 5 Tyrant King Raises the Cauldron Pa Wang Chu Ting Step 1 The feet are positioned in an open stance, with the toes pointing outward at 45-degree

angles, and the body is in a low, squatting position. The palms are placed together in front of the chest [1]. Calm the mind so the breath and qi can be harmonized. Slowly inhale and exhale while gazing directly to the front. Step 2 Without changing the stance, slowly separate and press the hands outward to the sides [2]. While doing this, exhale the qi and keep the ngertips pointing up. When the hands are fully extended out, pause before returning the hands to their original position, inhaling the qi as you do so. Connect these movements of pressing out the hands and arms and then returning them for a total of eight repetitions.

Step 3 Without changing the stance, make two fists and punch downward to the ground [3]. Step 4 Open the ngers of both hands wide and then clutch them again into sts. Then stand up, pulling the sts upward with the elbows in line with each other, as if lifting a bucket [4]. Repeat these motions (punching downward and then pulling upward) eight times. When the sts are punching downward, exhale the breath and qi. When pulling them upward, inhale the breath and qi.

Step 5 From the opening position [5], change the sts into open palms and raise them upward as if lifting something. The eyes gaze a little upward when doing so. When standing with arms fully raised, inhale and exhale fully to circulate the qi [6].

Repeat these movements two times. Withdraw from the posture and pause momentarily. This concludes the Tyrant King Raises the Cauldron exercise. Shake the body gently and proceed to the next exercise. Exercise 6 Immortal Pushes the Void Hsien Jen T’so K’ung

Step 1 Stand upright with the feet separated at a little less than shoulder width. Bring both arms in front of the body and interlace the ngers, with the palms facing the body at chest level. Make sure the arms are rounded out and held out from the body. Then, while simultaneously rising up onto the toes of both feet, bring the arms up over the head, turning the palms to face out [2]. Extend the arms straight up, but at a slight angle so that the eyes can still gaze at the back of the hands. Inhale the qi when extending and pushing the arms upward.

Step 2 Bring the arms and hands back to the original position [1], with both feet placed at on the ground again. Exhale the qi when descending back to the original position. Repeat these movements eight times. This concludes the Immortal Pushes the Void exercise. Shake the body gently and proceed to the next exercise.

Exercise 7 Planting Flowers, Left and Right Tso Yu Ch’a Hua Step 1 Stand upright with the feet together and the sts held to the sides of the body with the elbows pointing to the rear. The head is turned so the eyes gaze intently to the right side [1]. Next, step out with the right foot to be in a Right Climbing the Mountain Stance. In accordance with the movement of the waist, the right st is changed into an open palm as it follows the stepping-out motion, and the left st turns palm down. The right hand goes out long and the left stays short, as they push out to the right side. As the hands move rightward, the head and eyes turn to gaze intently toward the left direction, and you exhale the qi [2]. Then, clutch both hands into sts again, withdraw the right foot, and return to the original upright stance. The weight should be equal in both legs [1]. This movement calls for inhaling the breath and qi. Repeat these movements eight times in succession and then pause.

Step 2 From the previous ending position of standing upright turn the head and gaze intently toward the left. Next, step out with the left foot to be in a Left Climbing the Mountain Stance. In accordance with the movement of the waist, the two sts are changed into open palms as they follow the stepping-out motion. One hand goes out long and the other short, and they push out to the left side. As the palms move outward the head and eyes turn to gaze intently toward the right direction, exhaling the qi [4]. Next, clutch the hands into sts again and withdraw the left foot back again to return to the original upright stance. The weight should be on both legs [3]. This movement calls for inhaling the breath and qi. Repeat these movements eight times in succession and then pause.

Step 3

The left and right feet change into an Eight Stance. The left st is raised high, with the palm facing out. The right st is dropped low in front of the trousers, with the palm facing back [5]. Move the arms as if the hands were pushing and pulling something upward and downward simultaneously. Repeat the movements eight times and then pause. The inhalations and exhalations should naturally follow each other, so that when the left hand and arm is being dropped down there is an inhalation [6]. When it is the right hand and arm being dropped down it is an exhalation.

Step 4 Stretch the right leg and foot outward to the right side into a Right Seven-Star Stance. The left arm and st are raised high, with the palm facing up. The right arm and st are brought across the rib area as if blocking something, with the palm facing up [7]. The entire body then squats downward and bends over toward the right leg, with the left fist extending toward the right toes, with the palm facing in [8]. Perform these up-and-down movements eight times in succession. When moving upward inhale, and when moving downward exhale. Next, stretch the left leg and foot outward to the left side into a Left Seven-Star Stance. The right arm and st are raised high, with the palm facing up. The left arm and st are brought across the rib area as if blocking something, with the palm facing up [9]. The entire body then squats downward and bends over toward the left leg, with the right fist extending toward the left toes, the palm facing in [10]. Perform these up-and-down movements eight times in succession. When moving upward inhale, and when moving downward exhale.

Step 5 From the previous Seven-Star Stance turn-step into a Left Climbing the Mountain Stance. The left st is raised upward (thrusting into the sky) to the level of the forehead, with the palm facing the body. The right hand is brought inward to adhere to the inside and upper part of the left arm in a rm grip. Stare at the left palm, stand, and circulate the qi (inhale and exhale), making eight complete breaths [11]. In a rolling motion turn the body to face the right side, and turn the feet to a Right Climbing the Mountain Stance. The right st is then raised upward (thrusting into the sky) to the level of the forehead, with the palm facing the body. The left hand is brought inward to adhere to the inside and upper part of the right arm. Stare at the left palm,

stand, and circulate the qi (inhale and exhale), making eight complete breaths [12].

This concludes the Planting Flowers, Left and Right exercise. Shake the body gently and proceed to the next exercise. Exercise 8 Pushing Over a Mountain to Uproot a Tree T’ui Shan Pa Mu Two Hand Postures Step 1 Lay your body at on the ground and bring the palms of your hands o to each side near the shoulders. Cross your right foot over your left ankle so that the toes of each foot are touching the ground [1].

Step 2 Push your body up until the arms are fully extended. Hold the body in this position and breathe eight complete breaths [2].

Step 3 After completing the eight breaths, switch the feet so that the left foot crosses over the right ankle and perform another eight complete breaths. Step 4 As best you can, bring the weight of your body up on the ngertips [3]. Attempt this movement from at palm to ngertips three times and then lower the body all the way down.

Single Hand Postures Step 1 First, position your body so that the right palm and arm are extended and supporting the weight of the body. The left-hand palm is attached to the upper waist area. Cross your left foot over your right ankle so that only the side of the right foot is touching the ground. Breathe eight complete breaths in this position [4].

