Pa Kua Chang Newsletter

Vol. 1, No. 1 Nov/Dec 1990

Liu Hsing-Han: Inheritor of Ch’eng T’ing-

Hua Pa Kua Chang in Beijing
The information in this article was obtained Feng-Te, and Wang Tan-Lin.
during a phone interview with Liu Hsing-Han in Liu Hsing-Han began his study of Pa Kua Chang
August 1990. in 1917 at the age of 8. His father, Liu Hsin-Tzung,
a Pa Kua Chang student of Ch’eng T’ing-Hua, was
For nearly a century Pa Kua Chang has been his primary teacher until the 2nd of February 1924
studied and practiced in the Temple of Heaven Park (Chinese new year). By this time Liu had becomed
located in the southern part of old Beijing. In several skilled in the fundamentals of the art and his father
locations in the park you can kick aside the top felt he was ready to proceed to higher levels of study.
layer of dirt and find a circle of bricks layed down The older Liu asked his Pa Kua Chang “older brother”
generations ago by some Pa Kua Chang instructor Liu Pin if he would accept Liu Hsing-Han as his
to provide a reference for his student’s circle walk student. Liu Pin (no blood relation) accepted the
practice. boy as his student and thus Liu Hsing-Han officially
Eighty-one year old Liu Hsing-Han has studied Pa joined the “inner family” of Ch’eng T’ing-Hua’s
Kua Chang in this park since he was a small boy and students who practiced in the Temple of Heaven
has been a member of the “inner family” of Ch’eng Park in Beijing.
T’ing-Hua Pa Kua Chang practitioners who practice Liu Pin was Ch’eng T’ing-Hua’s favorite student.
in the park. This family includes Ch’eng’s eldest Because he was the system’s top disciple, others
son Ch’eng Yu-Lung, and other third generation supported him so that he could dedicate all his
practitioners such as Sun Lu-T’ang, Liu Pin, Liu attention to the study of Pa Kua Chang. Liu Pin spent
Hsin-Tzung, Chi Feng-Hsiang, Li Hao-T’ing, Kuo his entire life learning, practicing, and teaching the

Third and fourth generation Pa Kua Chang practitioners from the Cheng T’ing-Hua “family.”
This picture was taken in 1917 in front of the Tien Shou Tang Hotel in Beijing.

