The Secrets Behind ShenZhou Xing Yi Quan (Form Mind Boxing)  
    Being the disciple of Mr. Zhang Kuijin and Mr. Wang Zhendong, whose teachers were Mr. Li Wenxi and Mr. Li Xishun, Mr. Li Laoneng's grandsons. By the way, studying Xing Yi Quan for more than forty years until now, Mr. Zhang Yuling has been a real master of the famous school of Li Laoneng's Xing Yi Quan, and he has earned great reputation for his profound achievement. Following Mr. Zhang Yuling more than a decade, I would like to present the unique skill of him hereby to share the experience with all the readers.
    1. What is so-called"70 percent feet attack and 30 percent hands attack"?
     These words are usually understood to strike people to the ground by the strength of leg plus. However, Mr. Zhang said it is only a vivid saying. In order to strike the rival down to the ground during a combat, you should always attach importance to the harmony of legs, feet and the whole body and attack your opponent to make him lose his balance and tumble away. The power of the upper body should not be only for hands fighting. The percentages for the distribution of your feet and hands attacks may be not accurate, 60 percent to 40 percent or half to half or 40 percent to 60 percent will be also acceptable.
     The people studying Xing Yi Quan usually think that Xing 15 Quan has no formula for step tracking. Mr. Zhang said it does have, but it is different from the others that are simply featured by forward kick, sideward and elastic ones. Those kicks will destroy the right frame of Xing Yi Quan, block your own strength as a whole to fight and give your rival's chances to hit you. The formula for the leg movements of Xing Yi Quan is hidden. The ways of legs attacks are abundance. You can kick with great power bursting out instantly when one of your legs is not raised above knee. As mentioned above, we cannot talk about only a part without thinking of the whole. We don't talk about leg movements separately otherwise it is not Xing Yi Quan anymore.
    2. What is “fighting likes kissing”?
People studying xingyi Quan usually talk about the saying "fighting is like kissing". How to implement this saying in practice? Mr. Zhang said "kissing first and fighting later." "No matter you kiss him or he kisses you ahead, as long as you can get close to him, you can hit him out with the strength of your whole body." It requires excellent skill and well understanding of the key point.
     Many people take Wu Xing Quan (Five Elements Boxing) as the rudimentary training of Xing Yi Quan. But they cannot strike their opponent out at all after practicing Wuxing Quan. Why? It is because in different stages people have different experiences. Wuxing Quan is the foundation of XingYi Quan indeed. It seems to be easy but actually
    Hard to learn both of them well. The shape of its movement is seemingly easy but difficult in fact to create and burst one's internal power. Mr. Zhang said the power could not burst unless we abide by the rules. It is wrong to practice Beng (Punching) Quan or Pi (Cutting) Quan with the strength of hands and arms only. It should be kept in mind that Pi (Cutting), Beng (Punching), Zhuan (Drilling), Bao (Pounding) and Heng (A round movement down) are practiced with your whole body. The effects of them are totally different. All the movements of the Wu Xing Quan are all the same. But the master can burst great power while the beginners surely cannot. It is because of their understandings of the techniques are actually different a lot.
     3. The understanding of "there will be no obstacle if you attack and advance bravely."
     The words are widely thought to strike people simply like a moving bulldozer or a howling tank during a combat. But Mr. Zhang said any art of Quan includes great skills and strength, Xing I5 Quan is no exception. Strength and skills interpenetrate each other. If practicing Xing 15 Quan is like a tank and bulldozer, it would be very silly. By no means that Quan can be passed down for so many years.
     Mr. Zhang said, when two are fighting each other, the whole body of any one is twisting, wrapping, drilling, turning and revolving continuously without any break. The strength from the upper and lower parts, front and behind as well as right and left are associated together there. Xing Yi Quan also emphasizes Yin and Yang (two opposite concepts in Taoism, water and fire, negative and positive, down and up etc.) and distinguishing the false and the truth. You can decide how to fight freely. You are not stoppable instead of attack like a tank. An attack made by you with real rush can hit you yourself out. If the key point is not clear for you, even though your are very skillful, it is still a waste of time. Only by following the masters and striving for understanding of the key points can you make great progress. It is useless to explain it word by word.
