Video: Five Animal Interplay! (五禽戲 - Wu Qin Yi)

​I was introduced to these movements in my youth - as a foundation to learning 'Old' (Yang) Taijiquan! In those days traditional training from a Chinese teacher was never questioned. The onus was on 'secrecy' - as if no one else possessed the knowledge just shared (today, the emphasis in China is upon an open sharing). I was told that the outer bodily positions-structures guided the qi energy with greater force into (and through) the five sets of corresponding inner organs thus strengthening and purifying them.

​These exercises are established upon the theory of the 'Five Phases' (五行 - Wu Xing) - first found in the 'Classic of History' (書經 - Shu Jing) - probably linked to the five planets visible to the naked-eye of the ancient civilisations:

​Animal         Organ

Tiger             Liver-Gall Bladder

Deer              Kidneys-Bladder

Bear              Spleen-Stomach

Monkey        Heart-Small Intestine

Crane            Lung-Large Intestine

​As the 'Bear' is the central animal influence of our gongfu family style - this practice was seen as establishing (and enhancing) the rooted and central stability (and strength) this animal represents (the 'spirit' of the bear involves the practitioner suddenly standing-up and appearing much bigger and over-powering). According to the English language Wiki-page - this 'Five Animal Interplay' exercise is linked to the development of Hung Gar and Fujian White Crane (Bak Hok)!

​The way I was taught this exercise involved 'morning' practice (yin moving to yang) and 'evening' practice (yang moving to yin) - with the movements staying the same. Unlike the 'connected' flow shown in the above video (a different style or method) - I was taught 'single' structure exercises that started with feet shoulder-width apart and hands by my sides. After assuming and holding the required position - the structure was completely dropped away back to the 'ready' (neutral) position - in preparation for assuming the next (different) position. I was taught that all these five movements exist implicitly in the Taijiquan Form - and so eventually I was no longer required to practice them separately. 

Wikipedia is a wealth of sagely advice – much of it misleading, incomplete and out of context. For instance, the author dealing with the ‘Tai Sabaki’ page - states that the usual interpretation of Tai Sabali in the West which involving ‘evasion’ is ‘wrong’. However, if an individual can ‘read’ Chinese and/or Japanese ideograms – it is obvious that whatever this concept is - ‘evasion’ forms a central aspect of it. The author in question does not fully comprehend the entire concept of Tai Sabaki and is attempting to join the two ends of an idea together whilst omitting a (vast) theoretical centre-ground!  

1) 体 (Tai) - Japanese Equivalent of Chinese ideogram ‘體’ (ti3) = ‘body’  

This is related to a body (comprised of - and structured by - its internal bone structure) which is augmented in the physical world through musical rituals (involving drumming) and the adornment of jade of jewellery. The body is enhanced by the placement and alignment of its inner structure and the means (rituals) through which this body traverses the outer world. That which is ‘detrimental’ is avoided and that which is ‘nourishing’ is embraced. There is an implication in the Japanese language that ‘体’ (Tai) refers primarily to the trunk and the abdomen – and only secondarily to the limbs. It is the ‘centre’ of the body which has priority over the ‘periphery’ of the body.  

2) 捌 (Saba) - Japanese Equivalent of Chinese ideogram ‘捌’ (ba1) = Disentangle 

This ideogram - (in its Chinese interpretation) can mean ‘eight’ - an alternative form of ‘八’ (ba1). A ‘hand’ which expertly uses a ‘knife’ - cuts through the flesh and bones of a fish so that it is separated into ‘eight’ clean parts (probably a generic term meaning ‘many’). There is also the central idea of ‘disentanglement’ - so that no unnecessary error (or resistance) is met. This is because ‘entanglement’ means ‘hindrance’ - and the skill referred to here involves the ‘avoidance’ of such self-imposed difficulty. Evading ‘resistance’ is the correct path that leads to such a skill. The blade of the knife skilfully feels its way around (and along) the natural contours of the bones – and does NOT cut directly (at right-angles) into the bone-structure at any time. There is a ‘going with’ rather than a ‘going against’. This ideogram is the central element of this Karate-Do principle - and probably means slightly different things within the various styles which make use of it.  

