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MASTER LAM'S

WALKING
CHI KUNG

Master Lam Kamchuen

GAIA BOOKS
 A GAIA ORIGINAL

Books from Gaia celebrate the vision of Gaia, the self-sustaining living Earth,
and seek to help its readers live in greater personal and planetary harmony.

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® This is a Registered Trade Mark of Gaia Books

First published in the United Kingdom in 2006

by Gaia Books, a division of Octopus Publishing Group Ltd
2-4 Heron Quays, London E 14 4JP

Copyright © Octopus Publishing Group Ltd 2006

Text copyright © Master Lam 2006

Distributed in the United States and Canada by

Sterling Publishing Co., Inc.
387 Park Avenue South, New York, NY 100 I 6-88 10

The right of Master Lam Kamchuen to be identified as the author of this work has
been asserted in accordance with Sections 77 and 78 of the Copyright, Designs
and Patents Act 1988, United Kingdom.

All rights reserved including the right of reproduction in whole

or in part in any form.
CAUTION
ISBN-13: 978-1-85675-235-0 The techniques, ideas. and
ISBN-IO: 1-85675-235-6 suggestions in this book are
to be used at the reader's
A ClP catalogue record of this book is available from the British Library. sole discretion and risk.
Always follow the instructions
Printed and bound in China carefully, observe the cautions,
and consult a doctor about
10987654321 any medical conditions.
 The journey if a thousand Ii
begins from beneath the legs,

(A 'Ii' is a Chinese unit ar measure equal to 576 m [630 ydJ.)

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 CONTENTS

CONTENTS

8 ORIGINS OF WALKING CHI KUNG 62 PART THREE

10 Chi Kung T he Six Directional Forces
14 How to use this book 66 Up and down
16 The Peacock Opens its Fan 68 left and right
70 Forward and backward
22 PA RT O N E
Breathing - the Furnace Within 72 PART FOUR
27 Natural breathing Knowing your Steps
28 Natural chest breathing 76 The Crane Steps
30 Natural belly breathing 82 Mo Ca - The Ice Steps
32 Full body natural breathing 88 The 'Spading' Steps
34 Reverse breathing 94 The Bear Steps
36 Reverse chest breathing 98 The ~ide Steps
38 Reverse belly breathing
40 Full body reverse breathing 104 PART FIVE
42 Frequency of practice The Walking Spectrum
43 Breathing and meditation 108 Reverse Walking of the Immortals
112 Carefree Walking of the Taoists
44 PART TWO 116 Forward Walking of the Buddhists
Building the Foundation 120 Stationary Walking of the Medics
48 Strengthening the legs 124 Xing Yi Walking of the Martial Artists
50 Training the muscles 128 Balance Walking of the Boatmen
52 Second voluntary movements 132 March Walking of the Military
56 WuChi 136 Circular Walking of Da Cheng Chuan
58 Understanding your centre
60 Circling your feet 140 Final Words
142 Index
144 About the author/Acknowledgements

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8

Origins of Walking Chi Kung

In order to do anything in this lift, ELUSIVE CHI
Chi is the primal medium of which all things
we must first have energy.
in this universe are made. It is the energy, or
GUAN TSE, ANCIENT CHINESE PHILOSOPHER life force, which forms the essence of every-
thing. Current understanding of this elusive,
The marvels of modern technology and intangible Chi, results from the collective
science have transformed our way of life. efforts of hundreds of Chinese scholars over
However, our modern lives are characterized a few thousand years. To understand Chi is
by daily hubbubs and demanding schedules. to have an appreciation of universal energy.
Anxiety and tension have become the norm The concept of Chi is applied far and
in our everyday routine. Somehow, despite wide. In China, it is used and needed in
all our modern marvels, we live in a more medicine, geography, Feng Shui (Chinese
stressful world than our forefathers'. placement geometry), climatology, even in
Peace and quiet have become elusive. cookery. This book focuses on the working
Increasingly, people are recognizing this and of Chi within the body.
turning their attention to the East, where The Chinese choice of the term Chi is
greater emphasis is often given to leading a a story all of its own. The contemporary,
harmonious lifestyle. The ancient Chinese officially accepted, character denotes 'breath'
arts are being rediscovered by the Western or 'air'. It is because of this translation that
world and becoming part of a global culture. Chi Kung is often mistaken as the practice of
The Chinese understand all human simple breathing exercises, yet this choice of
actions (whether mental, physical, or spirit- character is worthy of consideration, for Chi
ual) to be manifestations of the dynamics of is formless and insubstantial like air. Some-
an individual's energy. times, Chi is translated as 'aura', but this is
With this understanding, each human still a derivative of the word, air.
body is seen to be a reservoir of energies. The ancient Chinese character for Chi
The body is but flesh-deep; an external conveys a different meaning that reflects a
structure housing something greater. It is like deeper understanding. It is portrayed by two
a great lake, not merely defined by its shore- elements interacting one upon the other. The
line. Each human life is governed by the whole character embodies the concept of a
dynamics of the body's energy. furnace as being representative of Chi (see
For countless years, the ancient Chinese right, and pages 24-25).
painstakingly observed and studied this Chi is the true face of the inner strength
dynamism. Undaunted, they looked not only of all things. When you look at a great old
at the human body but also at the universe. tree, it radiates immeasurable strength and
The reward for their efforts was the discov- power. The exterior is neither threatening
ery and understanding of Chi. The concept of nor dangerous, yet somehow you are
Chi became a pillar of Eastern philosophy. intimidated and dwarfed by its presence.
 9

Above The contemporary

charader for Chi denotes
'breath' or 'air'. On the right
is the calligraphy for 'flow of
chi'. The lower charader is the
ancient Chinese charader for
Chi. It comprises two elements
that, when viewed together,
embody the concept of a
furnace. The element at the top
represents a pot or cauldron
with two legs and possibly a
handle. The element below
represents leaping flames,
heating the cauldron.
10 ORIGINS OF WALKING CHI KUNG

Chi Kung

The manifestation of Chi is everywhere, ORIGINS

including the human body. The Chinese study Like many great arts, Chi Kung does not
of human energy can be traced back to the originate from a single source. It is not like
reign of the Yellow Emperor, thought to be holding a thread in a maze, follow it and
around 2690-2590 Be. Despite its age, the eventually you will get out. If you tried to
study of Chi remains an active field of study, do that, you would find yourself trapped
and continues to be researched in China and in a cobweb of threads.
other parts of the world. The art of Chi Kung is like a river
Properly harnessed, energy can be formed from numerous tributaries into
brought to new highs and greater intensity. one unified force.As you move upstream,
A human, being a field of energy, can also you find that the river has multiple sources.
be brought to a higher level - physically, There are four principle origins of Chi
mentally, and spiritually - given appropriate Kung. This ancient art can be traced back to
cultivation. the monasteries of the Buddhist faith, the
One of the greatest legacies of Chinese schools of Taoist academics, the practices of
civilization is the cultivation of human energy. herbalists and doctors, and the disciplines
The name, Chi Kung, literally translates as of martial artists.
'the working of Chi'. It is an internal energy
practice that stimulates the flow of Chi THE LINEAGE
throughout the human body. With virtually no external movements, Zhan
Chi Kung works the channels through Zhuang (pronounced Jam Jong) is the most
which human energy flows, and harmonizes potent form of Chi Kung developed. It is
the life force so that the person achieves a a unique exercise system concentrating
natural balance. Chi Kung is, therefore, a entirely on the inner workings of the human
process of change and transformation that body through a variety of carefully composed
improves mental and physical health. postures. Zhan Zhuang means 'Standing Like
The practice of Chi Kung is varied - a Tree' and reference to this practice can be
ranging from static standing postures, sitting traced back as far as Lao Tse's writings in the
and laying down, to the emulation of animal Tao Te Ching. The practice does as it suggests:
movements found in nature. Hence, there are it develops great inner strength like that of a
various schools and styles, each with its own magnificent mature tree.
emphasis on health, spiritual improvement, Zhan Zhuang, in turn, is part of a greater
or martial development. body of training. It is the foundation of many
Chi Kung is applied in many different different disciplines of martial arts. It is also
fields and areas of expertise, satisfying the underlying element of the martial art,
various needs. Though the techniques and Da Cheng Chuan, 'The Great Accomplish-
aims may differ in detail, the underlying ment', founded by Grand Master Wang Xiang
philosophy is the same for all of them. Zhai. Through his discoveries and teachings,
 \
CHI KUNG II

Top An early portrait of a young

Wang Xiang Zhai.
Centre right Madame Wang,
the daughter of Grand Master
Wang, practises in a Beijing park.
Bottom Professor Yu, a student
of Grand Master Wang and in
tum the teacher of Master Lam,
maintains the lineage in China.
Centre left Grand Master
Wang during practice.
12 ORIG INS OF WALKI N G C HI KUNG

he has indirectly helped millions of people to

greater health. One of his disciples, Professor
Yu Yong Nian, initially practised dentistry but,
intrigued by the health benefits of this art,
studied under Grand Master Wang Xiang
Zhai and eventually became a leading
authority on Chi Kung. As his disciple, I am
now honoured to pass on the teachings of
this tradition.

LITERATURE ON LEGS

The journey if a thousand Ii

begins from beneath the legs.
Grand Master Wang Xiang Zhai, Professor Yu,
and I, have placed unparalleled importance
on working the lower limbs. It is not an airy
resolution for behind it lies a culture and
understanding of the important role our legs
play in our lives.
Many of us believe that our hands are
the most important extension of our body.
They are versatile and dextrous, able to per-
form countless tasks. They make us different
from most other living creatures. They give
us distinction in the animal world. Our hands
make us unique and special.
If we disregard our self-importance for
a moment, we realize that this conclusion
is incorrect. Our hands and arms may be
very useful to us, but our legs are crucial. Above The calligraphy for 'living creature'
There are creatures in this world with only means 'thing that moves'.
legs, whether in a pair or in great number,
but there are no crea-tures w ith only hands.
Moving around is of primary importance.
That is not an understatement. In the
Chinese language, 'living creature' is written
 CHI KUNG 13

in two characters literally meaning, 'thing that Why is this so? What is the connection
moves'. Animals differ from inanimate objects between legs and health? The answer is in
because they can move at will. the very nature of our limbs. Each morning
In Chinese culture, basic human needs as we get out of bed, our legs support our
are listed as clothing, eating, sheltering, and full weight and continue to do so, faithfully,
travelling. Our legs are the bodily manifesta- throughout the day until we go to sleep. No
tion of travelling. However, our modern other body part bears the same amount of
lifestyle has greatly reduced our opportunity prolonged physical stress continuously. It is
to walk and our pleasure of walking. A few no surprise that our legs are strongly linked
generations ago, walking was a major part of to our wellbeing.
our lives, whether living in the city or the One branch of Chinese massage therapy,
countryside. known in the West as reflexology, has gained
The benefits of walking - and walking much popularity in recent years. It is based
correctly - are reflected in Chinese folklore on the principle that your health is reflected
and many aspects of household wisdom. in the soles of your feet. Through pressure
applied to acupoints on the feet, and various
Take a hundred steps cifter every meal other techniques, therapeutic change can be
brought about.
and live to a hundred years. The walking systems of Chi Kung
However, this statement may be outdated. provide what our legs lack in modern life,
Since we are walking so little nowadays, we building up greater strength and nourishing
should be taking a thousand steps after each them with vitality and energy. These systems
meal, not a hundred. are methods of personal cultivation with
Our legs, and our ability to walk well, their own discipline.
are a direct indicator of our mental and They are particularly beneficial to those
physical health. They are a dynamic part of people who under or overuse their legs.
our wellbeing. This is summarized by yet Those who are on their legs all day can use
another example of ancient Chinese house- walking Chi Kung to 'tune' down their legs,
hold wisdom: while those who are sedentary most of their
working day, can 'tune' up their legs. The
Bifore the person grows old} direction of ,tuning' can go either way
because the regular practice of Chi Kung
the legs grow old. is able to bring you back to natural balance,
Problems with the legs can be an early sign whatever your displacement may be.
of ageing, and are undoubtedly a sign of a Walking Chi Kung is also ideal for those
general decline in health. Deterioration, with students who are attracted to Chi Kung and
complications, can start to happen at an early Zhan Zhuang but, in their practice, find
age, even to athletes and dancers. standing still a major challenge.
14 ORIGINS OF WALK IN G CHI KUNG

How to use this book

This is the first book in which I focus on different disciplines together or make
Chi Kung in motion, and give the legs and variations of the exercises. Each instruction
walking the attention and recognition they is carefully gauged and structured for your
deserve. It offers clear instructions for physical and mental wellbeing.
the walking systems of Chi Kung and its
foundation training postures and techn iques. Part One introduces you to the art of
With detailed illustrations and a step-by natural and reverse breathing. Both are
-step text, readers should find this book both essential for your progress and development
appealing and useful. The descriptions of the in the body arts.
walking systems are not limited to just the
physical choreography. I also describe the Part Two helps you build a good physical
traditional mental and spiritual aspects of the foundation for the steps and walks that
movements so that, rather than performing follow. It gives exercises for training and
the sequences in a mindless fashion , you will strengthening specific leg muscles, as well as
be able to practise them with some degree standing postures. You should return to this
of understanding of the philosophy that section from time to time.
underlies them.
All the instructions in this book are Part Three is the final phase of training
based not simply on the opinions of a single before you start working on steps and
individual, but on the experiences and know- walking systems. It is the stage where you
ledge of many past masters across the ages. progress from being stationary to moving.
Follow them precisely and carefully and you I explain the six directional forces that are
will be in very safe hands. Do not try to mix the key to th is leap.

FROM BONES TO PAPER

Chinese writing is thought to have been
invented during the latter half of the second
millennium Be, and to have evolved without
evidence of foreign influence. The writing has
undergone relatively little change since then.
As a pictographic writing system, the characters
were regarded as magicol and sacred by the
ancient Chinese, and were inscribed on animal
bones and turtle shells (or the purpose of ORACLE BONE SCRIPT Oia Gu Wen) ORACLE BONE SCRIPT Oio Gu Wen)
divination and religious rituals. They are still Used during the Shang and Yin This character, from the some period,
used as a divinatory medium. The calligraphies Dynasties, 1400-1200 ac. This seems to be derived (rom the foot
shown here show the evolution of the Chinese character is one of several graph- image with on extension. Together,
ical variations of the (oot image. they represent the leg.
character denoting 'leg'.
 H OW TO USE T HI S BOO K 15

Part Four describes a variety of steps for in the sense that your body is in a healthy
you to study and learn. This is a special and comfortable harmony with itself, rather
branch of the art of Da Cheng Chuan. The than merely having the external appearance
colourful steps are well illustrated and you of physical fitness .
are given careful instructions. I hope that this book will open a door
to a new understanding of the world and a
Part Five offers a number of complete new way of life, that, in turn , may lead to
walking systems that can be used independ- greater opportunities and prosperity.
ently. Their details and origins are colourful Like knowing the destination before you
and inspiring. To practise them well takes embark on a long journey, you might like a
time and dedication, so try to be patient. glimpse of the forthcoming reward of this
physical and mental expedition. The exercise
In time, if you follow the book correctly, you shown over the next six pages, The Peacock
should feel improvements in both your body Opens its Fan, is a telling sample of what you
and mind.Your legs will feel firmer and more may accomplish with time, patience, and
vital ized, and your back will feel straighter regular training.
and more supple. Your breathing will be At this stage, just read through the text.
deeper and stronger and you will also begin Aim to have this inspirational exercise as one
to feel warmer all over. You may notice an of the last you will practise from th is book.
improvement in your mental abilities too, When you have achieved an adequate level
with an enhanced ability to focus on the task of confidence with the steps, walks, and
at hand. You will feel healthier and more foundation training, return to this section
relaxed. Most of all, you will feel fit - fitness and try this sequence.