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 art of Pa Kua Chang in Beijing. He did not become as
famous as some of Ch’eng’s other students because he
never left Beijing, never competed, and never taught
P a K ua Chang anyone outside of the “inner family.” Unlike his
teacher Ch’eng, who taught all who where interested
in Pa Kua Chang regardless of their background,
Newsletter
experience, family, or social standing, Liu Pin was very
selective when it came to accepting students.
Liu Hsing-Han also studied Pa Kua Chang with
one of Ch’eng’s more famous students, Sun Lu-T’ang,
Published bi-monthly by High View Publications, when Sun came to Beijing. For a period of time, Sun
P.O. Box 3372, Reston, VA, 22090 was employed by a warlord and each time he came to
Editor: Dan Miller Beijing with the warlord he would go to the Temple
of Heaven Park and practice Pa Kua Chang with Liu
Pin, Chi Feng-Hsiang, and Wang Tan-Lin. Sun’s
Purpose and Policy Statement advice to Liu Hsing-Han was to study hard and learn
In order to keep the Pa Kua Chang Newsletter as much as he could from his teacher Liu Pin. Sun
an un-biased forum for Pa Kua Chang instructors said that Liu Pin knew more about Pa Kua Chang
and practitioners to exchange their thoughts than any other practitioner of his generation because
and ideas about the art of Pa Kua Chang, this Liu Pin had studied with Ch’eng T’ing-Hua longer
newsletter is totally subscriber-supported and and harder than any of his other students and
does not affiliate itself with, or receive support because Liu Pin did nothing but practice Pa Kua
from, any particular Pa Kua Chang instructor or Chang all day.
martial arts school. In order to help maintain Sun Lu-T’ang had studied Pa Kua Chang with
integrity and impartiality, the newsletter will not Ch’eng T’ing-Hua for three years. Before coming to
accept paid advertisement. study Pa Kua Chang with Ch’eng, Sun had been a
The newsletter is published six times a year. Hsing-I Ch’uan student of Kuo Yun-Shen. Ch’eng
Each issue features an interview with one or T’ing-Hua and Kuo Yun-Shen had become friends
more Pa Kua Chang instructors from mainland when Kuo had once come to challenge Tung Hai-
China, Taiwan, the United States, or Canada. Ch’uan. Kuo Yun-Shen was famous throughout
The interviews will report on each instructor's China for his Hsing-I. Since Kuo was much younger
background, current program, training methods than Tung, Tung asked Ch’eng to check out this
and teaching philosophy. By utilizing this format, Hsing-I master.
the intention is to give students an opportunity When Kuo visited Beijing he stayed with the
to get to know prospective teachers and to let Ch’eng family. Kuo asked Ch’eng what he thought
teachers possibly gain insights and ideas from of his plan to challenge Tung. Ch’eng knew of Kuo’s
learning about the activities of their colleagues. great Hsing-I skill, but advised him against this as
We will refrain from using titles, such as no one had ever beaten Tung. Kuo faced Ch’eng and
Master or Sifu, in this newsletter. Every school asked, “Brother, how about if you suffer my Peng
has their own separate definition of these terms Ch’uan?” That was all the notification Ch’eng got
and criteria for using these titles. In order to that the punch was coming. Ch’eng dodged the
remain impartial and show equal respect to punch and Kuo’s incoming fist struck the door frame
all instructors being interviewed, we felt that knocking a piece of it off. Kuo was startled at Ch’eng’s
omitting the titles from everyone's name was the speed and agility and knew that Tung was much
best policy. We mean no disrespect to any of our better than Ch’eng, so he dropped the idea of a
contributors or their great teachers. challenge with Tung Hai-Ch’uan. Kuo and Ch’eng
Chinese names and terms will be romanized held mutual respect for each other’s art and agreed
using the Thomas Wade system of romanization that top students from each system should study
except when the pinyin romanization is more the other.
familiar (in cases such as "Beijing") or when an Later, Kuo asked his friend Ch’eng if he would teach
instructor prefers his name romanized differently. his student Sun Lu-T’ang and Ch’eng agreed. After
Whenever possible, Chinese characters will be studying with Ch’eng for three years, Sun Lu-T’ang
listed at the end of each article for the Chinese entered many of the platform boxing competitions that
terms and names that appear in the article. where popular at that time in China and never lost
The ideas and opinions expressed in this a match. After studying Pa Kua Chang, Sun studied
newsletter are those of the instructors being Tai Chi-Ch’uan and in his later years synthesized the
interviewed and not necessarily the views of the three arts, Hsing-I, Pa Kua, and T’ai Chi, and created
publisher or editor. Sun style T’ai Chi Ch’uan. Sun Lu-T’ang also wrote
We solicit comments and/or suggestions. five books that became very popular; A Study of Pa
All Rights Reserved, High View Publications. Kua Chang, A Study of Hsing-I Ch’uan, A Study of Tai
Chi Ch’uan, A Study of Pa Kua Sword, and The Real

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Meaning of Boxing. Liu Hsing-Han noted that these
books have recently been republished in mainland
China and are generating new interest in the internal
martial styles.
Liu Hsing-Han studied Pa Kua Chang with two of
Ch’eng’s other students, Chi Feng-Hsiang and Wang
Tan-Lin. Chi was a handsome man from Shandong
Province. He was also a scholar and developed a
deep knowledge of Traditional Chinese Medicine.
One of his areas of special expertise was the I-Ching
(Book of Changes).
Chi meticulously wrote down all of Ch’eng
T’ing-Hua’s teachings and integrated this knowledge
with his expertise in Chinese Medicine, the I-Ching,
and Chinese Cosmology. These notes were never
published, however, Liu Hsing-Han was designated
the “inner family” fourth generation system inheritor
and was given Chi’s notes. Chi also wrote many
papers on the relationships between the theory and
the practical world and was considered an expert
in this area.

Characteristics of Ch’eng style Pa Kua

Chang are: continuous twisting,
rotating, and turning movements,
quick changes, close-in fighting
maneuvers, middle basin stance, Liu Hsing-Han practicing Pa Kua Chang in the
and Dragon-Claw Palm. Temple of Heaven Park, Beijing, in 1988.

