How We Use the ‘Tong Bei’ (通背) Concept!
Shifu Adrian Chan-Wyles PhD - First Advanced 'Tong Bei' (通背)) Form - 'Gradual Developing Fist' (漸拳 - Jian Quan)!
We refer to our style as ‘Ch’an Dao’ (禅道), which in the Hakka language is pronounced ‘Sam To’ and in the Cantonese language as ‘Sin Do’! Our local language spoke in ‘Banana’ Village - situated in the Sai Kung area of the New Territories – was a mixture of Guangdong Hakka and Hong Kong Cantonese! A few older Hakka people – some of whom came from other areas – could speak different dialects of the Hakka language. Those who travelled North into China proper, would come back speaking the Beijing language of ‘Putonghua’ - known to Westerners as ‘Mandarin’. Very few could speak English or had any contact or direct dealings with Westerners. Indeed, until Master Chan Tin Sang [陳天生] (1924-1993) came to the UK in 1956 – no one in our Hakka village had learned to speak English or contend with a modern Western society! The Conservative government in the UK (with Winston Churchill as Prime Minister) - tried to bribe the then powerful British Trade Union movement (comprised of 99% ‘White’ working-class members) - by saying a three-day working-week could be adopted if non-White people from what was left of the British empire were brought to the UK to do all the menial tasks! This is how Master Chan Tin Sang came to England and gained a place to live in Sutton (which was then in Surrey). He got a number of jobs washing-up and cleaning toilets in the ‘new’ Chinatown that was developing in London’s Gerrard’s Street! The ‘old’ Chinatown in the Docklands area of East London had been eradicated in 1946 when the incumbent Labour Party bent to a nationalist fervour following Britain’s victory in WWII – and ‘deported’ thousands of ordinary Chinese men back to China! Although China was an ally of the UK throughout WWII – this is how their loyalty was repaid!
Between 1956-1966, Master Chan Tin Sang worked hard, lived simply and saved every penny he could. In 1956, he had come on his own to the UK and left his wife and daughter in Banana Village! He managed to return once or twice in those ten years, his wife had one more daughter who lived and a son who died soon after birth! The village culture was a strict Hakka militarism premised upon a Confucian social order that had not changed for centuries! Modernity had not penetrated this culture and people looked after one another due to a Confucian duty. All labour was performed free of charge and designed to benefit the community. This was the feudal system of China which I was lucky enough to have encountered as a child – as if I had travelled back in time! Martial arts practice was a communal activity which everyone had to participate in as a form of collective self-defence! Young people – both men and women – had to strengthen their minds and bodies through gongfu training (with strength built-up through continuous farm work) and be able to fight as a community and as an individual! As the individuals aged, and assuming they had survived the battles of the day and had mastered the ‘external’ – these martial arts practitioners were expected to master the ‘internal’ elements and then integrate both the ‘external’ and the ‘internal’!
In 1966, Master Chan Tin Sang was able to afford the three aeroplane tickets to finally bring his wife and two daughters to the UK! At this time, Sutton became a Borough of Greater London – and Master Chan and his family opened the King Wah Chinese Restaurant and Take Away in Grove Road – directly opposite the Masonic Lodge! This was believed to be the first Chinese Take-Away in Sutton and proved very popular with the local people! Another name for our family style of martial arts is ‘Chan Gar’ (陳家) - or ‘Chan Family’ as well as ‘Hakka Kune’ (客家拳 - Guest Family Fist). Again, this is a mixture of specific and general descriptive terms, as well as a mixture of the Hakka and Cantonese languages! Our family style, however, must not be confused with the usual ‘Southern’ styles of Hakka martial arts which are usually systems comprised of close-in and shortened movements. Although our branch of the Chan clan has been in the New Territories since the start of the ‘foreign’ Qing Dynasty (1644-1911) - successive generations resisted the pressure to ‘shorten’ and ‘disguise’ the obvious ‘Northern’ structure of the physical techniques. This is why we still practice a composite style of ‘Longfist’ (長拳 Chang Quan) - the oldest strata of which is over two thousand years – and which has been added two and improved upon over the centuries.
