​The funny thing is that component movements of the Islamic martial art of 'Chaquan' looks identical to our 'Hakka' Longfist Style - even down to the applications - but Longfist is generic and certainly not rare! It comprises hundreds (or thousands) of Northern Styles and is common-place (it has even penetrated a number of Southern Styles). We all approach these movements from our different lineage perspectives - but all traditions use the 'external', 'Internal' and 'Integrated' aspects of ancient Chinese science.

​My research suggests that the Qin Dynasty (221-206 BCE) instigated a country-wide martial culture - probably through a specially constructed manual comprised of illustrations and basic directions. As the Qin Emperor expanded the model of the Qin State (originally situated in Northwest China) across the whole of the conquered territories of what is today considered 'China' (which excluded at the time the swamp-infested area of what is now Fujian province) - this 'unity' of culture spread over a massive geographical area and converted every village into a military barracks - and ordered that every local man, women and child became a 'soldier' serving the Qin State whilst having to train in a standardised martial art (both 'armed' and 'unarmed').

This makes Longfist over two-thousand years old - and pre-existing the arrival of Muslims in China by about 1,200 years! The Arab merchants constructed their Chaquan version of Longfist from what they saw around them in the areas of China they had settled within (possibly acquired from the families of the Chinese women they married). Of course, this specialised Longfist was then taught to non-Muslim Chinese people (for various reasons) over-time - so that today Chaquan is practiced by millions of ethnic Han people - as well as Hui Chinese-Muslims. Hakka gongfu is typically 'Confucian' with Buddhist and Daoist overtones. There are theories, however, that suggest the 'Qin' and 'Han' Dynasties may have been 'Hakka' - that is founded by displaced peoples who originally lived on the edges of geographical Northern China (before migrating Southward) and which had developed cultures that mixed 'Han' and 'non-Han' (Barbarian) cultural elements together. 

​This history is disputed, but certainly DNA studies have linked (modern) Hakka women living within South China with (Evenk) women living today in Siberia. Certainly, our Spear Forms were originally practiced (in-part) whilst riding a Steppe pony and gripping and steering the animal with the legs - whilst keeping the hands free to wield the spear from one side to the other without striking the animal's head. Later, when ponies were nolonger available - the 'Horse Stance' was developed to take their place in training. The 'Horse Stance' used to prepare the practitioner by building the lower-body strength for riding a Steppe pony through 'holding' the stance for long periods of time. Today, most practitioners use this method for strength-building - but have no knowledge of the historical development behind its structure.

Dear Tony

The Chinese language encyclopaedia pages regarding Miyagi Chojun suggest that he went to China in 1915 to meet 'Shi Gong' (Xei Chongxiang) and other gongfu masters because Higaonna Kanyro was still in regular communication with them! Assuming this communication was by the written word (although it could have been by word of mouth), then there should be a written record somewhere in China even if all the replies were destroyed in 1945 in Okinawa! Furthermore, and more to the point, Miyagi Chojun was probably the first visitor to Xie Chongxiang from Okinawa since Higaonna Kanryo left in 1881 - so here is our answer to some extent! Miyagi Chojun probably conveyed all the history he knew of Higaonna Kanryo's earlier visit and education in China - to any and all the Chinese Masters he met - thus spreading the knowledge! Modern Okinawan Goju Ryu Karate-Do is comprised of the following Chinese martial arts styles and systems:

a) Fujian White Crane Fist (福建白鶴拳 - Fu Jian Bai He Quan) - which originated in Yongchun County.

b) Southern Shaolin Fist (南少林拳 - Nan Shao Lin Quan) - probably Quanzhou, but also the sister temples of Putian and Fuqing. based upon Pan Yu Ba's 'Eighteen Arahant Fist' (羅漢拳 - Luo Han Quan).

c) Whooping Crane Fist (鳴鶴拳 - Ming He Quan). From (and between) 1912-1915 with the arrival of Wu Xiangui (Go Ken Ki) on the scene! I suspect Wu Xiangui introduced Miyagi Chojun to 'Whooping Crane' in Okinawa - but then took him to see his Master (Xie Chongxiang) in 1915 as a representative of Higaonna Kanryo (as Higaonna Kanryo was too ill to travel). 

