Copyright © 2005, 2010 by Stuart Alve Olson. All rights reserved. No portion of this book, except for brief review, may bereproduced, 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 SnakeBooks c/o North Atlantic Books.

Published by Blue Snake BooksOriginally published by Valley Spirit Arts, 2005

Blue Snake Books is an imprint ofNorth Atlantic BooksP.O. Box 12327Berkeley, California 94712Cover design by Brad Greene

This book contains translated selections from:Shih Yung T’ang Lang Ch’uan by Wei Hsiao-T’angShih Yung T’ang Lang Ch’uan Hsu Chi by Wei Hsiao-T’angShih 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 andSciences, a nonpro t educational corporation whose goals are to develop an educational and cross-cultural perspectivelinking various scientific, social, and artistic fields; to nurture a holistic view of arts, sciences, humanities, and healing; andto 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 anyof the practices, exercises, and advice contained herein. To reduce the chance of injury or any other harm, the readershould consult a professional before undertaking this or any other martial arts, movement, meditative arts, health, orexercise 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: 978-1-58394-692-31. Kung fu. I. Title.GV1114.7.O58 2009796.815′9—dc22

2009038598

v3.1

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 HuangHan-Hsun (Wong Han-Fon), whose works provided an incredible amount of informationI was able to draw upon in forming this book. I also o er my deepest thanks to MasterT. T. Liang for teaching me the Praying Mantis Kung Fu styles he learned from WeiHsiao-Tang and Huang Han-Hsun, and to Master Kung Wei for instructing me on thePlum Blossom Praying Mantis style. I truly miss both of these great men and wish theentire world could have known them the way I had.

Special thanks to Patrick Gross for his editing and design work on this book and forappearing in the photographs of the Lohan exercises, Daniel Dale for appearing in theTheory and Practice section, Vern Peterson for sharing his knowledge of SouthernPraying Mantis Kung Fu, Louis Sacharske for sharing many of his insights into the worldof 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, andinsights regarding how e ective and bene cial Praying Mantis Kung Fu can be forwomen—after all, it is the female mantis that dominates this particular insect species, soit seems just that women take their rightful place in both the lineage and practice of thisparticular martial art.

Contents

CoverTitle PageCopyrightAcknowledgmentsIntroduction

Praying Mantis Kung Fu

Brief History of Praying Mantis Kung FuThe Story of Wang Lang Creating Praying Mantis Kung FuPraying Mantis Kung Fu Lineage …Northern Praying Mantis Kung Fu Styles

Theory and Practice of Northern Praying Mantis1. Twelve Principles for Self-Defense and Offense2. The Eight Hard and Twelve Soft Ways I3. The Eight Hard and Twelve Soft Ways II4. The Twelve Ideals for Body Movement5. Eight Training Divisions6. Eight Striking and Eight Non-Striking Points7. Eight Long and Eight Short8. Five Internal and Five External ActivitiesStudent and Teacher Requirements

Student RequirementsTeacher Requirements

Skills Acquired from PracticingActivating the QiMind-IntentStrengthDeveloping the BreathIntrinsic EnergyGaining a Root and Agility

Skills of the Eight Hand UsesThe Process of Internal RefinementAdvice on Practice Sessions

PART ONE

Eight Kung Methods

PreludeExercise 1: Iron Ox Ploughs the EarthExercise 2: Riding a Horse, Single Fist PullingExercise 3: Riding a Horse, Double Fist PullingExercise 4: Mantis Colliding Its ArmsExercise 5: Tyrant King Raises the CauldronExercise 6: Immortal Pushes the VoidExercise 7: Planting Flowers, Left and RightExercise 8: Pushing Over a Mountain to Uproot a Tree

PART TWO

Eight Stance Methods

PreludeSong of the Eight StancesStance 1: Riding the Horse StanceStance 2: Mountain Climbing StanceStance 3: Seated Tiger StanceStance 4: Seated Coil StanceStance 5: Empty StanceStance 6: Tiger’s Head StanceStance 7: Pretending to Be Defeated StanceStance 8: Chicken Standing in the Snow Stance

PART THREE

Eight Footwork Methods

PreludeFootwork Method 1: Up-Rooting StepFootwork Method 2: Striding-Over StepFootwork Method 3: Folding StepFootwork Method 4: Encircling StepFootwork Method 5: Shifting StepFootwork Method 6: Backward Crossing StepFootwork Method 7: Walking StepFootwork Method 8: Long-Striding Step

PART FOUR

Eight Kicking Methods

PreludeKicking Method 1: Pulling the Yin Kick

Kicking Method 2: Mandarin Ducks KickKicking Method 3: Axe Blade KickKicking Method 4: Penetrating the Heart KickKicking Method 5: Knocking Over the Tablet KickKicking Method 6: Sweeping Away the Lotuses KickKicking Method 7: Closing the Gate KickKicking Method 8: Whirlwind Kick

T’ai Chi Ch’uan Master Liang Tung-TsaiAbout the AuthorOther Books by This Author

Introduction

Praying Mantis Kung Fu is the only martial art based on the ghting abilities of aninsect. The Chinese, in particular, have had a fascination and preoccupation withmodeling their martial arts on the inherent skills of animals. The indigenous martial artforms 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 preywith e ciency and technique, the praying mantis is capable of destroying other insectssix times its own size. Few animals can achieve this feat, and those that can do so onlyby sheer ferocity and strength. The mantis, however, relies on methodical, swiftmovements for defense and o ense. Considering the incredible skills of this insect, it isno wonder the martial artist Wang Lang created a style of martial art based on themantis three hundred years ago.

Wang Lang was not the first to notice the great fighting skills of the mantis, especiallyin regard to its preying upon its larger and blustering natural enemy the cicada. Anexample comes from the T’ang dynasty poet Lo Hung-Chien, who makes the followinganalogy 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 befolded in prayer as it patiently awaits its prey. They have a voracious appetite, and thefemales are larger and ercer than the males. After mating, a female will turn on theweakened male and quickly devour his head. Scientists theorize that this may be aresponse to her need for added nourishment for her upcoming pregnancy or that it is away of maintaining population control. Or, it may be that they just attack and eatwhatever is available at the moment.

In Chinese thinking the praying mantis represents greed and perseverance: greed inhow voraciously it devours its prey and perseverance in how patiently and constantly ithunts. No other insect is quite as skilled or persistent as the praying mantis. Natureobviously designed this slender insect for ghting, with its spiny raptor-like forelegsattached to a cylindrical prothorax that gives it complete articulation of body movementand allows for wide arcing of its entire body. The praying mantis is exactly what MasterLiang humorously called it, “a lean, green, fighting machine.”

The martial art of Praying Mantis Kung Fu (traditionally called T’ang Lang Ch’uan, orPraying Mantis Boxing), like most of the martial art styles created in China, developedinto 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 ofnorthern China. The southern school developed later in Kuangtung Province. Thedi erences in style between these two systems are very apparent. Brie y, the southernschool has two basic forms of training: the Three-Step-Arrow and the Eighteen-Point-Strike forms. The footwork of the southern style is more xed, making use of sliding stepactions. The northern school is based on the original twelve movements and eight basickicking methods. The footwork is much more active, agile, and swift than that of thesouthern styles. Both systems are very e ective and adhere to many of the sameprinciples.

My rst introduction to Praying Mantis Kung Fu occurred in 1979 when I was livingat the City of Ten Thousand Buddhas in Talmage, California. A young Caucasian manhad come to the monastery to pay his respects to the abbot. While visiting, he recountedstories about his Praying Mantis teacher and of living at his wu kuan (martial artmonastery) in Taiwan, which he would do for six months out of each year. One curiousstory was about how his teacher came into the hall one day to tell his students that hewas going into town. Instead of leaving by the front gate, however, he went out theback 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 sawhim leap over the fence and land softly on the other side. At the time, I believed this wasjust an embellished, fanciful story from an overenthusiastic student. Later, however, theabbot substantiated the story by saying that he knew this teacher well and that this wasactually 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 wasfortunate to have ended up living and studying with Master Liang, who studied withtwo great icons of Northern Style Praying Mantis: Master Wei Hsiao-T’ang (PracticalPraying Mantis) and Master Huang Han-Hsun (Plum Blossom Praying Mantis). Duringthis time I was also blessed with having learned a smattering of Southern PrayingMantis from fellow student and friend Vern Peterson. He also introduced me to SouthernPraying Mantis Masters Tommy and Art Wong, and Gin Foon Mark, all of whom werevery strong inspirations. My fortune was later accentuated when I was able to learnPlum 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 thingI nd consistently missing in most practitioners’ training are the fundamentals. Everystyle has them, but few practitioners put forth the e ort to master them or to gain eventhe coarsest of skills from them. But this is also understandable, for they are in manyrespects 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 arenot as impressive appearance-wise as, say, performing a ashy form or weapon set. Butnonetheless, if you really want to master your martial art or are just looking to masteryour own self, then it is right here, with focused and determined body training, standingin 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-skill-quick 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 reallyapply yourself to training in these fundamentals, however, you will arrive at the goalsof qi and martial skills much faster than if you don’t. I know this from my ownexperience.

Early in my T’ai Chi Ch’uan training I saw little reason to train the fundamentals ofstances and footwork, only seeking to know the forms, weapons, and self-defenseaspects. My teacher kept after me about standing in xed stances, but I was lax anddismissed them. Many years later I had to backtrack and begin all over the fundamentalwork that I had so long ignored. This was not only di cult to undertake buthumiliating. With Praying Mantis Kung Fu, however, I started with xed stances andfeel that my progress was much speedier, with the added bene t of making my T’ai ChiCh’uan practice and skills much more e ective. There is a lot to be said about thebene 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 naturallywant to do them ourselves as well. We either forget or are just unaware that all greatPraying 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 longwished for an English composition that clearly outlined both the traditional style andprogression a beginning student needed for gaining some accomplishment with thisincredible system of martial art. Unfortunately, no comprehensive English study of anystyle of Praying Mantis Kung Fu had been previously available. So in many ways thispresent book is as much a guidebook for myself as it is meant for others. In the end it isexactly what I wished I could have had when I rst began learning Praying Mantis KungFu.

In Master Wei Hsiao-T’ang’s Chinese book Practical Praying Mantis Kung Fu he advisesthat beginning students should rst learn and train the solo drills of the Lohan Kungexercises 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 tomobilize the qi, then footwork for developing agility, and, lastly, kicking methods fordeveloping intrinsic energy. After learning these four fundamental divisions of training,a student could then approach the training of the hands, form training, and sparringdrills. In conforming with Wei’s advice, this book has been speci cally designed toprovide this traditional structure. It has always been the case in any of the Chinesemartial arts that the function of the feet and legs is of paramount importance, as noamount 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 fromMaster Wei and Huang, as well as translating and applying the many facets of PrayingMantis 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 intoEnglish. This would certainly have been a daunting task because Wei provided so muchinformation in his books and some portions were purposely misleading so that otherscouldn’t just “steal his art,” so to speak.

Liang had never promised Wei that he would translate his books, but on manyoccasions he expressed to me that he wished he had. Anyone who spent any time withLiang knew he loved Praying Mantis Kung Fu. In his more playful moods and antics hewould always burst into mimicking Praying Mantis techniques. Some of my fondestmemories are of those times when we would travel together, sitting in crowded airplaneseats with Liang demonstrating various Praying Mantis hand techniques on me, whichwere more often than not motivated purely to show o in front of a stewardess howeasily he could subdue me.

Liang expressed to me how much he liked and respected Wei, even though othersfound it di cult to learn from him. Liang knew of all the hardships and su ering Weiunderwent in his life, and that he was an extremely gifted martial artist who spent hisentire life, and childhood with his teacher Feng, to gain his great skills. On manyoccasions Liang invited Wei to come to his home in Taipei to just socialize and enjoyhimself, but Wei would always direct the conversations to Praying Mantis. As Liangsurmised, “It was his entire life, so what else could he do?” Because of Liang’s friendshipand admiration for Wei, I have felt joyfully compelled, in this small way, to presentsome of Wei’s work in English.

I was a ected a long time ago by Liang’s love of Praying Mantis Kung Fu, and inmany ways can say I inherited the same enthusiasm and love for it. But beyond thisfeeling I also have this personal issue that gnaws at me constantly. Liang had the goodfortune of either meeting with, becoming friends with, or being a student of many of thegreatest martial artists of his day—most of whom, unfortunately, have been written outof history or forgotten. It is also the case that we in the West are not culturally familiarenough to know who these great men and lineage holders were. So, if this book doesnothing more than acquaint the martial art world with the names of Wei Hsiao-Tangand Huang Han-Hsun, and what they represented in the world of Praying Mantis KungFu, 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 Fulineage. Liang was not a formal student of Wei or Huang, and so by extension neitheram I. Master Kung Wei never involved himself with taking students formally as disciplesand therefore I cannot claim a formal lineage from him either. I have stated my reasonsfor writing this book and I hope readers will understand that this book is more aboutpreserving tradition than it is about myself. I do not pretend or make claim that thematerials in this book are exactly the way any of these men might have taught them, orare without modi cations, nor is it everything Liang learned or taught me. It is at best agood shell of Praying Mantis teachings. But, as I learned so clearly from studying T’aiChi 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 theirown 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 ifthe 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, asthis book does not represent the great depth or vastness of what Wei or Huang presentin their original works. This book, in the end, is a simple compilation of translationsfrom their books, what I learned from T. T. Liang and Kung Wei, and from my ownstudies and practices. I hope it proves to represent well the beginning stages of PrayingMantis Kung Fu practice.

