tlt"'t ','t ',t, lr['rtrt\],r, [\ tillt r'11 l)r] \landmostinfluential fightingsystenl irr (llrilr.r.

ll.
\7ith roots in the grappling sryles o[the Mongolian.s antl 'l'ibctlns, thc 1,r'ut lit.. r,.rr. lr,.,l
a high degree of practicaliry and sophisticrlti()n :r tlrorrsrrrr.l ),r.';rrs l,t'íi,r' nrosl otlrt'r Ari.rrr
martial arts were conceived, artcl its itrílrt.'rr.r.' is st't'n itr rrr.rrrl,ol tlr,'st' lorrrr. t,,,l.rt,
FirstpublishedinShanghli irr l().15, ll,,'Alt't1,,,,1 ,tf {'l,rrt,',t\\'ii''rlrrt.t, rmrrr.l rll
most complete Chinese marrial ruts itrstrrr, ti,,n.rl rrr,rrrl.rlr ír,,rr rlr, ,.r rly rrr', rrrl, rlr
century. AuthorTong Zhortgyi, lt írurr,,tts l)r.r( titiorlr rl tr,r rtt,rl .rrt. .rr'l .rr ' rl* l
in Chinese wrestling, begins witlr rr tlr,,t,,rr1ilr lrt.t,,rr',,1 tlr, ur,,.rltrr1, qltr trr I lrlrr,r
and goes on to cover all aspects ol'tlt.' 1rt.r, ti( (', rrr I'r,lrr1i ',llrr tr,rirrirrl,,, l.rlrrlrrpr n ltlr
equipment, application of technit;trt'.s,:trr.l tlr.'rrrl,'.,.l r,rrrp, ltti,rn
Filled with photographs that clclrly (l('nr()n\tr,rt. tlr' rr'',r' rr: rr,r\, rr, nr., ll,,
Method of ChineseWrestling covers thc t'rrtilt's1r.', trrrrrr ,rl tlrr .rrt lrr r ,1,,r r nr' li',
fashion. The insights oÊthe author, thc stririglrtÍirrw.rrrl l)r( \, nr,rrl,rr .l rlr, rrr,rr, rt.rl
the practicality of the training, and the usefrrlnt'ss oí tlrt' tr', lrrrr,1rr,,, rrr,rl,, rlrt" 1,,,,,1, .r

valuable resource for anyone interested in realistit rrrrrrti:rl .rts lr.rnrnll

ii

Born in 1878, Tong Zhongyi began practicing martial art.s irr lris y,rrrtlr, lr,,.rrrnl' ,r s,ll
respectedpractitionerandasuccessfill competitorandteachcrof(llrirrcs.'w11 \rlrrli Il, rr,,,rl,,,l
as a bodyguard (a profession that demanded considerable martial ability), :rs.r rr,rint r ,l rrr1,, rt.rl
guards at the end of the Ching Dynasty, and as a hand-to-hand corn[,u( ir)slnr( lrr ,rr \',rtrni
military training facilities. In his later years, Tong founded the Chincsc \Wrcstlirrli Ar,\r ,r t,rrl,,l
and was a director of the Shanghai Municipal Martial Arts Academy. ["lc dicrl irr l ()(r l

',,tll

Tim Cartmeil bcganhis martial arts trainingwith the C['rir-rese styles, includirrli ttrr yt,u',,,1
study in China. He is an Asian Full-Conract champion, a submissions grapplir)g r'lr,rrrr1t,'rr.
and a rwo-time Pan American Brazilian Jiu Jitsu champion. Cartmell holds an ciglrtlr ,lr 1ir, r

black belt in Kung Fu San Soo, and he is a lineage holder in several Chinese internal nr:u ti,rl ,u rq

in BraziIian Jiu Jitsu. He has authored and translated several rrr:rn i,rl ,rrt.
styles and a black belt
related books, including A Study of Titiiiquan by Sun Lutang (North Atlantic Books, .'í)lll),
and currcntly teaches mârtial arts at the Shen \7u Academy in Southern California. I It' .,rrr 1,,
reached through his website: www.shenwu.com.

us $17.95 / $22.50 CAN

MARTIAT ART' tsBN 978-1 -55643-609-3

lillilillillililillll liltÍilltlil
 The Method of

Chinese
Wrestling
f
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,t{-
à,

tl*
&

Tong Zhongyi
Translated by Tim Cartmell

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BIUE
e BOOK'
'NAKE
BERKElEY, CALIFORNIA
p7

Copyright @2005 by Timothy Cartmell. All rights reserved. No portion of this book, except for
briefreview, may be reproduced, stored in a retrieval sysrem, or transmitted, in any form or by
any means-electronic, mechanical, photocopying, recording, or otherwise-without the written
permission of the publisher. For information contact North Atlantic Books.

Published by
Thanslator's Note
Blue Snake Books I have translated the book in its original form. All explanations included
Blue Snake BooLs are distributed by North Atlantic Books in the text were present in the original; nothing has been added. Special
P.O.Box12327
thanks to Mr. Liu Jinsheng for his contribution of the original text: www.
Berkeley, Calif o rnia 9 47 I 2
lionbooks.com.tw.
Printed in the United States ofAmerica
Cover and book design byJan Camp

Zhe Method of Chinese \Yrestlingis sponsored by the Society for the Study of Native Arts and An Overview of úe Book
Sciences, a nonprofit educâtional corporation whose goals are to develop an educational and cross-
cultural perspective linking various scientiÊc, social, and artistic fields; to nurture a holistic view of The Method of ChineseWrestlirugwas written byTong Zhongyi and was first
atts, sciences, humanities, and healing; and to publish and distribute literature on the relationship published in January 1935 by the Chinese \Trestling Associarion publishers.
ofmind, body, and nature.
The contents of úe book include forewords by Chen Jiaxuan, Jin Yiming,
Tang Hao, Xtt Zhiyi, and the author, a group photograph, portraits of
North Atlantic Books' publications are avaiiable through most bookstores. For further
information, call B00-337-2665 or visit our websire ar www.northarlanticbooks.com. the author and assistant authors, important points of study, the history of
Substantial discounts on bulk quantities are available to corporarions, professional Chinese wresding, and the method of practice. The method of practice is
associations, and other organizations. For details and discount information, contact divided into two parts; Part One deals with basic training and Part Jwo
our special sales department.
shows practical applications of techniques. Part One is further divided into
free hand training methods and training wiú equipment. Paft Two includes
ISBN 1 3: 97 8 -1-55 643 -609 -3 illustrated explanations of the throwing techniques. The contents of rhe
Library of Congress Cataloging-in-Publication Data appendix include explanations of competitive throwing, grips, methods of

Tong, Zhongyi, 1878-Í963.

breaking falls, rules of competition, and how to make a uniform.
[Zhong guo shuai jiao fa. English.] Early on, there was very litde printed material on Chinese wrestling. This
The Method of Chinese W.restling / by Tong Zhongyi; Translated by Timothy Cartmell
work's pictures are clear and the text is simple and easy to understand. This
p'cm'
IsBN 1-55643-609-2 (pbk.) book provides a valuable and rare opportunity to see famous practitioners
1.'§Trestling-China. 2. Martial arts-China. I. Cartmell, Tim. II. Title. in action.
Tong Zhonsyi, also known as Tong Liangchen, lived from 1B7B to
GY1t98.7.1.2T66
796.812-d.c22 1963.He was a Manchurian whose ancestral clan came from Shenyang in
2005022605 Liaoning Province. Tong was born in the fourth year of the reign of the
emperor Guangxu (1878) in Zhili (Hebei), Cang Counry. His father, Tong
3 4 5 6 7 8 9 United 12 11 10 09 08 07 Enrui, was a famous practitioner of the Da Liu He school in Cang Counry.
 I'rrr M r,:'l u()l) or, CrrrNrsri \írus'rlIruc

'ltrng [,iangclrcn bcgan practicing with his father at an early age, training
r-rntiI he became all expert at Da Liu He. He enjoyed fame as a martial art-
ist in Cang County. He and'§?'ang Zipingwere known as the "two heroes
of Cang Counry." At seventeen, Torg moved to Fengtian and worked as a
bodyguard at his second uncle's bodyguard and protection agency. Later, he Contents
sought entry into military service and began his study of Chinese wresding.
Tong moved to Shanghai and founded the Zhong Yi Martial Arts Research
Society and opened his school, the Chinese'§7'restling Association, offering Foreword by Chen Jiaxuan 1

instruction in both martial and healing arts. He concurrently served as head Foreword by Jin Yiming 3
of the Shaolin division of the Shanghai Municipal Martial Arts Academy. Foreword byTâng Hao 5

TongZhongyi passed away in September 1963, at eighry-six years of age. Foreword byXuZhiyi 10
TongZhongyi became an expert at Chinese wrestling not through study Author's Foreword 11

with his family, but through his trainingwith a senior student of his father, Brief History of the Author t5
TongZhongyit older martial brother Cai Jintian. Cai Jintian was a Mon- Important Points of Study r9
golian and was an expert ât "Guan Jiao" (Mongolian wrestling). Although History of Chinese '§l'restling 2\
Tong Zhongyi trained very hard, he had a difficult time making serious Method of Practice 22
improvement and would always lose matches to his older martial brother.
Eventually, Tong moved to Baoding to assume the role of head martial arts
PART ONE: BASICS
instructor at the military training school. In Baoding, he had the opportu-
nity to train with other Chinese wresders on a regular basis, and his skills
quickly improved.
Fnns Halro Pnecrrcn: CnrNnsr'§V'nnsrurNc Fon*rs 25
Purpose of Chinese 'Wrestling Forms Tiaining 25
One: Single Hook and Hang 27
Two: Double Hook and Hang 32
Three: Álternate Hook and Hang 34
Four: Forward Closing Elbows 38
Five: Left and fught Closing Elbows 4l
Six: High and Low Fast Movement 44
Seven: Left and fught Forward Advancing Kick 46
Eight: Kick Forward Snap Back 49
Nine: Forward Advance Rear Kick 52
Ten: Left and Right Free Palms 54
Eleven: Lowcr (lontrol l,irrwarcl Aclvance, Tum Back and Capture 58
'livclvc: Lowcr (irntrol ltrwerrl Arlvance,
,\tnrxrth ( ):rptrrrr' :rrrtl ll:rr'li 'lirlrr (r I
 Tsn Mnrnoo or CnrNssn \(/nE,srrrNc Contents

Thirteen: Stationary Body Lock 64 Chapter Five: Barrel r53

Fourteen: Overturning Body Lock 67 Purpose ofTiaining with the Barrel r53
Fifteen: Front Capture Rear Reap 7t Barrel Rubbing 154
Sixteen: Straight Advance Reverse Underhook /4
Seventeen: Upper Control Forward Advance, Turn Left and fught 78
PART T.§7O: PRACTICAL APPLICAIIONS TRAINING
Eighteen: Upper Control Forward Advance, Extract the Leg
and Lower to the Reâr 81

Nineteen: PIum Flower Stance \flalk 84

Pernno Pne'crrce r57
Twenry: Twist Stance \7alk B9 Chapter One: Method of Paired Throwing Practice r57
Twenty-one: Leg Extraction Valk c)) Chapter Two: Illustrated Guide to Grips
Twenty-tn o: Shoulder Movement 96 on the Uniform and Body r59
Twenty-three: Sliding Leg \7alk 99 Chapter Three: Rules of Engagement 161
Twenry-four: Circling Leg Valk t02 One: Preparation t62
Two: Holding the Jacket t63
ThnrrqrNc'wrrH Equrnunxr r07 Three: Putting on the Jâcket 164
Chapter One: Braided Rope r07 Four: Bowing 165
Purpose ofTlaining with the Braidecl Rope t07 Five: Ready Posture 166
One: Left and fught Rolling 109 Sir Coming to Grips t67
Two: Left and Right Kicking t72 Chapter Four: Illustrated Explanations of the Throwing Methods 168
Three: Lower Control Forward Advance, Tirrn Back and Capture tt5 One: Lower Control Press 168

ChapterTwo: Small Club 119 Two: Upper Control Press 170

Purpose ofThaining with the Small Club 119 Three: Overturning the Sack 17t
One: High, Middle, and Low Club Twisting Exercise 120 Four: Hand Pulling 173
Two: Left, Right, and Center CIub Twisting Exercise 126 Five: Leg Lever \Whip 175
Three: Chest Pounding Exercise 133 Six: Leg Rolling Whip t77
Chapter Three: Large Club t37 Seven: Rowing Hook t79
Purpose ofTlaining with the Large Club 1.37 Eight: Lifting Hook 181
One: Left and Right CIub Lifting 138 Nine: Pressing Method 183
Two: Left and Right Club Covering 140 Ten: §7aist Encircling 185
Three: Left and Right Kicking with the Club r44 Eleven: Left and fught Kicking r87
Four: Lower Control Forward Advance, Turn Back and Capture r46 Twelve: Arm Sr,rpport ancl Kick 189
Chapter Four: Basket 150 Thirteen: Straclcllc l,cg Kick 191

Purpose of'llaining with the Basket 150 Fourtccn: l nw:rrrl l(icki rrg 193
llaskct Slultirrg t5t Iiifit'cn: Ncck lltrb lrrrl 'li'i1r 195
 ri w tuls't't tN(;

.\i\t(( tt: Lt11 l(tsrr:rlrrrrrg te'/

St'vt'rrIt'err: lying Whip 199
Lightccn: Outwarcl Fall 201
Nineteen: Hooking Method 203
Twenry: Lower and Seize 205 Foreword by Chen Jiaxuan
Twenty-one: Kneeling Connection 207
Twenry-two: Leg Piercing Underhook 209
Twenty-three: Left and Right Rolling 21r
rfa hc art of Chinese wresding flourished under the Ching Dynasty. More
Twenty-four: Arm Support Rolling 2r3 .ll rhan half of the soldiers of the Eight Banners practiced the art. The
Twenty-five: Big Connection Tâkedown 215 r,,yll fàmily enjoyed it in their leisure time, when the art was continually
Twenty-six: §Trapping Neck Connection 217 (l('tnorlstrated for entertainment. It is said that the origins of the art lie
Twenty-seven: Hand Propping 219 rvirlrin the wrestling sryle of the Mongolians, "Guan Jiao," and the Tibetan
Twenty-eight: Single Leg Propping " llLr Ku." Ancient wresding was known as "Jiao Di" and involved Nvo men
221
Íirilrting using their hands and feet, the loser being the fighter thrown to
AppnNorx 223 rlrc ground. Besides Jiao Di, ancient wresding was also known as "Jiao Li."
Competitive Throwing ))1 Ar the end of the \(/ei and Jin periods, the art was called "Xang Buo" and
Fighting for Grips " Xiang Pu." These contests were fought empty-handed. It is also recorded
225
The Method of Breaking Falls 226 tlrat Jiao Di was created by Qi You, who wrestled with horns on his head;
Rules of Chinese \Trestling Competition ))7 lrowever, there is no evidence to support this as the truth. In ancient times,
Uniform and Belt ))7 rlrc emperor ordered the military leaders to lecture their troops about and
How to Make a Uniform 229 lrave them practice archery and wrestling the first month of the winter
scason. The records of Han \Wudi show that in the spring of the third year
of the reign ofYuan Feng, Jiao Di games were held. Spectators came from
hundreds of miles away to watch the competition. After the Zhou and Chin
periods, both army members and civilians participated heavily in physical
culture. Since its creation, Chinese wresding has given precedence to practi-
cal techniques. §le know that wresding was an event in the ancient Greek
Olympic Games. In addition, Japanese Judo also comes from a long history
of development. All people have the unique potential to develop fighting
rnethods from martial encounters using bravery and skills. Time and loca-
tion do not matter; fighting techniques develop naturally in all places.
My friend Tong Zhongyi is an expert at martial arts, specializing in
Chinese wresding. I have personally seen him compete with the other fight-
ers ofhis generation and have never seen him defeated. Tong Zhongyi has
recorded his art with pictures and clear text, so students may first under-
sl:lll(l llrt'pl.irrtilrlt's lrt'lrirrtl tlrt';u't lrt'íirrr'rlrcy
1r'rrctitc.'llris will rrrrrl<c it
1ro'ssihlc lill' irrtlivicltrltls ttl itrtpt'«rvc wit]rotrr lirrrit, thcrclry irnproving lllartial
rrrts irr gcrer:rl. From ancient Jiao Di to modern chinese wrestling, dlere
has been constallr refinement and improvement. In the past, practice
was
limited to individual teacher-to-student rransmission. The scope of study Foreword by Jin Yiming
was restricred. Presently, there is an attitude of openness in martial
pracrice.
Authors write books, and practitioners discuss the art among themselves, all
ofwhich contributes to the developmenr of the arts. The present techniques f rr ()ctober 1933. the Second Annual National Martial Arts Examina-
and methods of Japanese Judo are inferior ro our countryt art. victory is f ,i,,,r, were held. TongZhongyiwas invited to come to the capital and
not decided by being thrown to the ground; Judo fighters musr conrinue to .rr('n(l in the capaciry of referee. \7hen I saw him, although advanced in
fight for control on the ground until one of the fighters is exhausted. you
1,r'.rrs, he was very strong and muscular. To look at him, you know he is a
can see the difference here. I hope the reader does not find my words about I.urrous rnartial artist. I'm very proud that my son is now studying martial
TongZhongyi too hard to accept! .urs irr HuJiangwithMr. HongFangzhu. Mr. Hongreviewed TheMethod
Chen Jiaxuan t,f (.)hineseWrestlirugandall of his friends agree that the book is excellent. The
- August Nineteenth, Twentieth year of the Republic (1931)
lrir'tr"rres are clear, the text is expressive, and there are manyphotographic
Hu Jiang (Shanghai) ,lt'rnonstrations of techniques. This is a most excellent work!
In looking back at the history of Chinese wrestling, we see its origins in
.rncient times. It is said that Qi You wore horns and gored his opponents.
'llris gave the art its ancient name of "Jiao Di" (horn goring). During the
I lan and Chin periods, it became a spectator sport. Mongolians used wres-
rling as a test of strength. The Manchurians called the art "Bu Ku." During
nraneuvers, the army often engages in Chinese wresding practice. The art is
rr.rost often practiced in the North; not many Southerners practice. The art
is also referred to "Liao Jiao" and "Shuai Jiao." Japanese Ju Jutsu appears
as
sirnilar but is in fact quite different. In Chinese wrestling competition, it is
tbrbidden to use the fists to strike or the feet to kick. The reason is to test
the fighter's skills in throwing an opponent to the ground for the win. The
main force is generated by the feet and legs, and is guided by the waist to
the arms. Secondary force comes from the neck. The goal is to throw the
opponent to the ground. It is not the same as pugilism or free fighting.
The purpose of these arts is to strike an opponent and cause injury. In the
National Examinations, there are five categories of competition: free fight-
ing, fencing, spear fighting, wrestling, and pugilism. Pugilism is restricted
to use of the hands for striking; kicking is not allowed. IüTrestling allows
tltt'rt.sc tlí.thc Íc'ct lrtrt it is Íirr-bitltlt'n to strilir'witlr tlr,-'Íists. Wlrt'rr stril(ing,
ancl kicl<ing are both allowcd,;rs in fi'ec Íighring, ir is nrosr cliÍliculr Íirr rhc
referee to judge. The second mosr dimculr event ro judge is pugilisrn.Only
wrestling has a fixed criterion for judging rhe winner of a match, making
competitions fair. Foreword by Târg Hao
Public opinion of Chinese wresding is that it trains the body and spirit,
making the body agile.
In order to bring military training rogerher with physical culture, it is rcstling and pugilism are complementary and necessary skills in the
necessary to rely on Chinese wresding as the bridge between the two. Unfor- martial arts. §7e first find reference to pugilism in the Han Shu Yi
tunately, the spread of Chinese wresding from the North to the South has \\itr /.lti.; the work makes reference to all the pugilistic skills we find today.
not been great. It is difficult to find a credible teacher; there is a shortage Irr .rrrcient times, the artwas also referred to as "Bian." The Han Shu Gan
of quality instruction. It is truly regrettable. Têachers of other sryles should \,rtt ,\bou Zhuan states "Yan Shou used pugilism to test his group for merit."
not be modest in spreading their arts. lltc Meng Kang defrnes "Bian" as "pugilism." The Han Shu Ai Di Ji Zuan
Those skilled in the fine arts need not be skilled in the wrestling arts in .,r:rrcs, "Xiao
Aiya doesnt like music or women; he prefers to spend his time
order to produce an excellent book such as rhis, although such works are pr:rcticing archery, pugilism, and martial games."
as rare as phoenix feathers. The author of this work is a martial artist. The "Jiao Di," also known as "Xiang Pu," first makes its appearance in print
assistant author is a master of the fine arts. To disseminate your arr in print, tt úre Shi Ji. Its discussion includes what has become the contents of mod-
knowing the martial arts wirhour the assistance of one skilled in the fine arts , rn Chinese wresding. The book states that Chin Ershi practiced Jiao Di
makes it an impossible task. \ü/ith those skilled in the fine arts helping the lor enrerrainmenr in the Gan Quan palace. After this time, Han \Wudi also
martial artist, it is easy to spread the word. \lhen the difficult task of bring- crrjoyed the game of Jiao Di. In the Han ShaWu Di BenJi, it is recorded
ing together these two separare arrs is accomplished, you truly have a won- r lr:rt in the spring of the third year of the reign of the emperor Yuan Feng,