3) き(Ki) - Japanese Equivalent of Chinese ideogram ‘幾’ (ji3) = Skill 

There is an indication of ‘quantity’, ‘measurement’ and ‘refinement’ within Japanese language dictionaries. The suggestion is that the correct manipulation of exact amounts is a great skill which has to be mastered in any successful avenue of life. This idea spans both the material and the spiritual world! An individual can carefully follow the established criterion laid down by those who have gone before – or if such an individual possesses the correct (and right) amounts of psychological insight and physical strength – then they might set out on their own path and become an inspiration for those who are to come!  ​

Conclusion: Meaning 

When taken as an integrated whole – the martial principle of Tai Sabaki (体捌き) suggests that the physical body (its central core and not just its periphery) is skilfully used (manipulated) in a combat situation so that there is no direct conflict between the defender deploying this technique - and an attacker ignoring this technique. Tai Sabaki (体捌き) is NOT just the skilful movement of the arms and legs in ‘protection’ of the central core (the torso). Tai Sabaki (体捌き) is a ‘centre-out’ technique that requires the core and periphery to work in concord. Strength does not clash with strength. The ability to assertively ‘give-way' is the key to this technique. Indeed, when the timing is perfect - ‘giving-way’ becomes far stronger than the momentary strength associated with a dramatic (but short-lived) show of strength! Giving-way, at its highest manifestation, not only ‘absorbs’ and ‘nullifies’ ALL incoming power – but when performed correctly, generates the basis for ‘greater’ power to be produced that is not reliant upon linear (muscular) strength – but rather the ‘circular’ movement associated with the structures of the bones and joints! The bodyweight ‘drops’ into the ground through the shaft of the (aligned) bones and rebounds upwards through the centre of the bone-marrow – producing a seemingly endless supply of ‘muscle-free’ power! As this power is greater than that associated with the muscular ‘tension’ of thuggery – the defender occupies a unique time-space frequency within which the attacker cannot access (or penetrate) regardless of the willpower exhibited. The linear attacks cannot land on an object continuously moving in perfectly timed circles. Once such a level of mastery is achieved – the defender can decide the level damage perpetuated upon the attacker depending upon circumstance. Should the body of the attacker be temporarily or permanently disabled? Should the body of an attacker be only (gently) nullified as if in play? Someone who has mastered Tai Sabaki (体捌き) possesses all these choices. This is why the Wado Ryu Style of Karate-Do posits the highest ideal of a defender possessing the ability to prevent damage to both their own body AND the body of the opponent! An ideal of the highest nobility! 

The traditional purpose of Karate-Do is said to be the development of the ‘Single Punch Precise Kill’ (一拳必殺) technique! This is because the historical origins of Karate-Do developed out of battlefield martial arts - specifically designed to kill and wound an opponent without mercy! The question for modern practitioners is whether this objective is suitable as a contemporary teaching device – and how should the technical inadequacies of the old ways be improved upon? It may well be the case that the potentially lethal elements of Karate-Do are retained (because they are inherent in the ancient martial techniques) - but that the ‘killing’ aspect should not be made the key point when teaching the public – and should be replaced by encouraging young students to develop their own minds and bodies whilst perfecting a virtuous character! Therefore, saving lives and helping others signifies a necessary shift in traditional attitudes when teaching Karate-Do to modern students.  

In fact, this is not a ‘new’’ attitude that I invented – but an idea taught to me by my father Miyagi Chojun. In-turn, this was an attitude inherited from Higaonna Kanryo (and his Chinese teachers). Although exactly the same ‘killing’ techniques are retained (and certainly not ‘removed’ from the art) - what is emphasised is character development so that clever ways of resolving conflict in the environment is utilised as a type of ethereal Karate-Do – that precedes any need to deploy potentially devastating physical techniques! The lethal reality of Karate-Do techniques, therefore, is ‘hidden’ within a deep and stratified approach to Goju Ryu Karate-Do, which is now embedded in the grading system involving coloured belts. If the practitioner does not suitably develop their mind (psychology) and body (physicality) - then they do not gain access to the ‘lethal’ nature of the genuine Goju Ryu Karate-Do techniques! Each practitioner must develop ‘trustworthiness’ before they are permitted to gain access to the deepest aspects of this ancient martial art! 