—Stuart Alve Olson

Praying Mantis Kung Fu

D

Brief History of Praying Mantis Kung Fu

uring the nal days of the Ming dynasty (1628–1644 A.D.) a Taoist monk namedWang Lang (Wong Long in Cantonese) from Shantung Province reportedly created

a new and more e ective system of martial art, becoming popularly known as PrayingMantis Boxing (T’ang Lang Ch’uan). Unfortunately, Wang Lang cannot be historicallytraced or authenticated in any concrete or reliable manner. The bulk of the historyassociated with him is purely that of oral traditions handed down through successivegenerations and the various lineages of his martial art. Given that, however, it shouldalso be understood that the absence of veri able historical records is certainly not proofthat Wang Lang did not exist either. It may well be that the oral traditions and loresurrounding him are based in truth.

What is most curious about Wang Lang is that his life mirrors and occurs along thesame lines as the reputed founder of T’ai Chi Ch’uan, Chang San-Feng. Both menreportedly lived in the same era (Ming dynasty), both were well versed in and yetdisheartened by the techniques of Shaolin Boxing, both were Taoists, and both created anew 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 themid- to late 1800s, each system began incorporating extensive correlations with theEight Diagrams and Five Element theories, as well as combining the individual kata-likepractices 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 asnake ward o the attacks of a bird, and Wang Lang created T’ang Lang Ch’uan afterwatching a praying mantis defeat a cicada. It is therefore little wonder that T’ai ChiCh’uan and Praying Mantis Kung Fu have incorporated themselves into each other. Infact, the original school of Praying Mantis Kung Fu in Shantung Province is called T’aiChi 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 communitiesand practitioners. Those of the Shaolin Kung Fu schools did not give much attention toT’ai Chi Ch’uan, even though the founder, Chang San-Feng, reportedly had been aShaolin adherent practicing the Shaolin Temple Five Animal techniques. Praying MantisKung Fu, on the other hand, managed to appeal to Shaolin adherents and theircounterparts in Taoist communities. Wang Lang was supposedly a Taoist priest, andduring the three hundred or so years that passed before Praying Mantis Kung Fu becamepublicly known, the lineages passed down through several generations of Taoist monks.Nonetheless, it became more popularly associated with the Buddhists of Shaolin thanwith any sect of Taoism.

Why this happened is a mystery, because there is no credible evidence that PrayingMantis Kung Fu was ever taught at Shaolin Temple. A persistent belief is that it becamethe 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 earlyChing dynasty Shaolin Temple records mention the instruction of Praying Mantis KungFu. If it is true that Wang Lang had defeated the best of the Shaolin boxers and that itbecame their sixth style, why then is there no credible record or account of this everoccurring within the Shaolin school?

In Chinese history, three major events occurred from which the rumors of this seemingmarriage between Praying Mantis and Shaolin Kung Fu developed. The rst eventoccurred during the end of the Ming dynasty and beginning of the Ching dynasty whenthe Manchurians (Manchukuo) took over China. Many of the martial artists of thisperiod, and supposedly Wang Lang was one of them, attempted to organize a coup tooverthrow the Manchu, creating a public movement called “Overturn the Ching toRestore the Ming.” Although they were unsuccessful, the boxers who came into contactwith each other during this adverse situation undoubtedly shared their skills with eachother, and styles naturally adapted portions of other styles into their respective martialart.

Likewise, during the Boxer Rebellion (1898–1900) martial artists attempted to bandtogether to rid the country of all foreigners. Again, they were unsuccessful, but a greatdeal of evidence shows that practitioners of various martial art styles shared theirtechniques and training methods with each other.

Then, in 1949, when Mao overtook China, large numbers of boxers escaped to Taiwanand Hong Kong, forcing all these accomplished martial artists to live in close proximityto each other. Generally, northern stylists headed to Taiwan (Wei Hsiao-T’ang and myteacher, 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 greatteachers were located on two small islands and in easy access to each other. MasterLiang 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 connectionwith 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 foundroot in a misinterpreted comment by Master Huang Han-Hsun (Wong Han-Fan inCantonese) in the introduction to his book on the Eighteen Lohan Kungs, which he self-published in Hong Kong based on his teacher’s writings. Huang merely mentions thatsome of the training exercises had in uences stemming from the Shaolin tradition,namely the strengthening exercises in the Eighteen Lohan Kungs. Huang mentions thisbecause in his lineage of Seven-Star Praying Mantis Kung Fu, his teacher, Master FanHsu-Tung, compiled ve books and collectively titled them as A True Transmission of theShaolin. The rst of these books was purely on herbology, however, and three bookswere on the practice and theory of Praying Mantis Kung Fu. The fth was on theShaolin practice of the Eighteen Lohan Kung exercises. This can hardly be called anextensive transmission on Shaolin. Huang Han-Hsun had hand-copied the text on theEighteen Lohan Kungs, reproducing and publishing them with photographs of himselfdemonstrating the movements, as the original illustrations and calligraphy in themanuscript 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 textby Fan’s teacher, Li San-Chien, but there is no way of substantiating this. It is morelikely Fan Hsu-Tung obtained a copy through his own contacts. It must be pointed outthat none of Fan Hsu-Tung’s students were ever instructed on the use of the EighteenLohan 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 exerciseswould have been di cult, at best, for him. The actual introduction of the EighteenLohan Kungs didn’t occur until one of Fan Hsu-Tung’s students, Lo Kuang-Yu, who wasin 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 someof the strengthening exercises used in Praying Mantis Kung Fu had Shaolin origins, buthe did not state that Praying Mantis Kung Fu was taught in or as part of the ShaolinTemple tradition.

In 1975, Yuan Hao-Pin (H. B. Un) mentions in his book that Praying Mantis Kung Fuwas taught at Shaolin Temple in Henan Province, and even has Wang Lang studying atShaolin Temple as a young boy, but o ers no documentation for either of thesestatements.

The author Li Ying-Arng was the only other author during this period who rightlycon ned Praying Mantis Kung Fu to the Shantung Peninsula region, and not to ShaolinTemple.

The rumors of all these Shaolin connections are persistent and seem to be propagatedwith each new generation of students. Not that I personally feel the connection is anegative one, it has just been much too embellished. Unless some credibledocumentation comes forth that clearly demonstrates Wang Lang’s actual connectionwith Shaolin, it can only be surmised that the connection was made within the lastseventy- ve years or so with the introduction of the Eighteen Lohan Kung exercises. It isclear that a system of martial art called Praying Mantis Kung Fu was taught onShantung Peninsula during the mid-1700s, especially in the famous Taoist areas of LaoShan and north in the Yantai region. Shaolin Temple is hundreds of miles away in theneighboring province of Henan, so it is doubtful that there was either frequent orcontinued interaction between the two.

One of the more frequent pieces of evidence cited to make the Praying Mantis KungFu 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 talksabout a Shaolin Temple book—citing no speci c title or author—that refers to a formerabbot, Ch’an Master Fu Ju, who had invited eighteen martial artists to come to thetemple for a symposium on the various martial arts of his day. From this event, a list onthe best eighteen styles was created, which the author of the Praying Mantis BoxingManual uses to validate the Praying Mantis connection with Shaolin. Because the listhappens to coincide with what Wang Lang reportedly incorporated into his new style ofPraying Mantis Kung Fu, it appears that it was created to substantiate the idea of WangLang’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 EmperorTai 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 consideredthe parent of martial arts.

3. Hand techniques of Binding and Sealing (Chan Feng) of Master Ts’ang En areespecially 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 erentorder and ends with the following passage, “All these masters were gathered andbrought together by Ch’an Master Fu Ju of Shaolin Temple.”

Eventually Fu Ju reorganized Wang Lang’s Praying Mantis Kung Fu techniquesinto boxing manuals. At that time, Praying Mantis Kung Fu was called SecretHands (Mi Shou). Later, all the documents and records on Praying Mantis Kung Fuwere collected by Fu Ju, whereupon he passed them on to Taoist Priest ShengHsiao. All consequent transmissions of Praying Mantis Kung Fu are unknown andno records were kept after this. Praying Mantis remained secret for three hundredyears, 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 substantiatinga Shaolin abbot named Fu Ju. This doesn’t mean he didn’t exist or that he wasn’t theorganizer of the symposium, but the Shaolin book from which the list of masters issupposedly 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 BoxingManual would have cited it by name and author. Another problem is the dating as tohow and when Praying Mantis Kung Fu reappeared. A Taoist monk, Sheng Hsiao,supposedly received all these collected works on Praying Mantis Kung Fu from aBuddhist Shaolin monk, Fu Ju, sometime during the early Ming dynasty (approximately1436 A.D.), and for some reason Praying Mantis remained solely within the Taoist ranksfor three hundred years. If Fu Ju really thought that Praying Mantis Kung Fu was asuperior martial art, why would he just hand over all the records and teachings to aTaoist 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 forover three hundred years?

It is best to view this account not from a logical standpoint but as wild history meantpurely to show the techniques incorporated within Praying Mantis Kung Fu—which aretrue—and to predate the creation of Praying Mantis Kung Fu and make that all-important Shaolin connection. Even if a person wanted to believe the account, therewould still be the problem of dating the masters and styles cited. Cotton Fist Boxing, forexample, certainly did not exist in the early Ming dynasty, and only appeared in thelate Ching dynasty. Most likely, the Praying Mantis Boxing Manual itself was written inthe late 1800s.

When I was in Indonesia learning Plum Blossom Praying Mantis Kung Fu from MasterKung Wei (1909–1998), he was quite adamant about Praying Mantis Kung Fu neverhaving been taught at Shaolin Temple in Henan Province. Master Kung Wei’s familywas originally from Fukien Province and he had ve generations of uncles who were allmonks at Shaolin Temple, spanning more than 150 years. The rst of these unclesentered the Shaolin Temple in 1746, and each successive generation kept diary notesthat were preserved within the family. There were no mentions of any of them everstudying 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 adherentsembellished accounts of the connection with Shaolin and adopted some Shaolin practicesinto their style in order to gain a broader acceptance within the martial artcommunities. Regardless of the tremulous connection, he felt that Praying Mantis KungFu was not only equal to Shaolin but because of its use of softness in combination withhardness, it was more accessible and easier to train than traditional Shaolin. Two of hisuncles, who moved to Indonesia at the outset of the Boxer Rebellion, had studiedPraying Mantis Kung Fu in Fukien Province. They were also insistent that PrayingMantis Kung Fu was purely a Taoist sister art of T’ai Chi Ch’uan and said that T’ai ChiCh’uan originally developed out of the principles and theories of Dragon and Snakestyles of Shaolin Ch’uan.

Master Kung Wei said that even if the stories of Wang Lang and Chang San-Feng weretrue, the Shaolin tradition was so embedded and de ned that it would never haveallowed a new system of martial art to come in and disrupt its centuries of traditionsand reputation. He conceded that there were probably rogue Shaolin monks who wentoutside the walls of the temple to learn Praying Mantis and T’ai Chi, but Praying Mantiswas never formalized as a sixth style within the temple itself.

The most likely scenario is that Praying Mantis Kung Fu originated and was taughtonly to men within the Shantung Province peninsula, and knowledge of it did notextend further until many years after Wang Lang’s death. This would be in keeping withthe tradition of “secret societies” so prevalent in Chinese culture at that time—especiallywithin the martial art communities. Everyone listed in Wang Lang’s lineage appears tohave been born and lived within close proximity to Lao Shan. It is also more probablethat Wang Lang taught Praying Mantis Kung Fu exclusively at Lao Shan, as did hisimmediate descendents. Some of the accounts of Wang Lang relate that he did not testhis skills against Shaolin monks; instead, it was Taoist priests in his own region on LaoShan who trained in Long Boxing (Chang Ch’uan). This seems to be the logical scenarioof 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, MasterWei Hsiao-T’ang provides the following account of Wang Lang. Based on the style ofwriting this story appears to come from an older source. It is most likely a piece fromChiang 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-MoPrefecture in Shantung Province. From an early age he was naturally gifted andintelligent, 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 numerousTaoist temples and all subordinate under just one organization. These were

arranged in three public temples, six monasteries, seventy-two nunneries, andother smaller Buddhist temples that were not part of the organization. But WangLang felt he had no affinity or destiny with any of these places.

Within the mountains there were also around eighteen hundred Taoists, havingthree large public temples there: Kuang Ping Kuan (Temple in the Moon), T’ienHou Kuan (Heavenly Ruler Temple), and San Ching Kuan (Three Pure OnesTemple). This later temple was the o cial seat for the three venerable spiritualimages of the Three Pure Ones—T’ai Ching (Ultimate Purity), Yu Ching (JadePurity), and Shang Ching (Foremost Purity)—and the Taoist priests there had thehonor of their care and offerings.

From their early youth these Taoist priests practiced martial arts, as San Chingwas also a school for the practicing of Chang Ch’uan (Long Boxing). Wang Langhad 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 andhermits living within the mountains there. The Taoist priests could clearly see thatWang Lang was very intelligent and excelled other students, and for futureposterity transmitted all their martial skills to him.