derful union. This book will help both military and civilian pracirioners liao Di games were held. Here Jiao Di is defined as meaning "skills of close
become talents in their own right. Although my writing is a shallow arrempr (llrarters encounters." The Wen Ying states, "This game is called Di (butting)
at describing the art and this book, I have enjoyed the oppcrtunity to ,urd involves two men crashing together." This is an explanation of the skills
contribute. r-rsed at close quarters. The Yan Shi Gu states, "Di means to crash together."
Yiming All ancient literature so describes the practice of Jiao Di. The art was also
-'Jin
Micl-November, Twenty-second Year of the Republic (1933) cirlled "Jiao Li." The Han Shu has an annotation by Su Lin that states, "Jiao
Jiang Du, Central Martial Arts Institute, OÍfice of Literary Review Li is a form of martial game." Tiao Luzi writes that "the fight between Shu
'lir and
Jin Xang was decided by Xiang Cha (wrestling)." Xiang Cha is also
known as "Pai Zhang." These are older names of modern Chinese wrestling.
furother early name for the art is "Guan Jiao." In the Bao Yang,MaZiZhen
used the term "Shuai Jiao."
The origins of the modern art go back to the ancient Jiao Di. The Gou
Ji Lun Lue makes a distinction between pugilism and wrestling, stating
they are separate arts. A commentary on the Ai Di Ji Zuaru by Su Lin states,
 "l'rlllilisrrr wrts ltltowrt:ts lli:rrr;
f i:r. l,i (wrcsrlirrg) is rr rrly.ti:rl spert."'llrc rlr rt f .rp,rrrr':,t'"vitrrl poitrl striliirrg" (trtrttri) wus ol'iliirrrrlly b,rr.rowc,tl lrorrr
lltl'tt ;ttttit'ltt l)lilllirrl llllnlcs wcr-('wrcstlirrli, rlrt .r l oÍ ( llrirrt'sr' "crrvity stlil<cs." Morlcrtr JLrclo has its roots in ancietrt
lrrrgilisrrr,;rrr«l urchcly. It is clcar
Íi-.rrr this that pugilisn'r ancl wrcstling wcre co'si«lered separare sPorts. -fhe t lrrr,:.r' Prrgilistic an.l wrcstling rnethocls, which were originally taught
'litng
Jian srares rhat "Liu \7u would play Jiao Di with his guest, waving r,,1,, rlrt'r. lrr ,r.ltlirion, (lhinese pugilistic ancl wrestling arts also included
his shoulders and arms to help establish his position." The descriptio,s
of l,', 1,,, .rrr,l lr«rkls.
movement here are common to wrestling. Zheyan quores Zhou Xiant
l\lotlt'r.n practitioners of Chinese wrestling no longer use strikes and
descriptions ofJiao Di saying, 'Advancing to the front wirh enemies behind, l. r, 1,..
'l lrc rcason is to avoid injury to one's partner. In the course of history,
not a single man without strength, fear on the left and anger on the right, rlrr'.,t' rrrlcs l'rave become customary. The ancient spectacle of split heads,
engaging those with martial skills." "Fear on the left and anger on the
right,, l,r,,lit rr lxrnes, and flowing blood are not seen by modern practitioners fol-
refers to grappling with an opponenr, in conrrasr to using the fists
to strike l,,r,r,rr11 thc rules. Modern wrestling is won by throwing an opponent to the
and the feet to kick.
-Ihe 1,r,,rrrr..l. Strikes and kicks are the exclusive domain of pugilists. In applica-
Li cunxian zuan states, "zhuangZong also enjoyed Jiao Di. He rrorr, lroth arts are essential, just as theywere combined in ancient times.
competed with \Mang Du and was victorious many times, causing him
to h l,sr practitioners of the martial arts will emphasize one over the other, so
be very proud of himself," This occasioned the loser ro wrire ,,he
defeated ,)n('with complete skills is hard to come by. This is myhumble opinion.
me in competition." The fight was under the rures ofJiao Di; even
though llr,'wise refrain from speaking incredible words.
victory and defeat can be decided in this manne! no one was in.jured. so l,ooking at the pugilistic arts, most popular practitioners engage in flow-
we can see that wrestling, from ancient Di ro modern shuai Jiao, relies
Jiao i ry nlcthods with repetitive forms. Qi Jiguang in his martial classic states,
on skilled techniques to throw an opponent. From ancient pugilism to '"
I lr is rnethod (striking skills) is not the best to prepare soldiers for battle, yet
modern fisticuffs, using both strikes and kicks, the goal has been to injure
.rll nrartial styles should practice them; however, most people lack resolve;
or kill the opponent. Although the two (striking arts and wrestling arts) ,,'y words go in one ear and out the other." Ancient books like the YiWen
are different, they can also be combined. sometimes in literature
we find ./,lti point out the necessity of empty-hand martial training for soldiers.
the terms used interchangeably. For exampre, in the above story, we arso
lrr rnodern times, in Europe during the battle of Versailles, a German sol-
Ênd Li cunxian reporting the ourcome of the competition as "he
won the ,licr charged the front line and using his regularly practiced hand-to-hand
match with striking techniques." rnthe xin Tang shu, it is stated that .when
sliills, in a short amount of time took out twenty-four enemy soldiers while
in audience with the emperor I witnessed Jiao Di competitions in three of
rrrrarrned. His efforts helped turn the tide of battle and secure victory. The
the palaces. There were men with their heads sprit open, broken arms,
and .rr rnies of Europe and the United States practice boxing. Although it seems
blood flowing in the cenrer of the hall." These rypes of marches were
nor t]iJiguangt view of pugilism is not totally correct, it is still true that flowery
in accordance with the usual rules of Jiao Di. There is reference to both
rrrethods with repetitive forms are useless. Even though wrestling methods
pugilism and wrestlin g in the Jiao Li Ji.
L.annot compare to striking arts with direct application to hand-to-hand
Near the end of rhe Ming Dynasty, the arts were taken to
Japan and combat on the battlefield, long-term training in wrestling methods is supe-
taught by chen Yuanbin. The arts became known as
Ju Jutsu in Japan. rior to striking sryles in producing endurance and perseverance. This is why
In the wu Bei Zhi (Bubishz) the arts are called "shou Buo" (pugilism).
armies should incorporate wrestling as supplementary training.
Although the names are different, rhe arrs are from the same source and
The history of Chinese wrestling is long. As far back as 2,000 years ago,
fulfill a common need. Yu Xiang obtained works on while traveling tlrere is mention of wrestling in the Zhuang Zi, Ren Jian SZi.' "\7hen skilled
Judo
in Japan. Ancient Judo used strikes and kicks; it is crear from these works wrestlers fight, they begin the contest in a positive mood, but they end the
 ('()nlest n('lllttivcly, usiltg
nllny clcvcl rrir'l<s." llc,rc wc scc (ltc rcÍcrcncc ttl ,1, , lrrrt.. l,vt.rrrtnlly, Mt'/,fu,|'rcn of l,uoyang promotccl the art irl the rnilitary,
wrcstling sl<ills. Whcn I travclecl in'lirkyo, I wcnt ro warch a Sr.rmo rourna- .,;,i,..r,1in1,, rlrc rrrt to ntáuly practitioners. One of the famous practitioners of
ment. I met a doctor of natural sciences, Zheng\7ulang, who had a copy rlrr,, 1,.,r'iorl was \ü7ang Ziping. One of the earliest written works on wrestling
of 5,000-year-old stone carvings from Egypt. There were over two hundred r".r,,l,rrlrlishcclatthistimebyMaChang,entitled ShuaiJiao-Thisworkwas
figures of wrestlers. At present, European, American, andJapanese sryles ,r,,, ,1 ,rs :r tcxtbook for the art.
of wrestling go by different names and have adopted somewhat different 'li,rrg Zhongyi is a man with great heart. He founded the Chinese'W'res-
rules. But watching competitors from any country, we see the roots of all r lrrr1,, Association in Shanghai, and has written The Method of ChineseVres-

wrestling in the ancienr forms. In China, we also have relics of ancient rlttt1l. ln nry opinion, after Ma Zizhen, this book carries on the tradition of
wrestling styles. It has been recorded by Liu Pixian that in shanxi, \7utai, lrr1,,lr lcvcl instruction. TongZhongyi has written a clear and erudite text.
Xnzhou, and Guxian there was a wrestling game in which contestants each lly lris cfforts, he has made great improvements and shown he is a peerless
brought a sheep. If a contestant won five matches, the sheep were his. This t,rl.'tr(.
contesr was also called "Mo Guang" (rubbing the lighQ because contesranrs
Hao
competed in the nude. In Japan, Sumo is also referred to as "Jiao Li" and -Tang (1935)
January First, Twenry-fourth Year of the Republic
"Jiao Di." Professionals compere in seasonal tournarnents. The rules prohibit 'W'u
County
striking with the hands or feet.
Judo was created by Kano Jigoro. The style has become quite developed.
The old name for Judo is Ju Jutsu. Kano changed the name to Judo. Besides
the technical aspecrs, Judo also emphasizes training the martial spirit, brav-
ery, and sacrifice. Kano had students who became famous military leaders
during the Russo-Japanese war. These soldiers' willingness to die for their
country was attributed to their Judo training, and their exploits helped
spread the fame of Judo, bringing the art to the attention of the world. In
the last ten years, Judo has spread far and wide. The Japanese invaders often
use the stories of previous war heroes who gave their lives for their counrry
as propaganda. AII this helps fire the ambitions of the soldiers of invading
armies. our country is in the middle of an imperialistic invasion. '§7hen
promoting martial arr, we should not neglect its usefulness to our military
troops and we should use it ro stir up our spirit of resistance.
After the Manchurians enrered and occupied the chinese homeland,
they chose the most skilled soldiers of the Eight Banners to compete in
Jiao Di games. The winners became part of the Shan pu Camp. \Tinners
of competitions received prizes to commemorate their merit. Gao zhong
enjoyed these competitions the most. The shan Pu camp became defunct at Rryri Academ1,, Shan Pu Camp atWrestlingpractice.
the end of the ching Dynasry. After the fall of the ching, the art began to From tlte collection ofThng Hao
 Foreword by Xu Zhiyi Author's Foreword

-l-h. art of Chinese wrestling was known in ancient rimes as Jiao Di. \\f /rcrr thcre is competition, the strong survive and the weak perish.
r Before the chin and Han Dynasties, wrestling was a mandarory area \^y' lhis is an established and unchangeable principle. The survival of
of physical training for soldiers. Lateq the art began to become popular with .rrrrrr.rls is totally dependent upon their innate selÊpreservation capabilities.
the general public. During the Sui and Tâng periods, the people sought Wlrt.rlrt.r-the animal is as small as a bug or as stupid as a hog, still all know
to improve their situations, and practice became widespread. During the lrow to rrsc their horns, claws, and teeth to resist aggression. Humans are the
Five Dynasties, the arr became even more widespread among the populace. rrr,,:,t cxcellent of all creation, and people also have their own methods of
competitions became popular. originally, victory was decided more by rr..,istrurce and violence. Especially in this world of competition and struggle
strength than by skilled technique. l,,r rkrrrrinance, there is more than ever a need for methods of selÊprotection.
The Director of the Chinese Vrestling Association is Mr. Tong Zhon- As :r rrreans of survival, there is the art of fighting.
gyi. He is a famous martial artist, especially skilled ar the art of chinese 'llrc arr of fighting was established in my country as martial arts. The
wrestling. In competition, his posrures are extremely natural; his techniques .u ts wcre passed down from generadon to generation. These methods were
are light, agile, and quick. He is able to win with skill as opposed to force ,rr,.rl t«t strengthen the body, protect the country, and repel the barbarians,
alone. Drawing on his great teaching experience, he has wrirren The Method .'nrl so are considered to be peerless treasures. There are many styles of
of chinese wrestling as an offering to students yer ro come. Not only is this lrst ic:ufFs as well as weapon-based arts. Although using all the various meth-
book written with the idea of sharing knowledge freely; it will also serve ro otls to win, and using spears, sticks, staffs, bullets, and cannons, forsaking
clearly demonstrate that when onet srrengrh is exhausted there is nothing .'rrrpty-hand arts, in the last five minutes of battle it is Chinese wrestling
left but bravery. Tongzhongyi has put agreatamount of thought into this rlrrrr decides victory. The methods of Chinese wrestling are based on the
work. I cannot find adequate words to describe the effort. The advance- ,r.lroir use of the body, waist, hands, and feet. It doesnt matter if the person
ment of martial arts relies on further study. I hope my words will not prove is tall or short, big or small; all that is needed is to tie the opponent up and
incorrect. lrc can be thrown to the ground. The only consideration is the skill of the
Prtrctitioner.
-XuZhiyi
Fourteenth, Twenry-third At present, my country places an emphasis on literary learning and
July Year of the Republic (1934)
On the Sea ofJapan rrot martial training, to the extent that the country is weak and the people
Íl.ail. There is no longer any w"y to conceal the truth. Other nations view
Lrs with the eye of the tiger; we have suffered extreme insult. The situation

lrascontinued until it has become unbearable. The present government has

looked into the situation and has adopted a spirit of revolution. In an effort

10 l1
lo srrt lrt'n .,urs,'lv,'s Íirrrr witlrirr, tlrt,( ,t.rrtr.rl M:rr ti:rl Ar.(s lrrsrirrrrç wrrs
rrl,,r

t'strrlrlislrctl
rr.s wcll :ts rtt:tclctnir'.s tlrrotrglr«rut lht'totrrrtl-y. All schools lr:rvc

bccrr orclcrcrl t«r providc Chincsc wrestling c()urscs.

Although courses i. chinese wresding are of grear imporrance, books
on the subject are lacking. Tâlented pracririoners are also few. This makes
dissemination of the art difficult. I am not a grear ralenr, but I have been
fortunate enough to follow the martial way beginning with the teachings
of my family. After I grew up, I traveled far and wide, researching the arts.
After decades ofstudy, I dare not be negligent. Although I have acquired
some measure of skill, I still am nor satisfied. I have relied on the knowledge
of my friends and used all my power to Llrge them in helping me produce
this book. This knowledge I wish to make public and hope that it spreads far
and wide. It is my hope that this work will help the wise and virtuous, and
that it will catch the attention of the people in general, stimulating them to
further research until the art spreads so that all will have the capabiliry to
defend úemselves and the counrry. My sincere wish is that we will overcome
the insult of being called the "sick man ofAsia," and that our country will
C h in es e \Yrestling As s o c iatio n
take its rightful place as an equal among nations.
Zhong,i
-Tong
September, Twentieth year of the Republic (1931)
Qiang Counry
f,'

j
í, '
il&{§q*r§,
;;-.
i;í,}.
.l
*,i

Tlte author Tong Zhongi

t2
 Brief History of the Author

I í(
)nll Lhorglti, also known as Liangchen, is now fifty-four years of age.
I
I
I lt' is fronr Qirrg County in Hebei. In the twenty-eighth year of the
rr r1,11 ,,f the emperor Guangxu, he worked as a bodyguard in Fengtian.
,\r rlrirty, 'long became an official in the military police. At thirty-two, he
, , r r home. In the second year of the reign of the emperor Xuantong,
u rrccl
l,,rrg lrccame the martial arts instructor to the Imperial Guards. During
rl,, Íirsr year of the Republic, he became the bone setting physician for
r lr, ( lhahar Province cavalry. During the sixth year of the Republic, Tong
1,,., rrne the Anhui Third Army Chinese wresding instructor. In the seventh

lr';u. of the Republic, Tong took a position as the chief Chinese wresding
rr rrLrctor for the Four Provinces'combined securiry forces. During the
rlrirrcenth year of the Republic, Tong became the captain of the \Wuqiao
l)r()tcction group. In the sixteenth year of the Republic, Tong became the
The physique ofTbng Zhongli , lricf instructor of Chinese wrestling attheZhili (Hebei) Infantry Military
A,. rrdemy. Ât present, he is head of the Shaolin division of the Shanghai

Municipal Martial Arts Academy.

t5
 Àssistant autbox Ding Baoyuan

Photographer and assistant editor tbe artist Hong Zhtfang

Assistant author, Du Wanqing

 Important Points of Study

rrc: 'lhe author has taken the beginning student into consideration
:rrrtl has designed the text so that it is easy to begin practice. The Chi-
,(:,(' wlcstling forms, applications of techniques, and basic exercises have
.rll lrt'crr photographed. Lines and arrows have been added to the pictures
r, t lt'rrrly illustrate the directions of movement. This is in addition to the
, \I'liuratory tefi. The result is that students will immediately understand
r lr(' t('itchings.
'lwo: The forms and exercises in this book have been further broken
,|,wrr into individual movements, each movement with a verbal command.
t ,.rlling out verbal commands will help students follow along in groups as
rr, s..l'rools or the military.
'lhree: All the forms and exercises in this book are demonstrated on the
Assistant autltor Zhu Wenwei
r rlilrt side. Simply reverse the instructions to practice the movements on
rlr.' lcft. The applications of the throws are demonstrated on both the right
.rr',1 lcft sides to ensure clarity.
Iiour: The applications of the throws are all divided into three steps.
llris is to help the beginning student. Step one shows the acquisition of the
.rppropriate grips. Step two shows the entry into the preparatory position
Í.r the throw. Step three shows the completion of the throwing moyement.
\X/hcn the throwing technique has become familiar through practice, it is
n('(.cssary to speed up the process, combining all three stepsinto one move-
rrrt'rrt. In actual application, throws cannot be performed in steps.
Irive: The specialized Chinese wrestling terms found throughout the
lr,,ol< are those used byTong Zhongyi. Some of the terms are very dificult
t' precisely define. According to the knowledge of the author, most sryles
oí'(lhinese wrestling were developed and spread in the North and in the
rrcighboring lands of the Manchurians and Mongolians. So the specialized

t9
(t't'ttts tt.sctl irt (lhitrcsc wlc.stling c«rrrtuilr rrot orrly thc vcnrlrcrrlru oí. 1«rcal
arcas of'thc North; rhcre is also a rnix of Manchurian and Mongolian tenns.
As the learning pf rhe author is limited, it is regrettable that precise defini-
tio,s of all of the terms
are nor possible. The reader should pay attention
to Tong Zhongyl's interpretations in the text. Flistory of Chinese \(/restling

r is vcry difficult to precisely ascertain the exact time and place martial
f
f.u rs we re created in my country. In the Book of Histor1 it is written that
tlr. r»r'iginsof martial arts were in the Zhou and Chin Dynasties. There is
.r1,,. rt'ícrence to QiYou as the founder. These references describe the ori-
1,,rrrs oÍ Jiao Di (horn goring), so we can see that Chinese wrestling arts are
rl,,'pr«rgenitors of all martial arts. Chinese wrestling is known as "Shuai
lr.rr," and also as "Guan Jiao." It is said they originated in the Jiao Di art
,rÍ t]i You, and evolved over time to the present art of Chinesewrestling.
Wr cstling arts were most popular among the Manchurians and Mongo-
lr,rrrs. Most of the Northern martial artists are skilled at these wresding arts.
| )rrring the Ming Dynasry the Japanese obtained a copy of a book on our
, ,,rrrprehensive martial arts. This is the origin ofJu Jutsu in Japan. Another

( ()untryman, Chen Yaunbin, traveled to

Japan and accepted students. The
.r r r spread there and even greater attention was paid to our martial methods;

tlrt'y were tirelessly promoted. During the Russo-Japanese war, great strength
,v,rs clrawn from the martial spirit.
ln the last few years, our countryk government has begun to investigate
rlrc health and weaknesses of the people. This has resulted in the promotion
,,í' physical training, with an emphasis on maftial arts practice. Besides the
('strblishment of the Central Martial Arts Institute, academies have been
t'stablished all over the country, all of which include Chinese wresding
( ()rlrses. In the twenty-second year of the Republic (1933) at the National

Sports Meet, the Chinese wresding competition caused the most excitement
,urcl garnered the greatest praise during the martial arts competitions. It is
irpparent from this that Chinese wresding is a most valuable addition to
physical training.