I think the outer frame of Goju Ryu is obviously Southern Fist - which looks very 'Northern' in part and perhaps this is the origination of the wide and broad Horse Stance (which looks just like our Longfist Forms)! The 'inner' frame of Goju Ryo is Fujian White Crane - which has a crossover with such arts as Taijiquan, Xingyi, Xinyi and Baguazhang, etc! The maintaining of 'tension' was taught to me as 'steel wire' in English but I later found out the proper Chinese term is '缠丝劲' (Chan Si Jin) - or 'winding silk unyielding force'. This is taught within Taijiquan and all authentic forms of White Crane. The power is relentless, endless, self-propelling and self-replicating. It is not dependent upon physical fitness (although it is acquired only after a life time of relentless mind-body training without mercy) and is not negated or diverted by physical conditions. It is a universal force that operates regardless of life or death. My Master used to say that it is like a heavy iron ball rolling in all and any directions! Nothing can stop it. The secret lies in the Kata construction of Goju Ryu which is as follows:

Higaoona Kanryo 

Fujian White Crane Fist and Southern Fist Forms (Katas) brought back from Fuzhou - China (c. 1881):

碎破 (Sui Po) = Saifa 
制引战 (Zhi Yin Zhan) = Seiyunchin
四向战 (Si Xiang Zhan) = Shisochin
三十六手 (San Shi Liu Shou) = Sanseru
十八手 (Shi Ba Shou) = Seipai
久留顿破 (Jiu Liu Dun Po) = Kururunfa
十三手 (Shi San Shou) = Seisan 
一百零八手 (Yi Bai Ling Ba Shou) = Suparinpei
三战等 (San Zhan) = Sanchin

Miyagi Chojun

Whooping Crane Form (Kata) brought back from Fuzhou - China (1915)

六机手 (Liu Ju Shou) = Rokuki - later developed into 'Tensho' (转掌 - Zhan Zhuan). Wang Xiangui came to Okinawa in 1912 (where he lived until his death in 1940) - he was sent to assist Higaonna Kanryo by Xie Chongxiang (Higaonna Kanryo died in 1915). Became Miyagi Chojun's teacher and accompanied him to and from China in 1915.

Miyagi Chojun - Constructed Kata (1937)

In 1937, when Japan declared war on China, Miyagi Chojun is employed as a High School Sport Instructor and tasked with teaching Goju Ryu Karate-Do to High School Students destined to be recruited into the Imperial Japanese Army. Goju Ryu training proved too difficult in its traditional form for short-term students passing through limited-time classes - so Miyagi Chojun carefully constructed two Basic Katas that convey a sound appreciation of self-defence:

击碎第一 (Ji Sui Di Yi) = Gekisai Dai-Ichi* 
击碎第二 (Ji Sui Di Er) = Gekisai Dai-Ni*

Within these two Katas - Miyagi Chojun introduced the concept of the '上段扬受' (Shang Duan Yang Shou) - or 'Jo Dan Age Uke' in Okinawan. This is a highly technical term that translates as 'Upper Level Raising Interception' - and which today is universally known by its English translation of 'Upper Block'. (This upper 'blocking' technique involves the coordinated crossing, rubbing and inter-changing of the toughened fore-arms (with closed fists) in front of the chest area as each is alternatively raised above the forehead (whilst defending the middle and upper levels) - with the intention of deflecting a downward descending blow directed to the top of the head - or diverting a straight punch or similar strike to the face, etc. Today, the exact angle of the raised block with the closed hand varies according to the preference of the Karate-Do style). According to Chinese language sources, this 'Upper Block' did not exist in the Karate-Do styles extant upon the island of Okinawa prior to 1937 - and that Miyagi Chojun is recognised as the sole originator of this technique as practiced within the art of Karate-Do. Prior to this, the Naha-Te - Goju Ryu style utilised a typical White Crane defence that saw an elevated mid-level defence raised up to neck and head height - where the palm and fingers of the open hands would deflect (or slap) blows away to the side. Miyagi Chojun may have seen similar upper blocking movements whilst observing other Chinese styles of martial arts (where these movements are often a combination of a closed handed punch and a fore-arm deflection) - different Chinese martial styles that had not yet penetrated Okinawa or the Karate-Do community! 