My father – Miyagi Chojun – maintained the emphasis of the ‘Hard’ (Go) aspect of Goju Ryu through the ‘Sanchin’ Kata which had been passed on to him by Higaonna Kanryo – but he felt the opposite element of ‘giving way’ was missing in the Style, or at least not very well represented. To remedy this, Miyagi Chojun developed the ‘Tensho’ Kata from a set of movements he had been taught in China from a White Crane Fist teacher in Fuzhou related in lineage to the Chinese teacher of Higaonna Kanryo. Bear in mind that ‘Tensho’ is NOT exactly the same as the Form (六機手 - Ro Ku ki Te) he learned in China and that Miyagi Chojun chose to modify its structure to assist the ‘balance’ of Goju Ryu Karate-Do methodology. This is where Miyagi Chojun developed the ‘Soft’ element of Goju Ryu which saw the Tensho Kata counter-balance the Sanchin Kata. When practiced together – the Yin (Soft) and Yang (Hard) energy within the mind and body is perfectly ‘balanced’! ‘Weaving Hand’ (機手 - Ki Te) is a principle found within the ‘Southern Fist’ martial system of China, and which relates to all the upper body movement of the extremities and the combat techniques which are expressed therein. Within the book entitled ‘Bubishi’ (武備志) (transmitted China to Okinawa) - there is an explanation of where the vital pressure points (経穴 - Kei Ketsu) are on the opponent’s body – and how the hand – used in the ‘open palm’ (開掌 - Hiraki Tenohira) position – can be used to ‘pierce’ these points and cause catastrophic damage to the opponent’s health! Higaonna Kanryo taught Miyagi Chojun how to ‘stand’ and ‘move’ through the ‘Sanchin’ Kata – and then Miyagi Chojun then developed ‘Tensho’ Kata to emphasis ‘Softness’ - but a ‘Softness’ with a lethal ‘hidden’ central element (involving pressure-point hitting)! 

The ‘Sanchin’ and ‘Tensho’ Katas are unique to Goju Ryu Karate-Do and are not found within ‘Shuri-Te’ (首里手) derived-traditions! These are foundational Katas that are taught to express the beginning and the end of the Goju Ryu Karate-Do training method! As this is the case, there are definite ‘breathing’ methods used when performing these Katas. The ‘Sanchin’ Kata employs what is referred to as a formalised ‘Yang Breath’ (陽の息吹 - Yō No Ibu Ki) - which sees the practitioner maintaining the ‘tightening’ of all the muscles around the bones throughout the entirety of the body – with the instructor continuously ‘testing’ to ensure this process is being adhered to correctly! Through these training methods, the practitioner learns how to shift and lower the centre of gravity, how to smoothly transition between various and different fighting techniques - all performed whilst breathing deeply and fully! Both myself and my father, however, teach preparation exercises which loosen and strengthen the body and focus the mind BEFORE any of these profound exercises are taught. This is important as students require a means of ‘entering’ the Style so that the Goju Ryu techniques are not experienced as a shock to the system. Correct preparation prevents unnecessary injury and conditions the mind and body so that the structures and processes become suitable for further and advanced training.  

This is the systematic application of the scientific process. Science does not stand still but provides opportunities for continuous and further development. Logic and reason must be brought to bear upon the established traditions using the old techniques and is immeasurable when providing a firm and dynamic foundation for further development! When I was young, Kano Jagoro (嘉納冶五郎) visited Okinawa (in 1927) and was very impressed in the rational approach that my father had incorporated into the structure of Higaonna Naha-Te (as it transitioned into Goju Ryu)! He even took elements of my father's training regimes and incorporated them into his ‘Judo’ training patterns! He agreed that logic and reason must be used within traditional martial arts as a means to ensure that these old ways are preserved and made relevant for survival within modern society! My father explained to Kano Jagoro that the structure of Karate-Do is similar to the physical structures of material objects – such as a house, a tower or a bridge, etc. If the design principles are not sound – the building and/or structure will not stand – and will not be able to fulfil the purpose for which it was made! The house will collapse, the tower will fall, and the bridge will give way! Kano Jagoro was impressed with this thinking and congratulated my father on his progressive attitude! Indeed, Kano Jagoro incorporated this type of thinking into his development of Judo technique!  