BRONZE SCRIPT Oin Wen) LESSER SEAL SCRIPT (Xioo Zhuan) STANDARD SCRIPT (Kai Shu)
Used during the Zhou Dynasty, Different forms of Chinese writing With the invention of poper and the
1100-256 8C, this script was were uni~ed by the ~rst emperor use of brushes, Han Dynasty 207 8C
commonly used on bronze vessels. of Chino During the Qin Dynasty, - 220 AD, charaaers become more
The writings were either direa/y cost 22/-207 8C. Calligraphers still use linear to suit the new medium. This
with the vessels or inscribed later. the script in their nome chops (seals). is the modem charoaer for 'Ieg'.
16 ORIGINS OF WALKING CHI KUNG

The Peacock Opens its Fan

The mythical phoenix is a powerful and gracious creature,

both admired and worshipped across many lands. In Chinese
mythology, it is the female counterpart and companion of
the dragon, Master of Water, and itself a Master of Fire. The
peacock is the earthly reflection of the phoenix - a mortal
avatar of its distant cousin in Heaven.
The elegant sequence of movements, shown here, draws
inspiration from the splendid peacock with its expansive,
glamorous tail and distinctively proud walk as he displays his
magnificent attributes.
The graceful sequence characterizes the peacock's most
distinctive feature: the opening of its incomparable tail
feathers, shown by the upward rising and spreading of the
arms. The peacock's strutting walk has been formalized into
the outward kick of the foot, before it is carefully lowered
to the ground.
The emulation is internal as well as external. When
practising the exercise, you should try to exhibit a spiritual
and mental portrayal of the peacock: its elegance, grace, and
pride should radiate from your face. It is useful to think of
the movement as a dance. Your motion should be smooth,
slow, and rhythmic. Keep your knees relaxed throughout.
Do not be deceived by the elegance of the movement
and consider the exercise weak and airy. Peacock tail feathers
are a symbol of power and majesty. Your arms and hands,
which mimick the tail feathers, should be equally powerful
and splendid.
As you improve try, increasingly, to keep your head at the
same level. This is more demanding than it appears but, as you
put in more effort, so your movements will become more
graceful and the labour more rewarding.
18 ORIGINS OF WALKING CHI KUNG

-
2 3

I Begin with your heels 2 Raise your hands slowly in 3 Shift your weight entirely
together and toes apart at an front of you as if you are to your left foot. Continue
angle of about 45 degrees. lifting a huge balloon. Bend raising your hands to about
Stand straight but not rigid. both your knees and your the level of your shoulders
Relax your hips, belly, and hips slightly. Imagine you are and, as you do so, slowly lift
knees. Let your arms hang sitting on an invisible stool or your right knee with your
loosely from your shoulders a huge balloon. Keep your foot flexed and still turned
with your palms facing your eyes facing forward . out.Avoid bending your
thighs. Have only a small space elbows further and raising
between your elbows and your knee too high.
your sides and your fingers
apart and slightly curved. Face 4 Turn your torso and your
forward and keep your neck gaze slightly to the right.
and jaw loose. Breathe slowly Turn your palms outward and
and deeply through your spread your hands out to the
nose. sides and up, drawing two
smooth arcs in the air. Slightly
straighten your raised leg out
 THE PEACOCK OPENS ITS FAN 19

ttt
t
-
4 t
in front of you - imagine your
right foot is gently pushing
an object away. Then, bring it
back in.

5 Circle your hands outwards I

and down to waist-level with

~
your palms facing down. f
Lower your right foot to the
ground one step in front of
you, again at an angle of 45
degrees to the left foot. This
completes the motion of the
peacock opening and display-
ing its tail. Remember that
your arms are a reflection of
the tail feathers, an emblem of 5
power. They remain firm and
strong throughout.
20 THE ORIGINS OF WALKING CHI KUNG

- ....

r'
/

'"
r
~

6 7 8

6 Slowly raise both your 7 Lift your left knee and raise 8 Keeping your balance
hands together in front of both arms, together, until the upright, turn your torso and
your belly, again as if lifting a hands are approximately at gaze to the left. Your hands
hugh balloon. Draw your left the same level as your break from the balloon, as if it
foot forward and adjust your shoulders. Keep your arms has just exploded, and fan out
weight accordingly, sinking it in the same open position to either side. Press forward
into the right leg. Notice that throughout this move. with your left foot, then with-
your left leg is more bent draw. This is a mirror image
than your right. of step 4.
 THE PEACOCK OPENS ITS FAN 21

----

9 Circle your hands outwards

and down to your sides. At
the same time, lower your left
foot and place it firmly on the
floor. Avoid unintentionally
shifting your body forward,
and retain most of your
weight on your right foot.

10 From here, transfer all

your weight forward into
your left leg. Bring your right
foot up from behind to rest
!
beside your left foot at an
angle of 45 degrees. The
sequence repeats from here.

10
, PART ONE

BREATHING ~
THE FURNACE
WITHIN
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24
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BREATHING - THE FURNACE WITHIN

You are going through afurnace: The concept of the furnace is not
restricted to the external world. It can also
everything mental and physical be seen at an inner level. The human body is,
is being tempered and moulded. itself, a complicated furnace. continuously
GRAND MASTER WANG XIANG ZHAI transforming and refining you. In China. this
process is known as internal alchemy.
The making of fire was probably mankind's In biology, the furnace idea is used to
first great creation. The furnace, in its various explain power g~neration within each cell, in
sizes, forms, and shapes is not just a heating specialized cell organelles, which are called
system but a process of transformation and mitochondria. These tiny structures are d~s­
refinement of almost magical ability. cribed as the 'boiler houses' of cells.
It serves many functions in society, Breathing is one of the most critical
appearing in various guises. In a smithy, the and netessary functions of the human body.
furnace is where raw materials are forged It is subtle, se!f-regulating, and unnoticeable
and tempered into powerful weapons and most of the time, yet it is the key indicator
great works of art. In a herbalist's cauldron, of whether we are alive.
the potent components of herbs are extract- The art of I?re3;thing is extremely
ed. In a kitchen, the stove has for countless important, but often undervalued. Chi Kung
generations allowed cooks to transform is one of many Eastern systems that are ,
basic ingre~ients into tasty cuisines. The globally recognized for their unique breathing
combustion engine that runs most modern methods. These breathing techniques have
forms of transport is a mobile furnace pro- become a symbol of Eastern spiritualism.
pelling movement. These 'furnaces' may have However, some people have mistaken
different names, but they share the same Chi Kung as nothing more than a set of
underlying essence, and show the universality breathing exercises. This is an incomplete
of the furnace throughout human civilization. and inaccurate interpretati,o n of the art. It
This insight did not escape the keen would be Ii~e saying that the ocean is merely
perception of past sages and wise men. They a blue mass of water, while ignoring the
observed, understood, and embraced the billions of lives and mysteries it holds.
idea. describing the world we live in as one The contemporary Chinese character
great furnace, with the sky as the lid. the for Chi, the primal universal energy, is partly
Earth as the base, and the myriad of things responsible for this misinterpretation. The
in the world as the contents. ancient character, however. is a reminder of
Modern understanding of the world the ideology of Chi. The complete burning
reinforces this model. The molten magma furnace is literally illustrated in brush-strokes
b'eneath the Earth's surface is the fire of the to become a new word. It shows how
furnace, and the atmosphere is like the lid reverently the Chinese hold this model. and
protecting us from cosmic radiation. how deeply they respect the furl'1ace.
 .
INTRODUCTION 25

1-

Mastering tlie art of breathing brings TAN TIEN - THE HUMAN CENTRE ~
immense benefits. It is an art both vast and Every object and every thing has a centre. '
profound. Whether your goal is of a spiritual, Intuitively we know that every object can be
martial, or medical nature, or just to achieve characterized by a single point. That unique
mental and psyc~ological relaxation, you will point is the centre. An object may be bent,
find the art of breathing .indispensable. chipped, or distorted, but as long as the
centre remains intact, the object endures. It
is only when the centre is destroyed that the
OXYGEN: FUELLING THE FIRE
object is truly gone. .
The furnace is not just a colourful image The human body is no different. It has
passed on by our creative forefathers . It is a centre that is the core of yOl,Jr physical
a highly pragmatic model. and spiritual being. This c::entre is known as
All mechanisms - technological, biological, ) the Tan Tien (pronounced 'Dan Oyen'). It is
or metaphorical - are made up of inputs, sometimes known in the West as the 'Sea
outputs, and processes. For you and me, of Chi':The Tan Tien is located about 3 cm
human beings, and all air-breathing (1 !4 in) below your navel, approximately a
creatures, our (lrst and foremost input third of the way into your body.
'is oxygen. One interpretation of t~e Tan Tien is
From the moment of birth, an infant's that it represents the physical 'centre of
(lrst act is to breathe. The (lrst input is air.
mass' of 'an averagE! human being: an axis or
When a person dies, their last act is to
take a (lnal breath. A person's life is the
'- pivot point of human flexibility. This is a
continuity of breathing, the uninterrupted highly practical interpretation in the world
input of oxygen. We could say a person of martial arts.
is a breathing mac:,hine. Another perspective is that the Tan Tien
It is possible for us to survive manr days is the nucleus and source of human life.
without food; a few days without water; but In women, it is where new life is conceived
we cannot survive more than a few minutes and where new lives grow. In men, the Tan
without air. Tien is the inner extension, the virtual root,
You are fundamentallY a name that is 9f the male reproductlve organ. We can say,
fuelled by oxygen. Everything else is second- . . therefore, that the Tan Tien is the centre of
ary. If the oxygen is cut off, the name goes human reproduction.
out Once you acknowledge this, it is easy to
For internal alch~my, where the human
~ understand your body, the human vessel, as
a furnace .This is not an entirely new idea
body is one great, complex furnace , the Tan
to Western minds; poets and writers, both Tien is an elixir. The Chinese term, Tan Tien,
past and present, often describe human life literally means 'the field of elixir'. Here, it
as a light or candle name. is the content that the human cauldron is ~

cooking up. It is a field because it holds great

potential and can be productively cultivated.
26 BREATHING - THE FURNACE WITHIN

Higher Tan Tien

silence, we recommend light background'

Middle Tan Tien music. If external sounds are not too noisy
or irritating, open your window slightly,
allowing yourself access to fresh air. This
Lower Tan Tien makes a great difference.
When breathing with your lower or
middle Tan Tien, you may do so standing up
or sitting down. If you prefer standing, have
your legs sligh~ly bent and the feet apart at
approximately the same width as your
shoulders. If you prefer to sit, place an arm-
less chair in or near the centre of the room
away from any obstruction. Anything in the
room that is annoying, irritating, or makes
The human body can be viewed as having you feel disturbed, should be removed.
three sub-centres. They are known as the Sit squarely on the chair, in a relaxed and
lower Tan Tien, the middle Tan Tien, and the upright position. Do not cross your legs or
higher Tan Tien. The lower Tan Tien is at the have your knees together. Your legs should be
same point as the actual Tan Tien. The middle parted at the same width as your shoulders,
Tan Tien is located at the centre of your and your toes facing forward . Adjust the gap
torso, behind the sternum. The higher Tan between your knees until your legs are at
Tien lies deep within the head, behind the the most comfortable position.
centre of your two eyebrows. If your chair has a back, do not rest
against it. Have your upper body relaxed and
PREPARATION upright, but 'not tense. Do not tilt forward or
" Before beginning your breathing exercises, lean back, and keep your head facing forward
find a comfortable and private place in which at all times. Only when you feel relaxed,
to practise. calm, and in harmony wit~ yourself, should
In ancient times, holy and wise men you start your breathing session.
sought isolated places in the wilderness, or Be aware that these are breathing
high up in the mountains, for ideal conditions exercises. Although they are complementary
free of distraction. For us, however, in the to meditations, it is important not to confuse
modern world, a quiet room will suffice. the two. Resist the urge to mix any other
You may choose to put on some light disciplines into the following breathing
background music for the duration of the practices at this stage.Your aim here is to
breathing session or you may prefer to build a strong foundation of good breathing.
practise in complete silence. As many people Without this, any future development in
find it difficult to relax when there is total meditation will be hampered.
 NATURAL BREATHING 27

Natural breathing

Breathing exercises are a workout that can As we grow to adulthood many things
refine the human centre - the ran Tien. They distract and divert our lives from a healthy
are a process of cultivating the whole being, path. Our breathing may become fast, short,
bringing it to equilibrium. or shallow, immensely different from how we
Note that the word equilibrium is used used to breathe when we were infants.
instead of balance, as you are not seeking Our natural breathing rhythm has given
static balance but a dynamic stability, even way to our stressful lifestyles. Whether from
when everything is in fluid motion. staying out late having fun, or from long
Natural breathing is not something that periods of hard work, our body and mind are
we need to learn because it is already built in very often full of tension. We may find that
to the human system since birth. Why then even in our sleep, it is difficult for us to truly
are there so many great schools of breathing rest. Our present form of breathing is the
and meditation techniques? The answer is result of such restlessness.
that we forget how to breathe naturally as To return to health, we need ~o breathe
we grow up, and need to rediscover our naturally again. Fortunately, natural breathing
rhythm of natural breathing. is not lost to us, only hidden - buried away
As infants we breathe naturally; each by years of neglect. With dedicated practice
breath is deep, gentle, slow, and even. Our and patience, our natural breathing can be
breathing rhythm is suited to our needs, and rediscovered. In turn, this will bring· us a
optimal for general health. healthy mind, body, anCl spirit.

'"

THE HIGHER TAN TIEN conscious mind. It is located between the two
This particular sub-<:entre, the higher Tan Tien, eyebrows, halfway into the head.
is not part of the breathing system of this or the The higher Tan Tien can be understood in
following section. There are some important many different ways. One of its most famous
differences between this sub-<:entre and the expressions is as the mind's eye. In the East,
other two. The lower and middle Tan Tiens are there are many sources of literature describing
associated with your energy and Chi.They are the cultivation and inner working of the mind's
the sub-<:entres of power and life force, relating eye. Many gods of Eastern religions are depicted
to your physical being. showing a physical manifestation of a third eye
On the other hand, the higher Tan Tien is as a sign of mastery of their higher Tan Tien.
associated more with your mental and spiritual However, such literature falls beyond the scope
self. It is the nucleus of your conscious and sub- of this book.
28 BREATHING - THE FURNACE WITHIN

Natural chest breathing - middle Tan Tien

Raise your hands in front of you level with your chest. Let
the arms form a circle as if you are gently embracing some-
one.Avoid having your elbows stick out too far or having
them too bent.A natural, comfortable angle is best.
Breathe slowly and gently through your nose, keeping
your mouth shut. Let your eyelids lower, but keep the eyes
open. Allow your body to dictate the rhythm of your breath-
ing as that will be the natural rhythm. It should be gentle but
deep, slow but long.
Let your chest expand as you inhale, and relax as you
exhale. As you inhale, let each breath travel down to the
natural breathing centre of your chest. You may be able to
recognize it, intuitively, as you breathe. It is located within
the chest approximately level with where your ribs join the
sternum. This point is known as the middle Tan Tien.
Begin your practice with sessions of two minutes.As
you improve, build up gradually to five minutes.

I Imagine that the middle Tan 2 As you exhale, relax your

Tien is an energy point. As chest. The energy sphere
you inhale, the breath travels returns to a single point.
down to your middle Tan Tien
and your chest expands. The
point of energy enlarges into
a sphere encompassing your
entire chest.
NATURAL CHEST BREATHING 29
30 BREATHING - THE FURNACE WITHIN

Natural belly breathing - lower Tan Tien

This breathing exercise focuses on the lower Tan Tien.

Presented here as a standing practice, it can also be a sitting
practice, if you prefer. The lower Tan Tien is located identically
to the Tan Tien of the full body (see page 26).
Place your hands in front of your lower abdomen as if
you have lowered your arms to rest a little after the previous
breathing exercise - Natural Chest Breathing - middle Tan
Tien. Imagine that you have a large belly under which your
hands are resting. The palms face diagonally in-ward, fingers
apart and slightly curved. Do not have your arms too close to
your body; give yourself space between your elbows and your
sides; relax your shoulders; and do not let your body tilt
forward or back.
With your mind calm and body relaxed, breathe in gently
and deeply through your nose. Let your breath travel all the
way down from your nose to your lower Tan Tien in one
smooth, clear passage. It is a long way down, so you must
coordinate the depth and length of your breath accordingly.
Let there be a point of energy at your lower Tan Tien.
Begin your practice with sessions of two minutes.As
you improve, build up gradually to five minutes.

I As you inhale, the breath 2 When you exhale, the

expands your belly.As it does energy sphere shrinks back
so, the energy point expands to a point. You could imagine
into a sphere filling your belly. that the energy sphere is a
balloon inflating and deflating.

