AN EXPOSITION ON NORTHERN CHINA’S

WHITE APE TONGBEI

BOXING SYSTEMS
ZHANG YUN, M.A. & STRIDER CLARK

▲▼▲

INTRODUCTION
Around three hundred years ago, many styles of traditional martial arts
in China reached a high level and won great reputation. For some, however,
the pinnacle of fame and popularity occurred between 1850 and 1900. These
included the six most prominent Northern Chinese boxing styles referred to as
the “six big gates”: taiji, bagua, xingyi, Shaolin, Muslim Spring Leg, and
Tongbei (Connected Back).1 Of these, the first four are probably most familiar
to Westerners and martial arts researchers.
The purpose of this article is to introduce the history, styles, and princi-
ples of Tongbei boxing. Tongbei is one of the more obscure and eclectic styles
of Northern Chinese boxing, but it is well-recognized in Chinese culture as a
martial art that has produced several great masters known especially for their
fighting skills. In this article, we will describe some of the unique aspects and
training methods of the Shi Style of Baiyuan Tongbei Quan, which translated
literally, means “white ape connected back boxing.”
White Ape Tongbei achieved fame throughout China and is more popu-
lar today than ever before. However, many of its key skills are being diminished
because of increasing attention to the outside movements, and lowered empha-
sis on the traditional mindset, inner feelings, and overall fighting spirit needed PREVIOUS PAGE:
to train the real high-level skills. Those currently practicing Tongbei should LEFT SIDE: ZHANG YUN IN
pay special attention to this point. As modernization advances, there are fewer CLASSIC TONGBEI POSTURES.
and fewer new students interested in seeking serious study of Tongbei as a tra- STRIDER CLARK (WHITE)
ditional art form. Traditional conservative ideas and secrecy greatly influence PRACTICING WITH PETER CAPELL.
the transmission of Tongbei even today, which could result in the eventual loss
of many of the higher-level skills. And so the question before our present gen- Photography by
eration becomes how to preserve the many superb skills and art of Tongbei. Paul Kene and Chris Young.

34 White Ape Tongbei Boxing ◊ Zhang Yun & Strider Clark Journal of Asian Martial Arts ◊ Volume 13 Number 1 - 2004 35
 B R I E F H I S TO R Y & L I N E AG E O F TO NG B E I B OX I NG
Tongbei is a traditional Northern Chinese martial art. Its precise origin,
however, is shrouded in mystery, and neither the founder or exact time of its
creation are known. The earliest written reference to Tongbei is found in texts
dating back to the Song Dynasty (960-1279). The text mentions that the first
emperor, Zhao Kuangyin, fought three fights ending in the surrender of
General Han Tong, who had used Tongbei (Gu, 1997; Xi, 1985). A reference
from 1669 is found in “The Tombstone Inscription of Mr. Wang Zhengnan” by
Huang Zongyi (also known as Huang Lizhou). This article states “You Jun’s
Tongbei skill was the best” (Huang, 1669).2
There are several Tongbei styles. Over the years, some of these styles
adapted or fused elements from other Chinese martial arts. The original and
most famous style is White Ape (Baiyuan) Tongbei. In this article, we use the
term Tongbei to refer to the White Ape style, unless indicated otherwise.
There are several well-known branches within White Ape Tongbei, which all
follow similar principles.
The White Ape Tongbei history is not well-documented. The most com-
mon belief is that the art was conceptualized and founded around 2,500 years
ago by Bai Shikou, also known as Yisan, and having the Daoist name Dong
Lingzi. According to legend, Bai passed his skill on to Wang Dao, Li Yi, and
Han Cheng. The story is based on the folktale of Yuan Gong, a famous martial
artist extant about 500 B.C.E., who was described as old, with white hair and
beard, and always wearing white clothes. The story has it that he challenged
another martial arts master, but lost. As a result, he was transformed into a
white ape that took up residence in the forest, and was thereafter referred to as
“white ape old man.” Folklore maintained he was an immortal ape who taught
his skills in secret, and was highly respected in Chinese martial arts society
(Zhao, 80 C.E.).3 Most groups in China that practice traditional Tongbei count
Bai Shikou as the founder of Tongbei.
Another version of Tongbei history, traces the art through a lineage of
famous masters starting with Chen Tuan (?-989). Chen was a Song Dynasty
Daoist master and renowned scholar and teacher. He contributed greatly to
Daoist theory, including the creation of the well-known taiji diagram. During
the course of his Daoist practices on Hua Mountain, Chen is said to have
invented Tongbei and a method known as Sleeping qigong (Shui gongfa).
In the Shi Style White Ape Tongbei traditional family manual lineage STATUE OF CHEN TUAN
list, after Chen Tuan, Tongbei was passed on through several famous masters,
4
IN HUA MOUNTAIN TEMPLE.
and finally separated into two styles: Qi and Shi.

Chinese Character Pin Yin Romanization

QI STYLE TONGBEI
Tongbei Baiyuan Tongbei Although Tongbei boxing was probably developed more than a thousand
Styles Pigua Tongbei
years ago, it was neither popular nor well-known in China until the 1800’s
because Tongbei masters before Qi Xin did not teach in public. Most groups
Liangyi Tongbei practicing Tongbei did so by following the traditional idea of keeping everything
secret, which led to some criticism of the style by outsiders as being too conser-
Shaolin Tongbei vative. Qi Xin was one of the first masters to teach Tongbei more openly.
Huoye Tongbe Qi Xin was said to have lived in Zhejiang Province, but was apparently
active throughout Hebei, Henan, Shanxi, and Shandong Provinces. During
Liuhe Tongbe
the time of Emperor Daoguang (Qing Dynasty, 1821-1850), Qi apparently got
Hongdong Tongbei into some trouble with the local authorities in his hometown and fled to Guan
County, Hebei. He hid and worked privately for a wealthy and powerful fam-
White Ape Shi Pai Tongbei
ily in Liulihe Township surnamed Yin. During his stay with the Yins, Qi did not
make known his martial arts skills until the Du family, another powerful clan,
Tongbei Qi Pai Tongbei fought the Yins for control of the local harbor business. Using a long staff, Qi
Branches Lao Qi Pai Tongbei
soundly defeated many opponents in the Du family, and as a result, was hailed
by many as a great master, and was asked to teach. Qi taught Tongbei and
Shao Qi Pai Tongbei became very famous in doing so.
Qi’s students brought Tongbei to the larger northern cities, including
Wuxing Tongbei
Beijing and Tianjin. They won a great reputation teaching and fighting chal-
Taiji Tongbei lenges and became recognized as Qi Style Tongbei.
Qi Tongbei split into two styles: Old Qi style (Lao Qi Pai) and Young Qi
Taiji Wuxing Tongbei
style (Shao Qi Pai). In the Old Qi style, Qi Xin’s original training methods —
Wuyuan Tongbei in which the movements are large and hard — were maintained. In the Young
Qi style, developed by Qi Xin’s son, Qi Taichang, the movements are soft and
Ruyi Tongbei
the techniques are more detailed and fluid than in the Old Style. Additional