As for my father – Miyagi Chojun – he would later develop the ‘Gekisai’ (撃砕) Kata (Number One and Number Two), as a means to express the entire Goju Ryu Karate-Do path in just two short sets of movements which can be elaborated extensively when an instructor so chooses to do so!  This was a substantial achievement which many other lineages of Goju Ryu misinterpret as being ‘simplistic’ or ‘beginning’ only Kata – but in reality, my father intended these Katas to be something much more important than this. If the ‘Gekisai’ Kata are closely examined, a whole new world of ‘meaning’ can be clearly discerned! This does not detract from the fact that the entirety of Goju Ryu Karate-Do is defined by the ‘Sanchin’ and the ‘Tensho’ Kata! When added together – there are ‘twelve’ (12) Kata preserved within Goju Ryu Karate-Do. The two ‘Gekisai’ are known as the ‘public’ Kata which are used to prepare a student for a more profound learning experience later on!  

Miyagi Chojun had a deep knowledge of geography and history as well as the Chinese Classics and was well versed in the different aspects of Eastern culture. I will never forget the image of my teacher - who used a dictionary as a pillow and would constantly look-up the meaning of words and think deeply about what he found! He was particularly knowledgeable about medicines and the physiology of the human body, and always studied Karate-Do from a medical point of view. This is why many of his acquaintances were also doctors. He studied Karate-Do from a modern and scientific point of view and designed its structure as a practical system! Indeed, modern Goju Ryu Karate-Do is designed around a scientific agenda which brings logic and reason to the practice of an ancient martial art! Although the techniques can be lethal if deployed a certain way – Miyagi Chojun ensured that the health-giving component of each technique was emphasised over its destructive element. An emphasis upon building a sound mind and a strong body replaced the destructive act of confusing the mind and harming the body of an opponent! Goju Ryu Karate-Do was maintained as a traditional fighting method with modern (medical) implications! 

https://goju-karatedo.com/will.html ​

科学的空手道へ指導体系を確立 

在来の空手道は、一拳必殺といわれるように、もっぱら実戦の場での殺傷の武術として発達してきたもので、術技のうえでも、現在の教育的見地からみれば、不適当な点もあった。 

このため宮城長順は基本形―剛の形（サンチン＝三戦）のほかに、「六機手」というものを研究して柔の形（テンショウ＝転掌）をつくった。「機手」とは中国南拳の上肢の動作および技法のことを言い、沖縄に伝わった『武備志』のなかで相手の急所（経穴）を突く際の手（開掌）の使い方が述べられている。宮城長順はこの手法を研究し、鍛錬形としてテンショウを創始した。また、東恩納寛量から鍛えられたサンチンの立ち方と運歩法をはっきりと定義づけたのである。 

サンチン、テンショウは首里手派にはなく、剛柔流空手道独自のものである。この基本形の鍛錬法においては、気息の呑吐法（陽の息吹）という形式化された独特な呼吸法があり、指導者による筋骨の締め方を伴う鍛錬法がある。こうした鍛錬法を通じて、「術技の変化」「気息の呑吐」「重心の移動」を体得するのである。 

さらに宮城長順の創始したものとして、基本形・開手形に入る前に行う徒手体操式の空手道術技に関連した「予備運動法」と、柔軟で強力な体力を養成しながら空手道術技の上達を側面的。 

に援助する補助運動法がある。この予備運動は修練上、非常に合理的な運動法であり、その重要性は計り知れないものがある。講道館柔道の創始者嘉納冶五郎が沖縄に来られ、そのとき師父が空手道の解説をしたのだが、嘉納師範は予備運動に非常に感心され、後の柔道体操に取り入れられたのではないかということを、私は師父から聞かされた。 

また、教育的観点から、剛柔流空手道の普及形として、ゲキサイ（撃砕）第一、ゲキサイ第二の形を創始した。剛柔流空手道の形は、サンチン・テンショウの基本形と、二つの普及形を含めた十の開手形とを合わせ合計十二の形がある。 

宮城長順は漢籍の素養はもとより、地理・歴史の造詣も深く、東洋文化にも通じていた。辞書を枕に絶えず辞書を繙き思索していた師父の姿が忘れられない。とりわけ薬種の知識、人体の生理に詳しく、常に医学的観点から空手道を研究していた。知人にも医者が多かった。そして空手道を近代的、科学的視点から考究し、練習体系として組み立てたのである。従来の空手道指導法を理論と実際に照らして修練の順序、方法を定め、武道として体育として、また精神修養の方法、健康法として、科学的に組織体系づけたのが剛柔流空手道である。 

Root Ancestor (始祖 - Shi Zu) - Martial Teachings Later Evolved into Okinawan Goju Ryu Karate-Do.