a practitioner could make a very good living as a

Liu Hsing-Han has spent his life learning, body guard and/or an escort. People from southern
practicing, and teaching Ch’eng T’ing-Hua’s Nine Beijing, historically the poor side of town, who did
Palace Pa Kua Chang (see page 5). Characteristics of not have much of an education would study Pa Kua
Ch’eng style Pa Kua Chang are: continuous twisting, Chang in hopes of obtaining enough knowledge of
rotating, and turning movements, quick changes, application to obtain a body guard position. The first
close-in fighting maneuvers, middle basin stance, several years of practice was very direct and very
and Dragon-Claw Palm. Because the practitioner simple, but the function was very good. A student
of Ch’eng style Pa Kua Chang demonstrates great could practice for several years and be good enough
continuity, agility and flexibility when performing to get a job as a body guard, so people would become
the changes, this style is also commonly known as proficient at the basic practical applications and
“Swimming Body Pa Kua.” then leave.
In 1983 Liu wrote a book titled Yu Shen Pa Typically practitioners would start by practicing
Kua Lien Huan Chang, which loosely translates to nothing but walking the circle until this skill was
“Swimming Body Eight Trigram Continuous Circling strong. Liu stated that it was not uncommon for a
Palm,” outlining the fundamentals of this style. The practitioner to practice walking the circle for as long
book was published in 1986 and is currently in its as three years before he was taught anything else.
3rd edition - approximately 100,000 copies have He explains that without the proper skill level in
been sold (available in Chinese only). The book has walking the circle, open hand and weapons forms
three main parts, the first introduces the reader to will never be right.
the history of Pa Kua Chang, the second outlines the Next the student would learn 24 fundamental
principles for health, and the third introduces the movements and work on those fundamentals until
form and the school. Liu is planning to write three he reached a high level of proficiency. Once this
more books which will include information from the groundwork was accomplished, the student would
notes of Chi Feng-Hsiang. learn what Liu refers to as the “five elements and
three harmonies.” These movements are variations
Liu Hsing-Han notes a significant difference in of what are commonly know as Single and Double
the way Pa Kua Chang is taught now and the way Palm Change. Each element (Fire, Water, Wood,
it was taught in the “old days.” In the old days Earth, and Metal) and each harmony (Heaven, Earth,
3
 Liu Hsing-Han (far left) poses with four of his “Kung Fu brothers” in 1933. From left to Right:
Liu Hsing-Han (sword), Li Chen-To (Five Element weapon), Chang Kuo Hsiang, Yang Jung-San (Fan), and
Ch’ang Tzung-Ying (Hook swords).

and Man) is expressed in one of the variations. what Liu calls the “essence” of the art. Liu believes
The next step would be perfecting eight tactical that learning the essence is better than learning one
palm changes. These changes would be practiced thousand movements. However, the essence and
until the student had a thorough understanding of theory is very difficult to comprehend and therefore
Pa Kua Chang fundamentals and a high level of skill the total understanding is less available to those who
in applying these tactics in fighting. The practitioner trained only to be practical fighters.
would be taught a limited amount and the instructor
would demand that his student become very good at Liu notes that today’s practitioners in Beijing are
what he was given. better educated and their essential requirements are
After learning the eight tactical changes, the different. Not only do they have access to books on
practitioner had a high level of fighting skill and could theory and philosophy, but the typical practitioner is
easily obtain a body guard position. Thus many of an educated professional. Because they are better
these practitioners would abandon their study to educated, they study and understand the I-Ching,
pursue a career utilizing what they had learned. Chinese culture, and Taoist philosophy and therefore
Those that continued their study would be have a deeper understanding of Pa Kua Chang.
introduced to the theoretical and philosophical levels The teaching approach today places more emphasis
of practice and be taught 64 changes. The complete on the cultural and philosophical aspects of the
Nine Palace Pa Kua Chang form consists of 8 kuas, art because the practitioners have a more thorough
each containing 8 changes. The advanced student educational and intellectual background. Liu states
would work to express the reality of the philosophy in that the practitioner cannot simply practice the shape
the physical movements of the body and in walking (form) - he needs to explore the theory and philosophy
the circle. The advanced student would also learn in depth.
subsets of the Pa Kua form such as 8 elbows, 8 fists, This physical integration of the philosophy includes
8 palms and weapons sets. He would also be taught a representing the language and symbols of the I-Ching
variation of his form called “moving steps.” in movement. The stability of the whole body in Pa
Poor and less educated people found it difficult to Kua Chang relies on the expression of yin and yang
obtain the deep philosophical and theoretical principles in contradiction.
of the practice and thus did not pay attention to it. One of Liu’s top students in Beijing, Chang Chieh,
Because of this, these practitioners were missing adds that the body is a small universe and Heaven

