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BaJi Monthly. August - September, 2012

History. Wu Xiufeng

Wu Xiufeng, also named Hai (1908-1976), the eldest son of Wu Huiqing, the sixth generation taught by the

orthodox master of BaJi Quan. When Wu Xiufeng was young, his ears were deaf, but recovered at twelve, so he was

nicknamed "the Wu Deaf". He studied martial arts with his father when he was very young, and took apprentices at 18 in

Songzhuangzi and Jiangguantun Cun.

In 1929, he traveled to Shandong. In 1931,he was invited by Han Huachen, Zuo Shuangchen, Li Guangju and

others to Zaozhuang City to teach BaJi Quan. There were more than fifty people who began to study with him later (all of

them already studied martial arts earlier). He visited Shanghai, Zhejiang, Guangdong and Henan to see masters and

friends, and was the Wushu coach of Hongjun in Jiangxia Suqu. Years later, he returned to his hometown.

In 1933, Wu Xiufeng went to Tianjin to teach and impressed people there with his BaJi Quan and Tiliudao. Next

year, he established "Tianjin Jianguo Wushushe".

Wu Xiufeng was against the idea of Menhu (factionalism). He learned from others actively, and adapted the

advantages of various quanshu to create for the first time the theories of Six Winnings, Liuxingheshu, Sixteen Steps, Ten

Jinbie and Eight Hand Shapes for Bajiquan. He created tens of formal sets such as Twenty-four Lianshou, Twelve

Baoxing, Fushou Duida, etc. These forms enriched BaJiquan with more content, more brilliant characteristics, and stronger

attacking techniques.

In 1953 and 1956, Wu Xiufeng joined The National Wushu Communication meeting, and obtained the first

award for the presentation and seven other first places. He was praised by Marshal Helong, the Director of National

Physical Committee at that time, and was met kindly by the leaders like Liu Shaoqi and Zhou Enlai.

Wu Xiufeng taught a lot of people. He devoted himself to the theory and technical study of BaJi Quan for life. Not

only did he spread the BaJi Quan, but also created the new mark of the style and its content.

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History. Liu Yun Qiao

(BaJi Quan Association R.O.C.)

Liu Yun Qiao (1909 - 1992) is one of the last students of Li Shu-Wen. He founded the WuTang GuoShuAssociation in Taiwan to promote the traditional Chinese martial arts.

Raised and educated in Cang County, Hebei Province of China during the early part of thetwentieth century, he acquired the complete system of BaJi Quan, PiGua Zhang, BaGua Zhang, MiTsung, and Six Harmony Praying Mantis.

Liu Yun Qiao became the close door disciple of the BaJi Quan and PiGua Zhang master LiShu Wen at a very young age. His family was rich and influential and was able to hire Li Shu Wento live with the Liu family to teach young Liu martial arts.

Liu’s daily routine included martial arts training in the early morning, reading and writingin the morning, and martial arts again after lunch. Li’s teaching style was extremely harsh. About half a year in thebeginning of Liu’s training involved practicing nothing but Zhang Zhuang (standing practice). Young Liu was quitebored and asked his father if he can tell Li Shu Wen to teach something that a kid would find interesting. Li replied with astern face that if they don’t like it his way and train one step at a time, he would leave right away. Liu had no choice butto follow the rigid training method. Somehow Li formed a competitive and strong-willed spirit in Liu, and it greatlyassisted Liu through the almost unbearable training. It gave the young boy an unusually strong foundation in manyaspects of the martial arts taught by master Li, including so called “light body skill”. At that time, Li was already in his60's and used the time living with Liu’s family to reorganize and summarize his life-long experience in training andfighting. So the arts of BaJi Quan and PiGua Zhang went through an important change in Li’s old age. This was thereason Liu Yun Qiao’s BaJi was significantly different from that of other students of Li.

During his youth he learned Tai Zu Quan and later received the Tang’s system of TaiJiQuan from his senior gongfu brother General Chang Xiang Wu. During the late 1920's, Mr. Liufurther expanded his knowledge of TaiJi Quan by exchanging his BaJi with famous Chen Fake ofChen TaiJi style. His mastery of weapons included the Kun Wu Sword, the Big Spear, the WillowLeaf Saber, and BaGua Deerhorn Knives and Needles.

Liu Yun Qiao was recruiter by the pre-war Chinese intelligence agency after winning achallenge with a Japanese kendo shihan Oota Tokusaburou, and began his short career as an

assassin targeting Japanese military officials.