The extant Chinese language records state that Xie Chongxiang (谢崇祥) was also known as 'Xie Ru Ru' (谢如如) - and often referred to by his disciples and students as 'Ru Shi' (如师). He was trained in traditional Chinese martial arts by his teacher ‘Lin Dachong’ (林达崇) who was commonly referred to as 'Pan Yu Ba' (盘屿八). Xie Chongxiang was taught (and/or further developed) the following martial arts styles:

a) 'Whooping Crane Fist' (鸣鹤拳 - Ming He Quan).
b) 'Shaolin Arahant Fist' (少林罗汉拳 - Shao Lin Luo Han Quan).
c) 'Shaolin White Crane Fist' (少林白鹤拳 - Shao Lin Bai He Quan).

The third example is also often referred to as 'Fujian' (福建) White Crane Fist - whilst the ambiguous language used in his biography suggests that 'Whooping Crane Fist' (鸣鹤拳 - Ming He Quan) is an 'integration' of (and/or an 'improvement' upon) the 'Arahant Fist' (罗汉拳 - Luo Han Quan) style and the 'Shaolin' (or 'Fujian') White Crane Fist' (少林白鹤拳 - Shao Lin Bai He Quan) style (also referred to as 'Yongchun' [永春] White Crane Fist). (The use of the term 'Shaolin' here, refers to the idea that there once existed a number of 'Southern' (南 - Nan) Shaolin sister temples (to the famous 'Henan' Shaolin Temple) which existed in Quanzhou, Putian and Fuqing areas of Fujian province, etc, with each perfecting their own unique and distinct martial arts traditions that were spread out into the lay communities when these temples were destroyed for political reasons). This 'integrating' process appears to have been carried-out by Lin Dachong and Xie Chongxiang during their respective lifetimes. It seems that Lin Dachong built the foundation of 'Whooping Crane Fist' - whilst Xie Chongxiang further developed and completed this transformative process - eventually perfecting the 'Whooping Crane Fist' style! Xie Chongxiang is represented in a typical Confucian style of being a loyal and devout inheritor and preserver of the past - whilst also 'adding' to this wealth of ancient knowledge through his own ingenious innovations manifest through hard work and practical demonstration. 

He was known generally as ‘Xie Ru Ru’ (Esteemed Elder Brother Xie) even though his two first birth-names were ‘Chong’ and ‘Xiang’. At the age of 13 years old, he relocated (with his father) to the Taijiang coastal area of Northeast Fuzhou, where they lived next to Xing’an (星安) Bridge. His father was called ‘Xie Zunshi’ (谢尊志) and he was renowned as an expert in the fine craft of bamboo weaving and bamboo construction. This is how his father made a living in the Taijiang area. Xie Ru Ru first followed his father – learning the rudiments of the bamboo weaving and construction craft, but when he grew older, he was apprenticed back at his hometown under ‘Lin Kangguan’ (林康官) at the newly opened ‘Treasure Beautiful Fast’ (宝美斋 - Bao Mei Zhai) Shoe Shop!  ​

Xie Ru Ru was well-known for working very hard! He would labour all day learning his trade, whilst in the evening and at night he would learn martial arts (拳术 - Quan Shu) from a friend of his father – who came from the ‘Pan Yu’ (盘屿) area of Fuzhou. He was short in stature (about 1.55 meters) but was very stout and muscular in build! Records state that his right-arm was noticeably longer than his left-arm. As he worked so hard (carrying-out various and continuous types of manual labour), his body became very strong, and his mind became very calm (and focused). He was patient and long-suffering. He could endure physical hardship and did not allow the pain he experienced to disrupt his calm state of mind. ​

Due to the development of his mind and body, and the difference in the length of his arms, Xie Ru Ru developed an open-hand (手 - Shou) martial arts style that emphasised (and distinguished) the ‘hard’ (刚 - Gang) and ‘soft’ (柔 - Rou) in its attacking and defending techniques – the two concepts of which were integrated through the developed perception of the mind of the practitioner! His longer (right-arm) was trained to pierce and penetrate the defence of the opponent with ‘hard’ techniques whilst the shorter (left-arm) acted as a highly effective ‘soft’ vehicle for deflecting, diverting and evading any of the opponent’s attacking techniques which threatened to strike the head, torso or lower body, etc. This led to a style whereby Xie Ru Ru fought with his longer right-arm forward – as this gave him the greater ‘attacking’ advantage in combat! ​

