By Robert Chen
Lin Chao Zhen (fr-tl^) is one of the last surviving Ba Gua instructors of his generation and lineage. Lin was born in 1912 in Hong Kong. At the age of 14, he returned with his family to Canton, China. Their family lived in downtown Canton. As fate would have it, a short distance from where they lived, Ba Gua Zhang instructor Fu Zhen Song taught Ba Gua and the internal arts of Northern China.
Fu Zhen Song was one of the most well-known gongfu instructors in Chinese history. Fu Zhen Song was thirty years senior to Lin Chao Zhen. Fu, who was from Northern China, was known to the Southern Chinese as one of the "Five Tigers From The North*." In 1928, Fu, along with four other northern gong fu instructors, was sent to Southern China by the Central Martial Arts Academy ft^:® #f If) in Nanjing. They were invited to Southern China to develop martial arts and share their knowledge of northern martial arts with the provinces in the south. There were many established martial arts schools in Southern China already and legitimacy in those days had to be established with a fist. Many encounters and introductions turned immediately into contests of skill. In these contests, Fu Zhen Song and his fellow instructors from the North often inflicted enough injury to send the appropriate message. For example, when a rival Tai Ji instructor asked to push hands with Fu Zhen Song, Fu opened up the instructor's defenses and gave him a shove in the chest with sufficient strength to cause internal injury. Fortunately for the other instructor, he was also skilled in Chinese medicine, so he was able to treat himself after the encounter. After sharing their knowledge for several years, some of Fu's fellow instructors eventually returned to Northern China. Fu, however, chose to remain as an instructor in the South.
When Fu first arrived in Southern China, he was in great demand as an instructor. Fu Zhen Song received invitations from over twenty different sites to teach Ba Gua. One of the sites where Fu taught was the
*Although the names of the "five tigers" will sometimes vary depending on the source (many people like to claim that their teacher or teacher's teacher was one of the famous "five tigers"), the five martial artists that the Central Academy sent South were probably Fu Zhen Song, Ku Ju Chang, Wang Shao Zhou, Wan Lai Sheng, and Li Xien Wu. Fu Zhen Song was the only one who stayed in Canton after the Central Martial Arts Academy and its provincial schools were closed.
Lin Chao Zhen (left) with his teacher, Fu Zhen Song (center) and his teacher's son, Fu Yong Hui (right), in Guang Zhou, China, March 1950
athletic club in downtown Canton near Lin Chao Zhen's home. One day, Lin's brother brought a pamplet to him describing the Ba Gua classes at the club. Lin recalls that the price of the lessons was very low at that time and that the classes were very popular. Lin Chao Zhen began studying at this club when he was seventeen years old.
In Lin's first few years of study, he learned the Fu style linear Ba Gua forms, called Pao Quart ), the four-direction combat spear, and the whirlwind broadsword. Pao Quan is an elegant northern form used for developing solid basic techniques and stancework. The spear was one of Fu Zhen Song's
Fu Zhen Song's disciple, Lin Chao Zhen favorite weapons and Fu was famous for his spear technique. The whirlwind broadsword contains the smooth body spins that are the trademark of Fu style Ba Gua. Lin also trained in some of the fundamental techniques of circle walking. In Fu style Ba Gua, the practitioners train with the traditional "mud-stepping walk" where the entire foot travels parallel to the ground and lands flat with each step. To develop the placement of the stepping foot, Lin was required to execute each step as a front kick, with the toes pointed forward. After the kicking foot was extended, it would be placed flat on he ground, with the toe and heel landing simultaneously. Each successive step would be executed in the same manner as the practitioner walked in a circle. This exercise developed fajing - explosive force) in each step. The mud walking step also developed a moving "root," so that the practitioner would be "rooted," or stable, even when he was in motion.