The depth and length of your

exhalations should be the
same as your inhalations. Let
your body guide the rhythm
of your breath.
 NATURAL BELLY BREATHING 31

2
32 BREATHING - THE FURNACE WITHIN

Full body natural breathing - full body Tan Tien

In the previous two breathing exercises, the focus has been

on a particular part of the body. You could practise them
either sitting down or standing up. To breathe with your Here is a brief guideline to
whole body, however, you must stand up. standing in Wu Chi correctly.
Here, you align your three sub-centres (your higher, Stand upright with your legs
middle, and lower Tan Tiens) into one singular centre, the Tan at approximately shoulder-
Tien (see pages 25-26). It encompasses and reflects your width apart and your feet
entire body. Compared with breathing into the lower Tan facing forward.
Tien, the difference is one of scale and magnitude.
Let your arms dangle loosely
The famous posture shown here, is known as the
at your sides.
position of supreme emptiness. Its Chinese name is Wu Chi
and it is also known as the position of primal energy. A fuller Relax the knees and elbows
and more detailed elaboration is laid out on pages 56-57. so that they are not locked
Just as before, inhale through your nose. Notice that into a straight position.
your breath needs to go a long way down to your Tan Tien.
Avoid tilting forward or
This is why you need to breathe slowly and deeply. leaning backward.
You can practise this exercise for as long as you feel
comfortable, but do not push yourself too hard. It is, after all, Relax a/l your muscles.
meant to be a relaxing practice.

I Imagine that your centre is 2 As you breathe out your

a point of energy at the Tan sphere reduces to a single
Tien. Every time you breathe point and your arms gently
in, let the point inflate like a return to their original
balloon. The point expands positions.
into a perfect sphere, which
encompasses your entire
body and beyond. Your arms
move away from the body
slightly as if expanding with
the sphere. However, this
movement is negligible, more
mental than physical.
 FULL BODY NATURAL BREATHING 33

2
34 BREATHING - THE FURNACE WITHIN

Reverse breathing

At first glance, reverse breathing may appear therefore, without your natural instinct to
to conflict with the concept given in the guide you, it is harder to master. The ball on
previous section, but this is not so.As you top of the hill, has worked against gravity to
are seeking a state of equilibrium, you must acheive its climb. Similarly, reverse breathing
breathe in a natural rhythm that your body is more demanding and, therefore, more
recognizes. However, a state of equilibrium advanced than natural breathing.
is not limited to a single breathing rhythm. Another major difference between
The other breathing rhythm that can achieve natural breathing and reverse breathing is
this state is called reverse breathing. the involvement of your willpower. Here, in
A simple analogy explains how this, the reverse breathing exercises, the rhythm
apparently conflicting idea, can be true. of your breath disagrees with the rhythm of
Imagine trying to place a smooth ball on a your body. You need to engage your will-
hill. Whichever part of the hillside you place power to make the two rhythms cooperate
the ball, it will start rolling. The ball is not at with each other. However, try to keep your
rest; it is in disequilibrium and will move until mind relaxed and at ease at all times.
it finds balance. We know that, at the bottom In practice, you have probably
of the hill, the ball will rest. This is its natural experienced more reverse breathing, in the
position of equilibrium where gravity has course of your daily lives, than you realize.
helped it to settle. However, there is another Every time you open a bottle, or fix a screw
position where the ball can be at rest - at into a hard object, you are doing a crude
the very peak of the hill! form of reverse breathing.
The system of reverse breathing is like
a ball on the peak of the hill. It is counter-
intuitive to your breathing rhythm and,
 REVERSE BREATHING 35

The preparation for this breathing

session is the same as before. Find a quiet
room free from distractions. Open the
window so you can have access to fresh air.
If you plan to sit, choose a chair with no
arms and place it in the centre of the room.
Sit with your back erect but relaxed. Your
knees are parted at about the same width as
your shoulders. Your feet point forward. Do
not let your body sway to the front or the
back, the left or the right.
Face forward but keep your neck loose
and relaxed. Let all the tensions in your mind
and muscles wash away as if you were being
cleansed by a river flowing over you.
When you have done all of the above,
it is time to start your breathing practice.
36 BREATHING - THE FURNACE WITHIN

Reverse chest breathing - middle Tan Tien

Position your hands in front of your body at the same level

as your chest and approximately shoulder-width apart. Your
palms face down and your fingers forward. Your arms should
only be moderately curved and your elbows should not stick
out too much.
Breathe in and out through your nose. Let your breath
be long, slow, and subtle. Remember that you are breathing
with your chest and that the centre point is the middle Tan
Tien. Once again, while you are breathing, imagine that there
is an energy sphere expanding and shrinking.
Start with two-minute breathing sessions. As you
improve, build up slowly and gradually.

I As you inhale, guide the air 2 When you exhale, relax

down to your middle Tan Tien your chest and let that
while compressing your chest. powerful energy point dis-
Imagine that your energy perse into a perfect sphere
sphere is collapsing or crystal- with a diameter equalling
lizing into a highly charged your chest.
and powerful energy point.

Please note When you

inhale, do not compress your
chest so much that it hurts.
Avoid putting too much effort
into the visualization other-
wise your mind and body
will become tense.
 REVERSE CHEST BREATHING 37

2
38 BREATHING - THE FURNACE WITHIN

Reverse belly breathing - lower Tan Tien

After completing the previous exercise, Reverse Chest

Breathing - middle Tan Tien, lower your arms so that your
hands are level with your waist. Again, your elbows should
not stick out too far - your arms should curve naturally.
Avoid having them too close to your body otherwise your
shoulders will stiffen. Turn your hands in slightly, and then
start reverse breathing again.
Breathe with your lower Tan Tien through your nose.
Keep your lips firmly sealed, but do not tense your jaw. Your
breath should travel smoothly and freely in and out of the
lower Tan Tien. Remember, also, that in this exercise you have
a choice of standing up or sitting down.
Start with two-minute breathing sessions. Then, as you
improve, slowly and gradually build up these sessions.

I Squeeze your belly in as 2 Exhale slowly and let your

you inhale. Remember that belly relax gradually, not in
the centre of your breathing one swift move as if dropping
is in the lower abdomen, the a sack to the ground. Your
lower Tan Tien. Do not place belly should not 'pop' out as
too much emphasis on the you exhale. Let your energy
top half of your belly. Let point expand gradually at a
your imaginary energy ball constant rate.
condense as if it were a
planet collapsing against its
own mass. Avoid squeezing
your belly too much.
 REVERSE BELLY BREATHING 39

2
40 BREATHING - THE FURNACE WITHIN

Full body reverse breathing -- full body Tan Tien

This breathing exercise involves the most movement of all

the breathing exercises in this section of the book. To breathe
with your full body, you must stand up rather than sit.
Please remember the following key points when you
stand for this exercise: keep your head facing forward; your
legs shoulder-width apart, knees unlocked; palms facing down;
and fingers straight. Try to relax all your muscles.
Imagine that your energy is all around you, both within
you and beyond the surface of your body. It envelops you like
a warm and subtle gaseous cocoon.
Begin with a session of two minutes and progress from
there as you improve.

I As you breathe in, collect 2 As you breathe out and you

the surrounding energy relax your belly, the energy
toward your Tan Tien. The disperses out in the same way
energy travels down from it came in, returning to the
above through your head, and ground below and air above.
up from the ground through Lower your hands as if you
your legs.Your lower belly are very gently pressing
contracts slightly as you in- something down.
hale. Your hands rise up to
chest-level as if they had
floated up, light as feathers.
 FULL BODY REVERSE BREATHING 41

J
I
 \
42 BREATHING - THE FURNACE WITHIN

! .

.'

FREQUENCY OF PRACTICE

Natural breathing and reverse breathing systems are

counterparts o( each other, like Yin and Yang, mutually
existing in opposite ways. In the begin,!ing, practise
only the three (orms o( natural breathing. Once you
become (amiliar with, and confident of, your natural
breathing skills, then you can start to practise the
reverse breathing exercises.
Unlike other physical exercises, natural breathing
techniques do not have an upper practice limit There
can be no such thing as breathing too much.You
only go wrong if you breathe incorrectly. The main
limitation here actually comes (rom your body -
namely, the difficulty o( the postures.
Reverse breathing, however, does have restrictions.
There is a limit to how long your counter-intuitive
rhythm can hold.Your willpower and concentration
will ebb. When that happens, your breathing rhythm
(alters and you must stop. It takes time to rediscover I
natural breathing, and even longer to learn reverse
breathing. Your body, especially your arms, become
tired i( you practise too long. It is best to practise
your breathing exercises (or two minutes daily, and ...
gradually build up the duration o( your sessions.
You can do these exercises whenever the need
arises. They are excellent (or calming nerves, relieving
stress, refreshing the mind, and relaXing muscles. You
can practise anytime o( day whenever you (eel
stressed, nervous, or tired. They also make excellent
preparation (or studying or working.
You can adjust your breathing practice according to
your lifestyle, and integrate it into your daily routine.
As long as you practise correctly and regularly, you
will become aware o( an impressive difference.
Correct breathing brings a greater supply of oxygen
into your system.
 BREATHING AND MEDITATION 43

BREATHING AND MEDITATION

It is not possible to mention breathing exercises

without some small reference to meditation. The two
are so intertwined that they are otten mistaken for
each other. On the outside, they appear virtually
identical, their interrelationships are strong, but the
gap between them is immense.
Meditation is a vast and wide-ranging subject
encompassing many different schools of thought In
the West, the varied meditation disciplines are otten
confusingly lumped together under the one title,
meditation. In the fast, however, meditation is
described by a variety of different names, offering us
an inSight into the various (unctions and underlying
philosophies of each.
One title conveys forgetfulness: its objective being
the unification of the self and Heaven. Another,
described by Zen buddhists, suggests an interaction
and understanding of the mysteries, the wordless
wisdom of their doctrines. It is a cultivation of the
heart and soul. In medidne, the name given to their
meditation speaks of tranqUillity and calm. In yet
another ~eld. meditation addresses the elusive Chi.
When you see them in this light, you realize that
meditation and the breathing arts are not two
distinct units, but separate parts of the some journey.
Breathing complements meditation, that is clear.
Correct breathi", is the stepping-stone to effective
meditation; one is the (oundl1fJen of the other.
However, the link between the two is an elusive art
You should not randomly mix and match breathing
exercises with meditations.
The topic of meditation is like a king whose king-
dom has numerous states and provinces. As such. It is
not possible to fk this vaSt and colourful sphere of
I<DowIedge within the breodth of these page
\
, PART TWO

BUILDING THE
FOUNDATION

'-

'I .
 \
46 BUILDI NG THE FOUNDATION

The philosophy of building or creating All forms of human cultivations -

anything can be summed up in one word: whether of the mind or body - are based
foundation. It is a simple word yet. with it. on this ideology. Education. the cultivation of
comes the wisdom of age and experience. knowledge. is an excellent example. In the
Creating or developing anything is like early stages of education you study a wide
building a house. Most things are built from variety of subjects. Only after proving that
the ground upward; rarely the other way you have gained an adequate understanding
around. The foundation of any structure is of of the subjects. by taking exams, do you
unequivocal importance. The base is always at proceed to higher education. As you progress
least as large as the top. if not larger. Rarely. upward through the educational system. the
will you find a structure where the top is range of subjects studied becomes narrower.
greater than the base. You become more specialized.
Pyramids are excellent examples of This principle also applies to your body.
this idea. The cross section of a pyramid gets As you strengthen your lower limbs - your
progressively bigger toward the base. It is no legs - you strengthen your whole self. In
wonder they have outlasted other ancient China, there is an apt role model called Bei
buildings. and rank among the great wonders Tao Yung, 'The old man who never falls'. This
of the world. Pyramids are based on a uni- traditional toy is a hollow, wooden doll with
versal principle and are. therefore. found in a round base and a smaller top, on which is
both the Old and the New Worlds. painted an image of an old man. A weight
Lowering the centre of mass is the key placed in the base means that no matter how
to steadiness. firmness . and stability. It is the you tilt or push the toy. it rebounds. This toy
enigma behind the pyramids. Despite their is a household symbol of tenacity, resolution.
greatness. pyramids are only an architectural and dedication. Many parents teach their
metaphor for something deeper. children to follow Bei Tao Yung's stable and
The same principle manifests with rebounding qualities.
regard to humility and modesty. Lowering the This section of the book focuses on
ego and sense of self-importance makes you building the foundations of good practice.
more steadfast and resolute. Only by being These basic exercises may seem simple but,
humble can a person truly make progress. with dedication and consistent practice. they
This is one of the reasons why humility is so enable great progress during the later stages
revered in spiritual practice. of your training.

Chinese traditional toys: an old man

and woman who never fall down.
 IN TRODU CT ION 47

Left This illustration,

from the main frieze
at the Shaolin temple
in the Sung Mountains
of Central China,
shows a student
practising the stance
called Taming the
Tiger'.

STANCES riding a horse - it is adopted in the exercise

The first exercise for your foundation shown on pages 48-49.
training is known as a stance. Stances are Although both systems are stationary,
stationary postures frequently practised by you must not confuse stances with Zhan
martial artists. They are taught in various Zhuang (see page 10). There is a vast internal
schools and disciplines of the martial arts. In difference between the two that sets them
fact the system of stances is one of the few apart like an abyss. Both systems share
common denominators shared between stillness, but stance work focuses on frame-
martial art disciplines. Stances are used as work and structure. The depth and format
foundation training in all of them. of the two systems cannot be compared.
Stances are a set of postures o r Stance work trains the human body
exercises that concentrate mainly on the from an architectural and physical point of
legs. One example, called 'horse stance', is view. You could even say that stance work is
named after the posture one takes when technical in character.
48 BUILDING THE FOUNDATION

2
 ST RENGTHENING THE LEGS 49

Strengthening the legs

Here is a stance to train your thigh muscles. Unlike most of

the other exercises in this book, there is neither visualization
nor any form of mental involvement. It is a subtle physical
training upon the framework of the legs.
This exercise is mechanical artwork, aligning the toes,
heels, knees, and hips. It is a structure of lines, triangles, and
axes. Between the toes, heels, and knees, there is a rigid and
architecturally powerful right-angled triangle. Between your
heels, knees, and hips, there is another triangle. These subtle
inner triangles are the underlying basis to building strength.

I Stand upright with your legs 2 Slowly lower yourself by

slightly bent, and your head sinking your weight. Imagine
facing forward . Rest your you are sitting on an invisible
hands on your hips, and avoid stool. Bend your knees slightly
stiffening your shoulders. Do but do not let them stick out
not stick out your bottom or further than your toes.
tilt your body forward . Try to Everything above your hips
relax all your muscles and should remain unchanged.
breathe calmly. Keep your legs relaxed and
stay in this position for about
three minutes.

Above Professor Yu checks the

optimal position of Tinhun Lam's
knees for a standing posture. He
is making sure that the knees do
not protrude over the toes.
50 BUILDING THE FOUNDATION

Training the muscles

In this exercise we focus on the calf muscles rather than

the thighs. This stance requires more balancing skill, but the
raised arms help support you, as well as being an aspect of
the training.
Hold this position for as long as you can, and try to relax
your entire body throughout the exercise. The calf muscles
do not require your conscious attention during this exercise.
You should not overexert yourself at any time. If you feel
tired or start to lose your balance, lower your heels and
stand up. Return to the initial position, rest for a moment,
and then continue.