Somewhere along the line, the ‘Tong Bei’ (通背) concept was incorporated into our martial system which involves the ‘external’ (Longfist), the ‘internal’ (Taijiquan) and their ‘integration’ (Dao Yin – Qigong). As I was taught through the old Confucian method of duty-bound replication – asking direct questions premised upon ‘curiosity’ was considered disrespectful – and so I did not ask. I have no idea how a martial concept believed to have been developed in North China by ‘Qi Xin’ (祁信) of Hebei province during the late Qing Dynasty was being practiced by a Hakka family that had migrated into Guangdong around 1644 CE (the beginning of the Qing Dynasty – and probably as an act of trying to get away from the ‘foreign’ Manchurian forces). Although Chinese language sources do admit that there are other legends, stories, opinions, myths and speculations about its origin. As far as we are concerned, ‘Tong Bei’ is a very ancient concept invented by the Hakka people and related to the ‘internal’ martial arts which ‘mirrors’ the higher levels of Taijiquan mastery – but whilst perfecting the ‘external’ martial arts that are used for community self-defence (the latter being the martial arts that children, youths and young adults train in). Master Chan Tin Sang was very well educated and taught me that the essence of all Chinese concepts lies hidden within the ideograms chosen to represent their meaning. What follows is an exact (academic) interpretation of the ‘Tong Bei’ concept coupled with the essence of how we use this concept within our family martial arts style.
The ideogram ‘通’ (tong1) is comprised of the left-hand particle ‘辶’ (chuo4) which denotes ‘treading or following a clearly defined path’. The right-hand particle is ‘甬’ (dong4) which symbolises a clearly defined path ‘screened’ by walls on four sides. When combined into the ‘通’ (tong4) ideogram the meaning is attained which suggests that a passage, channel or pathway is a) clearly understood to exist, and b) allows for a free and unhindered traversing of whatever needs to be moved from one place to another. This could be a clear pathway through difficult terrain in the physical environment, or a closed channel such as a pipe, energy channel or blood vessel, etc. Therefore, ‘通’ (tong4) suggests an open and easily accessible ‘channel’ AND simultaneously refers to the act of ‘traversing’ through such a channel. There is also an intellectual connotation of ‘removing’ any doubt that ‘blocks’ an all-round comprehension and understanding of a situation. A further implication involves an efficient action that connects two different and separate points in time and space by following the quickest (connecting) route. In the modern world, ‘通’ (tong4) can even be used to describe two people connected to one another via the telephone! ‘通’ (tong4), generally speaking, tends to refer to ‘free’ and ‘unhindered’ movement in any direction, providing a channel accommodating such action is present. ‘通’ (tong4) is the act of ‘travelling’, ‘moving’ and ‘passing’ from one place to another across, over, within or throughout a clearly defined pathway.
The ideogram ‘背’ (bei4) is comprised of the top particle ‘北‘ (bei4) which translates as the geographical direction of ‘North’. The particle ‘北’ is ancient and originally was comprised of two men standing back-to-back – one facing ‘North’ the other facing ‘South’. North denotes the excessively cold or hot barbarian lands of chaos, deserts, drought, famine, bad behaviour, bad luck and lack of moral order. Facing ‘South’ was preferred because it was the direction of the sea, good weather, good farming land and the Han people whose lives were properly regulated by a King or emperor! Food was plentiful and people treated one another with deference and respect! It is said that when one looks at the sundial, it is then easy to denote ‘North’ from ‘South’, turn to face ‘South’ and place the ‘back’ firmly against the direction of the ‘North’! Facing ‘South’ within traditional Chinese thinking involving geomancy is the preferred direction that makes all other achievements possible due to the correct alignment of psychological and physical forces! There is also a hint of ‘retreating’ Southward away from the ‘North’ - or those things which cause harm and destruction to the civilised world of ancient China! The lower particle ‘月’ is a simplified version of ‘肉’ (rou4) which refers to ‘meat’, ‘flesh’ and a ‘body’. ‘肉’ (rou4) represent a ribcage of a dead animal (perhaps ‘slaughtered’ for food). This suggests ‘death’ and ‘decay’ - even though the presence of food could also suggest ‘survival’ and ‘life’, etc. When combined to form the ideogram ‘背’ (bei4) - the clear meaning of the human ‘back’ is derived. This is not just the anatomical reverse of the torso (defined as being above the waist and below the neck) - but includes the entire anatomical reverse or ‘back’ of the physical body from the base of the heel to the top of the head!