Afterwards, Wang Lang became a Taoist priest named Yeh Yu and washonori cally called “Treasury of Guarding the Mountain.” So when some of thepriests 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 travelsthey passed through Shaolin Temple in the Sung Mountains [Henan Province], andthere he compared his martial arts skills with the Buddhist priests, but was unableto 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 chancehe saw a praying mantis and cicada ghting in a life or death struggle. Watchingthe praying mantis he weighed how it advanced and retreated, pondering itsmethods of seizing and releasing, and how it exhibited the use of long and shortmethods of attack. From this he could see the greatness in the praying mantis’singenious martial art skills, which deeply and profoundly affected him.

So he then captured the praying mantis and returned back home with it. With thebarrel of a writing brush he enticed the praying mantis into playful sparring so hecould witness more closely the natural opposition tactics of the insect. Wang Langthen came to fully apprehend the tactics it used in Closing, Turning, Crossing, andShifting; its methods of Sticking, Adhering, Tagging, and Leaning; as well as itsarm techniques of Hooking, Seizing, Pulling, and Grasping.

With these twelve movements and hand methods, as well as selected techniquesfrom eighteen other family styles of martial art, and the frolicking footwork of theMonkey, Wang Lang combined them all into one complete style of martial art, andthus was the origin of Praying Mantis Kung Fu.

Later on two Taoist priests, Yu Chou and Sheng Hsiao, who inherited his robeand 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 aboutthe complete tyrannical rule of the Ching (Manchu) and so Wang Lang hastened totravel everywhere throughout Kwangsi and Chekiang provinces to unite all themartial heroes in an attempt to help organize the public movement called,“Overturning the Ching to Restore the Ming.” But because of the Ching’s politicalmotives, which were by no means a secret, the evil Ching had their soldiersarresting everyone connected to the movement. Wang Lang had attempted tospread his spiritual and martial skills to the common people, but his guardianshipof his venerable teachers took precedence, and so to remove them from danger heabsconded with them sorrowfully to the K’un-Lun Mountains so they could cultivatetheir original nature.

There are several interesting aspects in the above account. First, it states that WangLang was a gifted martial artist at an early age, even though he had no teachers. Thiscontradicts the notion that he was sent to Shaolin as a child to learn the Five AnimalsKung Fu and the Eighteen Lohan Kung exercises.

It accurately depicts the number and names of the temples on Lao Shan, one of themost famous Taoist areas in China. Today, it is commonly referred to as “The Mountainsof Immortals” because of all the Taoist temples still located there.

For Wang Lang to learn martial arts on Lao Shan, especially Long Boxing, would nothave been di cult. At that time, Lao Shan was already famous as the home of somemartial art lineages, because the main temples for Kuan Kung (General Kuan, the Godof War) and General Yu Fei were situated there.

The account states that Wang Lang went to Shaolin, but his skills at that time werenot adequate enough to defeat any of the monks there. He left and then observed themantis and cicada. After this, he returned to Lao Shan, and not to Shaolin Temple asmany popular stories relate.

I do not believe it is a credible statement to say that Wang Lang added the methods ofeighteen family martial arts or that he adopted the footwork of Monkey Style Kung Futo Praying Mantis Kung Fu. First there are no records proving Wang Lang traveled farand wide to learn all these various family martial arts, and they certainly wouldn’t havebeen available on the peninsula of Shantung. Nor is there any evidence that he knewMonkey Style Kung Fu. This obviously occurred later in Praying Mantis Kung Fu’sdevelopment.

Sheng Hsiao can tentatively be traced to the mid-1700s, but in those accounts hesupposedly went to Lao Shan fty or more years after Wang Lang’s death. So hecouldn’t have been taught directly by Wang Lang. More probably he was taught eitherby Yu Chou or one of Yu Chou’s disciples. However, there are no records of a Taoistpriest 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’sstudents on Lao Shan.

Master Liang, however, thought that Wang Lang’s family name was actually Yu, andthat 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 newstyle of martial art, his rst duty would have been to teach family members. Since hewas 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 andsouthern coasts mustering support from all the martial heroes of his time. There aresimply no records or accounts of a man named Wang Lang being a forerunner to themovement of Overturn the Ching to Restore the Ming. If this were true, he wouldcertainly have been mentioned in historical records of that time.

Saying that he went to the Kun Lun Mountains, the highest peaks in the Himalayas, isanother way of saying that he went into seclusion. Since the time of Lao Tzu (Handynasty), who also reportedly escaped to the Kun Lun Mountains, this has become acommon Taoist expression.

Wei Hsiao-T’ang provides the following lineage list in his book. The dates and namesof the teachers preceding Wang Yung-Sheng and Chiang Hua-Leng can’t be accuratelyvalidated, but after them the lineages are for the most part intact. Along with theteacher’s names, I have included approximate dates and the styles with which they wereknown to have practiced or created.

Praying Mantis Kung Fu Lineage

Wang LangLate 1500s–?

Founder and Taoist Priest, Recluse Yeh YuShantung ProvinceChi-Mo Prefecture

Sheng Hsiao Yu Chou

1747–? Late 1600s–?

Taoist Priest Taoist Priest

Lao Shan, Shantung Lao Shan, Shantung

Li San-Chien Li Erh-Kou

Early 1800s–? Mid-1700s-?

Shantung Province Shantung Province

Hai-Yang Prefecture Hai-Yang Prefecture

Crushing Step Praying Mantis Obstruct-Intercept Praying Mantis

Obstruct-Intercept Praying Mantis Plum Blossom Praying Mantis

Fan Hsu-Tung Liang Wen-Ch’ao

Mid-1800s–? 1810–1890 (?)

Shantung Province Shantung Province

Yan-T’ai Municipality Mo-P’ing Prefecture

Introduced the Lohan Kung writings Plum Blossom Praying Mantis

Seven-Star Praying Mantis Created the Embodiment Forms

Wang Yung-Sheng Chiang Hua-Leng

1854–1926 1855–1926

Shantung Province Shantung Province

Fu-Shan Prefecture Lai-Yang Prefecture

Plum Blossom Praying Mantis Created T’ai Chi

Seven-Star Praying Mantis Plum Blossom Praying Mantis

Created Pa Pu Praying Mantis

Lo Kuang Yu Feng Huan-I

Late 1800s–? 1879–1985 (?)

Shantung Province Shantung Province

Plum Blossom Praying Mantis Huang Prefecture

Seven-Star Praying Mantis Pa Pu Praying Mantis

Added Grappling and Throws

Huang Han-Hsun Wei Hsiao-T’ang

1919 (?)–1973 1901–1985

Hong Kong Shantung Province

Plum Blossom Praying Mantis Practical Praying Mantis Kung Fu

Seven-Star Praying Mantis

On the left side is the popular sequence of lineage holders that lead down throughhistory 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, FanHsu-Tung, Wang Yung-Sheng, and his student Lo Kuang-Yu. But none of this canactually be substantiated. It is apparent that Fan Hsu-Tung had an interest in Shaolintraditions, but curiously none of his students were indoctrinated with Shaolin methods orteachings.

On the right side of the lineage chart, starting with Yu Chou the following lineageholders are in no way connected with Shaolin practices. It is sometimes thought that thePlum Blossom Style of Praying Mantis Kung Fu was taken directly from the Shaolin styleof the same name. This is incorrect, however, as the two systems actually have nothingto do with each other. The Plum Blossom Style Praying Mantis Kung Fu is thought tohave been created by Liang Wen-Chao (or his teacher, Li Erh-Kou) and was so namedbecause they would practice footwork upon the stumps of cut down plum trees. Thisagain is a good indicator of the fact that there could not have been this extensiveintercourse between Shaolin Temple and Lao Shan, as they wouldn’t have purposelyused 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 waspreviously a student of Monkey Boxing before learning Plum Blossom Praying MantisKung Fu, and late in life he then learned Eight Diagram Palm (Pa Kua Chang), MindForm Boxing (Hsing I Ch’uan), and Connected Arms Praying Mantis Kung Fu. Keepingin mind that it was also Chiang Hua-Leng who opposed the idea of including Monkeyfootwork within Plum Blossom Praying Mantis Kung Fu, and if we look at the Pa PuPraying Mantis Kung Fu he created, at least in the light of how Wei Hsiao-T’angpresents 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 EightDiagram 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 commonlysubscribed. One is a Taoist man by the name of Ta Tao, but he turned outlaw and so hisname is rarely mentioned. The other is Chou Chi-Lu, who was reportedly the teacher ofLi Erh-Kou and the student of Ta Tao. Wei does not explain why the original authorexcluded these two persons from the lineage chart.

SummaryIn light of all these accounts, some credible and some not, we are ultimately left withvery little information about the true origins of Praying Mantis Kung Fu and of WangLang himself, as well as most of the supposed lineages connected to him. Every school ofPraying Mantis Kung Fu cites di erent personages, times, and places. It is just asconfusing 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 recordkeeping, as the predominant concern was to keep outsiders from stealing their art. Onlythose of us in present times yearn, like armchair strategists, to know the actual historyand personages of these respective martial arts. We may never really know howPraying 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 WangLang, discovering how to improve ourselves and reach our full potential. I have neverseen in any great martial artist, or in records of past ones, the undying need to be asuperior 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. Obstruct-Intercept, T’ai Chi, Plum Blossom, and Seven-Star Praying Mantis Kung Fu are the mostwidely known and taught. Obstruct–Intercept Praying Mantis Kung Fu (Lan Chieh T’angLang Ch’uan) is considered to be the rst style originating from Wang Lang’s initial tenmovements of Praying Mantis, and so I placed it at the top of the list. Besides this list ofstyles, there are numerous types of forms practiced, and some styles make use of one ormore of them. There isn’t a general rule of certain forms being practiced by certainstyles, as each teacher may have studied from one or more teachers. The following list isjust to help the reader understand how much development and change Praying MantisKung Fu has undergone over the last three hundred years or so, and especially withinthe last ninety years when the majority of the below styles were created. To those whomay 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 Plum Blossom Praying Mantis

(T’ai Chi T’ang Lang) (Mei Hua T’ang Lang)

Seven-Star Praying Mantis Connected Arms Praying Mantis

(Chi Hsing T’ang Lang) (Tung Pei T’ang Lang)

Crushing Step Praying Mantis Secret Door Praying Mantis

(Peng Pu T’ang Lang) (Mi Men T’ang Lang)

Six Harmonies Praying Mantis Jade Bracelets Praying Mantis

(Liu Ho T’ang Lang) (Yu Juan T’ang Lang)

Long Fist Praying Mantis Flower Forest Temple Praying Mantis

(Chang Ch’uan T’ang Lang) (Hua Lin T’ang Lang)

Supreme Spirit Praying Mantis Shaolin Temple Praying Mantis

(Shen Chi T’ang Lang) (Shaolin T’ang Lang)

Bright Board Praying Mantis Mandarin Ducks Praying Mantis

(Kuan Pan T’ang Lang) (Yuan Yang T’ang Lang)

Eight Step Praying Mantis T’ai Chi Plum Blossom Praying Mantis

(Pa Pu T’ang Lang) (T’ai Chi Mei Hua T’ang Lang)

Practical Praying Mantis

(Yung Shih T’ang Lang)

T

Theory and Practice of Northern Praying Mantis

he following treatises form the basis of the theory and practice on Praying MantisKung 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 defensivemethods of the praying mantis. It is doubtful that he wrote them, however, and theywere most likely composed by unknown students on Lao Shan. Regardless of who wrotethem, they provide the structure and guidelines all Praying Mantis Kung Fu studentsshould follow. The eight treatises previously appeared in Master Wei’s book PracticalPraying 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 andclaw methods the mantis used to defeat the cicada. Even though they are listed as twelveseparate 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 inapplication 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 kungfu styles, being more like a receiving action to either raise up the attacker and/or circlearound 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 atShuttles.

Five:Tiao, a hooking method similar to Kou but relying on applying techniques other thanthose 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 takethe 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 likewhen an attacker rst draws in his energy to issue a strike, but is struck before he canrelease 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 techniquescan be applied. In Praying Mantis Kung Fu these two skills are very important toacquire. 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 orknocked away.

In T’ai Chi Ch’uan this can be most readily seen in the application of Warding-O , and inthe 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 Hardness1. 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 advancingaction.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 theopponent’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 theopponent.

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 cornerhim 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 makea 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 armsresemble 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 anopponent and you then withdraw your hands.Don’t hang onto or try to overcome rigid actions of an opponent. Never pit strengthagainst 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 preventhim 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 thenrolling 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 thesame hand.This means to use Mantis Hook and Greeting the Face Palm in one continuous actionwith 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, youpull him a little downward and out while simultaneously hitting him with your otherhand.

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 rsthook the wrist of the incoming strike, then bring your other hand up to seize theelbow (embrace, which is to trap the arm against the opponent’s body), then step into 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 thenuse backward cross stepping to turn his body so you may strike to his kidneys or sideof 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 usingMantis 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 andthen 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 theopponent’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 andthen 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 inPraying Mantis. One illustration would be to imagine an attacker rushing at you. Youthen advance directly toward him and bring up your st to meet his face. This isColliding; 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 beto imagine that an opponent comes in to kick you. You then seize the underside of hisankle 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 theact 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 seizedyour 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 handyour wrist folds and snaps inward to strike. If he pushes on your wrist, then your elbow strikeshim. If he seizes your elbow, then you strike with your shoulder. If he pushes a shoulder, thehead 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 headwill 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 withthe hand, elbow, shoulder, legs, knees, feet, etc. All of them are executed with a quickand instant hardness. The hallmark of Praying Mantis is its ability to strike in alightning-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 anattacker, but then instantly becoming yang (hard) when issuing out a strike, and thenimmediately returning to yin again.