36 White Ape Tongbei Boxing ◊ Zhang Yun & Strider Clark Journal of Asian Martial Arts ◊ Volume 13 Number 1 - 2004 37
 branches developed from each of these know Lu was a great martial arts master, so he said, “If you do not believe my
styles, including Wuxing (Five Elements) force can reach you, you can test it.” When Shi attacked, Lu used a quick
Chen Tuan
Tongbei and Wuyuan (Five Apes) defensive skill but did not counterattack. After several more attempts, Shi real-
Tongbei. ized that Lu was much better than he was, and so he asked Lu to teach him. Lu
Situ Xuankong (Baiyuan Laoren)
One interesting aspect about Qi already thought much of Shi for his previous kindness and so he taught him
Tongbei is that no group lists Lu Yunqing Tongbei. A relevant Chinese saying is: “You cannot find opportunity; opportu-
Bai Yufeng
as Qi Xin’s master, and so their lineage nity finds you.”
history starts with Qi Xin. As a result, no Shi practiced hard and became a high-level master, but for many years he
Ji Zhitong
one in the Qi Style lineage today did not teach anyone until he began keeping company with Zhang Wencheng,
acknowledges Qi’s master. According to a relative, an officer at the Beijing garrison, and a good martial artist. Zhang
Zhang Dongfeng
the Shi Tongbei family manual, Qi learned through their conversations that Shi practiced some form of martial
learned from Lu Yunqing, however, the art, but he could not believe that Shi, a mere store accountant, could possess
Lu Yunqing
other practitioners doubt this claim. In any real skill, and so they agreed to a friendly match. Shi followed the
any case, based on the inherent principles accepted traditional idea, which was to let Zhang attack him three times with-
LINEAGE CHART
and skills, it is clear that the two styles out counterattack. After Zhang missed all three times, Shi used one attack
Qi Xin Shi Hongsheng
from Chen Tuan to derived from the same source, but it is less and easily threw Zhang far away. Zhang realized Shi had great skills and asked
Qi Xin and Shi Hongsheng certain when they split. Shi to teach him and was accepted as a disciple. Shi did not teach many other
students though, because of his conservative nature. Of Shi’s few disciples, only
Zhang Wencheng and Ma Xiaohe passed on their skills, again to a select few.
LINEAGE CHART Qi Xin
of Qi Style TOP: “QUICK HAND BLACK” LI ZHENDONG.
Tongbei Boxing
MIDDLE: “IRON ARM” LI SHUSEN.
Qi Taichang Li Donglu Li Zhong Chen Qing Huang Yuna RIGHT: STRIDER CLARK WITH
GU YUN IN BEIJING, 1993.

Luan Hexiu Cui Pingjing Xu Tianhe An Pingli Liu Pingzhi Wang Zhanchun Zhang Ce LINEAGE CHART Lu Yunqing
of Shi Style
Tongbei Boxing Shi Hongsheng

Xu Jianchi Liu Yueting Xu Yongsheng Liu Peng

Wang Xialin Zhang Wencheng Liu Ziying Hen Dongyi Xiang Zhongshan Ma Xiaohe

SHI TONGBEI Liu Baoming Ma Deshan Li Zhendong Zhang Ce Wang Guixiang Hou Xirong Zhang Shaosan
Shi Hongsheng, the first generation master of Shi Tongbei, studied under
Lu Yunqing during the Qing Dynasty’s Daoguang Period (1821-1850).
According to the Shi Style manual, Lu was a resident of Wei County, Yang Qishun Zhang Ruiqing Li Shusen Wang Qicheng
Shandong Province, and owned a fur and leather business. He often traveled to
Beijing for business and stayed in a fur and leather shop near Zengshou Temple
near Guangan Gate.
Sun Lixin Zhao Zeren Gu Yun Lu Shengli Li Gengjiang Zhang Zengyin Zhang Yun Zhang Guizeng
Shi Hongsheng was an accountant for Lu’s shop. Once, when Lu became
sick, an “opportunity” was given for Shi to show Lu his fine caring qualities.5
Lu was very moved by Shi’s behavior, so he wanted to teach him Tongbei in
return. Shi, an able-bodied man who had studied hard-style martial arts, was Strider Clark John Benavides Marc Boswell Malcom Zarnfaller Clayton Shiu
TONGBEI MASTER practicing one night when Lu came in and said to Shi, “Your skill looks pretty Darrell Staaleson Peter Capell Alan Bochan Chris Young
ZHANG CE. good, but the only problem is your force cannot reach very far.” Shi did not