20 21
 tvtftrtQtt at_l t ttat , t

t,, nnl)orllurt t«r avoicl practice whctr you arc full fi-orn a meal, hungry, or
lr,rvc lrct'rr rlrinking alcohol. All this is common sense in avoiding danger.
( lrrl,lrt'rr .rvcr fifteen years of age can begin to practice Chinese wrestling,
l,lr r,lr,,ukl practice in moderation.
Method of Practice

efore beginning the practice of Chinese wrestling, it is advisable to have

one year's training in some other style of martial art so that the waist
and legs will already be supple and movements will In the begin-
be agile.
ning stages of Chinese wrestling practice, one should start with the basic
exercises. Advancing step by step, it is importanr nor ro impatiently rush
through training. After a consistenr period of training, the student will begin
to practice cooperarive throws with a parrner. After becoming very familiar
with the throwing methods, students may begin competitive throwing with
a non-cooperative partner. In order to become proficient in the art, it is vital

the student persevere in the training without losing heart. lVithout such
resolve, one will quit half way, wasting one's time ro no avail.
The practice of Chinese wrestling is more difficult than training in pugi-
listic sryles. The reason is when practicing styles that specialize in striking,
one need only stretch the arms and legs, yer the practice ofwresding requires
one to be thrown to the ground often. Beginners not familiar with the
methods of breaking falls will often find themselves bruised and battered.
This can be considered a method of strengthening one's resolve and facing
difficulty without fear. By constant practice, one will learn not to quit when
faced with difficult circumstances.
There is no restriction on the rime one can practice Chinese wresding.
It is best to practice in the daylighr hours, preferably in the morning. This
is because nighttime practice under artiÊcial lighting will certainly have an
effect on how well the practitioner can see. If you choose to practice in the
morning first thing out of bed, it is important to first warm up with basic
movements and forms before actually engaging in throwing practice. First
warm up slowly and stretch your sinews and legs, then begin to practice
throwing. In this way, you can avoid injury. Besides these guidelines, it

22 23
I
PART ONE: BASICS

f
t8
FnsB HeNo PnecucE
CnrNBsB §TnnsrLrNG Fonivrs

*s 'lhe Purpose of Chinese'§7'restling Forms Thaining

( llrinese wrestling forms are the most basic practice methods for beginning
â
lrlining. Their practice will not only make the waist and legs supple; the

Êà Íilrrns also serve âs an overview of the movements of the art. The forms
Irrtroduce all of the basic movements used in the techniques; therefore, it
lr iurportant to first become proficient with the forms before attempting to
ffi lrrlctice the throws themselves. By training in this manner, one will make
st«:ady improvement. Chinese wrestling forms can be practiced alone or
togcther in groups. The pictures in this book demonstrate úe forms on the
light side only. During actual practice, the forms should be done an equal
rrumber of times on the right and left sides. During indiüdual practice, one
ruray perform as many repetitions as one likes, until fatigued. During group
lrractice, every form should be done two or three times on each side.

)<
 l'Ift" IItlllll l't'tlt lIt'.'.' I ltIllr\r' ll'tfIIIt,l( lt(tt'lll\

One: Single Hook and Hang'

Illustrated Explanatio ns o f Chines e'\W'restling Forms
I'n.ptrtrtion Stand up straight.
I i' t'l t, t I ()ommand:'Attention."

tlttt,rmant: Close the fists and place them beside the waist.
Ii'rlttrl Commarud: "Rouncl the elbows."

27
Moaement: ,lltt,t'tttt,trt: l{.'l:rx urrrl olx'lt tltc riglrt íist. liorttr fhe hancl itrto a h<lok
Jump the feet apart, as in the illustration. .,rr,l rrst^ Íortt' to switrg thc hand lrack and to the rear'
Verbal Comruand: li't'ltrtl (itmrnrtnd: "Single Hook and Hang, One."
"Open the heels."
illttt,r,tttcnt: llclirx the right hook hand
Mouentent: Bend the knees to the horse riding srance. .rrrtl bling the palm upward in front of the right shoulder'
Verbal Command: "Bend rhe legs." I i' t' lt, t I Comman d: "Tivo."

Single Hooh and Hang preparation \'ittqle Hoob and Hangprepardtion l Single Hooh and Hang preparation 2

28 29
 l't't't' l ltltltl l'ttlt ltt t" ( luilt'\í' ll',t\llttt( l'ttt t)t\

Movement: Push the right palm roward thc lcft fi-onr. l'rt rpost, ol"lhtia ing
The eyes follow the pushing palm. À l,
'\'( nr('Írt orrc is rr.sctl t«r tlcfcnd an opponentt attempt to grab my belt or
Ver b a l C ommand: "Three." 1,,*, r j.rrlict. Movr-:rncnt two is used to defend an opponent's âttempt to
1.r rlr rrry uppcr lapel or collar.
Moaement: Close the right palm into a fist. Nlrvt'rrrcrrt three can be used to counter attack and grab my opponent's
Pull the fist back beside the waist. rr r ,r 'r l:r Movement four is a return to the beginning posture.
; 1 1rcl.
Verbal Command: "Four."

Single Hook and Hang 3 Single Hook and Hang 4

JO 31
 tilt/ lvttitiltlt) lltr ( iltNt1§t/ wItlriI't tN(

t-
,llttt,t'tttt,ttl: l'rrslr llr»th lrlltrrs íirlwurcl sinrttltrrtrcously. [,ool< straight
.,1t, .r,1.
Two: Double Hook and Hang 1,.t l,,tI ( )tnrnand: "'lhree."

Mouernent: Relax and open the fists. Form the hands into hooks and use ,\lttlrtttrttt: (llose the hands into fists and withdraw them to the sides of
force to swing both hands to the rear. t r, rvrr ist.
I

Verbal Command: "Double Hook and Hang, One." 1,. t ltrt I ( )rurmand: "Four."

Mouement: Relax the hands and bring the palms upward in front of the
shoulders.
Verbal Command: "Two."

l)ouble Hooh and Hang 3 Double Hooh and Hang 4

(â

;'i '''
''
l'urpose of Training
'llre
I)ouble Hook and Hang I purpose of the Double Hook and Hang is the same as the Single
I l<,rl< trnd Hang, the difference being the opponent uses both hands to
.rrr:rtl< simultaneously. In this case, I must also use both hands to defend
,ryscl[. I may then take advantage of the opportunity to counter attack
,,rr..l gct grips.

32 3)
 I'rr? tlÍt,tta. I rttLtra(; rtrtlnrrF w/(trarttx , trrrfrf,
a

lllotryrnent: ( )hangc thc lcft hook hancl into a palm and swing the hand
up abovc thc left shoulder. At the same time, turn the right palm
Three: Alternate Hook and Hang
.l«rwn and firrming the hand into a hook, swing the hand down to the
11'âr past the right hip.
Moaertent: Relax and open the right fist. Move the palm upward until 14, r lt a I C ornmand: " Two."
it is above the right shoulder. At the same time, simultaneously relax
and open the left fist and, forming the hand into a hook, swing the Mouement: Change the right hook hand into a palm and lift the hand in
hand back to rhe rear. li'ont of the right shoulder. At the same time, lower the left palm in
Verbal Command: "Ahernare Hook and Hang, One." íi'ont of the left shoulder. Immediately after, push both palms straight
Íorward.
V, r b al Command: "Three."

Abernate Hooh and Hang I Abernate Hooh and Hang 2 Alternate Hooh and Hang j, part I

34 35
Explanation:1his picture is the continuarion of nrovenrcnt ll-om thc I tt,lrtt1,: 14'rbnl ()»n»uurd: "StoP trow, ()rlc-'lwo."
previous picture; both movemenrs are perfc,rmed to the single verbal
command of "three." ll,t,ttrtt,ttt: ()rr otrc, hop the feet together. On two, drop thehands to
rl,, rr ,,rr11irr:rl st:rtt llositiolr.
Moaement: Close both hands into fists and withdraw them
simultaneously to the waist. l' t
l' Tba.ining
t t 7t t tsr o

Verbal Command: "Four." llr, íust rnovement of the right hand can be used to defend against a
l rlr rrr.rtI t«rward my right upper lapel or collar. At the same time, my left
lr rrr,l r.rrr .lcfànd against a grab made toward my lower jacket or belt, The
, (,r(l nrovcmenr is used for the same purpose, with the role of the right

,,,,1 l, ír lr,rnds reversed. The third movement can be used to defend against
,,,,,rlr.urcr)us grabs at my upper lapels, after which I immediately counter
rrr . 1,. .urrl grab the opponent's upper lapels with both hands.

Ahernate Hooh and Hang 3, part 2 Abernate Hook and Hang 4

JO 37
 t'rff Itilflil I-rllt'Ilrf : \,ntnrt( wrf slttiltq r.art rilt

Explanation:"[he above three Hook and Hang exercises can be practice«l

one after the other. If one wishes to practice them separately, the lllrt,rmctl: liron-r thcir positior-r at the sides of the waist, extend the arms
,,rrrw,u,l to thc left and right sides with sudden force. Keeping the
preparatory and ending movemenrs can be used to begin and end
,,lr,,uklt'r's rclaxecl, extend the arms straight with the backs of the fists
each separate exercise.
l.rt irrg trpward. The arms form a straight line through the shoulders.
llrr rrst t[-rc chest outward and pull in the lower belly. Use force to
,,tr,righten the knees. Look straight ahead.
Ihrhnl Command: "Forward Closing Elbows, One."
Four: Forward Closing Elbows
llloprnrcnt: Close the fists together to the front. The arms are level with
Prqtaration Stand up straight. rlrc shoulders. The thumb side of the fists come together. The back of

Verbal Command: "One, round the elbows-Two, open the heels.,, rlrc Íists face upward. Look straight ahead.
Ihrlml Command; "Two."
Mouernent: Refer to the previous pictures of these movements.

Forward Closing Elbows 1 Forward Closing Elbouts 2

38 39
 Ilttllll l'ltlt llt t" ( ltlll.'\t' ll lt'tlllllt, l'il1'll)\

t.
Mouement: lJencl thc anls rurcl scparatc thc clbows orrtward t«r thc right l' rt of"l in i ning
t.1ttr.sr
and left at shoulder height. 'Ihe fists snap inward to the cl'rest while llrr'lrrrrposc of'tlris exercise is to train the movement of the arms used
the chest simultaneously thrusts forward ro meer the incoming fists. ,,, lrrr1,r,itt1, 1lt1 ()pponellt and preventing his escape (see "\íaist Encircling"
The backs of the fists face upward. tlrlrrrrr),
Ver b a I C ommand: "Three."

Mouement: Move the fists downward to their original position at the

sides of the waist.
Wrbal Command: "Four." Five: Left and Right Closing Elbows

l't tJtttrutiou Bend the two legs.

llolctnent: From their position at the sides of the waist, extend the arms
,,rrtward to the left and right sides with sudden force. The palms face
,l,,wnward.
li.rbnl Command: "Left and Right Closing Elbows, One."

Forward Closing Elbous j Forward Closing Elbows 4 Left and Right Closing Elbows 1

40 41
 tttNt,\t, wl([)tItN(;

llttt,t'tttt:rtl: 'lirrrr thc [r.rrly errtl thc tocs trt thc right into a lrclw step.
Ar tlrc s:rrne tinrc, tlie right fist moves back beside the right side of
rlrt' waist as the left fist swings around to stop in front of the right
,lr.rrlcler. 'Iirrn the head to the right during the movement. Look back
t,,w,rrcl the left heel.
I i' t'ln I Cornmand: "Four."

Left and Right Closing

Elbows 2

Moaement: Tirrn the body and

the toes to the left into a bow
step. At the same time, the left
fist moves back beside the left
side of the waist as the right
Êst swings around to stop in
front of the left shoulder. Türn
the head to the left during the Left and Right Closing Elbows 4
movement. Look back toward
the right heel.
Verbal Comruand: "Two."

Moaement: Tirrn the body and the toes back to face the front. The two
Íists extend outward to the sides as in movement three.
V' r b al Command: " Five."
Left and Righr Closing Elbows 3
l')nding: Verbal Command: "Stop now, One-fi^/o."
Mouernent: Tirrn the body and the toes back to face the front. The two
fists extend ounvard to the sides as in the first movement. Mouement: On one, bring the fists back beside the waist and hop the two
Verbal Command: "Three." fêet together. On two, drop the hands to their original start position.

42 43
 l' l't'Í' I I tl tlll l'r'tl l' l, l'f ' I l, t rl f Ir 14:, f I I I l rt l, l'l,,,ll I

,lltt,t'tttt,ttl: 'lirrn tl'rc bocly arrcl thc tocs to the right into a bow step.
,'\r tlrt's;rnrc tirne, the right fist moves back beside the right side of
rlr( w:rist as the left fist swings around to stop in front of the right
.,l,,,rrl.lt:r,'lLrn the head to the right during the movement. Look back
rr,1ry.11.1 rhe left heel.

l,' t l,,r I ( )ommand: "Four."

Left and Right Closing

Elbows 2

Moaernent: Tirrn the body and

the toes to the left into a bow
step. At the same time, the left
fist moves back beside the left
side of the waisr as the right
6st swings around to stop in
front of the left shoulder. TLrn
the head to the left during the
Left and Right Closing Elbous 4
moyemenr. Look back toward
the right heel.
Verbal Command: "Two."

lllopcment: Turn the body and the toes back to face the front. The two
íists extend ounvard to the sides as in movement three.
I i, rb nl Com,rnand; " Five."
Left and Right Closing Elbotas 3
Iit4ing: Verbal Comrnand: "Stop now, Qns-Tivs."
Moaement: Tirrn the body and the toes back to face the front. The two
fists extend outward to the sides as in the first movement. lllouement: On one, bring the fists back beside the waist and hop the two
Ver b al C omman d: "Three." It'ct together. On two, drop the hands to their original start position.

42 43
 l'rra' Ilililít Lllllla(, r,ftrflrrr tryravt,rtt , ttrrrt-r

Purpose of Training ,llttt,t'ttrt,ttt: ()pcrr thc Íists into pelrtrs ancl push thetn f'orward with force.
'fhis exercise trains the turning power of the legs, body, and waist. ln the llr,' 1r:rlrrrs íircc Íôrwrrrd and the fingers point inward at each other.
throwing techniques of Chinese wrestling, this rype of power is often used. i\., y,rr prrsh tl-rc pahn.s forward, simultaneously jump the feet to the
For example, the throw "Left and Right Rolling" uses just this rype of skill lurrcling in a horse riding step. Look straight úead.
..r,1,'s,

to creare the power for the throw (see "Left and Right Rolling"). l,'t'lml ()rrumand: "High and Low Fast Movement, One."

,llttt,r,tnent: Pull the palms back, closing the hands into fists as they come
l,t'sitlc the waist. At the same time, jump and bring the feet together,
( n(lir)g in the upright position.
Six: High and Low Fast Movement I t' rht I Comruand: "Two."

PrEtaration Stand up straight.

Verbal Corumand: "Round the elbows."

Mouement: See the previous picture.

High and Low Fast Mouement l High and Low Fast Mouement 2

44 45
 tttrilil t ttrt tIt('_' t.iltilt\t It('tttlilt' t,ot til\

l>urpose oJ'Tiairuing .Tlrtrrtttt'rrt: llt'rrtl tlrc lcÍi kncc rrnd raisc thc lcg. Stcp thc left fôot fbrward
-Ihis
is a merhod of avoiding the opponent'.s fi-onral amacl< rt my lapcls r,, tlrr' Íirrrrt lcÍi into e lateral step. Lower the head and look down at
or upper collar. It also gives me an opportunity to push the oppone,t back, r lr, l.'lr Íiror. 'll-re bocly Ieans slightly to the left front.
causing him to fall onto the ground. L ,l,ttl ()oytm.and: "Le{:t and Right Forward Advancing Kick, One."

,llrtt,rtttent: Slide tlie foot forward along the ground until ir swings
l,,r rv:rrrl in a kicking morion. Hook the foot so rhat the toes point
,r1,,,v.11{. Bend the left knee slightly and press the waist down firmly.
Seven: Left and Right Forward Advancing Kick I r'.rn rhc body slightly ro rhe right front. Look at the right foot.

PrEtaration Stand up straight.

Moaement: Place the palms on the sides of the waist.

Verbal Command: "Hands on the waisr."

L l) rnd Right Foruard Adaancing Lefr and Right Fortuard Aduancing

Kich I Kick 2. parr I

46 47
Moaernerut: l]cncl tlrc right leg ilrwarcl rrncl prrll thc lir«rt irrwru'tl until ir is I rtrling: Verbal Comrnand: "Srtlp now, One-'Iwo."
close to the lefi knee.
Verbal Command: "Two." On ot.tc, bring the rear foot up beside the front foot. On rwo,
illttp1,111g11'
,lr,,p thc hands to their original start position.
Moaement: Step the right foot forward to the front right into a lateral
step. Lower the head and look down at the right foot. The body leans l;vphrnation'This form and the next can be practiced together' If you
slightly to the right front. prrrctice the two forms together, dont issue the verbal command to
Ver b al Command: "Three." sroP afrer practicing this form.

I'rtrpose of Tiaining
l'racticing kicking exercises can increase the power of the waist and legs.
llrc rrrovement can be used to kick an opponent; it all depends on how
,,,,rrh one practices. Kicks also play an important role in throwing tech-
nr(lUcs; therefore, it is necessary to practice this exercise often.

Eight: Kick Forward Snap Back

l'rEtaration'The same as the previous form' Refer to the pictures.

l.eft and Right Forward Aduancing Lelt and Rigltt Foraard Aduancing
Kick 2, part 2 í..,
Llcl? .)
a

48 49
Moaement: lJcrrd thc left knec ancl lifr it r-rprwarcl, bri.gi.g thc lcfi hccl l,iíi tlrc right íàot to waist heiglit. Sirnultaneously turn tl-re
lllttt,r'tttt,ttt:
to touch inside the right knee. step the left f.ot forward to tl-re fiont L,,rly lo thc left to face the rear. Now extend the right leg to the rear,
left into
a lateral step. Lower the head and look down at the left foot. .,rr.rig,lrtcning the leg with sudden force. The body leans over to the
Lean the body slightly to the left front. l, l r . Lool< back at the right heel. The toes of the left foot are turned
Verbal Command: "Kick Forward Snap Back, One." ourwlrd into a lateral step.
I i' r lt t t I ( )omrnand: "Three."
Mouement: Slide the right foot forward along the ground until it swings
forward in a kicking morion. Hook the foot so that the toes point
upward. Bend the left knee slightly. Look at the right foot. Tirrn and
lean the body slightly ro rhe righr.
Verbal Comruarud: "Two."

9 Kick Forward Snap Back 3

..-*_.^..-,!
Kick Forward Snap Bach I Kich Forward Snap Back 2
Moaement: Bring the back foot up beside the front foot and close the
Íêet together. The body stands up straight.
Vt rbal Command: "Four."

lhrding The same as the previous form.

50 51
 l'l((' lrtlrltl I Itlt llt t'; t ltlllr'\t ll r(\llltll' I'(tl rllr

I'urpose oJ"fraining
'Ihis is :r mcdrod ,llrt,t'tttt,ttt: l|t'rrtl tlre l<rr.'c,rrrtl liÍi tlrc riglrt firot. Movc thc íoot fôrward
of conrinuou.s pracrice in chi,ese
wresding. F.or exam- .rrrtl l;rtcrrrlly irr Ír'«rnt of thc lc,ft firot. Jhe toes of the right foot slide
, kick my opponentt left foot with my
Jrl^., lf right foot, ,,rd ,ú opponenr .rl,rr11 tlrt: grorrnd, with the sole of the foot held vertically. Press the
lifts his le.r foor ro avoid my kick, I
immediari, ,*;;;;"or"rro .rro rr,.rist tkrwn Íirrnly. The enrire weight of the body is over the left leg.
my right heel back against the opponent's
righr leg. This i, ."il"â the ,.For_ I ,oli rrt the right foot.
lowing Leg \X,&ip Method.,,
l,' t.Itrt I Command: "Tho."