Therefore, ‘Tong Bei’ (通背) is a martial arts concept related to traditional Chinese medicine and refers to the ‘opening’ and ‘uniting’ of all the energy channels of the body that carry ‘essential nature’ (精 - Jing) and ‘breath’ (氣 - Qi) which integrate to develop a ‘still’ mind that expands through conscious awareness (神 - Shen) and embraces the environment! When jing and qi mingle - ‘vital force’ is generated (炁 - Qi) - which has specific martial and cultural implications! (This type of ‘qi’ development is synonymous with the Indian concept of ‘prana’). The ‘Governing Vessel’ (督脈 - Du Mai) runs from the point between the genitalia and the anus – and travels up the spine over the top of the head and down into the upper palate of the mouth – where it connects with the ‘Conception Vessel’ (任脈 - Ren Mai) via the tongue touching the top of the mouth just behind the upper teeth! The Conception Vessel flows down the front-centre of the body, through the groin area and to the point between the genitalia and the anus previously described. These two channels connect to six other extraordinary channel – that ultimately connect to the twelve ordinary energy channels linked to everyday TCM! This circuit symbolises the microcosmic orbit of jing, qi and shen flow and/or conscious development. When the mind is ‘stilled’ and then expands to embrace the environment – a macrocosmic orbit is attained. The micro and macrocosmic orbits are inherently linked to the ‘external’ and ‘internal’ development of ‘Tong Bei’ (通背) martial arts training which results in what we term ‘Za Gong’ (雜功) - a permanent, perfected and fully ‘integrated’ state of mind, body and environment.
Bodyweight is an important and vital element of any traditional Chinese martial arts system. It seems to me that the styles of known as ‘通背拳’ (Tong Bei Quan) today – which are not related in any known way to our family style – often present ‘bodyweight’ as a defining characteristic when liaising with the general public. Although it is true that the mastering of ‘bodyweight’ is a vital first step in any genuine martial arts style, nevertheless, for the vast majority of people reading or listening, this term simply remains ‘empty’ of any meaning. There is so much psychological and physical (technical) mastery that must be accomplished before ‘bodyweight’ becomes a realistic generator of power. Until that far-off time, the contraction of the muscle and aggressive will-power will be the only weapons available to the beginner, as these are the weapons used at the very beginning of ‘external’ training. The muscles must be purged of all unnecessary and habitual tension that pulls the bones and joints out of correct anatomical alignment. Once this is achieved – despite the paradox of a practitioner at this level having to ‘tense’ the muscles to generate power – the posture can be corrected, and the bones and joints placed into a proper anatomical alignment. This then creates what feels like an unimpeded ‘empty’ channel through which the ‘bodyweight’ can ‘drop’ down into the ground. This focuses the ‘bodyweight’ into the centre of the bone which stimulates the bone-marrow and enhances the general strength of the bones and the health of the body. The ‘dropped’ bodyweight hits the ground and ‘rebounds’ back up through the centre of the bones (which feel like ‘empty’ and ‘unimpeded’ channels) and is then distributed throughout the frame of the body (and through will power) is ‘emitted’ through whatever part of the body is required to deal with the opponent(s) or threats in the environment.
The opening of unhindered channels throughout the bone structure is the journey toward the complete mastery of the ‘external’. Most practitioners of the martial arts, even those who are talented at the arts they practice often never get anywhere near the full mastery of the ‘bodyweight’! This is why they stop practicing when they reach around 30 years old simply because their teachers did not prepare them for the changes that happen to all human beings. The mastery of the ‘external’ involves the full circulation of the microcosmic orbit, the opening of the eight and twelve energy channels and the opening of the channels throughout the bones. This then transitions to the expansion of conscious awareness that expands throughout the environment, permeates every particle of the body and evolves the microcosmic orbit into the macrocosmic orbit – which is the beginning of the ‘internal’ mastery of the mind and body. This is when the ‘Tong Bei’ (通背) concept overlaps with the Taijiquan (太极拳) methodology. As for the mundane physical aspects of ‘Tong Bei’ (通背), this involves the body (torso) ‘twisting’ and ‘turning’ left and right so that the that fighting force of rebounding bodyweight, muscular contraction and ‘torque’ can be utilised throughout the ‘Form’ or during the combat situation. When ‘Tong Bei’ (通背) is fully mastered, then any and all techniques can be used in an instant to nullify an attack and remove any continued danger. This includes rebounding bodyweight (internal), muscular contraction and ‘torque’ (external) - and both together – known as ‘Za Gong’ (雜功) or the product of ‘integrated self-cultivation'. This mastery is developed within and applied through the Longfist Form movements which are a continuously changing combination of long, medium and short-range steps, stances, kicks, jumps, torso-turning (180 degrees), shoulder-strikes, elbow-strikes, closed-hand punches, open-handed edge-strikes, palm-strikes, finger-strikes and head-butts, as well as evasions, dodging, ducking, sliding, sudden-stops and sudden starts, etc. All this martial technique happens at the low, middle and high-levels, with sidekicks to the side and front-kicks to the front (with all kicks at middle or head height). Master Chan Tin Sang developed three Basic Forms which added the ‘round-kick’ which he was introduced to by a Thai friend who had trained in Muay Thai when young in the 1940s. This is because our Chinese Longfist forms do not contain a ‘round-kick’ - and yet Master Chan saw how the Tong Bei’ (通背) power-producing method could be used to good effect if the Muay Thai ‘round-kick’ was introduced into our Hakka fighting school!