38 White Ape Tongbei Boxing ◊ Zhang Yun & Strider Clark Journal of Asian Martial Arts ◊ Volume 13 Number 1 - 2004 39
 Because of the historical conservatism among Tongbei groups, few of the
core principles have been systematically organized and recorded.
Communication among different Tongbei groups is usually rare. For these
reasons, certain aspects of Tongbei remain obscure and confusing and could
easily be misunderstood by historians. For example, regarding designations, the
full name of Shi Tongbei should be Shi Pai Baiyuan Tongbei Quan, but it is
usually referred to as just Baiyuan Tongbei Quan. Conversely, when one refers
to Baiyuan Tongbei, this generally means Shi Tongbei. Usually, only the
authentic disciples practitioners refer to it as Shi Style.
The opposite is true for Qi Tongbei, which is designated as such, and
often down to the specific sub-style (e.g., Wuxing Tongbei). However, Qi Style
“indoor” practitioners often refer to their style using the full name of Qi Pai
Baiyuan Tongbei Quan. Since Qi Style is the more popular Tongbei style, it is
most often referred to simply as Tongbei Quan.
Although Qi and Shi Tongbei come from the same source, each evolved
differently. The basic training in Qi Style involves 108 solo techniques, some-
times referred to as “taking apart skill” (chai quan). Major training in Shi Style
involves the 24 postures form, also referred to as the “linking form” (lian
quan). Thus, chai quan and lian quan have also been used to designate the
respective Tongbei styles, but regardless of differences in fighting skills or
training methods, both follow similar principles, as indicated in a related clas-
sical poem: “Both chai quan and lian quan follow the same principle, they are
not separate and distinct from each other, even though they have their own
unique features.”
TEACHING TRADITIONS &
T H E P O P U L A R I Z AT I O N O F TO NG B E I B OX I NG
Starting in the 1910’s, some Qi Style masters began to teach Tongbei in
public. Soon after, Qi Style became more popular than Shi Style. Today, at
least 90 percent of Tongbei practitioners study Qi Style or one of its branches.
However, even though some Qi Style masters taught in public, they still
reserved teaching of some of the higher-level skills to a select few disciples in
private classes. As Qi Tongbei became more popular, additional forms were
created for teaching purposes. Today in northern China, Qi Style has spread
widely and is very influential in many places, especially in Beijing, Tianjin,
Hebei, and Liaoning. There are still many practitioners in Guan County where
Qi Xin first began teaching Tongbei. Since Qi Style is taught in public, it is not
too difficult to join a group. However, although one can find many people
practicing Tongbei, there are still relatively few people who know the complete
Qi system and understand its higher-level principles.
Shi Tongbei practitioners remain fairly conservative today, and so it
remains very difficult for the uninitiated to join a Shi Tongbei group, let alone
become a formal “indoor disciple.” The master traditionally and often today
“closes the doors” to teach secretly, and so it is not uncommon for most disci-
ples to spend long years learning and practicing the skills, and never be shown
40 White Ape Tongbei Boxing ◊ Zhang Yun & Strider Clark
the truly higher-level skills. As with many other martial arts practices, a
master traditionally passed on the higher-level skills only to the best students
with good moral constitution.6 The student had to be smart enough to under-
stand the principles, but also diligent and disciplined enough to practice very
hard. This conservative approach had the effect of limiting the group size, and
contributed to the quality and depth of development, which, in turn, helped
the group maintain a high reputation, especially for real fighting.
Shi Style masters are some of the most vicious and feared fighters, using
one attack to quickly finish a fight. Supplemental training, such a “iron arm”
and “iron palm,” are included as part of the training, so the master emphasizes
the requirement for high moral standards in students. In fact, the teaching was,
“never fight until you definitely must fight,” and the group would severely
punish any student who engaged in unnecessary fights. By comparison with
other styles, Shi Style practitioners kept to the traditional way, often dubbed
“black fist” (hei quan), which has two interpretations: one involves their prac-
tice in dark places so that others cannot see what they do; the other relates to
the very aggressive style adopted in a fight. Even today, outsiders and
researchers do not have a clear understanding of the style. Shi Style masters
remain ultra-conservative, refusing to divulge even the most general informa-
tion about their lineage and methods to martial arts scholars.
In Shi Style practice, everything is focused on fighting. Anything else,
no matter how beautiful or impressive in a demonstration, is considered unnec-
essary. In the Shi Tongbei lineage under Zhang Wencheng, practitioners resist
any change, modification, or reform of the system. They keep to the tradition-
al way, believing the older the better. Many of the masters are strict and hold
to the way they were taught and teach the same way to their students. This reg-
imented transmission provides more insight into the original Tongbei training
methods.
Shi Tongbei basic training is similar to other styles, usually involving
large movements, although somewhat less pronounced than in the other styles.
In fighting, however, the movements clearly become smaller and are more pow-
erful than in most other styles. Shi Style students were trained to pay special
attention to combining the hard and soft, and finding the correct balance
between the two. During fighting, one kept relaxed and soft until touching the
opponent’s body – the specific teaching was to “release the force only when you
touch the opponent’s clothes.” Developing superior internal force was strongly
emphasized. Students first learned how to relax and stretch the body; then to
make internal strength (qi) move smoothly and harmoniously; then how to
release force in a quick and sudden manner, with the whole body coordinated
and integrated. The more initially relaxed the body, the more energy gener-
ated, and the more force released.
Shi Style remains willfully obscure. There have been some famous masters
but no one taught in public, and only a few taught privately. As far as we know,
there is only one book published on the Shi Tongbei style. It was written by a
Japanese.7 Figures on the following page show some postures from the various
Shi Tongbei lineages. The few Shi Tongbei practitioners are in Beijing. Few if
any Westerners have been able to study this style.8
Journal of Asian Martial Arts ◊ Volume 13 Number 1 - 2004 41
 Although many of the basic principles and skills are identical between use the word to convey the concept of
the Shi Style lineages of Ma Xiaohe and Zhang Wenchang, there are some key lengthening the arms and relaxing the
differences. Ma and his students made some changes and created some new shoulders, or to describe a specific prac-
techniques and training methods. Ma’s group employs more forms. In Zhang’s tice involving the back and arms (e.g.,
lineage, traditional methods were not altered, and thus is more strict and con- Fan Through the Back [shan tongbei] in
servative than most other groups. taijiquan). There are also other styles of
There are many books about other styles, some even have a brief intro- martial arts that include Tongbei as part
duction of Ma’s lineage, yet none mentions Zhang’s lineage. This does not of their name, for example Hongdong ZHANG YUN
mean a total lack of information about the art, only that no one is able to get Tongbei. However, such arts represent DEMONSTRATES
information from group members, and it is extremely difficult to join the group. distinct lineages and are unrelated to WHITE APE TONGBEI
And even within the group, some things are only passed to a few of the disci- Baiyuan Tongbei because they are based AS PASSED DOWN
ples. Recently, however, some of the Ma lineage practice methods have become on different principles, and place less FROM LI SHUSEN.
available on video/VCD.9 emphasis on the “connected back” prin-
Because of its simplicity, utility, and efficiency, it is possible for a student ciple than the original Tongbei lineages.
to gain a lot of fighting ability in a very short time, and so Tongbei had a rep- There are also newer styles that mix orig-
utation for being easy to master. Even for many beginners, it seems like a inal Tongbei ideas with other skills, such
“study-today-and-use-tomorrow” proposition. In fact, most practitioners can as Pigua Tongbei; and still others that use
achieve at least mid-level skills quicker and easier than in other styles. So it a homonym of the name, like Tongbei,
attracts many people. However, because of the conservatism, only few ever where “bei” in this context does not
achieve the truly higher-level skills that Tongbei has to offer. mean “back or arm” but rather “to pre-
pare,” as noted above.
BA S I C P R I NC I P L E S O F TO NG B E I B OX I NG Some Chinese martial art styles are
based on direct imitation of animal movements and internal spirit, such as the
The full name of original Tongbei Quan is Baiyuan Tongbei Quan. “Bai” eagle, monkey, and tiger. In this sense, one could say that Tongbei is an animal
means white; “yuan” means ape; “tong” means open, clear, unobstructed, con- imitation style, however, it is very different from the rest. In Tongbei, it is the
nected, logical, and whole; and “bei” means arms or back. “mind” or “feeling” of the white ape that is emphasized, rather than imitation
The White Ape is a mystical animal in Chinese mythology. The only of the external physical movements. This is called “study the internal feelings,
kind of ape indigenous to China commonly known as white ape or long-armed not the external movements.” Many Tongbei groups vehemently deny that the
ape belongs to the gibbon family, and has arms that reach well past its feet style is an animal imitation style. Since Tongbei’s basic philosophical idea is
when standing upright. Daoist, and since many of its practices are similar or close to those of internal
There are three characters for “bei” as used in writing Tongbei. One styles, some people place it within the internal martial art category. Many
means “back,” one means “arms,” and the other means “to prepare.” The first believe, at the very least, it falls between internal and external styles.
two represent the usual meaning in the art of Tongbei boxing. Which of these White Ape Tongbei consists of two major parts: martial art application
TOP: WANG PEISHENG two terms represents the original meaning is not clear, but following Tongbei and qigong. The martial applications represent a study of the ape’s attributes,
DEMONSTRATES RUYI principles, either one could apply. Most scholars have adopted “back” as the which correspond to a number of simple, useful, and efficient techniques, all
TONGBEI AS PASSED DOWN standard. When the third meaning is used (i.e., to prepare), it does not refer to developed primarily with real fighting situations in mind. Although the style
FROM LIANG JUNBO. the traditional Tongbei style, but rather to a newer system that was created in includes some qigong practices for promoting health and vitality (e.g., Shui WHITE GIBBON.
the 1930’s. Although some of the movements and principles were carried over, Gongfa, Daoist Sleeping qigong method), it is the fighting methods that made
MIDDLE: ZHANG GUIZENG most traditional Tongbei practitioners consider the newer style quite different, Tongbei famous.
DEMONSTRATES WHITE APE and it never achieved much fame or popularity.
TONGBEI AS PASSED DOWN Expressing the characters collectively, the word Tongbei means “to link
FROM MA XIAOHE. the two arms together.” The idea related to boxing then is to make the arms Chinese Characters Pin Yin Romanization
Three different
more extended and relaxed, allowing internal forces to pass more smoothly Tongbei Quan: bei means “back”
BOTTOM: TAKEDA HIROSHI through the back and into the hands. This is the most important idea in
characters for
DEMONSTRATES WHITE APE Tongbei boxing: practice making your arms more relaxed and extended, and in Tongbei Quan: bei means “arm/s” “bei”used in
TONGBEI AS PASSED DOWN gaining the feeling inside that they are more extended.
FROM HE ZHENFANG. The term “tongbei” is used elsewhere in Chinese martial arts. Many styles
Tongbei Quan: bei means “prepare” Tongbei.

