Retrospect of the 1st National Conference on Chinese Traditional Kung-fu(I)
    From 23rd to 26th June, 2002, more than ninety representatives, Kung-fu masters and heir disciples from different styles of Chinese Kung-fu throughout the country held a our-day conference at San Ya Kou, a small village at the foot of Taihang Mountain, during which they had a discussion on the past and the present situation of Chinese traditional Kung-fu and how to promote traditional Kung-fu culture, as well as their understandings and appreciation of Chinese Kung-fu and its practical uses, and illustrated, demonstrated and performed Kung-fu movements therein. This allowed the participating masters and their disciples to broaden their horizons and get a taste of different styles of Kung-fu. In the first place, they got a general idea of other styles'     characteristics in the process of shaping; secondly, they understood the comparative relationship between their own styles and others; thirdly, they were able to evaluate the comparative relationship between the Kung-fu they had learned and that other masters from different styles had practiced. The typical styles of Chinese Kung-fu chosen for this conference, the represent ability and status of the participants in today' s Kung-fu circle in Chinese Mainland, as well as the fact that this kind of conference was the first one in the modem history of Kung-fu, all endowed the conference with profound significance.
The Background of this Conference
    The development of regional cultures, folk culture and humanism culture in China. a country with a vast territory, has exercised a profound influence upon traditional Chinese Kung-fu which is closely related to the livelihood of Chinese people, and contributes to the. formation of the Kung-fu culture system that contains particular Chinese traditional culture. However, due to the historical cause, the low level of human enlightenment, the poor transportation, the undeveloped science and the long term undesirable tradition of conservative thinking, there were few communications among different styles of Kung-fu. In the past, they looked down on each other and considered themselves superior to others. This non-objective and unscientific ideology had hindered them not only from truly understanding the Kung-fu culture, but also from communicating and studying with and learning from each other, and eventually affected their own development and improvement of various styles of Kung-fu and masters and their disciples. Generally, this had directly affected the promotion and development of traditional Kung-fu culture and decreased its cultural level. Up to the civil society with modem science, the main functions of traditional Kung-fu have gradually vain she vanished, which makes many enthusiastic amateurs question about the modem use of the skills of traditional Kung-fu. Fur- thermore, most Kung-fu exponents in modem times put emphasis on the cultural and bodily fitness aspects when promoting Chinese traditional Kung-fu. Unfortunately, many of them did not give a systematical exposition of traditional Kung-fu culture. This also made some Kung-fu amateurs lack a true understanding of the contents of the cultural system of traditional Chinese Kung-fu, and doubt about the main functions of traditional Kung-fu. They are under the incorrect impression that Kung-fu is just an exercise for bodily fitness. Besides, some people mix modern competitive Wu-shu with Chinese traditional Kung-fu. They even believe that competitive Wu-shu is more practical and useful than Chinese traditional Kung-fu. All these misunderstandings have hindered the promotion and development of traditional Chinese culture at home and abroad.
    With Chinese traditional Kung-fu developed into the modem society, their values are not only reflected by their derivative functions such as bodily fitness, performance, entertainment and competitive sports, but more importantly by the Chinese traditional culture they contain, whose values can never live alone without the principal part of traditional Kung-fu including fighting or defensive system and skills. Therefore, in order to enhance and glorify Chinese traditional Kung-fu culture, we must do our possible to inherit, practice and study the principal part of traditional Kung-fu, which has become a necessity for the promotion of Chinese traditional culture. So Martial World Magazine and several exponents in the Kung-fu circle took the initiative to organize The conference on Chinese traditional Kung-fu, so that the representatives and Kung-fu masters from various styles of Chinese Kung-fu were able to hold a discussion and communicate with each other on how to inherit the true inwardness of Chinese traditional Kung-fu theories and practice in a free and easy atmosphere. This kind of meeting is the first in the history of Chinese Kung-fu and is endowed with profound significance and great influence.
Planning and Organization Process
    This kind of Chinese traditional Kung-fu meeting has never been held before. It was different from any other Kung-fu show or competition where masters of different styles perform Kung-fu patterns on the stage respectively. By the way, they may be ranked and rewarded according to their performances. At those kinds of shows or competitions, they usually did not communicate with each other, or let alone in an open, sincere and interactive way. Our original idea was to allow different masters from different styles to sincerely communicate with each other, to know how other masters from other styles interpreting Kung-fu and what are their understandings, and to see how other masters perform Kung-fu. Our intention was to open up, though not fully, to understand others and let all of us understand ourselves well.
     In order to make the 1st Conference on the Tranditional Chinese Kung-fu successfully, I discussed the relevant matters such as the form, subjects, representatives to be invited, place and schedule of the meeting carefully with Master Han Jianzhong, Master Zhu Tianxi and Master Jiang Jiajun and then finalized the proposal.