Step 2 As best you can, attempt to bring the weight of your body up on the right-hand fingertips. Do this three times and then lower the body back down. Step 3 Now, position your body so that the left palm and arm are extended and supporting the weight of the body. The right hand palm is attached to the upper waist area. Cross your right foot over your left ankle so that only the side of the left foot is touching the ground. Breathe eight complete breaths in this position. [5]

Step 4 Again, as best you can, attempt to bring the weight of your body up on the left-hand fingertips. Attempt this three times and then lower the body back down. To conclude this exercise lay on the back and stretch out the hands, ngers, arms, legs, toes, and entire body. Then rest in a relaxed supine position momentarily before sitting up.

This concludes the Pushing Over a Mountain to Uproot a Tree exercise. Shake the body gently before proceeding to the Eight Stances.

Part Two Eight Stance Methods

Prelude

Most martial artists fail to achieve competent skills because they don’t take the time or put in the e ort necessary to excel at the basic stances. The reasons they are so important fall into three main categories: First, you develop a body memory, or body intelligence, from standing in these postures. When you need it, your mind-intent will automatically put your body into the proper position. Second, you will gain an unshakable root, or central equilibrium, from performing the stances over a long period of time. Root is absolutely necessary for practical use and performing the solo forms. Third, you can learn to mobilize the qi. Standing exercises are the most e ective way to begin developing and moving your qi. I cannot express strongly enough how absolutely important and necessary it is for any student to undertake an intensive and extensive training of these eight stances. The following Eight Stances are each accompanied by a song or verse, translated from Master Wei’s book Practical Praying Mantis Kung Fu. Students traditionally memorized these songs so that when performing each stance they could be more mindful of the energy being trained. This aided the development of the mind-intent when the stances came about in form practice. Song of the Eight Stances Riding the Horse, Mountain Climbing, Seated Tiger, Seated Coil, Seizing the Cicada, Tiger’s Head, Pretending to Be Defeated, and A Chicken Standing in the Snow. These are the rst stances for training in the martial art of Praying Mantis. These Eight Stances are the foundation of T’ang Lang Kung Fu. They must be practiced every day over a long period of time without interruption. Advice on How to Practice the Eight Stances It is best to take one stance at a time and practice it until you feel some accomplishment. More is not better. At rst, just stand a few minutes and gradually lengthen the duration over time. I trained to stand in a single stance (both sides combined) for about thirty to forty minutes but initially started out with just ve-minute periods. In other words, I let myself grow into it rather than trying to force my way through long periods of standing. Every couple of months I would learn and practice a new stance until all eight had been accomplished. Now, I stand in each posture for ve minutes, the opposite side for ve minutes, and then move into the next stance until all

eight are performed. I don’t do this every day, maybe two to three times a week, but I do stand in one of the postures for twenty minutes every day as part of my preliminary training before practicing forms. The key to learning these stances and for gaining the skills inherent in them is to go slowly, be patient, and grow into them. An old Chinese saying instructs, “Slow up, slow up. I’m in a hurry,” which means that if we go too fast we run the risk of injury and never getting where we want to go. Last, there is no problem in learning other aspects of Praying Mantis Kung Fu while learning the Eight Stances. Initially, it should be your daily and main focus, but certainly not your only one. Stance 1 Riding the Horse Stance Ch’i Ma Shih

The energy (jin) of Riding the Horse is in the waist. The feet are turned inward, with the knees separated outward. Perform left and right Drawing a Bow Stance. The front and rear hands make use of cheng energy. In this stance the two feet are wide apart, resembling riding a horse. The toes are turned inward (k’ou) and the kneecaps separated outward. The waist should be thrust forward and held upright, so the buttock isn’t protruding out, and so the lower abdomen can be drawn in. To the left and right perform Drawing the Bow Stance. Both eyes gaze levelly at the front-hand knuckles. Fix the spirit (shen) by breathing numerous times. After long continued practice your kung fu will excel.

Comments Jin translates as “intrinsic energy” and comes from the ability to relax the sinews and muscles of the body. This is identical to the energy a cat uses to jump ten times its own height. Cheng energy (cheng jin) is similar to the action and energy of using a long pole to push a boat. Key Points for Riding the Horse Stance • Suspend the top of the head slightly as if a thread were pulling it upward. • Eyes gaze intently at the knuckles of the front fist. • Suspend the rear elbow and arm so it is parallel to the ground. • Keep the back straight but slightly rounded out. • Keep the waist open and relaxed. • Draw the tailbone (wei lu) down and in slightly. • Push the knees slightly outward so the perineum is rounded out. • Feel a little more weight in the rear leg (60 percent rear and 40 percent front). • Keep both feet flat and relaxed on the ground. Changing to Perform the Right Side

From the position in Photo 1, turn right to bring the sts and arms along with the waist to face directly to the front [2], with the weight equal in both feet. Then bring the arms completely across to the right so that the right arm is o to the right side and the left arm is to the rear [3], repositioning the majority of the weight in the left leg. Stance 2 Mountain Climbing Stance Teng Shan Shih

This stance is like climbing a mountain, with the two fists pulling (la) levelly. The rear leg is slightly collapsed (peng) and the front leg bowed. Advance and retreat are mutually connected. This stance is just like the movements made in walking from the bottom of a hill to the top. The front knee must be bowed and the rear leg must be collapsed, yet straight. The two hands, with sts pulling levelly, appear to be clutching at plants or pulling the grass to climb up the hill. Comments Peng means that the rear leg is not extended straight up with the knee locked, and should be maintained with the knee joint in a slightly bent and unlocked position. Peng is an important term in Praying Mantis Kung Fu, as it implies the skill of descending and landing as a bird does. A style of training in Praying Mantis Kung Fu called Peng-Pu (Descending Step) focuses on this skill of peng, which also a ords the ability to advance and retreat easily. Key Points for Mountain Climbing Stance • Suspend the top of the head. • Eyes gaze intently at the knuckles of both fists. • Keep both arms outstretched so that they are parallel to the ground. • Keep the back straight but slightly rounded out. • Keep the waist open and relaxed.

• Draw the tailbone (wei lu) down and in slightly. • Push the knees slightly outward so that the perineum is rounded out. • Feel a little more weight in the rear leg (60 percent rear and 40 percent front). • Keep both feet at and relaxed on the ground. The rear foot is held at a 45-degree angle, and the front foot is slightly turned inward. Changing to Perform the Right Side

From the position in Photo 1, bring the arms and hands along with the waist directly to the front while simultaneously turning the left foot (on the heel) to point to the front [2]. Then pivot on the ball of the left foot to point it to the right corner, turning the waist as you do so. Last, pick up the right foot and leg and set it down directly to the right side, ending in the Right Style position [3]. Stance 3 Seated Tiger Stance Tso Hu Shih

This stance is the Seated Tiger. The rear leg is bent and the front leg is straight, with the toes turned inward. Completely rely on the strength of the back of the waist. This stance is like a erce tiger sitting on top of a mountain, which is the reason it is called Seated Tiger Stance. The rear leg is bent and seated, and the front leg is somewhat straight, with the heel slightly elevated and the toes turned inward (k’ou). The center of balance is on the rear leg. The energy (jin) is in the crouching (k’ua). The hands are evading a strike. Sink the shoulders and lower the elbows, so that they can be moved and turned to be parallel. Comments The intent of this stance is to feel like a tiger crouching in preparation to attack its prey. A tiger just about to pounce will sink its rear legs while pushing its front paws into the ground in preparation of leaping forward. Key Points for Seated Tiger Stance • Suspend the top of the head. • Eyes gaze intently at the “tiger’s mouth (hu ko),” the space between the thumb and index finger. • Keep the front arm outstretched and the ngers pointing slightly up. The rear arm is kept halfway back, with the palm facing down and in line with the left elbow. • Keep the back straight but slightly rounded out. • Keep the waist open and relaxed. • Draw the tailbone (wei lu) down and in slightly.