42 White Ape Tongbei Boxing ◊ Zhang Yun & Strider Clark Journal of Asian Martial Arts ◊ Volume 13 Number 1 - 2004 43
1a CHOPPING MOUNTAIN SEQUENCE (1A-D). 2a 2b CHOPPING MOUNTAIN
SEQUENCE (2A-E).
Tongbei’s basic principles consist of the four kinds of power (jin)10 – xin
yuan, xin yi, xin ji, and xin jin – which together mean that the heart, mind,
movement, and force should be like that of the ape. It is believed that the ape’s
heart or mind is never static; and in fighting, one must emulate this quality,
constantly changing, and adapting. In addition, when the ape wants to do
something, it never reveals its intention beforehand, and so in fighting, one
must not make it obvious to the opponent what will come next and when. The
ape’s movements tend to be quick and sudden; and in fighting, one must do
likewise. The ape is considered a clever animal, with an agile and powerful
mind from which all actions flow; therefore, in fighting, one must initiate all
1b 2c 2d 2e
actions from the heart and mind. A familiar principle here is that wherever the
mind goes, the physical forces arrive there naturally. However, it is important
to realize first and foremost that these principles are not about physical move-
ments, but about internal feelings.
Tongbei’s basic physical training methods feature twisting the waist,
relaxing the shoulders, and extending the arms. Envision the arms as whips and
your waist as the handle of the whip. The force starts from your feet and is con-
trolled by your waist, turn your waist to direct your upper back, use your upper
back to guide your shoulders, use your shoulders to lead your arms, and use your
arm to lead your hands, until finally qi and the force arrives smoothly unim-
peded to the tips of the fingers. In this way your arms are made to feel longer
1c
and heavier, and can therefore reach further away with powerful force.
The basic movements and techniques can be broken down into circles, 3a 3b CENTER PUNCH
lines, and points. Most of the movements involve circles, where it is much SEQUENCE (3A-E).
easier than in linear movements to get qi and force transmitted in a smooth,
relaxed, continuous, and changeable manner. Names of typical circular
movements involve the wheel arms, spinning palms, and circling hands.
“Chopping mountain” (pi shan) is an example of a typical circular movement
skill (1a-d and 2-a-e).
Linear movement is also common, including many straight-line strikes
with fist and palms, which have the advantage of being quick, hard, and sud-
den. The hand must go straight in and straight out, as in “center punch” (zhong
quan), which is one of the most important basic skills in Tongbei (2a-d).
1d Ingrained within the various circular and linear techniques is the idea of 3c 3d 3e

