China Arts Association

The movements of Zhang Style Xing Yi are compact and coordinated, complete and stable, fast and slow, with an obvious rhythm and form and spirit united as one. Zhang style Xing Yi is a combination of hard ferocious movements and soft, “silk spinning” movements, so that its characteristics are distinct from other styles of Xing Yi. If the practitioner wants to fully master the intricacies of Zhang style Xing Yi, they must adhere to the correct steps and techniques of practice, and follow the correct sequence with the initial practice of external ultimately leading to the practice of internal, and then the unity of external and internal as one.

There are three main steps, and each of these has specific techniques for practice, following the traditional principles of “Obvious power”, “Hidden power” and “Transforming power” stages (please refer to the article on The origins of Xingyi Power for a description of these).

Stage 1

Kung Fu basics (please refer to Milun Kung Fu basics for a description of these)
Fundamental stances – San Ti Shi
Movements – the stance is solid and movements circular, like practicing Chinese calligraphy; the brush is upright on the vertical and horizontal plain, the strokes are firm and stable.
This stage focuses on having a firm foundation and developing the power of the body and movement floating without force. The step should be fast and stable and the back foot should push on the ground with power so that the advancing front foot can reach out as far as possible, while maintaining a low height above the ground as it is extended.

Stage 1 footwork- When the front foot makes contact with the ground, the front of the foot should first make contact. As soon as the front of the foot has made a stable landing, the toes immediately grasp the ground and the heel of the foot then follows (this footwork is used in all areas of Zhang style Xing Yi).

Stage 1 Fists “Faster than the wind and reaching the moon”– The two elbows should protect the ribs and the hands protect the heart. The hand extends as a drilling fist and turns over when it is retracted, the two arms twisting like rope, fast and powerful, “rising like an arrow” and “falling like wind”. This is the hard “obvious” power. The purpose of this practice is to strengthen the body so it becomes “as strong a mountain”. When practicing remember the body is correctly positioned, breathing is natural and the body is relaxed. Only when stage 1 has been correctly practiced and mastered, with the correct physical and mental improvements, can stage 2 be considered.

Stage 2

In Stage 1, flexible movements were practiced on the basis of “hard power”. In stage 2, soft movements are introduced, while “hard power” is still used as a foundation. Soft movement is first introduced in the linking of movements together and the turning movements, enabling the unity of soft and hard power.

Specific Requirements of Stage 2 – While still maintaining the foundation of “hard power” movements have to become more flexible to change, changing from hard to soft, soft to hard, high to low, low to high, fast to slow, slow to fast and so on. When moving the fists, “hard power” should still be used, but within the hardness there should be an element of softness. Fast movements should contain “elasticity” the sound of the feet on the ground should be soft.
The step- In stage 1, the sound of the feet on the ground can be audible, but with time and practice and the relaxed “sinking” of the body “hidden” power can slowly be developed and the sound of the feet on the ground will become less audible.
The fists- When forming the fist, it should be slightly relaxed, but when making contact (the end of the strike) the fist should suddenly be tensed tightly. This is a stage in the practice of “hidden” power. It is another stage in the ability to control the muscles of the body which relate to the different areas of the body, and while in stage 1 the largest muscles are used, as the practitioner advances in the level of their Xing Yi training, the muscles they train should become smaller and smaller.

Stage 3

Stage 3 requires:
The foundation of stages 1 and 2
Consciousness and movement are united
Form and spirit have become intermeshed
Able to use both hard and soft
Automatic movement and non-movement
Relaxed body and movement

Practice of stage 3 means that “form” is less focused on, and there is more concentration on “intention”. No area of the body can be tense. During a relaxed, soft movement, the power of any part of the body can be easily adjusted and breathing is used to release power, which is done with speed and “elasticity” and a high level of coordination. The meaning of “Xing Yi” refers to this highest level of the unity of internal and external so that the practitioner realizes that there is no distinction between the two.

Conclusion

The requirements and points of focus of each of the stages are different and they basically represent the passing of the stages from beginning foundations, to proficient to total mastery. With each stage the focus on power is different, but throughout all stages the movements are the same. In stage 1 the practitioner has to work very hard to develop the foundations that will remain with them throughout their Xing Yi practice, for each stage is a level of internalization of power, but the form of the movement does not change. Another important point is not to view the stages as being separate entities, because they are all linked together and so the practitioner should not limit the scope of the practice, because each stage contains its own individual points of importance, and these should be seen as a whole rather than a stage that once passed needs not be visited again. The practitioner should continually revisit each point of importance from all stage and strive to improve their understanding of it.