• Position the rear knee to be slightly opened and pointed to the corner so that the perineum is rounded out. • Feel the majority of the weight in the rear leg (80 percent rear and 20 percent on the front toes). • Keep the rear foot at and relaxed on the ground. The front left heel is slightly o the ground with the toes turned slightly inward. Changing to Perform the Right Side

From the position in Photo 1, turn the arms, waist, and left foot directly to the front [2], switching the position of the arms so that the right hand is now extended to the front. If necessary, pivot on the ball of the left foot to point it to the right corner. Then pick up the right foot and leg, turn the waist to the right, and set the foot down directly to the right side [3]. Stance 4 Seated Coil Stance Tso P’an Shih

This seated stance is like turning and twisting, so to follow the changes for opportunities. If an opponent comes from the front, use the hands to push. If coming from the rear, use the legs to recoil (t’an). In this stance the legs are coiled and seated and must be postured low. Therefore, it is called Seated Coil Stance. Both hands push (t’ui) to the front, which completes the posture. It is also called Push Open the Window to Gaze at the Moon. This stance involves turning and twisting, either left or right, with the legs able to interchange endlessly to get to the opponent from any direction. Comments This stance is seen throughout all styles of Praying Mantis Kung Fu and under various names. Primarily, it is called Encircling Step (Ju Huan Pu). The main purpose of the stance is seen in its quick ability to either spring straight up or to twist left or right, and so contains the intrinsic energy of recoiling (t’an jin). Key Points for Seated Coil Stance • Suspend the top of the head. • Eyes gaze intently at the tiger’s mouth of the front upper hand. • Keep the front arm bent at the elbow and the palm facing out. The rear arm is kept halfway back, with the palm facing out, ngertips pointing up, and online with the right elbow. One long and one short. • Keep the back straight but slightly rounded out as it is twisted. • Turn the hip to keep the waist open and relaxed. • Draw the tailbone (wei lu) down and in slightly. Do not lean forward.

• Position the rear knee to attach to the inner side of the front leg, between the ankle and calf area. • Feel more weight in the front leg (80 percent front and 20 percent on the back toes). • Keep the front foot at and relaxed on the ground. The rear foot is on the toes with the heel off the ground. Changing to Perform the Right Side

Front view (reverse angle) From the position in Photo 1, rise up onto the balls of both feet and turn the waist to your left side, so that both feet and the waist point to the left [2]. Then pick up the heel of the left foot and pivot on the ball of the foot to point it to the opposite, right side and the waist to the rear, while simultaneously switching the position of the hands and arms and sinking down into the Right Style Seated Coil Stance [3], with the hands and arms still pointing to the left side. Photo 3 is a front view of the Right Style Stance, otherwise it would be showing the author’s back. The hands are positioned correctly pointing to the left side, although this is shown here from the reverse angle. Stance 5 Empty Stance Hsu Shih

The Empty Stance is genuine, proper, and marvelous. The hands are just like knives. The rear leg is substantial, and the front foot insubstantial. Evade by turning, escape by jumping. This stance is also called Praying Mantis Seizes the Cicada Stance. The rear leg is bent and seated. The front toes point to the ground, making it an empty stance. The front leg can then escape (ts’uan) or jump (t’iao). The rear leg can root up (pa) or jump. Both left and right can evade by turning. Both hands are just like knives (tao), hooked (kou) and bent. At the time of applying this do not interrupt the circling. Comments This is the signature stance of Praying Mantis Kung Fu and must be trained diligently. This stance is as important to Praying Mantis as Rolling-Back is to T’ai Chi. To master this posture is to master half of Praying Mantis, just as mastering Rolling-Back masters half of T’ai Chi. This Mantis Hook Hand position is crucial to the mastery of Praying Mantis Kung Fu, and you must train both the arm and ngers to maintain these positions. It is important to position the front arms so that the elbows are over the front knees. Bringing them outward or back will disrupt the jin of the posture. Key Points for Empty Stance • Suspend the top of the head. • Eyes gaze intently and spatially out to the front. • Keep the front arm bent at the elbow and the hand positioned with a Mantis Hook Hand position to the front. The rear arm is kept halfway back and elbow bent, with a

Mantis Hook Hand position pointing off to the side. One long and one short. • Keep the back straight, but slightly rounded out. • Keep the waist open and relaxed, positioned to face the right front corner. • Draw the tailbone (wei lu) down and in slightly. Do not lean forward. • Position the rear knee so it is bent and pointed out to the corner. The front leg points the toes down with no weight placed on them. Feel all the weight on the rear leg. • Keep the rear foot flat and relaxed on the ground. Changing to Perform the Right Side

From the position in Photo 1, turn right to bring the left foot to the front, setting it down with the toes pointing to the right corner and shifting all your weight into the left leg [2]. Then turn the waist to the right side, while bringing the right foot over to the side and simultaneously switching the positions of the hands and arms [3]. Last, turn your waist a little to the left and reposition both arms so that the front arm and hand are facing forward, and the rear left arm is pointing out to the side. Stance 6 Tiger’s Head Stance Hu Tou Shih

This is the Tiger’s Head Stance. The energy is entirely within the crouching. Lower the shoulders, and you must sink the elbows. Completely utilize the qi in the tan-t’ien. This stance is a little like Climbing the Mountain Stance. Therefore, it is sometimes called Climbing a Small Mountain. Because both legs are bent, this is also called Not TShaped and Not Eight-Shaped (pu ting pu pa). Both hands are held in sts. The front hand is yin, and the rear is yang. Lower the shoulders and sink the elbows. Focus the mind to fix the spirit—this is why it is called Tiger’s Head Stance. Comments In Seated Tiger Stance the crouching energy (jin) was maintained mostly in the rear leg. In this stance, however, the crouching energy is maintained primarily in the front leg. “To completely utilize the qi in the tan-t’ien” means to sense the qi coming up from the lower abdomen into the front st. In T-Shaped Stance the front foot is positioned straight out from the rear foot to form a T-shape, and in an Eight-Shaped Stance both feet are turned in diagonally to imitate the Chinese character for the number eight ( ). In this stance the heels are in line with each other, but the feet are both turned to the corner. Hence, it is neither a T-Shaped nor an Eight-Shaped Stance. The front st is held palm up and the rear st palm down. Feel more energy in the front hand, and more relaxation in the rear hand. Make sure you are holding no tension in the shoulders and that both elbows feel a little sunk. The intent here is to feel like a tiger staring at its prey (the “eye of the tiger,” so to speak). Key Points for Tiger’s Head Stance • Suspend the top of the head.