the “point,” which involves two components: one is the actual target and the
other is timing. These two must be combined to “hit the target on time.” In
Tongbei, this means “to release the force at the right moment.”
This is trained and ingrained further by making a sound when practicing
techniques, but not the typical overt kiai as in karate. The sound is usually
made by slapping parts of the body against each other or by stamping the foot
onto the ground during stepping. The sound serves as a cue for further inte-
grating the external movements and internal components at a particular
moment in time, that being the moment of impact. This training not only pre-
pares one’s body for impact in general, but also assists in developing the correct
inner feeling for releasing force upon reaching the target.

44 White Ape Tongbei Boxing ◊ Zhang Yun & Strider Clark Journal of Asian Martial Arts ◊ Volume 13 Number 1 - 2004 45
 Pin Yin Original Characters’ Meaning
the feet, shoulders stretched out, and the waist twisted and turned so that the
Ten Romanization Meaning in Tongbei Practice
force is released powerfully. There are no superfluous movements, or move-
3a

Qualities Leng “cold,” sudden, come

from out of nowhere
movements sudden and unpredictable,
and difficult to defend against
ments that are aesthetic, or not useful in fighting. A very common misunder-
of Basic standing is that the large movements are used in actual combat. In training, the
Tan spring internal force like a spring, even when large movements help to relax, stretch, move qi smoothly, and generate more
Fighting force is released forward, a backward power, especially for beginners. However, in fighting, at the more detailed and
force is already included within refined levels, smaller movements are preferred.
Skills
Cui crisp, fragile techniques very clean, brief contact time;
brief, no time for opponent to react 3b
TRAINING METHODS OF
Kuai quick characteristic of all techniques S H I S T Y L E W H I T E A P E TO NG B E I B OX I NG

Ying hard specific practices, e.g., Shi Tongbei practitioners believe that their skills exist only for fighting,
“iron arms,” to harden the body and so except for some basic gongfu exercises, each skill is developed for efficient
fighting. Some of the techniques are not very aesthetic, and movements created
Suo to shrink movements minimized during
for any reason other than fighting are always ignored, even ridiculed, and disre-
fight to increase efficiency 3c
garded. For example, Chinese martial arts practice usually involves much prac-
Xiao small smaller movements better than large tice of forms. Tongbei practitioners do not think that forms are all that useful,
and in some groups, form practice is almost ignored completely. For example,
there are some forms in Shi Tongbei, but they are not taught very often.
Mian soft and soft and able to follow opponent’s
Emphasis is placed mainly on the development of individual skills. Once a stu-
following touch, not resisting with hard force.
dent can perform all the single skills individually, it is possible to go on to study
Ruan relax as in soft Tongbei has heavy attacks, but is form. This should not imply that forms practice is for higher-level students, just
and smooth not hard all the time; be relaxed, that forms are not the most important, fundamental priority in training. 3d
soft, and smooth most of the time. Traditional training consists of several parts: basic gongfu training, basic
Qiao skillful, ingenious, characteristic of all techniques skills training, two-person fixed-set training, two-person free-skills training,
and clever to be useful and efficient weapons training, and qigong training. Today, although they follow similar
principle, the various Tongbei groups have developed their own training meth-
ods. Since Shi White Ape Tongbei is much closer to the original way, we use
Tongbei’s basic fighting skills are characterized by “ten qualities.” They it as an example.
express all the features of Tongbei boxing (see chart above). For basic gongfu training, many exercises are taught first for relaxing and
The basic applications of Tongbei are quick, aggressive, accurate, change- stretching the whole body, especially the arms, back, and waist. Other methods 3e
able, and clever. To achieve this in terms of mental attributes, one’s mind, eyes, are taught for increasing internal force through these parts of the body and for
and movements must be quick. Several aphorisms from oral tradition describe developing a solid root through the legs and feet. Further exercises are aimed
these as follows: On speed: “even if you can thread the needle in the instant toward balancing internal components (shen, yi, qi). Additional conditioning
that lightening brightens the night, that still may not be fast enough!” One’s exercises, such as iron palm, iron arm, and iron body, are especially emphasized
heart should be hard: “if you are a softhearted person, you cannot do Tongbei.” in Shi Style and are practiced for hardening the body and enhancing power.
One’s technique should be precise, accurate: “when you miss your target, you This requires the use of several types of special training bags and posts, and var-
waste your time.” One should learn how to interchange and vary the different ious methods for striking them (3a-f). This type of training is very arduous and
skills during a fight. Changing according to what happens in a real situation is tedious. Masters usually assign students to this training for the first several years 3f
one of the most important skills in Tongbei: “one technique changes into three, because they believe it forms the foundation skills for all advanced studies. In
and three changes into nine” is emphasized. Finally, one should always use the fact, bag and post hitting are considered the root of all skills in Tongbei box-
best and most efficient skill to achieve the objective, with no wasted move- ing. In addition, it gives the master a chance to observe a student’s character
ments, and be able to change at any moment. and personality. If one fails to practice these skills diligently and persistently,
In summary, when practicing Tongbei, one should make the movements he would not be taught any longer.
as large and continuous as possible, the transitions smooth and connected, with
a lot of slapping of the arms and body against each other, very hard stamping of SEQUENCE OF IRON PALM TRAINING WITH LYING BAG (3A-F).