I Raise your arms up to the 2 Slowly lower your height

sides and flex your wrists to and bend your knees while
tilt your hands up. Do not flex lifting both heels off the floor
them so far that they hurt. very slightly. Seek a delicately
Keep your fingers closed and balanced position where you
straight. Imagine you are in a can be perfectly still.Your legs
small alleyway pushing against should be slightly squeezed
both walls.Your shoulders inward as if you are holding a
should not be raised or stiff. large balloon between your
Stand with your legs approx- knees.Avoid leaning forward.
imately shoulder-width apart,
as illustrated by the pair of As you can see, there is a
yellow lines. clear structure within this
stance. The shoulders and
wrists form a solid horizontal
line supported by strong
vertical lines through the
toes, knees, and shoulders.
 TRAINING THE MUSCLES 51

2
52 BUILDING THE FOUNDATION

Second voluntary movements

With this leg exercise we focus, once again, These muscle contractions correspond to
on the calf muscles. This is by no means our daily body movements.
accidental. As we are focusing on our lower In this exercise, our attention falls more
body, the legs, so, in turn, we pay greater specifically on the 'second voluntary move-
attention to the lower parts of them. ments'.This term refers to movements of
The human body is truly an amazing muscles that can contract and relax at our
structure. Its variety of muscles has given us will, but offer no physical displacement - in
such dexterity and flexibility that we have other words, our body parts do not move.
taken it very much for granted. Nevertheless, People are unaware of these movements
the differences between the muscles and because, in our everyday lives, we only
their movements are vast. However, rather conSciously contract muscles for external or
than dwelling on the many categories and spatial reasons.
mechanisms of muscles known in modern The second voluntary movements may
anatomy, our focus here is on the voluntary appear inconsequential and meaningless at
movements of certain muscles in our legs. first but, with time and experience, you will
By voluntary movement, we refer to the realize that they are actually of monumental
contraction and relaxation of muscles that importance. Such muscle contractions are
we can consciously control, as opposed to an much more difficult to achieve than you
involuntary muscle, such as our heart, which might first realize. The mental effort and will-
pumps faithfully and continuously whether power needed are immense and exhausting.
we want it to or not. In this exercise, you will be training one
Some voluntary movements of the leg at a time. Unlike the previous two work-
muscles offer physical displacement. Moving outs, the mental strength involved in this
the arms and legs are excellent examples of exercise is substantial. In the beginning, you
this. In this art, these muscle contractions are will certainly find concentrating on these
called the 'first voluntary movements'. By muscle movements strenuous and tiring. The
contracting and loosening various muscles, aim here is to develop the second voluntary
certain parts of the body will shift spatially. movements of your legs.

note you are trying to bring the back-stage but very powerful. You should not engage any
rnnltrn,'fin,nc: of the calf muscles into conscious muscles above the knee or below the ankle. The
action. You can see, in the close-up illustrations of reasoning behind this training is deeply and
the leg (see facing page), that this exercise is subtle powerfully structured.
 SECOND VOLUNTARY MOVEMENTS 53

I Take a large step forward

with the right foot. The right
leg is bent with the toes
facing forward . The left leg
remains straight. but the foot
points slightly to the left.
Avoid taking a step so large
that it overstretches and
hurts your inner thighs.That
is not the objective.

Allocate 70 per cent of your

weight on the right leg. and
30 per cent on the left. Rest
both hands on your right
thigh. near the hip. with the
left hand on top. Contract
your right calf muscles for as
long as you can. When you
reach the limit. relax the leg
and start again. Repeat 30
times.

2 Switch to the other set of

calf muscles. Your left leg is
now bent and your right leg
is straight. The left hand is
sandwiched between the
right hand and the left thigh.
Tighten your left calf muscles
for as long as possible before
loosening again. Repeat 30
times.

Left These two images show

the calf muscles relaxed (top)
and contracted (below).

2
54 BUILDING THE FOUNDATION

THE TRAINING
The parti~ular training and ideology of
the second voluntary movements were
developed by Professor Yu Yong Nian. a
disciple of the prominent Grand Master
Wang Xiang Zhai. after many years 1)f
dedicated research.
The set of calf muscles is one of the
least recognized parts of the human body.
The calves are structurally important, of
course, but they are more in the background
than in the spotlight of our mind. They react
to external circumstances rather than
enacting upon them, and the many different
layers of calf muscles are not all efficiently
used. Our goal in this aspect of our training
is to draw their full potential to the surface,
as far as possible. That is the objective of
training the second voluntary movements.

"

I
 •
THE SECOND HEART 55

THE SECOND HEART I Blood is pumped from the heart to the body
~xtremities . On its return to the heart, blood
Our wellbeing is directly linked 0 good blood travels under less pressure, as well as passing
circulation~The core of our circulation is the through veins that have no muscular tension
heart, responsible for pumping blood throughout of their own. Upward ffow of the blood can be
the numerous arteries, veins, and intricate encoura ed by the squeezing action of the
capillary networks in the body. muscles next to veins.
As you would expect, the further away from Your two sets of calf muscles can. serve as
the core something is, the weaker it gets. Our efficient pumps for your blood circulation.
limbs are extensions of our body, and a~ the Through training, your legs cqn voluntarily
\
furthest reaches of our limbs qre our feet ' enhance circulation as if they were two great
,Hence, blood circulation is weakest there. The I motor pumps, literally squeezing the blood up
blood in yc,>ur lower limbs needs to travel over througl\ the veins in your legs and feet They
I m (3~ ft) to get back to the heart In ease the burden that your heart bears, offering
addition, when ypu are standing, the ffow has you considerable relief. This is especially helpful
to work against gravity. It is no surprise that to those who are troubled by heart problems.
circulation is weak in the feet - you know this Personally, I have term'ed these calf muscle
to be true by experience. Whenever you are trainings, 'the second heart exercises'.
cold, your toes and fingers are the firs~ to feel it :
They have less access to your blood and energy
.
A chain is only as strong as
circulations. The toes especially, are the fi~st to its weakest link.
get frostbite in winter.
Training the calf muscles takes time and This simple epigram explains perfectly how
dedication. It may be a little 'dry and bland on the second heart can. directly inffuence your
Occasions, but the :easons and explanayons health and inner power. Here, strength is not
behind this training are intriguing.The human built upon other strengths; it is built on our
.I heart is a coordinated system of muscles weakness. By strengthening our weaker parts,
pumping blood around the body.'Our hearts are we become fundamentally stronger. The baseline
essentia/~ muscle~. The fascinating thing about of ou inner strengfh is raised. The weakest
this concept is that you can also perceive this point of our circulation becomes a key to
"riotion in the other direction:,our muscles can achieving greater energy and vitality. Our
serve as hearts. \ weakness becomes our strength.
J
56 BUILDING THE FOUNDATION

Wu Chi

Body as the string lifts

Two eyes, the spiritual light, reserve;
Two ears listen to Supreme Tranquillity
The small belly is constantly round.
GRANDMASTER WANG XIANG ZHAI

This is a powerful position with which you must become

familiar. Whether you are very experienced or just beginning
Chi Kung, this posture should never be treated lightly or,
Standing in Wu Chi
worse, dismissed casually. You have already experienced Wu Imagine you are standing
Chi, earlier, when practising full body natural breathing. outside in the rain. Each
Wu Chi is the fundamental posture, the primal position. raindrop washes down over
It is the alpha and the omega. The Chinese term means the contours of your body to
'supreme emptiness'. As all things come from nothing and the ground, washing away
return to nothing, this posture therefore manifests the tension and anxiety, cleansing
your mind and spirit.
elusive beginning and end - like a circle.
This position emulates emptiness and, in doing so, it
Gaze forward and slightly
simultaneously encompasses everything in the universe. down as if you are on the top
The Wu Chi posture is an alignment of energies between of a mountain staring at the
Heaven, Earth, and yourself. This is why it is also known as horizon.You are looking at
the position of primal energy.As Heaven refers to all things nothing yet seeing everything.
above, and Earth to all things below, this position links you, Relax your eyelids, but do not
universally, to every other existing thing, as if part of a great shut them. If you find this
challenging, look out of your
chain. It allows you to recognize yourself as an integral part
window and focus on some-
of myriad existence. thing green and, preferably,
For those acquainted with Tai Chi Chuan, Wu Chi is natural, such as a tree.
a familiar sight. It is the posture at the beginning and end of
the form. The implications of this are tremendous. Tai Chi Have your legs apart at
Chuan is composed of colourful and inspiring movements, approximately the same width
all belonging to the realm of existence illustrating that from as your shoulders, feet
nothingness myriad things come forth and eventually return parallel, pointing forward.
to nothingness. Existence is but a momentary presence
within the continuity of the void.
Wu Chi is a multi-layered concept, deep with wisdom.
When practising, there is no need to dwell on its profound
meaning otherwise your mind will become clouded. It is,
however, helpful to recognize the depth ofWu Chi.
 WU CHI 57

Let your arms hang gracefully

from your shoulders. with a
natural outward curve and a
little space under the armpits.

Unlock your knees and

elbows so that your limbs
are not stiff and straight.

Maintain your body upright.

Do not let it tilt forward or
backward.

Sink your weight a little. as

if you are Sitting on a huge
balloon.

Imagine you are being lifted by

a golden thread from the top
of your head. Relax all your
muscles.

Practise this position for

about five minutes each day.
As you progress. build up
gradually to ten minutes.
58 BUILDING THE FOUNDATION

Understanding your centre

Standing is the most natural position recognized by the body.

When standing, all your inner channels and circulations are
aligned in the smoothest and most agreeable way. Nothing is
folded, bent, or twisted. The flow of Chi and other body
circulations are optimized.
The first and foremost standing position is Wu Chi (see
pages 56-57). It is fundamentally integrated into your system.
When you acheive Wu Chi you feel naturally comfortable.
It is your neutral posture, your position of origin. All other
positions can simply be regarded as a displacement from this.
Here, we delicately exploit the position of origin. By
making slight variations from the centre, here and there, we
come to understand Wu Chi and, consequently, ourselves at
a deeper level. Deviations from the centre let us understand
'neutral ' better.
Above Starting in the neutral
Our standing posture can be seen as a bell with a Wu Chi position, shift your
striking pendulum inside. Our body is the bell, and our centre weight slightly to the left so
is the pendulum. As the bell tilts or moves, the pendulum that it is distributed 60 per
adjusts itself accordingly. cent in the left leg and 40
per cent in the right leg. Feel
your centre realign itself. Now
try this with the other side.

Please note For the follOWing two postures, it is strongly

recommended that you spend less time on the forward-tilting
Wu Chi posture, as it is less suitable for people with high blood
pressure or heart problems.

I From neutral, shift 60 per 2 From the neutral position

cent of your weight to your shift your weight slightly,
heels, 40 per cent to the front giving 60 per cent of your
of your feet. Again, you should weight to the front of your
feel the realignment of your feet, 40 per cent to the heels.
centre.
 ( I

I ) ~ 2 )
60 BUILDING THE FOUNDATION

4
 CIRCLING YOUR FEET 61

Circling your feet

This exercise trains both legs at the same time, each in a

different manner. It is as if two dissimilar pieces of a jigsaw,
from different places, are joined together agreeably.
For one leg, the training is heavy and grave. There are
no external movements; everything is internal and unseen.
The leg supporting your entire weight builds up strength and
endurance. For the other leg, the training is light and carefree.
The workout is purely external, based on active movement.
This leg develops flexibility and elasticity.
Overall, this exercise develops coordination and balance.
You balance on only one leg while the other leg moves. This
practice not only develops knee flexibility and leg strength, it
also, more subtly, works your hips and pelvic region, which
connect your torso to your feet.
If you find standing on one leg too challenging, support
yourself with a chair by your side. When you are circling your
right foot, place the chair by your left, and vice versa.
In the beginning, circle each foot ten times.As you
progress, increase to 30 times. You need not circle your foot
quickly, however, since speed is not the priority here; a steady
slow pace of rotation is more important.

I Stand upright with your 2 Circle your right foot clock- 4 From this side view, you
head forward and your right wise while keeping your knee can see that your supporting
leg raised.Your arms curve parallel with the floor and left leg should not be locked
naturally down from your your thigh still. straight. Your thigh is kept
shoulders, and your palms horizontal and your knee
face your thighs. Keep your 3 Your right foot should hardly moves.
right knee still and flex your remain flexed throughout.
right ankle bringing the foot Only the lower right leg After circling your right foot,
back slightly. moves, the rest of your body start again with your left.
should remain still. Raise your left knee and begin
circling counterclockwise.
 '.

PART THREE

\
THE SIX
DIRECTIONAL
FORCES
I ..

,.
l
j

- f
64 THE SIX DIRECTIONAL FORCES

• .1-

Tao gives birth to One, Walking is, however, an entirely different

matter. It is a form of travelling, taking you
One gives birth to Two, from one place to another, and one point
Two gives birth to Three, to another. In our reality, mobility has three
Three gives birth to Myriad Ih,ings. different dimensions.
The transition from standing to walking
LAOTSE
Chi Kung is a ~ransition from emptiness to
The quotation above, is an extract from Tao existence, from nothing to something. A
Te Ching written by, probably, the greatest point that previously had no dimension .
sage of ancient China, Lao Tse.Although becomes active in three dimensions. You
open to many interpretations, it expresses have gained a presence in the spatial realm
brilliantly the evolution of existence out of and Become dimensional.
nothingness. It numerically reveals the This ·sp'atial evolution is one manifest-
transformation of nullity into infinity. This ation of Lao Tse's teachings, some 2,500
intriguing concept is one of the founding years ago. However, it cannot be achieved
pillars of Eastern philosophy, and is manifest- without hard wor~ ' and training.To gain
ed in many places. In this chapter, you will volume, you need to work on the three
see a subtle example. underlying axes. With two directions on, each
Zhal) Zhuang, the marvellous system axis, there are six fundamental directions on
of internal energy exercises, is a stationary which you need to focus . That is the aim and
and motionless art. Its stillness, and apparent theme of this particular chapter: the six
absence of movements, demonstrate that directional forces.
, your external appearance is irrelevant and, With the six directions, your centre will
after a fashion, illusory. You are like a point become like a point sandwiched between the
with no breadth, width, or length. You are bases of two pyramids, o,ne above and one
without dimension. upside-doyvn below. Your centre can travel
Your centre, the Tan Tien, is also a linearly to each of the six corners - two
' dimensionless, invisible point. Your force and peak corners and four, shared, base corners.
inner strength are equally intangible. In Zhan This shape outlines the basic movability of
Zhuang you are operating within a world of your centre point. It, in turn, is the founda·
zero dimension. tion of spatial mobility and movement.
 INTRODUCTION 65

Your centre point can travel in two

directions vertically...

. .. and in four directions laterally ...

. . . you have the potential to move

your centre in six directions.
66 THE SIX DIRECTIONAL FORCES

Up and down

Let us begin our dimensional transformation with the vertical

axis; the one that makes us special in the animal kingdom; the
axis that defines us - standing. In some ways, it may be our
most important dimension. How often do we instinctively
equate strength with stature and height?
To begin this exercise you have to start with Wu Chi,
the neutral position. Its intricate posture is already outlined
in the previous chapter (see pages 56-57). Here, the aim is to
move your centre up and down to gain dimension; you do so
by moving your body up and down.
There should be no movements above your waist. Your
arms, head, and torso should remain perfectly still. When you
sink your centre down, bend only your knees. Exhale slowly
and calmly as your height 10wers.As you raise your centre,
straighten your legs and inhale deeply but naturally.
Apart from the obvious leg training, this exercise also
works the waist and pelvic region. Though this is subtle, it is
also very important.
Initially, practise this 'up and down' movement slowly ten
times. As you improve, build up gradually to 30 repetitions.