5. Thrusting (Kun): Thrusting is a long and hard energy. The uniqueness of it is that it isdirected past the point of impact. For example, a Praying Mantis thrust to an attacker’sheart is not aimed at the front of the chest of the attacker but rather is focused on apoint beyond and behind the heart. In this way all the force is thrusting through theheart 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 anattacker’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 inT’ai Chi one pushes through an attacker’s center, not just on the front surface of his body. Thehands may attach to the front of his body, but the energy is delivered beyond and past thatpoint.

6. Provoking (T’iao): Normally the term t’iao means to stir up, pluck, or clear somethingout. But in connection with hard energy it takes on more of the meaning of provokingan attacker so that you can take advantage of him. For example, when an attackerstrikes out with his hand, most mantis techniques will redirect his strike whilesimultaneously kicking him below to upset his root. So the idea of provoking is using ahard 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 balanceor 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 orcutting o an opponent’s root or incoming energy. For example, one form of Splitting isto use a Knife Hand on the forearm of an attacker’s incoming striking hand. Anotherexample would be to trap the attacker’s arms against his body and bring the back of theforearm across his chest, toppling him and cutting him o from his root. So Splitting cantake 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 andPlaying the Lute make use of Splitting energy.

8. Crushing (Ya): This hard way is the most brutal of them all. In Praying Mantis it issaid that the apex of e ciency in dealing with an attacker is when your skill iscompetent enough that you may simply advance and hit an opponent on top of thehead and crush the skull without your being touched. There are other minor techniquesof Crushing used in Praying Mantis, such as the technique of Split and Crush, which canbe 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’soutgoing energy. For example, when a strike comes at you it is best to use a Knife Handto the attacker’s elbow joint, a Hook Hand on his wrist, or a push on his shoulder. This isbecause a punch, for example, has all the energy in the st, making the rest of the armvulnerable to Closing.

In T’ai Chi, Closing is a very extensive subject, but in regard to closing o an attack itmeans to go behind the forceful concentration of energy and strike the weak point, thus closingoff the energy or force.

2 . Turning (Ch’uan): Turning is ultimately about turning the attacker so he isvulnerable to an attack. In Praying Mantis this is taking an incoming force andredirecting it so the attacker not only extends his energy out onto nothing but alsoopens his backside or flank for a counterattack.

In T’ai Chi this is viewed as creating a superior position. Meaning, if an attacker pushes onyour body, you turn so that the force is redirected, causing the attacker’s body to turn andopen his backside to you.

3. Crossing (T’eng): Crossing is the ability to evade an attacker by stepping away to theside of his attack, making it di cult for him to follow up with another immediate attackas he will have to recover his stance and bearings. If an attacker strikes out with hisright hand to your chest, for example, and you cross over to your left so that you arenow on the outside of his right arm, it will be easy to counterattack him, with littlechance for the attacker to recover his body position.

4. Shifting (Nou): Shifting has several meanings, but primarily it means to constantlykeep your root in one foot, not two, so that an attacker will nd it impossible to takeyou o your center and will never know exactly how to attack your legs. It also meansbeing 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 turnwith 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 ectivetechniques are those of in- ghting. Letting an attacker escape will only mean he willreturn to attack again.

6 . Adhering (Chan): Adhering is all about keeping contact with an attacker. This isdone 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 listentactilely to his body but also interpret his coming intentions. When Adhering you cannot usestrong energy with your contact; it must be soft so that the attacker doesn’t know you, but youwill know him.

7. Confronting (T’ieh): Confronting is seen when an attacker strikes out and you simplyevade the strike so you are not on the receiving end of his force, which all hard strikesdepend upon. You then move in close to Seize or Lean into him. Confronting is reallyabout disappearing and then suddenly reappearing.

8. Leaning (Kao): Leaning is about getting inside and directly onto an attacker’s bodyso that in- ghting techniques can be used. In principle it is like stepping in on anattacker’s center and then shifting into him. No two people can occupy the same spaceat once, and Leaning makes use of that fact. So the idea of Leaning is really to takeaway an attacker’s sense of space and balance.

9. Hooking (Kou): Hooking is using the Mantis Hooking Hand technique and using yourfoot 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 “toremove a thousand pounds with four ounces of energy.” This is the same idea withapplying Hooking, as its main function is simply to redirect a strong force with littleenergy. This is analogous to a large ball coming at you, and with just a nger and aturning 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 armfrom intruding or counterattacking your attack. Grasping should never be done withhard 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 aquality 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 thatcauses an attacker to momentarily lose his root and sense of balance. Pulling functionsin the same way as Grasping, with the analogy of a baby’s grip. The purpose of Pullingis to take the attacker o balance so he can be counterattacked, and also to lead anattacker’s energy o and away from you. For example, in the T’ai Chi application ofChop with Fist, one hand performs Peng (to collapse the attacker’s arm), and the otherhand 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 blockseen in hard style kung fu forms. In Praying Mantis, blocking is done more with the ideaof bringing out the arm to receive the attacker’s strike and then suspending it up or overwhile making a counterattack. The act of Suspending is much like when a soccer goaliereaches 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 WaysIf you are the object of any of the Hard Ways of Colliding, Throwing, Collapsing, orStriking, use any one of the Soft Ways of Closing, Turning, Crossing, or Shifting tocounter the attack.

If you are the object of any of the Hard Ways of Thrusting, Stirring, Splitting, orCrushing, 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 wavechanging from crests to troughs, so that an opponent is confused by your intentions andis therefore unable to determine how high you are leading him or how low. This is alsoseen in T’ai Chi. When your intention is to push your opponent upward, you rst leadhim down. If your intention is to push the opponent downward, you must rst lead himup. 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 istaught, “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 theirintention 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 preyto initiate an attack, or maybe to determine the prey’s intentions, or simply to let it walk intoits field of attack.

3. Rising (Chi)Rise like a balloon into the sky. When rising feel as if you were oating o and upward. Ifyou rise up with tension in your body, the opponent will be able to detect it and sothwart your intention or seize your body. In T’ai Chi this is likened to the way in whicha cat leaps upward. It sinks and relaxes its entire body rst, and then in aninstantaneous burst of energy it leaps up gently. The intent here is like holding a stringattached to a balloon, and when you let go of the string the balloon rises quickly and isalmost imperceptibly gone.

A praying mantis has wings, and when necessary it will quickly rise up to seize prey with itsclaws in midair.

4. Descending (Lo)Descend like a bird landing on a tree branch. After leaping or jumping, descend lightly, notlike you are collapsing or falling. Think of your knees and feet as being natural shockabsorbers that allow you to land lightly and with agility. When a cat leaps it alwayslands with softness and lightness so that it can quickly make its next move. In T’ai Chithere is a technique called “Hop Like a Sparrow” that is used to escape an opponent’sattack. 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 whenthe 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 cultit is to determine whether it is actually alive or is just a statue of a crane, because itrenders all its body movement imperceptible to the eye. In T’ai Chi this is called “GoldenRooster Stands on One Leg” and it requires a great deal of discipline to master thetechnique. When you can stand perfectly still and balanced on one leg, all your defenseand 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 itsfront 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 windmay blow hard upon its branches and cause them to sway, but the trunk remains rmlyin place because of its deep roots in the ground. In T’ai Chi rooting is one of the mostimportant skills to acquire and is accomplished by imagining all your weight goingdirectly down and through the bubbling-well points in the feet, so that all the weight isactually dispersed evenly throughout each foot. Rooting is never achieved by pressingthe feet into the ground, rather by imagining the bottoms of the feet as wet mopssticking 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 cannever topple it.

7. Turning (Ch’uan)Turn like a fast wheel. Turning is generated in the waist and legs and should resemble thefast and smooth turning of a wheel. In T’ai Chi this is analogous to a suspended beam. Ifyou push on the left side of the beam the right side will turn directly at you, and viceversa. Likewise, if you push down on the left side of the beam the right side will comeup and over directly at you. So, if an attacker strikes your left side, you turn naturallyand 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 attacka 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 yourmuscles 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 thatcan be issued back at the opponent. In T’ai Chi this is called “to receive and attack” andis analogous to a metal spring. When pressed on, a spring will release ten times moreenergy than was pressed or pushed into it.

The praying mantis has a unique body structure and joints that allow it to bend and fold inalmost any direction, yet it maintains a springlike and hinged reaction force in all its limbs andparts.

9. Lightness (Ching)Be as light as a feather. This actually means to be light, nimble, active, and agile. Thelighter and more active you train your body to be, the harder it will be for an attackerto both seize and keep up with you. Lightness not only makes you quicker in respondingto an attack but protects the body from injury if hit, because lightness contains the skillof relaxing. In T’ai Chi this is called sung, which means “to maintain a sensitive andrelaxed alertness.” This is analogous to a cat that appears to be in a deep sleep, but theinstant 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. Itsfour springy legs and hinged body parts allow it to respond with either great force or greatsensing abilities.

10. Heaviness (Tung)Be heavy as lead. Being heavy is a combined action of rooting, relaxing, and sinking sothat if an attacker grabs hold of your body and wishes to topple you, he will find himselfunable to move you in the manner he intended. Likewise, Heaviness is used to entrapthe attacker so you may use in- ghting techniques against him. In T’ai Chi, Heaviness isused to both entice and entrap an opponent, because the rst reaction to yourHeaviness creates a situation in the opponent’s body for easily uprooting or seizingthem.

When sensing a provocation to its underside, a praying mantis does not jump away inalarm, rather it quickly collapses its body and then immediately twists around to capture theintruder.

11. Quickness (K’uai)Be quick like a gust of wind. In Praying Mantis when an attack is issued, it is done withlightning speed. To an attacker it would feel like a strong gust of wind had encompassedhim and left him with nothing to hang onto or defend against. In T’ai Chi Quickness isthe 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 astrong burst of energy is issued, and then the whip length returns immediately tosoftness again.

A praying mantis uses its arms much like quick prods or a lashing whip and does so atlightning speed.

12. Slowness (Man)Glide slowly like an eagle searching for prey. This is used when searching for an opening asan 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 Chithis refers to Listening and Interpreting skills. It doesn’t necessarily mean that you walkslowly around your opponent, but rather that your mind doesn’t race and panic. Like aneagle you are just calmly intent on sensing the opportune moment of attack. It will doyou no good to rush an attack—ever. Calmly and patiently listen with your eyes andinterpret with your mind, then you will be able to determine the right point and time forattack. 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 determinewith 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 abeginning student needs to practice the Eight Hand Positions, Eight Hand Methods,Eight Striking Methods, and Eight Chopping Methods. Like stances and footwork theseare also trained on a solo basis. Be like a praying mantis seizing a cicada, swift andaccurate.

2. Eyes (Mu)The eyes need to rst be trained to follow all the quick movements of the hands, andthen to have a spatial view of an attacker and his surroundings. The eyes, as theChinese say, are what express the spirit, so the eyes must be kept strong, clear, andfocused 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, andhand techniques. Most important, exercise your waist so that it is strong and exible. Bejust 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 fastin motion when needed. Be like a crouching tiger rooting itself or like a monkeyfrolicking quickly about.

5. Alertness (Shen)Train so you can achieve a sensitive-relaxed alertness, so that you are in a constantstate of readiness and paying heed. Alertness also means that you build your self-con dence and physical vitality. Be like a cat preparing to pounce on a rat, attentiveand ready.

6. Strength (Li)Train your inner and external strength, as both must work harmoniously. Inner strengthcomes from acquiring intrinsic energy, and external strength comes from developingyour physical stamina and endurance. Be just like a tiger chasing down its prey, strongyet flowing.

7. Energy (Qi)Train your qi so that it is in abundance and can be issued and expressed when the needarises. 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 wayto achieve perfection of all the above training requirements. Practice requires e ort andmastery requires e ort. Be like the praying mantis, whose survival depends on constantand sustained perseverance.

6. Eight Striking and Eight Non-Striking Points

Pa Ta Pa Pu Ta

Eight Striking PointsThese are the nonfatal areas on an attacker’s body that can be struck when justdefending 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 PointsThese are the fatal areas on an attacker’s body that should never be struck unless it is alife-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 MantisKung Fu than a speci c treatise. It is viewed as both a method of posturing and anexpression of energy (jin). In other styles of Praying Mantis, this is usually referred to asSeven 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 oneadditional long or hard attack. It appears that he did this to connect the Eight HardWays with the Eight Long Energies and Skills.

The theory and practice of Eight Long and Eight Short is extensive, and unfortunatelyspace does not permit a full study of the subject here. Below I provide a brief and, Ihope, succinct explanation of it.