,llttpt,tnent: Lift and suspend the right foot. Simultaneously turn the
l,,,tly to the left to face the rear. Now extend the right leg to the rear,
Nine: Forward Advance Rear Kick .,r ligl'rtening the leg with sudden force. The body leans over to the
r

l, íi. t-ook back at the right heel. The toes of the left foot are turned
i )ltrwitrd into a lateral step.
Preparatiou The same as the previous form. Refer to the pictures. l,' rlttI Comruand: "Three."

Mouement: Bend the left knee and lift

the foot. step the left foot fôrward
to the front left into a lateral step.
Verbal Command: '.Forward Adrran.e
Rear Kick, One.,,

Fonoard Aduance Rear Kich l liorutard Aduance Rear Kich 2 Forward Aduance Rear Kirk 3

\)
53
7 ^trilr,tlarr

Moaement: l}-ing thc left fbot filrwirrcl a srcp, closing the fcct togetlrcr. lllout,rttt,rtt: M«rvc thc lcft fbot
Stand up straight. l,,|w:tId iilt«r a lateral step,
Verb al C ommand: " Four." ,,r r r r rr I tlrncously relaxing the
ri1,,lrt lrand and opening the
Eruding: The same as the previous form. lrst irrto a pahn. The right
l,,rrrrl fbllows the left foot
Purpose of Thaining .,ntl cxtends downward, with
This form trains the power of snapping the legs backward. This move- rlrt' palm facing the ground.
ment is used in the forms "Leg Lever \7hip" and "Leg Rolling tü/hip." It is 'llrc left hand simultaneously
important to practice this movement often. , Lrscs into a fist and pulls
lxrr:l< beside the waist. The
l,.,cly leans to the left. Look
.rr the right palm.
I i' r b nl Comrnand: "Two."
Ten: Left and Right Free Palms
Left and Right Free Palms l
Preparation Stand up straight.
Verbal Cornrnand: "Round the elbows."

Moaement: See the previous methods.

(Page29)

Moaetnerut: Bend and raise the left knee, pointing the toes toward the
ground. At the sâme time, relax the left fist and scoop the hand
toward the ground with an uplifting palm. Lean the body toward the
front. Look at the left palm.
Verbal Command: "Left and Right Free Palms, One."

Left and Right Free Palms 2

54 55
 lt?F ttnnil, I'rntt.tI'(: rtrrtn(rr w,Írrtrrrx , trttrrn

Moaement: lJend and raise the right l<nee, pointing thc toes toward the lllouratent: 'llrc lcÍr lirot rnovcs Íorward a step. 'lhe left palm pulls back
ground. At the same rime, relax the right fist and scoop the hand l,t'sitlc tlrc waist, closing into a fist. Stand up straight. Look straight
toward the ground with an uplifting palm. Lean the body toward the .rlrr';rrl.
left front. Look at the right palm. l|rful Corumand: (first) "One" and then "Lower the hands." (This is the
Ver b al Command : "Three." lirrrling.)

l'urpose of Training
llrc movements of this form train the abiliry to lift the foot to avoid
l,t, liing attacks to the leg. At the same time, I can catch the opponent's
Irr ltinli lcg with my hand and throw him (see "Leg Restraining").

Left and Right Free Palrns 3

Moaetnent: Move the right foot forward into a lateral step,

simultaneously relaxing the left hand and opening the fist into a palm.
The left hand follows the right foot and extends downward, with the Lefi and Right Free Palrns 4
palm facing the ground. The right hand simultaneously closes into a
fist and pulls back beside the waist. The body leans to the right. Look
at the left palm.
Ver b al C ommand: " Fo ur."

56 57
r I'it t' I l,ll)ll l')ilt llt't' l

,llrt,t.tttt,ttt: Str'1r Íirrwaltl with thc rigl-rt fbot, bend the right knee, ancl
Eleven: Lower Control Forward Advance, ',rr.rililrtcrr thr, lcft leg into a bow-:rnd-arrow step. Relax and open the

Ttrrn Back and Capture íist into a p:rlm, extending the palm forward with the right step.
'irilrt
r\t tlrc sarne time, dre left fist pulls back beside the waist.
I i' t'I r,t I Corumand: "Two."
Prqtaration Stand up straight.
ill1rpq,1rr"o7' Pivoting on the sole of the right foot, turn the body to the
Moaement: See the previous methods.
l, Ít rrntil you face the rear by swinging the left foot back in a rear
Verbal Command: "Round the elbows.,,
irrst'rtion step. At the same time, open the left fist into a palm and
r,risc rhe hand in front of the right shoulder. The right arm extends
Moaement: step the left foot forward a step an, straighten
the reg. Bend ,.r rrright to the right rear with the palm facing away from the body.
the right knee and lower the body. Extend the
left firt do*rr*"rd llre head inclines to the right. Look toward the rear right.
along the left leg until it is above the left foot. Look
at the left fist. l,' t' It t I Command: "Three."
verbal command: "Lower contror Forward Advance,
Turn Back and
Capture, One."

Lower Control Foruard Aduance, Turn

L rt u er Contro l Forwarl Aduance, Lotuer Control Forward Aduance,
Bach and Capture I lurn Bach and Capture 2 Turn Bacle and Capture 3

58
59
 r!Írtr11 wÃ[ütt{tRti I'rfr rlilfla. I rul(trar; t,r4fla'f,( wrl.tbnttY . t,t.,,.t

Moaement: Close the left palm into a fist and throw it downward to llltntcment: Stand up straight. Hop the two feet together. Bring the fists
the front, continuing until the Êst whips around behind the back. hrck beside the waist.
Simultaneously close the right palm into a Êst, circling the arm V,rbal Command: "Five."
overhead and downward to the front in an arcing movement with
force. The right fisr stops low in front of the body. As you move the l'nrpose of Thaining
arms, rhe feet scoot backward a half step while straightening the knees 'llris form trains úe power used in the lower control hip throws. The 6rst
and lifting the hips. The body inclines to the front. nrovclnents are used to gain upper and lower grips. The third movement is
Verbal Cornmand: "Forrr." rrs.rl to rurn the hips into position for the throw. The fourth movement is
rrs,.tl ro throw the opponent over to the front by lifting the hips and lower-
irrg, the head (see "Lower Control Press" and "Overturning the Sack').

Twelve: Lower Control Forward Advance,

Smooth Capture and Back Tirrn

l'reparation: Stand up straight.

Moaernent: See the previous methods.

Verbal Command: "Round the elbows."

Louter Control Forward Aduance,

Turn Bacb and Capture 4

60 6L
 lrll lvll'. lllrrl, rrlr r,lIll\lr5lr wl{I15 lllN(; l,trr Il,rttrl l't,tr'Iir't,.' ('/tittrtt, \Y/tt'tIIirtt liut trtr

Mouement: lJerrcl and lif] rhc lcfr lllttutt»ant: LiÍt rhc r:ight leg ancl
knee, pointing the roes ar rhe rrr,rlic rr forw:rrd f-ollow step.
ground. Relax and open the llrt' Icfi fbot moves back and
left fist into a palm. Brush the .r, r'oss behind the right leg; sit
left palm downward over the ()v(:r the legs and lift the left
top of the left foot. lr.'..'1. Ar the same time, return

rlr,' r ight fisr ro irs position

Moaement: Extend the left foot lrcsic{e the waist and position
forward into a lateral step. t lrc left fist in front of the right
Close the left hand into a fist slroulder. Türn the head to the
and pull the fist up beside right and keep the eyes level.
the waist. Ar the same rime, I i' r lt a I Command: "Two."

extend the right fist straight

downward. The body twists as Lotuer Control Fortuard Aduance,
it inclines forward. Smooth Capture and Back Turn 2
Verba| Command: "Lower Louter Control Fortuard Aduance,
Control Forward Advance, Smooth Capture and Bach Turn 1/A lllouement: Using the left sole as a pivor, rurn the body to the left rear
Smooth Capture and Back ()ne complete revolution into a lateral step. At the same time, extend
Turn, One." t l-re left arm ourward and swing the left fist around to its position at

rhe side of the waist. From its position at the waist, insert the right fist
Erplanatioz.. These two movements are done in continuous sequence. Íàrward and downward. The head and body incline to the left.
11, r lt al Command: "Three."

Lnruer Control Fonuard Aduance, Smooth Capture and Back Turn l/B Lou.ter Control ForwardÁduance, Smooth Capture and Bach Turn 3

62 63
 Ilil/ Mt,'t'llr)l) ()t/ (.iltNti lr 'Wtüt:iI't tr,]rl

Mouement: Rring the back leg up beside the fi-ont leg. I3ring the Íisrs illtturment: L)sing rhe Ieft sole as a pivot, step forward with the right foot,
beside the waist. rrrr rrirrg the body sicleways to the left (for example, if you are facing
Verbal Command: "Four." ,.,,ut h in the preparatory posture, you will turn toward the east). Move

rrr,, u horse riding step. As you are turning your body, simultaneously
Purpose of Trairuing cxtt'ncl your right arm up to hug in front of your chest. The right fist
This form trains the power used for the hand propping throws. In the is irr Ê'ont of the right side of the chest. Tirrn the head toward the
first movement, your right hand sticks to the opponent's right knee while riglrt. Look straight ahead.
the left hand grabs the opponent's cuff or arm. In the second movement, l't'rlnI Command: "Stationary Body Lock, One."
you step your right foot in front of your opponenr's right foot. In the third
movement, you throw your opponent over your right shoulder. This type lllouonent: Cross step the left foot úead of the right and straighten up
of power is often used in Chinese wresrling (see the "Hand Propping" rlrc body. Lift the right elbow upward and lift the head slightly. Look
throwing method). ,r1rward.
l',' rlta I Command: "Two."

Thirteen: Stationary Body Lock

Preparation Stand up straight.

Moaernent: See the previous methods.

Verbal Commarud: (first) "Round the elbows" and then "Open the
heels."

Stationary Body Lock I Stationary Body Lock 2

64 65
 Illll Mlil'llí)t) ()t/ t,iltNtlstl Wtillh"'l't lN(i t'rfr I ItÍilil I-rtl('I t('f ,' t.ltI ilf.lt' tvI'tII II lt(!" t,r)riltI

Moaement: Lift the right leg and take a step bacl<. As yor-r step ['rack, I''.ty»lnnation"lhis f-oun :rnd the ncxt â"re sirnilar and can be practiced
move both arms upward in a carrying movement. Continuing, squat r ()gethc[ in succession.

down over the right leg and bring the fists to rest in front of the
stomach. The right leg is bent with the left leg extended straight in a I'urpose of Tiainirug
'lhis is a Chinese wresding method that trains the abiliry to clinch with
lying step. Lower the head and look at the left foot.
Ver b al C o mmand: "Three." .Ur opponent, hug his body, then throw him. The first movement is for
, lirrching and locking the arms around the opponent's body. The second

Mouentent: Brush the left fist over the top of the left foot then retract the nrovcment is for picking the opponent up once the body lock has been
fist beside the waist. At the same time, step forward with the right leg. ',t't trred. The third movement is for throwing the opponent on the ground.

as you move into

The Ieft leg bends a horse riding step. \)íhcn throwing an opponent with this method, it is important to apply the
Wrbal Command: "Four." ttt'lrnique with these three steps; otherwise, even with a body lock it will be
rrrrpossible to complete the throw.

Stationary Bodlt Loch 3 Starionary Body Loch 4

66 67
 rrrtrntr wtíIitItNt. l lrr l rltlraa I ftrt r,t r. t tfrrrra

filttt,utrt,rtt: l{rrisc thc right lcg. Using thc lcft sole as a pivot, turn the
1,,,, 11, lo rhc right until you face the rear.
Fourteen: Overturning Body Lock
,llttrrtttt,ttt: At the same time, the arms move upward in a carrying
Preparatiou The same as the previous form, "srarionary Body Lock.', rrr,vt'nrcnt. The right foot steps back to the rear and lowers to the
;,,r,,rrrrcl. Bend the knee and squat over the right leg. The fists retract to
Moaement: The same as Stationary Body Lock, morremenr one. rlr,' Íirrnt of the stomach. The left leg is extended straight. Move into a
Verbal Command: "Overrurning Body Lock, One.,, llirrg step. Look at the left foot.
I i' rbr I Cornmand: "Three."
Moaernent: The same as Stationary Body Lock, morrement two.
Verbal Command: "Two." I tphnatiou The previous tlvo movements are performed in continuous
,,('(lucnce as one movement.

Ouerturning Bod1, Lock I Ouerturning Bod1, Loch 2 Ouerturning Body Loch 3/A Ouerturning Body Loch 3/B

68 69
 l rrrl tyrrlt tr(rr, (rt, \ JtttNtIõtl w t(tlst t,tNti rr?f nflnil. I-rflrtrcf : t,ntnf §f w7FÍIttng roTtnÍ

Moaement: 'l-he same as Stationary Body Lock, rnovemenr four.

Ver b al Command; " Four."
Fifteen: Front Capture Rear Reap

l'n paration' Stand up straight.

V'rbal Command: "Round the elbows."

Moaement: The same as the previous methods.

ll4ouement: Raise the right foot and step backward. At the same rime, rhe
rf rms move to the right in a carrying movemenr, following the body

clownward. Bend the right leg and extend the left leg straight into a
lying step. The fists are in front of the stomach. Look at the left foot.
V,rbal Command: "Fronr Capture Rear Reap, One."

Oaerturning Bodl Loch 4

Purpose of Training
The purpose of this form is more or less the sarne as rhe "stationary Body
Lock" form. The difference is that in application, the body turns toward
the rear, thereby increasing the power of the movemenr. 'With consistent
practice, the student will be able to use the form smoothly. Front Capture Rear Reap 1

70 7r
 l't't'f lltliltt t't'tlt'ttt't: I t,lilftr Wrttlltrtt' l,t,rrill

Moaement: swing rhe lcft leg up ro rhe rcxr witlr a rcapiug nrovcnrcr-lr. llltturttrt:rtt:.Swirrg the riglrt lcg up ro the rear with a reaping movement.
The left fist opens into a hook hand and.swings back with the leg. Ar llrt' right Íisr .pe's i'to a hook ha,d and swings back with the leg.
the same time, the right hand opens into a palm and moves upward Ar rlrc.s.me tirne, the left hand opens into a palm and moves upward
into position above the head. The right leg extends straight. rrrro posirion above the head. The left leg straightens.
Ver b al C omrnaru d: " Two." I i' rln I Comrnand: "Four."

Moaement: Lower the left foot to the ground. Bend the knee and squar filouctnent: The same as movement three, with right and left reversed.
over the leg. Close both hands into fists and curl the arms in a I rbnl Command: "Fiye."
2'

hugging morion in front of the stomach. The body leans over ro rhe
front. The right leg extends straight into a lying step. lllopcmeu.t: Brush the left fist over the top of the left foot and then
Ver b al C ommartd: "Three." r('rract the fist to the side of the waist. At the same time, step forward
wirh the right leg, bringing the legs together. Stand up straight. Stop
with the elbows bent and the fists at the sides of the waist.
I i, r lnl Comrnand: " Six."

l'.tplaruation This form is shown with the complete movement

,rrr both sides.

Front Capture Rear Reap 2 Front Capture Rear Reap 3 Front Capture Rear Reap 4

72 73
 I ilt, Mt,l'l il()t) oF (,ilIN[,1 t{ wt{tt,§l't,tNG ltt't( tlililtt l'ül(l l(?: Í,1)I ttf.tt' wt'(tItt tt.q rorril\

Purpose of Thaining l|lourrrent: Move the hips and waist back into a sitting position. The left
This form trains úe movements used in reaping the opponent's leg with íi,ot .slides back a half step as you bend the right leg. The left foot is
my leg for the throw (see "Lifting Hook" throwing method). light.; the right foot carries the weight. At the same time, the left palm
. Lrscs into a fist. The left arm bends at an angle. Look at the left Êst.
11, r lt n I Command: "Two."

Sixteen: Straight Advance Reverse Underhook

PrEtaration Stand up straight.

Moaement: See the previous forms.

Verbal Command: "Round the elbows."

Moaement: Step forward with the left foot into a bow-and-arrow step. At
the same time, the left fist opens into a palm and extends to the front.
Look straight úead.
Verbal Command: "Straight Advance Reverse Underhook, One." \ r raight Aduance Reaerse Underhooh I

Straight Aduance Reuerse Underhooh 2

74 75
 Iiltt tvlttI il(lt, trtí l,iltNt4str wt{tíst t,IN(; l'tt"t I lrt nll I'trtrl i((; ( ;lti trr.çt Wrr.ttlitt,g litrttr

Moaement: Step the right foot forward a h:,rlf step. Put the hcel down frlopnnent: Move the left fbot up beside the right. Close the palms into
with the toes pointing upward. At the same rime, move the fists lists rrnd move them beside the waist.
forward and cross the wrists with the right wrist below the left. Lean I i, rht L Commarud: "Five."

the body a little to the left. Look downward.

Ver b a I C ommand: "Three." l:uling: Verbal Command: "Drop the hands."

Mouement: Move the right foot forward another half step into a bow- l'ut1tose of Thaining
and-arrow step. At the same time, open the fists into palms and push 'llrcse are the movements
used in the "Pierce the Legs Underhook"
them straight úead. r
Ir r , rw. 1he first movement is used to gain upper control grips on the oppo-

Ver b al C omm-an d: " Fo ur." rri nr.'lhe second movement is used to pull the opponent in close to your
,,t rr lrody. The third movemenr has the right hand piercing berween the
,rlrlrr)nellt's legs. The fourth movement throws the opponent (see "Pierce
rlr,' l,c:gs Underhook" throw).

Straight Aduance Reuerse Underhook 3 Straight Aduance Reaerse Underhooh 4

76 77
 I ilt( tyttlt il(il) ()tr t ,iltNllsú wÍtll'§,I'l,lN(: l,rf t I ltlilil l't'/ltl.ti'r; (.ltlnt.tt wrl!llut,q ltt)t.nt.l

lllounnent: Hop forward with the right foot into a lateral step. The
Seventeen: Upper Control Forward Advance, It'li íirot Íàllows with a half step behind the right. Turn the left heel
()utwrfd and the toes inward. At the same time, open the right fist
Türn Left and Right irrto :r palm. Swing the right palm ounvard from the waist with the
;,;rlrn ãcing upward. The right hand brushes the left as the left hand
Preparation Stand up straight. l,rrlls back to rest in front of the right shoulder. Lean the body to the
right. Look at the right palm.
Mouernent: The same as the previous forms. I i, r lxil C ommand: "Two."

Verbal Command: "Round the elbows."

Mouernent: Step forward with the left foot into a bow-and-arrow step.
At the same rime, open the left hand into a palm and push it straight
forward. Look straight ahead.
Verbal Command: "lJpper Control Forward Advcurce, Tirrn Left and
Right, One."

Upper Control Foruard Aduance, Turn Left and Rlght t Upper Control Foruard Aduance, Turn Lefi and Rlght 2

78 79
 wrfIIIíil.(, t'ttrtil.l

Moaentent: I)ivoting on tllc solc:s oÍ'lroth Ícct, tunl thc bocly to thc lc|t llris íirrrrr is thc activc stcp vcrsiorr oÍ'the drrow. Lr order to successftrlly
rear a complete revolution. Step out with the left fbot laterailly a half .r1,1,1y tlri.s tcchniquc, the tnovements rnust be continuous. The power of the
step. fhe palms swing around with the body as they close into fists. l,.ur,ls, waist, and legs must coordinate and be used together. Done in this
The right fist comes to rest in front of the left shoulder. The left fist rn.rnn('lr the opponent has no chance of escape. Therefore, it is important
retracts to the side of the waist. Lean the body to the left. Look at the r,' l)titctice this rype of spiraling power often.
right heel.
Ver b al Command: "Three."

Eighteen: Upper Control Forward Advance,

Extract the Leg and Lower to the Rear

l'rrparation' Stand up straight.

lllouement: The same as the previous forms.

li'rltal Command: "Round the elbows."

lVoaement: Step forward with the left leg into a bow-and-arrow step.
At the sâme time, open the left fist into a palm and push it straight
Upper Control Forward Adaance, Turn Lefi and Rlght j f-orward. Look straight úead.
V,rbal Command: "Upper Control Forward Advance, Extract the Leg
and Lower to the Rear, One."