When asked what ‘animal’ style this system represented, Xie Ru Ru explained that he had been taught ‘Crane’ (鹤 - He) style by other Masters – but that he had been observing how the White Crane species of bird behaved throughout the day, throughout the season, throughout the year and throughout its life! The White Crane often feigned ‘weakness’ or ‘over-exaggerated' a deficiency it already possessed! This would create an unfounded arrogance in the opponent and served to hide the strengths that the White Crane actually possessed! An over-confident opponent would unknowingly expose their natural weakness when they thought no threat was present! As Xie Ru Ru had strengthened his mind and body, he possessed an immense power which he applied at exactly the right moment in combat – just as the White Crane expertly pecked with its beak, kicked with its feet or deflected with its wings!  The White Crane also stepped aside and made itself ‘non-present’ with a perfect timing – a skill that Xie Ru Ru also perfected exactly. This is why he referred to his style of fighting as ‘Crane Fist’ (鹤拳 - He Quan). ​

The fighting style of Xie Ru Ru was eventually transmitted to Okinawa (which used to be a part of China and known as ‘Ryukyu’) where it was developed into what is today known as the ‘Goju Ryu’ style of Karate-Do. This is the ‘Hard-Soft’ School of fighting which has a Chinese origin premised upon the White Crane Fist fighting system. This association was confirmed in 1989 by some of the best leading scholars Mainland China possesses – and in the intervening years has stood the test of time and has resisted every challenge that has been made against it. It is very clear that Xie Ru Ru was the teacher of Higaonna Kanryo – recorded in Okinawa as ‘Ru Ru Ko’ - and it is very clear from Okinawan records (held within the Miyagi family) that Higaonna Kanryo held the martial abilities of Xie Ru Ru with the highest level of respect! ​

Xie Ru Ru was born during the second year of the ‘Xianfeng’ (咸丰) era of the Qing Dynasty (1852), with his ancestral village located in the 'Daibian' (岱边) area of Changle (长乐) County Northeast Fujian province – situated about 20 miles East of Fuzhou. His family was typical of the day and was very poor. At the age of 13 years old, he went to Fuzhou, the provincial capital, with his father Xie Zunzhi. They lived in the Shuanghang (双杭) area near to the Xing'an Bridge. He first learned to be a fine bamboo craftsman, and later he became an apprentice in the Baomeizhai shoe shop opened by his fellow countryman Lin Kangguan. He worked hard during the day (strengthening his mind and body) and he then learned ‘Arahant Fist’ (罗汉拳 - Luo Han Quan) from a friend of his father named ‘Lin Dachong’ (林达崇) during the evening and at night! As he was short and stocky, and because his right-arm was longer than his left-arm, Xie Ru Ru developed a martial style that perfectly blended the ‘hard’ with the ‘soft’ (equating these two concepts with the perfect interaction of yin and yang 陰陽). The ‘hard’ represented the ‘external’ (外 - Wai) whilst the ‘soft’ represented the ‘internal’ (內 - Nei) - with the mind and perception of the practitioner distinguishing and integrating these two important and profound concepts.  ​

Although possessing a disability regarding the disproportional length of his arms, Xie Ru Ru was highly intelligent and used his circumstances to the best of his ability! Just like a White Crane (which appears weak and fragile), Xie Ru Ru used his natural attributes to a great advantage over his opponents! This in itself constitutes a great and profound achievement and demonstrates the triumph of the human spirit over the limitations presented by material reality. Xie Ru Ru was highly intelligent, and he used his advanced thinking ability to transcend the physical limitations that life had presented him with! The physical structure, behaviour and reactions of the Fujian White Crane offered Xie Ru Ru a vehicle to achieve this mind and body transformation! The material reality defining Xie Ru Ru’s body and living conditions provided him with a challenge which allowed him to develop the ‘Arahant Fist’ system he had learned from Lin Dachong (also known as ‘Pan Yu Ba’) - and to explore and further develop the White Crane system that Lin Dachong is recorded as experimenting with! The rapid application and interchange of ‘hard’ and ‘soft’ techniques formed the basis of Xie Ru Ru’s martial expertise. ​