At the athletic club, a martial arts curriculum was offered that enabled students to study from a number of different instructors. During his early years of training at the club, Lin took advantage of the other courses offered there. From Fu's fellow instructor, Wang Shao Zhou (i P M), Lin learned Cha Quart (A ), another famous long-fist style from the north. Wang Shao Zhou was one of the youngest members of the Five Tigers. Lin also learned a Shaolin form from Fu Zhen Song's nephew, Ren Sheng Kui
After the first year at the club, Lin gravitated towards
Fu Zhen Song and was invited by Fu to study with his private group of students. They practiced at a location in central Canton, which when literally translated, would be called "Children's Park." Children's Park was also close to Lin's home and the athletic club. The group practiced in the early morning hours at the park when admission to the park was free. They called their school Wu Dang Jing Yu Club.
During the years when Lin Chao Zhen trained with Fu Zhen Song at the park, he learned the Sun Style Tai Ji Quan (I^Ä^Ä form, which Fu learned from his friend Sun Lu Tang Yang Ba Gua (F&^ih
); the flying dragon straight sword; the first half of the Dragon Ba Gua form; Ba Gua push hands; and Liang Yi O^Ä). He also learned four sets of Tou Tang Quan ( ma*), which resembles the Liang Yi form. Yang Ba Gua was usually the first circular Ba Gua form that Fu Zhen Song taught. It is more expressive and athletic than the Yin Ba Gua form, which is usually taught later. The Dragon Ba Gua form contains the most advanced Ba Gua movements of Fu style Ba Gua, requiring the practitioner not only to walk the circle, but to move in all directions in a constant flow of coiling, twisting, revolving, and exploding techniques. Liang Yi is a synthesis of the techniques of Tai Ji and Ba Gua.
Lin said that it was not uncommon for Fu Zhen Song to simply teach one-half of a form initially, and then wait for a year or even several years to teach
Lin Chao Zhen performing Fu Style Ba Gua Zhang in San Francisco the second half of the form. By teaching this way, Fu could test the character and perseverance of his disciples.
When Lin Chao Zhen was 20 years old, he performed at different Universities and sports centers with Fu Zhen Song. In 1937, when Lin was 26 years old, Fu accepted him as a formal disciple. Lin went through the traditional ceremony. On that day, Fu bestowed upon Lin the name, Xiang Long (5^1 fL), or "Flying Dragon." Becoming Fu's disciple was significant because in China, prominent instructors who openly taught at martial arts institutes often had hundreds of students in their lifetime. The number of students, however, who they accepted as formal disciples were few. Those who were accepted as disciples almost invariably had to follow their instructors for years, having demonstrated not only their ability in martial arts, but their patience, character, perseverance and martial virtue. Those who were accepted as formal disciples were privileged to learn the complete system, being treated almost as a member of the instructor's family. Many instructors stopped charging their students tuition at the point that they became disciples because of the closeness of the relationship. When Lin was accepted as a disciple, he had trained with Fu Zhen Song for 9 years.
No one was forced to hold basic stances for hours. Fu Zhen Song believed that the practical applications in Ba Gua are based on movement.
One of Fu Zhen Song's other disciples, General Sun Bao Gang ¥ ^'J), authored a book in which he estimated that Fu Zhen Song taught ten thousand students. Fu, however, had only a handful of formal disciples. The Wu Dang Academy, after extensive research many years ago, published an article on Fu's disciples. They listed Fu Yong Hui - Fu Zhen
Song's eldest son), Liang Ri Chu Q W), Ma Ri Qing (
When Lin became a disciple, Fu Zhen Song was living on Tung Goh Boulevard, where there was a memorial park that sometimes served as a training area. Fu also had an apartment with a yard where a small group of Fu's students practiced privately. During this time frame, he learned Yin Ba Gua and finished Dragon Ba Gua. He also continued in his study of Liang Yi and Fu Style Tai Ji. Fu Style Tai Ji has elements of Ba Gua within the Tai Ji.