Mouetnent: Step forward with the right foot. Stand up straight. Retracr
the right fist from in front of the left shoulder back beside the waist.
Ver b al C omman d: " Four."

Ending: Verbal Command: "Drop the hands."

Purpose of Training
This form trains the active step left and right rolling method. The first
movement is to get an upper control grip. The second movement is to gain
a lower control grip. At the same time, you hop close to the opponent. The
third movement is used to pull the opponent in and throw him (see "Left
and Right Rolling" throw). Upper Control Forutard Aduance, Extract the Leg and Lower to the Rear I

80 8l
 lv r Í.t t t a tt,\ t ír, Ín.l

fr{otrynlent: Using rhe left sole as a pivot, turn the body to the right.
l,owcr the light foot to the ground. At the same time, both feet slide
l,rrck a half step. Simultaneously whip the left fist over from above as
rlrc right fist swings around behind the back. Bend the upper body
,,vc,r and lift the hips. Lower the head and look at the ground.
ll, rb nl Comman d; "Four."

t|rrling Wrbal Comruand: "Stop now, One-fi^ro."

Moternent: (1) Jump the ftvo feet together and stand up straight. The
Upper Control Forward Áduance, Extract the Leg and Louer to the Rear 2 Íists retract to the sides of the waist.

Moaement: (2) Drop the hands to the sides.

Moaement: Step up with the right
foot into a lateral step. Push
the left palm downward with
the palm facing upward. At the
same time, open the right fist
into a palm, raising the hand
from the waist and turning the
palm down to "cover" the left
palm.
Verbal Corurnand: "Two."

Mouement: Lift the right foot

and bend the knee. Straighten
the left leg into a single leg
posture. Close the left palm
into a fist and lift it a little.
Close the right palm into a fist
and lift it above the head. Tirrn
the head to the left. Look at Upper Control Forward Ád.uance, flpper Control Forutard Adaance, Extract the Leg and Lower to the Rear 4
the left Êst. Extract the Leg and Lotuer to the Rear 3
Ver b al Command: "Three."

82 83
 I'lr't IItlllll I ItltIIlt l

l'urpose oJ'Tiaining
'lhis f.rm is
used ro escape from the opponent's left a.d right
kicr<irrg
attacks a'd then move into the "Lower control press', Nineteen: Plum Flower Stance \7alk
throw. The firsr
movemenr is used to gain an upper grip. The second
movemenr is ro gain
an upper control grip while the left hand gets a rower
control grip. Thc I'trlttrnrtion Stand up straight.
third movemenr is to avoid the opponent's kicking attack
at my right leg.
The fourth movement can be used to apply a lo-.,
.o.rtrol hip throw. If ,llttlrtneflt: Close both hands into fists and put them behind the back.
the student can undersrand the ways of rhe art, he
will be abre to break llre Íists point at each other with the palms facing outward.
through.
li't ltrrl Command: "Put the hands behind the back."

illttprtnent: Hop the feet apart the distance shown in the photograph.
Ii't'lmI Comrnand: "Open the heels."

l'lrrtn Flrtwer Stance Walk P'reprr,tttion I Plum Flotuer Stance Walk Preparation 2

84
85
 Moaement: Bend the knees into a horse riding step. llloucnrcnt: L)sing the bdl of thc right foot as ân axis, slide thc left lirot
Verbal Cornmand: "Bend the legs and squar." .rr,,und to thc front as your body turns to the right.
|i,rbal Command: "Plum Flower Stance'W'alk, One."
Mouement: Lift both heels offthe ground.
Verbal Comrnand: "Lift the heels." lllopcrnent: Using the ball of the left foot as an axis, slide the right foot
l,rrck and around as the body turns right, toward the rear.
l'r, r ImI Command: "Two."

Plum Flou.,er Stance lYalk Preparation 3 Plum Flower Stance Walb Preparation 4 Plum Flouter Stance Walh I Plum Flower Stance tYalh 2

86 87
 l'l'fl I ltlrlll l'r'tlt'll('f; í t,I il I\'I ti! t,t't I I I il.{ t,t, rilt I

Ending: Verltal Cottrnand: "Sto1-r rrow, ( )rrc 'Ii,vo."

Mouement: (1) Tirrn the body to the right and face the fiont as you srep
up with the left foot a half step into a horse riding step. Twenry: Twist Stance Walk

Mouement: (2) Lower the heel ro the ground. Hop the feet rogether.
l't r lttr t'rr t ion' Stand up straight.
Stand up straight. Drop the hands to the sides.

illrtt,rtnerut: Put the palms on the sides of the waist.

Pueose of Training
li't'lnl Corumand: "Put the hands on the waist."
This is a basic stânce holding practice of chinese wrestling. After a long
period of practice, not only will the feet never be unstable without force,
illorrtnent: Step the right foot forward into a lateral step. The upper
but the legs will become strong and powerful. The number of steps taken l,,rrly remains erect. Look straight ahead.
when practicing is not limited. Practice until the legs are sore and you can-
|i'rInI Cornrnand: "Twist Stance \flalk, One."
not continue. Advancing, retreating, moving left and right can be done as
you like.

Tu,,ist Stance lYalb I

88 89
 wt{t,ittINt; I lrr ltllflil t lllalrtr r.rtrrtJt. r1 t.,1r.rrr,\ t r,.,,.,,

Moaement: Pivoting on the ball.s oírrhcr Íi.ct, rrrru tlrc b«rdy to Íircc thc lllttprtnrttl: l)ivoting on thc llrrlls oí'thc Ícct, runr the lrocly to face the
rear. Straighren rhe right leg and ben«l the lcft
knee, rnovir.rg into a lcíi r,'.u. Strrrightcn the right leg and bend the left knee, moving into a left
lateral step.
l.rtcr;rl stcl-r.
Verbal Command: "Two."
l',, t' lt, t I ( )ommand: "Four."

lvrouement: step the right foot forward a step

into a right laterar step. I ttrli»g': Verbal Command: "Stop now, One-Two."
Ver b a l Cornnand : "Three."

lllttt,rnent: (l) Bring the right foot up beside the left.

frlttttr,»rcnt: (2) Drop the hands to the sides. Stand up straight in the
,rriginal position.

Twist Stance lYalh 2 T-wist Stance lValk 3 Tuist Stance Valh 4

90 91
a
Iturpose oJ"li-aiaiug
'lhis firrlrr is sllcci:rlly
rlcsigrrctl io rrrrin rrrt.piv.tirrg
[x)w(.r oÍ tlrc lt.gs. lrr 1 ,,1,,',r,r',r1,4.'l'rrll tlrc right lcg upwarcl and bcncl the knee. At thc satne
the types of force nsed itt (ihincsc wrestling, lrrrcnrl pivr»ring
firrrc is.li«.rr |,r(', ()l)('n tlrc lcfi fist into a palm. Move the left hand downward
used. Those who have'ever practiced chi.ese wresrling,
cve. thosc wirrr ,,r, r rlrt' riglrr leg until the palm is over the right foot. Look at the left
great strength, will
be able to apply force only in a straight line. Bur tlr«rst, l,.rrr,l.
who have practiced chinese wrestling, especially after practici.g
basics srrt lr
as the exercise presented here, will be able to achieve
twice th" r..ults wirlr 1li,t,t.rttt,nt B.. Put the right foot down behind the left leg. Cross the
half the effort. 1,. ,'t uncl sit down. Retract the left palm and close the hand into
',,
r lrrl :r.s it moves beside the waist. At the same time, the right hand

',1,( ns ilrto a palm and moves downward over the left leg until the
1'.rlrrr is over the left f-oot. Lower the head and look at the right hand.
l,'t lul Corumand: "Leg Extraction 'W'alk, One."
Twenry-One: Leg Extraction \7alk

Prep»aration Stand up straight.

Mouentent: The same as the previous forms.

Verbal Command: "Round the elbows.,,

Leg Extraction Walk 1/A Leg Extraction \Yalh 1/B

92 93
 l,t'r't I ltliltl I't'tli llt r' 1 lurlr\( ll ,Í'\lttil(t I'0t ilt\

MouementA.. Stand back 14, ancl lift the lefi leg upward. At rhe sarle I:rrrIi ttg: Verltal Oonnna.rud: "Sto1.r ttow, ()ne-'Iwo."
time, move the right hand downward over the left leg until the palnr
is over the left foot. Lower the head and look at the right hand. illttttt,utent: (1) Stand up straight. Bring the feet together. Close the left
list :rncl bring it to the side of the waist. Look straight ahead.
Moaement B: Put the left foot down behind the right leg. Cross the I\4rvcment: (2) Drop the hands to the sides into the original position.
knees and sit down. Retract the right palm and close the hand inro a
fist as it moves beside the waist. At the same rime, the left hand opens Itu,'lrese of Thaining
into a palm and moves downward over the right leg until the palm is 'llris f-orm is specially designed to train the method of escaping the
over the right foot. Lower the head and look at the left hand. l, lnrm attack and then to take advantage of the situation to restrain the
1,,
Verbal Commarud: "Two." ,,1r1ronellt)s leg. After a period of practicing this form, one will have the
rl,rlity to shift the weight from left to right as one wishes, Preventing an
r,lrP0nctrt from finding one's center. The movements of the form can also
l* uscd to avoid an opponentt kicking attack.

Leg Extraction Walh 2/A Leg Extraction Walk 2/B

94 95
 +.r.í rrrrr faf, l, r.rf \/ilttll &ã|[ .wI[&;1"[.lN(t t" 7EU t1 N rr*r. t' r'&t rra. F,

lllorcunnt 2/A: Opcn the left Êst

rtrto lxtlm and push the hand
rr
r o r hc lower left. At the same
Twenry-Two: Shoulder Movemenr rirrrc', both hands move from
rlrc lower Ieft up and around to
PrEtaration Stand up straight. tlrc rcar (at this time, you must
verbal command: "Round the elbows. open the heels. squat down." r()tâte the waist; the upper body
l,',rns back as much as possible).
Moaement: The same as the previous methods.

Moperuerut 2/B: Âfter the arms

Moaetnent: open the right fist into a palm and push the hand straight rrrake a complete circle around
forward. At the same time, straighten the right leg into a bow-and- to the right side, the left hand
arrow step. Look at the right hand. rrloses into a fist again and
Verbal Command: "shoulder Movement, One." lctracts to the side of the waist.
'lhe right hand again pushes
lhead to the left with the palm. Shoulder Moaernent 2/A
V. rltal Command: "Two."

Shoulder Mouement l Shoulder Moaement 2/B

96 97
 I'trrposc ol'Tíaining
Mouement 2/c: close the right palm into a Êst and retracr the hancl to 'llris rnovement is designed to exercise the waist and the shoulders- After
the side of the waist. At the same time, bend the right knee and turn \Mhen actually
,r 1,r.r iorl of practice, the waist will become supple and strong.
the body to face the front, returning to the horse riding step. lrlilrtirrg, you will be able to move the waist as you wish'
Ver b al Cornmand: "Three."

fuiding: Verbal Command: "Srop r,row, One-Tiü/o."

Moaement: (1) Hop the two feet together. Twenry-Three: Sliding Leg §falk

Mouement: (2) Drop the hands to the sides in their original position.
lrrrpara.tiou Stand up straight. Put the hands on the sides of the waist'
l,ook straight ahead.
Vl,rbal Com.ruand: "Hands on the waist."

Should.er Mouement 2/C

98 99
Mouement: steP firrwarcl wirh thc lcfi íir.t, turrrirrg tlrc t.es.rrr rrrrl Ilt,,,t.,,tt,ttl: Now rrrovt.tlrc r-ieht filot Íirrrvard a ste[), ttrrning thc tocs
il\
n.rclving into a lateral step. ,urrv.utl :trtrl trtoviltg inrtl a lateral step.
Verbal Command: "Sliding Leg \X/alk, One." L rl,,tI ()ommand: "'lhree." iitlt

Moaement: shift the e.tire weight of the body over the left foot. Lift thc I tltlttttrrtion After becoming familiar with the movements, movements I

right foot and move rhe foot from the rear ro the front with the ball r,,,,, ,ltrcl three should be completed in one continuous movement.
of the fà,ot tracing an arc along the ground. I

Verbal Corumarud: "Two." t tttlittg Verbal Command: "Stop now, One-Two'"

i

,llttt,t,ttrcnt: (l) Bring the left foot u1'r beside the right'

i
illorrt,rnent: (2) Drop the hands to the sides into their original position'

.Wí
i

ili

il

ilür

il[

Sliding Lag Walb 2 Sliding Leg Walk 3

lilr

{l

r00 t01 1t
 I frr, rYrrll llrrl, rrt, \/trtnLnf, w t(11ãl t,IEli Itrr ttttrtÍt r ract,rt.. \tlrrt6Í,r. wtÍrlt.trÁ t p...ri

Parpose of Training fulopevrent: Stcp tlrc right làot across to thc left and circle the leg over rhe
This form is for practicing the hooking leg techniques. If you want to rr,1r oÍrthc lcft leg. Squat with the knees crossed.
hook and lift an opponentt leg, you must be quick; otherwise, it will be easy Vi,rltnl Command: "Circling Leg \7alk, One."
for the opponent to counter your attack. After becoming proficient with
this movement, techniques such as the "Rowing Hook," "Lifting Hook,"
and the "Big Connection Tâkedown' will all be easy to apply.

Twenty-Four: Circling Leg \falk

Preparatioru.' Stand up straight.
Verbal Command: "Hands on the waist. Open the heels. Squat down."

Moaernent: See the previous photographs.

Mouement: Move the center of gravit'7 over the left foot.

Lift the right foot.
Circling LegWalk l/A

Circling LegValk 1/B

102 103
 l'l('(' Iltlllll I Itlt Iltt" I ltlllr'\i ll t.'\tttillt I'trr',il\

Moaenrcnt: shiíi thc c('nrcr oÍ'greviry ov(.r-rlr(.riglrt lcg. l.iíi rlrc lt.Íi íi,r,r. ll,,t,,'1111,,,1' l'ivotirrg orr both íL'ct, tut-n the bocly to the right ulltil y()u
I r, r' rlrr' n'rrr. You rrrc agait'r in the preparatory position.
Mouement: step the lcft ft,ot across ro the right a'd circle thc leg ovcr.rlr(
l, t l,,rI (,'ottttnund: "'lhree."
top of the right leg. Squat with the knees crossed.
Verbal Command: "Two." Lt,litty: Verbal Commarud: "Stop Now, One-flúio."

,llttrt.ttrt,ttt: (I ) Hop the feet together.

11,,1,7111sn1' (2) Drop the hands to the sides into their original position.

Circling Leg Walk 2/A Circling Leg Walk 2/B Circling Leg Walle 3

t04 r05
Purpose of Thaining
This form trains the pivoting power of the sores of the feet,
and
footwork movemenrs. The movements used to úrow an opponent
a
also use úis type ofpower. After becomingproficientwiú
whether advancing or retreating, one
úis ThemING §rrTH EqutrMENT
wi[ never lose one's balance.

Chapter One: Braided Rope

Purpose of Thaining with the Braided Rope

The rope is made of braided hemp. The úickness of úe rope should
be the same âs the diameter of the thumb. The length should be
about úree feet with úe rope folded in half and the ends secured
together the illustration). This piece of equipment can be used
(see

to train the pulling power of úe hands. This is because in every

exercise with the rope, the hands will pull in opposite directions.
For example, if the left hand pulls forward, úe right hand will pull
baclsn/ard, and vice versa (the same principle applies to pulling úe
rope vertically or to úe left and tight). The hands forcefrrlly pull the
rope straight, causing úe two lengús of úe rope to snap together
wiú force, resulting in a popping sound. The sound demonstrates
the force of the pull. §7.hen one has developed sufficient strength
through practice, a folded lengh of metal chain of the appropriate
L"g,h can be used for the exercises. Cloth should be wrapped around
the ends so úe chain is easy to hold. After building up power with
úese exercises, one will be able to pull úe opponent front and bach
right and left, as one wishes.'§7hen throwing úe opponent, úis type
of training will guarantee power in the hands. Explanations of úe
exercises follow.

106 t07
 One: Left and Right Rolling

I'reparationr Stand up straight. The hands hang at the sides. Hold on

Explanations and Illustrations of Braided Rope Thaining to the two ends of the rope. Still the heart and breathe evenly. Look
straight ahead.
Verbal Command; "Stand up straight."

Moaement: Hop the feet apart the distance shown in the photograph.
Verbal Command; "Open the heels."

lt,,

l&r,

Left and Right Rolling Preparation I Left and Right Rolling Preparation 2

108 109
 rrrr'r\,rr til()tr r)ti r iltNt,,t wlrl,.lllltt;

Moaernent: Squat down into the horse riding step. l!ttt,t'ttttttt: l)ivot ort tlrc solcs clf tlrc fcct, turning thc body to the lefi.
Verbal Command: "Squat down." l\lrvt' irrto a lclt latcral step. At the same time, the right hand pulls
,1,ra,111-11 to the upper left with force. Pull the left hand down below

Mouernent: Pivot on the soles of the feet, turning the body to the right. rlrt' light with force. Pull the rope straight and stretch it tightly. The
'Ioe out the right foot into a lateral step. Pull the left hand up to rhe l,..,r.l rnoves to the left side. Look at the right heel.
right with force. Pull the right hand down below the left with force. I i. r In I Corumand: "Two."

Pull the rope straight and stretch it tightly. The head moves ro rhe
right side. Look at the left heel.
Verbal Cornrnand: "Left and Right Rolling, One."

Lefr and Right Rolling Left and Right Rolling I Left and Right Rolling 2
Preparation 3

110 111
 Y ,rttt,"'t,t,",,,,,,1,,,t,,,,,,,

Ending: Verbal Command: "Sro1.r n«rw, ()nc_,Iwo-,,

Mouernent: Kick Forward with the right leg. The toes hook upward.
llcncl the left knee and sit downward a little. At the same time, the
Mouement: (l) Türn the body back to face the front. Bring the fccr
right hand pulls the rope downward with force as the left hand resists
rogerher. Hold the rope in front of the waist.
tupward. Lower the head. Look at the right hand.
V,rbal Cornm.and: "Left and Right Kicking, One."
Mouement: (2) Lower the hands into their original
position.
Mouement: Put the right foot on the ground. Kick up with the left foot.
Expl"anation:The exercise is demonstrated here with
two repetitions. .ilrr. The left hand pulls the rope downward with force as the right hand
student may repeat the movement for ten or twenry
repetitions, or resists upward. Lower the head. Look at the left hand.
until fatigued.
Verbal Command: "Two."

Purpose of Trairuing
The purpose of this exercise is the same as the
chi'ese wrestling forrrr
"Left and Right closing Elbows." The
movemenrs rrain the power of thc
waist and legs when turning left and right and the
pulling io*., of thc
hands' This rype of force is used in throws like "Arm
sr,ppo.t Rolling,,and
"Left and fught Rolling" (see the throws in part
2).

Two: Left and Right Kicking

Prqtaration'stand up straight. The hands hang at the sides.

Hord on to
the two ends of the rope.
Verbal Command: "Stand up straight.,,

Left and Right Kicking I Left and Rtght Kicking 2

112
113
 I lrlllll)l.lt, lltlttt t tlttt/,tttt ttt
\

Ending: Verbal Comruand: "Srop now, ens_Tws.,,

Mouement: (1) Put the kicking foot down beside the other
foot. Hold
the rope in front of the waist. Three: Lower Control Forward Advance,
Turn Back and Capture
Moaernent: (2) Lower the hands into their original position.

Expknation:Ihe lrreparatiou The hands hang at the sides. Hold on to the two ends of
exercise is demonstrated here with two repetitions. the rope. Stand up straight.
One can practice by moving straight foru,ard, performing
the Verbal Command; "Stand up straight. Round the elbows."
moyements left and right without turning the body. The
pictures
accompanying the text show rhe movement from the
sides for clariry.
Moaernent: The fists move to úe sides of the waist.

Purpose of Thaining
Moaernent: Move the left foot forward a step. Bend the right knee and
The movements of this exercise are the foundation .,Left
of the and Right Lift up the
squat. At the same time, the
chest and stick out the rear.
Kicking" and "Arm support and Kicri'throws. The puring
movements of left hand pulls the rope forward and downward with force. The right
the rope represenr the upper and lower grips pullingth.
opporr..rt. hand holds the other end of the rope tightly in place at the waist.
Look at the left foot.
Verbal Command; "Lower Control Forward Advance, Tirrn Back and
Capture, One."