The principles of Eight Long and Eight Short are applied in almost every aspect ofPractical Praying Mantis Kung Fu. As stated above, in other styles of Praying Mantis itis termed “Seven Long and Eight Short,” because there are seven primary long strikesand eight short ones. However, in Practical Praying Mantis, the basis of these principlescan 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 thestrike is generated and expressed from the shoulder through the arm. Conversely, strikesthat are compact and do not extend out (in- ghting) are considered Short Energybecause 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 PrayingMantis always maintains one arm extended outward (Long) and the other back andinward (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 becausethey are out- ghting techniques. Whereas, the Soft techniques of Chasing, Adhering,Confronting, Leaning, Hooking, Grasping, Pulling, and Suspending are considered EightShort 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 Kick2. Mandarin Ducks Kick3. Axe Blade Kick4. Penetrating the Heart Kick5. Knocking Over the Tablet Kick6. Sweeping the Lotuses Kick7. Close the Gate Kick8. Whirlwind Kick

The Eight Leg Methods are considered Short Energy:1. Seizing Leg2. Treading Leg3. Threading a Bow Leg4. Extending Leg5. Grinding Leg6. Double Flying Leg7. Parting Leg8. Treading Sweep Leg

Kicks then are long methods (out- ghting) as the energy is generated and expressedfrom the hip to the foot; and leg maneuvers are short methods (in- ghting) because theenergy is generated from the knee to the foot.

The primary principle behind the idea of Eight Long and Eight Short is to always keepone hand or one foot in reserve, to never extend both hands out with the energy or forcebeing issued by both. This is true in T’ai Chi Ch’uan as well. One hand is yin, and theother yang. One foot is substantial and the other insubstantial. The only di erence isthat Praying Mantis makes greater use of Long Energy, and T’ai Chi rarely does. Bothare predominately in- ghting styles, but Praying Mantis Kung Fu will use Long Energyto 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 quicklyand 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 becombined with the words of Yu Chou.

In the northern direction is Water; in the southern direction is Fire; in the easterndirection is Wood; in the western direction is Metal; and within the center of these isEarth. These then are the locations of the Five Activities.

Those who begin their martial art studies should become familiar with the FiveInternal and Five External Activities. The ve internal activities are ching (physicalenergy), shen (spirit and mental energy), yi (mind-intent or will energy), qi (vital-lifeand breath energy), and kung (skill and e ort energy). These are formless andimageless; people are unable to see them, but they are the original essence of eachperson.

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 theFive Activities, and binding them together into a complete whole is what makes the FiveActivities so marvelous. It is what enables a person to attain what is in his grasp andgive certain success to a plan of action.

The Five External Activities are revealed in a person’s four limbs and hundred jointsand bones, and these have form and image. Men, if they study other men, can also seethese in each person. Therefore, the hands, eyes, body, posture, and footwork are theFive External Activities.

But these Five External Activities must also be trained and studied carefully. Withineach movement the entire body must move. Likewise, if one condition is lacking, thenall the conditions are lacking. Every movement must have principle, because withoutprinciple there is no correctness of movement.

A martial artist will unite the Five Internal and Five External Activities accordingly:

• The activity of Water is seen in the use of the Hands and the functions of the Ching. • The activity of Fire is seen in the use of the Eyes and the functions of the Shen. • The activity of Wood is seen in the use of the Body and the functions of the Yi. • The activity of Metal is seen in the use of the Posture and the functions of the Qi. • The activity of 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 FiveElements, 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 isfar more important to learn how to improve your character and how to deal with thepeople and world around you. In the end, martial art is really more about self-disciplineand self-discovery of a person’s full potential, not just ghting or becoming the world’smost formidable martial artist. A futile goal anyway because someone will always beyour better no matter how skilled you become. As Lao Tzu said, “He who puts himselffirst 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, therewere rules of conduct. These rules of conduct were mainly about showing respect for theteachings, the teacher, and yourself. Without maintaining these “three respects,” aperson’s martial art will greatly su er, and the student will just end up jumping fromone method and one teacher to another, culminating in broken and missing pieces of apuzzle.

The following student and teacher requirements serve as guides for all students ofPraying Mantis Kung Fu, or any other branch of martial art for that matter. Theyrepresent the traditional view of how a student should properly conduct him or herselftoward the teachings, teacher, school, and self.

Student Requirements

1. Respect the founder of your martial artStudents should always consider that the founder is the principle reason for their

physical and spiritual betterment. Founders spend their lives developing and teachingtheir system so that those in the future can bene t. There is an old Chinese adage, “Thegreen comes from the blue, but excels the blue.” This means that even though a studentmay become better than his teacher, the student should never forget or disrespect theorigin or lineage of the teacher.

2. Respect your teacher and instructorsOn 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 concernedwith whether the teacher returns the gesture or not. The normal and most acceptedverbal greeting is to call your teacher sifu (instructor) or simply “teacher.” For thoseteachers who take on actual formal students or disciples the term used is shihfu (spiritualfather).

If your teacher asks a student to do a certain task, the student should gladly andpolitely perform it without argument or hesitation. Just simply try your best to completethe task efficiently.

A teacher normally spends many years learning an art, and a student shouldunderstand and respect that whatever he gives a teacher, be it monetary or work in-trade, it will never equal the e orts and time the teacher made to enable students tolearn the art.

Students should always be grateful for the instruction they are given and for thepatience the teacher has shown in teaching it to them.

Good students always attempt to help their teacher and the school itself by o eringtheir skills and services to the best of their abilities.

3. Follow the school regulations and the regimes of the teacherWhenever 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 actarrogant or treat them with disregard. Each student, new or old, should respect eachother and help each other, just as good friends would. All students should be humbletoward all their fellow students.

Students should never criticize other students. The purpose in becoming part of aschool and learning from a teacher is to develop martial skills in direct unison withimproving one’s nature and wisdom. It is not appropriate or bene cial for students togossip or criticize other students. Otherwise, unnecessary rivalry and discord within theschool will occur. A teacher accepts students based on a judgment of their characters, sostudents who criticize other students are actually offending the teacher.

Students should be diligent in class and attempt to practice everything they are taughtby the teacher to the best of their ability. Students should pay close attention towhatever the teacher instructs them to do. Students should not be hasty and seek toomuch instruction too quickly.

Students should always come to class on time, be clean, and dressed in appropriatepractice clothing.

4. Proper conduct outside the schoolStudents 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 othersand in life-threatening situations.

Students should not go outside the school to teach on their own unless the teacher hasgranted permission.

Teacher Requirements

1. Good LineageA 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 spentunder a teacher’s tutelage, it is doubtful someone can assist students in mastering eventhe coarsest aspects of the art.

2. Selecting StudentsEven 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 notto teach them the deeper aspects of the art and formally accept them as students.

3. Proper InstructionA 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 sothat 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 aredesigned to help strengthen the internal organs, give more pliability and strength to themuscles and joints of the body, and develop the breath in coordination with bodymovement.

Second, the Eight Stances are the most e cient means of activating the qi, developingroot in the feet and legs, concentrating the spirit, and opening the tan-t’ien in the lowerabdomen.

Third, the Eight Footwork Methods not only develop agility in conjunction with rootbut are the foundation for acquiring intrinsic energy. When you learn the footworkmethods and how they function properly, you will also be able to interpret the footworkof an opponent much better. In T’ai Chi Ch’uan it is said, “Know yourself and you willknow others.” So when you know how to move your feet, it will become apparent froman opponent’s slightest movement what his strategy is.

Fourth, the Eight Kicking Methods further develop root in the feet and legs, but theygreatly enhance the development of intrinsic energy in the waist and legs. One of thebig 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 straightleg techniques directed at the groin or knees and are used in combination to draw anopponent into you. For these kicks to be e ective, however, the skills gained fromstances and footwork must be acquired.

Activating the Qi

Master Wei states, “There is no other more e cient way of activating the qi than withstanding.” The practice of standing in xed stances is normally called Chuang Pu inmartial arts, meaning to stand like a post. Anyone who begins this practice will soondiscover how much heat is acquired in the body and hands, and initially the student willsweat a great deal. These are good signs that the student is progressing, but it is alwayssurprising 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 thehands 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 andmeridians. It is better to focus on what is called “free circulation of qi,” meaning thatyou 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 yourbody, you will experience a strength that you didn’t know existed. It is not the same asthe 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 healthierand 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 likethat of a small animal who when needed can defend itself against much largerpredators. 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 tofocus your spirit and mind. This not only develops your mind-intent but also takes yourfocus o qi. Too much attention on the breathing and qi will actually hinder theirdevelopment. It is better to have a strong mind-intent so that the breath and qi can bedirected.

In old Chinese warfare, generals had a unique system for ensuring troops arrivedwhere they were supposed to in battle. Keep in mind that they had no electronics withwhich to send orders and messages, so the generals and commanders communicated bybanners. In brief, a commander would position himself on high ground where he couldsee the battle eld clearly. When he located a position where he wanted to station histroops, 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 isthe commander, the qi the banner, and the blood the troops. When Standing, the mind-intent is most important, because it is like taking the high ground so you can envisionexactly what you want. If the mind-intent is to focus on a hand, then the qi will gothere. 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 mind-intent 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. Qiand blood are like the troops in that they need to move. Mind-intent is like seeing, orfocusing, 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 ofthe increased blood ow to your muscles, tendons, and bones. Big muscles do not equateor imply strength. They just have the appearance of strength. Actually, big muscles slowdown a person’s reaction time. They lessen one’s endurance in a ght because thebreath 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 theheart has to work harder to provide the necessary blood they need. It is common forweight lifters to su er from heart problems and musculature problems later in life. Thisis primarily because they spend so much time in their early years exercising to enlargetheir muscles, but then as they slow down later in life the heart is weakened fromhaving been overworked for so many years.

As a mainstay of traditional martial art, Standing was always considered the bestexercise for the heart and muscles. Not because they grew externally in size, but becausethey grew healthy inside and did not overtax the heart. The strongest of animals do notrely on big muscles for strength, rather healthy muscles and a strong spirit is whatmakes them strong. A tiger, for example, derives the majority of its strength from bothits state of relaxing the muscles and its strong spirit. Lifting weights and working out toproduce large muscles and a chiseled body may get you noticed, but it doesn’t mean youwill have any internal or external strength, speed, or lasting endurance.

I once had the pleasure of teaching a police o cer some martial techniques. Hisbiggest concern was to gain endurance. He said that when he really had to wrestle withsomeone, his breath would immediately rise in his upper body and cause him to breathepensively and he would run out of strength quickly. So, even if you have big musclesand 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” mostpeople assume this means they must take deep, slow, and long breaths, and forciblypush the breath deep into the lower abdomen. This assumption is false and will only aidin obstructing the breath. The secret, if you wish to think of it that way, is really nosecret at all. The Chinese character for the term “sink” (chen in Chinese) simply depictsa rock falling down into water. The breath should be the same. When standing, all youneed do is allow the breath to sink into the lower abdomen. Let it happen; don’t make ithappen. “Qi” and “breath” in Chinese carry the same meaning and are expressed withthe same written character. Qi is gathered from the breath, and it is the breath thatdevelops qi.

If you just put your mind into your lower abdomen, you will soon discover that thebreath follows there as well. Again, focus on the area and the breath will follow. Whenthe breath is calmly directed to the lower abdomen, the qi can then accumulate there. Itis so simple that we overlook it completely. Hence, it protects itself from being idlydiscovered. Like with muscles, we normally think the more forcefully we practice themore potent and strong our qi will become. Actually, if you really want to discover qi inyour tan-t’ien, the rst step is to just relax and sense your lower abdomen. The breathand qi will follow naturally.

When Standing, practice “natural breathing.” This means the stomach is expanded onthe inhalation and contracted on the exhalation. There are nine di erent types ofbreathing 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 asyou progress in your practice with natural breathing, the qi will sink and accumulatemore strongly over time. This is why I encourage and advise students to be patient. Juststand, pay attention to your lower abdomen, and allow it to happen rather than tryingto 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 isnormally 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 andseen in the actions of a cat. For example, a cat may appear to be fast asleep, but when amouse runs past, the cat is immediately awake and alert. The meaning of sung, then, iscloser to the idea of “alert awareness in a state of relaxation.” Stance training is trulyabout being in this state of sung. Thus, Standing is actually better for the development ofintrinsic 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 moreagile and able to issue energy from them—akin to the energy coming o the end of awhip. 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 canalso think of it in terms of a rubber band, which is soft and pliable. When a rubber bandis 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 ashaking or tensing of the leg muscles, and the reaction most will have to this is to raisethe body up in hopes of relieving it. This will only be a momentary solution. What needsto be done, and what helps develop the intrinsic energy, is to let go of the tension—justlet it drop, much like letting a little air out of a tire. Over time, when your bodynaturally 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 imperceptiblyto an opponent. Since no hard energy is involved, an opponent cannot detect it and istherefore 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 centralequilibrium. 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 notin the legs or upper body. A good analogy is a dharuma doll, those in ated dolls thathave sand on the bottom. When you punch one, it topples over but then snaps rightback and wobbles to its center.

The idea behind rooting is the ability to take an opponent’s energy and direct it downthrough your foot rather than have it a ect your upper body and legs. Just as withdeveloping intrinsic energy, when the body or legs start to shake or get too tense, youmust let go of the tension and send it down into the foot so that the thighs and calvesare constantly being relaxed.

With root, no matter when standing or moving, you will always maintain balance andcenteredness. 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 besure footed, knowing exactly where and when to place your feet. The rst step ofacquiring agility is through practicing the Eight Footwork Methods so that you knowwhere your feet are going and why. Plum Blossom Praying Mantis Kung Fu was sonamed because the footwork was originally practiced on stumps of plum trees. This wasdone not only to make the footwork exact and precise but also to heighten the skills ofagility. It is one thing to practice footwork on solid ground where mistakes in movingthe feet go unnoticed, and quite another to have to direct the center of the foot onto asmall surface. When I learned the footwork for Plum Blossom Praying Mantis, I wastaught to step onto bricks, just so I would have to pay full attention to where my feetwere 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 inconjunction with the hand movements. In the T’ai Chi Ch’uan Treatise attributed toChang San-Feng, the opening line reads, “With every movement string all the partstogether, keeping the entire body light and nimble.” Praying Mantis Kung Fu applies thesame 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 itstools for defeating prey. The following descriptions of Praying Mantis Kung Fu Handsprovide a solid overview of exactly how precise and functional the hands become inPraying 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 formartial application.