The record books state that Lin Dachong began the developmet of ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) and the Xie Ru Ru continued this development and perfected the theoretical principles and practical applications of this style. Although training to toughen the mind and body – Xie Ru Ru perfected the application of overcoming an opponent through the exclusive use of ‘soft’ open-hand techniques. This ability prevailed in the midst of the most violent martial encounters! Xie Ru Ru would remain calm and indifferent to an opponent who was acting from greed, hatred and delusion! No matter how big, strong or violent an opponent was, Xie Ru Ru would expertly evade, deflect and ‘pierce’ the defence of these aggressors with a measured ease! Indeed, he became very famous and was renowned for his martial skills far and wide – certainly beyond the geographical limitations of Fuzhou!  ​

Xie Ru Ru mastered the ability of gathering and transporting (运 - Yun) the ‘Vital Force’ (气 - Qi) contained within the breath, bodyweight and will-power (intention) - so that it could be dramatically and radically expressed – copying the White Crane when it emits its ‘cry’ (鸣 - Ming) with a sudden and overwhelming power – which Xie Ru Ru expressed in a kick, punch, block, deflection or other type of strike! Although perfecting a ‘relaxed’ body, Xie Ru Ru could suddenly gather all the ‘qi’ energy into a certain bodily area and express this as a temporary but extreme form of muscular ‘tension’ - termed ‘Iron Vest’ (铁布杉 - Tie Bu Shan) - within Chinese martial arts! Xie Ru Ru could also ‘tense’ his entire musculature for extended lengths of time – an unusual ability even amongst those who had perfected the Iron Vest technique! When all these martial abilities Xie Ru Ru possessed were gathered together, they were said to be expressed perfectly through the ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) system! The White Crane is relaxed and apparently ‘unconcerned’ about circumstantial dangers – but suddenly it emits a piercing ‘cry’ as all the qi energy is directed to a pinnacle of martial expression! Xie Ru Ru mastered the ability to express a devastating, fast and momentarily ‘tense’ martial technique that devastated the opponent before naturally retracting this qi energy back into the mind and body - and ‘returning’ this qi energy back into a relaxed state of ‘rest’ and position of ‘replenishment’ (and ‘regathering’). This is the White Crane fluttering its feathers, realigning its wings and going back to stepping around its living space and seeking out food in the ground with its beak!  ​

At this time there was a well-known martial arts expert who was resident at the General’s Mansion in the local area. He was employed as a ‘bodyguard’ for local government officials and appears to have been a Buddhist monk as he was known as the ‘Venerable Xiao’ (萧和尚 - Xiao He Shang). He had been told that there was a very good martial arts Master living in the local area who possessed a number of unusual martial arts abilities. The ‘Venerable Xiao’ was employed to teach the local militia a superior martial arts ability that could be used to police the local population! The problem was that local people were saying that Xie Ru Ru was a better martial artist than the ‘Venerable Xiao’! If this was the case, then why was the ‘Venerable Xiao’ being employed in the high governmental post he was currently occupying? One day, ‘Venerable Xiao’ met with Xie Ru Ru and they discussed their respective martial arts – and engaged in a friendly sparring match – which Xie Ru Ru won easily. ‘Venerable Xiao’ bowed down and recognised Xie Ru Ru as his teacher – thanking him for the valuable lesson! There was also a local doctor named ‘Wang Shi’an’ (王士庵) who was an expert in medicine and martial arts. When Wang Shi’an challenged Xie Ru Ru – Xie Ru Ru prevailed easily and Wang Shi’an recognised Xie Ru Ru’s superior martial ability. Meanwhile, Xie Ru Ru recognised the medical expertise of Wang Shi’an - and stated that genuine Chinese martial arts are partly effective self-defence combative techniques on the one hand, whilst on the other hand are reinforced by the ability to ‘heal’ and to ‘treat’ people when injured and/or ill! Xie Ru Ru explained that this dichotomy is yet another example of the harmonious interaction of ‘hard’ and ‘soft’ approaches to the polarity that defines reality. ​