• Eyes gaze intently out to the front palm. • Keep the front arm slightly bent at the elbow and the hand positioned with a st that is palm up. The rear arm is kept halfway back and elbow bent, with a st facing down and directed toward the elbow. One long and one short. • The back is slightly bent forward and rounded out. • Keep the waist open and relaxed, positioned to face directly forward. • Draw the tailbone (wei lu) down and in slightly. Do not stoop too far forward. • Position the rear knee so it is slightly bent and the toes pointed out to the corner. The front leg is positioned so that the leg is bent, knee pushed a little outward, and the toes turned slightly inward. Feel the majority of the weight on the front foot. Changing to Perform the Right Side

From the position in Photo 1, turn right to bring the left foot to the front, setting it down with the toes pointing to the right corner and shifting all your weight into the left leg [2]. Then turn the waist to the right side, while bringing the right foot over to the side and simultaneously switching the positions of the hands and arms [3]. Stance 7 Pretending to Be Defeated Stance T’a Chi Shih

This stance is called To Be Defeated Stance. Internally there is a subtle mind-intent. When the incoming opponent strikes to attack, turn your head to see victory. This stance is also called To Be Routed Stance, because within defeat you can overcome and take advantage of an opponent. The front leg is bent, and the rear leg straightened. This is the reverse of Climbing a Mountain Stance, and is a little lower. Turn the head and gaze. The hands are in sts. Traditionally, this posture was used to conceal a weapon, and at the opportune moment the weapon was used to defeat an opponent and so take advantage of him. Comments The subtle mind-intent referred to is one of pretending or concealing intent. It is retreating only for the purpose of advancing. When performing this stance, imagine you are only pretending to be routed so you can make a quick advance to take advantage of an opponent. It is important to not allow the front hand to crowd in on the body—keep it out and a little rounded. Key Points for Pretending to Be Defeated Stance • Suspend the top of the head. • Eyes gaze intently and spatially out to the front. • Keep the front arm bent at the elbow with the st turned palm down. The rear arm is slightly bent at the elbow, with the fist turned palm out. One long and one short. • Keep the back straight, but slightly rounded out. • Keep the waist open and relaxed, and positioned to face directly to the front.

• Draw the tailbone (wei lu) down and in slightly. Do not lean back. • Position the rear knee so that it is bent and the foot is pointed out to the corner. The front leg is straight with the toes turned inward. Place the majority of the weight on the rear leg (80 percent rear leg, 20 percent front leg). • Keep both feet flat and relaxed on the ground. Changing to Perform the Right Side

From the position in Photo 1, shift your weight to the left leg so that both legs are equal, while positioning the arms out to the front and in line with each other [2]. Then sink into the right leg, while turning over the hands and arms to be in a Right Style Stance [3]. Stance 8 Chicken Standing in the Snow Stance Han Chi Shih

The Chicken Stance is unlike the ordinary ones. Raise the foot of one leg and stand up. Straighten the waist and lift up the head. The front arm is extended and the rear arm is bent. This stance is like a chicken stepping through the snow. As the chicken’s feet su er from the cold, it will pick up one foot by bending it. With the thigh held parallel to the ground and the knee pointed forward, the toes hang downward, appearing as if they are just being raised. If an opponent attempts to use his leg to kick, use this stance to quickly raise the leg to evade him. Or if the opponent uses his leg to knock you over (sweep), just jump and raise the other leg to obstruct him. Comments This stance will be the most di cult for beginners to maintain since the entire center of balance is on just one leg and there is no means by which to catch yourself if you begin to topple over. This stance will take dedicated training to master. Make sure to keep the back straight and not to lean. Also, keep the leg slightly bent, as a locked or straight knee will make standing even more difficult. The hands can be two sts, with palms facing down, two open palms facing down, or a combination of both. Just make sure not to drop the rear elbow—keep it parallel to the ground. The intent applied in this stance is not to feel like a chicken standing in the snow. Rather, feel that if an opponent were to attack you, your front foot would y forward like lightning to counter the attack. Key Points for Chicken Standing in the Snow Stance

• Suspend the top of the head. • Eyes gaze intently and spatially out to the front. • Keep the front arm slightly bent at the elbow and slightly curved inward. The rear arm is bent at the elbow, with the hand directed at the elbow. One long and one short. • Keep the back straight and slightly rounded out. • Keep the waist open and relaxed, and positioned to face directly to the front. • Draw the tailbone (wei lu) down and in slightly. Do not lean back. • Position the lifted leg so it is bent, parallel to the ground, with the heel just o the other knee and the toes pointing diagonally downward. The rear leg is straight but relaxed, with the toes pointing to the corner. Place all the weight on the rear leg. • Keep the rear foot flat and relaxed on the ground. Changing to Perform the Right Side

From the position in Photo 1, turn right and set the left foot at on the ground with the toes pointing to the right corner and shifting all your weight into the left leg [2]. Then turn the waist to the right side, while lifting the right foot and switching the positions of the hands and arms to be in a Right Style Stance [3].

Part Three Eight Footwork Methods

Prelude

Master Wei Hsiao-T’ang said, “The gestures of footwork are active and called ‘stepping.’ Those gestures that are unmoving are called ‘stances.’ First learn the procedures of stepping (or footwork) and then train the footwork methods in conjunction with their respective applications.” In regard to footwork, rst learn the procedures of how to step and then train the methods in conjunction with their respective applications. Below are instructions for each footwork method. To make these exercises more succinct and clear they are presented with instructions that all begin in the Praying Mantis Kung Fu on-guard stance of Right Style Seated Tiger. Once the right style is learned it will be a matter of course to train them on the left side. Then these methods should be practiced beginning in a Riding a Horse Stance and performing the left and right styles from this position as well. Initially, train each of these methods slowly so that the footwork becomes second nature, and then gradually build up speed and agility. It should be noted that the rst footwork method, Up-Rooting Step, is used as both a prelude and conclusion to the other footwork methods, and so there should be a great deal of attention paid to its mastery. Even though this book does not address the Praying Mantis Kung Fu Hand Techniques, the instructions do call for them. Do not worry about performing them correctly, as the training of the feet is of utmost importance here. The hand training is traditionally taught after a student masters the stances, footwork, and kicks. It is advised that the reader pay close attention to the photographs to gain a better sense of the hand and arm positions and the applications being subscribed, but the instructions focus on the feet and stepping methods. Footwork Method 1 Up-Rooting Step Pa Pu This footwork method of Up-Rooting Step is used for escaping an attack by performing a jumplike step to the rear. This particular footwork method is the most commonly used in the training of Praying Mantis Kung Fu. It functions as an evasive and neutralizing tactic, and most importantly as a modus operandi for a wide range of techniques. The footwork of Up-Rooting Step is just like that of Hop Like a Sparrow in T’ai Chi Ch’uan and is also used for evading an attack. Instructions

Step 1: Stand in an on-guard position, Right Style Seated Tiger Stance: left foot back, right foot placed on the heel, and the toes slightly raised and turned inward. The right arm is held forward and the left hand back [1]. Step 2: Bring your right foot back one step [2]. Step 3: Slightly jump o the right foot [3] and simultaneously bring your left foot back one step [4]. You are now in the original Seated Tiger Stance but two steps back.

