Neijia Wushu 內家武術(术)

- Internal Martial Arts

There are several ways to categorise the different types of martial arts in China. There are northern styles, southern styles, animal styles Buddhist styles, Daoist styles, Muslim styles, Tibetan styles, Emei Mountain Styles, Wudang styles, Shaolin styles, internal styles, and external styles....
Any martial art might fit into more than one of these categories. And all share some kind of common history. (Martial arts thrive on innovation. So, there is always a lot of research and development going on, with styles mutually influencing each other over thousands of years.

One of the most commonly used stylistic designations is that which differentiates between internal styles and external styles.

The distinction is often found in the way that external styles tend to emphasise physical development of the body, while internal styles tend to place a greater emphasis on the cultivation and circulation of qi. In fact this distinction is mostly a matter of degrees since all styles, both internal and external include qigong.

Some place the difference in the way external styles train the physical body and hard qigong first, and gradually move to softer and more subtle methods; while the internal styles train the subtle and internal first, leaving the physical techniques to later. It is often said: "External styles are from external to internal, while internal styles are from internal to external. The approaches differ. But the goal is the same."

Some judge internal and external styles by the way power is manifested. Internal styles generate power like a whip transferring power through a relaxed and integrated body. External styles transmit power like club, adding momentum to each part of the body consecutively.

Sun Lutang identified the following as the criteria that distinguish an internal martial art:

1. An emphasis on the use of the mind to coordinate the leverage of the relaxed body as opposed to the use of brute strength.
2. The internal development, circulation, and expression of qì.
3. The application of Taoist dǎoyǐn, qìgōng, and nèigōng (內功) principles of external movement.

In the 1920s Sun Lutang identified three of the arts he was known for (taijiquan, xingyiquan and baguazhang) as neijia. Masters of Taijiquan, Xingyiquan, and Baguazhang collectively referred to their styles as the Internal School in reference to both the subtle nature of the advanced training, and to the fact that they practised elite skills that were not known to the common run-of-the-mill martial artist.

They did not realise at first that there was already a martial arts called Neijiaquan being taught at Wudang Mountain. By the time they discovered this, the damage had already been done. To this day people still mistakenly associate taijiquan, xingyiquan, and baguazhang with the Daoist arts of Wudang. This confusion is compounded by the fact that taijiquan, xingyiquan, and baguazhang are all currently practised at many Wudang schools, and that there is more than a little evidence that Wudang had a strong influence on the development of these styles.

Many other martial arts have since been referred to as internal styles based on their common approach to power generation and qi cultivation. Some of these martial arts, such as liuhebafa and yiquan are clearly related to the original three. But even styles such as aikido and kitoryu jujutsu, which developed in other countries, have been referred to as internal martial arts. The principles of internal martial arts can even be found in some of the esoteric native martial arts of the First Nations in Canada.

With the practical considerations of combat being so important to the ancient masters, all styles required the cultivation of power, speed, and technique. They also shared the need to protect vulnerable areas while maintaining offensive opportunities. Each of these requirements needed to be developed without compromising the others. One must not, for example develop speed at the expense of the proper alignment needed for power, and power must not interfere with the smooth changes needed to execute proper technique.

With all these common requirements, and the common weapon (the human body) it is not surprising that there are so many similarities between the different styles. Another unifying factor was the function of major learning centres such as Shaolin, Wudang, and Emei, where martial artists, warriors, healers, and clergy would often share knowledge and further develop their arts.

While there is not much documentary evidence to suggest the use of "qi" in martial arts before the Liang Dynasty (502-557 CE), it is suspected that it was understood in some manner, especially by the more isolated shamanistic styles. But like similar indigenous traditions known around the world, they would not have had the terminology or literacy to document it. There are passing references and artwork that hint at the development of exercises similar to the internal martial arts of today. But any claims to a direct lineage are speculative at best.

Xingyiquan

Xingyiquan (Hsing I Ch'uan) is an internal style Chinese martial art known for its dynamic and explosive movements. Xing or shape, is derived from the shapes of 5 elements and 12 different animals. Yi means will or intent. Quan literally means fist. Therefore, Xingyiquan is translated as Shape-Intent Fist. As the name suggests, it requires harmony of mind and body, using internal power to guide and direct one's actions.
Xingyiquan movements are easy to learn, but like anything else, to master it requires dedication and hard work. It is an excellent introduction to the internal side of martial arts training for the external martial artist. It is also an excellent transition style for Taijiquan students to gradually get more involved with the fighting aspects of his/her training.