I Move your centre up and 2 In this exercise, your legs

Please note As you become down at an even pace. Let the have an underlying structure
familiar with the movement, movements become a rhythm and elasticity. You are not
let it adapt to the rhythm of in your mind.Your legs must simply sinking your weight by
your breath. Your breathing not be fully straightened or bending your knees. Imagine
should dictate the pace of locked in a vertical alignment that there are two strong
your movement and not the at any time. Do not bend vertical springs fixed between
other way around. Perform your legs too much - your your hips and ankles.As you
natural breathing. knees should never protrude move up, it takes effort to
further than your toes. This stretch the springs taut. As
limitation means that your you relax, the springs pull you
knees bend and straighten back down. Oscillate between
only moderately during this stretching and loosening the
exercise routine. springs, and keep your body
as relaxed as possible.
UP AND DOWN 67

2
68 THE SIX DIRECTIONAL FORCES

Left and right

The training exercise for movement along your second axis

involves the arms. Here, your centre shifts to the right and
left horizontally. The overall coordination in this workout is
more complicated than the previous exercise, Up and Down.
In this particular exercise, the loose movements make it
seem carefree and easy. Indeed, the movement is meant to be
comfortable and relaxing, but it is not as simple as it appears.
Beneath the surface, is a complicated system of puppets and
puppeteers orchestrating the movements. I From the Wu Chi position
Each arm is raised to the side, one at a time, in a soft (see pages 56-57), slowly lift
and gentle gesture. It is as if there is a string tied to your your right wrist to the side
to shoulder height, inhaling
wrist pulling it up from above. When lifted, the arm remains deeply and calmly. As you do
loose and the elbow hangs down; the shoulder is not raised this, slide your weight to the
or stiffened; there is no strength in the arm; and the hand is right so that 60 per cent is in
equally relaxed with the fingers apart and curved. You are like the right leg and 40 per cent
a puppet with an invisible puppeteer pulling your strings. is in the left.
As one of your arms is raised to the side, your body and
your centre also move to that side. Imagine there is an elastic 2 Lower your arm and exhale
as you return to the neutral
string attached between your wrist and your hip. The hip is
Wu Chi position. Your weight
also pulled as your arm moves out, but proportionally less far. is once again evenly distrib-
Try to avoid tilting your body or sticking your hip out. The uted between both legs. Pause
body, head, and other arm should remain relatively still; they briefly in Wu Chi before
simply shift horizontally. Your weight shifts with the distribu- continuing.
tion of 60 and 40 per cent. You are both the puppeteer and
the puppet. You orchestrate your own movements by pulling Repeat the movement on the
your own strings. other side. Raise the left hand
Your breathing needs to be coordinated with your and shift your weight toward
the left.
movements. As the arm is raised, inhale deeply. Exhale as it
lowers again. Let yourself slowly attune to the rhythm of
natural breathing.
Practise both sides, in alternating order, ten times.As
you progress, increase gradually to 30 repetitions.
LEFT AND RIGHT 69
70 THE SIX DIRECTIONAL FORCES
 FORWARD AND BACKWARD 71

Forward and backward

In the previous two exercises you were moving up and

Please note Use your down, or left and right. Your centre was travelling vertically
natural breathing rhythm or horizontally with a good approximation to the true axes.
to guide the pace of this However, this third axis is a little different and a lot more
exercise. Breathe in as your complicated. This is the hardest of the three-dimensional
arms drop, and breathe out exercises described in this chapter.
as you raise them.
Like all spatial objects, the human body has length,
breadth, and width. Lengthways, we are more than adequate.
We are relatively tall creatures in the animal kingdom, given
I Stand in Wu Chi (see pages our mass. The 'up and down' exercise involves only our legs,
56-57). Raise both your arms which can move our centre vertically over a considerable
in front of you, palms down.
Move your body back slightly distance. In the 'left and right' exercise, our movement is
by sinking your weight a little, restricted by the width of our body. In the Wu Chi posture
then move 60 per cent of (see pages 56-57), our centre has room to move horizontally,
your weight on to your heals. but considerably less than it could vertically.
Your raised arms support The breadth of the human body, front to back, offers the
your balance - your body greatest limitation. Unlike four-legged mammals, such as cats
should neither tilt forward and dogs, we have very little front to back distance. What
nor backward.
we have gained in height by standing, we have lost in breath.
2 Lower your arms gently as Given this limitation, the 'forward and backward' movement
if they are stroking the air.At described here, does not move our centre, perfectly along
the same time, straighten your this particular axis. The approximation is fairly crude in
legs slightly. Your centre will relation to the directional force of the other two exercises.
move forward. Initially, practise the movements ten times. In time, slowly
increase to 30 times.
3 Gently swing your hands
back behind you, letting the
momentum bring your body
forward. Do not stick out
your chest or tilt your body
forward. Bend your knees a
little, lifting your heels very
slightly off the ground, so that
60 per cent of your weight is
now on the balls of your feet.
\
PART FOUR

KNOWING
YOUR STEPS
74 KNOWING YOUR STEPS

~
Swift as the Wind:..
~ «(J
Motionless as the Mountain ...
Move like the Thunder ... iIJ fjJ I~
~a~
SUN TSE, CAlliGRAPHY (RIGHT) BY MASTER LAM

Here, we have a brilliant set of analogies

regarding mobility, written by the prominent
Sun Tse, probably the greatest strategist in
ancient history. They refer to travelling in one ~~
of its most extreme forms, its application to
violence. Though slightly tangential to our
theme, these insightful statements on the
extreme execution of mobility are none-
~
theless paramount. They give us a glimpse
of the true essence of mobility.
However, the edge that travelling offers
is double-sided. When you walk, you are
transferring yourself from one place to
another with your legs. It is a process of
change, and change can be violent. It can be
unsettling, and leave you vulnerable. Through-
out the ages there has been much literature, the arms. It is these various associations, and
studying, researching, and guiding you safely its own unique structure, which makes Tsou
along this and other processes of change. Pu a system of its own.
In the art of Da Cheng Chuan, where Misleading though its name may be, the
Zhan Zhuang is the stationary element, T sou essence ofTsou Pu actually demands stability,
Pu is considered its mobile counterpart. The balance, and flexibility. Indeed, it has the same
term,Tsou Pu, literally means 'running steps'. requirement as when one is in a stationary
It is a system of leg exercises involving a vari- position. This branch of Da Cheng Chuan
ety of carefully executed walks. Contrary to draws on, and emphasizes, one apparently
its name, this branch of the art does not • contradicting idea: stillness while in motion.
demand speed. Swiftness and momentum In Tsou Pu, you seek a state of inner
emerge from some of the movements, but stillness even when you are in motion. It is
only after much practice. like trying to be a smooth, round ball. Any
Tsou Pu is the 'leg' equivalent of Shih Li, irregular shape would have various points
the system of power training within Da of balanc'e when resting on a flat surface,
Cheng Chuan that is practised mainly with whereas, a round ball is always in a state of
 INTRODUCTION 75

equilibrium. however it is laid. even when it Although cats are famous for appearing
is roll ing.Your aim is to achieve this flexible. carefree. you should not associate this ease
moving equilibrium. with carelessness or being off-guard. Agile
The physics of objects in motion is. in and flexible while walking. cats are extremely
some aspects. very different from the physics quick to react to changing circumstances.
of stationary objects. This is seen in every- Their sharpness is always there - it may be
day life.A bike. which cannot balance when dormant. but is never absent. These collective
at rest. can remain upright when moving. feline virtues are the spirit behind the
Similarly. a bridge can support passing weight analogy. Try to emulate these qualities when
more readily than a resting load. This differ- practising the Tsou Pu exercises.
ence in dynamics and inner work is what Another important piece of advice for
gives Tsou Pu a spotlight of its own. This practising the following steps. is to remem-
is also the reason why the practice ofTsou ber that your legs are an extension of your
Pu is often reserved for intermediate and body. This can be more easily understood
advanced students of Da Cheng Chuan. when looking at the arms. The arms. being
rather than for beginners. also a pair of body extensions, do not dictate
the movements of the body. They are sub-
SOME GENERAL GUIDANCE missive rather than assertive. Whenever the
The Tsou Pu exercises described in the arms are out of reach. the body moves for-
following pages are a colourful inspiration. ward to offer the arms assistance. In terms
Each is unique. differing in appearance and of mobility. the hierarchy of control is
spirituality. Do not be overwhelmed by the naturally recognized. the body above and
variety of movements within these pages. the arms below.
They come from a common source and Your legs and feet. however, less readily
share the same underlying structure. recognize in this chain of command.Your feet
Grand Master Wang Xiang Zhai. the directly influence your balance. For most
founder of Da Cheng Chuan. offered much people. their legs direct the movement of the
guidance to the practice ofTsou Pu. He ex- body. Therefore. when your feet slip. you
plained how one needs to be like a cat when simply lose control and fall.Your body has
practising steps and walking systems. This carelessly given away authority to the legs.
deceptively simple analogy is a crystallization This must be consciously avoided when
of vast knowledge and experience. practisingTsou PU.Your body should manage
When a cat walks. it is with much pride the legs rather than the other way around. If
and confidence. Cats are territorial creatures the feet are out of reach, the body should
and know their own ground. Every step they then move to offer support. When your
take is full of familiarity and a sense of centre is in control. your chance of losing
control. Their steps are also filled with ease. balance is greatly reduced. The authority
Their movements are relaxed and smooth. should always return to your centre.
 \
76 KNOWING YOUR STEPS
I

The Crane, Steps

In Chinese culture, the white crane is a highly respected bird.

In the pas~, the crane was even considered sac,:'ed. Cranes are
creatures of longevity and are frequent companions of the
Gods and Immortals in traditional legends. Over centuries,
many artists and craftsmen have sought inspiration from this
revered bird"and tried to reflect its ,essence in their works.
This source of inspiration is by no means restrict~d to
fine and applied arts. Past Chinese masters of martial an'd
phx.sical arts, have also studied the crane. One folktale relates
that it was from observing a fight between a snake and a
crane that the legendary Zhang San Feng was inspired to
found Tai Chi Chuan. )

The movement described here, is another manifestatio{l.

It draws on the essence of the crane's style of walking. Unlike
human legs, which bend backward, crane legs bend forward .
Their walking gesture is, therefore, naturally intrusive. /
When you practise this movement, it is important to , I

emulate this intliusive attribute of the crane's walk. Your feet

should step forward in a very direct and acute manner, but
without any hint of hostility or aggression. "
The characteristic walk of the crane is space-invasive, but
neither challenging nor threatening. It walks in a very carefree,
and light-hearted fashion. Your practice should be equally "
subtle and relaxed.
In the beginning, your movement should be delicately
slow, like a whisper in the night. When you feel that you have
made much progress, pick up the pace slightly.You should aim
to be proficient at this movement in slow motion, and at
your natural pace. Practise slowly in order to learn all the
minute intricacies of this exercise. Practise at normal speed
to see how much you understand them.

, I

I
 .,

THE CRANE STEPS 77

I.

'.
78 KNOWING YOUR STEPS

2 3

I To begin, stand with your 2 Raise both hands up in 3 Without moving your upper
heels together and feet at 45 front of you to shoulder-level. body, extend your left foot
degrees. Stand straight and Bend your knees and sink outward. Keep your weight
upright, but not in a stiff, your weight a little. Avoid mostly in your right leg. Do
military way. The shoulders, stiffening the shoulders, and not lift the left foot too high;
hips, and knees should all be avoid having your elbows stick it should appear as if it is
loose and relaxed. Let your out too much to the sides. touching the ground through-
arms hang naturally from your Imagine you are holding a out the movement. Glide it
shoulders, but remain subtly huge balloon and your arms forward in a smooth and
firm. Gaze forward and are wrapping around it almost gentle fashion . This emulates
breathe calmly. entirely. Keep your fingers the essence of the crane's
straight and slightly apart. forward-bending legs.
Although fully extended, do
not let your left leg become
locked straight.
 THE CRANE STEPS 79

t
t

4 Press your right foot against 5 As you balance yourself

the ground to straighten the with your forward leg, draw
leg. Glide your upper body your back leg up from behind.
forward toward your left foot, Step your right foot forward,
shifting your weight as you do keeping it close to ~he
so. Do not turn your body or ground. Your heels touch,
your gaze by very much, and once again, but the right heel
keep your upper body at the should be slightly raised.
same level throughout.
80 KNOWING YOUR STEPS

Left From the side, you can

see more clearly how these
steps are made. Simply by
straightening the left leg, the
left foot automatically takes
a small, smooth step forward.
This means that the stride is
rather short, and it is taken in
a light and casual manner.

Overall, this exercise is very

subtle, and its pace should be
equally light and carefree.

Variation You may choose

to turn your body slightly to
the right and face in the 6
direction that the right foot is
pointing.Whether you decide 6 Pause for a moment and
to turn the body or not, just notice that your two legs are
remember to stick to the held differently; your left leg
same decision throughout the is bent slightly, while your
practice. The turning of the right leg is bent slightly more.
waist is illustrated in steps 7, This small difference is
8 and 9. significant.
 THE CRANE STEPS 81

7 Take a small step forward 8 Extend your left leg and 9 As you secure your weight
and slightly towards the right bend your right knee. Gently and balance entirely on the
with your right foot. Keep all glide your body forward as right leg, bring your left foot
your weight on your left leg, you shift your weight from forward. Your heels touch,
leaving your right leg light and one leg to the other. Avoid once again, although the left
flexible . tilting your body. heel is slightly raised. From
here, go to Step 3 to continue
the walk.

rrr .r rrrrrrrrr
I

~ l~l ·l ~ :~~ L~~;:jl L'\~1~

 \
82 KNOWING YOUR, STEPS
!
MoCa - The Ic~ Steps

The Chinese name for this step (pronounced Mo Cha)

conveys t~e idea of friction and erosion, thus r~f1ecting its
inner meaning. Its alternative name - one with a more
Western tone - is The Ice Step. This term also reflects an
important underlying element in this movement.
It is, essentially, a step movement with a questioning
attribute. Throughout this sequence, imagine yourself on the
'.
surface of a frozen lake. You are cautious and alert as you
step, lest you crack the ice. Your feet do not simply move . c
forward; they carefully explore 'as they advance. In each and
every centimetre of progress, you are preparing for the
unpredictable; your foot is like an adventurer in unknown
territory. You test the ice for strength before giving w~ight
to the foot yet, even then; the weight is cautiously given.
Another way to understand this exercise is to imagine
that you are a fire-fighter in a smoke-filled room; your steps
are part of your Sight, your only Visibility is sensation.
You should only raise your feet infiniteSimally. From an
observer's perspective you appear not to have lifted them at
all. It is as if you are wearing skis. Your feet simply mqve
, along
the surface of the floor. Hence, the Chinese name for this
particular movement.
Throughout this sequence, alertness and caution should
radiate from you. However, this should not convey stre~s or
tension. Your mind should remain relaxed, and your heart
_I
light. Try to avoid feeling anxious. Your movements must be 'j
firm and steady, but not hard or rigid.
Do not mistake caution for anxiety, or confuse firmness
with stiffness. It may be a thin line, physically and mentally, but
it makes a world of difference.

". .,
"
I

·1
Mo •
CA - THE ICE STEPS 83

I.

"
84 KNOWING YOUR STEPS

I Stand in Wu Chi (see pages 2 Imagine the floor is made

56-57). Breathe slowly and of ice. Sink your weight into
deeply until your mind is your right leg and carefully
calm. Raise your hands to the slide your left foot forward,
sides and bend both knees tracing an arc across the
moderately. Your hands rest, surface of the floor. Your foot
palms down, at the same level should be light and weightless,
as your waist. Your shoulders offering no pressure to the
remain relaxed. It is as if you ground. Try not to confuse the
are half-submerged in water feeling of caution with stalling
with your hands floating on stagnation. At the same time,
the surface. turn your waist so that your
body and gaze move left. Keep
your upper body, arms, and
head relatively still.
 MO CA - THE ICE STEPS 85

3 Bring your centre forward, 4 Let your weight be entirely

very slowly, toward your left supported by the left leg.
leg by extending your right leg With the right leg free and
and pressing your right foot light, bring it forward next to
down on the ground. Your left the left one. Keep your heel
knee should bend slightly. lifted, and let only the front
There is no movement above of your right foot touch the
the waist, and your centre ground. Both legs are bent;
should remain at the same the right leg slightly more
level throughout the move. than the left.
86 KNOWING YOUR STEPS

5 6

5 Having completed the first 6 Circle your right foot out

part of the sequence you and to the right, clockwise.
must now prepare for the Turn both your gaze and
next. Pause and make sure all your body in that direction.
your weight is on your left As your foot stretches
foot. forward in the are, lower
the heel - keep your weight
in your left foot. Although
you have rotated your body,
everything above your waist
remains relatively still, and
your centre stays unchanged.
Notice that your right knee
is still very slightly bent.
 MO CA - THE ICE STEPS 87

7 Press the heel of your left 8 As you balance yourself

foot against the ground to entirely on your right leg.
straighten the leg. Bend your bring your left one forward.
right leg at the same time. Your feet touch each other.
Little by little you are trans- but the left heel is raised.
ferring your weight from one Your knees are both slightly
leg to the other. slowly bent - your left leg more so
moving your body forward . than your right. From here,
Remember to keep your proceed to step 2 and repeat
upper body at the same level the sequence.
throughout.
 \
88 KNOWING YOUR STEPS

The 'Spading' Steps t .