Continued on page 6
4
 An Introduction to Nine Palace Pa Kua Chang
“Nine Palace” Pa Kua Chang is a form of “Swimming Body Pa Kua” that was
originated by Ch’eng T’ing-Hua and one of his senior students Chi Feng-Hsiang.
Within the form there are eight kuas which relate to eight different animals
and the eight trigrams of the I-Ching as shown below. Each kua contains eight
changes and thus the entire form contains 64 changes, which relate to the 64
hexagrams of the I-Ching.
Chi Feng-Hsiang was an intellectual who had a deep knowledge of the I-Ching,
Chinese cosmology and the art of the Feng-Shui (geomancy). He was known for
his ability to link the theoretical and the practical and used his talent when helping
Ch’eng T’ing-Hua create the Nine Palace form.
The practitioner begins the form standing on the center circle, facing the center
of the center circle and looking South. He performs an introductory sequence
around the center circle before moving to the North circle to perform the 1st (Snake)
kua. After performing the movements of the Snake kua, the practitioner moves
on to the East circle and performs the Dragon kua. The third kua is Chicken,
performed on the South circle. Fourth is the Monkey kua performed on the West
circle. Completion of the Monkey kua marks the first section of the form known
as the “four sides.” The practitioner then moves to the second section of the
form known as the “four corners.” He performs Lion in the North-West circle,
Bear in the North-East circle, Phoenix in the South-East circle and finally Chi
Ling (a mythical animal) to the South-West. The sequence of practice and the
related circles are shown below.

Nine Palace Eight Trigram Palm (Chiu Kung Pa Kua Chang) is based on Nine Circles
as shown below:

Section I Section II

Sequence of Practice

Snake
Four Sides Four Corners
(Ssu Cheng) (Ssu Yu)
Dragon South South South
East West
Chicken
Phoenix Chicken Chi Ling
Monkey

Lion
East Dragon Monkey West
Bear

Phoenix
Bear Snake Lion
Chi Ling
North North
East North West

5
 Liu Hsing-Han’s primary teachers in front of the Tien Shou Tang Hotel (1917): Middle row, from Left to
Right: Liu Hsin-Tzung (Liu Hsing-Han’s father), Liu Pin, Li Hau-Ting, Chi Feng-Chiang, and Kuo Feng-Te.

and Earth comprise a large universe. Through the

practice of Pa Kua Chang one can connect the body Chinese Character Index
with Heaven and Earth so that Heaven, Earth, and
Man are one. When the spirit of man connects with Liu Hsing-Han
the spirit of the universe, the man can know the
universe and experience the energy of the I-Ching. Ch'eng T'ing-Hua
Chang believes that Tung Hai-Ch’uan attained this Pa Kua Chang
level in his practice.
Today Liu teaches the physical movements and Ch'eng Yu-Lung
forms in the same sequence as he learned them in the Sun Lu-T'ang
old days, but he places a great deal of emphasis on
the philosophical principles from the onset of training. Liu Pin
Before any movement is taught Liu teaches the student Liu Hsin-Tzung
martial arts virtue; the foundation of martial arts
practice. He then introduces them to the I-Ching Chi Feng-Hsiang
and Pa Kua theory, and philosophy. When physical Li Hao-T'ing
movement is taught (beginning with the circle walk)
he demands that his students integrate the theoretical Kuo Feng-Te
and the physical. He encourages them to do further Wang Tan-Lin
research into the philosophical principles to broaden
their practice and deepen their experience. The Hsing-I Ch'uan
education system is step-by-step into deeper levels, Kuo Yun-Shen
paying attention to the theory so that you can catch
the essence of the practice. Tung Hai-Ch'uan
T'ai Chi Ch'uan
The Nine Palace Pa Kua system is being taught in
the United States in Tustin, California, by Liu’s student I Ching
John Bracy (see interview on page 7).
Yu Shen Pa Kua Lien Huan Chang

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 Liu Hsing-Han’s American student, John Bracy, is
carrying on the tradition of Nine Palace Pa Kua Chang
in the United States
John Bracy has been practicing Chinese martial arts When and where were you first exposed to Pa
for over 23 years and has been teaching traditional Kua Chang?
Kung Fu at the Hsing Chen School of Chinese Martial My “first knowledge” of Pa Kua was probably from
Arts in Tustin, CA since 1976. He holds a B.A. in reading Robert Smith’s books on Chinese martial arts
psychology and in 1981-82 did graduate research in in Taiwan, around 1974.
Taipei, Taiwan into the psycho-therapeutic applications The first time that I actually saw Pa Kua, I remember
of acupuncture. very clearly. It was at one of my early morning
The following interview was conducted in August practices with a group of students who studied with
of 1990. Chang Shih-Jung at the old Tainan Confucian Temple
in Central Taiwan. One morning there was an old
man at practice who I had not previously seen. He
When and with whom did you start training in was either a friend or kung fu “relative” of Chang.
the martial arts? He performed Pa Kua for me. At that time it was
I began training in 1967 when I was twelve years the most beautiful and graceful of any martial art
old. For a short time I studied under a teacher of demonstration that I had ever seen.
an American karate style (kenpo). Later I changed
to kung fu. My kung fu teacher was Jay Rebrazen. Did this spark your interest in studying Pa Kua?
The style that he taught was a mixture of southern I was more interested in Hsing-I than in Pa Kua
Chinese boxing and Hsing-I. It was extremely rare to Chang at the time. I began to study Pa Kua because I
find any kind of Chinese boxing school in the United thought that I should learn it due to its relationship to
States at the time. the other martial arts in the “internal art family.”