    A. Form and Subjects of the Conference
 We should admit that it is no easy to incarnate a master’s culture in Kung-fu, nit easy to reflect a master’s general level of Kung-fu when be communicates with others for the first time mainly through discussions but not much direct fighting. I have been involved in the Kung-fu circle for over 20 years and have dealings with various types of masters and know much about them. There are quite a few so-called Kung-fu masters who can do nothing but talk and write. Though doing historical and theoretical researches is very important, I am afraid of that one will never be recognized by the public of only he thinks himself profound enough in Kung-fu and declares himself being a renowned master just by doing these researches. As a popular saying in the Kung-fu circle goes, "We know whether one is a master or not by seeing him performing a set of Kung-fu movements", we could see one's level more or less when he demonstrates a set of patterns. Therefore, we designed the form of combining theory with practice, which takes into consideration both representatives' papers or lectures about their understanding of traditional Kung-fu and the patterns and skills they used to interpret their styles of Kung-fu.
 At last, we set the form of the workshop as following: 1. Each formal representative should be required to submit at least one paper on Kung-fu. 2. Each of them was required to perform two Kung-fu patterns by boxing or with a weapon; 3. Each formal representative was required to explain the use of his style of Kung-fu and his own understanding. 4. Each of them was required to demonstrate the applications of his own style of Kung-fu with his fellow master(s) or disciple(s).
In addition, a disciple was allowed to perform some patterns which might be not appropriate for his teacher or master.
We believed the form mentioned above could basically reflect a master's general level of Kung-fu.
B. Participants of the Conference
Since this was the first national conference on Chinese traditional Kung-fu with certain represent ability that of participants should be a key factor. Just like the inheritance of the traditional Chinese culture and other cultures, traditional Chinese Kung-fu is a hobby, an interest, a philosophy, something they would never let go or vanish and a pursuit of life of the general public of Chinese people. It is neither an official position nor a pure means of living .Therefore, we were of the opinion that each participant should fill the two requirements that were, they should contain the characteristics of inheriting traditional Chinese culture, and should be one of the few styles which could represent Chinese traditional Kung-fu to some extent.
According to these two requirements, the styles of Kung-fu such as Xing Yi, Xin Yi, North and Nan Shao Lin, Ba Gua and Tai Ji Quan, first appeared in our list. Also included in the list were some influential styles such as Cha, Hua Pao, Mei Hua, Chuo Jiao, Ba Gua and Southern Schools of Boxing derived from Southern Shao Lin. Since there should not be too many participants in the first conference, and many other comprehensive factors were taken into account, we finally invited only a few of them. Furthermore, some representatives were absent from the conference due to various reasons. The representatives who had attended the conference were: Han Jianzhong(Mei Hua Zhuang), jiang Jiajun(Tai Ji Quan), Zhu Tianxi(Shao Lin Quan), Zhang Yulin(Xing Yi Quan), Wang Yinhai(Xin Yi Quan), Song Guanhua(Xing Yi Quan), Wu Wenhan(Tai Ji Quan), Cai Jinxing(Nan Shao Lin), Xu Qinghui(Nan Shao Lin Tai Zhu), Xiao Tingdong(Bai Mei Quan),Jiang Faming(Bai Mei Quan), Wang Yusong(Ba Gua Zhang), Jing Sengjin(Xin Yi Quan), Cai Haikang(Ba Gua Zhang), Xue Shen-gcai (Tong Bei Quan), Su Yinghan (Nan Shao Lin Bai He), Li Rubo (Xin Yi Quan) ,Chen Longxiang (Tai Ji Quan) ,Wu Lianzhi (Ba Ji Quan) and Che Xiangqian (Xing Yi Quan). The disciple representatives who had registered and attended the conference were:Pan Jing,Gao Liancheng,Zhang Hua,Wang Cheng,Wu Liming,Li Guoliang,Xie Jianjun,Wu Huaqiang, FengTaifu,Zhang Cong,Zhang Xiaofeng,Shi Changxin,Xie Zhonghe,Gu Shangwei,Su Junyi,Chen Xingqun,Xue Yinquan, Chen Shuyi, Jia Zhibing,Du Laiyuan,Hu Chunli,Xu Yuntong. The master representatives we had invited but absent from the conference due to matters of urgency were: Bu Bingquan (Xing Yi Quan),Meng Xianchao (Mei Quan), Zhang Quanliang (Ba Gua Zhang).
C. Time and Pace of the Conference
   The conference was scheduled for 23-26 June 2002, at San Ya Kou Sanzhuang, Hui County, Henan Province, PRC.

