China Arts Association

1. The Stance - the posture is correct, movements are complete

"As soon as the mind and qi are released, the body must follow"

Practice of Zhang style Xing Yi requires that every movement and posture adheres to the regulations. Techniques such as rising and descending, advancing and retreating, extending and retracting, inhaling and exhaling, opening and closing, jumping and turning, all have their own regulations on how they should be executed. The “three sections” around the body (such as head-torso-legs, hand-forearm-upper arm, wrist-elbow-shoulder, ankle- knee-hip, eyes-nostril-mouth, and on a smaller scale such things as the three sections of a finger divided by the knuckle joints) are all coordinated to move as one unit. The body’s posture is upright and "aligned so that it supports the eight sides", which means that you are aware of the different parts of the body pointing in different directions, for example, the front hand is pushing forwards, the head is pushing upwards, the feet are digging downwards, the hips are sinking downwards, the bottom is pointing backwards, and so on. The body in the stance is therefore like a basketball full of air. If there is not enough air in the basketball, it is not firm, but a basketball full of air has latent energy pushing in every direction. The "hands, feet and nose are pointed” (which refers to the position of the feet hands and head, which are held in correct alignment according to the traditional techniques of Xing Yi. For example, standing in the San Ti Shi stance, the front foot should be pointing directly ahead, the hand of the extended splitting fist should be relaxed but firm and pointing directly forwards, and the head should be pushing upwards from the crown (where the Bai Hui acupuncture point is located, and the highest point where your qi will rise during a movement) and again, pointing directly forwards. This posture will help develop your Intention).

All movements incorporate the unity of internal and external, top and bottom, left and right, front and back, mind and intention, qi and power, open and closed. All of these aspects have regulations, with the basic principle that "as soon as the mind and qi are released, the body must follow". Every movement that makes up a larger movement all finish at exactly the same time. Internal and external are connected, and a series of movements are made with one breath, so the movements are compact and not dispersed.

2. Breathing is not limited to one type, the power is full

Breathing

The techniques of breathing in Zhang style Xing Yi are not limited to one type- they change depending on the requirement of the movement. The types of breathing used in Zhang style Xing Yi include:

A. Natural breathing- your breath is natural and not related to your movements.
B. Common Movement breathing- your breathing is related to your movements, so, for example, when you draw back with your hands in a pulling motion you breathe in and suck your stomach in, and when you release power you exhale and the stomach expands.
C. Opposing breathing- this method of breathing is the opposite to common movement breathing. When you inhale the stomach expands, and when you exhale it contracts.

There is no correct type of breathing to use; use any type to get the result you want. There are cases where natural breathing will suffice, but in some cases the theory “use a different type of breathing to get an unexpected result” will apply. “Use a different type of breathing to get an unexpected result” means that a breathing method like ‘opposing breathing’ is not a normal breathing practice, and so the practitioner may discover that it is adds to their power in certain situations. In some cases the “changing the qi” breathing technique can be used. This technique refers to the use of two inhaled breathes, for example, when pulling back with the hands breath in, and then, as the hands move out in a drilling fist motion, breath in again. The gap between the two breaths is called “changing the qi”. While these breathing techniques may sound complicated, the main point is that the practitioner of Xing Yi should try out a different series of breathing techniques to add to the power of their movements. Do not be limited by one type of breathing practice.

The power is full

Zhang style Xing Yi requires that the fist is tense, the stance is solid, the feet firm, and movements should be made with lightning speed ferocity and full power. If the lower limbs are advancing, the leading foot should stick close to the ground and you should focus all your power on moving forwards, with the back foot treading on the ground with a backwards force. The traditional principles of Xing Yi state that "When the foot makes contact with the ground, the sole should not be visible, and this can only be ensured by the foot treading onto the ground with power". You should look for power as coming from the rear. The two forces of forwards and backwards, i.e. two forces moving in opposite directions, compliment each other, so for example, when the right arm is executing a splitting fist, i.e. moving forwards, the left arm should be pulled backwards with equal force. When making a drilling fist, or executing a block, the arms should move with a vertical twisting motion, like twisted rope. The fist is extended as a drilling fist, but when it the arm is pulled back, the arm should turn over. The feet and arms advance together so that when the feet make contact with the ground, the fists arrive at the same time.

3. The head should push upwards, the neck should be straight

“The head is the leader of the entire body”

THE HEAD - Zhang style Xing Yi requires that the head should always be straight (i.e. not tilted) and pushing upwards from the crown. When making low movements the head should remain straight and does not want to move around, always maintaining a slight pushing upwards force.

THE NECK - The neck should also maintain a natural upright position with a slight pushing upwards force. However, it is important that the neck is not tense, otherwise it will influence the flexibility of the movement of the head.

THE MOUTH AND TEETH - The mouth should be in a natural position of being slightly closed and slightly open. The lower and upper teeth should be very lightly clenched together. However, when releasing power, the teeth can be either tightly clenched or separated, depending on the type of power being released.

THE TONGUE - In most cases the tongue is pushed up to touch the top of the mouth, for example while standing in San Ti Shi stance. During a series of movements, the tip of the tongue should move up and down. The requirements of the position of the lips, teeth and tongue are to ensure the moistness of the throat. Saliva not only lowers the internal temperature of the body but it also aids in the sinking of the qi.

THE EYES - The eyes should invoke the image of “an eagle catching a rabbit”, i.e. focused with intent. The spirit should be natural and focused.

THE EARS - The ears should be alert.

THE FACE - The face should have a natural, relaxed expression and the point of the chin should point down and inwards slightly.