1. Hook HandThis is the signature Hand style of Praying Mantis Kung Fu, and there are fourvariations 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 ofan opponent. The Knife Hands are very powerful and use a very quick and hard energy.

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

4. Seizing HandTwo variations: one uses a single nger and the other two ngers. Seizing Hands areapplied to the opponent’s forearms, wrists, hands, and ngers. Seizing Hands are usednot just to grasp an opponent but to apply what is called “Sinew Tearing and BoneCrushing.” For the latter the training is very arduous.

5. Internal Striking HandTwo variations: the Phoenix Eye makes use of the index nger knuckle and the NeedleFinger 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 moreexacting but takes a great deal of training to use e ectively. Both of these are used forcausing internal energy to an opponent.

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

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

8. Open Palm HandTwo variations: one positions the hand vertically and the other horizontally. Normallythe Open Palm Hand is used for internal damage to the heart but is also used in adefensive manner such as in Greet the Face Palm. When the Open Palm Hand is trainedproperly 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 takesplace. In all the internal arts, a category under which Praying Mantis Kung Fu de nitelyfalls, the idea is to develop a strong internal strength, not just a physical one. Inlearning the practices of a particular internal art, the student rst builds up heat andsweat, which is correctly accomplished through relaxation and breathing from the lowerabdomen. When they are not dissipated quickly, heat and sweat will reach a pointwhere they can enter the muscles and be absorbed. Heat and sweat are aspects of qimovement and are important to the process of internal re nement. Heat needs to buildslowly 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, whichhas little ame but gives o a steady heat. Too much ame will burn the outside of asteak, 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 yourpractices, you will increase your blood circulation and thereby carry the qi to all thevarious parts of your body. Master Liang aptly de ned qi as “an inherent oxygen withinthe blood.” He always thought there was too much emphasis on creating qi ow inmeridians of the body, which is more of an end result from having qi, not a means toacquiring it.

When the blood circulation is increased, so then is the free circulation of the qi. Withthis 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 thebody). Over time these tendons and soft tissues absorb more heat, blood, and qi, whichthen begins to penetrate into the bones and eventually into the marrow. All this makesthe 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 canthen be issued at will and a great internal strength is acquired. It also means that the qiwill begin accumulating within the tan-t’ien, creating the sensation of a solid objectwithin the lower abdomen. From this experience, the process of circulating the qithrough the meridians of the body can be accomplished. But it must all start with freecirculation of qi.

Advice on Practice Sessions

The following tips will make your practice more productive, bene cial, andcomfortable.

Initiating a Practice SessionAlways try to wear a long-sleeve shirt and comfortable clothing. My teachers, MasterLiang and Master Kung Wei, rarely practiced in a short-sleeve shirt. They did this so thatthe heat, qi, and sweat acquired during their practice would not dissipate too quicklyand would penetrate into the muscles and bones.

Try to never practice in direct sunlight or during the afternoon when it is too hot. Todo so will cause fatigue and expose you to too much yang energy, which can cause avariety of weaknesses within the body.

Drink a glass of water, preferably with a slice of lemon, twenty minutes beforepracticing. Lemon is a blood puri er and will calm the stomach. It is okay to drink coolwater, but stay away from ice-cold drinks and from using ice. Ice and cold are too hardon the internal organs and over time will adversely a ect them, just as drinking reallyhot beverages will also harm the internal organs. Someone once asked me whytraditional Chinese teacups didn’t have handles. If the teacup is too hot to pick up withyour ngers, the tea is too hot to drink. Handles won’t tell you this. Always let your teacool down a bit before drinking.

Never eat immediately before practice. Wait until your food has been digestedproperly. Try and eat nourishing foods as well. Fresh vegetables and fruits will provideyou with more energy than eating a lot of meat and starches. Taoist monks of oldalways limited their intake of starches so that their bodies would become lighter andmore agile.

Try to practice in a quiet and clean area. For years, I practiced in my backyard andalways lit a piece of incense and stuck it in the ground prior to practice. It seemed toalways set the proper mood for practice.

Don’t rush your practice. Take your time. It is better to learn one exercise well than tobe impatient and try to do everything at once. Whatever you’re working on feel likeyou’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 SessionAfter 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 intoyour body.

Wait at least thirty minutes before showering after practice. Again, allow for the heatand 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 theantioxidants 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 OxPloughs the Earth three times. Also, in a xed stance of Riding the Horse, pull the handsinto 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 andraising upward until they are above the head with the palms facing upward. Then, bendthe waist over toward the front and push until the hands face the feet. Then do the sameto the right and left sides one time. After the muscles are stretched out, work hard atpracticing the following Eight Stances.”

These warm-ups come from portions of the Eighteen Lohan Kung Fu exercises. Iron OxPloughs the Earth, for example, is the ninth Lohan exercise. Tyrant King Raises theCauldron is the second Lohan exercise, and bending the waist forward comes fromPlanting Flowers, the third Lohan exercise. All the rest have similarities with othersections of the Lohan exercises.

Master Wei recommends these warm-ups for good reasons, as they are e ective in notonly 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 studentsperform the complete sets of I Chin (Muscle Change) exercises and the Eighteen LohanKung Fu exercises before each practice session. For beginners, however, the followingexercises will certainly su ce and will provide great bene t. Again, do not overlook thepractice of these preliminary exercises. The body needs to be strengthened andmobilized properly before undertaking the rigors of practicing the Eight Stances.

Exercise 1Iron Ox Ploughs the Earth

T’ieh Niu Keng Ti

Step 1The left foot is brought behind the right foot, hooking around and against the outer sideof 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 ofpulling energy. The left hand grasps the right forearm. There should be a feeling ofresistance in the right arm with the left palm grasping it tightly, producing a necessaryenergetic force [1]. These actions all take place within the inhaling of the qi.

Step 2From the above position the two arms and hands move straight downward by bendingthe waist over. With the arms joined together, the right st is directed to point straightdown 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 atotal of eight times.

Step 3The right foot is then brought behind and to the left side of the left foot, with the toespointing 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 4From the above position the two arms and hands move straight downward by bendingthe waist over. With the arms joined together, the left st is directed to point straightdown to the ground [4]. These actions all take place within the exhaling of the qi.

Steps 5 & 6To conclude, bring the feet together and stand upright so that the feet are crossed infront this time. Then, bring the left foot and place it on the heel in front of the right footand toes.

The hands are held like screens in front of the face. Stand this way for severalinhalations 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 andproceed to the next exercise.

Exercise 2Riding a Horse, Single Fist Pulling

Tan Ch’uan Ch’ou Chi Ma

Step 1Stand in an open Riding the Horse Stance with both legs in line with each other and thetoes turned slightly inward. Make sure the back is straight and the buttocks slightlydrawn 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 facingdownward. Apply energy to the left st and arm. The right-hand st is held along theright side of the ribs with the palm facing upward, but relax the arm and st—no forcedtension [2].

Step 2Now imagine the left st is holding a rope that is attached to a pulley on the wall infront of you with the other end of the rope attached to the right st. Energetically pullthe left arm and st back to be alongside the left side of the ribs, and when pulling backturn 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 asthough it had been whipped out, not forced by its own strength. As the right fist goes outit turns over to be palm down when reaching the front [3].

Step 3Now, with the right st and arm extended out at shoulder level, and the st palm facingdownward, apply energy to the right st and arm. The left-hand st is held along theleft side of the ribs with the palm facing upward, but relax the arm and st—no forcedtension [4].

Step 4Again, energetically pull the right arm and st back to be alongside the right side of theribs, 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 andforward 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 gentlyand proceed to the next exercise.

Exercise 3Riding a Horse, Double Fist Pulling

Shuang Ch’uan Ch’ou Chi Ma

Step 1Stand in an open Riding the Horse Stance with both legs in line with each other and thetoes turned in slightly [1]. Make sure the back is straight and the buttocks drawn downand in slightly so that they don’t protrude outward.

Simultaneously, place both sts alongside the ribs, with the sts held tightly andfirmly and the elbows drawn back.

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

Step 3With some force pull both arms back into the body to their original position [4]. Exhalethe 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 4Mantis Colliding Its Arms

Lang Pi Ch’uang

Upper CollidingStep 1Stand upright with the feet separated at shoulder width. Bring the left arm in front ofthe body with the elbow bent, st pointing upward, and upper arm parallel to theground. 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 2Bring the right arm across, colliding the inner forearm with the inner forearm of the leftarm [2]. Exhale the qi when bringing the right arm across to collide.

Step 3Switch arm positions so that the left arm is to the side and the right arm is out front [3].

Step 4Collide the inner forearms as in Step 2 [4]. Exhale the qi when bringing the left armacross to collide with the right.

Repeat these actions of alternately colliding the arms eight times for each side.

Lower CollidingStep 1Continue to stand upright with the feet separated at shoulder width. Bring the left armto point diagonally downward in front of the body, with the elbow straight and the stpointing upward. The right arm is extended diagonally out to the right side, with thepalm facing the back [5]. Inhale the qi when standing in this posture.

Step 2Bring the right arm across, colliding the back of the right forearm with the innerforearm of the left arm [6]. Exhale the qi when bringing the right arm across to collide.

Step 3Switch arm positions [7]. Inhale the qi when standing in this posture.

Step 4Collide the arms as in Step 2 [8]. Exhale the qi when bringing the right arm across tocollide.

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 5Tyrant King Raises the Cauldron

Pa Wang Chu Ting

Step 1The 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 infront of the chest [1]. Calm the mind so the breath and qi can be harmonized. Slowlyinhale and exhale while gazing directly to the front.

Step 2Without 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 handsare 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 andarms and then returning them for a total of eight repetitions.

Step 3Without changing the stance, make two fists and punch downward to the ground [3].

Step 4Open the ngers of both hands wide and then clutch them again into sts. Then standup, 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 themupward, inhale the breath and qi.

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

Repeat these movements two times. Withdraw from the posture and pausemomentarily. This concludes the Tyrant King Raises the Cauldron exercise. Shake thebody gently and proceed to the next exercise.

Exercise 6Immortal Pushes the Void

Hsien Jen T’so K’ung

Step 1Stand upright with the feet separated at a little less than shoulder width. Bring botharms in front of the body and interlace the ngers, with the palms facing the body atchest 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 upover the head, turning the palms to face out [2]. Extend the arms straight up, but at aslight angle so that the eyes can still gaze at the back of the hands. Inhale the qi whenextending and pushing the arms upward.

Step 2Bring the arms and hands back to the original position [1], with both feet placed at onthe 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 7Planting Flowers, Left and Right

Tso Yu Ch’a Hua

Step 1Stand upright with the feet together and the sts held to the sides of the body with theelbows 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. Inaccordance with the movement of the waist, the right st is changed into an open palmas it follows the stepping-out motion, and the left st turns palm down. The right handgoes out long and the left stays short, as they push out to the right side. As the handsmove rightward, the head and eyes turn to gaze intently toward the left direction, andyou exhale the qi [2].

Then, clutch both hands into sts again, withdraw the right foot, and return to theoriginal upright stance. The weight should be equal in both legs [1]. This movementcalls for inhaling the breath and qi.

Repeat these movements eight times in succession and then pause.

Step 2From the previous ending position of standing upright turn the head and gaze intentlytoward the left.

Next, step out with the left foot to be in a Left Climbing the Mountain Stance. Inaccordance with the movement of the waist, the two sts are changed into open palmsas they follow the stepping-out motion. One hand goes out long and the other short, andthey push out to the left side. As the palms move outward the head and eyes turn to gazeintently toward the right direction, exhaling the qi [4].

Next, clutch the hands into sts again and withdraw the left foot back again to returnto the original upright stance. The weight should be on both legs [3]. This movementcalls 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 thepalm facing out. The right st is dropped low in front of the trousers, with the palmfacing back [5].

Move the arms as if the hands were pushing and pulling something upward anddownward simultaneously. Repeat the movements eight times and then pause.

The inhalations and exhalations should naturally follow each other, so that when theleft hand and arm is being dropped down there is an inhalation [6]. When it is the righthand and arm being dropped down it is an exhalation.

Step 4Stretch 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 arebrought 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 theleft fist extending toward the right toes, with the palm facing in [8].

Perform these up-and-down movements eight times in succession. When movingupward inhale, and when moving downward exhale.

Next, stretch the left leg and foot outward to the left side into a Left Seven-StarStance. 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 theright fist extending toward the left toes, the palm facing in [10].

Perform these up-and-down movements eight times in succession. When movingupward inhale, and when moving downward exhale.

Step 5From the previous Seven-Star Stance turn-step into a Left Climbing the MountainStance. 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 insideand upper part of the left arm in a rm grip. Stare at the left palm, stand, and circulatethe 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 RightClimbing the Mountain Stance. The right st is then raised upward (thrusting into thesky) to the level of the forehead, with the palm facing the body. The left hand is broughtinward 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 gentlyand proceed to the next exercise.