After the war Liu trained the personal guards of the presidentChiang Kai Shek as well as the guards of the following presidents of Taiwan.He later established the Wu Tang Martial Arts Development Center and hadmany students including Adam Hsu, Yang Su Ton, Su Yu Chang, NgChoong Fah, Kurt Wong.

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BaJi Skill

STANCES OF BAJI QUAN.1. Cross-step Climbing a Mountain Stance. Ao Bu Deng ShanAo Bu Deng ShanAo Bu Deng ShanAo Bu Deng Shan: It differs from the Deng Shan Bu in the position of the thorax, which is included in the total length of the punch. The fist, elbow, and shoulder act in balance with the elbowand shoulder going in the opposite direction.

2. Take-Down Stance. Deng Ta BuDeng Ta BuDeng Ta BuDeng Ta Bu: The step draws a triangle, where the attack (a take down) is executed with the palm pressing down.

3. Frightened Chicken Stance. Han Ji BuHan Ji BuHan Ji BuHan Ji Bu: It is very similar to Xu Bu, and executed in this way.

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KAO ZHUANG GONG.

LEANING ON A POLE (STAKE)

There are many methods of Kao Zhuang, here is a couple more (continued from June):

1) DA ZHUANG YI TI ZHUANG (Hit and kick the pole)

There are two types of “Zhuang”, one is rigid or stationary, and another moving or alive. Hitting and kicking therigid pole is the fundamental way to increase the striking power, and one should engage in this exercise with willpower anddetermination. It is also fundamental to develop the attacking mentality by using variable agile fighting techniques, andthat is where “live Zhuang” comes in play. Start with “fixed Zhuang” using the “Iron sand palm” (Tie Sha Zhang) rules.There are three levels in this practice:

The first level is to strike a straw mat (or a similar material, for example “shan cha ren” - some sort of mountaingrass), also any comparably soft material will do. Any material should be clean and disinfected prior to use to prevent anyskin infection. Strike with the front and back side of the arm surface using “Black dragon recoils” (wu long pan) strikingposture with “Collapsing hand” (shuai da shou) technique. Hit repeatedly with one hand and then another in alteration.

Level two, instead of a straw mat use a bag with green beans.

Level three, switch to iron sand.

Each level should be practiced for a 100 days. Every day one sequence, and each sequence should be split in half for left andright arm. This practice requires full concentration and focus of your mind.

Begin practicing with light strikes and gradually change to heavy pounding, from slow to quick movements. Donot try to speed up the process or exercise in a hurry.

2) QI XING ZHUANG (Seven Stars Zhuang)

Set up a place for practice by installing poles in the shape of the Big Dipper (see the chart below). Each pole isabout 15 to 20 centimeters (6 to 8 inches) in diameter, and the distance between each pole is about 1.5 meters (5 feet). Makesure that the poles are standing solid and secure to endure the weight of the human body. Next, secure some soft materialaround each pole. On the other hand, if there is a forest with tall trees without branches in the way, one can find a place

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with tree placement similar to the Big Dipper shape, and use it for practice.

Practice method:

Begin with left side Ding Bu stance, with the left hand in front and the right hand at the waist. Starting place isbetween poles one and two, about one step to your left, facing toward the group of poles. Start the sequence by rushingtoward the pole number two, it can be a fake or a real punch and kick, but hit the pole number two with your back (BeiKao Zhuang), right away return to punch the pole number one.

Using the “empty” side approach the pole number two as if ready to strike, then turn the body around and punchthe pole number one again. Using the “solid” side approach the pole number two as if ready to strike, but this time don’tturn around, moving backwards to strike the pole number one with “Kao” method, as if tumbling backwards to strike by“leaning on with your back” (Bei Kao). And so, leaping backwards between poles one and two arrive with the right side to“Bei Kao”the pole, continue in the same way heading for one to strike another. This is the first group or sequence.

Leaping further back up to the “heart of the Dipper” (the “heart of the Dipper” are poles number four, five, six,and seven), take turns exchanging strikes hitting poles four, five, six, and seven. After the last strike jump back to exit the“heart of the Dipper”. Exit between poles four and three to the outside, facing towards pole number one, move out with theseries of punches along the poles, thus moving in the reverse sequence from the one at the beginning.

This is the “Seven Stars” pole striking sequence. The hitting method should not be hard by nature, because of thebenefits of the power transmission. The soil should control the power of the strike by the means of the pole transmitting thepower back to you. The objective of this practice method is to train a real battle-capable power. This practice is thealternative necessary for real battle requirements: combination of a real punch, a real kick, a real tumble, and a real “BeiKao” strike.

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Pcompiled from variety of sources by Ilya