46 White Ape Tongbei Boxing ◊ Zhang Yun & Strider Clark Journal of Asian Martial Arts ◊ Volume 13 Number 1 - 2004 47
 For basic skills training, the student studies single techniques, one by
one, and repetitively. “Do it one thousand times” is a common refrain from the
masters. The student practices solo to achieve a basic understanding of the
technique and to develop proper coordination. The technique is then practiced
on a bag and/or padded post so that the student gets the right feeling for
releasing force in full-contact striking. If the student has practiced hard and is
worthy, the master explains more about timing and angles, how the skill
should be applied in combat, with all possible changes and variations. Once
the student has progressed through these stages for one technique and is able
to do it well, they are then taught the next technique.
The two-person fixed-set training enables a detailed study of attack and
defense, which is a prerequisite for mastery of Tongbei fighting skill: “if you
want to master Tongbei, you must always fight with a partner.” There are dif-
ferent routines, depending on the training goal. For hard contact training, the
partners hit each other hard to increase striking power and enhance defensive
skill. Other sets are for training reflexes, which increase speed and reduce reac-
tion time. Still other sets are designed for detailed research of each skill and all
their variations. Such fixed routines are not always standardized by masters;
partners can make up their own according to their needs. Practice each routine
repeatedly from both offensive and defensive perspectives. Generally, a single
technique is practiced first, and then combinations are introduced, usually
involving two to five individual techniques in combination. These practice
routines must be done very slowly and carefully before adding speed to mini-
mize the risk for serious injury. Body protectors are often used to avoid injury
during full-speed practice with a partner to get an accurate feeling of how
these skills would work in a real fight. Proper training in Tongbei develops
tremendous striking power, and injuries can sometimes occur even when a
body protector is worn.
After practicing the fixed routines, the student progresses to free-style
fighting with a partner. Each partner can use any skill he likes, and is not
required to tell the partner what he plans to do, which is very much like real
fighting, and consistent in principle with the strategy of the ape described
above. Body protectors are essential during this type of training to avoid or
limit injury. The most important point in this training is that a student not
worry about whether he wins or loses. This is the time to focus on the skills
themselves, reflecting objectively on why the encounter was won or lost, and
not getting angry when hit hard. Part of the development of Tongbei skill is
understanding that one will get hit a lot before learning eventually how to win.
Weapons training is uncommon among Tongbei groups today. When
they are used, the most common weapons are the saber (dao), straight sword
(jian), long staff (da ganzi), and spear (qiang). The saber and staff adhere to the
principles developed in unarmed fighting. There are some weapons forms, but
they tend to be ignored in favor of practicing individual techniques and two-
person routines for combat practice.
Tongbei qigong training is only taught in a few groups. Sleeping qigong
(shui gongfa) is the most common Tongbei qigong form. Chen Tuan is said to
have invented this Daoist qigong training while practicing on Hua Mountain.
48 White Ape Tongbei Boxing ◊ Zhang Yun & Strider Clark
Interestingly, most of the postures in this qigong method are practiced lying
down on a bed, and mimic the various sleeping postures, hence the name.
MAJOR ROUTINES OF SHI BAIYU AN TONGBEI BOXING
The major routines and sets practiced in Shi Style White Ape Tongbei are:
■ Six Prime Skills: These include six single skills, each expressing a
main idea of Tongbei and represent the foundation skill for all Tongbei
training.
■ Eight Older Fists: This is a short form including eight skills selected
from those Tongbei masters use to quickly win fights.
■ Twelve Linking Fists: This set includes 12 short combinations, with
each consisting of two to five individual skills. Each of the 12 combina-
tions should be practiced separately to develop an understanding of how
combinations or continuous skills are used in fighting.
■ Twenty-Four Posture Form: This is considered the main routine of
Shi Tongbei, consisting of 24 skills, which many believe form the oldest
or original form of Tongbei. However, this form is not usually taught as
a continuous form, with practitioners preferring to hone each skill sepa-
rately and in great detail. Only when every skill is done well should they
be linked into a form. It is very common that some modern day practi-
tioners have practiced each of the individual skills for many years but still
do not know the entire form in continuous linkage.
■ Thirty-Six Take Apart Fist: This is a combination form including 36
skills, which also are usually studied as individual parts for teaching and
practice.
Although there are not many sets and routines in Shi White Ape
Tongbei, the approach to mastery and unfolding many of the secrets requires
the guidance of a knowledgeable master, and a continuing detailed study of
how to vary and change between the different skills. Unlimited skills can be
generated from these basic skills, so the ability to change and interchange is the
key point for developing higher-level Tongbei skills.
TECHNICAL SECTION:
SHI ST YLE BAIYUAN TONGBEI FIGHTING SKILL S
There are several Shi Style Tongbei fighting features:
■ to be quick and continuous in a manner that “makes three skills look like
only one”; that offensive and defensive skills are done at the same time:
“blocking and attacking are one.”
■ to avoid any unnecessary movements and be as efficient as possible:
“hands and feet do not go in or out without a purpose.”
Journal of Asian Martial Arts ◊ Volume 13 Number 1 - 2004 49
 ■ synthesis of soft and hard, insubstantial and substantial, static and
dynamic: “there is hard in soft, and soft in hard; there is insubstantial in
substantial, and substantial in insubstantial.”
■ no fixed patterns of change and transition from one skill to the next:
“suddenly move in and just as suddenly move back, suddenly move to
left and suddenly move to right, suddenly go up and suddenly go down”;
there is no predicting which direction the next movement will go.
■ force should be explosive: “release power only when your hand touches
the opponent’s clothes.”
The punch is the most important offensive skill. The most common
punches are the center, straight, “pouring ear,” wrapping, backing over, plant-
ing, chopping, and smashing. Targets include the face, center of the chest, rib
cage, groin, and certain acupuncture points. Palm strikes are used in several
different ways, including hard attack, luring, and harassing, with the most
common including chopping, slapping down, stamping forward, flipping,
brushing, and slicing.
CROSSING HAND BLOCK The very few kicks in Tongbei involve movements that are low, small,
SEQUENCE (4A-F). sudden, and quick, and are not usually performed in isolation. They are
4a 4b
extremely powerful and most devas-
tating when performed as part of a
combination technique in coordina-
tion with the hands, hence they are
often referred to as “hidden kicks.”
In Shi Tongbei, the basic fight-
ing skills are categorized into four
groups: quick hand skills, hard and
heavy skills, disruption and displace-
ment skills, and controlling and
4c 4d
throwing skills. All of these skills fol-
low the four basic principles of being
relaxed and extended, sudden and
quick, nimble and changeable,
aggressive and hard.
The quick hand skills are per-
formed suddenly, but not very hard,
to severely harass or stun the oppo-
nent. When using these skills, keep
4e 4f
very relaxed, and let the movements
come out like a spring. In training
this skill, one does not use a lot of
force, just go in for the quick “touch.”
In cases where practitioners have
developed their iron palm skills, even
such light touches have been know
to cause the opponent painful welts,
loss of concentration, and loss of
balance, which sets up for the use of con- 5a 5b
tinuous skills to end the fight. With basic
training emphasis on the reach of the arms,
the quick hand skills can be used at a
greater distance from the opponent for
both striking the arms and bridging closer
for the next technique. For example, cross-
ing-hand block (4a-f) is a quick hand skill
used when the opponent punches to your
face or chest with his right hand and you 5c 5d
use your right hand to block/strike his right
wrist, your left hand to block/strike his
right elbow, and then your right hand again
to hit his face. In addition to covering the
distance, the other key Tongbei skill here is
to make these three movements look like
one movement. The quick hand skills are
useful and cause immediate problems for
the opponent. However, this skill by itself 5e
is not usually fatal or even disabling in PLANTING PUNCH
most cases. Most fighters will design addi- SEQUENCE (5A-E).
tional combinations involving quick hand
skills for use at the start of a fight.
The hard and heavy skills can cause
serious injury to the opponent. Applica-
tion of these skills usually requires proper
distancing relative to the opponent so that
the force is released in the most efficient
manner. The first concern has to do with the target (e.g., head, stomach, ribs,
groin, joints, acupuncture points), and the second is a mental aspect where the
mind envisions the total and absolute destruction of the target. The hard and
heavy skills represent lethal finishing moves in many cases.
Throughout the early history of Tongbei, masters were known to use cer-
tain techniques to kill opponents. For example, the “planting punch” (5a-e) is
a downward punch to the stomach or ribs that is used only when very close in
with the opponent. The idea here is the generation of whole body force, start-
ing from the foot, through the legs, back, shoulder, arm, and downward into
your fist, all as you imagine punching a deep hole into the ground (i.e. the
opponent’s body), and planting a tree (i.e., your arm). The main problem with
this type of martial skill is that the movement is big and committed, leaving
little chance to change if needed. Also, no opponent will just stand there and
let you close in and strike him. So, the key for this technique is to first unbal-
ance your opponent before closing in and striking. For example, as shown in
the photo sequence, before you deliver “planting punch” with your right fist,
you should use your left hand to pull your opponent slightly to your left, thus
causing his body to lose balance and to lean left and back. This idea of unbal-
ancing comes from disruption and displacement principle.