In 1938, at the Fifth Sun Yat Sen University Athletic Games, there was a day of special celebration. Fu Zhen Song performed at the event. One of the forms that was showcased was the Ba Gua push hands form that Fu had developed. He considered this form one of the treasures of Ba Gua and had developed this form
Lin Chao Zhen poses in Ba Gua's characteristic "guard stance"
after years of research. Lin Chao Zhen was selected to be Fu Zhen Song's demonstration partner for this form. Although the push hands form appears quite simple on the surface, its techniques are actually quite deep. Its hand movements are prearranged, but the practitioners have tremendous flexibility in the direction, distance, and pace that they take in their footwork. The hand techniques include Ba Gua's characteristic palm strikes and precision strikes to vital areas. Angles are also extremely important in performing and understanding Ba Gua push hands.
Fu Zhen Song's teaching was interrupted when the Japanese invaded Canton during the Second World War. The invasion caused the members of the group to disperse. Lin Chao Zhen left for another state. In
Fu Zhen Song (in the center, to the left of the woman wearing the white gown) poses in 1934 with his good friend Yang Cheng Fu (center, wearing glasses). Also in this photo is Yang's famous student Fu Zhong Wen (to Yang's right) and Fu Zhen Song's son, Fu Yong Hui, (to Fu Zhong Wen's right).
fact, Lin, who by training was a civil engineer, often traveled on joint projects with the U.S. Armed Forces and assisted them in designing and building roads. Fu Zhen Song, on the other hand, took his family and went to northern Canton, to a place called Qu Jiang. Qu Jiang was near the countryside and the mountains. In this area, people could still live in relative peace despite the war.
In 1941, Lin Chao Zhen met up with Fu Zhen Song in Qu Jiang. The Japanese Army was nearby, but had not yet arrived. Fu had been traveling alone because of the war. His family was in the area, but a safer distance away. Lin was also traveling by himself. After they met, they stayed together in a hotel, where Lin was able to have extensive discussions with his teacher for four days on the finer points of Dragon Ba Gua. During these discussions, Lin used pencil and paper to write down the details of the form's movements. Lin learned as much as he could from his instructor before they were both forced to go their separate ways again.
After World War II, when the Japanese Army left, people began to return to Canton. Fu Zhen Song also returned to Canton. He arrived before his son and family, who joined him later. Unfortunately, Fu's life after World War II was much more difficult. With people struggling just to survive, studying martial arts was considered a luxury, which not many people could afford.
Lin Chao Zhen recalls that Fu Zhen Song lived on But Gung Lane when he first returned to Canton. His home had little furnishings, a hard bed, simple furniture. Things improved for Fu when his family moved back to Canton and his son, Fu Yong Hui, was able to assist the family.
Ba Gua Zheng Zong that Lin learned from Fu Zhen Song. Lin learned this form after the war had ended. It is much simpler than the Dragon Ba Gua form, but contains several important martial techniques not found in the other forms. Since this was the last set that Lin learned from Fu, he remembers his instructor fondly whenever he practices it. Lin recalls that when Fu was older, the war and his hard life after the war had begun to take a toll on him. Whenever Fu performed his Dragon Ba Gua, however, he was able to draw from his internal strength and he was transformed into a man who was the embodiment of a dragon.
There was quite a contrast between the life that Fu Zhen Song had before the war and the life he was forced to live after the war. When Fu first came from Beijing to Canton, he was famous and had scores of students. Fu even had a car, a British-made Austin that held four people, which his son would often drive. It was rare for anyone in China to own a car during this time period. The car symbolized the prestige that Fu enjoyed as a martial arts instructor. Fu practiced his art until his passing at the age of 81.
When Lin trained with his instructor, he usually would arrive at the class before sunrise. Fu's close students would all train for a few hours before they had to be at their regular jobs. Some books have said that Fu was a pleasant man with a good temper. Lin's recollection was that deep down inside, Fu had a good heart, but that he had a terrible temper and was extremely proud.