      Xing Yi Quan is good for all to study, but we cannot study it blindly. Only by learning, practicing and experiencing can we learn this Quan well.
                                  

Techniques of Tai Ji Single Faichion
    "Chen" Style Tai Ji covers the techniques of falchions and swords, including single falchion, dual falchion, crescent moon-broad-falchion, mighty falchion and so on. Some Kung-fu masters even offer the falchion Kung-fu with the words "brandishing falchion, dashing tiger" describing the fierce, powerful and irresistible falchion performance
     "Chen" Style Tai Ji's falchion techniques absorb the advantages of other schools without their weak points. Combining with the classic theory of Tai Ji's "yin" and "yang" (two opposite concepts in Taoism), the skill distinguishes itself from others with its integration of lightness and steadiness, strength and softness, speed and twining, the alternation of slowness and fastness and the methods of rolling body and hands. As a result, some calls it the "Tai Ji Twining falchion."
       Master Chen Changxing is an important master and a famous representative of the "Chen" Style Tai Ji. According to some legend, "Master Chen's gait was as smooth as the water flow and his movement was as light as clouds practicing the Tai Ji Falchion. His movements were at ease and grace the falchion brandishing under his control speedily sticking the falchion on his body and soul. Left or right, appeared or disappeared, the falchion brandished around his body, but no one could tell where it really was. The twinkling falchion engendered a protective screen preventing water from permeating and stopping arrows from approaching."
      "Chen" Style Tai Ji's Falchion techniques require all the movements simple, unadorned, practical, offensive as well as defensive. The circles described by the falchion should be linked up together and alternated flexibly and powerfully. The managements of the falchion, including the blade, edge, point and the back, should keep all rolling. No matter fast or slow, all the movements should not be acted straightly. The practitioners must keep the breath regular and complete all the movements this way in order to remain their calmness indeed. As regard to the methods of Dodging (Shan), Chopping (Kan), Splitting (Pi), Cutting (Duo), Blocking (Lan), Teasing (Liao), Pricking (Zha) and so forth, the practitioner's hands and body should be demanded to revolve. His arms should contain strength and play the falchion with the force. The regular shaking shoulders and the swinging waist could represent Tai Ji Falchion superiority well. On the other hand, both the single falchion and the dual one of "Chen" style belong to the short weapons. There is a pithy formula for the management "playing single falchion, your hands are not so easy to be tricky. Playing dual falchion, your steps are difficult to move." Or we can streamline it as "single falchion emphasizes hands, dual one asks or moving steps". That is the core key for the practitioners of holding or moving single or dual falchion. As the "Chen" Style Single Falchion's player usually holds his falchion with one hand, (sometimes both hands will be in use according to the various demands), his other hand plays an auxiliary role complying to the various movements, actively or passively, clearly or cryptically.
     Any fresh learner should be studying at the beginning like a pupil entering into a primary school and starting his lessons step by step carefully. As a pupil, one will learn some simple nouns like sky, land, sun, and moon first, then followed by some verbs, auxiliary words and some certain
sentences gradually. Similarly, learning the Tai Ji Falchion must also follow several steps. At the very beginning, a learner has to keep the rhythmic instructions firmly in mind. The various requirements of eyes, body, feet, hands for certain performance should be clear and matched. The performance must be perfectly correct before starting the next step----movement's continuity and coordination. The following step is to learn how to use strength forcefully and how to resist the attacks by the opponent and counterattack. An achievable learner must be persistent and hard working with enough patience and enterprise.
      Another important thing that a learner should keep in mind is that there are many repeated gestures or styles in the performance, which cannot be deleted at random. Since the methods come from the mental and physical efforts of the forerunners, they must be formed on the basis of some theories, reasons or considerations. Take a well-written article for example. Many repeated nouns may be used. If the readers omit the so-called immaterial parts, they will miss the elaborate parts created by the writer. Similarly, the reason for the repeated gestures or styles in the falchion techniques may be to offer a method for the learners to practice them as much as possible. Some of them are the key connections among different and various movements, that can help the practitioners save their energy.