What do you recall about your early kung fu Tell us about the Pa Kua Chang that you studied.
training? I learned the foundation of my Pa Kua training
In the sixties and early seventies Chinese martial from Ho Shun-Ting when I lived in Taiwan in 1981
arts had not yet come to into their own in this country. and 1982. A few years later I traveled to Beijing and
The program that I first studied in was geared toward studied a rare form of “Swimming body” Pa Kua called
training in ways that were to be competitive with “Nine Palace” from Liu Hsing-Han.
other martial art schools. As in many early U.S.
kung fu schools we wore karate style “gi’s” and were
issued belt ranks. The first time that I actually saw
Often, the kung fu students participated in “karate-
like” training, either with the teacher’s sanction or Pa Kua, I remember very
secretly. We broke bricks and boards like the karate clearly.... it was the most
students did, often participated in their tournaments,
and sparred in similar manner as they did.
beautiful and graceful of any
This is not to say that there weren’t critical martial art demonstration
differences in our training or style compared to the that I had ever seen.
karate methods. There were. Only we, or at least I,
did not appreciate the differences at that time. For
example, the Chinese kung fu had a great deal more Can you tell me something about Ho Shun-Ting?
depth, subtlety and internal energy training, but many Who did he learn Pa Kua from?
of the younger martial artists like myself tried to do Ho is a retired general in the Nationalist Chinese
the internal kung fu forms in a way so they looked Air Force. He began his training while a young officer
flashy like karate or kenpo. It wasn’t until years later in the 1930s before the Nationalists fled the mainland.
that I realized the significance of the internal training Ho studied from Cheng Huai-Hsien. Cheng was a
that I had received. student of Sun Lu-T’ang. He became famous as
a member of the martial art troop who was sent
Who else did you study with? from China to demonstrate at the 1936 Olympics
I was very fortunate to have studied with some great in Berlin.
teachers. In Taiwan I learned from Ho Shun-Ting When I studied with Ho first in 1981 he was an
(Hsing-I, and T’ai Chi, Pa Kua), Chang Shih-Jung official in the (Taiwan) Chinese National Martial Art
(Hsing-I), Yi Tien-Wen, and Yi Te-Kuen (family style). Association. He had a policy of accepting only one
In Beijing I learned from Liu Hsing-Han and Liang student at a time; during the time that he taught me
K’e-Ch’uan. I saw him refuse several prospective students. Later
7
he accepted a position at Taiwan Cultural University although possibly very skilled, were government and
as a professor of martial arts. He continues to teach military personnel, not professional martial artists.
there to this day. They were martial art hobbyists. Consequently, they
I’ve returned to Taiwan several times to study from generally would not possess the advanced theory
him and he also has come to my school for several of a person who was raised and remained a martial
extended periods to teach my students here. art master.
There is one important exception to the above
What is unusual about the Nine Palace Form you guideline. I don’t generally trust a Mainland master
learned in Beijing? under 65 years of age. This is due to the devastating
First, it is the most complex Pa Kua form that I effects of the cultural revolution. Between 1967 and
have ever seen. It is also is unusual in its practice. 1975 the entire social order of China was dissolved. No
Instead of the single circle used in most Pa Kua forms longer could most traditional martial arts be practiced
it involves nine (see page 5). In the basic form there or taught. Most masters (other than T’ai Chi Ch’uan)
are eight circles surrounding a central circle. The were forced to do menial labor. It wasn’t until the
outside circles involve movements based on eight 1970s that martial arts could be once again taught
animal forms. The central circle of this form is used publicly. If a person started serious practice in 1976
for separate core training movements as well as the until now it would only have been fourteen years that
linking circle between the other eight circles. he had studied, not enough time to gain real depth.
The nine palace Pa Kua also has a complex series For these reasons I feel that a person should have
of subsets. For example there are “the eight fists,” reached a high enough skill level previous to the
“the eight palms,” the eight elbows,” and a rare form onset of the cultural revolution if his skill was to
called “Wu Hsing Shang ke Shen ke” which adapts be maintainable alone and without the correction
the movements of the Hsing-I five elements and three of a master.
additional movements in a circular walking method - it
is sort of the Pa Kua answer to Hsing-I. When did you first start teaching Pa Kua?
I started teaching some about 1986. At that time I
How did you meet Liu Hsing-Han? taught it to only one or two students. I never expected
I met Liu Hsin-Han through my good friend it to gain any popularity. I started the full program in
and Kung Fu brother, Chang Chieh. Because of my Pa Kua in late 1988 after my return from Beijing and
connection to him I was given more attention than any that program was recently expanded.
other student during training sessions. It was truly
a great experience working with Liu Hsing-Han at the If a new student comes to your school and wants
founding place of the Pa Kua art. to learn Pa Kua, what do you start him with, and
what can he expect to learn?
New students learn fundamental postures, how
I believe there to be many highly to walk the circle, and begin a detailed breakdown of
the complete animal forms. Students with less than
qualified and well intentioned a year of training will hardly ever begin application
masters in China. But the prudent and martial practice. I want the students to learn to
channel the ch’i, and to move without tension before
student should not suspend all they begin application practice.
normal reasoning abilities just
because he meets someone that What are your current plans for developing your
programs?
looks like a “master” in a I have found over the last several years that
Hollywood movie. there are many students who would like to study with
me but are unable to do so because of geographical
constraints. To deal with this need I am expanding
Do you see a difference between the Pa Kua you my program to include an “extension school.” The
were exposed to in Taiwan and Beijing Pa Kua? extension program offers special weekend study at my
A higher degree of knowledge in Beijing. This can school as well as some programs in special facilities
be accounted for by several reasons. First, it is the high in the Southern California mountains. I am
founding place of Pa Kua. More people were taught optimistic that potentially serious students will be able
there by the original masters; one would expect more to come study with our school for a short condensed
development and depth to be present. Second, when program one or more times a year.
the nationalists fled the Mainland in 1949 they had to I am also interested in developing an exchange
prioritize what and whom they would move to Taiwan. service with teachers who visit at my school from
I suspect that martial arts masters were not high on Taiwan and Beijing. Interested teachers can write to
their list of those relocating with a hastily retreating me and I will give them details about who is coming
military force. The “masters” that ended up in Taiwan, and when. Also, I have sent groups of students to