For example, in Canton, there were often martial arts demonstrations. Fu had a rule that he always had to be the first performer. If the organizer of an event ever made the mistake of scheduling Fu in-between other performers, Fu would simple leave. Lin recalls times when Fu would suddenly say that he was leaving, and ordered all his students to leave with him. Lin later discovered that Fu was offended because he was not listed first on the program. When Fu left, he did not bother to explain anything to the organizer of the event.
Fu was also very stern towards his students. Students could never sit while their instructor was performing or demonstrating a move. He would stare down any student who was not standing. Also, whenever Fu Zhen Song and his school were asked to perform, the students were expected to carry all the weapons and equipment. Fu Zhen Song never carried anything. Ironically, as an instructor, Fu was usually easier on his public students. Many times, he would offer some encouragement or positive reinforcement with the public class students while they were struggling with their forms. With his formal disciples, however, he was very stern and demanding. If a disciple was asked to demonstrate a move in front of the class, the slightest mistake might prompt Fu to chide the disciple, "Do you call that gongfu?"
In the tradition of the old instructors, Fu was constantly pushing his formal disciples to correct their movements, to strive for perfection. Fu would not settle for anything less from those he expected to carry on his style. For example, when Lin Chao Zhen practiced the Yang Ba Gua form, which contains eight different palm changes, Fu would have the students practice together. They would do a full twenty circles before changing directions on any of the palm changes. This meant that to complete this first form, the students would have to complete 320 circles. No one was forced, however, to hold basic stances for hours. Fu Zhen Song believed that the practical applications in Ba Gua are based on movement. Fu felt that stationary practice simply made students tight. The core of the basic training was in the forms. Fu Zhen Song relied on the linear Ba Gua form, Pao Quan, and Tou Tang Quan to develop the stances, the stance shifting, basic striking and kicking skills.
In another revealing incident, Fu Zhen Song was introduced to a well-known praying mantis instructor at a public event. There had been a rivalry developing between the two instructors before their meeting, and it was clear that Fu Zhen Song was not happy about meeting a rival instructor. When the two of them met, they each held out their hands. Instead of shaking each other's hands, they engaged in a contest of strength. Fu Zhen Song broke the praying mantis instructor's hand before releasing him. They never spoke with each other after that event. Lin Chao Zhen met the praying mantis instructor's son many years ago, and in an effort to reconcile the differences between the two schools, Lin and the praying mantis instructor's son exchanged sets from their respective styles.
In some old pictures of Fu Zhen Song, he is shown holding a stone ball of approximately 12 inches in diameter. Fu said this ball was for Tai Ji training. In some of his performances, however, Fu would throw the stone ball into the air and let it strike his body. None of Fu's students attempted this feat. Whenever any students dared to ask if they could learn the art of training with the stone ball, Fu's response was an abrupt "what for?" As far as Lin is aware, no one ever learned how Fu trained with the stone ball or exactly how he developed the ability to withstand the blow from the ball striking his body. Fu never showed any of the training techniques to his disciples.
Fu Zhen Song was married to Han Kun Ru Fu's father-in-law was also a famous gong fu master in Northern China. Lin never saw Mrs. Fu perform her gongju., but he remembers occasions when he practiced the spear with her for fun. Lin noticed immediately that her spear technique was very powerful. From those encounters, Lin is certain that she was also highly skilled in martial arts.
Fu had four children. The oldest was a daughter, Fu Jun Xiu (# # ). Fu Yong Hui (#& was the second oldest child. He was the only one to professionally teach martial arts. The third child was a son, Fu Yong Xiang Lin remembers that Fu Yong
Xiang had perfect Ba Gua form when he was young. Unfortunately, he stopped practicing completely when he grew older. Fu's youngest child was Fu Wen Xiu ( ), another daughter. She is the only surviving child from Fu's family. She is still living in Canton.
