The aim of any internal martial art is to balance one's energy so it expresses itself smoothly and with power. The way to achieve this is like a long and arduous journey with many paths that (ideally) all lead to the same place. Ironically that place- the manifestation of inert power - is also the most relaxed state a martial artist will experience. It is in some ways the martial artist's Nirvana.
The first time I witnessed someone else's Nirvana I was studying Hapkido with the great Dr. Desantis, a powerful practioner. Dr. Desantis had invited a colleague, Master Gong, to come to the studio to talk about something Gong called Lower Spinal Rotation (LSR). LSR is a way to move and generate power from the lower spine. Master Gong described with words how this is achieved. At first, it sounded vaguely familiar to what many teachers had been saying and yet there was something different, more specific in what he described.
Then putting his words into action he very nonchalantly performed some block-and-punch routines. It was at this point the class began to react. His movements, though performed almost as an aside to his words, struck us as something remarkably different. There was a complete fluidity and precision in his gestures, creating an economy of movement none of us had seen before. It was clear that Master Gong's ideas were specific, thought out and factual. It was something we could all put our minds around. It was, to put it mildly, Refreshing! (Regarding power any student knows kung fu's many systems are often shrouded in misty words and poetry that often leave us wondering whether or not we are victims of a cruel practical joke).
Then he demonstrated LSR using the largest stranger in the class, Brian. Brian, a capable 220+ pound Brooklyn hulk, earned his blackbelt but certainly didn't need it to ward off the neighborhood mob. In the past, demonstrations of power left me unsure of two things: One, was that a "staged" show of power? And two, outside of brute force, was there any real demonstration of a technique that could be performed by a much smaller person with the same devastating blow? With Gong my questions were answered. He approached Brian and said with a smile, "Hey, look, a no-inch punch." With a simple rotation of his spine, Master Gong (who is only about 150 pounds and about 5' 6'') sent Brian and all his girth back a couple of feet. It was clear Gong's explanation of power was what was being practiced, and he had hardly used any energy in his demonstration. Later my teacher said, "I may be good, but Gong's the goods."
Arguing about the 'correct' way to achieve power is indeed a waste of time, as we all know the proof is in the pudding. Interested to experiment with his ideas of lower spinal rotation, Gong networked with the science community to research just how real and applicable his ideas were with the laws of kinesiology. After a series of tests performed at the University of Delaware, Gong's ideas were shown to be authentic and made differences in the way power was generated from the body (see Journal of Asian Martial Arts volume 14 #1 2005).
Since then Gong has been asked frequently, "so, is this stuff based on an 'internal' style?" Usually answered with a shrug of the shoulders, Master Gong will answer that internal and external is not always so black and white. There are just as many wild dogs throwing around their muscle power that study Tai Chi as there are studying Long Fist. What's important to Master Gong?
Lower Spinal Rotation
So if the proof is in the pudding, what's in the pudding? What is LSR? Like most effective ideas, Gong's discovery and philosophy are simple. But because they are different from the way most people move habitually, it is easy to understand and difficult to master. In my personal experience, when I have shared LSR with fellow martial artists, they believed they were already practicing LSR simply because they rotated when they punched or blocked. The enthusiasm and ego of the martial artist sometimes understandably overshadows the process of learning. We can also become defensive of our own systems and not hear clearly what others' have to offer. Gong does not wish to change the essence of their systems' heritage but instead views LSR as an incredibly valuable tool to be used with anything from the opening of a door to swinging a bat or saber.
There are many types of effective power; With LSR however we do not open the door with the excessive flexion of the bicep, rear deltoid and lattisimus dorsi. They are viewed more as players in an orchestra, the conductor collectively being the lower spinal muscles. The conductor -or lower spine- leads the instruments-or limbs- into action directing the speed, volume and tempo. From this point we can then add, if we wish, other powers such as, sinking power, rising power, forward power, retreating power- which ever is applicable (thereby combining powers).