Between 1956-1966, Master Chan Tin Sang worked hard, lived simply and saved every penny he could. In 1956, he had come on his own to the UK and left his wife and daughter in Banana Village! He managed to return once or twice in those ten years, his wife had one more daughter who lived and a son who died soon after birth! The village culture was a strict Hakka militarism premised upon a Confucian social order that had not changed for centuries! Modernity had not penetrated this culture and people looked after one another due to a Confucian duty. All labour was performed free of charge and designed to benefit the community. This was the feudal system of China which I was lucky enough to have encountered as a child – as if I had travelled back in time! Martial arts practice was a communal activity which everyone had to participate in as a form of collective self-defence! Young people – both men and women – had to strengthen their minds and bodies through gongfu training (with strength built-up through continuous farm work) and be able to fight as a community and as an individual! As the individuals aged, and assuming they had survived the battles of the day and had mastered the ‘external’ – these martial arts practitioners were expected to master the ‘internal’ elements and then integrate both the ‘external’ and the ‘internal’!
In 1966, Master Chan Tin Sang was able to afford the three aeroplane tickets to finally bring his wife and two daughters to the UK! At this time, Sutton became a Borough of Greater London – and Master Chan and his family opened the King Wah Chinese Restaurant and Take Away in Grove Road – directly opposite the Masonic Lodge! This was believed to be the first Chinese Take-Away in Sutton and proved very popular with the local people! Another name for our family style of martial arts is ‘Chan Gar’ (陳家) - or ‘Chan Family’ as well as ‘Hakka Kune’ (客家拳 - Guest Family Fist). Again, this is a mixture of specific and general descriptive terms, as well as a mixture of the Hakka and Cantonese languages! Our family style, however, must not be confused with the usual ‘Southern’ styles of Hakka martial arts which are usually systems comprised of close-in and shortened movements. Although our branch of the Chan clan has been in the New Territories since the start of the ‘foreign’ Qing Dynasty (1644-1911) - successive generations resisted the pressure to ‘shorten’ and ‘disguise’ the obvious ‘Northern’ structure of the physical techniques. This is why we still practice a composite style of ‘Longfist’ (長拳 Chang Quan) - the oldest strata of which is over two thousand years – and which has been added two and improved upon over the centuries.
Somewhere along the line, the ‘Tong Bei’ (通背) concept was incorporated into our martial system which involves the ‘external’ (Longfist), the ‘internal’ (Taijiquan) and their ‘integration’ (Dao Yin – Qigong). As I was taught through the old Confucian method of duty-bound replication – asking direct questions premised upon ‘curiosity’ was considered disrespectful – and so I did not ask. I have no idea how a martial concept believed to have been developed in North China by ‘Qi Xin’ (祁信) of Hebei province during the late Qing Dynasty was being practiced by a Hakka family that had migrated into Guangdong around 1644 CE (the beginning of the Qing Dynasty – and probably as an act of trying to get away from the ‘foreign’ Manchurian forces). Although Chinese language sources do admit that there are other legends, stories, opinions, myths and speculations about its origin. As far as we are concerned, ‘Tong Bei’ is a very ancient concept invented by the Hakka people and related to the ‘internal’ martial arts which ‘mirrors’ the higher levels of Taijiquan mastery – but whilst perfecting the ‘external’ martial arts that are used for community self-defence (the latter being the martial arts that children, youths and young adults train in). Master Chan Tin Sang was very well educated and taught me that the essence of all Chinese concepts lies hidden within the ideograms chosen to represent their meaning. What follows is an exact (academic) interpretation of the ‘Tong Bei’ concept coupled with the essence of how we use this concept within our family martial arts style.