Thanks Adrian

*​These Katas were a product of rampant Japanese 'Nationalism' and were designed, at the time, to prepare the minds and bodies of young Japanese men (for their stint in the military) from 1937 onwards to attack and kill Chinese men, women and children. From 1941 onwards, this Japanese 'Nationalist' aggression would be aimed at civilian populations throughout Asia, and include the militaries of the West, etc. In late 1945, this Japanese 'Nationalist' aggression would be aimed at the Soviet Red Army as it strove to 'Liberate' (Manchuria - Northeast China) from Imperialist Japanese Occupation! I am reminded of Funakoshi Gichin's biography where he proudly mentioned himself preparing thousands of young Japanese men for 'unarmed' Karate 'Banzai' charges aimed primarily at attacking US soldiers! It is ironic that all those non-Japanese people who practice Japanese Karate-Do throughout the world today, have absolutely no idea of the 'racist' historical reality 'embedded' in many of the more recent 'Katas' still taught to beginners as primers for the style! 

Translator's Note: The earliest editions of this story appear on the Chinese language internet on December 30th, 2019. This story is then circulated around and through the Chinese language media for at least another six months to a year. There appears to be two dates that are distinct - but which are 'merged' - during the reporting of this story. The two dates are as follows:

a) 'September 16th, 1989' - when Lin Weigong made the official announcement that he had discovered the name of the Chinese Master of the 'Whooping Crane Fist' - that is 'Xie Chongxiang' (謝崇祥) [1852-1930]- also known as Xie Ru Ru (謝如如) and  'Ru Ru Ge' (如如哥) - who was the teacher of the Higaonna Kanryo [1853-1915] (from Okinawa) during the 19th century.

​b) 'June 9th, 1990' - a black marble "Monument of Achievement" was raised in the southwest corner of the Fuzhou New Sports Centre by the Japanese and Okinawa Karate Association in memory of the Chinese Master Xie Ru Ru (謝如如) also known as  'Ru Ru Ge' (如如哥) - the Chinese teacher of the Okinawan Master Higaonna Kanryo!

Therefore, the year '2019' marks the 30th Anniversary of the announcement of the discovery of 'Xie Chongxiang' (謝崇祥) - whilst the year '2020' marks the 30th Anniversary of the raising of the black marble stele - and I believe the confusion (and conflation) of these two dates is the reason 'why' the news story continues to be associated with two different years (2019 and 2020). As not all of the historical data is present in any one single text (as the authors assume their readership already possesses a working knowledge of the story at hand), I have borrowed from at least three versions and have weaved a coherent historical narrative together. There was around eight months between Lin Weigong's historical announcement - and the Japanese - Okinawan Karate Association (representing 'Goju Ryu') organising the fund raising, commissioning, construction and transportation of the black marble stele - which is inscribed using Japanese language ideograms. The primary pictures in this article feature the stele and are dated from 1990 and 2000. The main stone tablet (and supporting base stele) both commemorate - with great respect - the eternal friendship that exists between China and Japan.  This very close and fraternal relationship is embodied (and epitomised) through the creative (historical) interaction that took place between Xie Chongxiang and Higaonna Kanryo! May this interaction between the cultures of these two countries be forever fruitful! ACW (15.8.2022)