8
 John Bracy with Liu Hsing-Han in Beijing’s Temple of Heaven Park in 1988.

study in Taiwan. In Fall of 1991 I will send a group of Do you screen students before you accept them
students over to study with my associated martial arts into your school? If so, what are you looking for
“family” in Beijing. Interested persons should write in a potential student?
to me and request that information (see address and Yes. I want to be sure that the potential student
phone number at the end of this article). has the right program and the right school for his
interest, intelligence, and physical aptitude. I feel
If a student wants to get involved in your extension that I have an obligation not to “sell” every student
program, what can he expect to learn? who walks in the door. I often refer to other arts and
The extension program is designed for students who sometimes I have declined to teach students who do
want to study the methods of my school in California not have the appropriate motivation or mindset.
but who live too far to commute. Students attend
seminars, get corrections of their forms and are given Other than learning some form movements and
the highest possible level and amount of material fighting techniques, what do you hope your students
that they can handle. The material will be largely go away with after studying at your school?
personalized for that particular student. The student A deeper sense of who they are. In true practice
should then go home and perfect that material until of the internal arts a student learns more than physical
the next program that he can attend or he can arrange movements. For the ch’i to develop emotions must
for a short visit to the home school in Southern surface and be dealt with, and lifestyle issues (“shal-
California. lowness” vs. “depth”) addressed. Ideally, graduates
of my program possess stronger clarity, purpose,
How important is the student-teacher relation- and awareness of who they are. Through practice
ship? they become more at peace with themselves and
Many teachers today are “buddies” with their each other.
students. I disagree with this. Although affection
can be mutually felt and association with one another What do you feel is the current state of Pa Kua
outside of the instructional setting, there should be Chang in China?
a clear separation between student and teacher at all The young people in mainland China, as in Taiwan,
times. Furthermore, a Shrfu/master level teacher are not as interested in studying the martial arts
should never be on a first name basis with a student as they once were. The martial arts must not only
inside or outside of the school/instructional setting. compete for students among each other, but with