The ideogram ‘通’ (tong1) is comprised of the left-hand particle ‘辶’ (chuo4) which denotes ‘treading or following a clearly defined path’. The right-hand particle is ‘甬’ (dong4) which symbolises a clearly defined path ‘screened’ by walls on four sides. When combined into the ‘通’ (tong4) ideogram the meaning is attained which suggests that a passage, channel or pathway is a) clearly understood to exist, and b) allows for a free and unhindered traversing of whatever needs to be moved from one place to another. This could be a clear pathway through difficult terrain in the physical environment, or a closed channel such as a pipe, energy channel or blood vessel, etc. Therefore, ‘通’ (tong4) suggests an open and easily accessible ‘channel’ AND simultaneously refers to the act of ‘traversing’ through such a channel. There is also an intellectual connotation of ‘removing’ any doubt that ‘blocks’ an all-round comprehension and understanding of a situation. A further implication involves an efficient action that connects two different and separate points in time and space by following the quickest (connecting) route. In the modern world, ‘通’ (tong4) can even be used to describe two people connected to one another via the telephone! ‘通’ (tong4), generally speaking, tends to refer to ‘free’ and ‘unhindered’ movement in any direction, providing a channel accommodating such action is present. ‘通’ (tong4) is the act of ‘travelling’, ‘moving’ and ‘passing’ from one place to another across, over, within or throughout a clearly defined pathway.
The ideogram ‘背’ (bei4) is comprised of the top particle ‘北‘ (bei4) which translates as the geographical direction of ‘North’. The particle ‘北’ is ancient and originally was comprised of two men standing back-to-back – one facing ‘North’ the other facing ‘South’. North denotes the excessively cold or hot barbarian lands of chaos, deserts, drought, famine, bad behaviour, bad luck and lack of moral order. Facing ‘South’ was preferred because it was the direction of the sea, good weather, good farming land and the Han people whose lives were properly regulated by a King or emperor! Food was plentiful and people treated one another with deference and respect! It is said that when one looks at the sundial, it is then easy to denote ‘North’ from ‘South’, turn to face ‘South’ and place the ‘back’ firmly against the direction of the ‘North’! Facing ‘South’ within traditional Chinese thinking involving geomancy is the preferred direction that makes all other achievements possible due to the correct alignment of psychological and physical forces! There is also a hint of ‘retreating’ Southward away from the ‘North’ - or those things which cause harm and destruction to the civilised world of ancient China! The lower particle ‘月’ is a simplified version of ‘肉’ (rou4) which refers to ‘meat’, ‘flesh’ and a ‘body’. ‘肉’ (rou4) represent a ribcage of a dead animal (perhaps ‘slaughtered’ for food). This suggests ‘death’ and ‘decay’ - even though the presence of food could also suggest ‘survival’ and ‘life’, etc. When combined to form the ideogram ‘背’ (bei4) - the clear meaning of the human ‘back’ is derived. This is not just the anatomical reverse of the torso (defined as being above the waist and below the neck) - but includes the entire anatomical reverse or ‘back’ of the physical body from the base of the heel to the top of the head!
Therefore, ‘Tong Bei’ (通背) is a martial arts concept related to traditional Chinese medicine and refers to the ‘opening’ and ‘uniting’ of all the energy channels of the body that carry ‘essential nature’ (精 - Jing) and ‘breath’ (氣 - Qi) which integrate to develop a ‘still’ mind that expands through conscious awareness (神 - Shen) and embraces the environment! When jing and qi mingle - ‘vital force’ is generated (炁 - Qi) - which has specific martial and cultural implications! (This type of ‘qi’ development is synonymous with the Indian concept of ‘prana’). The ‘Governing Vessel’ (督脈 - Du Mai) runs from the point between the genitalia and the anus – and travels up the spine over the top of the head and down into the upper palate of the mouth – where it connects with the ‘Conception Vessel’ (任脈 - Ren Mai) via the tongue touching the top of the mouth just behind the upper teeth! The Conception Vessel flows down the front-centre of the body, through the groin area and to the point between the genitalia and the anus previously described. These two channels connect to six other extraordinary channel – that ultimately connect to the twelve ordinary energy channels linked to everyday TCM! This circuit symbolises the microcosmic orbit of jing, qi and shen flow and/or conscious development. When the mind is ‘stilled’ and then expands to embrace the environment – a macrocosmic orbit is attained. The micro and macrocosmic orbits are inherently linked to the ‘external’ and ‘internal’ development of ‘Tong Bei’ (通背) martial arts training which results in what we term ‘Za Gong’ (雜功) - a permanent, perfected and fully ‘integrated’ state of mind, body and environment.
