Ranking Systems

In most forms of martial arts there are ranking systems within a school. The top dog is the one who has the most worn out black belt followed by the black belt that has the most yellow adornations upon it. Students will tend to line up according to rank with the newbies in the back.  This is what I observed in my days of Tae Kwon Do (TKD).

Then I entered into the world of Chinese Martial Arts (CMA), more specifically, I began studying wushu. The class was small, just my cousin, the instructor, and I. That’s it. Three of us for 3 hours one night a week in the basement of our instructor’s house. When we got there, we bowed in and began training. Our instructor did not discuss ranks, belts or sashes with us. UNTIL…. we began entering local competitions.

I remember the first time we entered a local ‘open’ competition. By open, this meant that all martial arts styles were invited to participate. We had TKD, Karate, Chinese Kempo, Wushu, you name it. Anyhoo, during the registration I asked my instructor what level should I be competing it. He said, “Black belt. Here’s a sash. Go and get ready.” Umm… I had only been doing wushu for about 1 year and he wanted me to compete in black belt?!?! My instructor was also a bit nutty and insisted that we compete in BOTH forms and sparring. I tried to tell him I was not ready for ‘black belt’ sparring, but he would not have it. He just said, “You will compete in black belt”.

My cousin and I ended up doing quite well in the competition. Since there was a slight age difference between us, we were split into different age-based divisions. At the end of the tournament, we took pictures with our trophies and instructor. Our instructor asked us for the black sashes and put them away in his bag and began heading out the door.  We both looked at each other like, “What?!??”. At that age, we felt we ‘earned’ the black sashes by winning our respective divisions, but I guess that was not good enough.

The next class went on as normal. We trained, trained and trained. He did not bring up the topic of rank and sashes and neither did we..  Every tournament my cousin and I entered, we always competed in black belt though we had no formal designation.

Fast forward about 10 years. Our instructor realized his dream by opening up his own martial arts school. He now had a ‘studio’ space with changing rooms and a public entry way. I was studying at the university when the school opened so didn’t have a chance to visit until summer break. When I came back, I noticed a big change. No longer did classes consist of 2-3 students, there were now in the tens of students. The adult class had roughly 30-40 students and they were all wearing colored sashes. The colors consisted of blue, brown and red.

I suited up (changed into sweat pants and a t-shirt) and began stretching before class. A couple of his students introduced themselves to me and asked if I was new. I said, “Not really. I’ve been a student of Sifu’s for a while but have been away studying at the university.”. One of them then inquired, “Oh.. cool. What’s your rank?” I said, “Uh.. I don’t really know.” Then one of the ‘back in the day’ students came up and said, “Don’t worry about him.. he’s one of Sifu’s first students.” We then began chatting and the ‘new’ students went about their way.

But then something dawned on me.  The senior ‘back in the day’ student was not wearing a sash. I also noticed our instructor was not wearing a colored sash either. Also, the new students were not wearing sashes either. So, the rank went from:

none -> blue -> brown -> red -> none

hmm….

After the wushu class, I stuck around to join the taiji class. The taiji class was a lot like my ‘old’ training days. Students came, warmed up and began training. There were no colored sashes and really no order to the line up. There was an ‘implied’ rank based on seniority, but this was not apparent in the bow-in lineup.

In my experience, most taiji schools follow the ‘implied rank’ format. Often times, this implied rank is based upon seniority and other times it’s based on who has ‘walked through the door’ and became disciples. While there are distinctions between inner and outer students, I’m really not sure how belts would apply in taiji.

So.. why all this chatter about belts and ranks? This topic seems to have made it way around the taiji blogosphere again. EmptyFlower Forum has a thread on Taiji Ranking Systems and most recently, I received a ‘pingback’ on my Do You Belong to a McDojo article from Renli on McDojo where the author proposes implementing a Taiji Belt System.

What’s my take? Personally, I do not believe in belt/ranking systems for taiji. I believe taiji to be a ‘personal’ art. Sure, there are certain things that can be graded upon like form choreography and alignment, but how can we judge if a person is using adequate intention? How can we judge if a person is circulating qi around their body? For me, it’s the intangibles that make taiji a martial ‘art’. It’s all in the details, the nitty gritty that perhaps only we may know.

You know, this reminds me of a quote from Good Will Hunting:

… Wonderful stuff, you know, little things like that. Ah, but, those are the things I miss the most. The little idiosyncrasies that only I knew about. That’s what made her my wife. Oh and she had the goods on me, too, she knew all my little peccadillos. People call these things imperfections, but they’re not, aw that’s the good stuff. And then we get to choose who we let into our weird little worlds. You’re not perfect, sport. And let me save you the suspense. This girl you met, she isn’t perfect either. But the question is: whether or not you’re perfect for each other. That’s the whole deal.