9
modern sports and leisure activities as well. This is only did it seem that he had just learned them some
especially problematic for the Chinese masters who place, but the nature of his begging seemed to me
will not change from the “old way” of teaching. Many to be a loss of face as well. I felt sorry and was
teachers still want to require students to train their embarrassed for him.
legs in basic stances for 6 months or more before other Please don’t misunderstand me, I would like to
material is taught. Consequently they lose students. clarify that I believe there to be many highly qualified
This is a serious problem which we as martial artists and well intentioned masters in China. But the prudent
in the West must address. How can we teach in new student should not suspend all normal reasoning
and exciting ways while keeping the quality high at abilities just because he meets someone that looks
the same time? like a “master” in a Hollywood movie.

Do you have any advice for students who plan to What forms of Chinese culture and tradition have
go to Mainland China to study? you had to become familiar with and practice
Yes: beware of fake masters. My personal feeling in order to gain the respect of your Chinese
is to be very careful about trusting any master under teachers?
the age of 65. I had a bad experience in this regard. Traditional Chinese courtesy called “Li Mao” is
When I first traveled to Beijing it was arranged for me to very important. Many times the teacher observes the
study with a Hsing-I teacher. This person came highly student’s conduct before deciding to accept him or to
recommended by a friend of mine who is associated allow the student to become fully initiated into the
with a ch’i kung research group at Beijing University. teaching. I require all my students beyond beginning
Apparently this man had written several books on level to study manners which includes the proper
Hsing-I. way to serve tea, paying of a restaurant bill, and
At the appointed time and meeting place I and formal courtesy.
several other Americans (who had come to learn T’ai
Chi) met with him. We heard the standard lecture I know that you speak Chinese and that you studied
about how great this teacher was. Eventually he asked Chinese medicine in Taiwan. What are the benefits
me to show some of the Hsing-I that I had previously of studying Chinese language, Traditional Chinese
studied. After I demonstrated I could see a noticeable Medicine, and Chinese Philosophy along with Pa
change in the way he treated me. Another funny thing Kua Chang?
was that he declined to demonstrate anything to the Access to material, teachers, and their true
group. In the next week and a half when I tried to work meanings that would otherwise be denied or limited.
with this man he refused to show anything. Also, knowledge of the language will aid knowledge of
He would have me stand in basic Hsing-I postures the underlying concepts. Many concepts in martial
for long periods and would give nothing more. I started arts are shared with Chinese medicine. This is because
to become suspicious when I noticed a few subtle many of the roots are the same. Having a foundation
corrections he made actually very wrong for Hsing-I. in Chinese medicine will be of great value in the
My suspicion increased when I saw the way he was study of internal kung fu. I require all my students,
teaching “T’ai Chi” to the other Americans. The as they advance, to study Chinese medicine, either
material, supposedly a “rare” form of T’ai Chi, was acupressure or herbology.
inconsistent with T’ai Chi principles.
I approached my contact who had arranged the What is the importance of the Pa Kua Chang
study sessions and informed him of my doubts. At student learning the martial applications and
first he assured me of the man’s high ability and tactics of the art?
thought that I must be mistaken, then said that he Not as important as we think in the West. I
would arrange a demonstration of the teacher’s ability. think few understand that application should come
Later I found out that the “master” still refused to secondarily to energy study and alignment. But of
demonstrate in front of me, and I told my contacts course this takes a long time to become aware of,
that this further reinforced my doubts about the and I think few teachers understand it even to the
instructor’s credibility. At that point my contact and most basic level. Consequently, martial application
another administrator from Beijing University said becomes taught very early. I feel this is a serious error
that they would confront the “master” and insist that because the student will most likely never learn the
he demonstrate at least in front of them. “inner form,” only the “outer form.” Without knowing
The “Hsing-I teacher” refused to do this and was the inner form there is no kung fu.
discharged. However, this is not the end of the story.
Later this instructor located where I was studying. He Have you had any contact with any other older
found me leaving class one morning in another part masters in Mainland China?
of the city, and begged to be able to teach me. I told One of the most impressive masters I’ve ever met
him that I had another teacher, but he insisted. On is my “kung fu Uncle,” Liang K’e-Ch’uan. He is over
the spot, he tried to impress me by performing several seventy years old and an official advisor to the China
Hsing-I forms. It was quite pathetic, because not Hsing-I Association. I was able to study a little from