​In the summer of 1988, the relevant Departments of Okinawa Prefecture Government hosted a banquet in Fuzhou to thank the Deputy Secretary-General of the Fujian Provincial Government and Director of the Provincial Tourism Bureau - Nan Jiang (南江) - and other leaders including the well-known and respected senior academic - Lin Weigong - (Editor-in-Chief of People's History of the Fuzhou Local Chronicle Committee) who sought out the roots of the "Thirty-Six Surnames of Fujian People" in the Ryukyu country. He has made unremitting efforts and contributions to the search for roots and ancestors in Okinawa for many years. On September 16th, 1989, after months of arduous research, Lin Weigong made the breakthrough that everybody had been waiting for - that he had discovered the Chinese teacher of Higaonna Kanryo! This led to a great outpouring of enthusiasm and excitement in both Okinawa and Japan - culminating in the idea of constructing an engraved monument to honour the Chinese ancestor whose martial arts style eventually evolved into style of Goju Ryu Karate-Do in Okinawa! Therefore, on June 9th, 1990, in the southwest corner of the Fuzhou New Sports Centre, a solemn black marble "Monument of Achievement" was raised. It is a monument erected by the Japanese and Okinawa Karate Association in memory of the Chinese Master Xie Ru Ru (謝如如) also known as  'Ru Ru Ge' (如如哥) - the Chinese teacher of the Okinawan Master Higaonna Kanryo - who developed a style of Karate-Do - that evolved into 'Goju' (Hard-Soft) Ryu. His full name was 'Xie Chongxiang' (謝崇祥). 

The Chairman of Fujian Wushu Association Liu Zhonglu (刘中路) and Lin Weigong (林伟功) Cooperated to Publish a Report in "Chinese Wushu".

Wen Fushan (温附山) Vice Governor of Fujian Province - and VIP Leaders from All Walks of Life in China, Japan and Okinawa - Attended the Ceremony Took a Group Photograph in Front of the Monument.

The Name on the Tablet - Decided by the Historical Investigation team - is that of 'Ru Ru Ge' (如如哥) as the Martial Arts Master in Fujian Who Taught Higaonna Kanryo!

From the left in the front row of the photograph: Lin Weigong (林伟功), Lin Xuanzhi [林萱治] (former Deputy Director of the General Office of the Fuzhou Municipal Government and former Director of the Municipal Local Records Office), Fang Baoyan (方宝炎) (the Great Master of Whooping Crane Fist - 鸣鹤拳 [Ming He Quan]), Huang Qiquan [黄启权] (former director of the General Office of the Municipal Party Committee, Director of the Municipal Office of Local Affairs), Wen Fu Shan [温附山] (Vice Governor of Fujian Province), Head of the Japanese and Okinawan Delegation - Yuika Tokashiki (渡嘉敷唯贤​) - (President of the Japanese and Okinawan Karate Association). In the back row are the Directors and Deputy Directors of the Provincial Sports Commission, as well as leaders of relevant Departments and other members of the Japanese and Okinawan delegation.

Lin Weigong (林伟功) was hired as a Special Consultant by the Japanese and Okinawan Karate Association to investigate the origins of Goju Ryu Karate-Do in China. The picture shows the esteemed Presidemt - Yuika Tokashiki (渡嘉敷唯贤) and Lin Weigong - taking a photograph together in front of the monument.

The above pages  are written in Japanese script and list a number of 'names' of honourable Japanese people who have contributed finance, time and/or expertise to the arrangement, construction and raising of the stone monument(s). These names include Moriyoshi Niizaki, Tomoyoshi Nakayoshi, Chuichi Uehara, Takakatsu Nakamura, Yasuhide Gibo, Antetsu Takehara, Yuki Dochu, Nobuichi Ishii, Koji Sugimoto, Noriko Sugimoto, Maki Sugimoto, Masashi Deni, Hiromi Miyagi,,Koji Miyagi, Hyakuna Ason, Hanashiro Seimei, Onaha Tsutomu, Nakazato Masayuki, Gakiya Hiroshi,
Kamiesu Choho, Hirota Nakaima and Kosuke Kamiya, etc. 