Lower Control Forward Aduance, Turn Bach and Capture 1

tt4 tt5
 I l tl l rl l tt.l,, u,t t rt, tl tttl' tttt tt t

I Moaetnent: step forward with the right foot moving

into a br:w-anc{- Mouement: Move the right hand over from above in a circle until the
arrow srep. At the same rime, the right hand
stretches the rope to thc hrrr-rcl lowers ro the front, pulling the rope with force. The left hand
front. The Ieft hand hords the other end of the rope
tightly i, pra." at holcls the other end of the rope tightly in place at the side of the
the side of the stomach. Look at the right hand.
stomach. The rope is stretched tightly. At the same time, the feet slide
Ver b al Command: "Two.',
backward a half step. Straighten the knees and lift the hips. The body
is bent over forward.
Mouement: Pivoting on the sole of the right foot,
turn the body to the Var b al Comrnand: "Four."
left until you face the rear. step back with the left
foot irrto horr.
riding step' At the same time, the reft hand holds "
the rope in front
of the right shoulder The right hand puils straight
to the lower right
until the rope is stretched tightly. Look downward.
Ver b al Comman d: "Three.,,

Lotuer Control Forward Aduance, Turn Louer Control Forward Aduance, Tunt
Louter Control Forward Aduance, Turn
Bach and Capture 2 Bacb and Capture 3
Bach and Capture 4

116
tt7
Ending: Verbal Command: "Stop now, One-'lwo."

Moaernent: (1) Stand up straight. Hop the two feet together. I-Iold thc
rope in front of the waist.

Mouement: (2) Lower the hands to their original position.

Exp»lnnatioz.'This is the exercise on the left side. The right side is Chapter Two: Small Club
practiced the same way.

Purpose of Tíaining
The purpose of this exercise is the same as rhe empry-hand form. Purpose of Tlaining with the Small Club
further explanation is necessary. llrc length of the small club is about nine and a half inches, with a diameter
,,Í'rwo inches (size may vary according to the size of the trainee's hands).
llrc best wood to use is willow The wood should be light and fire resistant.
l,rrrcticingwith the small club can increase the power of the arms and the
ip strength. The muscles of the chest and arms will also develop. The inter-
rir

n,rI organs will also be strengthened and become more resistant to disease.
llre small club is among the most important methods of power training in
( ,lrinese wrestling. The increased power in the chest will help in defending

rir.ip attacks during actual wrestling competitions.

7-he dimensions read: kao incltes across the top,

nine and a half inches down the right side,

four inches dctun the toP left side,

one inch in the left middle,

andfour inches down the louer left side.

li8 119
 rrrr, r\,tr I ttUt, r,t, I tttt\t,.rt, wltl,'rl I llJt; I t 1l t tt t tl.l' lttt, tt t tltt tl,rttt,tI

Explanations and Illustrations of Srnall Club Tiaining Mouement: Turn the body to the right without moving the feet. Slowly
lower the arms until they are level with the shoulders (the arms must
be extended straight and must not bend when lowering the club).
One: High, Middle, Verbal Command; "Two."
and Low Club Twisting Exercise
Moaement; Twist the hips and the upper body slowly to the left. The feet
PrEtaration. Stand up straight. The hands hang downward holding the do not move.
small club. The back of the hands face outward. Lift the chest and pull Ver b al Command; "Three."
in the belly. Look straight úead. Still the heart and breathe evenly.

Mooetnent: Hold the club tightly with both hands. You must
continuously twist and rorate the club. Slowly lift the club upward
until it is above the head, with the arms srretched straight. The hands
continuously twist and rotate the club without stopping.
Verbal Command: "High, Middle, and Low Club Twisting Exercise,
One."

$
tr
1l

&"
High, Middle, and Low Club Tu.,isting High, Middh, and Low Club Twisting t{igh, Middle, and Lout Club Twisting High, Middle, and Low Club Twisting
Exercise Preparation Exercise l Exercise 2 Exercise 3

120 t2t
 I ltlltllll,l, tt'tttt t tltttl,tttt ttt

Moaement: Slowly rurn rhe arms and body to face forward.

Moaernent: Tirrn the arms and upper body slowly from the right to the
Ver b aI Cornmand: " Four."
lcÊt sicle. The eyes follow the movement of the club.
Vrrbal Comtnanú "Six."
Moaement: Turn the upper body half way to the right side.
At the same
time, slowly lower the arms until they are extended downward
to the Moaement: Slowly turn the arms and upper body from the left to face
lower right side. Lower the head and look at the club.
fôrward. Now slowly lower the upper body and bend over forward.
Ver b a I Co mm.an d; " Five. " 'Ihe arms continue to twist and rotate the club. Follow the length of
until the club is on the ground. The arms and
the legs legs must be
extended straight. Do not bend the knees.
Verbal Command: "Seven."

l.*-.,"];|w

High, Middle, and Lou Club Twisting High, Middle, and Low Club Twtsting High, Middle, and Low Club Twisting High, Middle, and Low Club Tutisting
Exercise 4 Exercise 5 6
Exercise Exercise 7

122
123
Moaetnent: Slowly turn the arms and upper body from the front to the Mouement: 'ltrm the arms and the upper body from the lower left side
lower right side. The eyes follow the movement of the club. to the front. Slowly lift the upper body to the upright position. The
Verb al Command: " Eighr."
erms follow the upper body and move upward along the length of the
Iegs until the body is standing straight up. fu this point the hands can
Moaement: slowly turn the arms and upper body from the rower right
to stop twisting and rotating the club. Return to the original position
the lower left side. The eyes follow the movement of the crub.
and stop the exercise.
Ver b al Cornmand: "Nine."

Iinding: Verbal Comrnand: "Stop now."

lixplaruatiou This exercise is practiced slowly. From the beginning of the

exercise till the end, the hands must continuously twist and rotate the
club without stopping. The force is all in the wrists. For beginners, if
you feel that your arms are very sore after you finish practice, you can
take a break and swing your arms to soothe the tendons. If one can
practice six or seven rounds of the exercise without stopping, one will
see improvement.

High, Middle, and Low Club Tutisting High, Middle, and Low Club Tuisting
Exercise I Exercise 9

124 125
 rtrr lvttitttrrt, rrt, \ tttl!|,\l wlrl,ill lllr,

Purpose of Training Mouement: Hop tl"re Íêet apart the disance shown in the photograph'
Practicing this exercise will increase the power of the arms and gri;r Verbal Command: "OPen the heels."
externally, and will strengthen the organs internally. The tendons will strctc:lt
and the qiwill flow smoothly, helping to ward offall illness. Moaement: Bend the knees and squat down into the horse riding step.
Verbal Cornmand: "Squat down."

Two: Left, Right, and Center

Club Twisting Exercise

Preparaüon Stand up straight. The hands hang downward, holding the

club with the wrists crossed, the left wrist on top of the right. The
back of the hands face outward. Lift úe chest and pull in the belly.
Still the heart and breathe evenly.
Verbal Comm.and: "Stand up straight."

Left, Right, and Center Club Twisting

ff
Lert, Right, and Center Club Twisting Left, Right, and Center Club Tutisting

Exercise Preparation I Exercise PreParation 2 Exercise PreParation i

126 127
 r tttNI,\t' wt{t 5tt tNt; t ttltrtltt,l' tt'ttt, t'tlttt/tttt. rtt

Moaemerut: fivist and rotate rhe club as you raise the hands. As you raisc llToteruerut: Twisting the club as above, raise the hands in front of the
the hands, the club will rotate so the wrisrs uncross ro rhe left and rhcst again. Keep the elbows closed in tightly.
right. Hold on to the club tightly. Raise the club in front of your chc.sr 14, r lt al C ornmand: "Three."
to shoulder height. Keep the elbows closed inward tightly.
Verbal Command: "Left, Right, and Center Club Twisting Exercise, Moaement: Twist the left hand outward as the right hand twists inward.
One." I{olding on to the club tightly as it rotates, extend the arms straight
clownward. The left wrist will be above the right. Lower the head and
Mouement: Twist the right hand outward as the left hand twisrs inward. look at the hands.
At the same time, push the club forward. The wrists will cross again Vcr b al Coruruand: "Four."
with the right wrist above the left.
Verbal Command: 'Two."

Leít, Right, and Center Club Tu.,isting Left, Right, and Center Club Ttuisting Left, Right, and Center Club Twisring Left, Right, and Center Club Tutisting
Exercise l Exercise 2 Exercise 3 Exercise 4

128 129
I !rI r Itll\l \l' w t(l'\ I I ll\tr

the
Moaement: Pivoting on the soles of both feet, turn the body to the right Mouement:Twist the club back in front of the chest again. close
into a lateral step. At the same time, twist and rotate the club and lift clbows in tightlY.
the hands as the hands uncross to the left and right. Hold the club Verb al Command: "Seven."
tightly. Raise the hands to eye level. Close the elbows in tightly.
Verbal Cornmand: "Five." Mouement:Twist the left hand outward as the right hand twists inward.
Extend the arms straight downward. The wrists will cross with
the left

Moaernent: Twist the right hand outward as the left hand twists inward. wrist above the right' Lower the head and look at the hands'
At the same time, push the club forward. The wrists will cross again Verbal Command: "Eight."
with the right wrist above the left.
Verbal Command:"Six."

Left, Right, and Center Club Twisting Left, Right, and Center Club Tutisting
Left, Right, and Center Club Twisting Left, Right, and Center Club Twisting
Exercise 5 Exercise 6 Exercise 7 Exercise I

130
t3t
 llttttttrt.t,,
,Tl

Moaement: Turn the body back to face forward,

moving into the horsc
riding step. Twist the hands and rotare the crub
b".k i, front of rhe
chest. Close the elbows in tightly.
Three: Chest Pounding Exercise
Ver b al Command: "Nine.,,

I)eparationr The same as "Left, Right, and Center Club Twisting

Ending: Moacrnerrt:Twist the right hand inward
and the left hand Exercise."
outward' Hold on to the crub tightly and
extend the arms downwarcr. Verbal Comm.and; (l) "Stand up straight." (2) "Open the heels."
At the same time, hop the feet together. Stand
up straight and rerurn (3) "Squat down."
to the start position.
Verbal Command; "Stop now.,,
Moaetnent: As in the previous exercise.

Explanation:'I],e above explanarion covers the

complete movement on Mouarnent: Twist and rotate the club with both hands as you raise the
the right side. During actual practice, the
exercise is done on both the hands upward to the front. The hands come in front of the chest with
Ieft and right. To repeâr on the other sid.e,
after movement nine, begin the club held parallel with the ground, one hand in front of the other.
movemenr four and then do movement five
in the opposite direction. As the hands come in front of the chest, suddenly and forcefully
pound the left side of the chest. As you strike, push the chest forward
to meet the hand. Hold the breath during impact.
Verbal Command; "Chest Pounding Exercise, One."

-W

§ÃsÀ-i&."*','"+*;i*!!$;ir$
Left, Right, and Center Club Twlstlng Exercise
9 *rtt rr"*-f *"-,
132
r33
 rttt, tvtlttttrt, trtr r tttNt,\lr wl(1,\llÍF-ll;

Mouetnent: Twist the left hand inward and the right hand outward. The Mouernent: Twist the right hand inward and the left hand outward. The
right hand moves forward and the left hand moves behind. Twist both lcft hand moves forward and the right hand moves behind. Twist both
wrists and extend the arms downward until the wrists cross with the wrists and extend the arms downward until the wrists cross with the
right wrist above the left. left wrist above the right.
Verbal Command: "Two." Ver b aI Comrnand; "Four."

Moueruent: The left hand twists and rotates the club inward. The right linding: Vnbal Corumand; "Stop now, One-Ti'vo"'
hand twists and rotates the club outward. The club moves in front of
the chest with the right hand ahead of the left. Strike the right side Mouement: (1) Bring the feet together and stand up.At the same time,
of the chest as the chest simultaneously pushes forward to resist the the hands twist and rotate as the club is raised in front of the chest.
blow.
Ver b al C ommand: "Three." Mouement: (2) Twist and rotate the club as the arms extend downward.
The wrists cross with the left wrist over the right. Stand up straight in
the start position.

Chest Pounding. Exercise 2 Chest Pounding Exercise j Chest Pounding Exercise 4

r34 r35
Expknatioz.. This form has only four movements. The studenr can
continue the practice for ten or rwenry rounds, stopping when tired.

Purpose of Tíaining
After a period of training, this exercise will greatly increase the
.§7hen
of the chest. actually fighting, one will be able to break the
grips and will not be controlled. This exercise is a musr for all wrestlers.
Chapter Three: Large Club

Purpose ofThaining with the Large CIub

'[he length of the large club is rwo feet six or seven inches. The hands
can
grip each end. Like the small club, the middle is thicker than the ends.
'lhe club should be made from strong, hard, and smooth wood. Practice
with this piece of equipment will increase the stamina and the power of
rhe waist and legs.

One inch across the top.

Two inches along the upper lefi side.
Two feet six inches along the right side.
One foot seaen inches along the brt side.
The beueled juncture near the top and bottom of
the lefi sidr reads one inch.
7he bonom lefi side reads four inches.

136 137
 t tttttttrt,l' tt'tttt t tltttltttt. ttt

Explanations and Illustrations of Large Club Tiaining Moaernerut: Pivoting on the balls of the feet, turn the body to the right
into a lateral step. At thesame time, the left hand twists the club to the
right in front of the stomach. Hold the grip very tightly so the club
cloes not twist in the hand. The right hand lifts the club upward with
the thumb down. The right grip is loose, allowing the club to rotate
One: Left and Right Club Lifting
in the hand. The head does not turn with the body; continue looking
straight úead.
Preparation The hands hang downward holding the ends of the club. Verbal Command: "Left and Right Club Lifting, One."
The backs of the hands face forward. Stand up straight.
Verbal Command; (1) "Stand up straight." (2) "Open the heels." Mouernent: Pivoting on the balls of the feet, turn the body to the left
into a lateral step. At the same time, the right hand twists the club to
Mouernent: Squat down into a horse riding step. the left in front of the stomach. Hold the grip tightly so the club does
Vcrbal Command: "Squat down." not twist in the hand. The left hand lifts the club from below up to
the left. The grip is loose, allowing the club to rotate in the hand. The
head does not move. Look to the front. (This movement is the same
as the previous moyement to the opposite side.)
Verbal Command: "Two."

t.#,!

Left and Right Club Lifiing Preparation) Left and Right Club Lifting I Lefi and Right Club Lifiing 2

r38 r39
Ending: Verbal Comruarud: "Stop now, One-Tho." Moacment: lJr>p thc right íirot to thc rigl"rt a steP; the left foot follows
,rrrcl stcps across behind the right, toward the right side. At the same
Moaemerut: (1) Tirrn the body to the front. Twist the club and lower rht, tinre, the hands push the club toward the right. Tirrn the head toward
hands to the front, in front of the legs. Move into a horse ridi.g stcP. rhc right and look at the right hand.
Verbal Command: "Left and Right Club Covering, One."
Moaement: (2) Close the feet together. Stand up straight in the start
position. Moaement 2/A.' Pivoting on the balls of the feet, turn the body to the
left. At the same time, the left hand lifts the club into a vertical
Erplanatioz.. This form has only these rwo movemenrs. One can position. Lean the body back slighdy. Turn the face to the right and
continue to practice with repetitions. look at the right hand (do not stop the motion here; continue with
the next movement).
Puryose of Thaining
Practicing this exercise will increase the turning power of the waist anrl
legs as well as the twisting power of the wrists.

Two: Left and Right Club Covering

Preparation The hands hang downward holding the ends of the club.
The body stands up straight.
Verbal Comrnand: "Stand up straight."

Lefi and Rtght Club Coaering I Left and Right Club Coaering 2/A

140 141
 I ltlllllll.l' lt'rlt, t'tltttl,,ttt ttt

Mouement 2/B: Pivoting on rhe balls of the feec, rurn the body to rhe
left Moaement 3/B: Pivoting on the balls of the feet, turn the body to the
into a lateral step. At the same time, the left hand twists the club up,
right rear, moving into a lateral step. At the same time, the right hand
over, and then down beside the waist. The right hand lifts
the club twists the club from above down beside the waist. The left hand lifts
from beside the right hip upward and over in a circle. use force to
the club from the side of the left hip upward and over in a circle. Use
press the right hand forward in a covering motion.
force to press the left hand forward in a covering motion.
Verbal Command: "Two."
Ver b al C ommand: "Three."

Moaeruent 3/A.'The right hand lifts the crub as the left hand twists
the Moaetnent: Step the left foot forward a step. The right foot follows
club, moving the hand a little forward. The body leans back. Tirrn
forward a half step. Close the feet together. Stand up straight in the
the head to the left. Look downward at the left hand (do not
stop the start position.
motion here; continue with the next movement).
Verbal Comrnand: "Four."
ltffiffi

_! À.,.É-.,.+:,,+
I

Left and Right Club Couertug 2/B Left and Right Club Couering 3/A Left and Right Club Couering 3/B Left and Right Club Couering 4
I

142 143
 rrrt rt, w l(t,.1t I tl\r,

Purpose of Tiaining Mouement: Kick the right foot forward, pulling the toes back in a
In order to execure the "Left and Right Rolling" throw and the 'Arnr hool<ing motion. At the same time, the left hand rwists the club and
Support Rolling" throw, it is necessary to develop the power in the waisr pulls up beside the waist. The right hand follows and pushes the end
and legs with this exercise. Once you have a foundation, you will be able of the club forward. Bend the left knee and squat a little. Lower the
to use force appropriately. In the firsr moyemenr, rhe right hand is used head and look at the right foot.
as if gripping an opponent with lower conrrol. The left hand is used as if Verbal Cornmand: "Left and fught Kicking with the Club, One."
gripping the opponent with upper control. '§7hen the left foot cross steps
behind the right and the body turns, great force is generated. The first Moaetnent: Put the right foot down. Kick the left foot upward in the
motions of movemenrs rwo and three are used to pull the opponent tightly same manner. The right hand twists the club and pulls back beside the
against one's body. The second motions of moyemenrs rwo and three are waist. The left hand follows and pushes the end of the club forward.
used to throw the opponent. If these movements are used correctly, the Bend the right knee and squat a little. Lower the head and look at the
result will be assured. left foot.
Ver b a I C ornmand: " Two."

Three: Left and Right Kicking with the Club

PrEtaration The hands hang downward, holding the ends of the club.
Stand up straight.
Verbal Corumand: "Stand up straight."

I-eft and Right Kiching with the Club I Left and Rtght Kiching utith the Club 2

144 145
 rtrr, lYtt,ttI(rt, r,t/ r tttNt,\t, wt(t'\tt tNt(; I ltllllltl,lt ll,lllt I'tllll/,trlt ttt

Explanatioz.. These two movements are done moving straight forward, Mope»rcnt: Movc thc lcft firot firrwercl a stcp. lJcncl the right l<nee
not turning in different directions. The pictures are taken from the leÍi rrrrl lcan thc bocly over to the fi-ont. lr-rrn the toes of the right foot
and right for clarity. The ending and verbal commands are rhe same as otrrward. At the same time, the right hand twists the club and pulls in
this exercise done with the braided rope. besicle the waist. The left hand pushes the end of the club downward
to the front. Look at the left hand.
Purpose of Thaining Verltal Command: "Lower Control Forward Advance, Tirrn Back and
The purpose of training is the same as this exercise done wiú the braided Capture, One."
rope and will not be repeated here.
Moaement: Move the right foot forward a step. Bring the body up
straight, moving into a bow-and-arrow step. At the same time, the
left hancl twists the club and moves beside the waist. The right hand
Four: Lower Control Forward Advance, pushes the end of the club forward. The head is straight; look at the
right hand.
Tirrn Back and Capture Verbal Command: "Two."

Preparation The hands hang downward, holding the ends of the club.
Stand up straight.
Verbal Command: "Stand up srraight."