Health Benefits.

The five fundamental movements, practised correctly, harmoniously align the body's internal Qi, balance the internal organs and produce a high degree of cardiovascular fitness.

Realistic Self Defence.

Xingyiquan includes a study of internal power derived from Yiquan (Standing Qi meditations), You learn to use the mind and subtle muscle response to produce "hidden power". Forms appear soft and feel relaxed, yet the strike feels hard as iron to an opponent.
This style consists of five fundamental movements: Pi (Split), Zuan (Drill), Beng (Expand), Pao (Cannon), and Heng (sideways shear). The five movements correspond to Metal, Wood, Water, Fire, and Earth elements from the Five Element Theory. The strategy is linear and aggressive, using offence as defence.

Xingyiquan Curriculum

In many ways, the Xingyiquan curriculum is really as simple as it looks. But mastery is a lifelong process.

LEVEL 1

• Santisi
• Xingyi Stepping Patterns
• Five Phases Stationary.
• Five Phases Moving.
• Pi, Zuan, Beng, Pao, Heng Drill;
• Five Element Short Linking Routines
• Five Element Two Person Sparring Routines
• Five Phases Two Person Pattern (Stationary)
• Five Phases Two Person Pattern (Moving)
• Zuan Na Beng Pi Pi
• Pi, Pi, Pi, Beng, Beng, Pao.

LEVEL 2

• Individual Twelve Animal Patterns
• 10 animal or 12 animal Routine

LEVEL 3

• Two Person Sparring Routing (An Shen Pao)
• Xingyiquan Free Application training
• Yi Quan

LEVEL 4

• Xingyiquan International Competition Training,
• Iron Shirt Qigong Training
• Advanced Esoteric Training

Baguazhang

Helen Liang Demonstrates Baguazhang
Derek Cheng demonstrates Bagua Dao


Baguazhang is a martial art that was practised secretly for millennia by Daoist hermits before it emerged from obscurity in the late 19th century C.E. The most famous modern proponent, Don Hai Chuan, became the bodyguard of the Empress Dowager, and was a teacher well respected by China’s most famous masters.
It is characterised by fast circular footwork, agile body movements, and lightning-fast hands. It is one of the famous three Neijia (Internal) styles which also include Taijiquan and Xingyiquan.
Baguazhang training is very aerobic, and can teach you to: “Walk like a dragon, retrieve and spin like an ape, change momentum like an eagle, and be cam and steady like a still tiger.”
The use of open palms instead of fists, and the use of “negative space” is one of the things that makes baguazhang particularly good for defeating multiple opponents.
Bagua contains powerful strikes. But the emphasis on flow and constant change is what gives this art its versatility. The options to choose between strikes, throws, joint locks, pressure point control, and varying degrees of control, make this art useful for self defence and for law enforcement.
Bagua training is very aerobic, and emphasises stability and agility.
The training is based on an understanding of 8 basic palm shapes and their “energetic qualities”. Students learn the natural methods of changing smoothly from one to another, in a way that follows the flow of nature.
Baguazhang was practised for centuries by Daoist hermits before it emerged from obscurity in the late 1800’s. The most famous modern proponent, Dong Hai Chuan, became the bodyguard of the Empress Dowager, and became a teacher well respected by China’s most famous masters.

World renowned Master Nick Gracenin demonstrates Fu Style Baguazhang:

LEVEL 1

Baguazhang Qigong
Basic Bagua Footwork (Mud Sliding Step) with turning Palms – left and right
Bagua Basic Eight Palms:
Upward Palm,
Downward Palm,
Upright Palm,
Embracing Palm,
Chopping Palm,
Scooping Palm,
Picking Palm,
Drilling Palm
Basic Eight Palms Routine and understanding its applications,
Single Palm Change,
Double Palm Change,
Following Through Palm Change,
Reversing Body Palm Change,
Turning body Palm Change,
Double Embracing Palm Change,
Grinding Body Palm Change,
Rotating Body Palm Change.
Eight Palms Sparring Routine

LEVEL 2

Bagua Deer Hook Sword Routine,
Bagua Body Conditioning
carrying weight,
post training,
two person body conditioning training
Basic Bagua Theory:
What is Bagua
Pre-Heaven arrangement of Bagua
The sixteen key words of Baguazhang

LEVEL 3

Swimming Body Baguazhang Routine and understanding its applications;
Bagua Cane

LEVEL 4

International Bagua Competition Training or other Baguazhang Routines,
Iron Shirt Qigong Training
Bagua Sword,
Bagua Broadsword,
Bagua Staff Routine.
Baguazhang is taught in private lessons. It is also taught in group lessons as part of the Neijia Wushu (Internal Kungfu) Curriculum.