Repeat these movements at least eight times in succession. Repeat another eight times by beginning in a Left Style Seated Tiger Stance. Also, train this footwork by starting out in a Riding the Horse Stance and perform Up-Rooting Step on both the left and right sides. Footwork Method 2

Striding-Over Step Ts’uan Pu The footwork of Striding-Over Step is both an evasive and advancing step. Instructions Step 1: Stand in an on-guard Right Style Seated Tiger Stance [1], and perform UpRooting Step.

Step 2: Bring the right foot forward and diagonally out to the left into a Right Style Climbing the Mountain Stance—this is Striding-Over Step. Simultaneously the right arm moves out to the front left diagonal, palm facing in to adhere to the attacker’s arm. The left hand, changing into a st, is drawn back to the left side of the waist, with the palm of the fist facing upward [2].

Step 3: Pick up the left foot and bring it directly forward, and when doing so jump up o the right leg [3]. Plant the left foot while bringing the right arm and leg to the front. The right heel is raised o the ground slightly and the body is turned to face the right diagonal [4].

Step 4: Bring the right foot back to perform Up-Rooting Step and return to the original position of Seated Tiger Stance [5, 6, 7].

Repeat these movements at least eight times in succession. Then bring the left foot and arm forward to be in a Left Style Seated Tiger Stance and perform Striding-Over Step eight times on the left side. Also, train this footwork by beginning in a Riding the Horse Stance and performing it eight times on both the left and right sides. Footwork Method 3 Folding Step Tieh Pu This footwork method of Folding Step is a Withdrawing-Step (Che Pu) in combination with a folding leg raise. Folding Step has an almost identical function to that of Step

Back Chase Monkey in T’ai Chi Ch’uan. Instructions for Folding Step Right Style Step 1: Stand in an on-guard Right Style Seated Tiger Stance [1], and perform UpRooting Step.

Step 2: Step directly to the back one whole step with the right foot and simultaneously bring the right palm directly to the front of the body, palm up, with the left palm moving directly forward and facing out [2].

Step 3: Immediately turn your body slightly to the left, raise your right leg o the ground, and fold the knee back slightly so that the bottom of the right foot is in front of the left knee. The right hand follows the movement of the waist and right leg; the left hand changes into a st and is brought up and back to the left. Eyes remain looking straight ahead [3].

Step 4: Bring the right foot back to perform Up-Rooting Step and return to the original position of Seated Tiger Stance [4, 5, 6].

Repeat these movements at least eight times in succession. Then bring the left foot and arm forward to be in a Left Style Seated Tiger Stance and perform Folding Step eight times on the left side. Also, train this footwork by beginning in a Riding the Horse Stance and performing it eight times on both the left and right sides. Footwork Method 4 Encircling Step Ju Huan Pu The footwork for Encircling Step is a low method for advancing, clawing, and pushing and is a very e cacious method of stepping. The front leg is crossed over in front of the rear leg and knee, and the rear foot, with the heel off the ground, supports the stance. Instructions for Encircling Step Right Style

Step 1: Stand in an on-guard Right Style Seated Tiger Stance [1], and perform UpRooting Step.

Step 2: Straighten your right foot and shift the weight onto it [2].

Step 3: Step forward with the left foot so that it crosses over in front of the right leg and the toes point to the left front diagonal. Sink slightly down and raise the heel of the right foot. Simultaneously, both hands move over to the right side in a back and downward circular manner, so that the left hand (palm up) is near the upper rib cage, and the right hand (palm up) is in front of the right side of the stomach [3].

Step 4: Bring the right foot back to perform Up-Rooting Step and return to the original position of Seated Tiger Stance [4, 5, 6].

Repeat these movements at least eight times in succession. Then bring the left foot and arm forward to be in a Left Style Seated Tiger Stance and perform Encircling Step eight times on the left side. Also, train this footwork by beginning in a Riding the Horse Stance and performing it eight times on both the left and right sides. Footwork Method 5 Shifting Step Nuo Pu The original full name of this stepping method is T’eng Nuo, meaning “to remove” or “to transfer.” Nuo by itself means “to shift.” The footwork for this method is simply to Withdraw-Step, step over and out of the way of the attacker, and then shift the weight to strike. Instructions Step 1: Stand in an on-guard Right Style Seated Tiger Stance [1], and perform Up-

Rooting Step.

Step 2: Step to the back with the right foot and simultaneously bring up the left palm to execute a Greet the Face Palm. The right st, palm up, is pulled back to be alongside the right hip [2]. Step 3: Momentarily shift the weight onto the left foot [3]. Step 4: Pick up the right foot to make a long step toward the right side front direction, with the toes pointed to the left front diagonal, and then shift all the weight onto it. The left-hand palm follows the body. The right hand remains on the right hip [4]. Step 5: Turn the left toes so they point directly to the left side and then shift all the weight onto the foot as the body turns to face the left side. The left palm stays in place and follows the movement of the waist. Bring the right foot back to perform Up-Rooting Step and return to the original position of Seated Tiger Stance [5, 6, 7].

Repeat these movements at least eight times in succession. Then bring the left foot and arm forward to be in a Left Style Seated Tiger Stance and perform Shifting Step eight times on the left side. Also, train this footwork by beginning in a Riding the Horse Stance and performing it eight times on both the left and right sides. Footwork Method 6 Backward Crossing Step T’un Ta Pu The footwork of Backward Crossing Step is a type of “stealing step.” T’un means “to step across and then go into the back leg,” and Ta means “to sink down.” So this particular step method has two distinct functions. First, a jump step goes into the opponent and behind his substantial leg so that he is completely engulfed and surrounded by the tactics of this step. Then there is a sinking down and sweep of the foot as you quickly shift into Joined Bracelets Stance (Lien Huan Pu). So the whole technique is based on a jump directed at the back of an attacker’s substantial leg, either a sweep or a stomp, and then making a quick getaway that also brings him to the ground. Instructions Step 1: Stand in an on-guard Right Style Seated Tiger Stance, and perform Up-Rooting Step [1].