Exercise 8Pushing Over a Mountain to Uproot a Tree

T’ui Shan Pa Mu

Two Hand PosturesStep 1Lay your body at on the ground and bring the palms of your hands o to each sidenear the shoulders. Cross your right foot over your left ankle so that the toes of eachfoot are touching the ground [1].

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

Step 3After completing the eight breaths, switch the feet so that the left foot crosses over theright ankle and perform another eight complete breaths.

Step 4As best you can, bring the weight of your body up on the ngertips [3]. Attempt thismovement from at palm to ngertips three times and then lower the body all the waydown.

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

Step 2As best you can, attempt to bring the weight of your body up on the right-handfingertips. Do this three times and then lower the body back down.

Step 3Now, position your body so that the left palm and arm are extended and supporting theweight of the body. The right hand palm is attached to the upper waist area. Cross yourright foot over your left ankle so that only the side of the left foot is touching theground. Breathe eight complete breaths in this position. [5]

Step 4Again, as best you can, attempt to bring the weight of your body up on the left-handfingertips. 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 beforesitting up.

This concludes the Pushing Over a Mountain to Uproot a Tree exercise. Shake thebody 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 orput in the e ort necessary to excel at the basic stances. The reasons they are soimportant fall into three main categories:

First, you develop a body memory, or body intelligence, from standing in thesepostures. When you need it, your mind-intent will automatically put your body into theproper position.

Second, you will gain an unshakable root, or central equilibrium, from performing thestances over a long period of time. Root is absolutely necessary for practical use andperforming the solo forms.

Third, you can learn to mobilize the qi. Standing exercises are the most e ective wayto begin developing and moving your qi.

I cannot express strongly enough how absolutely important and necessary it is for anystudent to undertake an intensive and extensive training of these eight stances.

The following Eight Stances are each accompanied by a song or verse, translated fromMaster Wei’s book Practical Praying Mantis Kung Fu. Students traditionally memorizedthese songs so that when performing each stance they could be more mindful of theenergy being trained. This aided the development of the mind-intent when the stancescame about in form practice.

Song of the Eight Stances

Riding the Horse, Mountain Climbing, Seated Tiger, Seated Coil, Seizing theCicada, Tiger’s Head, Pretending to Be Defeated, and A Chicken Standing in theSnow. These are the rst stances for training in the martial art of PrayingMantis.

These Eight Stances are the foundation of T’ang Lang Kung Fu. They must be practicedevery day over a long period of time without interruption.Advice on How to Practice the Eight StancesIt is best to take one stance at a time and practice it until you feel someaccomplishment. More is not better. At rst, just stand a few minutes and graduallylengthen the duration over time. I trained to stand in a single stance (both sidescombined) for about thirty to forty minutes but initially started out with just ve-minuteperiods. In other words, I let myself grow into it rather than trying to force my waythrough long periods of standing. Every couple of months I would learn and practice anew stance until all eight had been accomplished. Now, I stand in each posture for veminutes, 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 Ido stand in one of the postures for twenty minutes every day as part of my preliminarytraining before practicing forms.

The key to learning these stances and for gaining the skills inherent in them is to goslowly, be patient, and grow into them. An old Chinese saying instructs, “Slow up, slowup. I’m in a hurry,” which means that if we go too fast we run the risk of injury andnever getting where we want to go.

Last, there is no problem in learning other aspects of Praying Mantis Kung Fu whilelearning the Eight Stances. Initially, it should be your daily and main focus, butcertainly not your only one.

Stance 1Riding 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 turnedinward (k’ou) and the kneecaps separated outward. The waist should be thrust forwardand held upright, so the buttock isn’t protruding out, and so the lower abdomen can bedrawn in. To the left and right perform Drawing the Bow Stance. Both eyes gaze levellyat the front-hand knuckles. Fix the spirit (shen) by breathing numerous times. After longcontinued practice your kung fu will excel.

CommentsJin translates as “intrinsic energy” and comes from the ability to relax the sinews andmuscles of the body. This is identical to the energy a cat uses to jump ten times its ownheight. Cheng energy (cheng jin) is similar to the action and energy of using a long poleto 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 waistto face directly to the front [2], with the weight equal in both feet. Then bring the armscompletely across to the right so that the right arm is o to the right side and the leftarm is to the rear [3], repositioning the majority of the weight in the left leg.

Stance 2Mountain 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 thetop. The front knee must be bowed and the rear leg must be collapsed, yet straight. Thetwo hands, with sts pulling levelly, appear to be clutching at plants or pulling thegrass to climb up the hill.

CommentsPeng means that the rear leg is not extended straight up with the knee locked, andshould be maintained with the knee joint in a slightly bent and unlocked position. Pengis an important term in Praying Mantis Kung Fu, as it implies the skill of descendingand 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 advanceand 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 tothe 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 thewaist as you do so. Last, pick up the right foot and leg and set it down directly to theright side, ending in the Right Style position [3].

Stance 3Seated 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 iscalled Seated Tiger Stance. The rear leg is bent and seated, and the front leg issomewhat straight, with the heel slightly elevated and the toes turned inward (k’ou). Thecenter of balance is on the rear leg. The energy (jin) is in the crouching (k’ua). Thehands are evading a strike. Sink the shoulders and lower the elbows, so that they can bemoved and turned to be parallel.CommentsThe 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 theground 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 theperineum is rounded out.

• Feel the majority of the weight in the rear leg (80 percent rear and 20 percent on thefront toes).

• Keep the rear foot at and relaxed on the ground. The front left heel is slightly o theground 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. Ifnecessary, pivot on the ball of the left foot to point it to the right corner. Then pick upthe right foot and leg, turn the waist to the right, and set the foot down directly to theright side [3].

Stance 4Seated 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 iscalled Seated Coil Stance. Both hands push (t’ui) to the front, which completes theposture. It is also called Push Open the Window to Gaze at the Moon. This stanceinvolves turning and twisting, either left or right, with the legs able to interchangeendlessly to get to the opponent from any direction.CommentsThis stance is seen throughout all styles of Praying Mantis Kung Fu and under variousnames. Primarily, it is called Encircling Step (Ju Huan Pu). The main purpose of thestance is seen in its quick ability to either spring straight up or to twist left or right, andso 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 theright 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 ankleand 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 toyour left side, so that both feet and the waist point to the left [2]. Then pick up the heelof the left foot and pivot on the ball of the foot to point it to the opposite, right side andthe waist to the rear, while simultaneously switching the position of the hands and armsand sinking down into the Right Style Seated Coil Stance [3], with the hands and armsstill pointing to the left side. Photo 3 is a front view of the Right Style Stance, otherwiseit would be showing the author’s back. The hands are positioned correctly pointing tothe left side, although this is shown here from the reverse angle.

Stance 5Empty 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 bentand seated. The front toes point to the ground, making it an empty stance. The front legcan then escape (ts’uan) or jump (t’iao). The rear leg can root up (pa) or jump. Both leftand right can evade by turning. Both hands are just like knives (tao), hooked (kou) andbent. At the time of applying this do not interrupt the circling.CommentsThis 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 masterthis posture is to master half of Praying Mantis, just as mastering Rolling-Back mastershalf 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 importantto position the front arms so that the elbows are over the front knees. Bringing themoutward 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 itdown with the toes pointing to the right corner and shifting all your weight into the leftleg [2]. Then turn the waist to the right side, while bringing the right foot over to theside and simultaneously switching the positions of the hands and arms [3]. Last, turnyour waist a little to the left and reposition both arms so that the front arm and handare facing forward, and the rear left arm is pointing out to the side.

Stance 6Tiger’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 sometimescalled Climbing a Small Mountain. Because both legs are bent, this is also called Not T-Shaped and Not Eight-Shaped (pu ting pu pa). Both hands are held in sts. The fronthand is yin, and the rear is yang. Lower the shoulders and sink the elbows. Focus themind to fix the spirit—this is why it is called Tiger’s Head Stance.CommentsIn 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 thelower abdomen into the front st. In T-Shaped Stance the front foot is positionedstraight out from the rear foot to form a T-shape, and in an Eight-Shaped Stance bothfeet 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 thecorner. Hence, it is neither a T-Shaped nor an Eight-Shaped Stance. The front st is heldpalm up and the rear st palm down. Feel more energy in the front hand, and morerelaxation in the rear hand. Make sure you are holding no tension in the shoulders andthat both elbows feel a little sunk. The intent here is to feel like a tiger staring at itsprey (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 downand 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 thetoes 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 itdown with the toes pointing to the right corner and shifting all your weight into the leftleg [2]. Then turn the waist to the right side, while bringing the right foot over to theside and simultaneously switching the positions of the hands and arms [3].

Stance 7Pretending 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 overcomeand 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 headand gaze. The hands are in sts. Traditionally, this posture was used to conceal aweapon, and at the opportune moment the weapon was used to defeat an opponent andso take advantage of him.CommentsThe subtle mind-intent referred to is one of pretending or concealing intent. It isretreating only for the purpose of advancing. When performing this stance, imagine youare only pretending to be routed so you can make a quick advance to take advantage ofan opponent.

It is important to not allow the front hand to crowd in on the body—keep it out and alittle 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 onthe 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 sinkinto the right leg, while turning over the hands and arms to be in a Right Style Stance[3].

Stance 8Chicken 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 fromthe cold, it will pick up one foot by bending it. With the thigh held parallel to theground and the knee pointed forward, the toes hang downward, appearing as if theyare just being raised. If an opponent attempts to use his leg to kick, use this stance toquickly 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.CommentsThis stance will be the most di cult for beginners to maintain since the entire center ofbalance is on just one leg and there is no means by which to catch yourself if you beginto 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, ora combination of both. Just make sure not to drop the rear elbow—keep it parallel tothe 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 forwardlike 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 thetoes pointing to the right corner and shifting all your weight into the left leg [2]. Thenturn the waist to the right side, while lifting the right foot and switching the positions ofthe 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 ofstepping (or footwork) and then train the footwork methods in conjunction with theirrespective applications.”

In regard to footwork, rst learn the procedures of how to step and then train themethods in conjunction with their respective applications.

Below are instructions for each footwork method. To make these exercises moresuccinct and clear they are presented with instructions that all begin in the PrayingMantis Kung Fu on-guard stance of Right Style Seated Tiger. Once the right style islearned it will be a matter of course to train them on the left side. Then these methodsshould be practiced beginning in a Riding a Horse Stance and performing the left andright styles from this position as well.

Initially, train each of these methods slowly so that the footwork becomes secondnature, and then gradually build up speed and agility. It should be noted that the rstfootwork method, Up-Rooting Step, is used as both a prelude and conclusion to the otherfootwork 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 thetraining of the feet is of utmost importance here. The hand training is traditionallytaught after a student masters the stances, footwork, and kicks. It is advised that thereader pay close attention to the photographs to gain a better sense of the hand andarm positions and the applications being subscribed, but the instructions focus on thefeet and stepping methods.

Footwork Method 1Up-Rooting Step

Pa Pu

This footwork method of Up-Rooting Step is used for escaping an attack by performinga jumplike step to the rear. This particular footwork method is the most commonly usedin the training of Praying Mantis Kung Fu. It functions as an evasive and neutralizingtactic, 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 ChiCh’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 rightarm 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 backone 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 timesby beginning in a Left Style Seated Tiger Stance. Also, train this footwork by startingout in a Riding the Horse Stance and perform Up-Rooting Step on both the left and rightsides.

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 Up-Rooting Step.

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

Step 3: Pick up the left foot and bring it directly forward, and when doing so jump upo 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 rightdiagonal [4].

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

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

Footwork Method 3Folding Step

Tieh Pu

This footwork method of Folding Step is a Withdrawing-Step (Che Pu) in combinationwith 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 StepRight Style

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

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

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

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

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

Footwork Method 4Encircling Step

Ju Huan Pu

The footwork for Encircling Step is a low method for advancing, clawing, and pushingand is a very e cacious method of stepping. The front leg is crossed over in front of therear leg and knee, and the rear foot, with the heel off the ground, supports the stance.

Instructions for Encircling StepRight Style

Step 1: Stand in an on-guard Right Style Seated Tiger Stance [1], and perform Up-Rooting 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 andthe toes point to the left front diagonal. Sink slightly down and raise the heel of theright foot. Simultaneously, both hands move over to the right side in a back anddownward 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 originalposition of Seated Tiger Stance [4, 5, 6].

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

Footwork Method 5Shifting Step

Nuo Pu

The original full name of this stepping method is T’eng Nuo, meaning “to remove” or “totransfer.” Nuo by itself means “to shift.” The footwork for this method is simply toWithdraw-Step, step over and out of the way of the attacker, and then shift the weightto 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 toexecute a Greet the Face Palm. The right st, palm up, is pulled back to be alongside theright 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. Theleft-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 theweight onto the foot as the body turns to face the left side. The left palm stays in placeand follows the movement of the waist. Bring the right foot back to perform Up-RootingStep 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 footand arm forward to be in a Left Style Seated Tiger Stance and perform Shifting Stepeight times on the left side. Also, train this footwork by beginning in a Riding the HorseStance and performing it eight times on both the left and right sides.