     The falchion techniques contain transition as well. On the occasion that movements should be changed from this to that or the movements of hands and steps conflict together, the transitional action is necessary to solve the problem. However, the transition is not all impractical. In some situation, it could defeat the opponent sufficiently.
     The learners should not rapidly march but slowly advance step by step. Once they have been familiar with the methods, they should hold the idea of defeat in mind and in each performance. No matter it is tangible or not, the idea should exist as long as in the learning or performing process. With the trainings, one could remain his calmness in a real fighting.
      Practicing the series of skills differs from a real competition or fighting. In the training process, learners must practice the series of skills without any mistake in order to form a correct foundation. Even though one should act according to various circumstances in a real fighting, the transitional methods should be under certain rules out of any disorder.
      In any fighting, a practitioner should master the method: "change the situation by moving to the back door. "The point of "moving to the back door" means one should keep his body within the dead corner caused by the opponent's weapon. (The nearest place that the weapon cannot reach.) The movement will force the opposite party change his performance of hands and gait in order to launch another attack. During the gap that the old attack has gone and the new force hasn't started, one should carry out a surprising attack, which will settle the victory.
      The practitioner must also manage the "speed" in his performance. Otherwise, he could not be considered as a master. A good transition between movements can find its foundation on "speed."
      Practitioner should do well in another s1011 "fooling." The skillful master often talks about the fake upper gestures and the material lower gestures. The so-called "fake" equals to "fooling." When the opponent is fooled and trying his best to adjust himself and resolve your attack, you can commence an attack on the gap that the old force has gone and the new one hasn't started. The opponent will be possibly defeated under the situation.
       Fighting with a falchion, one should use it on adversary's vital points, such as eyes, neck, throat, wraist, chest, abdomen, and the lower part of the legs and so on. It is obvious that if you encounter a strong adversary and cut his thigh, a common part of the body, he could still resist you with his wound.
      Here is another useful hint indicating "when a short weapon meets a long weapon, you should not flurry." Suppose an opponent attacking you by a long size weapon, you will keep calm and advance rapidly by surprise. You will get close to him and make his long weapon out of function. When the dangerous part of the long weapon has been left behind your body, how can it threaten you? Thus, the technique that "keeping calm and attacking by surprise" is more important than the type of weapons.
      The essence of Tai Ji Falchion's techniques is to draw more and more circles. The circles should be drawn by the Falchion in accordance with the body gestures, steps and hand movements. No matter leftward or rightward, forward or backward, upward or downward, tangible or intangible, the circles could be divided into two types, going downstream or upstream. All kinds of circles would be integrated with other movements under the techniques.
      "Chen" Style Tai Ji Falchion's outstanding superiority comes from the circles. Some of them could be false while others material. Sometimes, the movement could be both false and material at the same time. Being a defence, the movement may be false, as attacking, it is actually material. A practitioner should use the method flexibly and come into the effect that "nobody knows your movement withdrawing or extending, loose or tight, while you and your opponent touching together without any detaching or antagonizing, every circle made by you becomes extremely magical."
       In the Falchion techniques, circle is the form while the internal twining force is the substance. The methods of Touching (Zhan), Sticking (Zhan), Linking (Lian), Following (Sui), Dodging (Shan), Cutting (Kan), Splitting (Pi), Chopping (Duo) and so forth develop the techniques more regular, smooth and modest. And the practitioners should keep the breath smooth, the spirit pure and the strength unified. Basing on this, practitioners should work on shrinking the circles in order to reach the state that the circles are really existing but intangible and nearly impossible to be recognized and caught by any opponent, and where is the hand there is the Falchion. According to the Tai Ji Quan Theory, "the remarkable master can create an exclusive fighting circle with the extensive circles. Once a fierce rival comes, your force can be sent out and defeat him like the storm destroying the withered woods." This is the real powerful essence of "Chen" Style Tai Ji's Falchion techniques.