Chinese Language Articles:

https://www.it610.com/article/1225060581883613184.htm

https://88db.com.hk/QnA/Lesson-Instruction/空手道與褔建南拳的歷史淵源-剛柔流空手道的創造人在福建/1867

https://www.xuehua.us/a/5ebf28f07b5409df8eabbe2f?lang=zh-cn

Selection of Important Extracts:

老故事|30多年前林伟功受福建省政府之命为日本刚柔流空手道寻根

老故事|30多年前林伟功受福建省政府之命为日本刚柔流空手道寻根1988年夏，日本冲绳县有关部门在福州设宴感谢福建省政府副秘书长兼省旅游局局长南江等领导及为琉球国“闽人三十六姓”寻根的总查证人林伟功（福州市方志委人物志主编）等多年为冲绳寻根觅祖作出不懈努力及所做的贡献。

1989年9月16日，有關專家再次對謝如如是否做了進一步的論證，最後一致認為：謝如如(宗祥)確系日本沖繩剛柔流祖師東恩納寬量當年在福州所拜的中國武術師傅，並於1990年6月9日在福州市新體育中心西南角，矗立著一座莊嚴肅穆的黑色大理石“顯彰碑”，是日本沖繩空手道總會為紀念日本空手道剛柔流祖師東恩納寬量的中國師傅謝如如而立的紀念碑。這是中日武術界傳統中有源流方面影響的明證。

席上日方高野代表在再次致谢之余，提出希望请南江秘书长再安排林伟功主编将寻找日本刚柔流空手道中国鼻祖担当起来，南江秘书长给予接受，并让林伟功主编正式接受任务。宴后，在市方志办主任林萱治、黄启权的支持下，林伟功开展了艰辛的调查论证，发表了报告，并在副省长温附山的主持下通过论证会，确认福建省鸣鹤拳一代宗师谢如如是日本刚柔流鼻祖东恩纳•宽量的师傅，1989年取得圆满成功，并在省体育中心建立了显彰碑。

Dear Tony

​All the Goju Ryu Kata names are written in the Chinese language. Although today, this is often related in the 'Simplified' script - older Okinawan texts record these names as being written in the 'Traditional' script. This does not alter, change or otherwise disrupt the concept being conveyed - at least not when in the hands of a competent translator! 

3) 碎破 (Okinawan Pronunciation 'Saifa' - Chinese Pronunciation 'Suipo')

a) 碎 (sui3) = shatter, fragment, shred and break

The left-hand particle is '石' (shi2). The lower element is a 'stone' or 'rock' which has fallen from a great height with considerable force. This is indicated by the upper element of '厂' (han3) which symbolises the 'cliff' from which the stone or rock has fallen. The right-hand particle is '卒' (zu2). The upper element is '衣' (yi1) which stands for 'clothing' - perhaps a standardised 'uniform'. The lower element '十' (shi2) is the Chinese symbol denoting the number 'ten' (10). The right-hand particle '卒' (zu2) therefore describes a well-disciplined military unit that can defend an area and/or effectively destroy an attacking force! The ideogram 碎 (sui3) suggests that a well-ordered and self-disciplined approach for training in warfare generates a 'crushing' and 'shattering' martial force!

b) 破 (po4) = break, destroy, rout, smash, tear and drive away

The left-hand particle is '石' (shi2). The lower element is a 'stone' or 'rock' which has fallen from a great height with considerable force. This is indicated by the upper element of '厂' (han3) which symbolises the 'cliff' from which the stone or rock has fallen. The right-hand particle is '皮' (pi2) which is comprised of the lower element of a hand '又' (you4) holding a stone knife which is being used to strip away the fur from the pelt of a dead animal. Therefore, 破 (po4) denotes the 'attacking' and 'destroying' of the outer structure of the enemy. 