Kung-Fu FoRum
    About Kung-fu:
    The phrase of Kung-fu used by Cantonese frequently in the past has been brought to every comer all over the world along with the Cantonese abroad since they had been seeking to make their living worldwide. "Kung-fu" in its broad sense is generally defined as craftsmanship and feat. If we say that somebody plays Kung-fu, it means that he performs a skilled feat. In case we indicate that somebody knows Kung-fu, it means that he practices the Chinese traditional Kung-fu well. So it is easy for us to reach the conclusion that somebody knows Kung-fu means clearly that his Kung-fu performs quite well and excels all. This conventional concept was also brought abroad by the Cantonese.
    When it dated back to the 70s-80s last century, the authority of China attached great importance to discovering and coordinating the traditional Kung-fu. Along with the accelerated process of reform and opening-up policy in China, the activities of Kung-fu in China are now quite famous in the world. All at once, the new generations of different schools of Kung-fu, the practice-goers and teachers in the Physical Education faculty, the professional coaches and the sportsmen began to teach Kung-fu both at home and abroad. The quintessence of Chinese culture is imparted to other countries and makes headway to be popular. However, different people have different conceptions, and perform different methods and forms of Kung-fu. So we have various explanations and parlances in terms of the traditional Chinese Kung-fu. Quite a few of people are unintelligible about the nature of Kung-fu.
    For the past decade, the Wu-shu athletics are extensively introduce to every comer of the world. There are many competitions on Wu-shu athletics. But in fact, they are not the cases of Chinese traditional Kung-fu that are the parts of the quintessence of Chinese culture in terms of training process and the demand of application. So the continuators and fancier of the Chinese traditional Kung-fu all over the world distinguish the two forms by the essence of performing. They define the traditional Chinese Kung-fu as Kung-fu, while for the other form aiming at participating the sports competitions; we call it "practice Wu-shu."
    "Kung-fu", "Wu-shu" are definitions of a kind of form, conception and contexts by people around the world. They are established by usage and recognized by people through generations. So we have to be aware of the two different types of Kung-fu as I have explained before. One is for the traditional Chinese quintessence and the other is for pure sports competitions.
    But as for the conception of Chinese Kung-fu, different people bear different thinking and recognitions. CHINESE TRADITIONAL KUNG-FU has invited over three hundred experts and masters from both home and abroad to express their ideas and opinions and we will publish them in the following issues.
    If you are interested in Chinese Kung-fu, you can e-mail us. The language should be concise and clear. Thank you for all your concerns.

 

Eight-Trigram Cudgelplay
    In Chinese traditional Kung-fu weapons, the cudgel is one of the most important apparatuses. It is popular, especially in the countryside where people are fond of playing martial arts. There are various kinds of cudgels. And the following three are the most common----Dan Tou Cudgel, Shuang Tou Cudgel and Shuang Jia Tan Cudgel.
     I have been practicing and using Dan Tou Cudgel. I learnt it from Mr. Bai Chang, master of Wing Chun Quan, living in the Luochun Town of Nanhai District in Foshan City, Guangdong Province, China. My teacher has mentioned, "The cudgel play I learnt was passed on by a monk living in Bai Yun Mountain. And many people have learnt the cudgel play throughout the Nanhai District."
     The key point to manage the Eight-Trigram Cudgel play is practice. Teacher said, at the very beginning, the trainees should find a bamboo stick and cut it to the length as long as the standard Dan Tou Cudgel. Then one should fix an iron stick into the bamboo stick to make it heavy enough. Using the stick can practice one's power of waist, shoulders, arms, wrists and the stances. And the trainees should concentrate on the methods of Quan(circling), Qiang(pricking), Chou(removing), Tan(plucking), Ge(cutting), Dian(pointing). The following article will introduce some methods for emphasis
      1.Quan(circling)  The method is similar to the Twining Cudgel. It is said that the circle should be described as small as, possible. However, I think the essential point is to make the small circle with force instead of the circle formally at a small size. For instance, the circle should be able to dissolve the opponent's movement ("Hua") and take the chance to attack him immediately ("Tun"). Take playing bow for example, when we are play ing bow we make intense and use the pulling force of the bow to release the great power. Similarly, the method should be used to attack the opponent as soon as his attack is dissolved under your circle.
    2. Qiang(pricking)  The method asks for the power focusing on the end point of the cudgel. And the player should prick while winding the cudgel. One should make sure the force, direction, functioning point are all concentrated on the ending point. What I learn requires playing the cudgel by winding. Unlike other schools, the closer part to the end of the cudgel should be held. The end of cudgel should be raised at the same height of the opponent's chest. The method of "Qiang" must contain twining and winding as well, otherwise the cudgel will be easily swung away. Playing "Qiang" means "Hua" by winding or describing circle. On the other hand, the method is used to explore the way of opponent's movement. When I reach out the cudgel, others will come and take my attack. But thanks to the "Hua" function of my method, I can launch "Tun" and attack him further. So it includes attack and defense. With the method, I can take advantage of acting after attacking the vital point in advance. My first action is just the bait. With the awareness of other's intention by carrying out the "Qiang", I can adopt the according solutions to reach the superior position, such as seizing opportunity to attack or dissolve their next movement or commence a final attack because of my retaining force inside the "Qiang, "especially when the opponent is slower or less powerful than me.