.s

Lower Control Forward Aduance, Turn Louer Control Foruard Aduance, Turn
Back and Capture I Bach and Capture 2

146 t47
 vvrrI rlIlllr,

ilm
Moaement: Pivoting on the right foot, swing the left foot so the body End.ing: Verbal Command: "Stand up straight, Qns-Tiü/6'"
turns to the left to face the rear. The right hand twists the club,
pushing it up toward the rear. The left hand holds the end of the club Moaetnent: (1) Raise the body upright. Hop the two feet together. The
near the right armpit. \7hip the head to the right and look behind. hands lift the club up in front of the waist'
Verbal Command: "Three."
Moaemmt: (2) The arms lower down into the original position'
Moaement: The left hand twists the club down beside the waist. The
right hand moves from the rear, over, and then presses downward to Explanatiou This is the exercise on the left side. The right side is done in
the front. At the same time, the body bends over to the front. The feet the same manner.
slide back a half step. Straighten the knees and lift the hips. The head
hangs downward. Look at the right hand. Paryose of Training
Ver b al C ommand: " Four." Th. p,rrpor. of this exercise is the same as the Chinese wrestling form.

Lower Control Forward Áduance, Turn Lower Control Foruard Aduance, Turn
Bach and Capture 3 Bach and Capture 4

148 149
 ,ttt rt t rrt rr r r,,, rl,,rl,,,r,,"

llxplanations and Illustrations of Basket Thaining

Basket Shaking

I)eparaüon; Open the legs and squat downward into a horse riding step.
Place the basket to the front.
Chapter Four: Basket
Metbod of Practice

One: Grab the basket at the sides. Pick the basket up. Pivoting on the left
Purpose ofThaining with the Basket foot, step forward with the right foot and turn the body to the left.
The size and weight of the body yary among individuals. For example, if a The right foot steps across onto a parallel line with the left foot as the
smaller and lighter fighter wants ro throw a larger and heavier opponenr, body turns left. As you turn, thrust the rear upward, using the hips
even if he has the right opportunity to atack, he may still fail in his attempt to support the basket. The head whips to the right rear. Look at the
because of a lack of strength. If the smaller fighter has trained with the basket.
"Basket Shaking" exercise to a sufficient degree, he will have nothing to
fear from a larger opponent. The basket is made of strips of bamboo. The
diameter is about a foot and a half. The height of the basket is about a foot
and seven or eight inches. You can add weight to the basket by adding dirt
or bricks. Beginners should add only between ten and rwenry pounds of
dirt or bricks (weight should be added according to the physical condition
of the individual). After a period of training, weight can be added gradually.
tVhen one can handle the basket with a hundred pounds or more of weight,
an opponent of oyer two hundred pounds can be tossed with a shake of the
body. This is because the bricks used in the basket are dead weight. After
practicing with dead weight, when confronted with an opponent whose
center of gravity can be manipulated more readily, you will find it easier
to move the opponent's live weight. This rype of training is tailored to the
individual. The method of practice follows.

Bashet Shahing l/A Basbet Shahing l/B

150 151
 I

Tuo:Pw the basket down in front of you. This is the exercise to the right
side.

Basket Shaking 2

Purpose of Training
This rype of weight-supporting exercise trains the power used in throws Chapter Five: Barrel
over the hips. \When you feel you have built up sufficient power, you will
Ênd it easy to turn your back and toss an opponent over your hips (see the
various hip throwing techniques).
Purpose of taining with the Barrel
Note:'Ihe text illustrates the exercise on theright side. To practice the The barrel is commonly used in the household to store water.'When prac-
movement on the left side, reverse the directions in step two, pivoting ticing the exercise explained here, you can use mud to increase the barrel's
on the right foot while turning the body back to the right. The left weight. The weight of the barrel is determined by the strength of the indi-
foot will step as the hips lift the basket. This is the first movement. vidual. §Teight can be added as practice progresses. This exercise focuses on
The second movement is to put the basket back on the ground. increasing the power of the waist and legs as well as the arms. The endurance
will also improve. Barrel training is done individually and not in groups.
The method of practice follows.

.' ' J&

ft
I

152 r53
I
 I lllr l\'ll I ll()l) ()lr t

Explanations and Illustrations of Barrel Tiaining 'ftao: Pivotins on the soles of both feet, turn the body to the right. The
right arm will twist the barrel inward as the left arm turns the barrel
to the right. The right arm bends as the left arm straightens. Lower
Barrel Rubbing the head and look at the barrel.

Preparation Stand in front of the barrel. Open the feet as wide as a

Purpose of Thaining
bow-and-arrow step. Hold on to the sides of the barrel. Chinese wrestling places great importance on the coordinated move-
rnents of the waist and legs with the hands. This exercise is designed spe-

Metbod of Practice cifically to increase the power of the waist and legs and the hands. Thaining
will increase endurance and make the body more lively.
One: Pivoting on the soles of boú feer, turn the body to the left. Bend
the knees and squat a little as you straighten the waist. At the same
time, use the right hand to turn the barrel to the left. The right arm
will straighten as the left arm twists the barrel inward. The left arm
will bend. Lower the head and look at the barrel.

% I

Barrel Rubbing I Barrel Rubbing 2

r54 r55
l
 PART T§TO: PRACTICAL
APPLICAIIONS TRAINING

Pernpo PnecucE

Chapter One: Method of Paired

Throwirg Practice
Tt is hard to say with certainty how many throws there are. The rwenty-
I.igh, throws á,rgfr, in this book are the more commonly seen methods.
Other throwing methods are only variations of the throws shown here.
-Every throw will have several variations. Some variations of the same tech-
nique will go by different names, yet use the same energy in application.
The only difference may be the position of the grips. Beginners should
study the nventy-eight methods presented here as a foundation. Variations
of the throws are best discovered through actual practice. All techniques
in Chinese wrestling are born of a combination of knowledge and power.
It is important never to practice throws in a rote mannet as if performing
calisthenics. This is because victory and defeat are solely decided by the
depth of one's skill.
And skill is developed through deep and conscientious practice of the tech-
niques with sensitivity. It is impossible to adequately convey this with writ-
ten words. Ability can be acquired only through a long period of patient and
bitter practice, "the more practice the greater the experience." If you one
day obtain the guidance of a famous teacheç you will be assured of success.

157
'llris is llr('lllr('ttrr';tnitt1loí tlrt'srryirr1,, "li,r .r l)('r'.s()n witlr lr,':rtt,llrtlt'is lrrr
cliíÍictrlt thirrg rrrrtlcr lrcrrvt'rr." Chapter Two: Illustrated Guide to
One rlust bcgin thc paired thr«rwing l)raLrtiL:c irr:r graclual nrrnnr:r; tl.,
not be in a rush. One shoulcl practice eâch throw ir minirnun) olrwicc. I)rrrr Grips on the Uniform and Body
ners should take turns throwing and taking falls. §7hen pr:rcticing throws,
pay attention to the use of grips, the method of entering the throw anrl
'When
the application of force. taking falls, besides paying attention to Illustrated Guide to Grips on the Uniform
the correct method of landing safely, one should also pay attention to thr'
partnert use of grips. Later on when fighting, one will learn to counter thc
grips, thereby preventing the application of the throw. It is also importanr
to attend to the partner's safery when throwing him, in order ro prevenr
injury.

right upper collar -- ----- :-- *-- left upper collar

right lapel left lapel
right armpit --- --*leftarmpit
right sleeve -- **- leftsleeve
right center belt
and lower jacket f
1
_) ,t left center jacket
belt
and lower
right lower jacket --- -- left lower jacket
./'
the belt r/
\ rearjacket

158 159
 llilr tvlt|t ilt[, (]ir t llll..lt,,, l, WlltriittttJr;

Chapter Three: Rules of

Engagement

Illustrated Guide to Grips on the Body he saying goes: "'W'ithout following the rules, there will be no order." It
is no different for Chinese wrestling. The rules for entering the practice
area are explained below.

topofshoulder---*--7
backofshoulder -*---
armpit -- chest

upper arm

elbow

lower arm

wrist -- crotch

upper leg
-
knee
- crook of leg

** lower leg

ankle
-*-

161
160
 -I l'/lll. /l l'ltlt llt t'

One: Preparation Two: Holding the Jacket

Both men stand up straight and face forward. The Chinese wrestling uni- liirst grab the belt with the right hand, then use both hands to pick up the
form is spread in front of the feet. The belt is folded in half and placed iecket. You are ready to put on the jacket.
horizontally across the top of the jacket.

Preparation Holding tbe Jacleet

t62 163
 llllnl W lrl', I I llll. *f
"l'

Three: Putting on the Jacket Four: Bowing

Both hands pick up the jacket from the rear. The right hand lifts up and After putting on the jacket, the wrestlers move away from each other and ilililffi

swings the jacket around the left shoulder, over the back. The left hand turn to face one another. The wresders then bow to each other at the sâme
goes through the left sleeve. At the same time, the right hand goes through time.
the right sleeve. The hands pull the ends of the belt apart. The hands wrap
the belt around the waist; the belt is tied at the side. The knol.is tied flat
so that it will not injure the wrestler when he falls. After the belt is tied,
the lower front ends of the jacket are pulled around to the rear so that the
jacket is pulled tightly against the body. There should be no space between
the jacket lapel and the chest. This will make it difficult for the opponent
to get grips.

Bowing
Putting on the Jachet

r65
164
 rt

Five: Ready Posture Six: Coming to Crips

After bowing, the wrestlers turn to their right and walk a complete circlt. Aí'tcr fircing the opponent in the ready posture, either wresder may move in
back to their original positions. Stopping with the left fc,ot turned in, thc to rttack. The method of "Hook and Hang" is used to obtain grips. Once
right foot slides to the rear in a semicircular movement. The right foot grips are secured, the throws may be executed. Vhile attempting throws,
comes behind the left. At the same time, the body fivists as the right hanrl ,rll rnanner of hand technique, footwork, body and waist methods are used.
comes forward. The right hand is held in a gripping position. The left hanrl ()ne can change as one likes with the purpose of scoring a throw. \ü/hen
grips the lower end of the left lapel. The body inclines üc the front (the hearl lrracticing throws, after coming into the ready Posture, one must secure
must not pass the toes of the left foot or the balance will be lost and thc ;rppropriate grips in order to execute the throws.
opponent can pull you down to the front easily). The chest is thrust forwarrl
and the hips stick out to the rear. tüatch the movements of the opponent
closely. (There are two basic postures when beginning a match. One is callecl
the Walking Dragon; the other is called the Crouching Tiger. The postult.
illustrated here is the Crouching Tiger.)

Ready Posture Coming to Grips

166 167
 ?r l',lttr'rl l't,ltltrr

Chapter Four: Illustrrrted

Explanations
of the Throwirg Methods
One: Lower Control Press

One:Thethroweq X grips his opponent, Y, wi1À.the left foot forward in

a lateral step. Theright foot is behind. X grips the opponent's right
sleeve cuffwith his left hand and traps his arm under his armpit. X
uses his right hand to grab the back of Yt belt.

Trao:Xsteps up with his right foot and turns his body with his back to
Y. X uses his hips to press firmly against Y's lower stomach. X bends
his knees a little. It is important that X keep his heels on a parallel line
Lotuer Control Press, Right Side
with the feet shoulder-width apart. X looks back at Y.

Tbree:X straightens his legs and sticks out his hips to the rear as he bencJs
his upper body over to the front. X lowers his head and turns to look
to his left. The hands pull downward with force. Y releases his grips as
he passes over X's back and lands on the ground.

Louer Control Prex, I?ight Side Lotuer Control Press, Left Side

168 t69
 tttt,\tt ttl()t) (rt r ltttlt..,t \\'trt,,tttl(, vÍ

Two: Upper Control Press Three: Overturning the Sack

This technique is the same as the Lower Control Press. The only difference
is this throw uses an upper grip. X reaches over the top of Y's shoulder and One:Xuses his left hand to grab Yt right wrist. X grabs Y's elbow or
grabs the far armpit. The other hand grips the sleeve and arm as in the sleeve with his right hand (X has his left foot forward and his right
previous technique. Taller wrestlers should use the upper grip variation of foot back).
this throw, while shorter wresrlers will Ênd the lorver grip variation more
suitable. Tuo:Pivotins on the sole of the left foot, X steps up with his right foot
and turns his back to the opponent (the step and body method are the
same as the pressing throws above).

Tbree: X straightens his legs to the rear and presses his hips back and
up. X pulls downward with his hands as he lowers his head and turns
to look to his left. Y releases his grips as he fips otrer ro land fat in
front ofX.

Upper Control Press, Right Side Upper Control Press, Left Side Ouerturning the Sack, Right Side

170 17t
 l',1t,,'tl I't,lt I it.'

Four: Hand Pulling ilil

One:Xuses his right hand to grab Y's left wrist, and his left hand to grab
Yt left elbow. X has his right foot forward and his left foot back.

Tuo:Xsreps up with his right foot behind Yt left leg. Y blocls Xt leg
from behind, preventing him from stepping back. At the same time,
*. rt !ü{:,, X releases his right grip and reaches around the back of Y's neck,
grabbing Yt chin (or X can grab Y's right lapel). X pinches Yt left
l#
arm underneath his left arm.

Tbree: X forcefully pulls Yt chin with his right hand as he turns his head
Ouerturning the Sack, Right Side to the right. Y will be pulled to the ground.

Ouerturning the Sacb, Left Side Hand Pulling, Right Side

t72 173
ttIt, lvtt,tttrrt, lrt, \ tttNtr\t, wt(t \tttNt, I tllr(ll I ltll llll

Five: Leg Lever \7hip

One:X uses hisleft hand to grab Y's right sleeve and his right hand
to grab Y's left upper collar (X has his left foot ahead with the toes
turned outward and his right foot behind).

Trao:X traps Yt right arm underneath his left arm. X releases his right
grip and reaches over the top of Y's left shoulder, grabbing outside Y's
right armpit. X pulls Y's body close to his and traps it tightly. At the
same time, X steps up and across with his right foot, turning his body
to the left until his back is to Y. X extends his leg across the top of
Y's right knee. (This stepping method is the same as the "Upper and
Hand Pulling, Right Side Lower Control Press" techniques. Similarly, the upper control grip is
better suited to a taller fighter, while a shorter fighter should use the
lower control grip.)

Tbree: X right leg back forcefully, knocking Y's legs back offthe
snaps his
ground. At the same time, X lowers both hands downward toward the
front. X whips his head to the left and throws Y to the ground.

Hand Pulling, Left Side Leg Leuer Whip, Right Side

i

174 175
l
 -

Six: Leg Rolling Whip

li

One:X left hand to grab Y's right sleeve and his right hand to
uses his t1

grab Y's left upper lapel (X has his right foot úead and his left foot
bchind).
i

'lioo: X
kicks Y with his right leg. Y catches hold of X's leg. X then inserts
lris light leg into Y's crotch, between Yt legs. At the same time,
I

X right grip and reaches over the back of Yb shoulder,

rcleases his

lirlbbing hold ofYt right armpit. X traps Yt body tightly.

t lhn'c: X now bends his right knee and pulls his foot out from between
Y's lcgs. X extends his right leg above Yt right knee, pointing his
Leg Leuer WhiP, Right Side
rot's upward. X now rolls his right leg downward (turning his toes to
l,rt t' «lownward) as he snaps his leg back, while X lowers his hands
,l,,wrrward to the front. At the same time, X pivots on his left foot,
t r r rr ing his body and whipping his head to the left. Y is thrown to the
r

[,tr )und.

Leg RollingWhip, Right Side

Leg Leuer WhiP, Lefi Stde

176
177
II
 q l',t tt r'rl l't,tr I tr t'

Seven: Rowing Hook

One:Xuses his left hand to grab Y's right sleeve and his right hand to
grab Y's left upper collar. X has his left foot úead and his right foot
behind.

Trao: Pivoting on his left foot, X turns his body back to the left. X inserts
his right leg between Yt legs and hooks his right foot around the
inside of Y's left leg. X's right foot hooks securely around the back of
Y's ankle. At úe same time, X releases his right grip and reaches over
Y's left shoulder, grabbing Yt right armpit. X uses force to pull Y in
close.

Leg Rolling Whip, Right Side

Ihree: X hops his left foot to the right a half step. At the same time, he
lifts his right foot upward, pulling baclaryard with both hands. In the
same motion, X turns his body and whips his head to the right. Y is
tripped to the ground.

Leg Rolling Whip, Left Side

Rouing Hoob: Right Side

178
179
rilr, rvrr,til()t, ()t, r ilttJt,,itr wlt:,,ltlr.t(;

Eight: Lifting Hook

One and Two:The same as Rowing Hook.

Tbree:X lifts Y's left leg upward to the rear as he pulls down with his
hands to the front. At the same time, X turns his body to the left,
whipping his head to look left. Y will be thrown over to the front.

Rowing Hook, Right Side

Roruing Hook, Left Side Lifting Hook, Right Side

180 181
 l tlllltl I lllt lltt

Nine: Pressing Method

One:Xgrabs Yt upper lapels with both hands (on the left and right
sides). X has his left foot forward and his right foot to the rear.

Tuo:Xtwists Y to the left and right, or pushes him forward and

backrvard, causing Y's body to rock side to side, destroying his
stabiliry.

Tltree: X in both hands to pull Y down to his right front. At

uses force
the same time, X squats downward, lowering his head. Y falls face
down. X could also step back with his left foot and turn to his left,
pulling Y down with both hands to his left front.
Lfting Hooh, Itight Side

Lifring Hook, Left Side

t82 183
 l'tl tt r'rl l'r,/, t t r'r'

Tên: \ü7aist Enci rcling

One:Xwraps both arms tightly around Y's waist, grabbing his left wrist
with his right hand. (X can also grab his right wrist with his left
hand. It is important never to interlace the fingers when hugging an
opponent's waist. This is because when you take the opponent down,
it is easy to break your fingers when the opponent lands on your
hands. In addition, it is easier to release your grip when holding on ro
your wrist.)

Tuo:X Yt left leg, blocking Yt leg from the

extends his right leg behind
rear.X pushes forward and presses his chin downward into the front
ofY's chest.
Pressing Method, Application

Tbree: X uses force to press downward with his chin as he pulls Y's waist
in tightly with his hands. Ywill fall backward.

Pressing Method, Applicarion

184 185
 tilr)tr ot ( iltt.lt,,t \\/lrt',lt tl(, ltlll(/l l ltltll!t

Eleven: Left and Right Kicking

One:Xuses his right hand to grab Y's left upper collar and his left hand
to grab úe right side ofY's belt.

Tuo:Xpresses his right foot against Y's left ankle.

Tbree: X to kick Y's left leg upward. At the same time, X pulls
uses force
down forcefully with his right hand as he lifts with his left. X whips
his head to the right. Y will be thrown onto his back.

\Yais t En ci rc ling, App li cati on

*i
ry
Y

,i

Wais t En c irc ling, App li catio rt Left and Right Kicking, Right Side

186 t87
 vr

Twelve: Arm Support and Kick

One:X left hand to grab Yt right elbow. X pinches Yt right

uses his
lower arm under his armpit. At this point, X has his left leg a little to
the front, with his right foot behind.

Trao:X inserts his right arm up under Y s right armpit, liftlng upward to
support Y's arm from below. At the same time, X moves his right foot
forward to connect outside Y's left ankle.

Tbree: X kicks Y's left foot upwith his right foot while simultaneously
lifting up Y's right armpit with his right arm. Y will be thrown to the
ground.
Left and Right Kiching, Left Side

Left and Right Kicking, Right Side Arm Support and Kich, Right Side

188 189
i
Illl l\ll Ill()lr (ilr r ll|".il',t \\1 l|t', 1| ttir, ltlll((l I l,lr//rr I

TI

Thirteen: Straddle Leg Kick

One:Xuses his right hand to grab the upper left side of Y's collar and his
left hand to grab the center of Y's belt. X has his left foot to the front
and his right foot to the rear.

Two:Xmoves his right foot forward and places the foot around Y's left
ankle. At the same time, X releases his right grip and grabs around Y's
right knee, pulling Y s leg upward.

Tbree: X pulls down forcefully with his right hand as he lifts with his
left. At the same time, X kicks Yt left leg out from under him with
Árm Supltort and Kick, Lert Side his right foot. X whips his head to his right front. Y is thrown to the
ground.

Arm Support and Kicle , Right Side Straddle Leg Kick, Right Side

190 191
 l,lllr'tl I ltltllta

Fourteen: Inward Kicking

One:X uses his left hand to grab Yt right upper collar and his right hand
to grab the center of Y's belt.

Trao:X inserts his right leg between Y's legs.

Tbree: X pulls downward forcefully with his left hand toward his left
front as his right hand lifts up and over in the same direction. At the
same time, X lifts his right leg forcefully upward inside Yt left leg,
causing Y's leg to rise upward and outward (it is important to hold Y's
leg suspended in the air in order to disrupt his balance).