When generating the movement at the base of the spine, the Os Coxa (hips) are not locked but stabilized and controlled. The purpose of this is so the physical energy is directed toward the action and not dispersed in many directions irrelevant to the intention. The beauty of this is, less is more creating a much more focused and relaxed execution where the body's energy and physicality becomes a pinpointed flow (a hose with only one hole will have a stronger output than a hose with many). When we do this there is no muscle that works relatively harder than the other, no limb that moves more quickly than the other. The body moves in unison. The challenge in achieving this for my classmates and I is that none of us did it naturally. So it takes a whole new set of sense skills that Master Gong refers to as "the feeling phenomenon." This requires us to break old habits and thought patterns about movement.
In harmony with the rule of Tai Chi, LSR believes that in order to go forward we must also go backward. When we rotate the spine to open the door, the side that pulls or rotates backwards is no more important than the side that rotates forwards. We are physically balanced directly on top of our action or our own weight. We never excessively lean forward, backwards or to the side as these postures compromise the balance of the movement. Keeping these themes in mind we can create an efficacy, which in turn creates power and accuracy not only for the martial artist but also for the individual swinging the tennis racquet.
Fundamentals
Lower Spinal Rotation cannot be performed without the individual first creating an environment within the body. The rules are simple - so simple that most people believe they already practice them. They are: Be Tall. Breathe and Relax.
I thought I had mastered them, having been a martial artist for many years before meeting Master Gong. So I will share a humbling yet relevant story regarding my path to understanding these tenets. In the early days of training, Master Gong would frequently remind me of these fundamentals, often shaking his head while observing me train. I was confused and inwardly annoyed until finally I woke up one day while training for my scuba certificate right after training with Master Gong. While under water I was struggling with a difficult exercise. I looked around me at all the other students who were also struggling and I noticed no ones regulators had bubbles coming out of them which meant no one was breathing including myself. I forced myself to start breathing again, relax and get the job done. As I was doing so I realized the impossibly great value in these simple things. Later the scuba instructor commented on our struggle and said the best way to prevent panic and become a great diver was to, breath and relax. I saw in my head Master Gong smiling! The parallel here is exactly the same for the martial artist- mind over emotion. Be Tall. Breath. Relax.
I have since then unfortunately had to use my martial arts on the subway while defending a man against another and those three rules are what not only saved me my life, but enabled me to totally control the opponent and be awarded many pads on the back by strangers and a special thanks from the NYPD. I still, by the way, receive plenty of shakings-of-the-head from Master Gong as I slip into old habits.
The History of Hsing-Yi Chuan
"Man is born into this grand space, no fighting and no competition. This place which the Yi can reach is complete. There is no blemish or shadow that can be found." Part of the Hsing Yi thesis. Believed to be the words of Marshal Yeuh Fei , the creator of Hsing Yi Chuan.
The Song dynasty was a time of suffering for the Chinese where corruption and starvation plagued its' people. Hsing Yi Chuan came from this troubled time some say "like a flower from mud." Marshal Fei, a known scholar and later brave general is generally given total credit for Hsing Yi's creation. Based on fact, not myth, Fei's heroic character and life story during this period strongly represents purity, strength and sharpness (as does the system of Hsing Yi).
Perhaps the most important form in Hsing Yi is the Linking Fist form. This form is known to be the form Marshal Fei taught to his troops because of its' no-muss-no-fuss approach, making it quicker to learn when time is of the essence. Deceptively difficult to master beyond its' brute appearance this form appears at first to be a simple sequence of straightforward short to mid-range attacks and advances. Before learning the form it is essential that one understands' what is called the "Five Fists." The five fists are strikes/blocks that embody the elements of Yin and Yang.
Simply stated, Yin and Yang are all in life that are opposites and the in between that binds and defines them as opposites. The two energies stem from Wu Chi (emptiness). From emptiness Yin and Yang take physical shape creating elements of each. Hsing Yi is meant to capture and embody these shapes. The elements and their corresponding fists or shapes are, Metal (Pi), Water (Tzuann), Wood (Beng), Pau (Fire), and Earth (Heng). The essence of the fists must be learned and clearly felt in order to do the Linking Fists form well. San Ti, a stance that is also used as a standing meditation is traditionally also very important to learn but will not be discussed here (Please read Hsing Yi Chuan by Master Liang Shou-Yu and Dr. Yang Jwing-Ming for further information on the San Ti meditation practice).