Step 2: Shift the weight into the right foot to form an Eight-Shaped Stance. Simultaneously bring the right hand over into a Knife Hand, and the left hand is changed into a fist and placed palm up by the left hip [2]. Step 3: Step behind the left leg with the right foot to be in a Joined Bracelets Stance. Simultaneously the left hand moves up to perform a Stealing Hand [3]. Step 4: Jump o your left foot [4], simultaneously turn to bring your left leg and foot around to the front, and then sink down low [5]. The hands move with the jump and turning of the body so that the right hand has the palm facing down with the arm extended. The left hand comes back and is positioned into a st with the palm facing down and elbow bent. Step 5: Quickly rise up, dragging the right foot back so it is behind the front of the left leg in a Joined Bracelets Stance [6]. Step 6: Bring the right foot back to perform Up-Rooting Step and return to the original position of Seated Tiger Stance. Repeat these movements at least eight times in succession. Then bring the left foot and arm forward to be in a Left Style Seated Tiger Stance and perform Backward Crossing Step eight times on the left side. Also, train this footwork by beginning in a Riding the Horse Stance and performing it eight times on both the left and right sides.

Footwork Method 7 Walking Step Hsing Pu Although Walking Step can simply be a step to the back, front, or diagonal, it can also be a complex footwork method that makes use of many variations. Walking Step has great similarity with the postures and applications of White Crane Spreading Its Wings and Brush Knee and Twist Step in T’ai Chi Ch’uan. The idea is that when a kick comes at you, you step diagonally out to the side, seizing the underside of the attacker’s kicking leg and adhering the palm to the respective arm to ip the attacker over. The methods shown here are based on Diagonal Walking Step and Withdrawing Walking Step. Instructions Step 1: Stand in an on-guard Right Style Seated Tiger Stance [1], and perform UpRooting Step.

Step 2: Pick up the right foot and step directly to the back while imagining you are seizing the attacker’s wrist, twisting it over, and carrying it with you as you step back quickly [2]. Step 3: Pick up the left foot and step directly back [3]. Step 4: Pick up the right foot and step directly back [4]. Step 5: Bring the right hand over to split as you step forward into the attacker with your right leg [5].

Step 6: Bring the right foot back to perform Up-Rooting Step and return to the original position of Seated Tiger Stance [6, 7, 8].

Repeat these movements at least eight times in succession. Then bring the left foot and arm forward to be in a Left Style Seated Tiger Stance and perform Diagonal Walking Step eight times on the left side. Also, train this footwork by beginning in a Riding the Horse Stance and performing it eight times on both the left and right sides. Footwork Method 8 Long-Striding Step Ts’ung Pu Long-Striding Step incorporates the st method Calling a Black Tiger Out from Its Cave (Chiao Hei Hu Chu T’ung). It is so named because the movements of the arms and hands resemble a black tiger burrowing out of a cave with its front paws. Instructions Step 1: Stand in an on-guard Right Style Seated Tiger Stance [1], and perform UpRooting Step.

Step 2: Pick up the right foot and extend it out to the front with a long step. Simultaneously, the right hand forms a st and is drawn back alongside the right waist with the palm facing up. The left hand seizes out to the front [2].

Step 3: Jump o the right foot [3] and then jump o it again to bring the right foot forward in a skipping movement [4]. The left foot simply follows step. Step 4: While completing the second jump forward [4] and planting the right foot [5], pull back the left hand to the left side of the waist with the palm facing up. Simultaneously, the right fist strikes out with the palm facing down.

Step 5: Bring the right foot back to perform Up-Rooting Step and return to the original position of Seated Tiger Stance [6, 7, 8].

Repeat these movements at least eight times in succession. Then bring the left foot and arm forward to be in a Left Style Seated Tiger Stance and perform Long-Striding Step eight times on the left side. Also, train this footwork by beginning in a Riding the Horse Stance and performing it eight times on both the left and right sides.

Part Four Eight Kicking Methods

Prelude

The following Eight Kicking (or Foot) Methods are the basic kicking methods for solo training. Each method has variations of application and technique within the Praying Mantis Kung Fu system. Therefore, it should be understood that the methods are described in their simplest form so that they can be more easily trained on a solo basis. Even though Praying Mantis Kung Fu is normally associated with unique hand positions and applications, kicks have always been at the heart of its practical use and are as unique and e ective as the hand methods. Below are just eight of the specialized kicking techniques that all students should train and develop before moving on to form practice. Kicking Method 1 Pulling the Yin Kick Liao Yin Chio Pulling the Yin Kick is to the groin area of an attacker. This could also be translated as “Removing the Groin Kick.” The primary technique of this kick is to pull on an attacker’s outward arm as you execute the kick. This is like a pulley e ect where the arm, as it is pulled back, provides the reaction energy for the kicking foot to be extended out quickly toward the attacker’s groin. Instructions Step 1 Stand in an on-guard Right Style Seated Tiger Stance [1], and perform Up-Rooting Step to evade the attacker’s incoming strike.

Step 2 In one action bring the left hand and arm up to a counterclockwise block, and change the right hand into a Seizing Hand, bringing it straight back to the right hip so that it is palm up. At the same time, quickly raise the right leg to kick straight out (groin level) [2]. Imagine that the right arm, as it is pulled back, is causing the right leg to be extended out, like a pulley effect.

When finished with the kick, bring the right foot back and perform Up-Rooting Step to return to a Right Style Seated Tiger Stance [3, 4, 5]. Perform Pulling the Yin Kick repeatedly in this manner: 1) Up-Rooting Step, 2) Pulling the Yin Kick, 3) Up-Rooting Step.

At any point after ending on an Up-Rooting Step, continue on to Method Two, Mandarin Ducks Kick. Also, practice this method on the left side in a Left Style Seated Tiger Stance, and perform both the left and right sides from a Riding the Horse Stance. Kicking Method 2 Mandarin Ducks Kick Yuan Yang Chio The Mandarin Ducks Kick is a di cult kicking technique to master. It rst involves a kick to an attacker’s striking hand, then a jump with both legs kicking upward alternately. The name of this kick is meant to represent a pair of Mandarin ducks—male and female, yin and yang, left and right. Hence, the use of two kicks. The initial kick to the attacker’s hand is to open the front of his body so that the double kick can be directed at the attacker’s shin and groin area. Instructions Step 1 Stand in an on-guard Right Style Seated Tiger Stance [1], and perform Up-Rooting Step to evade the attacker’s incoming strike.

Step 2 Kick straight forward and up with the right foot (to strike the hand of the opponent). Simultaneously, bring the right hand up [2]. This is done as a precautionary movement in the event the opponent attempted to seize your kicking leg. Step 3 Immediately put the right leg down, jump o it, and kick straight forward with the left leg (to the opponent’s shin). Simultaneously, bring the right hand back to the right hip, palm up, and bring the left hand to a blocking position over and in front of the forehead [3]. Step 4 Immediately put the left foot down and kick straight forward with the right leg (to the opponent’s groin) [4].

When finished with the kick, bring the right foot back and perform Up-Rooting Step to return to a Right Style Seated Tiger Stance [5, 6, 7]. Perform Mandarin Ducks Kick repeatedly in this manner: 1) Up-Rooting Step, 2) Mandarin Ducks Kick, 3) Up-Rooting Step.