*Sometimes written as ‘Xie Zongxiang’ (谢宗祥) ​

Chinese Language Source: ​

https://baike.baidu.com/item/谢如如/3877673 ​

谢如如 
谢崇祥，男，福建福州长乐县人，中国武术名家，为鸣鹤拳传人。
谢崇祥为长乐县岱边人，小名如如，他的徒弟称呼他为如师。师从潘屿八，学习南少林白鹤拳，后以拳技闻名于福建。
琉球刚柔流空手道始祖 
谢如如字崇祥，13岁随父迁居福州台江星安桥畔，父亲谢尊志在台江作细竹工谋生，如如随父亲学作竹匠。后往同乡林康官开设的宝美斋鞋铺当学徒。如如生性勤劳，白天学艺，晚上拜其父好友（盘屿人）学习拳术。他身材矮小（约1.55米左右），体格粗壮，右臂长于左臂，由于他刻苦锻炼，创造一种刚柔手法，形成独具风格的鹤拳。 
琉球刚柔流空手道始祖谢如如，生于清咸丰二年(1852年)，祖籍长乐县。家贫，13岁时随父谢尊志到省城福州闯荡，住在双杭星安桥畔。最初学习做细竹匠，后来又到同乡人林康官开设的宝美斋鞋店当学徒。他白日学艺，晚上跟父亲好友、南台岛盘屿人林达崇学习罗汉拳。谢如如个子矮小但体格强壮，他的右臂比左臂长，因而具有天然的优势，加上天资聪颖，就独创了一套刚柔手拳术。这种柔手法风格的鹤拳，因运气时声如鹤鸣，遂名为“鸣鹤拳”。当时有个叫“萧和尚”的将军府武术教练，听说了谢如如的事，找上门来要切磋，结果交手即败，最后甘拜下风，拜谢如如为师。当时拜谢如如为师的还有一位医生名叫王士庵，武德医德相得益彰。 ​

The ‘external’ component represented by the numerous ‘gongfu’ styles extant in China – perfects the ‘leverage’ of the joints on the horizontal plane. As this is generated by contracting muscles (which operate through the ‘awareness’ of the positioning of the bones and joints in relation to one another), very high levels of physical fitness and psychological conditioning must be pursued and mastered. This also involves the understanding of ‘torque’ or ‘deliberately’ employed muscular tensions to generate and increase impact. Bodyweight is also used across the horizontal plane – joint, bone, muscle bodyweight and psychological focus build ‘external’ power and erupt this force into a relatively small area of contact through the contacting limb and/or body-part. This type of power is quite often ‘shocking’ to encounter and difficult to recover from once a clean blow has been landed to a vulnerable part of the body. This skill can take five, ten or more years to perfect through traditional Chinese martial arts training (which builds a practitioner’s mind and body from the ground upwards – like the construction of a Book of Change hexagram). The most efficient martial arts style that I have seen that can convey this ability to a new student (with little prior experience) in the modern world – is that of the Shukokai Karate-Do style as formulated by O-Sensei Shigeru Kimura (1941-1995).  ​

Integrated or ‘mixed’ power is a rarefied and highly refined skill of the highest martial order! A Master of ‘integrated’ power possesses the ability to continuously switch between power-generating systems (as in ‘external’ or ‘internal’), or apply only an ‘integrated’ approach. Furthermore, within the few seconds of a complicated fight – a fighter might have to switch rapidly from one power-expression to another because this is exactly what the situation calls for. The opponent could be highly skilled and a diverse approach necessary to ‘unlock’ their defensive patterns. Being ‘trapped’ in a restricted space might prevent certain techniques (and types of power generation) from being deployed – so the most appropriate mode should be selected. Where horizontal space is missing in the environment – then ‘vertical’ power can and should be used (with the orientation of power-generation adjusted to meet circumstances). Of course, the ‘iron vest’ ability to use the ‘aligned’ bones to absorb, reject or deflect any incoming attack is always in operation with the intention of ‘damaging’ the opponent’s attacking limb through using its own power and ‘deflecting’ it back into the structures of the attacking limb. This coincides with the maintaining of the perfect ‘rooted’ footwork. ​

External Power = 外功 (Wai Gong) 

Internal Power = 內功 (Nei Gong) 
​
Integrated Power = 雜功 (Za Gong) ​

The ‘neigong’ (or ‘neidan’) component is a vast subject that is very complex and directly linked to Daoist practice. This requires a qualified Master to lead the way. However, I have relayed above the basic requirements for ‘power production’ in our Hakka Family Style of Traditional Chinese Martial Arts. ​