Los Approach to Teaching Pa Kua Chang

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Ever since Robert Smith returned from Taiwan to write about the "internal family" of martial arts he observed and studied while he was living there, many American martial artist have dreamed about traveling to China to study. Some have made the trip to China and, after studying for several years, returned to the United States to open up schools and teach what they learned. Others have made numerous short trips to China to study for a few months at a time and bring back the knowledge they gained while studying there. Many of the practitioners who studied in China have made a name for themselves in this country by running successful schools, writing books and magazine articles, and/or producing instructional video tapes. While this group of practitioners have become well know to martial artists in the United States and other areas of the world, there is another extremely dedicated group that is not so well known. These are the practitioners who traveled to Taiwan nearly a decade or more ago and have stayed there. They continue to study, they continue to practice, and they continue to improve.

If one traveled to Taiwan today and wanted to talk with Americans who went there specifically to study internal martial arts, have lived there for eight years or more, and have studied internal martial arts continuously since arriving, believe it or not, it would be fairly easy to round them up. Why? Because six or seven of them who have been in Taiwan ranging anywhere from eight to twenty years are in Lo Te-Hsiu's Pa Kua Chang class. After speaking with Lo, watching him teach class, and watching him demonstrate and apply his Pa Kua Chang, it is very easy to see why so many of these hard-core practitioners have gravitated to his class.

. . . although everyone naturally has power in their body, the power is not fully connected due to tension, blockage and lack of optimal body coordination.

Lo has studied and practiced the martial arts for over 25 years, however, his enthusiasm for Pa Kua Chang is still like that of a kid with a new toy. He has deep knowledge of theory and principle, his movement and application of the art is first rate, he is highly skilled at imparting his knowledge to his students, and his teaching is very open and direct. His philosophy is that a teacher should be honest and sincere and teach with an open heart. Lo is also very approachable and easy to talk to; his classes are informal and low key. He does not have a formal school and he does not advertise. He is content teaching the small group of students who manage to find him through word-of-mouth.

Besides expecting students to master the shape of the movements, the principle of body motion inherent in each of the movements should be clearly understood

Lo's teaching method is very systematic. He feels that in conjunction with walking the circle, the beginner should practice ch'i kung and other basic exercises which are designed to open up and gently strengthen specific parts of the body and enhance overall development. Lo states that although everyone naturally has power in their body, the power is not fully connected due to tension, blockage and lack of optimal body coordination. The first thing the student in Lo's class will learn is ch'i kung which is designed to coordinate the body and rid it of its "interference" so that the body's power can be unified. The ch'i kung that Lo teaches helps the beginning student "reset" and re-balance the body by clearing out the effects of old injuries or illness and strengthening weaknesses. Lo begins each of his classes using this ch'i kung set as warm-up because it exercises every part of the body.

After students in Lo's class practice the ch'i kung set, they will then practice a set of basic hand techniques which are designed to train the body to move in a way which best expresses the body's power. Concentration is placed on training the body to be aligned, connected, and unified so that the student can easily access and use the body's inherent internal power. One of the most direct ways of getting a feel for this unified power (cheng ching) is in practicing a movement such as peng ch'uan which is most notably in Hsing-I and trains students in the mechanics and alignments necessary for development of unified whole body power.

After practicing ch'i kung exercises which help to release tension and open up blockages in the body and then practicing basic hand techniques which develop unified body movement and whole body power, the student in Lo's school will begin to walk the circle and practice the Hou T'ien Pa Kua Chang sequences. When the student begins the circle walk practice, Lo does not overemphasize the classic principles such as han hsung pa pei (chest relaxed, pulling the back) or ch'en chien chui chou (sink the shoulder, drop the elbow). Although he wants the student to be aware of these basic principles, he does not want the beginner to become overwhelmed with too many details. Feeling relaxed and comfortable while remaining smooth and fluid in motion is the priority. His advice to the beginner is to put the feet down softly to develop a sensitivity associated with the foot's placement on the ground. He also emphasizes the body moving as a whole and suggests the image of feeling a constant, evenly distributed pressure on all areas of the body as if walking in water.

Lo advises beginners to avoid walking a circle which is too small. He recommends that the novice walk a circle which requires at least twelve steps per revolution. When explaining the correct circle walk body posture, Lo has beginners concentrate on walking smoothly, maintaining a balaced and straight body, clearly executing the k'ou and pai steps, and remaining natural and comfortable. Lo also emphasizes that the entire body continuously twists from the yao k'ua, however, a strong turning of the yao k'ua inward is not taught at the beginning and thus the student avoids walking a small circle. The yao k'ua is the area of the body which includes the inner thigh/groin and the hips. Lo states that if the practitioner twists the body from the waist instead of using the yao k'ua, the body will not be properly aligned and the whole body power will be disconnected.

If the body is twisted in towards the circle's center from the yao k'ua, the tan t'ien is drawn back and the "positive" and "negative" power in the body is aligned correctly. When walking a small circle, the yao k'ua twists inward to a greater degree. Since most beginners are usually too tight in the yao k'ua area to facilitate the necessary amount of rotation which allows for proper alignment when walking a small circle, Lo has them walk a larger circle until the body has developed sufficiently.

While the majority of students Lo teaches will begin Pa Kua practice by learning the ch'i kung, basic hand techniques, the circle walk and Hou T'ien Pa Kua; he does not teach every student exactly the same. He states that in teaching he evaluates each student and determines what they need, how much they need, and when they need it. He says that teaching the internal arts is not simply a matter of presenting a standard curriculum. The teacher needs to determine how to best present the material to each individual, how to give them the right size chunks at the right time, and then teach them how to explore the art on their own to discover the fine points.

In order to teach his students how to explore Pa Kua Chang beyond the physical movements of the form, Lo emphasizes the importance of the principles that each

Kua Movements

Lo adjusts a Hou T'ien posture for his student Tim Cartmell. Tim has lived and studied in Taiwan for over 9 years.

movement or sequence of movements convey. Besides expecting students to master the shape of the movements, the principle of body motion inherent in each of the movements should be clearly understood; only then will students be able to reach the higher levels of skill where form and use are united resulting in spontaneous and creative response. He states that Pa Kua Chang is not a system of kung fu "techniques" as much as it is a conceptual framework which manifests change. Lo believes that the art of Pa Kua Chang has at its center deep philosophical principles which are expressed in the movements and forms. The art contains strategies which were developed over a length of time, originated from varioius sources, and coalesced into the complete and refined system.

Pa Kua Chang's Fundamental Principles

Lo implores his students to look beyond technique and use their mind in investigating the movements of the system to see what each movement is trying to convey in principle. To help them in this study, Lo explains to his students three principles of the I Ching, three fundamental movements of Pa Kua Chang, three principles of movement in fighting, and three levels of Pa Kua Chang training.

Pakua Chang

Lo demonstrates Pa Kua Chang's characteristic circle walking posture.

Lo refers to the three principles of the I Ching as "regular change, simple change, and no change." The "regular change" principle moves from simple to complex or from small to big as in the I Ching's movement from the Liang I to the Hexagrams. The "simple change" principle moves from complex back to simple or from big to small. The "no change" principle describes movement which is cyclic. These three relationships exemplify the one moving to many, the many moving to one, and the idea of repetitive, or reoccurring, change.

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