Yiquan 意拳

Yiquan, also known as dachengquan (大成拳), is a martial art system which was founded by the Chinese xingyiquan master, Wang Xiangzhai (王薌齋).

History:

Wang Xiangzhai was a student of Xingyiquan who felt that xingyiquan students were putting too much emphasis on 'outer form', neglecting the essence of true martial power. He emphasised what he felt was the true essence of the art. He changed the name, removing the 'xing' (form), and began teaching and practising accordingly. In so doing, he got his student to focus on the “liberation from form” that is a goal of all martial arts.

All martial arts teach this principle eventually. But Wang’s methods were able to “cut to the chase” as it were. His methods served as a reminder to all martial artists that one must transcend the practise of technique - eventually focusing less on what they are doing and instead focusing more on how they are being.

The style:

Yiquan is essentially formless, containing no fixed sets of fighting movements or techniques. Instead, focus is put on developing ones natural movement and fighting abilities through a system of training methods and concepts, working to improve the perception of one's body, its movement, and of force.

Curriculum:

The actual training in yiquan can generally be divided into:

• Zhan zhuang (站樁) - Motionless postures, where emphasis is put on relaxation, working to improve perception of the body and on developing Hunyuan Li, or "all round force". Zhan zhuang can also be divided into two different types of postures; health postures and combat postures.
• Shi li (試力) - Slow moving exercises, trying to bring the sensations developed through zhan zhuang into movements.
• Moca bu (摩擦步) - Shi li for the legs.
• Fa li (發力) - Exercises that teach the use of explosive force.
• Shi Sheng (試声) - Breathing exercises, including shouting ("testing sound")
• Tui shou (推手) - (Pushing hands) Shi li with a partner.
• San shou (散手) - Free fighting practice. (Also known as San Da)
• Duan shou (斷手) - Fighting techniques, including strikes and kicks.

Liu He Ba Fa 六合八法拳

(Six Harmonies Eight Methods)

Liuhebafa 六合八法 (six harmonies eight methods)
a.k.a. shuiquan 水拳 (Water Boxing)
a.k.a. Xinyi Liuhebafa 心意六合八法 (Heart intent / six harmonies Eight directions)
a.k.a. Lok Hup Pat Fat (lok hup)

Liuhebafa is an Internal Style attributed to Chen Bo 陳博 of Hua Shan during the Song Dynasty. Using power similar to Xingyiquan, stepping patterns of Baguazhang and neutralizing power like Taijiquan. Movements change from high to low and fast to slow resembling floating clouds and flowing water.

Here is a performance of Liuhebafa, performed by Liang Hao (Helen Liang).
She is the daughter of Grandmaster Shouyu Liang.

Helen used liuhebafa, qigong, prayer, meditation, TCM, and other methods to beat cancer (non-hogkins lymphoma) a decade ago.

Six Harmonies

The name, Six Harmonies and Eight Methods, refers to the guiding principles of the art.

Heart, Mind, and Shen

HEART
When talking of the six harmonies, heart is called Xin (心) and can refer to the emotional mind.

MIND
The mind that that the xin is harmonising with is the yi (意) and refers to "intent", "meaning", or "idea."

SHEN
The shen (神) is the spirit, and can refer to spirit, soul, mind or divine aspect. Shen can also refer to expression appearance, or manifestation.

the harmony of the body and heart,
the harmony of the heart and mind,
the harmony of the mind and qi,
the harmony of the qi and shen (spirit),
the harmony of the spirit and the movement,
the harmony of the movement and emptiness,

The fact that the interpretation of these six harmonies varies somewhat from school to school is not so much as a sign of disagreement, as it is a choice of semantics or emphasis.