Source: WikiQuote – Good Will Hunting

Train the Energies, Not the Apps

A phrase I have often heard repeated over and over: “Train the energies, not the applications”. What exactly does this mean? I think everyone understands the phrase, “Train the Applications” as it’s the most commonly used method in martial arts. This is basically taking a movement out of the form and then working on how it applies in a martial sense.

In a recent issue of Tai Chi Magazine, Chen Zhenglei on “The Study of Taijiquan”:

… Taijiquan beginners are often drawn to learning the applications of the postures. If we just use posture applications to explain and understand Taijiquan, then we will never grasp the essence of the art.

… The focus of taijiquan is to train the whole body such that when the need to use it arises, then, depending on the conditions and situation, it will adapt and change as needed and respond accordingly. We cannot be stuck in a “this technique for this attack” thinking.

For more, read the full article online at ChenWired (Registration Required)

Hmm… This reminds me a lot of a comment that Chong posted on my Experience with 6 Sealings 4 Closings article.  In it, he basically noted how I should’ve maintained peng energy to effectively apply the rollback (lu energy).  However, after reading Chen Zhenglei’s article, I couldn’t help but think about his phrase: “We cannot be stuck in a ‘this technique for this attack’ thinking’”.

HOWEVER, another point dawned on me. Taiji is all about change, it’s about adapting to change. When my rollback was not effective, why didn’t I adapt to the current scenario?  Why not just step and apply another lu energy to counter my opponents shoulder stroke (peng energy)?

So.. what does train the energies mean? I’ve made references to various energies above. A lot of this stuff came out during push hands training for me. In double push hands training, the instructor guided us on identifying the various energies given and their associated counter energies.

Given Peng, counter with Lu

Given Lu, counter with Ji

Given Ji, counter with An

Given An, counter with Peng

etc etc

Note, the above outlines just covers the 4 basic energies. All of these can be trained in the chen style basic double push hands pattern. For more details on the taiji energies read Chen Zhaokui Martial Arts Research: 8 Energies of Taijiquan.

Now the tough part is trying to identify the energies within our own training. When I do chen taiji’s buddha warrior pounds mortar, what energies am I employing? To identify the energies, we have to break down our postures into their core components.  Once we do this, we can then mix and match various physical manifestations of taiji energies to our liking based upon conditions. The Lu energy could be done with either the rollback in 6 sealings 4 closings, or the double handed deflection in the buddha warrior pounds mortar, or even in the double fisted block before transitioning into ‘punch the ground’. The possibilities are endless if we break down movements like this!

Let us end with a quote linking my two favorite topics, GTD and taiji.

GTD has a lot of parallels with martial arts: the basic moves are simple, but the power comes from combining, integrating, internalizing those moves and the more you learn, the more you realize you can go deeper and learn more and gain more.

Source: Productivity for Programmers: Trusted Systems

The ‘Netflix’ of Martial Arts DVDs

I’m a big fan of Netflix. I love messing around with my queue and browsing for those weird films I haven’t seen. However, I have often been disappointed in the number of martial arts related titles on the service, especially in the area of martial arts instruction.

Well, today the issue has been addressed. A friend of mine sent me a link to: Bushido DVD

Bushido DVD is the world’s largest on-line DVD rental company specializing in martial arts & self defense related titles. Members have access to our vast DVD collection of over one thousand martial arts instructional, training, documentary, and tournament titles, along with a wide selection of classic kung fu, samurai and contemporary martial arts films and anime.

I conducted a brief glance at their offerings and was surprised to see Chen Zhenglei and Yang Zhenduo in their arsenal. I also recognized other names like Eric Paulson from the MMA realm. One of their most popular rentals is: Analysis of Shaolin Chin Na.  Perty Nifty..

Removing "Chen Creep"

In my comment on Spiral Force in Dong Taiji Long Form, I wrote:

When I first started chen, my yang began looking like my chen. Everything began looking like chen to the point that I called it “chen creep”. But now, my chen almost looks like yang, and my yang is just yang.

This comment reminded me of this whole notion of “Chen Creep”. What’s a bit amazing is the first time I used this phrase was in 2004 in a post titled, 24 Revisited. It’s been over 3 years and I’m still working on removing ‘chen creep’ from my execution of CHEN! For me, I define “Chen Creep” to be the physically exaggerated and overt display of spiral energy within the form. It can also be defined as an exaggerated personally stylized execution of the set.