Unlike the other exercises in this section, this sequence

involves a.great deal of waist movement and tilting of the
upper body. Because of this, the bearing and body coord-
ination here may appear quite confusing and complicated.
However, knowing the source of its inspiration can provide
insight to the essence and practice of the exercise.
The source of inspiration goes back to one of the
earliest activities of human civilization - farming. As farming
is so much a part of world culture, it is no surprise that many
colourful traditions and inspirations come from this source.
The step movement described, here, mimics the action of a
farmer digging and loosening his soil.
As the farmer digs his spade into the soil, he leans
forward onto his front leg. This is refined and formalized into ·
the bending and shifting of the body in this sequence. Then, as
the farmer lifts the load on his spade, he straightens up. Bear
this image in mind when you practise this sequence. It will
aid your coordination and alignment.
Notice that the arms are relatively motionless.AII
movements come from the waist and below. Thfs is very
important. When digging, the main strength does not come
from the arms, as you might assume. It comes upward from
the legs, but this does not mean that the arms can become ...
lifeless. Their role is simply different from what you might
expect. The arms act as levers and supports. They are com-
plementary tools that aid the movements of the legs.
Given the complex body coordination required to
compete The 'Spading' Step, it is important to practise it
slowly at first. This will make it easier for you to understand
its various intricacies and help you avoid being overwhelmed
by the wave-like motion.

, .
 THE 'SPADING' STEPS 89

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90 KNOWING YOUR STEPS

I Stand comfortably upright 2 In one smooth motion,

with your heels together and turn your gaze and your body
your arms hanging naturally, slightly to your left, and take
elbows slightly bent. lift both a small step in that direction
hands in front of you to the with your left foot, so that it
level of your belly. Curve your stretches out in a curve. Place
arms and hands as if you are your left heel down, but keep
holding a large ball in front of your toes raised. Avoid pull-
you.At the same time, sink ing your toes too far back
your weight slightly, bending or straightening your left leg
your knees. entirely. Your weight rests
mainly on your right leg.
 THE 'SPADING ' STEPS 91

3 Bend forward at the waist, 4 Lower the rest of your left

keeping most of your weight foot firmly to the ground as
on the right leg. Take care not
to collapse your chest. Stop
this forward bend when your
hands are approximately level
you bend your left knee. Your
body will naturally shift
forward as you do this.
f
t
with your knees. Do not look Press down into the ground
down, but look ahead. with the front of your right
foot, straightening your leg
moderately. Lift your right
heel slightly, and slowly begin

t
to straighten your body.

t
92 KNOWING YOUR STEPS

5 Bring your body back to 6 Keeping most of your 7 Bend at the waist without
the upright position by draw- weight in your left leg. in one shifting your weight forward.
ing your right foot forward. smooth motion. circle your Your head. body. and arms
As your body straightens. right foot out to the right, should be relatively still. Sink
your hands are once again in turning your body in that your weight slightly by
front of your belly. Your left direction as you do so. Place bending your left leg.
leg is almost straight with the your right heel gently on the
foot flat on the ground. while ground. bending your left
your right leg is slightly bent leg accordingly.
with the heel raised.
 THE 'SPADING' STEPS 93

t
l
~
J
t
8 Lower your right foot 9 Press diagonally down with
10

10 Bring your left foot

t
f
completely, and bend the right the ball of your left foot and forward to rest beside your
knee slightly. Your body will raise the heel. Begin making right foot. Your right leg
shift forward and your weight yourself upright by straight- becomes almost straight.
will be more or less evenly ening both legs. Your right foot is flat on the
distributed between both legs. ground while only the ball

t
of your left foot touches the
ground. This is the mirror
image of step 5. From here.
proceed to step 3 and repeat
the entire sequence.

t
t
 \
94 KNOWING YOUR. STEPS
I

The Bear Steps f •

P"

This exercise is yet another step movement that draws its

name and. inspiration from the animal kingdom. In appearance,
it is probably the most simple step movement in this book
but, actually, it is one of the more advanced practices. It is a
demanding sequence usually reserved for the latter stages of
Chi Kung training.
This powerful step portrays the essence of a bear during
that brief moment when it stands upright on its hind legs.
Your arms are raised with the palms facing out, fingers apart,
emulating the claws of the bear. It is an outward intimidating
gesture. This is a very direct aQ,d potent exercise.
The power, however, is not volatile. It is neither explosive .,
nor ferocious. You are not like a bomb, bursting into energy,
nor an inferno, blazing out your power.
Your strength is inert and, to some degree, stationary.
You become a towering body of strength, just like the bear.
Immense inner strength reveals itself but is by no means
seeping out.
You advance forward, 2-5 cm (1-2 in) with each step.
The movement may seem sluggish and your progress slow.
Some of you may even feel vulnerable. However, that could
not be further from the truth. You are more like a military
tank, a slow but unstoppable force . You press onward "
gradually and inevitably.
Also, power should not be confused with aggreSSion. The
movement may be intimidating, but it is mild in its own way.
Aggression is violence and anger; it leads to ferocity and
offers no peace of mind. Remember, a bear can be as gentle
as it is dangerous. When a bear stands, it does not inevitably
attack. It is simply displaying strength and authority.
Because this particular sequence offers only minute
movements, you may be tempted to conc~ntrate too much
on the posture and become tense. Try not to do this.
. '

I
oF
 \'I

THE BEAR STE~ 95

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/
96 KNOWING YOUR STEPS

2 In this side view. you can

Please note You should start see clearly how upright and
the exercise (rom a relaxed intimidating is this posture.
standing posture. This is very Just because your arms are
similar to Wu Chi (see pages raised in front of you, do not
56-57), but your (eet are tilt your body. The movements
slightly (urther apart and in this exercise are so minute
your centre is lower. As you that they can barely be seen.
become more propcient in
Wu Chi, you will (eel how 3 Take a small step of about
these minor changes, make 2-5 cm (1-2 in); making sure
a considerable difference. your feet remain parallel.
pointing forward. Your weight
should remain evenly distrib-
uted between both legs at
I Raise both arms in front all times. This is extremely
of you and turn your palms important. as it distinguishes
outward. level with your face. this step movement from all
shoulder-width apart. Be care- of the others. Do not shift
ful not to have your legs too your weight onto one leg in
bent. Your knees should not order to lift the other one.
stick out too far (see pages
48--49). Keep your arms The centre line of your body
relaxed but firm - it is as if should not move laterally. aim
you are pushing or pressing to keep it as stable as pos-
against a large balloon in sible. Take care not to move
front of you. Let your inner your body to the left or right
strength radiate from you at any time. Imagine you are
as you stand in this posture. pushing a huge ball forward .
Make sure your weight is centimetre by centimetre.
evenly distributed between
both legs. Breathe slowly and You should only take a step
deeply to clear your mind. with the other foot when you
Only when you feel calm feel ready. Speed is of little
should you begin the steps. importance, and each step
should be made in one
smooth movement.
THE BEAR STEPS 97
98 KNOWING YOUR STEPS

,. The Side Steps

This exercise differs from the others in this section in one
important feature. The previous exercises took you forward,
while this sequence takes you sideways.
There is no real walking here, in that you are not going
anywhere. It is a form of stationary walking where you
remain on the same spot throughout. As such, it is the most
space-efficient of all the step exercises in this section. You can
practise this almost anywhere.
Though the movements in this exercise are mainly leg
movements, with the arms relatively stationary, it is important
not to neglect the upper body. If you remember the last time
you played tug-of-war, your hands clutched the rope as you
heaved your body backward.Your arms and everything above
the waist were stationary.You only moved your legs.
Here, the situation is similar. Although there are no
movements in the arms or torso, they are by no means slack
or limp. The tightness and inert strength of the arms is pres-
ent, especially at the moment when you draw your body
back.Your arms should radiate power downward from your
hands, as though you are firing two rockets into the ground.
Imagine you are pressing something down with your hands
and keeping it under control. However, there is no tension,
only inert strength.Your whole body should remain calm
and relaxed throughout the exercise.
The inner sides of your thighs are also subtly trained
here. As the legs are drawn together, the thighs are squeezed
inward slightly. You may find it helpful to imagine that you are
holding something, such as a large balloon, between your
thighs. As the legs are pulled together, you squeeze the
balloon lightly.
THE SIDE STEPS 99
100 KNOWING YOUR STEPS

I To begin, stand in Wu Chi 2 Stretch your left foot out

(see pages 56-57). Bring your to the left and straighten your
hands in front of you so they left leg almost entirely. To do
are level with your belly. Your this, lift and then plant your
palms are facing down. Bend left foot securely on the
your knees slightly to lower ground, making contact with
your weight. Your hands your toes, but keeping the
should be shoulder-width heel light and flexible. Have
apart; the fingers separated your left foot point forward.
and slightly curved. Turn both Your upper body and centre
hands inward slightly so that should not have moved. In
the elbows are mildly raised. order to keep your balance,
Do not have them stick out your this side step needs to
too far to the sides. be swift and smooth.
 THE SIDE STEPS 101

3 Swap the roles of your two 4 With your weight entirely

legs by straightening one and on your left leg, gently draw
bending the other - your left your right foot back, raising
knee is bent and your right the heel a little. Reduce the
leg is nearly straight. Turn distance between your feet
your right foot and your until it is, once again, approx-
upper body clockwise, shifting imately shoulder-width. The
your weight far to the left. front of your right foot gently
Everything above the waist, touches the ground through-
your body, arms, and head, out this withdrawal. Now,
should remain relatively repeat the movements, but
unchanged. this time starting on the
other side. Take a large side
step with your right foot and
let the toes point forward
once again. This is a mirror
image of step 2.
102 KNOWING YOUR STEPS

Please note As a whole, your movements in The Side Steps

sequence should imitate a sliding door, opening and closing.
Imagine that your upper body is the door; your legs and feet
are the rails and tracks.Your centre is osdllating left and right
throughout the exerdse, as dictated by your leg positions.
Overall, the level of body coordination needs to be good
otherwise the door will not operate smoothly.
 THE SIDE STEPS 103

Variation As you improve, you I Here, the practitioner has

can add some variations. In the stepped diagonally backward
beginning, you are oscillating with his right foot and then
along a horizontal line. You are withdrawn his body to the right
moving left and right, and there leg. His upper body is turned
is hardly any forward movement slightly to the left.
However, this restriction is
unnecessary for the more 2 Next, he pulls back the left
advanced practitioner. Rather foot toward his right foot, until
than taking a lateral step, you they are shoulder-width apart.
can take a diagonal one. Both
feet can step out diagonally
forward or backward.
 , \

••<1'

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 ".

PART FIVE

THE WALKING
\

SPECTRUM

-....
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06 THE WALKING SPECTRUM

"

We have already suggested earlier that water. They are, in their own manifestations,
strength does not come from the arms; it children of water, as people are of land. If you
comes upward from the legs. The underlying are familiar with fishing, you will know that
meaning of this statement is profound. We fish are creatures of considerable strength
have established the importance of the legs and speed, despite their size. However, such
as daily carriers of our weight, as second power and energy are lost as soon as they
hearts, and as reflections of our health (see are out of water. They become weak and
page 55). However, the legs, are also part of helpless. Their source of strength comes
something greater, more elemental. from being in the water.
If we broaden our vision, we no longer This access to strength is true for us
see legs as simply limbs. We can see them as also. Our legs are like umbilical cords con-
bridges. As the human body can be entirely necting us to the Mother Earth. Through
expressed as a point, a nucleus within the them, strength and energy are drawn and
body, your legs can be viewed as bridges that
connect your centre to the Earth. This vital
.
exerted according .,to our will. If we are
uprooted from the ground, as fish out of
connection has immense significance. water, we become weak and helpless. Our
Across the various lands and cultures of true source of strength comes from our '
which this world is abundantly composed, connection to the earth. When detached
creation myths share SQme similarities. One from it, we are vulnerable. It is, therefore,
common theme is the idea that mankind is important to fortify the bond and establish
created from the Earth, and at the end of a more potent connection. The follOWing
physical life, the body once again returns to exercises specifi-cally fulfil that objective.
the Earth. We live on the Earth and eat the Each step sequence in this part of the
fruits of the Earth. It is, therefore, no mere book is complete and sel(-contained. They
metaphor to say that we are children of the have been_carefully selected from the many
Earth. From this perspective, we can see walking systems practised in China. They have
more clearly that our legs are a parental various roots. By understanding their origins,
connection to the Earth. you can gain greater insight and enrich your
The connection is not merely a remnant practice. These walking systems are the
of the mythical past; the bond is alive and fruitions of much study, research, and
vividly active. Consider the relation of fish to experience from numerous past masters.

I
 107

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108 THE WAL KING SPECTRUM

Reverse Walking of the I~mortals , ,

Travelling in reverse may be a strange and unnatural sight.

People· do not normally walk backward. The only time they
do so is in moments of fright and. even then, they only take
a few steps back.
However. reverse walking is occasionally depicted in
Chinese tales of Gods and Immortals. Some Immortals simply
walk backward. Others ride their animal back to front. An
exemplary figure would be Zhang Guo Lao. one of The Eight
'Immortal'
Immortals. who is often portrayed as an old man sitting on
his donkey, facing backward. Reverse travelling has become a
kind of trademark for certain Immortals.
Reverse walking and riding is often interpreted as an
expression of appreciation toward an underlying concept.
Although the walking itself is extremely powerful and potent,
it is. nevertheless, still only a manifestation of that ideology.
Reversing dfrections and allocations offers engineers new ,.
possibilities of change. It is a method of bringing new forms •
of dynamics into motion. This idea is not limited to the
physical arts. It is also often used in other Chinese
I
cultural
arts such as Feng Shui. Reverse breathing is another manifest-
ation of this concept (see pages 34-41).
Walking forward feels natural. whereas walking backward
contradicts your instincts and intuition. It feels as if you are
walking against the wind or swimming against the current.
Although immense effort is often needed to sustain reverse
walking. the rewards are always substantial.
Great masters of the martial, physical, and spiritual arts
, have studied and practised the unique features of reverse
walking. It has become an important method of training what-
ever your goal may be, whether it is for cultivating health,
physical skill, longevity. or enlightenment.
#

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 REVERSE WALKING OF THE IMMORTALS 109

- I.

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I 10 T H E WAL KI NG SPEC T RUM

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2 3

I Stand comfortably straight 2 Transfer most of your 3 Plant your left heel gently
with your heels touching. Rest weight onto the right leg but firmly on the ground.
both hands on your hips with- without moving your centre. Glide your upper body back-
out tensing your shoulders. Gently circle your left foot ward so that your weight
Even though you are walking backward in an arc and touch is now mostly on your left
backward, look forward pur- the ground behind you with leg. Avoid tilting your upper
posefully. Do not let your your toes. Do not step too body back and sticking your
gaze waver or become empty. far back otherwise you will bottom out. Keep everything
lose your balance. Avoid above your waist relatively
twisting your waist; every- unchanged - only your centre
thing above the waist should has moved. Your upper body
remain still. should remain at the same
level.
 REVERSE WALKING OF THE IMMORTALS III

4 5

4 Circle the right foot back, 5 Plant your right heel firmly
slowly, and let the toes touch on the floor. Shift your weight
the floor. Your stride should slowly back over your right
be comfortably gauged to leg.Avoid turning or twisting
maintain balance. The leg your waist during the move-
movements should not affect ment. Your right leg is now
your upper body. Keep your moderately bent and your left
weight mostly on the left leg. leg is almost straight. This is
Your centre is unmoved. a mirror reflection of step 3.
You should be facing the same
direction throughout the
sequence.

Afterwards, slowly swing your

left foot back and proceed to
step 2. Continue the sequence
from there.
 \
112 THE WALKING SPECTRUM

~
Carefree Walking of the Taoists
,

Taoism (pronounced Dow-ism) is one of three major schools

of though~ in China. It is the only native religion of Chinese
people. since Confucianism cannot truly be regarded as a
religion. The thoughts and ideologies of Taoism have helped
shape Chinese lives for more than two thousand years. Its
influence has spread to neighbouring East Asian cultures. such
as Korea. Japan. and Vietnam.
Within Taoism. however. is a fundamental divisio~ that
is often unheard of by the general public. On one side. 'Taoist'
we have religiOUS Taoism. filled with Immortals. Gods. rituals.
and spiritual mysteries; everytbing one would expect from a
religion. On the other side, we have philosophical Taoism.
Central to this Taoist spirit is the figure. Lao Tse. and his
work. Tao Te Ching. This text can be translated as 'The Classic
of the Way and its Power'. Lao Tse is considered to be the
founder of philosophical Taoism.
Philosophical Taoism focuses on the unification of man
and Heaven. These Taoists are philosophers and academics
rather than priests. Their aim is to recognize and adopt an
impartial existence within the universe. In this way. they seek
to follow the order of Nature and disavow any selfish and
;
deliberate actions. Particular to this school of thought is their
dismissal of learned sageliness. They endeavour to embrace
the simple and the primitive.
This system of walking originates from the philosophical.
academic side of Taoism. In their cultivation of the mind and
the spirit. these Taoists often disregarded their body. To com-
pensate. they developed many simple but potent exercises
to induce health in accordance with their doctrines. Their
primary goal was mental and spiritual enhancement. This
is the root of the walking exercise described here.