      I have learned and practiced the fighting skills of Tai Ji Falchion for more than 40 years with a perfect awareness of the difficulty. Master Hong Shi had often said, "an excellent teacher can not make you intelligent but can show you the direction." Under this guide, a learner should seek and follow an experienced teacher and should make himself practice hard to reach a brilliant and a successful target. My teacher, Mr. Chen Jin'ao said, "the techniques have been exclusive but lost in the public world for a long time. Since you happen to master it, do not impart the matchless techniques heedlessly." In respect of teacher's words and the succession of the unique kills, I decide to offer the general instruction as follows instead of the detailed methods in order to help others study the techniques without disobeying teacher's order.
"Chen" Style Tai Ji Single Falchion’s General Formula
    Tai Ji Falchion creates lots if extreme wonders and miracle, twining Falchion makes wonderful changes in circles.
     Breathe smooth and complete, keeping calmness is matchless to all.
     Dodging, Chopping, Splitting and Cutting are the skills; Touching, Sticking, Linking and Following are the requirements neither detaching nor counteracting.
     Defensive techniques can also be offensive twining rings causes blocking and attacking.
     Pricking the rival's chest and ribs fiercely like a blue dragon jumping out of the water, hitting his head and neck powerfully like a storm blowing the withered flowers.
     Creating the absolute superiority like the covering clouds in the sky;
     Attacking speedily and strongly like the chasing tiger in the mountain.
     Vital attacking be derived from the overwhelming position, everybody should pursue the advantage.
     Holding the falchion and the approaching stance well, maintaining your might in your gestures.
     Playing and rolling your falchion, the serpent will die on the spot.
     Practicing skills often and hard, all the skills can be mastered well enough.
     Searching the opponent' s intention. Waiting for the opportunity to attack.
     Attacking by surprise, settling the victory stormily.
     Creating the absolute advantage with all efforts, pursuing the final success with persistence.
     Moving and cutting forcefully, maintaining the advantage throughout.
     Linking up the circles for variety, defeating the opponent without being noticed.
     Reacting according to the circumstances, hitting the rival's head and changing the gaits to remain advantage.
     Keeping the good manners in the inferiority, mastering the essence of techniques is hard.
     Learning the falchion for life, managing it till the old age.

Tai Ji Quan Embodying in His Mind and Body-----A Brief Biograghy of Li Jianfang Practicing Tai Ji Quan
    Born and grown u p in a town where many Kung-fu masters and armed escorts had been raised and emerged in the hast
    Mr. Li Jianfang was born and grown up in Xingwan Town, Ren County, Hebei Province, where many renowned Kung-fu masters and armed escorts were born and brought up in the past. He was keen on and infatuated with Tai Ji Quan(shadow boxing) from his childhood on, He was by nature endowed with remarkable talents, and could practice regular and elegant Tai Ji Quan when he was a teenager. No matter it was in cold winter or in hot summer, he studied and practiced Tai Ji Quan hard all around the clock. When he was 18 years old, he had thoroughly mastered the basic skill and technique of Tai Ji Quan, and revealed endowed talent and outstanding perseverance in practicing Tai Ji Quan.
    Practicing “Wang Qi He” school of Tai Ji Quan with Mr.Liu Renhai as his tutor Recommended by Mr. Tan Wentang(his farther-in-law), Li Jianfang was given directions by Mr. Liu Renhai from 1971.He was and formally acknowledged by Mr. Liu as his disciple in 1975. Mr. Liu had given all his life and energy to study and spread "Wang Qi He" school of Tai Ji Quan. And he also asked his disciple to pay special attention to studying the orthodox "Yang" and "Wu" schools of Tai Ji Quan, so as to get a basic knowledge about the origin and strong points of "Wang Qi He' school. Li has an excellent savvy, practicing Tai Ji very hard, so he could fully understand the teacher's instructions. He also is greatly influenced by Mr. Liu's modest and dignified behavior. Soon he stood out from all Mr. Liu's disciples, and was thought highly by his teacher.