Fu Zhen Song practiced with his stone ball, but would not teach his students how to use it
Lin Chao Zhen with the Ba Gua broadsword, 1994
Fu's two daughters had also learned Ba Gua from their father and their sword technique was excellent. They never opened their own schools, however. Fu Jun Xiu used to help her brother, Fu Yong Hui, teach at his school. Fu Jun Xiu's husband was a famous Xing Yi instructor. Lin had asked Fu Jun Xiu's husband years ago whether she could teach him some of her husband's Xing Yi, but she said she never learned Xing Yi from her husband.
Lin Chao Zhen studied engineering in China and as an engineer, had opportunities to travel throughout the country. During his travels, he met many martial arts teachers. He exchanged information with fellow martial arts instructors of Southern Fist, Cha Quan, Shaolin, and Praying Mantis. His exchanges with these instructors and his own research and training helped him develop a deeper understanding of his own Ba Gua. Throughout his life, Lin did not allow the political turmoil in China or life's hardships to deter him from the practice of martial arts. Lin's objective was to capture the spirit of his teacher within the movements. Lin made this his goal because he felt that it was the only way that he could do justice to his instructor's art and to honor his instructor.
The Hong Kong Ba Gua Academy invited Lin Chao Zhen to perform the Dragon Ba Gua form in 1980. The performance was rendered at the inaugural meeting of the Hong Kong Wu Shu Association. Some old instructors who had seen Fu Zhen Song give one of his dazzling performances of Dragon Ba Gua were able to immediately recognize the spirit of Fu Zhen Song when decades later, they had an opportunity to see Lin perform the set. For Lin, this was the highest compliment that he could receive - to have fellow instructors say that he reminded them of Fu Zhen Song.
When Lin retired from engineering, he lived in the city of Chao Ching, approximately 100 kilometers from Canton. During his martial career, Lin has taught hundreds of students. He was the founder of the Chao Ching Martial Arts Association and served as its chairman. In 1983, Lin participated in the government-sponsored, Sixth State Athletic Games in Canton. His performance of Dragon Ba Gua earned him the gold medal in the long form category. He received a bronze medal for performing Fu style Tai Ji. That same year, he was voted on of China's Most Outstanding Martial Arts Coaches. In May 1991, Lin authored and published a book entitled, "Ba Gua Zhang, Dragon Form." In 1991, Lin immigrated to the United States and has taught over a hundred students in America.
Lin Chao Zhen believes that Gong Fu is an international language. He teaches students of many different backgrounds and nationalities. Even though he may not speak the language of all of his students, he finds that they can communicate through movement. Lin's desire has been to perpetuate his art, and he is committed to passing on his knowledge to as many people as possible. He continues to practice his art daily, including the whirlwind style Dragon Ba Gua form, which practitioners a fraction of Lin's age struggle just to complete.
Although Lin trained many of his disciples in China in the traditional fashion, he has modified some of his teaching methods to facilitate learning in America. Since his desire is to promote the art of Fu Zhen Song in America, and hopefully, to pass on his complete knowledge of the art to students in America, he teaches at an accelerated pace, giving the student as much as they can handle. At this stage of Lin's life, he feels that time is precious and he wants to transmit as much information as he can to his students. Accordingly, he has allowed his students to have access to the Dragon Ba Gua form and has worked diligently to develop their technique. In many ways, Lin is much more open than his instructor, but he feels that the changes in teaching methodology are necessary to ensure the art's survival in our modern culture.
Opposite Page: Fu Zhen Song poses in four postures from his Yin Ba Gua form, in 1947. These photographs were taken for a book Fu was preparing to publish on Yin Ba Gua. Fu died before the book was published, however, Lin Chao Zhen has the original manuscript and photographs.