50 White Ape Tongbei Boxing ◊ Zhang Yun & Strider Clark Journal of Asian Martial Arts ◊ Volume 13 Number 1 - 2004 51
6a Disruption and displacement skills destroy an opponent’s
root and balance. Most fights involve movement and so it is not
always possible to hit the target directly with full power. When
using disruption and/or displacement skills to first unbalance
the opponent, their natural reaction will be to first regain their
balance, during which time their movements will be slow or
come to a complete stop. Learning to induce and recognize this
in the opponent is another secret of developing higher-level
skills in Tongbei. Part of this learning is also maintaining one’s
own balance and position to best take advantage of the oppo-
nent’s loss of balance and position.
There are many exercises in this category, some simple,
6b
some more complex. Simple skills include: gripping (zhua), dig-
ging (pao), pulling (luo), and leading (dai). These involve dif-
ferent hand skills designed to break the opponent’s root and
destroy his balance. A sudden and powerful strike to a weak
point also can disrupt the opponent’s center of balance. An
example of disruption and displacement in combination with
heavy skills added includes the famous skill, “cat springs on a
mouse” (6a-d), where one first blocks the opponent’s hand to
the side, hard and quick enough to make his body lean sideways,
at which time you can jump in and push with both of hands,
hitting the ribs. Most of the higher-level Tongbei skills involve
6c combinations of this type.
Controlling and throwing skills lock and control the
opponent or throw him outward or to the ground. This skill is
not commonly used in Tongbei because the basic principle of
Tongbei calls for striking the opponent hard and fast, not
becoming entwined in long periods of mutual grappling.
Controlling and throwing skills require large movements, and
so they tend to be slower and more difficult to apply directly,
but can be used following disruption and displacement skills.
In northern China, wrestling (shuaiqiao) is very popular
and its techniques have been incorporated into many other
martial arts. Accordingly, some wrestling techniques appear in
6d Tongbei, with some adaptations. For example, there is a throw
where the opponent is first pulled forward, and their subsequent
pull-back force is followed by placing your right leg behind his
legs and using your right arm to cut across his neck with whole
body force. In this technique, your arm and leg act like a pair of
scissors cutting cloth or paper.
Some of the more lethal techniques common to all mar-
tial arts involve similar principles. The most dangerous varia-
tion of this skill in Tongbei is referred to as “cut off the head”
7a 7b 7c
7d
CUT OFF THE HEAD WITH TURNING FORCE SEQUENCE (7A-D).
(7a-d), where your right hand hits and pushes the opponent’s chin for-
ward and to your the left with a downward turn, and at the same time
your left hand pulls the back of the opponent’s head toward you. The
force of both hands is released from your whole body by turning to the
left, and adding another force to turn the neck with downward.
All Tongbei skills are useful in real fighting. Common Tongbei
fighting tactics involve use of quick hand skills to harass your opponent
first, and then seek or create a chance to either use some hard and
heavy skills to finish the encounter, or to use some further disruption
and displacement skills to unbalance, followed by hard and heavy skills
to strike, or a controlling or throwing skill to throw him out or down.
• • •
White Ape Tongbei boxing has achieved fame throughout China and is
more popular today than ever before. However, many of its key skills are being
diminished because of increasing attention only to the outside movements and
lowered emphasis on the traditional mindset, inner feelings, and overall fight-
ing spirit needed to train the real high-level skills. Those currently practicing
Tongbei should pay special attention to this point. As modernization advances,
there are fewer and fewer new students interested in seeking the serious study
of Tongbei as a traditional art form. Traditional conservative ideas and secrecy
greatly influence the transmission of Tongbei even today, which eventually
could result in the loss of many of the higher-level skills. And so the question
before our present generation becomes how to inherit and preserve the many
superb skills and art of Tongbei Quan.