     Acknowledging Mr. Yao Jizu as his teacher, and learning orthodox "Wu" school of Tai Ji Quan
     At the end of 1983, Li entered politics. He was transferred to Pingxiang County in 1991, and served successively as the head of the County, and being the Party Secretary of the county. Though he was tightly occupied by public affairs during this period, he never stopped practicing Tai Ji Quan. Following his abecedarian---- Mr. Liu's last words, he mined to Mr. Yao Jizu for advice in 1983, and formally acknowledged Yao as his teacher in 1985. Yao and Liu were old acquaintance, and deeply esteemed and respected for each other. Thanks to Mr. Yao, Li learned the authentic "Wu" school of Tai Ji Quan, and listened respectfully to Mr. Yao's profound paraphrase on the theory of "Wu" school of Tai Ji Quan. As a result, both his theoretical and practical levels had come to a new ambit. With the help and instruction of Mr. Yao, he wrote some theoretical articles such as "Summary on Traditional Tai Ji Quan", which were full of incisive and original views, and highly praised by the famous Tai Ji Quan theorist---- Mr. Wu Wenhan.
     Mr. Wang Rongtang initiated Li in person eight trigram palm and "Wu" school of Tai Ji Quan
     In 1986, a silver medal winner in a national free combating contest was retained as a coach at a martial art gymnasium in Xingtai City.
    Having a competition with Li, the martial art coach's hands and feet could not advance and retreat smoothly once "stuck" by Li. On hearing this, the master of the coach Mr. Mei Huizhi made a special trip to Xingtai to meet with Li. They two had a long and in-depth talk through the night, exchanging views and comparing notes freely. They both wished meeting each other earlier. Mei introduced Li to his mentor Mr. Wang Rongtang. Mr. Wang behaved cautiously and prudently, and was very picky to choose disciple. Persuaded by Mei, Mr. Wang left for Ren County from Beijing accompanied by his favorite disciple Li Wenzhang. After meeting with Li, Mr. Wang was very pleased to acknowledge Li as his disciple. Mr. Wang devoted all his attention and efforts to teach Li Ba Gua Zhang (eight trigram palm), "Wu" school of Tai Ji Quan, Xin Yi Quan, etc. and taught Li in person the practical skills. Since then, Li's combating skills and practical experience had got great improvements.
Mr. Fu Zhongwen teaching Li "Yang" school of Tai Ji Quan
    In order to learn authentic "Yang" school of Tai Ji Quan, Li went to Mr. Fu Zhongwen a martial art magnate for advice and consultation. When he visited Mr. Fu one day in 1992 in Shanghai, he came across several boxers from Southeast Asia who also came to visit Mr. Fu. Mr. Fu asked Li to Tai Shou(push hands) with those boxers. One of the professional boxers could not stand steadily when he just began to push hands with Li, and he even jumped up when he wanted to push harder. Other boxers were very surprised and tried to compete with Li one by one, but all their efforts were in vain. In contrast, Li could practice smoothly, with his feet firmly rooted on the ground. Mr. Fu could tell at a glance that Li had a very strong internal strength and excellent self-restraint, and acknowledged Li as his disciple with delight. Since then, Li was given directions by Mr. Fu with meticulous care. Mr. Fu himself even came to Ren County----Li's hometown, and Pingxiang County where Li worked to teach Li in person for three times.
Learning and confrolling recomdife ''routines and techniques of Kung-fu controlling in one's mind" would never be late for anybody
     At the beginning of 1998, Li was appointed as the Vice Governor of Bazhou in Xinjiang Province. Facing the vast Gobi Desert border land, he cultivated his moral character while practicing Tai Ji Quan, and widely made friends with other schools of Chinese boxing. A martial art master admired Li very much and often praised him in public after he met Li and exchanged views with each other. Li knows that skills and techniques are the primary stage of Tai Ji Quan, while the "heart law" is the most difficult to learn. It is "looseness", "flexibility" and "perception" that are the most difficult and important essences of Chinese Kung-fu.