Footwork Method 6Backward Crossing Step

T’un Ta Pu

The footwork of Backward Crossing Step is a type of “stealing step.” T’un means “tostep across and then go into the back leg,” and Ta means “to sink down.” So thisparticular step method has two distinct functions. First, a jump step goes into theopponent and behind his substantial leg so that he is completely engulfed andsurrounded by the tactics of this step. Then there is a sinking down and sweep of thefoot as you quickly shift into Joined Bracelets Stance (Lien Huan Pu). So the wholetechnique is based on a jump directed at the back of an attacker’s substantial leg, eithera sweep or a stomp, and then making a quick getaway that also brings him to theground.

Instructions

Step 1: Stand in an on-guard Right Style Seated Tiger Stance, and perform Up-RootingStep [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 ischanged 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 footaround to the front, and then sink down low [5]. The hands move with the jump andturning of the body so that the right hand has the palm facing down with the armextended. The left hand comes back and is positioned into a st with the palm facingdown and elbow bent.

Step 5: Quickly rise up, dragging the right foot back so it is behind the front of the leftleg in a Joined Bracelets Stance [6].

Step 6: Bring the right foot back to perform Up-Rooting Step and return to the originalposition of Seated Tiger Stance.

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

Footwork Method 7Walking Step

Hsing Pu

Although Walking Step can simply be a step to the back, front, or diagonal, it can alsobe a complex footwork method that makes use of many variations. Walking Step hasgreat similarity with the postures and applications of White Crane Spreading Its Wingsand Brush Knee and Twist Step in T’ai Chi Ch’uan. The idea is that when a kick comes atyou, you step diagonally out to the side, seizing the underside of the attacker’s kickingleg and adhering the palm to the respective arm to ip the attacker over. The methodsshown 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 Up-Rooting Step.

Step 2: Pick up the right foot and step directly to the back while imagining you areseizing the attacker’s wrist, twisting it over, and carrying it with you as you step backquickly [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 yourright leg [5].

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

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

Footwork Method 8Long-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 handsresemble 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 Up-Rooting 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 waistwith 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 footforward 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 originalposition of Seated Tiger Stance [6, 7, 8].

Repeat these movements at least eight times in succession. Then bring the left foot and armforward to be in a Left Style Seated Tiger Stance and perform Long-Striding Step eight times onthe left side. Also, train this footwork by beginning in a Riding the Horse Stance andperforming 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 solotraining. Each method has variations of application and technique within the PrayingMantis Kung Fu system. Therefore, it should be understood that the methods aredescribed 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 handpositions and applications, kicks have always been at the heart of its practical use andare as unique and e ective as the hand methods. Below are just eight of the specializedkicking techniques that all students should train and develop before moving on to formpractice.

Kicking Method 1Pulling 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’soutward arm as you execute the kick. This is like a pulley e ect where the arm, as it ispulled back, provides the reaction energy for the kicking foot to be extended out quicklytoward the attacker’s groin.

Instructions

Step 1Stand in an on-guard Right Style Seated Tiger Stance [1], and perform Up-Rooting Stepto evade the attacker’s incoming strike.

Step 2In one action bring the left hand and arm up to a counterclockwise block, and changethe right hand into a Seizing Hand, bringing it straight back to the right hip so that it ispalm 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 beextended out, like a pulley effect.

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

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 SeatedTiger Stance, and perform both the left and right sides from a Riding the Horse Stance.

Kicking Method 2Mandarin Ducks Kick

Yuan Yang Chio

The Mandarin Ducks Kick is a di cult kicking technique to master. It rst involves akick to an attacker’s striking hand, then a jump with both legs kicking upwardalternately. The name of this kick is meant to represent a pair of Mandarin ducks—maleand female, yin and yang, left and right. Hence, the use of two kicks. The initial kick tothe attacker’s hand is to open the front of his body so that the double kick can bedirected at the attacker’s shin and groin area.

Instructions

Step 1Stand in an on-guard Right Style Seated Tiger Stance [1], and perform Up-Rooting Stepto evade the attacker’s incoming strike.

Step 2Kick 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 movementin the event the opponent attempted to seize your kicking leg.

Step 3Immediately put the right leg down, jump o it, and kick straight forward with the leftleg (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 4Immediately put the left foot down and kick straight forward with the right leg (to theopponent’s groin) [4].

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

At any point after ending on an Up-Rooting Step, continue on to Method Three, AxeBlade 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 thenstomps down on the attacker’s knee as well. Like Pulling the Yin Kick, this techniquenormally requires pulling the attacker’s striking hand and arm in the opposite directionin which the kick is being directed, thus leaning the attacker into the kick.

Instructions

Step 1Stand in an on-guard Right Style Seated Tiger Stance [1], and perform Up-Rooting Stepto evade the attacker’s incoming strike.

Step 2Raise up your right leg so that the bottom of the foot goes past the left knee, and thenturn the body toward the left corner. Simultaneously, bring the left hand up, palmfacing out, over and in front of the forehead. The right hand is placed palm up in frontof the lower abdomen [2].

Step 3In one swift action turn the body back to the front while extending the right leg out andacross (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 toreturn to a Right Style Seated Tiger Stance [4, 5, 6]. Perform Axe Blade Kick repeatedlyin 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 StyleSeated Tiger Stance, and perform both the left and right sides from a Riding the HorseStance.

Kicking Method 4Penetrating 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 theHeart 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’sleg (Searching the Trousers) followed by a straight-leg direct upward kick to theattacker’s groin.

Instructions

Step 1Stand in an on-guard Right Style Seated Tiger Stance [1], and perform Up-Rooting Stepto evade the attacker’s incoming strike.

Step 2Bring the right foot up and toward the inner thigh of an attacker’s kicking leg. This isnot a kick but rather an action to sweep out an attacker’s incoming kick. The topportion of the foot is brought inside the attacker’s lower thigh area. The foot is thencircled 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 theseizing gesture [2].

Step 3The 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 toreturn to a Right Style Seated Tiger Stance [4, 5, 6]. Perform Penetrating the Heart Kickrepeatedly in this manner: 1) Up-Rooting Step, 2) Penetrating the Heart Kick, 3) Up-Rooting Step.

At any point after ending on an Up-Rooting Step, continue on to Method 5, KnockingOver the Tablet Kick. Also, practice this method on the left side in a Left Style SeatedTiger Stance, and perform both the left and right sides from a Riding the Horse Stance.

Kicking Method 5Knocking Over the Tablet Kick

Pien Chuang Chio

Knocking Over the Tablet Kick is also sometimes called Suspending to the Side Kick (KuaMien Chio), a technique that can either strike to the front of the attacker or to hisbackside. Since the strike to the front is similar to Penetrating the Heart Kick, themethod shown here is to the backside of the opponent. Basically it is performed bystepping out to the side of an attacker, pulling or seizing his attacking arm, and thenswinging the foot around to kick him in either the kidneys or on the tailbone andsending 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 easycountermeasures.

Instructions

Step 1Stand in an on-guard Right Style Seated Tiger Stance [1], and perform Up-Rooting Stepto evade the attacker’s incoming strike.

Step 2Pick 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 theright hand is brought over and to the back in a fist [3].

Step 3In one simultaneous action the right foot is swung around to kick the opponent’stailbone, the left hand moves with the body pulling the arm of the attacker, and theright 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 toreturn to a Right Style Seated Tiger Stance [5, 6, 7]. Perform Knocking Over the TabletKick 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, SweepingAway the Lotuses Kick. Also, practice this method on the left side in a Left Style SeatedTiger Stance, and perform both the left and right sides from a Riding the Horse Stance.

Kicking Method 6Sweeping Away the Lotuses Kick

Pai Lien Chio

Sweeping Away the Lotuses Kick involves two leg movements with the same leg, withthe rst movement being a small circle and the second a larger one. The rst, smallercircle is more of an enticing movement, directed at the inner part of the attacker’s kneeand meant to cause the attacker to withdraw into his rear foot. Then the leg circles andsweeps around behind the attacker to topple him. In some styles of Praying MantisKung 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 upperbody.

Instructions

Step 1Stand in an on-guard Right Style Seated Tiger Stance [1], and perform Up-Rooting Stepto evade the attacker’s incoming strike.

Step 2Bring the right foot up to knee level. The left hand comes across to the front of the bodyto counterclockwise block, and the right hand withdraws to the right hip in a st withthe palm facing up [2].

Step 3Make a small, outward, and back circle motion with the right foot [3].

Step 4Then make a large circle with the right foot and leg that goes toward the left side andthen sweeps back across at thigh height toward the right side. Simultaneously, the righthand crosses over to the left side to seize the opponent’s wrist and then pulls it back tothe 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 toreturn to a Right Style Seated Tiger Stance [5, 6, 7]. Perform Sweeping Away theLotuses Kick repeatedly in this manner: 1) Up-Rooting Step, 2) Sweeping Away theLotuses Kick, 3) Up-Rooting Step.

At any point after ending on an Up-Rooting Step, continue on to Method 7, Closingthe Gate Kick. Also, practice this method on the left side in a Left Style Seated TigerStance, and perform both the left and right sides from a Riding the Horse Stance.

Kicking Method 7Closing 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 ofthe 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 redirectingthe attacker’s arm as if sweeping the arms to close a door. Simultaneously the bodyturns to the side, the leg raises up, and then the foot strikes out as if kicking the bottomof the door.

Instructions

Step 1Stand in an on-guard Right Style Seated Tiger Stance [1], and perform Up-Rooting Stepto evade the attacker’s incoming strike.

Step 2Pick up the right foot, bending the knee and pointing it to the left side. Simultaneouslybring the left and right palms over to the left side. Both palms face outward at chestlevel, with the left hand back and the right hand in front [2].

Step 3In one swift motion kick out the right foot, using the bottom of the foot as the strikingsurface, at the attacker’s knee. Simultaneously turn over both hands and change theminto open palms or Mantis Hooks and sweep them across to the right side directly overthe right leg [3].

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

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 TigerStance, and perform both the left and right sides from a Riding the Horse Stance.

Kicking Method 8Whirlwind Kick

Hsuan Feng Chio

Whirlwind Kick is a most e ective method for kicking the legs of an attacker andinvolves hooking the foot behind an attacker’s ankle. Simultaneously the arms sweepthe attacker to one direction while the foot sweeps him out the opposite direction, thuscausing the attacker to feel like he is caught in a vortex of sorts.

Instructions

Step 1Stand in an on-guard Right Style Seated Tiger Stance [1], and perform Up-Rooting Stepto evade the attacker’s incoming strike.

Step 2Shift into the right leg and simultaneously bring the right hand forward into a MantisHook, and move the left hand slightly downward into a palm-down Seizing Hand [2].

Step 3Step to the right corner with the right foot. Hands change to open palms, with the rightpalm down and the left palm up, as if they were holding a ball [3].

Step 4In one swift motion circularly sweep the left foot rightward and to the front, whilecircling the right hand down and up to be in front of the forehead. The left handchanges to a Mantis Hook as it simultaneously pulls across the body to nish at the lefthip [4].

When finished with the kick, bring the right foot back and perform Up-Rooting Step toreturn to a Right Style Seated Tiger Stance [5, 6, 7]. Perform Whirlwind Kick repeatedlyin 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, andperform both the left and right sides from a Riding the Horse Stance.

T’ai Chi Ch’uan MasterLiang Tung-Tsai (T.T. Liang)

1900–2002

Master T.T. Liang’s rst martial arts teacher was the famous Praying Mantis masterHuang Han-Hsun (Wong Han-Fon). Master Huang taught physical education at Liang’shigh school in Nanjing, and for two years Liang was able to study Praying Mantis KungFu 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 hisfailing health. Studying with Professor Cheng Man-Ch’ing, he fully recovered from allhis illnesses within two years and became very serious about his martial art training. In1949, many martial artists escaped mainland China after Mao’s takeover; among themwas 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 tradedtheir arts with each other until Master Liang moved to the United States in 1962 to assistand translate for Professor Cheng at the United Nations. Master Liang could speakChinese, English, Japanese, and Russian uently. He visited Taiwan in 1974 andconsolidated his studies with Master Wei.

During Master Liang’s years of martial art training, he studied with fteen incredibleteachers. Besides being Professor Cheng’s Ta Shih Hsiung (Chief and First Disciple) andstudying 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’aiChi 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 theauthor 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 Lifeand 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, andhe 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 ChiCh’uan and related health subjects.

During Stuart’s tutelage under Master Liang he also learned Praying Mantis Kung Fuand jointly translated much of Master Wei Hsiao-T’ang’s Practical Praying Mantis Kung Fuwith Master Liang.

In 1990, Stuart began studying the three forms of Plum Blossom Praying Mantis KungFu with Master Kung Wei in Indonesia.

Today, Stuart lives, teaches, and writes in Phoenix, Arizona. To contact him pleasevisit his website at www.phoenixtaoistcenter.com.

Other Books by the Author

T’ai Chi BooksT’ai Chi Qi & Jin:

Ultimate Guide for DevelopingInternal 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 CrawfordBear Cub Books, 2001

T’ai Chi Sensing-Hands:A Complete Guide to T’ai Chi T’ui Shou Training

from Original Yang Family RecordsUnique Publications, 1999

T’ai Chi Thirteen Sword:A Sword Master’s ManualUnique Publications, 1999

Taoist BooksThe Jade Emperor’s Mind Seal Classic:

The Taoist Guide to Health, Longevity, and ImmortalityInner Traditions, 2003

Tao of No Stress: Three Simple PathsHealing Arts Press, 2002

Qigong Teachings of a Taoist Immortal:The Eight Essential Exercises of Master Li Ching-Yun

Healing Arts Press, 2002