Fu Style Ba Gua: An Interview with Lin Chao Zhen by Michael Barrett
Editor's Note: I first met Lin Chao Zhen while visiting San Francisco in November, 1993, with Luo De Xiu and Tim Cartmell. Lin's student, Michael Barrett, had arranged the meeting and Lin's son, Lin Wei Ran, came along to translate for his father. Lin had brought some written material that he had published in China and several photographs he had copied for me. He also gave me a copy of a video tape his son had made of him demonstrating some of his Ba Gua. I found Lin to be a very energetic, personable man. Although he was advanced in years, his energy and spirit, especially when discussing Ba Gua with Luo De Xiu, indicated that he was still very much full of life and eager to teach Ba Gua.
Several months after I had met Lin Chao Zhen, his student Robert Chen sent me the excellent article
Lin Chao Zhen, 1988, in Zhao Qing, China which appears on page 3 of this issue. Later, Lin's son sent me the photographs of Fu Zhen Song which appear on the cover and on the previous page. After I began working on this issue of the Journal, I realized that although Robert had done a great job with the article, perhaps our readers would like to know more about Lin's teaching methods and his thoughts on Ba Gua practice. I typed out a list of questions and sent them to Michael Barrett so that he could use them in conducting the following interview.
Please explain what is taught in the complete Fu style Ba Gua system, i.e., fundamental skills training which are separate from forms, all of the various forms training, weapons training, fighting sets, qi gong, etc. In what order do students progress through the material described above?
There are different levels to Fu style Ba Gua. At the basic level the student starts with walking the circle. He or she will practice this for 2 or 3 months and will also learn single straight line forms. The forms taught at this level are the Tou Tang Quan, Pao Quan (leopard style) and Lian Huan Quan (iH^f - Linking Ring Form). These are all straight line forms and belong to the Basic Level. These forms train body strength, flexibility and power issuing.
At the next level the student learns the Ba Gua open hand forms. We have four Ba Gua forms in our system, they are: Yang Ba Gua, Yin Ba Gua, Zheng Zong Ba Gua, and Dragon Form Ba Gua. Weapons training also takes place after the Basic Level in conjunction with the Ba Gua forms training.
Did Fu Zhen Song emphasize fundamental skills training (exercises designed to develop flexibility, overall body strength, balance, coordination, etc.) before teaching students any of the Ba Gua forms?
The basic level straight line forms and the circular Ba Gua forms give flexibility, body strength, balance, and coordination through the continuous movements of the set. The sets are alive and so should be your practice of them. Fu stressed body alignment and basic stances. Each student must perform movements correctly before being given another move. If students were lazy, he would not teach them. Walking the circle 30-40 times before changing directions was stressed.
Lin Chao Zhen, 1988, in Zhao Qing, China
What different components of Ba Gua are trained in the Liang Yi, Yin Ba Gua, Yang Ba Gua, Zheng Zong Ba Gua, and Dragon Style Ba Gua. In other words, what is unique about each form and what skills does the student gain by studying them.
Yang Ba Gua is powerful and has a lot of kicking. This form is good for young people. Yin Ba Gua is softer with more relaxed movements and is good for older people. Zheng Zong Ba Gua is a combination of Yin and Yang Ba Gua and is circular, but has more complex movements linked together. Movements are practiced equally on the left and right. Dragon Ba Gua is the top form of the style. The movements are nonstop, flowing with maximum twisting and coiling power. It is the pinnacle or goal of the Fu style.
Liang Yi is a combination set of Ba Gua and Tai Ji. Fu made this form as a synthesis for the two systems. Liang Yi has the movements of Tai Ji with the footwork of Ba Gua. It is done slower than Ba Gua but faster than Tai Ji.
How does the student train to develop fajing, or striking power in Fu style Ba Gua?
Fa Jing is trained in the forms at various places making the forms fast and slow and hard and soft and making the student aware of the transitions without stopping between fast and slow and hard and soft. Sandbags and exercises where the student strikes himself at key points help with the body conditioning.
Did Fu emphasize fighting training? If so, what methods did he use to teach students how to learn to fight with Ba Gua? Were there separate drills, exercises, or practice sets one would practice in order to learn striking skills, kicking, sweeping, and trapping with the legs, throwing skills, and qin na (seizing and locking) skills?