    Keeping enthusiastic for life and calm when dealing with affairs
     Li is always calm whenever any event happened, and Tai Ji Quan is embodied both in his mind and body. He is full of enthusiasm and vigor in both his life and undertakings, and correctly looks upon wealth and fame. He always forgets himself when getting along with other people, and in turn other people show respect and trust in him. When dealing with stubborn and paroxysmal events, he is perfectly calm and collected. This is not only coming from his accumulation of practical experience, but also his possession of "Tai Ji philosophy". Li also shows great interests being of great attainments to other art ramification such as calligraphy and painting. He dabbles in all artistic forms beneficial mind to help him realize and master the laws of Tai Ji Quan and other arts.

Shao Lin Luo Han Quan
    Starting:
    1. The trunk should be straight up, legs closed, level the head an relax the shoulders, with Qi concentrated around the abdomen. Binding the fingers, sticking the palms along the thighs, having your eyes gazing at the front horizontally.
    2. Moving your left foot half a pace sideways to the left and stretching the legs, making your two feet paralleled as wide as the distance between your own shoulders. At the same time making your hands being fists and placing them round the waists with the palms upwards. Shifting the head leftwards, having your eyes look at the same direction levelly.
   I. Dun Zhuang(Making Yourself Squatting as a Peg) Wo Xin(Being Confined in Your Hear) Quan(Fisting)
    1. Your left foot steps half a pace towards the left and you shift the body to the same side to 900, lift and bend the right foot. Turn your right fist into a palm, make curves to the left, to the front and the right, and then put it back around your waist, while again change your palm into a fist. All at once, turn the left fist to a palm and strike in a curve from the left to the front, with the palm facing upward, the fingers leaning forward at a position a bit higher than your shoulder, let your eyes look at the left palm .
     2. Land your fight foot and practice "Zhen Jiao" (stamping one of your feet) at the interior side of the other foot. Tying your legs together, bending the knees to make a half squat, punching the fight fist forward, make your palm facing upward and the right arm bent, rest the left palm on your forearm, make your left palm upward, eyes gazing at the front
     Points: The curves-making of the fight palm, the striking of the left palm and the lifting of the right foot must be made at the same time. The practitioner must also complete "Zhen Jiao" and the punching of the fight fist instantaneously. Pay attention if the movements are coherent and the force is intact. Keep your trunk uptight without bending your body or extruding your buttock.
     Points: "Zhen Jiao" can also be called "Qian Jin Zhui" (dumping a thousand jin, i.e. five kilo). Practicing this, your step should be with all your force and stamping on the ground with the whole sole. Never set the foot down only with the front sole or the heel so as to avoid any injury.
   II Gun Shou (Rolling Your Hands) Qie Zhang (Making Your Palms Cutting)
     1. Jump up and switch your body 90o towards the fight in the air, with your legs bending .
     2. Make your left foot moving out fast and kicking to the left, turning the outer side of the foot leftward and forcing it with your right knee bending, then raising your left foot as high as you could, you turn your left palm downward, and strike it along the right forearm, make your fingers leaning forward with force reaching the outer edge of the palm. At the same time, pull your fight fist back to the waist, the palm upward with the thumb facing the front and eyes gazing at the other palm.
     3. When your right foot touches the ground, you practice "Zhen Jiao" and bend your right leg afterward to a squat; land your left foot, stretch your left leg being a Zuo Pu Bu (Left Snapping Step). Lower your left palm a little as the fight fist staying round the waist. Let your eyes look at the left.
 Points: Strike your left palm as the foot makes a kick up in the air. After the fight foot practices "Zhen Jiao", lower your center of gravity, fully crouch down the fight leg and stretch the left one to a Zuo Pu Bu (Left Snapping Step). This movement must be clean and neat.