Straddle Leg Kich, Right Side Four:Xlowers his head and whips his face to the left.
Y will be thrown over.

Straddle Leg Kick, Left Side Inuard Kiching, Right Side

192 193
 I1lItr'/l l ltllIItt'

Fifteen: Neck Rub and Thip

One:X uses his right hand to press downward on the left side of Yt neck
as his left hand grabs the center of Y's belt. X has his left foot to the
front and his right foot to the rear.

Tuo:X moves his right foot forward and hooks his foot around Y's left
ankle.

Tbree: X uses his right foot to kick inward forcefully against Yt left
ankle. At the same time, X uses his right hand to press Y's neck down
Inward Kiching, forcefully to his right lifts with his left hand. X whips his head to
as he
Right Side
look to his lower right. Y will be thrown over.

ffi.W
e&
re
ffi l'**#Y
M:'rnw
ffiW ffi w
fi

@*,.
Inward Kicking,
Left Side
Nech Rub and Tiip, Right Side

194
195
 Iilt l\lt tilr)tr otr ( ilttJt,,t \\'trt l'tlIIt'/l l lt/tIIt('
'ft
i

Sixteen: Leg Restraining

One:X uses his left hand to grab the center ofY's belt and his right hand
to grab Y's left upper collar.

Two:X uses his lift

left foot to kick Ys left foot upward and continues to
Yt leg by bending his right knee and lifting inward with his foot. X
turns his body half way to his right side.
I

Tbree: X right grip and grabs around the outside of Y's left
releases his
ankle. X lifts Y's leg upward and inward as he presses down with his
chin over the top of Ys left wrist. Y's hand is held in place and he
cannot release his grip. X lifts with his left hand, causing Y to tilt over
forward. Y will not be able to stand and will fall over.
Neck Rub and Trip, Right Side

Nech Rub and 7i'ip, Left .Side Leg Restraining, Right Side

196 197
 l',1 t t r'rl l't,lr I tr t' rnl

Seventeen: Lying \Mhip

One:Xuses his left hand to grab Y's right sleeve as his right arm reaches
over Y's left shoulder. X grabs Yt right armpit with his right hand. X
forcefirlly pulls Y into him tightly with both hands.

Tuto:Xinserts his right leg between Yt legs.

tl
Tbree: X pulls to his right rear forcefullywith both hands as he turns his
body to the right and whips his head to look to the right. At the same
time, X lifts Y's right leg upward. Y is thrown onto his back. (§[hen
applyrng this throw, Xwill fall with Y. Because X lands on top of Y,
according to Chinese wrestling rules, X will score a victorious throw.)
Leg Restraining, Right Side

Leg Restraining, Left Side Lying Whip, Right Side

198 199
Ilt, N1 I tl()tr ot ( utt.t r.',t Wtrr',t t trr. l',lllt'll l'ttlt ltt t

Eighteen: Outward Fall

One:Xuses his left hand to grab Yt right upper collar and his right hand
to grab Y's belt on the left side. X has his left foot to the front and his
right foot to the rear.

Tuo:Xmorres his right leg forward and hooks the leg around Y's left leg.

Tbree: X pushes with his left hand as he pulls Y in tightly to himself with
his right hand. X leans over to the front and pulls back toward himself
with his right leg. Y will fall backward.

Lying Whip, Right Side

Lying Whip, Left Side Outtaard Fall, Right Side

200 201
 Nineteen: Hooking Method

One:X uses hislefi hand to grab Y's left upper collar and his right hand
to grab Yt right upper collar or the center of his belt. X can also leave
his right hand free. X has his right foot to the front and his left foot to
the rear.

Ttao:Xsteps up with his left foot and releases his right grip. X grabs
around the outside of Y's left knee with his right hand and lifts the
leg, preventing Y from escaping.

Tbree: X pushes forward with his left hand and steps forward with his
Outward Fall, Right Side right foot. Y falls down backward.

Outward Fall, Left Side Hoohing Method. lligltr ,\il,

202 20.i I
 Twenry: Lower and Seize

One:X uses his right hand to grab the left side ofY's lapel.

Tuo:Xextends his right leg and hooks his right foot around the inside of
Yt right foot. X grabs around Yt right ankle with his left hand.

Tltree: X right lower leg forcefully into Y's right shin (the leg
presses his
is pressed back and downward). At the same time, X pushes forward
with his right hand and leans his body forward. Y falls back.

Hoohing Method, Right Side

Hooleing Method, Left Side Louer and Seize, Right Side

204 205
 t, wt{t,ltrtr\r. I .ll l'. tl I-r'tlt l lt t'

Twenty-one: Kneeling Connection

One:X uses boú hands to grab the front of Y's belt (X can also use his
left hand to grab Y's right upper collar).

Trao:Xsteps up with his right foot and inserts his foot between Y's legs.
As he steps in, X simultaneously squats down, hooking his right
leg back around Y's left foot from the inside. X grabs around his
own right ankle with his right hand, trapping Y's left leg in place,
preventing his escape.

Tbree: X right upper leg to press into Y's left lower leg. X
uses his
Louer and Seize, Right Side simultaneously straightens his body, turning to his front right as he
pushes with his left hand. Y falls backward.

Louer and Seize, Left Side Kneeling Connection, Right Side

206 207
I lll' rvll'l llrrl, r,l' \ llllllrilr w lll,! I I lTl(. I tlll('tl I ttlt llt ('

Twenry-two: Leg Piercing Underhook

One:Xuses his left hand to grab Y's left wrist. X has his left leg in the
front and his right leg in the rear.

Tuto:Xsteps his right leg up behind Y's left leg. X bends his knees and
squats a little, blocking Y's left leg. At the same time, X inserts his
right arm through Y's crotch, grabbing behind Yt right knee. Y's right
leg is trapped. X presses his head under Y's left armpit.

Tltree: X into Y's armpit as he simultaneously

presses his head upward
pushes his body up to the right. X holds on with both hands. Y is
thrown backward.
Kneeling Connection, Right Side

Kneeling Connection, Left Side Leg Piercing Underhook, Right Side

208 209
tttt t\,ttitttrrt, rrt, I tttt\t'rt, wrir'rrrrr:r!. lllllt/l l ltltllt('
l|'l

Twenry-three: Left and Right Rolling

One:X uses his left hand to grab Y's right sleeve and his right hand to
grab the center ofY's belt.

Trao:Xsteps his right leg between Yt legs.

Tbree: Pivoting on both feet,X pivors his body to the left. X lifts
forcefully upward with his right hand and pulls Y's arm in tightly with
his left. Y is thrown.

Leg Piercing Underhoole, Right Side

Leg Piercing Underhooh, Left Side Lefr and Right Rolling, Right Side

2t0 2t1
 I ll{)lr r)l/ ( llll.Jl'il, Wlll ,. l l ll.lr, l ,llr('tl l lllt Ilt t'

Twenry-four: Arm Support Rolling

One:X uses his right hand to grab the center of Yt belt or lower lapel. X
uses his left hand to grab Y's right upper collar. X steps his right foot
between Yt legs. X has his left foot to the rear.

Two:X releases his left grip and grabs Y's left wrist.

Three: X turns his body to the left as he whips his head to look to his
lower left. X lifts with his right hand and holds Y's wrist tightly with
his left hand. X turns his right shoulder to his left. Ywill be thrown.

Left and Right Rolling, Right Side

Lefr and Right Rolling, Lefr Side Árm Supltort Rolling, Right Side

212 213
 l'tlt tt ll I't'tlt l tt t'

l'lT

Twenty-five: Big Connection Tâkedown

One:X uses his right hand to grab Y's left upper collar and his left hand
to grab the center of Y's belt. X has his left foot to the front and his
right foot to the rear.

Trao:Xmoves his right foot up between Yt legs and hooks his leg around
the back of Y's left leg.

Tbree: X right hand to push downward forcefully as his left hand

uses his
lifts inward. At the same time, X reaps back and up with his right
leg. X extends his upper body and leans over to the front. Y is thrown
Arm Supporr Rolling, Right Side bachryard.

Árm Support Rolling, LeJt Side Big Connection Taleedowu, lligltt .\ilt'

214 215
tilt t\'tt llll)l) (llr ( lllr-ll,\l' \vlll'"lllt.l(. I tlll('tl I Itlt Ilt (

Twenry-six:'§7'rapping Neck Connection

One:Xuses his left hand to grab Yk left lapel and his right hand to grab
Yt right lapel (this is called double grips lapel locking). X has his right
arm above his left. X has his left foot to the front and his right foot to
the rear.

Tuo:Xsteps his right foot up between Yt legs, hooking his leg behind
Y's left leg. At the same time, X releases his left grip and grabs the
center of Y's belt.

Tbree: X rolls his right forearm across Yt neck as he pulls inward with
his left hand. At the same time, X reaps back with his right leg as he
Big Connection Thbedown, Right Side extends his body and leans over forward. Y will be thrown backward
(the steps and body method are the same as the "Big Connection
Tâkedowri').

Big Connection Tahedoun, l.eft Side Wrap9ing Nech Connection, Right Side

216 217
 r,f r frrr\I\r,Wt{t,\fttDJr. ltltt('tl ttttlltll
- t,l,

Twenry-seven: Hand Propping

One:Xuses his left hand to grab Yt right sleeve and traps Y's arm under
his armpit. X grabs the center of Y's belt with his right hand. X has his
right foot forward and his left foot to the rear.

Tuo:Xsteps his right foot up next to Y's right foot. At the same time, X
releases his right grip and puts his hand on Y's knee. X turns his body
to the left and presses his right shoulder tightly against the front of Y's
shoulder.

Tbree: Pivoting on both feet,X turns his body to the left. X bends his
body forward and whips his head to the left. X pushes forcefully
\Y/rapping Nech Connection, Right Side downward with his right shoulder as his right hand pushes back
into Yt knee, preventing the leg from bending or turning. X pulls
downward with his left hand. Y will turn over and fall onto his back.

\Yrapping Nech Connection, Lefi Side Hand Propping Right Side

2t8 2t9
 wt(t'1lltl\!. I tllrl tl I ttlt Ilt.'

Twenty-eight: Single Leg Propping

One:Xuses his left hand to grab the back ofY's right collar, locking his
upper body. X uses his right hand to grab the center of Y's belt, or he
can hold his hand back ready to use. X has his left foot to the front
and his right foot to the rear.

Tuto:Xsteps up with his right foot and inserts his right hand between
Yt legs, turning his right palm back and pressing his hand against the
inside ofY's left leg.

Tbree: X pulls down forcefully with his left hand and lifts Yt left leg back
and up high with his right. At the same time, X pivots on the soles of
Hand Propping, Right Side his feet and turns to his left while whipping his head to look left. X is
thrown onto his back.

Hand Propping, Left Side Si ngfu l .r'.q I' t () , i t,t,,. I i r.t'.1,

f /, t
r \ r, l,

220 22t
l'rrr. Nlr rnorr r)r ( rrrr',r, Wr,r.',rr rr..r(,

ApprNDrx

Competitive Throwing
After one has become proficient with throwing a cooperative partner, com-
petitive throwing training may begin. Competitive matches are always [im-
ited to three rounds (each time one of the competitors is thrown counts as
one round). This makes it easy to judge who wins and loses. One should
practice competitive throwing every day, with two or three matches as a
limit (this amounts to six or nine throws, but wrestlers should take their
own condition into consideration). It is important not to overdo. Matches
Single Leg Propping, Right Side begin with the same rules of engagement as paired practice. During actual
sparring, it is very important to pay constant attention to safety. Remember,
wrestling is not a child's game. Realize that if my opponent's performance
one day is not equal to mine, I do not look down on him. There is a saying,
"The proud will be defeated." It is the same in all things and is especially
relevant to Chinese wrestling.
Improvement in Chinese wrestling comes through experience. It is vital
that when wrestling one views it as an opportunity to polish technique
and improve skill, and not as a struggle for glory through victory or insult
through defeat. Victory is no cause for pride, just as defeat is no cause for
shame. The more one practices, the greater one's experience. Practice should
be conducted only in an organized manner. After practice, the wrestlers
should discuss the matches, researching the various techniques used and
their counter techniques. Then techniques used against you will be under-
stood, and you may use these same techniques against your opponcnt in
future matches. The abiliry to learn from experience is the way to acrluirc
skill in Chinese wrestling, and the method of improvement. Victorious
Single Leg Propping, Left Side wrestlers must not become arrogant and embarrass the defeatecl wrcstlcr.

)
.l.l 223
 /tl,/t(ilítr.\

\ü7lrc'rr l
wtcstltr is tlrowlr, lrt slr,,rrl.l irrrrrrt'tli:rttly sl,ttt.l lr't.. li trlr,rrr,l 1rr.t' you maintain your grips as you fall, your opponent will be pulled down on
pal-c to wrcstlc rrgain. llc rrrrrst not lirrrp rrlrorrt willr:r tlt'Íi'ltt'tl tlctttcruror, you, resulting in your injury.
losing his warrior spirit. After cvcry thl'ow, thc wrcstlcrs rnrrst tunr to thc
right and walk one or two circles around the practice area for a brief rest.
The wrestlers should take this opportunity to fix their uniforms and belt.
Fighting for Grips
After they have finished the walk, they return to the original start position Fighting for grips is very important in Chinese wresding. Grips will mean
and begin to wrestle again. (\lrestlers need bow to each other only at the the difference between victory and defeat. When beginning a march, com-
beginning of the match. After a throw, it is not necessary to bow again petitors must first fight for grips before they can execure throws. \ü7hen
before the next round.) After three throws, the match ends. Before a wresder fighting for grips, the methods of seizing and locking (Chin Na) are used ro
has completely recovered from a match, he must not begin a subsequent lock the opponent's hands and feet withor-rt reserve. Less severe applications
match. During a match, it is forbidden to make noise, talk, or laugh; to of these locks can be used to control an opponent's hands and feet; more
do so may cause the wrestler to lose focus or suffer injury. If a wrestler severe applications of these locks pose the threat of broken or dislocated
becomes exhausted during a match, he should stop. It is important not limbs. The stuclent must pay attenrion. Before one is certain the throw will
to force oneself beyond one's limits. Exhaustion results in negligence, and be successful, it is better to keep the grips lively; do not grip roo tightly. As
negligence is dangerous. soon as you feel your hands or feet are being controlled by the opponenr,
Beginners should not become proficient at one or t'rvo techniques to you must immediately think of a method of escape; otherwise, you will very
the exclusion of all others; otherwise, it will preclude the accumulation likely be thrown. For example, if both wresrlers simultaneously get iorver
of well-rounded experience. \(/hen traveling to another place ancl meet- grips, the fighter with the outside grip has an advantage over the fighter
ing new wrestlers, one will not know their characters or level of skill. It is with the inside grip. If you take a right grip on the opponenr's right lapel
not a good idea to pick and choose with whom one practices; one should and he turns to his right, thrusting our his chest, you should immediately
take the opportunity to train with as many different people as possible. It release your grip to avoid injuring your elbow.
is cspecially good to welcome practice with the very skilled, as well as the Chinese wrestling is not about pricle in victory or humiliation in defeat.
larger ancl stronger. Through practice with these types of people, onet skills If all one cares about is saving face, and views avoiding a fall as a life-and-
will improve very quickly. When competing, one should be able to adapt death struggle, wrestling becomes a dangerous acriviry. Victory and clefeat
waist, hand, and stepping methods to the situation at hand. One must not are the common events of soldiers. If one is thrown during a wresding
be rigid in application of technique. It is even more important not to seize rnatch, as long as he can arise without injury with his power intact, one can
the opponent with a death grip, or to grip too loosely. There is a saying, continue practice. It is not the same if one refuses ro release grips; injury rcr
"\7hen thrqwing, the grip must be 'dead.'Vhen being thrown, the grip the hands and legs will result. This is the meaning of the saying, "lr is betrcr
must be 'alive."''§íhen you feel an opponentk weakness, you must imme- to be thrown than to be gripped and controlled." To be thrown is nor an
diately apply your throw. Your grips at this point must be locked tightly. insult, but to suffer injury because of an unwillingness to release the grips
The grip must not relax until the opponent hits the ground. Relaxing a reveals a shallow level ofskill.
grip prematurely will result in a total waste of effort. On the other hand,
ifyou feel you are being thrown by an opponent and have no chance of
escape, you must immediately release your grips and prepare for the fall. If

224 ))\
 'Ihe Mcthocl of []rcul<ing Iiall.s
Rules of Chinese \Trestling Competition
All practitioners of Chinese wrestling must stucly thc nrcrhocl oÍ'brcrrl<ing Chinese wrestling competitions are not the same as other martial arts com-
falls. ln the world, there are the strong and those even strongcr. \rVho can go petitions. The goal of wrestling competition is to throw the opponent to
forever without a single defeat? Therefore, it is important for ;»ractirioners the ground. fherefore, in Chinese wrestling competitions it is forbidden
of Chinese wrestling not only to practice throwing merhods, but also tcr to strike with the fists, and when fighting for grips or using leg techniques
research methods of taking falls safely. There is a saying, "Endure throws excessive force that results in injury is also against the rules. Besides the
to learn to throw others." The meaning is to first gain experience taking permitted grips on the upper jacket, neck, arms, and legs, it is against the
falls without injury, then one can begin to compere. For example, during rules to grab inside the top of the pants, panrs cuÍI, or the crotch. It is also
competitive throwing, if you feel you have been caught in a throw with no forbidden to grab the hair, ears, or face. Kicking and sweeping techniques
means of escape, you mllsr nor resisr as if it is a life-or-death struggle. You must be below the knee and above the ankle. ln addition, one may nor
must go with the force and take the fall. As you fall, release your grips, tuck use the right leg to kick the opponent's right leg or use the left leg to kick
your head down, and press your chin tightiy against your chest. This will the opponent'.s left leg. When using techniques that involve inserting the
prevent a concussion. The arms must benc{ and protect the sides of the chest. leg benveen the opponent's legs, the leg must be extencled straight and not
Close the hands into fists beside the face. The legs are bent up to protect the bent to avoid striking the opponenr's groin; orherwise, it is an infraction
crotch and stomach (also round the shoulders and back). of the rules. \ü/hen practicing Chinese wrestling, students must be familiar
The whole body is curled into a half circle shape. 'ü7hen landing, the with all the mles.
backs of the shoulders should hit the ground first. Do not land on rhe arms
or elbows first. 'Ihe body will naturally roll. If you fall in this manner, the
entire body will be protected from injury. Uniform and Belt
The Chinese wrestling uniform is also referred to as the "big collar" and the
"hero'.s skin." This is because when wearing the uniform, one musr possess
the spirit of a hero. The uniform must be sturdy and not easily torn. The
uniform should be made of plain-colored domestic corton, with a rhickness
of seven, eight, or up ro ren layers. The cloth is folded rogerher and sewn
tightly down the sides, the same as monks' robes. The jacket should be cut
from a single piece of cloth; there should be no seam clown the back. A
seam sewn down the back will create a protruding ridge as hard as a srick.
This may cause injury when the wrestler is thrown onto his back. Leftover
cloth may be sewn inside the jacket as lining, but the lining musr be even.
The seams and lining must be srrong and the lapels withour burrons. lWhen
wearing the jacket, the collar and lapels are open, exposing the chest. The
dimensions of the jacket are adjusted to the size of the individual. The jacket
The Safe Method of Falling should be long enough to reach below the navel. The sleeves should come

226
tl,rwrr t9 tlrc cllrows. ()vt'r:rll, tlrt' jrrtli.'t slr.,rrl,l lir rililrrly. li,rl lltost'tlol
usLrcl t() wearing c()ar-sc cl«lthcs, thc.i:rt.l<r.'t lniry l)c lrr:ttlt'ol'soltt'r tlt:ttt'ri:tl lt.s How to Make a Uniform
explained above, adjusting the tl-rickncss of thc cloth.'lhc bcst rnrrtt:riel firl'
the belt is camel hair, cotton, or hemp. The belt should be long errough tcr
wrap around the body rwice. The belt is tied at the side; do not tie the belt I
with the knot in front of the stomach or behind the back as it may cause I
I
injury during a fall.
I
,t---*-*- ;l
I --- ,l
-_-,
tlr
\\ ___..i
I

-
z --' rr
t,
I

Mnltorl of Making a Uniform

Completed Uniform

228 ))q