4. Sunk shoulders and elbows, concave chest and an arched back

Zhang style Xing Yi requires that the joints of the body are relaxed and sink downwards (e.g. wrist, elbows, shoulders etc.). This enables the smooth passage of qi, and ensures fast and flexible movement. The elbows are slightly bent and sink downwards with an arching shape- when extending the arms, they are never straight. When the arms are retracted, the elbows should stick close to the ribs, ensuring protection of the flanks.

“The concave chest” is also called “the closed chest”. The chest is relaxed and drawn back to form a concave curve with the shoulders. If the chest is concave, then the back should naturally push outwards so it is slightly arched. The concave chest is to aid smooth breathing, and to aid the sinking of qi in to the dantian. As the chest is drawn back into a concave position, the qi sinks, and when the chest is pushed outwards, the qi rises.

“The arched back” (Tuan Bei) is used to tense the muscles of the back. It enables the body to become like a taught bow preparing to shoot. It also ensures that the shoulders are sunk downwards (i.e. not scrunched) and the head is pushing upwards. Again, in Zhang style Xing Yi the rules of concave chest and arched back are not fixed and changes should be made in relation to the respective movement.

5. The waist is sunk, the hips contracted. The anus is raised and the buttocks pulled in

“The waist is like the axle of a car”

THE WAIST - The waist is the axle that links the bottom and top half of the body together. It is also a source of power. The waist should be erect and slightly pushed upwards to enable the qi to ascend the spine and enter the chest, from where it can move to the arms and into the hands. However, while the waist should be slightly pushed up, it should also be sunk above the hips to enable a solid posture rooted in the ground.

THE SPINE - The spine and waist can not be separated. If the area around the waist is straight and the head is pushing upwards, the spine will also be straight. The spine should extend, retract and turn according to the requirements of the movements. The spine is important to ensure that the stored power of the arms, legs and waist can be focused together at the waist, which is the main axle where the different areas of the body are connected. The power can then be released from the waist.

CONTRACTED HIPS - The hips are very slightly drawn inwards, while maintaining a natural state, to protect the crotch. The hips are the “central limbs” for the lower limbs. During movements, the hips should be relaxed, so that the hip joints are flexible. The hips should not be ‘open’ otherwise, the coordination of the lower limbs will be lost and the stance will become unstable. ‘Closed’ hips also aid the raising of the anus and the pulling in of the buttocks (which should be closed to enable the complete circling of qi in the body).

RAISED ANUS AND PULLED IN BUTTOCKS - The anus should be raised up (i.e. clenched) and the buttocks pulled in (i.e. sucked in) which will ensure that the spine is straight, while also aiding the formation of the concave chest and arched back. It will also aid the sinking of the qi into the dantian, a solid stance and the complete circling of the qi in the body.

6. The knees point inwards, the feet are firm. Footwork is flexible

THE KNEES - The knee joints are highly important for rising and descending, advancing and retreating and jumping movements. The knees are the central joints of the lower limbs. During movements the knee joints should be relaxed to aid the passage of qi and power. When not moving, the knees should point inwards slightly, and should be neither too straight and neither too bent.

THE FEET - The feet should be stable and contact the ground firmly and as if grasping the ground with claws so that they have both “stepping force” and “grasping” force. While advancing and retreating the feet should be sensitive and flexible. “The hands should be straight in attackt, the feet nimble, with movement like a cat, the mind calm, eyes full with spirit; if the hands and feet work as a coordinated unit, victory is assured.” Zhang style Xing Yi requires that movements are quick and agile, the feet firmly contact the ground, and the hips, knees, feet and every part of the body operates as a precise, compact unit.

FOOTWORK - The footwork of Zhang style Xing Yi is ‘active’ and fast - one foot moves the other is prepared to follow. The feet add to the overall power of the movement, pushing on the ground like a sprinter’s feet in the starting blocks.

Zhang style Xing Yi also uses another form of footwork which contradicts the theory of the Xing Yi ‘live step’ and this follows the theory that “dead counteracts live”. This technique uses a non-moving ‘dead’ step to make a firm stance and increase power.

7. Palm Technique - The wrists are sunk and the palms full. Fist technique - The head of the fist is tense

PALM TECHNIQUE

SUNK WRISTS - This is important for developing the wrists so that they reach a state whereby “within softness there is hardness” and most attacks with the palm require that the wrists are sunk.

FULL PALMS - The palms should have the sense that they are holding a ball of air, so that they are full. The palms should have a pushing forwards force, while also pushing downwards. The fingers should be slightly separated, with the index finger raised above the other fingers and the thumb slightly pushed out in front of the palm. This will ensure that the palms are shaped like a tiger’s mouth with the centre of the palm slightly concaved as if holding the edge of a large ball. Each part of the palm should neither be too hard nor too soft.

FIST TECHNIQUE

THE FIST - The technique for the clenching of the fist requires that the four fingers are tightly rolled in, and the thumb presses down tightly over the top joints of the index and middle fingers. The wrist should be straight so that the fist is solid when punching and the power should be focused at the head of the fist.

8. The confident stance is connected, Internal and External are united

CONFIDENCE - Master Zhang emphasizes the importance of confidence in all of the styles he teaches, including Xing Yi, Ba Gua and Tai Ji. The practitioner should emit a feeling of confidence when practicing Kung Fu. This is best seen when a series of movements is ended by a fixed stance. With this stance the practitioner should show complete confidence. Not only does this add to the aesthetic art of the movements, but it also helps focus the intention and unite internal and external.

INTERNAL AND EXTERNAL ARE UNITED - The shoulders and hips are united, the elbows and knees are united, the hands and feet are united, the mind and intention are united, intention and qi are united, qi and power are united. The entire body is a single unit - “Form and Intention are one”.