January 10, 2022
Set in Okinawa during World War II, it’s a story of reverence, the coming of age, love, tragedy, war, and honor. A retired Okinawa karate instructor, Ota Kenichi Ota, writes memoirs of training with world-famous master, Chojun Miyagi.
August 16, 2021
The Thirteen Postures, (are derived) according to the theory of five elements and eight trigrams. They are the thirteen total jings of pushing hands. There are not another Thirteen Postures. The five elements are advance, retreat backward, beware of the left, look to the right, and central equilibrium. They can be interpreted by dividing into internal and external.
June 7, 2021
In the taiji classics it is written, “Grasp and hold the dan tian to train internal gongfu. Heng, ha two qi’s are marvelous and infinite.” It is also written, “The Throat is the second master.”
January 25, 2021
From the fundamental practice of single pushing hands, advancing into double pushing hands, (you learn) to listen, understand, advance forward, retreat backward, beware of the left, and look to the right. When (you) have reached a natural reactive stage of using the yi without the yi, then (you) may enter the practice of moving pushing hands. (However, you should know that) in moving pushing hands training, the practice of advance forward, retreat backward, beware of the left, look to the right, and central equilibrium also start from single pushing hands. Its main goal is to train central equilibrium so it can harmonize the criteria of advance forward, retreat backward, beware of the left, look to the right.
December 14, 2020
When discussing the concept of pushing hands we often envision two individuals engaging in an exercise where one is attempting to find the other’s center of gravity (i.e., physical center) and push them off balance. In some cases, the tendencies of aggressive behavior evolve into a competitive interaction between the two individuals, and unfortunately the essence of taiji pushing hands becomes lost with one person winning the match through use of force. Pushing hands practice involves the application of taijiquan theory and basic movements into matching actions with a partner.
Often jing has been considered a secret transmission in Chinese martial arts society. This is so not only because it was not revealed to most students, but also because it cannot be passed down with words alone. Jing must be experienced. It is said that the master "passes down jing." Once you feel jing done by your master, you know what is meant and can work on it by yourself.
The approach to teaching and studying martial arts in China was based upon a monastic tradition that is characterized as door, hall, and chamber teaching. In times past the monastery, both Daoist and Buddhist, served as schools for medicine, the classics, and martial arts.
The origins of Liuhebafa, also called Water Boxing, can be traced to the Daoist sage Chen Tuan (A.D. c.871-989) also called Tunan and Fuyaozi. Chen is a mystical figure whose advice and perspective was sought by Chinese emperors during the period of the Five Dynasties and Ten Kingdoms (A.D. 907-960) and at the beginning of the Song Dynasty (A.D. 960-1279).
The theoretical foundation of taiji ball qigong is based on the theory and philosophy of taiji (太極). From this theory, practices were developed. In order to understand the root of taiji ball qigong training, you must first understand the meaning of taiji in taiji ball qigong.
Though the existence of taiji ball qigong has been common knowledge in both Chinese martial arts and laymen societies, its popularity has been limited due to the secrecy of the training techniques. Taiji ball qigong training, in each style, was kept secret and passed down only to trusted students.
As Mai and the crowd watch in frozen horror, the Lexus slowly rolls again until it's on its top; the front-end still nose down into the water. After a moment, only the rear back tires are still above the surface. Then they too slip beneath the bay.
Practice with a partner. This will allow you to focus on your sense of distancing as well as enhancing your connecting, adhering, and sticking jin skills. Whether you are practicing pushing hands or engaged with your enemy, these skills are necessary for positioning an opponent into a disadvantage and defeating them. In the following exercises, when it is recommended that one person at a time initiate a movement, the training for the passive partner is to stick to the ball and yield to the direction of the initiating partner. This is also an important element in training.
The following is an excerpt from Dukkha: Hungry Ghosts. Sam Reeves and his girlfriend Mai are enjoying a morning at Saturday Market, a sprawling weekend bazaar along Portland's waterfront. From the top of a bridge at the market, a crazed man, "Tonto," announces that he will be the crowds designated shooter.
Prologue from the book: His legless torso swings back and forth between his arms, as he hand-walks along the dim but ornately lit cobblestone path that meanders about the lavish yard through tall bamboo, past large stone Asian lanterns, around half a dozen towering palm trees, and encircles a large pond. Twelve-foot high brick walls border the large yard on three sides.
The following are some movements that you may find helpful while practicing tai chi ball. It is best to do each exercise for 12 repetitions. 1. Stationary (Ding Bu. To begin this exercise, stand in ma bu and start the stationary horizontal circling pattern using a yang pattern. Once you have increased the size of the circle to your maximum range of motion, repeat the pattern for a few repetitions.
At this stage, you should be able to practice the circling, rotation, and wrap-coiling patterns smoothly. You should also be able to perform each of these patterns comfortably while stationary, rocking, stepping, and bagua stepping.
Here we will discuss how the quality of qi's circulation or manifestation can be improved. First, we should recognize that from Chinese martial art history, it was not until the fifth century that Chinese internal styles were developed, recognized, and practiced.
A rush of wind sent debris skittering along the empty sidewalks, filthy gutters, and streets long in need of repair. Though few vehicles passed through the darkened skid row intersection of Northwest Third and Couch at three a.m., its lone traffic signal, swaying in the wind, continued to cycle its colors, casting hues off the sides of old buildings and the cracked windshield of a decaying station wagon propped up on four rusted wheels.
Many kind reviewers for Dukkha: The Suffering, Dukkha: Reverb, and Dukkha: Unloaded have commented on the realistic violence, in particular the fight scenes. This is always nice to hear because I work hard to infuse the scenes with authenticity and truth. After spending 30 years around man's inhumanity to man, first as a Military Policeman in Vietnam and then as a street cop for 25 years in Portland, Oregon, I find many authors' and movie directors' depiction of violence to be sadly lacking or simply off base.
Dukkha Reverb is the second book in the Dukkha thriller series, published by YMAA Publications. The first is Dukkha: The Suffering.
(The following is an excerpt from Chojun A Novel by Goran Powell. Chojun Miyagi, born in Higashimachi, Naha, Okinawa, April 25, 1888. He began studying Karate at age nine. He first learned martial arts from Ryuko Aragaki who then introduced him at age 14 to Kanryo Higashionna (Higaonna Kanryo.) He continued studying and teaching until his death from heart disease in Okinawa October 8, 1953.)
The following is an excerpt from Dukkha Reverb, a Sam Reeves martial arts thriller. After six weeks of being intensely investigated for the accidental killing of a young boy, Portland police detective and martial arts instructor, Sam Reeves, travels to Saigon, Vietnam to visit his newly found family.
Set in Okinawa during World War II, it’s a story of reverence, the coming of age, love, tragedy, war, and honor. A retired Okinawa karate instructor, Ota Kenichi Ota, writes memoirs of training with world-famous master, Chojun Miyagi.
Taiji ball qigong is a mixture of internal gong (nei gong, 內功) and external gong (wai gong, 外功). The internal gong includes the development of the feeling between the physical body and qi and also learning how to use the mind to lead the qi efficiently.
Dukkha: a Pali term that corresponds to such English words as pain, discontent, unhappiness, sorrow, affliction, anxiety, discomfort, anguish, stress, misery, and frustration.