I
 CAREFREE WALKING OF THE TAOISTS 113

f
114 THE WALKING SPECTRUM

2 3 4

I Stand erect with your heels 2 Turn your body and your 3 Begin bringing your torso
together. Place your hands on gaze slightly to the left. Take up and forward . Straighten up
your lower back, resting the a step forward with your left by pushing your belly forward.
backs of your hands and foot, touching the ground only Place the rest of your left foot
wrists at waist level. Try to with the heel. Bend your right firmly down on the ground.
avoid raising your elbows knee while keeping the left The upper body should be
and shoulders. one straight. Bend forward at relatively still.
the waist, but avoid collapsing
your chest. Keep most of your 4 Raise the right heel as you
weight on the right leg. straighten yourself fully, trans-
ferring most of your weight
onto your left leg and pushing
your belly even further
forward.
 CAREFREE WALK ING OF THE TAOISTS 115

5 6 7 8

5 Gently bring your right foot 7 Straighten your whole body 8 Bring your belly forward
forward to join your left. as gradually by bringing your until it protrudes slightly. Lift
you return to the upright weight forward and unfolding your left heel and straighten
posture shown in step I. yourself. Place the toes of both legs. Let your gaze rise
your right foot down on the slightly above the horizon.
6 Now. perform the same ground and straighten your From here. bring your left
movements to the other side. left knee. foot to join your right. and
Turn your body slightly to the restart the sequence from
right and take a step forward step I.
with your right foot. Let only
your heel touch the ground.
Without shifting your weight
forward. bow your body
moderately. Bend your left
knee, but keep your right leg
straight.
116 THE WALKING SPECTRUM

Forward' Walking of the Buddhists

It is no real surprise that some aspects of Buddhism are

found here, in this chapter. After all, it is one of the four
principle roots of Chi Kung. However, the relationship is
actually much deeper and more intertwined with Chinese
culture. Buddhism is also one of the chief origins of Chinese
martial arts - more commonly known as Kung Fu - and its
story is very much loved by the Chinese people.
Legend says that Bodhidharma (Ta-Mo in Chinese), after
attaining enlightenment, travelled to China to spread his 'Buddhist'
doctrine. In his travels, he came across a Buddhist monastery
in the province of Hunan.There, he sought refuge and
discovered a company of resident monks with weak
constitutions and failing health. Bodhidharma taught a series
of health-enhancing exercises to these monks and integrated
them into their existing routine. From that time on, the
monks in that monastery were no longer restricted to just
chanting and meditation.
With time and various inputs from other martial arts,
physical and body arts flourished immeasurably within that
monastery. Over a thousand years later, it became a famous
establishment with a legacy of martial traditions. It is the
world famous Buddhist temple of Shaolin in Central China.
Despite the colourful development and legacy of Shaolin. its
primary objective is still the cultivation of health.
The hand gesture of this walking system is a distinctive
mark of Buddhism. Often, Buddhist monks hold this sign as a
form of greeting. In Buddhism, hand gestures are an inspiring
form of language and symbolism. This particular gesture, of
gently clasping two hands together in front of the chest, is
known as the namaskara mudra. It also conveys the meaning
of adoration and prayer.
People often have the impression, that Buddhist practice
involves only sitting. meditating, and chanting. Stillness and
tranquillity is, after all, the Buddhist theme. However. particip-
ation in body movement is not uncommon. Depending on the
sect and the 'occasion, monks may walk and chant together.
The routine of ~Iking is a real part of Buddhist practice.
 FORWARD WALKING OF THE BUDDHISTS 117

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118 THE WALKING SPECTRUM

2 3

Stand upright and gaze 2 Take a small step forward 3 Shift your body forward so
forward . Let your heels touch, with your left foot, but keep that most of your weight is
but have a slight gap between both legs straight. There on your left leg. Your right
the front of the feet. Raise should be no change what- heel is slightly raised, but the
your hands in front of your soever above the waist.Avoid leg remains straight. Tilt your
chest and let them clap softly moving your centre, and keep body forward slightly. Try not
together. The palms and the most of your weight on your to bend your upper body or
fingers should be in full con- right leg. collapse your chest. Every-
tact. Avoid lifting your elbows thing above your waist should
or your shoulders too high. be relatively still.
 FORWARD WALKING OF THE BUDDHISTS 119

4 5

4 Without making any other 5 Bring your weight forward.

movements. bring your right toward the right leg. Keep
foot to the front. Make sure both legs straight at all times.
you are well balanced on Lift your left heel so that only
your left leg.Your upper body the front of your foot touches
should remain slightly tilted. the ground. From there. step
forward with your left foot
and continue the sequence.
120 THE WALKING SPECTRUM
,

Stationary Walki~g of the Medics

Chinese traditional medicine is the biggest alternative to

modern medicine. It is practised across the world, and is
probably the longest continuing practice of medicine in world
history. The expertise of Chinese medicine is not limited to
curing sickness and healing wounds. It is also dedicated to the
improvement of general health, and ,to the cultivation of
longevity. In other words, Chinese medicine is also a form
of preventive health care.
In Chinese physiology, the human body contains a 'Medic(a/)'
number of channels through which human energy flows. They
extend to the tip of each finger and thumb. The heels and the
toes are also linked to various channels.
Unlike spiritual or internal body arts, Chinese medicinal
exercises place greater emphasis on movement than stillness:
This walking system stimulates and encourages human Chi so
that it flows with greater strength and vitality. The hands, feet,
and waist are all in a motion that has been intricately
composed by past Chinese doctors.
Walking is a great way of executing such medicinal body
motion. It is familiar to people of all ages. Most 'people walk
on a daily basis. The system here is an example of stationary
walking. Steps are taken but you are not travelling anywhere.
Stationary walking may appear strange, but it is actually very
practical. First of all, it is space-efficient and can, therefore, be
practised almost anywhere. There is no change of direction.
It is also suitable for the elderly and people with minor
mobility problems.
In some ways, Chinese medicine favours stationary
walking, because it is relatively safe. Being stationary, you can
more conveniently be in the company of others. A support,
such as a chair, can be readily at hand. The chances of tripping
are also significantly reduced since your feet are not raised
from the ground. As well as the internal energy workout,
these medical considerations are also incorporated into this
walking system.
 STATIONARY WALKING OF THE MEDICS 121

r
122 THE WALKING SPECTRUM

I Stand straight and let your 3 Swing the left arm up until
heels touch.Allow your arms your hand is at head-level.
to hang naturally from your Your right arm swings back
shoulders. Breathe gently and past your side. Turn your body
deeply until you are calm and and gaze to the right. Shift
ready to begin. your weight forward. raising
your right heel.
Take a step forward with
your left foot. Your heel is on
the ground. but the front of
the foot is raised. Turn your
body minutely to the left and
raise your right arm in front
of you - breathe in as you do 4 Swing your arms again. this
so. The right hand faces the time. your left arm down and
left. Your left hand sways back your right arm up. Breathe in
a little. Your weight is mostly again slowly as you do this.
upon your right leg. Plant your right heel down
and return your weight back
2 Gently and slowly swing to the right leg.
your left arm forward and
your right arm down. At the
same time. place your left
foot down flat on the ground.
Breathe out slowly and evenly.

2
 STATIONARY WALKING OF THE MEDICS 123

5 By the time your right arm

is fully raised, most of your
weight should be on your
right leg and your left toes
are raised ready to continue
the sequence.
3 5

Variation The sequence shown is for

men. For women, the variation in the
walking system is a mirror reflection.
From the standing posture where both
heels touch, step forward with the right
foot The right toes do not meet the
ground. The left arm is raised in front of
you, and the right hand swings backward.
Breathe in as you move your arms.
Swap the role of both arms by swinging
the right arm forward and the left hand
back. Lower the front of your right foot At
the same time, exhale slowly and evenly.
Swing your right arm until your right
hand is high in front of you. Remember
4 to lift your left heel.

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124 THE WALKING SPECTRUM

Xing Yi Walking of the Martial Artists J •

This walking system is named after a particular school of

Chinese martial art. However, its roots go even deeper and
further back into history.
During an age when wars were not uncommon in China,
military developments were thriving. Long weapons, such as
spears, were often employed, and soldiers proficient in
wielding such weapons were formed into special units. These
weapons were often uncomfortably long and heavy. Those
that carried them marched forward, packed tightly together 'Martial'
as one unified force . Their combat techniques may have been
limited but, collectively, they were unstoppable.
Among the less accountable histories, General Yueh Fei
of the Sung Dynasty is said to have developed a martial
discipline for his soldiers. This army became a prominent and
powerful force in the history of China. Their discipline was
rumoured to be a founding stone of what later evolved into
the martial school of Xing Yi.
Somewhere and somehow during the course of Chinese
history, martial and physical artists noticed this military
training, particularly the long weapons training; the powerful
forward exertion of strength; the simple yet extremely potent
movements; and the efficiency of body control.AII of these
skills were of great interest to the martial artists.
In transition, the underlying essences of the military
movements were distilled and developed. The steps, the
power exertions, and the power allocations were refined,
and philosophy, breathing methodology, and Chinese internal
physiology were introduced. These changes transformed a
substance of the military into a substance of martial art. It
became a new system of walking in its own right and is now
one of the core practices in Chinese soft martial arts.
This walking exercise - though a distant offspring of
military training - can also be practised for the cultivation of
longevity and health. Although your centre still needs to sink
slightly, the overall sensation is lighter and more levitated. The
walking sequence illustrated here is practised mainly for its
health benefits.
 XING YI WALKING OF THE MARTIAL ARTISTS 125

/
126 THE WAL KING SPECTRUM

I Stand erect with your arms 2 When your hands are about 3 Sink your weight down and
hanging gently by your sides. level with your shoulders, bend your knees. Lower your
Keep your heels together. The bring your left foot forward. left elbow until the hand is at
front of your feet separate Turn your arms so that the approximately shoulder-level.
and at a slight angle. Gaze palms face down, keeping Lower your right arm until
forward, breathing calmly. your wrists loose and gentle. the hand is level with your
Slowly bring your arms up by Try to avoid lifting and tensing belly. You should now have 60
circling them from the sides. your shoulders. per cent of your weight on
Your left arm is further away the right leg and 40 per cent
from your body than your on the left. Keep your upper
right arm. In other words, body upright.
your right elbow is more bent
than your left. At the same
time, turn your body slightly
to the right.
 XING YI WALKING OF THE MARTIAL ARTISTS 127

4 Step forward again with

your left foot. At the same
time, shift and tilt your upper
body minutely forward in a
slow but powerful gesture.
Keep your gaze straight ahead
at all times.

5 Bring your right foot for-

ward without changing the
direction of the foot. Your
upper body returns to the
upright posture of step 3.
Continue the sequence in
a loop from here, repeating
steps 3 to 5 as you very
slowly proceed forward.

(
(
r
 \
128 THE WA LKING SPECTRUM

Balance W~lking of the Boatmen

China is a geographical treasure house. Its landscapes vary

from des~rts to marshlands, plains to valleys. Local customs
and cultures vary across the country in harmony with their
local environment.
In the midlands of China dwells a culture of water. The
central region of the country is full .of rivers and lakes. Many
cities are built next to, or even on the water, much like
Venice. These places have brought forth many customs and
traditions. It was from this culture of swimming, sailing, fishing,
'Boat'
and ferrying that the inspiration for this walking system
evolved and took life.
The life of a fisherman or a ferryman can be rather harsh
and demanding. To compensate, a healthy lifestyle and routine
are crucial. Their lives can be completely intertwined with
their boats. Many boatmen literally live and raise their families
on boats, and this way of life has created a unique set of
circumstances.
The tranquillity of the sea, rivers, and lakes offers them
ideal conditions for natural meditation. The constant associa-
tion with nature and wildlife brings a deep understanding and
philosophy. The various intricate daily tasks performed on a
boat or ship give them an appreciation of dynamic move-
ment and mechanisms. The continuous rocking of the boat
teaches them balance. The long waits for a catch or a fare
develop the virtue of patience, and offer them opportunities
for training. Under these various complementing circum-
stances, this walking system came into existence.
 BALANCE WALKING OF THE BOATMEN 129

\I
•
130 THE WALKING SPECTRUM

You can step forward or to Everything is in a state of flux,

Please note As this walk is the side; occasionally. you may and depends only on the
freestyle, we are unable to even step backward. All these moment. You may sink your
number the steps for you. directions are at your dispos- weight low or lift it high.Your
al. But, choose your directions centre is in perpetual motion.
wisely. Overall. this walk may Your weight does not rest
Stand upright with your heels appear disorderly and chaotic. evenly on both legs; it gently
together and your feet 45 with no system or structure. oscillates between the two.
degrees apart. Let your arms However, this is far from true.
hang naturally, palms facing in. The orderliness is within. Make use of the full flexibility
Allow a fairly large space of your feet. Raise and lower
between your arms and your When taking a step. your your heels and the front of
sides.Your fingers should be feet can be close together or the feet independently, to
apart and naturally straight. moderately apart. Never take maintain your balance.
too big a step, or straighten
Step forward and start to your legs completely. Keeping Let your mind direct the
walk randomly. Imagine you the knees bent at all times is rocking of the imaginary deck
are standing on the deck of a key to maintaining balance. in a gentle, rhythmic pace. You
boat that is swaying left and A true boatman understands need not walk with any parti-
right. to and fro. The current his own centre and plays with cular haste. Let everything be
is strong but not ferocious. his balance like a toy. instinctive and instantaneous,
with no imposed pattern of
Begin walking in a manner Let your arms sway a little movement. Do not allow
befitting a seasoned boatman. with the rhythm of the waves. yourself to become wild and
Familiarize yourself with the Use them as balancing tools erratic; remember to stay
rhythm of the waves and the that move instinctively to relaxed and focused on your
rocking of the deck. Walk not assist your centre. Your arms centre and your balance.
with the aim of going some- should sway as if they are
where; walk just in order to weightless and somehow
harmonize with the rhythm. breathing.
Move and bend so that your
balance continually realigns.
BALANCE WALKING OF THE BOATMEN 131
 \
132 THE WALKING SPECTRUM

, March Walking of the Military , .

The name for this particular walking system is drawn from

the fact that its simple appearance bears some resemblance
to the marching of soldiers. Like many terms in Chinese
martial arts, its name is chosen to enable you to more readily
remember the movements.
Even during those times in ancient China when the crafts
of war were flourishing, marching was unheard of in the
military. Systems of step walking for engagements and battle
formations were plentiful and well studied, but there were
'Military'
few records in existence of a walking style designed for the
sole purpose of unified mobili~.
The emphasis of this walking system is on its simplicity.
Like the Wu Chi posture - which is meant to be the fore-
most and most natural of standing postures for a human
body - this walk is intended to be the primal system of steps.
Its apparent plainness and stressed simplicity is the key
to its potency. However, do not think that the internal
working of energy in this walking system is equally plain and
simple. Simply because the name and appearance are closely
associated, do not fall into the trap of confusing and merging
this walking system with contemporary military marches.
There is a vast difference between their underlying essences,
which sets them a world apart.
The purpose of a military march is to display collective
strength and bring numerous individuals to a single rhythm.
The essence here is to stimulate your Chi circulation with
pressures, motions, and alignments of the body.
Do not allow your pace to quicken just because this
exercise seems effortless. Let the rhythm of your steps be
gentle and natural. This particular walking system is my own
contribution after decades of experience and understanding.

,
 MARCH WALKING OF THE MILITARY 133

I
\
134 THE WALKING SPECTRUM

I Stand upright, facing 2 Take a step forward with

forward . Let your heels touch, your left foot.Your intention
but have your feet apart at is to avoid bending your
approximately 45 degrees. knees - both legs should
Allow your arms to hang remain naturally straight. At
comfortably by your sides, the same time, raise your
palms facing inward. Have right hand in front of your
your fingers slightly apart and chest over the vertical centre
naturally curved. Loosen your of your body, and swing your
shoulders, elbows, and knees. left hand back, elbow slightly
Despite the name of this bent. Don't bring your right
system, do not stand in a stiff arm too close to your body.
and tense military manner.
Breathe through your nose, Keep your wrists, elbows, and
calmly and deeply. shoulders relaxed. The step
should not be so large that
the straight alignment of your
legs is broken. Rest your left
heel on the ground .