After having mastered the fists individually, the art of the Linking Fist Form lies in the title of the form- "Linking." It is the transition between the strikes that becomes the focus. For many that will change how the fists interact both on a martial and meditative (therapeutic) level. Ideally when brought together the form creates a balanced orchestration of the Yin and Yang energies in fighting.
The form like the style is known for its' explosive yet relaxed character. It opens with the signature meditation stance of San Ti where the practitioners' mind is calm and silent. From that state one explodes into an almost relentless series of attacks. The footwork initially presents itself as a simple set of very aggressive short to mid-range advances and stomps with few retreats. But soon one realizes the timing has to be precise and married with the breath. The rear foot which acts much like the hammer on a revolver could easily be mistaken as a mere stomp Unless corrected, many quickly realize this technique is difficult to do without creating stress on the knee and hypertonicity in the entire rear leg. I have seen many students from various schools shaking their rear legs out after a couple of rounds of this form.
The appeal of this form lies in its' direct movements, simplicity and completeness almost suggesting the form is a whole system in of itself (better to have one sharp knife than many dull ones).
All of the fists either drill, split or pound keeping the elbow close to the bodies' side. By staying in close we keep the opponent also close, folding him in toward our strike, which lands simultaneous with the block. When using LSR, there is a certain trapping effect in the block that occurs due to a coiling motion the blocking arm.
Putting these aspects together in terms of movement with LSR one begins to a see different, more efficient shape-taking place. A piston-like effect happens where the more you control the rotation the quicker and sharper the short-range movements become. Here it is very clear to the eye the effect LSR has on Hsing Yi. "The most important thing in Hsing Yi when using LSR is the tightness of the rotation." Gong states. "As soon as you rotate in one direction you release it and let it roll into the other direction." The key to this is relaxing while perfectly controlling the LSR. This creates a flutter effect. I like to call it fluttering pistons.
The trapping effect of the block is only sharpened and focused with LSR creating a vortex effect that is uncomfortable if you're on the wrong end of the attack. Gong says in regards to this, "When I move, you move." Many have said it feels like Chi Na and yet there is no hand that is grabbing. This is true, as I have often had the urge to "tap out" while being blocked with LSR from fellow classmates.
The value LSR gives to Hsing Yi is the value it gives to any other movement. In my experience the most obvious changes are that the movements become more relaxed and efficient. The body is more upright and focused taking the concentration off arm power that so many are stuck in. Not based on esoteric poetry, it is easy to understand and all can benefit greatly from it.
John Howard has won numerous regional and national awards in both Kung Fu and Sabre Fencing. He has been studying Shaolin Longfist Kung Fu with Master Gong for about 10 years. He has also studied extensively Sabre fencing and Hapkido. Presently he is a Licensed Medical Massage Therapist and is earning his doctorate in Physical Therapy.
Published with the author's permission.
Completing the move, he ends with the left arm in a short upward punch, and the right arm in a short downward/outward block.
Continuation of the above forward view of the moves.
This is the above movement in practical application.
As the opponent advances to attack, Master Gong makes contact with his left arm to establish a connection with the incoming force.
His block draws in and then directs out the attack. He is re-directing the incoming force, as well as applying the force generated by his own bodywork. As this occurs, the outward strike is being delivered.
In addition to the instability created in his opponent by the redirection of force in the block, Master Gong connects with his short punch. By way of explanation of the effectiveness of this small, soft move, remember that these small motions occur at a close range, to the center of Master Gong's LSR rotation. So the longer vector of the opponent's attack,despite the difference in mass and strength, is easily deflected by a small amount of force travelling the shorter vector of his defense. Please refer to the video clip above for a live example of this principle.