   III Hou Liao Zhang (Cutting Back the Palm)
     Uplifting the trunk a little, bend the fight leg to half a squat and spread out the left leg to form a fight "Gong Bu" (Arrow Stance). Changing the fight fist to a palm, draw it various curves from the waist to the below, the left, the above and the left. Strike the palm facing the front, extend your fingers upward as high as the nose with the force reaching the outer edge of the palm. Meanwhile, hold your left palm into a fist around the waist. Let your eyes go along with the fight palm, looking at the front horizontally
     Points: Ease your shoulder in order to make it nimble. Take up the arm and with the shoulder joint as the centre, strike the palm rightward.
IV You Jin Zhou (Right Forwarding Elbow)
     1. Shift your body weight to the left leg and make a halfway squat, stretch the fight leg to a left "arrow stance". Turn the left fist into a palm, to draw curves from the waist to the below, the right, the above and the left, and stop at the left side of the trunk. Place your palm facing downward and your fingers facing the left. At the same time, move your fight palm drawing curves from the fight toward the below and the left, setting the palm facing upward, fingers leftward. Put the palm in front of the left shoulder. Let your eyes gaze at the left.
     2. Quickly move your body weight to the fight and the make your fight leg squat halfway and forcefully, extend the left one to construct a right "arrow stance". Meanwhile, let your right elbow hit toward the right effectively, on the same plane with the shoulder. Right at the moment, transform your fight palm to a fist and then lay it on the chest facing below and press the thumb against the body. Retrieve the left palm from the left to the below, opposite to the stomach, let your palm face above, make your fingers toward the fight, let your eyes gaze at the fight elbow.
     Points: Shift your gravity center to the left while drawing curves. Rapidly move the weight to the fight, and forcefully stretch your left leg to thrust the fight elbow.
   V Tiao Bu Pi Xin Quan (Jumping Steps and Ripping Heart Fisting
    1. Swing your right foot leftward with the left one pressing the ground to bounce up. Change your fight fist into a palm to draw various curves from the fight to the below, the left, the above and the fight, keeping the arm straight. Let your left arm stay unbent and draws curves with the palm from the below to the left, the above and the fight, and hold your elbow ahead to the front of your right shoulder. Let your eyes follow the movement of the fight palm looking to the fight horizontally.
    2. While keep going with the previous movements, make your right foot step left with your knee bent to a full squat. The left foot walks to the left, straightened and laid down to a Zuo Pu Bu. Turn your fight palm into a fist and draw it to the waist. With the palm heart facing the fight, fingers stretching upward, put the left palm on the right shoulder, let your eyes look at the left
    3. Following the previous movements, make your left palm cut up from the right shoulder to the front and the left, and toward the straight arm across the upper of the left foot. Shift your body weight to the left, bend the left leg to squat halfway, flatten the fight one with force and turn 90o to the left to make an arrow stance. Push the fight fist forward from the waist, with your palm facing downward, the fist eye facing leftward as high as the shoulder. Make' your left palm soon turn into a fist and retrieve to the waist, the palm facing upward, and the fist eye facing the left. Let your eyes look at the right fist
    Points: Remember to make a long jump in flight. After the left palm cuts down, unbend the fight leg and twist your waist to make a turn. Thrust the right fist, with the force reaches the surface of the fist. The whole movement must be coordinated and complete.
VI. Bei Hou Da (Backing Hitting)
    1. Make your body lower and turn 90o to the right, bending the left leg to a full squat, meanwhile straightening the right leg to a You Pu Bu. Transform your right fist to a palm facing leftward, the fingers upward, and then lean the palm close to the left shoulder, with the left fist round the waist, and let your eyes watch the right.
     2. Move your right palm from the left shoulder across above the right foot, and make a cut with a straightened arm to the right and the back. Meanwhile, make a 180o turn to the right, make the legs crossing with the right leg at the front, put your left leg at the back to make a full squat to form a You Xie Bu (Right Resting Step). Thrust your left fist forward from the waist, with the palm facing downward, the fist eye rightward as high as your shoulder. Make our fight palm turn into a fist and retrieve in front of the stomach with the palm facing upward, the fist eye forward, let your eyes look at the front.