At any point after ending on an Up-Rooting Step, continue on to Method Three, Axe Blade Kick. Also, practice this method on the left side in a Left Style Seated Tiger Stance, and perform both the left and right sides from a Riding the Horse Stance. Kicking Method 3

Axe Blade Kick Fu Jen Chio The Axe Blade Kick is so called because it resembles swinging an axe to cut down a tree. In this kick the edge of the foot comes across to the side of an attacker’s knee or ankle, and that is usually followed by a turning of the foot so that the bottom of the foot then stomps down on the attacker’s knee as well. Like Pulling the Yin Kick, this technique normally requires pulling the attacker’s striking hand and arm in the opposite direction in which the kick is being directed, thus leaning the attacker into the kick. Instructions Step 1 Stand in an on-guard Right Style Seated Tiger Stance [1], and perform Up-Rooting Step to evade the attacker’s incoming strike.

Step 2 Raise up your right leg so that the bottom of the foot goes past the left knee, and then turn the body toward the left corner. Simultaneously, bring the left hand up, palm facing out, over and in front of the forehead. The right hand is placed palm up in front of the lower abdomen [2]. Step 3 In one swift action turn the body back to the front while extending the right leg out and across (at the opponent’s knee), using the outside edge of the foot for the strike [3].

When finished with the kick, bring the right foot back and perform Up-Rooting Step to return to a Right Style Seated Tiger Stance [4, 5, 6]. Perform Axe Blade Kick repeatedly in this manner: 1) Up-Rooting Step, 2) Axe Blade Kick, 3) Up-Rooting Step.

At any point after ending on an Up-Rooting Step, continue on to Method 4, Penetrating the Heart Kick. Also, practice this method on the left side in a Left Style Seated Tiger Stance, and perform both the left and right sides from a Riding the Horse Stance. Kicking Method 4 Penetrating the Heart Kick Ch’uan Hsin Chio Penetrating the Heart Kick is sometimes also referred to as Searching the Trousers Kick (Sou Tang Chio). This kicking method is similar to the hand method of Penetrating the Heart Fist where the strike is made by coming to the inside of an attacker’s striking arm, making a small redirecting circle, and then striking straight into the attacker’s heart. With this kick there is rst a circling of the foot along the inner portion of the attacker’s leg (Searching the Trousers) followed by a straight-leg direct upward kick to the attacker’s groin. Instructions Step 1 Stand in an on-guard Right Style Seated Tiger Stance [1], and perform Up-Rooting Step to evade the attacker’s incoming strike.

Step 2 Bring the right foot up and toward the inner thigh of an attacker’s kicking leg. This is not a kick but rather an action to sweep out an attacker’s incoming kick. The top portion of the foot is brought inside the attacker’s lower thigh area. The foot is then circled a little outward and down toward the bottom of the attacker’s knee. Simultaneously the right hand seizes the attacker’s wrist and the left hand supports the seizing gesture [2]. Step 3 The right foot is then quickly brought forward toward the attacker’s groin [3].

When finished with the kick, bring the right foot back and perform Up-Rooting Step to return to a Right Style Seated Tiger Stance [4, 5, 6]. Perform Penetrating the Heart Kick repeatedly in this manner: 1) Up-Rooting Step, 2) Penetrating the Heart Kick, 3) UpRooting Step.

At any point after ending on an Up-Rooting Step, continue on to Method 5, Knocking Over the Tablet Kick. Also, practice this method on the left side in a Left Style Seated Tiger Stance, and perform both the left and right sides from a Riding the Horse Stance. Kicking Method 5 Knocking Over the Tablet Kick Pien Chuang Chio Knocking Over the Tablet Kick is also sometimes called Suspending to the Side Kick (Kua Mien Chio), a technique that can either strike to the front of the attacker or to his backside. Since the strike to the front is similar to Penetrating the Heart Kick, the method shown here is to the backside of the opponent. Basically it is performed by stepping out to the side of an attacker, pulling or seizing his attacking arm, and then swinging the foot around to kick him in either the kidneys or on the tailbone and sending the attacker directly into the ground. This kick is similar to a roundhouse kick, but the action of the kick is behind the opponent and therefore is not susceptible to easy countermeasures. Instructions Step 1 Stand in an on-guard Right Style Seated Tiger Stance [1], and perform Up-Rooting Step to evade the attacker’s incoming strike.

Step 2 Pick up the left foot [2] and step one long stride o to the right-side corner. Simultaneously, the left hand performs a Seize Hand out in front of the chest, and the right hand is brought over and to the back in a fist [3]. Step 3 In one simultaneous action the right foot is swung around to kick the opponent’s tailbone, the left hand moves with the body pulling the arm of the attacker, and the right hand continues up and over to strike the back of the attacker’s head [4].

When finished with the kick, bring the right foot back and perform Up-Rooting Step to return to a Right Style Seated Tiger Stance [5, 6, 7]. Perform Knocking Over the Tablet Kick repeatedly in this manner: 1) Up-Rooting Step, 2) Knocking Over the Tablet Kick, 3) Up-Rooting Step.

At any point after ending on an Up-Rooting Step, continue on to Method 6, Sweeping Away the Lotuses Kick. Also, practice this method on the left side in a Left Style Seated Tiger Stance, and perform both the left and right sides from a Riding the Horse Stance. Kicking Method 6 Sweeping Away the Lotuses Kick Pai Lien Chio Sweeping Away the Lotuses Kick involves two leg movements with the same leg, with the rst movement being a small circle and the second a larger one. The rst, smaller circle is more of an enticing movement, directed at the inner part of the attacker’s knee and meant to cause the attacker to withdraw into his rear foot. Then the leg circles and sweeps around behind the attacker to topple him. In some styles of Praying Mantis Kung Fu this kick is usually performed as a high kick to the side of an attacker’s head. But here the intent is to topple the attacker by attacking his legs and not the upper body. Instructions Step 1 Stand in an on-guard Right Style Seated Tiger Stance [1], and perform Up-Rooting Step to evade the attacker’s incoming strike.

Step 2 Bring the right foot up to knee level. The left hand comes across to the front of the body to counterclockwise block, and the right hand withdraws to the right hip in a st with the palm facing up [2]. Step 3 Make a small, outward, and back circle motion with the right foot [3]. Step 4 Then make a large circle with the right foot and leg that goes toward the left side and then sweeps back across at thigh height toward the right side. Simultaneously, the right hand crosses over to the left side to seize the opponent’s wrist and then pulls it back to the right hip. The left hand is brought upward to guard and support the seizing. [4].

When finished with the kick, bring the right foot back and perform Up-Rooting Step to return to a Right Style Seated Tiger Stance [5, 6, 7]. Perform Sweeping Away the Lotuses Kick repeatedly in this manner: 1) Up-Rooting Step, 2) Sweeping Away the Lotuses Kick, 3) Up-Rooting Step.