Avoid moving your centre,

and keep most of your weight
on your right leg.

Variation You can perform

this walking system in a
discontinuous manner. After
taking each step, pause for
one or two seconds before
moving again.
 MARCH WALKING OF THE MILITARY 135

3 Allow the rest of your left

foot to gradually touch the
ground. Let it press down
with gentle firmness. Allow
the pressure against the sole
of your foot to work to your
advantage as you bring the
right foot forward to rest on
its heel. As you do this, swing
the left hand forward and the
2 right hand back. 3

Continue the march, stepping

forward with your left foot
and swinging your right hand
forward . Remember, your
right hand swings up to chest
level and passes the centre
line of your body, as shown in
step 2. Try not to move your
centre line laterally.
136 THE WALKING SPECTRUM

I' Circular Walking of Da Cheng Chuan , .

This final walking system is rather demanding in terms of

bearing ctnd spatial coordination. The direction is circular;
therefore, your linear alignment is constantly changing.
This particular system of circular walking was devised by
Grand Master Wang Xiang Zhai. He drew inspiration from ,
among other things, a system kno-.yn as Pa Kua steps. That
walking system outlines an octagon in which the practitioner
moves and turns in accordance to the eight directions. The
emphasis of Pa Kua steps is on straight lines and careful
crossing of the legs. This system takes on a smoother shape. 'Da Cheng (Great
Here, instead of a polygon, w~ have a circle. Instead of Accomplishment),
straight lines, the feet move in curves. Grand Master
Wang Xiang Zhai developed this walking system
with a different emphasis, and with a different
purpose in mind.
This step sequence is a crystallization of
three special features. First, the line of each step
draws an arc. This is known as 'the curve step'.
Second, the foot slides along the surface of the
ground as if it is surfing on mud. These steps are
known as 'wading-on-mud'. Third, the foot move-
ments take on a pattern known in Taoism as 'the
seven stars steps'. Grand Master Wang Xiang
Zhai's walking system is an artistic and practical
unification of these three features.
This exercise not only trains your mental
and physical coordination, it also helps develop
your directional flexibility. The size of the circle
you will be marking is quite flexible. It simply
depends on the availability of space. If necessary,
you can mark a small circle for space efficiency.
You may also choose to place an object at the
centre of the circle to assist you in your
orientation.

Right Professor Yu as a young

m n, praaises a more energetic
form of circular walking.

I
 CIRCIJLAI\ WALKING OF DA CHENG CHUAN 137

·.
-

'.

Please note As you perform the steps,

keep the moving foot parallel to, and as
close to the floor as possible.

• \
138 THE WALKING SPECTRUM

2 3 4

I Turn your head to the left 3 Shift your centre towards

Please note In this exercise and transfer most of your the left leg. Avoid tilting your
you are marking a circle in a weight to your right leg. Step body forward or leaning back.
counterclockwise direction. with your left foot out to the Everything above the waist
Stand upright with your left.Avoid moving your body should remain relatively still.
heels together. Gaze forward or your centre.
and relax, letting your arms 4 As you balance yourself on
hang loosely at your sides. 2 Turn your body slightly to the left leg, bring the right
Bring both arms up slowly the left. Move your left hand foot up so that your feet
as you bend your knees. Your out further away from you by once again touch each other.
palms face your shoulders, unfolding the elbow slightly. However, your right foot rests
and your fingers are apart The right hand moves inward on the ground with only the
and softly curved. toward the centre line of toes (see page 137). Notice
your chest. that both knees are bent, but
in different ways.
 CIRCULAR WAL K ING OF DA CH ENG CHUAN 139

5 Keeping you r weight mostly 6 Without changing the 8 Turn your gaze and your
in the left leg, step out with direction of your gaze and body to the left and step the
your right foot to your right. your body, shift your weight left foot out in an arc in that
forward onto your right leg. direction. Your head, arms, and
body should be relatively still.
7 Bring your left foot forward The degree you turn is de-
to rest beside your right foot. pendent on how large a circle
Keep your left heel elevated you are marking. Except for
as you do this. the difference in direction, this
is now the same posture as in
step 5. Repeat the sequence
from there until you have
drawn a full circle.
 \
140 THE WALKING SPECTRUM

, Final words ,

In this book, you have come across a variety CHOOSING THE RIGHT STEPS
of steps a.nd walking systems. Some of these The art of walking can be a huge labyrinth in
are straightforward, while some are lengthy. which you may sometimes feel lost.You want
Some are very simple and some extremely someone to tell you which is the most
complicated. To many of you, this will have suitable step system for you. With time and
been a journey of discovery. To others, a long patience, you will find the right steps for
voyage of study and education. Try not to be yourself. The best way to walk is to do so
overwhelmed or discouraged by the vast naturally. Allow your body to tell you which
and colourful spectrum of this art. All things, steps are right for you.Your role is to learn
great or small, must begin somewhere. to listen carefully.
It does not matter if you ~re young or in However. it is not wise to dwell too
your prime.A farmer always prepares for the much on this search. Like hunti!1g. some-
coming winter. This is an ancient but valid times, the more you chase your prey, the
piece of wisdom. It is always easier to pre- faster it runs away. There is an old Chinese
serve and promote better health when you fable that parents teach their children. It was
are well. When you are sick, it is much more meant to be an analogy. bearing a metaphoric
difficult and time-consuming. Sometimes, it interpretation. However. for us, it is con-
can be too late. veniently quite literal.
Preservation of health is always prefer- This comical story from the ancient
able to the restoration of health. It is unwise , Chinese philosopher. ZhuangTzu, teaches the
to think that because you are young and lesson that you must not be overwhelmed by
strong now, you do not need to prepare for the vast variety of walking systems out there
the any future decline of your health. and neglect your own natural walking style.

WALKING STEPS
As the Chinese language is pictographic. many
words and concepts are expressed by two or
more symbols. allowing the reader to interpret
abstract meanings that cannot be expressed
with just one symbol. Not all abstract ideas are
graphically represented. sometimes there is a
phonetic ingredient, but many of these no
longer provide clues to pronunciation.
Walking' and 'steps' share the same EARUEST SYMBOL ORACLE BONE SCRIPT (Jia Gu Wen)
character, originally represented as two feet in When Chinese writing was still purely The twa (oat images appear to have
succession. indicating that a person is walking pid agraphic, the abstrad concept o( simplified. illustrating mainly the big
forward or has taken a step. This image evolved 'walking' was expressed with the left toes. Some lesser toes are eliminated.
(aot in (rant o( the right and the soles are not filled.
through time as we see in these copies.
 FINAL WORDS 141

-
WALKING TIPS
LEARNING STEPS AT HAN DAN The accumulated time we spend walking in
our life time is immense. If we could harness
There was once a young man who lived in these walking moments to greater efficiency.
the countryside, and who walked in a very the rewards could be profound.
awkward manner. Because of this he often Plan your time more generously. Avoid a
tripped and fell. One day he came across
schedule that is too tight. Do not make
someone who told him of the great city of Han
Dan, where the people walked properly and yourself walk in a hurry. You should enjoy
elegantly. The young man was advised to stay the pleasure of walking. Take your steps at a
at that city for some time in order to learn to natural and comfortable pace. Breathe at a
walk correctly. relaxing rhythm as you walk.
The young man heeded this counsel and If your schedule is free, take some time
went to live in Han Dan. There he saw people to walk after every meal. If outside is cold.
walking in all manners and styles. He studied wet, or unsafe. simply walk around the room.
carefully, and started to imitate each one. This may feel troublesome to some
Time passed and the people of his home- people at first but, in time, you will learn to
town awaited his return. Eventually, the young appreciate the simplicity of walking and the
man came home but, to the astonishment of pleasure it olfers.
everyone, he returned crawling on the ground.
For the ladies. sinking your weight to the
The young man had become so confused and
front of your feet when you walk will help
overwhelmed that he had forgotten how to
walk at all! improve the curvature of your calves. By
bringing the weight to the heels, you are
improving the lines of the thighs as you walk.

BRONZE SCRIPT (lin Wen ) LESSER SEAL SCRIPT (Xiao Zhuan) STANDARD SCRIPT (Kai Shu)
The top grophic component Here, the charaaer undergoes a This is the 'walking' charaaer in use
remains unchanged, while the lower relatively major transformation. today in bath the 7raditional' and the
component is slightly madiffed. Hawever, there are still some 'Simplified'scripts.
resemblances to the foot images
given enough imaginatian.
142

Index
All exercises are illustrated. training 50-3, 55 E
Page numbers in italic refer calligraphy (characters): Earth 106
to other illustrations. for boat 128 energy, human 8, 10
for Buddhist 116 equilibrium 27, 34
A for Chi 8, 9, 24
arms 75 for Da Cheng 136 F
evolution 14, /4-15 feet 75
B for Immortal 108 circling 60-1
Balance Walking of the for living creature 12-13, 12 fish 106
Boatmen 128-3 I for martial 124 Forward Walking of the
Bear Steps 94-7 for medic(al) 120 Buddhists I 16-19
Bei Tao Yung 46 for steps 140, 140-1 foundation 46
belly breathing 30-1 for Taoist 112 full body breathing 32-3
reverse 38-9 for walking 140,140-1 reverse 40-1
boat, character for 128 Carefree Walking of the furnace 24
boatmen, Balance Walking of Taoists I 12-15
the Boatmen 128-3 I cats 75 G
Bodhidharma I 16 centre 25-6,64-5,75 Guan Tse 8
breathing 24-43 understanding 58
exercises: chest breathing 28-9 H
position for 26 reverse 36-7 hands 12
preparation 26 Chi 8-10,58 health 124, 140
meditation and 43 character for 8, 9, 24 heart 55
natural 27 Chi Kung: Horse Stance 47
belly 30-1 origins 10 human energy 8, 10
chest 28-9 walking systems 13 humility 46
frequency of practice 42 Chinese medicine 120
full body 32-3 Circular Walking of Da Cheng
reverse 34-5 Chuan 136-9 Ice Steps 82-7
belly 38-9 circulation 55 Immortals 108
chest 36-7 Confucianism I 12 character for 108
frequency of practice 42-3 Crane Steps 76-81 Reverse Walking of
full body 40-1 creation myths 106 the 108-11
Buddhism I 16 curve step 136
character for Buddhist 116 K
Forward Walking of the D Kung Fu 116
Buddhists I 16-19 Da Cheng, character for 136
Da Cheng Chuan 10,74-5 L
C Circular Walking of 136-9 ladies 141
calf muscles: directional forces 64-71 LaoTse 10,64,112
as pumps for blood 55 forward and backward 70-1 legs 12,13,46,75,106
second voluntary left and right 68-9 circling feet 60-1
movements 52-3 up and down 66-7 strengthening 48-53
 INDEX 143

calf muscles 50-3,55 belly 38-9 toys 46,46

thigh muscles 48-9 chest 36-7 Tsou Pu 74-5
living creature, characters for frequency of practice 42-3
12-13,12 full body 40-1 V
longevity 124 Reverse Walking of the vertical axis 66-7
Immortals 108-11
M W
March Walking of the Military S wading-on-mud 136
132-5 seven stars steps 136 walking 13,64,74
martial, character for 124 Shaolin temple I 16 Balance Walking of the
martial arts 10-12,47, I 16 Shih Li 74 Boatmen 128-3 I
Xing Yi Walking of the Side Steps 98-103 Carefree Walking of the
Martial Artists 124-7 'Spading' Steps 88-93 Taoists I 12-1 5
massage therapy 13 stances 47-53 characters for 140, 140-1
medicine 120 Stationary Walking of the choosing steps 140-1
character for medic(al) 120 Medics 120-3 Circular Walking of Da
Stationary Walking of the steps, characters for 140, Cheng Chuan 136-9
Medics 120-3 140-1 Forward Walking of the
meditation 43 stillness 74 Buddhists I 16-19
military: Sun Tse 74 March Walking of the
character for 132 Military 132-5
March Walking of the T Reverse Walking of the
Military 132-5 Tai Chi Chuan 56,76 Immortals 108-11
mitochondria 24 Taming the Tiger 47 Stationary Walking of the
Mo Ca 82-7 Tan Tien 25-6, 64 Medics 120-3
modesty 46 full body natural breathing systems 106-39
motion 74-5 32-3 Xing Yi Walking of the
muscles: full body reverse breathing Martial Artists 124-7
calf 54 40-1 Wang Xiang Zhai, Grand
as pumps for blood 55 higher 26,26,27 Master 10-12, I I, 24, 56, 75,
training 50-3 lower 26,26 136
second voluntary natural belly breathing Wu Chi 56-9, 132
movements 52-3 30-1
thigh, training 48-9 reverse belly breathing X
voluntary movements 52-3 38-9 Xing Yi Walking of the Martial
middle 26,26 Artists 124-7
o natural chest breathing
oxygen 25 28-9 y
reverse chest breathing Yu Yong Nian, Professor II,
p 36-7 12,49,136
Pa Kua steps 136 sub-centres 26,26 Yueh Fei, General 124
Peacock Opens its Fan 16-21 Tao Te Ching 10, 64, I 12
pyramids 46 Taoism I 12, 136 Z
Carefree Walking of the Zen Buddhism 43
R Taoists I 12-15 Zhan Zhuang 10,47,64,74
reflexology I 3 character for Taoist I 12 Zhang San Feng 76
reverse breathing 34-5 thigh muscles, training 48-9 ZhuangTzu 140
144

ABOUT THE AUTHOR

Master Lam Kamchuen has devoted his life to the Master Lam came to the West in 1975
classical arts of Chinese culture. He has brought and has developed a wide following of students
these to the West and introduced the unique throughout the United Kingdom and Europe.
practices of Chinese health care to millions He is the author of a dozen books including his
through his books and videos. ground-breaking Chi Kung trilogy: The Way of
Born in Hong Kong, Master Lam began his Energy, The Way of Healing, and The Way of Power.
formal instruction in the martial arts at the age The Lam Association, established by Master
of eleven. Studying under masters such as Lung Lam, is devoted to preserving and teaching the
Tse Chung and Yim Sheung Mo, he was trained classical arts that promote health and wellbeing.
in Choy Lee Fut, Northern Shaolin Kung Fu, Iron You may contact the association as follows:
Palm, and Tai Chi Chuan. The Lam Association
He became a disciple of Professor Yu Yong I Hercules Road
Nian, the world's leading authority on Zhan London, SE I 70P
Zhuang, the most powerful of all forms of Chi Tel/Fax: 0044 (0)20 7261 9049
Kung - and is now a recognized lineage holder Mobile: 0044 (0)7831 802598
in that tradition. Website: www.lamassociation.org

AUTHOR'S ACKNOWLEDGEMENT

For the opportunity to have become who I am in this book. Tinyu, my middle son, has also helped
and be where I am, I must first offer thanks to me greatly with the text for this book.
the masters of all the arts which I have learned. A word of appreciation to Bridget Morley,
They have been very patient, and were like the designer. We have worked together on many
fathers to me. lowe to them my knowledge occasions and despite the elevating demands I
and understanding of these arts. I must also give place on her, she still continues to exceed my
thanks to all the past masters across the ages expectations.
that have preserved and contributed to the arts Last, but not least, I give many special
presented in this book. thanks and gratitude to people who make this
To my family, lowe much gratitude. Their book a reality. This is my first business association
continuing patience and support are an important with Alison Goff, the chief executive officer of
factor in my achievements. My wife, Kaisin, has Octopus Publishing Group, and she has been
helped me over the years in every way, so that I warm and welcoming. Patrick Nugent has guided
am freely able to concentrate on these arts. the direction of this book as he has done with
I am grateful to my sons for their willingness my past works. Cindy Engel kindly edited the final
to continue these traditions and arts. On this text, and Paul Forrester performed the photo-
occasion, I would like to thank Tinhun, my graphy.A special round of thanks also to the
youngest son, who took time to pose as a model many people who work backstage.

IMAGE CREDITS All calligraphy by Master Lam. Studio photography of Master Lam and Tinhun Lam by
Paul Forrester. Photographs supplied by Getty Images: 26 Richard H Johnston, 63 Christian Michaels, 73
Gandee Vasan. Remaining images supplied by Master Lam. Collage/image manipulation by Bridget Morley.