    3. Chou(removing), Tan(plucking)  "Chou" and "Tan" value practice highly. They are powerful in defense. To manage them well, one should use his waist properly and integrate the cudgel and himself. That means one should control the cudgel as perfectly as your body. While the cudgel is touching others, you needn't withdraw but carry out next movement to attack. Both "Chou" and "Tan" can form the attack. "Chou" is to dissolve others attack instead of pushing away other's cudgel. And the purpose of "Chou" is to "Tan" and take the hard attack to win or even hurt the opponent.
    4.Dian(pointing)  "Dian" is usually used to attack the lower half of the body. It emphasizes practice and accuracy. When "Dian" is used, power should reach the end of the cudgel with vital energy, and the movement must be stable, accurate and resolute. The method is also taken to explore others way without the withdrawal intention. It is suitable for fighting in close distance. One can make a powerful attack on an perfect target.
   The stances of Eight-Trigram Cudgel play are similar to those of Nan School. The common stances are Gong Stance, Ma Stance and Qilin Stance. They have a long history basing on Zhi Wu Ma, Diao Ma and the "Ren Zhi Dan B ian Ma."
    The Eight-Trigram Cudgel play I learn has one section, whose requirement is similar to those of Nan School, emphasizing "Quan” (circling)and "Dian"(pointing).

 

An Appeal for promoting Studies on “Jian•Qi”Culture in Chinese Traditional Kung-Fu
    Chinese Kung-fu culture, a vital part of Chinese traditional culture, has long been hailed as treasure of Chinese civilization. "Jian • Qi"  plays an important part in traditional Kung-fu systems, also undeniable, before modem times, in wars and the process of integration between human and Nature. A feature of Kung-fu culture, "Jian • Qi" has crystallized into a humanistic subcategory, not only an embodiment of Chinese traditional culture, but also an entrance to the inheriting, developing and disseminating of our culture.
     "Qi Xie" (weapons) and "Quan Shu" (fighting arts), once glistering dazzling glamour in history, are both essential in Chinese Kung-fu. Among the existent schools of Quan (fists fighting) that simultaneously deal with "Quan" and "Xie", the "Li Fa" (the handling techniques) of these instruments varies in accordance to their individual characteristics. So, even within one school, there is various "Li Fa", at the same time reflecting mutual "Quan Li" (theory of fists fighting) and distinctive features of the instruments. However, as time progresses with the advancement of society and science, these weapons, though once paramount in strengthening health and defending homeland, are disappearing in people's view, their essence now are only known to a small few. Nevertheless, the rich culture values still endure to this day and remain to be explored and preserved. Only by doing so, we could contribute to the course of preservation of ancient Chinese cultural heritage.
     Chinese traditional Kung-fu weapons, are called by common folk as "the eighteen varieties of weapons", whose application boosted the shaping of the eighteen respective martial arts. They mainly include a range of short and long weapons, the short ones consist of "dao" and "jian", the long ones contain "qiang", "gun", "da dao", etc. While the whole set of Chinese Kung-fu weapons usually embraces "dao", "qian", "jian", "ji", "yue", "chui", "cha", "gun", "bang", "shuo", "tang", "bian", "jian", "chan", "pa", "ge" and "mao" (however, another version is "gong", "nu", "qiang", "dao", "jian", "mao", "dun", "fu", "yue", "ji", "bian", "jian", "zhua", "shu", "cha", "ha tou", "mian sheng tao suo" and "bai da"). From the names, we can understand that the origin of these Kung-fu weapons is closely related with the then social productive conditions.
    In view of the fact that the formation of Kung-fu weapons is directly connected with the overall social environment, i.e. regional culture, civil culture and social elements such as military and agriculture, the culture context of "the eighteen varieties of martial arts" holds a wealth of the fascination of Chinese traditional culture, bearing testimony to the history of Chinese civilization development. If we come to explore the arts, we can uncover the evolution traces of history and culture. If we come to preserve the arts, we should not forget to bestow it new vigor and new meaning with the intention of reviving this time-honored technique in a new era.
    Therefore, we wish to take advantage of the forum, so as to awaken interest in Chinese traditional Kung-fu culture and heighten the level of understanding of Kung-fu and improve the friendships among each and every participant.
     Let's join our hands for the popularization of Kung-fu culture!