Yun Song Kua was Fu's nephew and practiced fighting a lot with Fu. Two person forms, two person push hands which trained "touch and feeling" and skills such as "you move I move, you don't move, I don't move" where practiced. Also, two person Tou Tang Quan and Qin Na ) techniques were all used.
What are some of the most important principles Fu Zhen Song emphasized when teaching Ba Gua?
Fu stressed seriousness above all else. He continually said, "Do it again, do it again." He also stressed soft to get in and hard power to hit.
What is unique about Fu style Ba Gua? What sets it apart from other styles? What are its main characteristics?
Lin Chao Zhen in San Francisco, 1993
Fu had very fast footwork, he changed direction very fast and never stopped. Body, leg, and waist were always all unified. He spun on his heels to change direction or angles of attack very quickly. The spinning quality helps you to keep your balance while moving. His tornado palm also uses spinning power combined with whole body waist power to strike an opponent while you spin to his rear. The stepping movements are similar to Cheng Ting Hua's, but Fu uses more over the head and behind the back twisting or spiralling hand movements.
What components of physical movement skills did training with various weapons provide? In other words, were there skills one developed in training with the different weapons that aided the practice and execution of the open hand forms and fighting sets?
In Fu style Ba Gua, the broadsword is practiced first. It is a "yang" weapon and the sets develop power, kicking and jumping abilities. The double edged straight sword is practiced next. It is a "yin" weapon and develops sensitivity and finesse. It has smaller movements. The spear is practiced next. It combines the two qualities of yin and yang and trains the extension of power or qi from the practitioner to the tip of the spear. It is said to be a "four-sided" weapon and it controls all directions with flexibility and "snap" power.
Lin Chao Zhen in San Francisco, 1993
What do you know about Fu Zhen Song's teacher Jia Feng Ming (also called Jia Qi Shan)? Who else did Fu study Ba Gua with? Cheng Ting Hua? Ma Gui?
In addition to studying with Jia Feng Ming (ff ÄUI), Fu also studied with Ma Gui ifr) and he was friends with Sun Lu Tang
It) and Yang Cheng Fu r*
) and they shared knowledge.
Did Fu invent the Yin Ba Gua, Yang Ba Gua, and Dragon Ba Gua, or are these things he learned from his teachers?
The Dragon form and Liang Yi were made up after Fu studied Tai Ji with Song Wei Yi —). Fu learned Yin and Yang Ba Gua from other teachers.
Did Fu Zhen Song have a brother (Fu Zhen Tai) that studied Ba Gua?
Fu Zhen Tai was Fu's younger brother. He also assisted in teaching class. Fu Zhen Tai was very tall and strong. His gong fu skills were excellent. He also was a Chinese Doctor and herbalist. He spent two years teaching as Fu Zhen Song's assistant, then went back to Henan (Fu's home Province). He taught there until he died around 1942.
What plans do you have as far as teaching here in the United States? Are you going to be teaching seminars, producing video tapes, publishing books?
Next February I will be giving a workshop in San Francisco. It will be a day long class, 10 a.m. to 5 p.m., Saturday, February 4th. I will teach the circle walking practice in the morning and the Dragon Ba Gua form in the afternoon with its applications to fighting.
I want to introduce the complete system from the basic level to the real Ba Gua. I have four video tapes available containing weapons, straight line forms, circular forms, and performance of the Dragon Ba Gua form. These tapes will be discounted to attendees of the workshop mentioned above.
I am also completing my second book on Fu style Ba Gua.
Those who may be interested in attending the workshop mentioned above should call (415) 921-6978 and speak with Lin Chao Zhen's son Lin Wei Ran. Those interested in contacting Lin Chao Zhen can do so by writing to the address listed on the back page of this Journal.
Lin Chao Zhen demonstrating Fu Style Ba Gua at the Westmoor High School gym in Daly City, CA, June, 29, 1992
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