"When I am teaching, I use the six harmonies to define the levels of progress experienced as one's personal skill in the art evolves.I present the first three harmonies as the cultivation of internal awareness, and the last three harmonies as the realisation of harmony with the Universe. In the context of combat, this means that one first understands the relationship between the body, the emotions, and thought. Then one studies the relationship between thought, motivation, manifestation, and non-attachment. Without this understanding, the fighter will be doomed to freezing up within the first few moments of a fight. For beginners, this failure will appear as a result of poorly executed technique, possible due to poor conditioning. To the more advanced student, it will seem to be the result of a momentary gap in awareness. Ultimately, the failure of mind and body in a conflict is the result of internal and external disharmony. To put it simply, first you must learn how to not fight yourself, then you must learn how not to fight everything else. After a while the six harmonies appear to the student as one thing." - Ian Sinclair

It is interesting to note that while several styles refer to six harmonies theory, the particular harmonies are different.
In xinyiquan, for instance, the six harmonies refer to the three internal harmonies and three external harmonies. The internal harmonies are: the heart and the mind (xin and yi), the mind and the energy (yi and qi), and the energy and the strength (qi and li). The external harmonies are: the hands with the feet, the elbows with the knees, and the shoulders with the hips.

Eight Methods

1. (氣) Qi - Circulate the qi (氣) to gather the spirit.
2. (骨) Bone - Condense the power in the bones.
3. (形) Shape - External shapes disguise the true meaning.
4. (隨) Follow - Avoid attachment to fixed techniques or strategies.
5. (提) Rise - Achieve an enlightened state of emptiness.
6. (還) Return - Continuity without interruption. (counter without pause)
7. (勒) Bridle - Control the disadvantage.
8. (伏) Conceal - Hide the advantage.

Forms

The two best known routines taught in Liuhebafa are:

Liuhebafaquan (六合八法拳) also known as Zhu Ji (築基) or "building the foundation"
and the
Sanpan Shiershi (三盤十二勢) "Three coils and twelve powers."

Liuhebafaquan is a sixty-six posture routine with more than five hundred martial techniques.
Sanpan Shiershi develops the reaction skills needed for combat including advancing and retreating, rising and lowering. etc.

In addition to these routines, there are several less common empty hand routines as well as weapon forms and internal power training exercises.

Liuhebafa is usually learned by those who have first achieved a level of expertise in taijiquan, xingyiquan and/or baguazhang. This is why it is not uncommon to see the flavours of these other styles in the liuhebafa routines. Some masters will perform liuhebafa with a very obvious taijiquan flavour, while the liuhebafa of other masters looks more like xingyiquan.

OTHER INTERNAL STYLE MARTIAL ARTS

The requirements for identifying an internal (neijia) martial art are widely recognised, thanks in no small part to the writings of Sun Lutang. Internal martial arts must use the mind and softness instead of brute force. The movements must conform to daoist qigong principles, including the theory of yin and yang. Internal martial arts must emphasise the cultivation and circulation of qi. And they must result in the ability to manifest qi in the form of jing (internal power).

Many Chinese and non-Chinese martial arts are considered to be eligible for inclusion as internal styles. The most obvious are those that have similar roots as the other internal styles. But others are less obvious. White crane kungfu, several Tibetan styles, Wudang Styles, and even some Shaolin martial arts may be considered internal styles by some. Few will argue against allowing the Japanese art of Aikido or other styles of aikijitsu into the club.

Candidates from farther afield are styles like the Indian art of Mamanadi, some African styles, and even the esoteric martial arts of the Northern Cree.

It stands to reason that any society that produces deep insight into the dualistic nature of the universe is capable of producing an internal martial arts.

It is important for students of internal styles to maintain a healthy respect for seemingly unrelated styles, and to avoid becoming arrogant when comparing some perceived superiority in the methods of internal martial arts. For, while external styles don't tend to teach much internal power development in the beginning, it does not necessarily mean that it is missing from that school or that style.

My teacher was explaining that, while internal power contains external power, external power does not contain internal power. So it is easy for people of external styles to develop external power without internal power. "But be careful," he said. 'Don't go to the Shaolin Temple and say,"I do internal martial arts. Internal contains external power. External does not have internal. You just do external martial arts. I am better than you." 'Shirfu paused briefly and then concluded, "If you say that to them, I think maybe they kill you."It is not about how internal your martial art is. It is about how much you put into your martial art. - Ian Sinclair