At any point after ending on an Up-Rooting Step, continue on to Method 7, Closing the Gate Kick. Also, practice this method on the left side in a Left Style Seated Tiger Stance, and perform both the left and right sides from a Riding the Horse Stance. Kicking Method 7 Closing the Gate Kick Pi Men Chio Closing the Gate Kick is just like using your foot to shut a door. With this kick the at of the foot is used against an attacker’s knee and is directed downward diagonally. Normally this kick is initiated after seizing an attacker’s incoming strike and redirecting the attacker’s arm as if sweeping the arms to close a door. Simultaneously the body turns to the side, the leg raises up, and then the foot strikes out as if kicking the bottom of the door. Instructions Step 1 Stand in an on-guard Right Style Seated Tiger Stance [1], and perform Up-Rooting Step to evade the attacker’s incoming strike.

Step 2 Pick up the right foot, bending the knee and pointing it to the left side. Simultaneously bring the left and right palms over to the left side. Both palms face outward at chest level, with the left hand back and the right hand in front [2]. Step 3 In one swift motion kick out the right foot, using the bottom of the foot as the striking surface, at the attacker’s knee. Simultaneously turn over both hands and change them into open palms or Mantis Hooks and sweep them across to the right side directly over the right leg [3].

When finished with the kick, bring the right foot back and perform Up-Rooting Step to return to a Right Style Seated Tiger Stance [4, 5, 6]. Perform Closing the Gate Kick repeatedly in this manner: 1) Up-Rooting Step, 2) Closing the Gate Kick, 3) Up-Rooting Step.

At any point after ending on an Up-Rooting Step, continue on to Method 8, Whirlwind Kick. Also, practice this method on the left side in a Left Style Seated Tiger Stance, and perform both the left and right sides from a Riding the Horse Stance. Kicking Method 8 Whirlwind Kick Hsuan Feng Chio Whirlwind Kick is a most e ective method for kicking the legs of an attacker and involves hooking the foot behind an attacker’s ankle. Simultaneously the arms sweep the attacker to one direction while the foot sweeps him out the opposite direction, thus causing the attacker to feel like he is caught in a vortex of sorts. Instructions Step 1 Stand in an on-guard Right Style Seated Tiger Stance [1], and perform Up-Rooting Step to evade the attacker’s incoming strike.

Step 2 Shift into the right leg and simultaneously bring the right hand forward into a Mantis Hook, and move the left hand slightly downward into a palm-down Seizing Hand [2]. Step 3 Step to the right corner with the right foot. Hands change to open palms, with the right palm down and the left palm up, as if they were holding a ball [3]. Step 4 In one swift motion circularly sweep the left foot rightward and to the front, while circling the right hand down and up to be in front of the forehead. The left hand changes to a Mantis Hook as it simultaneously pulls across the body to nish at the left hip [4].

When finished with the kick, bring the right foot back and perform Up-Rooting Step to return to a Right Style Seated Tiger Stance [5, 6, 7]. Perform Whirlwind Kick repeatedly in this manner: 1) Up-Rooting Step, 2) Whirlwind Kick, 3) Up-Rooting Step.

Also, practice this method on the left side in a Left Style Seated Tiger Stance, and perform both the left and right sides from a Riding the Horse Stance.

T’ai Chi Ch’uan Master Liang Tung-Tsai (T.T. Liang) 1900–2002

Master T.T. Liang’s rst martial arts teacher was the famous Praying Mantis master Huang Han-Hsun (Wong Han-Fon). Master Huang taught physical education at Liang’s high school in Nanjing, and for two years Liang was able to study Praying Mantis Kung Fu with him. After the British Maritime Customs Service reassigned Liang’s post to Taipei, Taiwan, in 1944, Liang, who was forty- ve at the time, took up T’ai Chi Ch’uan because of his failing health. Studying with Professor Cheng Man-Ch’ing, he fully recovered from all his illnesses within two years and became very serious about his martial art training. In 1949, many martial artists escaped mainland China after Mao’s takeover; among them was Praying Mantis Kung Fu Master Wei Hsiao-T’ang. Master Wei had a great interest in T’ai Chi Ch’uan, so he and Master Liang traded their arts with each other until Master Liang moved to the United States in 1962 to assist and translate for Professor Cheng at the United Nations. Master Liang could speak Chinese, English, Japanese, and Russian uently. He visited Taiwan in 1974 and consolidated his studies with Master Wei. During Master Liang’s years of martial art training, he studied with fteen incredible teachers. Besides being Professor Cheng’s T a Shih Hsiung (Chief and First Disciple) and studying with Master Wei Hsiao-T’ang, Liang also studied with Master Hsiung Yang-Ho, Master Chen Pan-Ling, Master Yuan Tao, Master Chi Ching-Chih, Master Li Chin-Fei, and many others. Master Liang was most certainly a living testament to the e cacy of long-term T’ai Chi Ch’uan practice. He wrote the classic book T’ai Chi for Health and Self-Defense (Vintage Press, 1974), and taught thousands of people T’ai Chi Ch’uan during his life.

His senior student, Jonathan Russell, lives and teaches in Berkeley, California, and is the author of T’ai Chi Two-Person Dance (North Atlantic Books, 2004). For a complete history of Master Liang and his teachings, see Steal My Art: The Life and Times of T’ai Chi Master T. T. Liang (North Atlantic Books, 2002).

About the Author

Stuart Alve Olson studied T’ai Chi Ch’uan with Master T.T. Liang for fourteen years. During the rst six years of his training he lived with Master Liang and his family, and he continued studying with him until 1996. Stuart has taught throughout the United States as well as in Indonesia, Hong Kong, Taiwan, and Canada. He is the author and translator of several books on T’ai Chi Ch’uan and related health subjects. During Stuart’s tutelage under Master Liang he also learned Praying Mantis Kung Fu and jointly translated much of Master Wei Hsiao-T’ang’s Practical Praying Mantis Kung Fu with Master Liang. In 1990, Stuart began studying the three forms of Plum Blossom Praying Mantis Kung Fu with Master Kung Wei in Indonesia. Today, Stuart lives, teaches, and writes in Phoenix, Arizona. To contact him please visit his website at www.phoenixtaoistcenter.com.

Other Books by the Author

T’ai Chi Books T’ai Chi Qi & Jin: Ultimate Guide for Developing Internal and Intrinsic Energies Valley Spirit Arts, 2005 Steal My Art: The Life and Times of T’ai Chi Master T. T. Liang North Atlantic Books, 2002 T’ai Chi According to the I Ching: Embodying the Principals of the Book of Changes Inner Traditions, 2001 T’ai Chi for Kids: Move with the Animals Illustrated by Gregory Crawford Bear Cub Books, 2001 T’ai Chi Sensing-Hands: A Complete Guide to T’ai Chi T’ui Shou Training from Original Yang Family Records Unique Publications, 1999 T’ai Chi Thirteen Sword: A Sword Master’s Manual Unique Publications, 1999 Taoist Books The Jade Emperor’s Mind Seal Classic: The Taoist Guide to Health, Longevity, and Immortality Inner Traditions, 2003 Tao of No Stress: Three Simple Paths Healing Arts Press, 2002 Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun Healing Arts Press, 2002