Bodyweight is an important and vital element of any traditional Chinese martial arts system. It seems to me that the styles of known as ‘通背拳’ (Tong Bei Quan) today – which are not related in any known way to our family style – often present ‘bodyweight’ as a defining characteristic when liaising with the general public. Although it is true that the mastering of ‘bodyweight’ is a vital first step in any genuine martial arts style, nevertheless, for the vast majority of people reading or listening, this term simply remains ‘empty’ of any meaning. There is so much psychological and physical (technical) mastery that must be accomplished before ‘bodyweight’ becomes a realistic generator of power. Until that far-off time, the contraction of the muscle and aggressive will-power will be the only weapons available to the beginner, as these are the weapons used at the very beginning of ‘external’ training. The muscles must be purged of all unnecessary and habitual tension that pulls the bones and joints out of correct anatomical alignment. Once this is achieved – despite the paradox of a practitioner at this level having to ‘tense’ the muscles to generate power – the posture can be corrected, and the bones and joints placed into a proper anatomical alignment. This then creates what feels like an unimpeded ‘empty’ channel through which the ‘bodyweight’ can ‘drop’ down into the ground. This focuses the ‘bodyweight’ into the centre of the bone which stimulates the bone-marrow and enhances the general strength of the bones and the health of the body. The ‘dropped’ bodyweight hits the ground and ‘rebounds’ back up through the centre of the bones (which feel like ‘empty’ and ‘unimpeded’ channels) and is then distributed throughout the frame of the body (and through will power) is ‘emitted’ through whatever part of the body is required to deal with the opponent(s) or threats in the environment.
The opening of unhindered channels throughout the bone structure is the journey toward the complete mastery of the ‘external’. Most practitioners of the martial arts, even those who are talented at the arts they practice often never get anywhere near the full mastery of the ‘bodyweight’! This is why they stop practicing when they reach around 30 years old simply because their teachers did not prepare them for the changes that happen to all human beings. The mastery of the ‘external’ involves the full circulation of the microcosmic orbit, the opening of the eight and twelve energy channels and the opening of the channels throughout the bones. This then transitions to the expansion of conscious awareness that expands throughout the environment, permeates every particle of the body and evolves the microcosmic orbit into the macrocosmic orbit – which is the beginning of the ‘internal’ mastery of the mind and body. This is when the ‘Tong Bei’ (通背) concept overlaps with the Taijiquan (太极拳) methodology. As for the mundane physical aspects of ‘Tong Bei’ (通背), this involves the body (torso) ‘twisting’ and ‘turning’ left and right so that the that fighting force of rebounding bodyweight, muscular contraction and ‘torque’ can be utilised throughout the ‘Form’ or during the combat situation. When ‘Tong Bei’ (通背) is fully mastered, then any and all techniques can be used in an instant to nullify an attack and remove any continued danger. This includes rebounding bodyweight (internal), muscular contraction and ‘torque’ (external) - and both together – known as ‘Za Gong’ (雜功) or the product of ‘integrated self-cultivation'. This mastery is developed within and applied through the Longfist Form movements which are a continuously changing combination of long, medium and short-range steps, stances, kicks, jumps, torso-turning (180 degrees), shoulder-strikes, elbow-strikes, closed-hand punches, open-handed edge-strikes, palm-strikes, finger-strikes and head-butts, as well as evasions, dodging, ducking, sliding, sudden-stops and sudden starts, etc. All this martial technique happens at the low, middle and high-levels, with sidekicks to the side and front-kicks to the front (with all kicks at middle or head height). Master Chan Tin Sang developed three Basic Forms which added the ‘round-kick’ which he was introduced to by a Thai friend who had trained in Muay Thai when young in the 1940s. This is because our Chinese Longfist forms do not contain a ‘round-kick’ - and yet Master Chan saw how the Tong Bei’ (通背) power-producing method could be used to good effect if the Muay Thai ‘round-kick’ was introduced into our Hakka fighting school!