10
him and he changed my Hsing-I completely. He the internal force feels like it is squeezed through the
taught me to train my ch’i differently, primarily by body in a similar manner as toothpaste is squeezed
using a “soft” method. Liang K’e Ch’uan, although very through a tube.
soft, can step from a foot away, strike his shoulder to a The power in Hsing-I feel like a rush in the manner
very large tree, and cause the entire tree to shake. of water being turned on and moving through the body
at full force. The power of T’ai chi feels the softest
How does your Hsing-I compare to others that and based on the permience of ch’i to every part of the
you have seen? body in the way a slow flowing water over the ground
As I mentioned before, my Hsing-I appears very soft will trickle into the earth.
compared to most Hsing-I practitioners. Ironically, I
have heard that several instructors here in the United Students wishing to learn more about programs
States have said that my Hsing-I is “too soft.” Liang offered by John Bracy can contact him at the following
taught me that an observer without special training address:
should not be able to see the power and strength John Bracy
in true internal skill. If power is observable, or Hsing Chen School of Chinese Martial Arts
technique “stiff” or “tight” it is evident of the lack of 425 S. El Camino Real
true internal power. Tustin, CA 92680
(714) 731-1196
What general similarities and differences do you
see between Pa Kua, Hsing-I, and T’ai Chi?
Belonging to the internal family, they all share Chinese Character Index
qualities of softness. The power of all three should be
Ho Shun-Ting
hidden. The spirit should be trained and integrated
into the physical movement. This is the real secret Liang K'e-Ch'uan
of the internal martial arts and why so few attain
Cheng Huai-Hsien
real mastery.
The power in Pa Kua feels to me to be one of two Chang Chieh
things, first, like a connection in the way that a tree
Ch'i
connects with the ground and its branches, second,

In the next issue of Pa Kua Chang Newsletter: Interviews with Atlanta

based Pa Kua Chang instructor Allen Pittman and Wang Hung-Tao (Alex
Wang) of Vancouver, B.C., also a 1991 Pa Kua Chang seminar schedule.

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11
 Pa Kua Chang Instructors Directory
John Bracy Harrison Moretz
Hsing Chen School of Chinese Martial Arts Northwest School of Internal Arts
425 S. El Camino Real 8007 Greenwood Ave. N.
Tustin, CA 92680 Seattle, WA 98103
(714) 731-1196 (206) 784-5632

Joseph Crandall Al-Waalee Muhammad

Smiling Tiger Martial Arts Transitions’ Tai Chi Chuan Institute
Willard Park 2019 Winbern
Berkeley, CA 94564 Houston, TX 77004
(408) 223-9336 (713) 529-6281

Andrew Dale John Painter

Internal WuShu Arts Wholistic Fitness Center
6532 Phinney Ave. N. 1514 E. Abram St.
Seattle, WA 98103 Arlington, TX 76010
(206) 283-0055 (817) 860-0129

Kumar Frantzis Park Bok Nam

1 Cascade Drive Pa Kua Kung Fu School
Fairfax, CA 94930 11101 Midlothian Turnpike
(414) 454-5243 Richmond, VA 23236
(804) 794-8384
Chien-Liang Huang
Chinese Kung Fu Institute Gary Stier, O.M.D.
8801 Orchard Tree Lane Circle Arts
Towson, MD 21204 6504 Bradley Dr.
(301) 823-8818 Austin, TX 78723
(512) 926-2723
Jerry Alan Johnson
Ching Lung Martial Arts Association Carl Totton
P.O. Box 52144 Taoist Institute
Pacific Grove, CA 93950 10630 Burbank Blvd.
(408) 646-9399 No. Hollywood, CA 91601
(818) 760-4219
Johnny Kwong Ming Lee
Lee’s White Leopard Kung Fu Fred Weaver
134 E. King’s Hwy San Ch’ang-Ch’uan Kwoon
Shreveport, LA 71104 3803 Warwick
(318) 865-3578 Kansas City, MI
(816) 561-7183

Attention Pa Kua Chang Instructors ! If you would like your name, teaching address,
and phone number listed in each issue of the Pa Kua Chang Newsletter for the benefit of students who are
interested in locating a Pa Kua Chang teacher, please fill out the form below.

Instructor’s Name: ______________________________________ Upcoming Special Events (Seminars,

Workshops, etc. - list event name, date,
School Name: ___________________________________________ and location): _____________

Address (where classes are held): _______________________ _____________________________

City: __________________________________ State: __________ _____________________________

Zip: _______________________ Phone: ______________________ _____________________________

What do you teach? _____________________________________ _____________________________

__________________________________________________________

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