Translator's Note: The first Chinese ideogram '碎' (sui3) or 'sai' in Okinawa - is the second ideogram used in the 'Geksai' (击碎) Katas. Furthermore, both ideograms of '碎' (sui3) [sai], 破 (po4) [fa] contain the left-hand particle of '石' (shi2). The lower element is a 'stone' or 'rock' which has fallen from a great height with considerable force. This is indicated by the upper element of '厂' (han3) which symbolises the 'cliff' from which the stone or rock has fallen. Perhaps we are seeing the 'internal' use of bodyweight as both 'potential' and 'applied' force - a force which is magnified when it is 'harness', 'dropped' and 'momentum' is built!

Dear Gillian

​What is interesting is that after decades of effective inner and outer martial arts practice, I have arrived at a profound 'stable' state of mind, body and spirit (whatever that is). This journey has traversed many inner and outer levels or states of being. Mostly, this has included a logical approach to physical training motivated by 'doubt' a) in the process itself, and b) in my ability to keep-up the practice or c) to carry-out the prescribed practice correctly. This 'doubt' was inward whilst the physical 'outer' Chinese martial arts techniques were superb and highly effective. This 'doubt' (which ceased to function about 14-years-ago in c. 2007) acted like a force of magnetism drawing my 'uncertain' inner-being toward to the solid and stable outer-structure of the martial arts techniques and how they might be used in self-defence (function) and mind and body health and fitness (longevity). There is now a great awareness. A great all-embracing sense of psychological being that appears to be united with mind, body and environment. This unity I term 'spiritual' because all this seems 'transcendent'. Of course, whilst being driven on by the inner doubt to practice physical martial arts (as a form of 'armouring' against external attack), I also committed myself to intense Ch'an meditative practice as a means to 'uproot' this doubt which all motivating throughout my entire life to 'take action' in many different arenas - it also contained an element of 'weakness'. As I interpreted this 'weaknesses' as a major problem that a) held me back in a state of fearful 'non-action', or b) sabotaged physical actions so as to render all exertion completely pointless! The mind 'cleared' and 'expanded' - it became all-embracing so that the body stopped appearing to be 'outside' of it and took its place entirely within psychological awareness. Although I had my initial experiences of the realisation of a 'still' and 'empty' mind with its awareness expanding and embracing all things around 1990 - it took another 15-years for this experience to settle-down (2005), and about another two or three years for all vestiges of 'doubt' to completely dissolve (2007/8). What did happen around 1990, however, is that my physical use of outer Chinese martial arts technique deepened, expanded and matured, and since the time of 'teaching' in my own right (as opposed to 'training' under a teacher) - I have never lost a fight in the training hall. (Around a year before this experience, I was following a strict Chinese (Mahayana) Buddhist 'monastic' regime and sitting in meditation for hours a day practicing the hua tou 'Who is hearing?' Suddenly, whilst sitting in my 'cell' and without warning, my mind 'ceased to move' becomingly utterly and completely 'still'. This was accompanied by deep sense of permanent ecstasy! My Chinese teachers correctly taught me with 'silence' - whilst my Western teacher Richard Hunn (1949-2006) - my Western Ch'an teacher - correctly taught me with words! Ironically, he drew my attention to the authentic Chinese Ch'an texts. 'Neither be attached to the (realised) inner void - nor hindered by (the 'external') hindering phenomena'. It was deep within the 'silence' of my Chinese Ch'an Masters (including Chan Tin Sang [1924-1993] that I discovered the poignant meaning of Richard Hunn's spiritually 'vibrant' words. This is how I knew that Richard Hunn was correct in his understanding. Later, this dual instruction [into non-duality] led to the next shift in perspective This occurred a year later after a further period of intense practice, and was a product of a complete change or 'turning about' [see the 'Lankavatara Sutra'] at the deepest essence of the mind. It was such a profound and important 'first principle' that I nearly omitted it from the list of all the important events! I was once meditating sat on the ground outside 'returning' all sensory data 'back to its 'empty ground' essence - when a cool and refreshing Summer's freeze blew gently across my face. Suddenly, my mind instantaneously 'turned the right way around' immediately abandoning its previous 'inverted' functionality and appeared to 'expand', assume an 'all-embracing' position of being, whilst this 'new awareness' thoroughly permeated the physical-body and penetrated the physical universe throughout the past, present, and future! This permanent shift in psychological and physical manifestation changed 'me' from the DNA-chemical foundation upward and influenced all the views and opinions I now hold!) This includes not only transforming the experience of sparring with students (which is now unified experience premised upon wisdom, loving kindness and compassion) - but also manifested within the otherwise 'brutal' realm of 'honour fights' whereby unknown and unfamiliar individuals suddenly turn-up at my training hall and (disrespectfully) ask to spar! They wish to gain fame and fortune through 'out of control' violence which involves (for them) the 'beating' and 'exposing' a local (Chinese) gongfu teacher! How did this happen? I think whereas my opponents were still motivated by a deep and profound sense of  'doubt' (often involving a profound 'self-hatred') - I no longer experienced this 'doubt' which 'divides' human-beings during combat. Doubt by this time in my life had become nothing more than a profound sense of enhanced  'awareness' full of compassion and understanding. This is all held in place by a physical (martial) ability that can use 'gentleness' just as easily as 'harshness' to 'control' or 'regulate' physical interactions. 