One of the main attractors to chen style is it’s emphasis on silk reeling and spiral energy. Because I already had a preconceived notion of this, when I learned the form, I put a lot of “stylistic” flare into the form. I waved may hands around a bit more, I did more spirals in my knees, ultimately, I tried to make it “look good”.  In retrospect, this proved to be a huge stumbling block and hurdle I had to overcome.

It didn’t really hit home until I repeatedly got blasted for it in private lessons. “You’re moving too much. Relax your torso. Don’t wave the spine.” Huh… This was all quite shocking b/c I went into private lessons thinking I was pretty good, but boy was I wrong. “You need to work on your basics. Practice Zhan zhuang and silk reeling”. What??? I wanted to do all the cool stuff, but now I’m being told I need to practice zhan zhuang and silk reeling more. Why???

Well, instead of questioning, I just did it. I practiced zhan zhuang more, focused on it more, tried to see what my instructor was telling me about the spine and relaxing the torso. The more I did zhan zhuang, the more I realized in my form execution, I was ‘waving the spine’. What is ‘waving the spine’? Sit down in a chair and do that dance move where the head goes side to side and you wave through your body. This is waving the spine. Why is this bad? When doing this, are one’s shoulders connected to one’s hip? Does the upper-body move as one piece or in segments?  Is the area between the shoulders and hips relaxed?

What about the idea of moving too much? Can one really move too much? I didn’t really understand this until I was put through excruciating detailed corrections in silk reeling. “You need to clearly define the movements. Shift, then turn”. This is really hard to explain without hands-on corrections, but basically I was blending the shifting and turning within my silk reeling. My shifting wasn’t really shifting and my turning wasn’t really turning. Perhaps this is what is meant my ZenMindSword’s local quote of: “Not 3, Not 4″.  By doing both, I was doing neither one correctly..

After time, and trying to follow the corrections I was given, I began to notice I had toned down my ‘flare’. I realized my hands cannot possibly move that much, based upon the movement of my dantien and center. By doing such, was just my hands moving. The movement was not driven by my center.

Removing "Chen Creep"

In my comment on Spiral Force in Dong Taiji Long Form, I wrote:

When I first started chen, my yang began looking like my chen. Everything began looking like chen to the point that I called it “chen creep”. But now, my chen almost looks like yang, and my yang is just yang.

This comment reminded me of this whole notion of “Chen Creep”. What’s a bit amazing is the first time I used this phrase was in 2004 in a post titled, 24 Revisited. It’s been over 3 years and I’m still working on removing ‘chen creep’ from my execution of CHEN! For me, I define “Chen Creep” to be the physically exaggerated and overt display of spiral energy within the form. It can also be defined as an exaggerated personally stylized execution of the set.

One of the main attractors to chen style is it’s emphasis on silk reeling and spiral energy. Because I already had a preconceived notion of this, when I learned the form, I put a lot of “stylistic” flare into the form. I waved may hands around a bit more, I did more spirals in my knees, ultimately, I tried to make it “look good”.  In retrospect, this proved to be a huge stumbling block and hurdle I had to overcome.

It didn’t really hit home until I repeatedly got blasted for it in private lessons. “You’re moving too much. Relax your torso. Don’t wave the spine.” Huh… This was all quite shocking b/c I went into private lessons thinking I was pretty good, but boy was I wrong. “You need to work on your basics. Practice Zhan zhuang and silk reeling”. What??? I wanted to do all the cool stuff, but now I’m being told I need to practice zhan zhuang and silk reeling more. Why???

Well, instead of questioning, I just did it. I practiced zhan zhuang more, focused on it more, tried to see what my instructor was telling me about the spine and relaxing the torso. The more I did zhan zhuang, the more I realized in my form execution, I was ‘waving the spine’. What is ‘waving the spine’? Sit down in a chair and do that dance move where the head goes side to side and you wave through your body. This is waving the spine. Why is this bad? When doing this, are one’s shoulders connected to one’s hip? Does the upper-body move as one piece or in segments?  Is the area between the shoulders and hips relaxed?

What about the idea of moving too much? Can one really move too much? I didn’t really understand this until I was put through excruciating detailed corrections in silk reeling. “You need to clearly define the movements. Shift, then turn”. This is really hard to explain without hands-on corrections, but basically I was blending the shifting and turning within my silk reeling. My shifting wasn’t really shifting and my turning wasn’t really turning. Perhaps this is what is meant my ZenMindSword’s local quote of: “Not 3, Not 4″.  By doing both, I was doing neither one correctly..

After time, and trying to follow the corrections I was given, I began to notice I had toned down my ‘flare’. I realized my hands cannot possibly move that much, based upon the movement of my dantien and center. By doing such, was just my hands moving. The movement was not driven by my center.