​Signed: Adrian Chan-Wyles [陳恒豫 - Chan Heng Yu] (22.11.2021) - '釋大道' (Shi Da Dao)

Witnessed and Authenticated by Yau, Gee-Cheuk [邱芷芍] (22.11.2021) - 'Gee Wyles' - Wife of Adrian Chan-Wyles

Holding the horse stance (馬步 - Ma Bu) requires a stable, physical structure which is permanently held regardless of the emotional or physical feeling’ that is present. This includes – but is not limited to – the pain experienced in the muscles when deep stances of this nature are assumed and maintained over a set period of time. The structure must prevail over every other consideration. The structure must prevail over a determined time scale no matter how tired the mind and body appear to manifest. The point of this mode of psychological and physical discipline is that although the physical structure is deemed ‘permanent’ for the duration of the exercise – the ‘feeling’ capacity of the mind and body is understood to be fleeting, changeable and impermanent. This being the case, feeling tired, distressed or overwhelmed is not a good enough ground to ‘stop’ holding the physical structure of the horse stance! ​​

The advanced holding of the horse stance must ‘root’ the practitioner to the ground, whilst the inner energy is circulated through micro and macro-cosmic orbits (simultaneously or alternatively as required), with a deep and full breath that empties and fills the (mind) and body without fail and in a continuous and powerful manner. The mind should be calm, expansive and all-embracing so that the physical body and immediate environment seem to manifest within the fabric of the mind all at once! Energy flow is optimised in an existential and historical manner, with the individual mind ‘detached’ from both whilst permanently interfacing with reality in an indifferent attitude of all-encompassing awareness. All types of feeling is understood to be ‘fleeting’ - whilst the powerful nature of the horse stance is considered the essence of all martial ability. ​​

The structure of the Book of Change (Yijing) hexagram is the model which all effective horse stance training should follow. The legs are the bottom two lines, the torso (and arms) is the second to lines) and head is the top two lines. Although not representing any particular hexagram (six-lined structure), the body of the martial artist holding the horse stance represent ANY and ALL of the sixty-four hexagrams that transition from into another. In my training, I often visualise the second hexagram of ‘earth’ as the six ‘yin’ lines symbolise the ‘dropping-down’ activity of ‘water’ sinking into the ground! Of course, as the energy rises up the spine, I visualise hexagram one – or ‘divine sky’ to assist in the ‘lifting’ of force! Any part of the body can represent any hexagram, whilst the entire situation can also be represented a an over-all and defining hexagram! This is an area of study that must be built-up over-time and which requires and in-depth and drawn-out study of the Book of Change (Yijing).  ​