CAT SPRINGS ON A MOUSE

SEQUENCE (6A-D).

52 White Ape Tongbei Boxing ◊ Zhang Yun & Strider Clark Journal of Asian Martial Arts ◊ Volume 13 Number 1 - 2004 53
 BIBLIOGRAPHY
GU, S. (1997). Zhongguo tiyu shi [Chinese sport history]. Beijing: Beijing Physical
Education University Press.
HATSUDA, R., LU, Y. & YAN, H. (Trans.) (1984). Brief history of Chinese martial
arts. Chengdu: Sichuan Science and Technology Press.
HUANG, Z. (1669). “The tombstone inscription of Mr. Wang Zhengnan.” Nan
Lei Ji.
LIAONING MARTIAL ARTS RESEARCH AND SORT OUT GROUP and SHENYANG
PHYSICAL EDUCATION COLLAGE MARTIAL ARTS RESEARCH AND SORT
OUT GROUP. (1990). Tongbei quan. Beijing: Ren Ming Ti Yu Chu Panshe.
REN, G. (1996). Secret linking skills of Tongbei quan. Beijing: Beijing Physical
Education University Press.
TAKEDA, H. (1984). Tongbei quan skills. China Bookstore Press. Originally pub-
lished in 1936 by Shang Wu Yin Shu Gua (Business Press Company).
XI, Y. (1985). Zhongguo wushu shi. [Chinese martial arts history]. Beijing: Ren
Ming Ti Yu Chu Panshe.
ZHAO, Y. (80 C.E.). Wu Yue chuan qiu [Spring and Autumn of Wu and Yue
Kingdoms], volume 9.
ZHOU, S. (1997) Edition and textual research of ‘Spring and Autumn of Wu and
Yue Kingdoms.’ Shanghai: Shanghai Ancient Rare Book Press.
NOTES
1
Traditionally, each family had its own building with one main entry gate or
door (men). All family members gain access through the same gate.
Reference to the same gate means that people belong to the same family. In
Chinese martial arts, each group is like a family, so each style or group can be
referred to as a gate or door. For example, when a taiji practitioner is asked
which gate they belong to, they can answer that they are in the taiji gate (taiji
men).
2
Huang was a famous scholar and his son, Huang Baijia, was a student of
Wang Zhengnan. So this reference source is highly reliable. Wang was a
famous internal boxing (neijia quan) master. In the article, several different
martial arts styles are mentioned, including Tongbei. From the article we do
not know anything else about who You Jun was.
3
The Spring and Autumn of Wu and Yue Kingdoms is an ancient book that
recorded the history of the Wu and Yue Kingdoms about 2,500 years ago. We
do not know who or when the original book was written.
4
The group record or family book (pu) recorded the principles, skills, history,
and lineage for each martial arts family. There is usually only one hand-writ-
ten copy in each group and it is kept by the group leader. It is the most impor-
tant source for each group, and most groups keep their family book a closely
guarded secret. In the authors’ lineage of Shi Style White Ape Tongbei, the
family book was passed down through Zhang Wencheng’s son, but no one in
the group is sure who wrote it or when.
5
It was common in the past for many shops to offer food and room to their
customers. For many small businesses, the accountant also managed the
business.
54 White Ape Tongbei Boxing ◊ Zhang Yun & Strider Clark
6
Moral character is the most important concept in traditional Chinese mar-
tial arts training. Martial arts are very dangerous skills and can be used for
good or bad, depending on the individual. In the past, each martial arts group
was like a family, and if any member did something bad, it would destroy the
family’s reputation. So each group “watched its door” very carefully. Each
group usually has its own rules of conduct for its members. The general con-
tent of martial arts morals demands that one respect and obey the older gen-
erations, help others in need, understand right and wrong and true and false,
be trustworthy, take responsibility, and exhibit self-control.
7
The first book about Tongbei available in China was written by Takeda
Hiroshi (Wu Tianxi) and was published in 1936 by Shang Wu Yin Shu Gua
(Business Press Company). Takeda was a Japanese student at Peking
University since 1924 who studied Tongbei with He Zhenfeng for several
years. Interestingly, although the content in certain portions of the book is
very clear, other parts are very puzzling and strange. Many believe the reason
is that He Zhenfeng did not really want to teach Takeda, and so he changed
the teaching on purpose. There is speculation that this happened because of
the political situation between China and Japan at that time.
8
In 1993, Strider Clark went to Beijing and became an in-door disciple of Shi
Tongbei. He is the first Westerner to have joined this group in the tradi-
tional sense.
9
Most Shi Style Tongbei masters remain very conservative even today. Thus
far, the only published material on Shi Style Tongbei boxing consists of a col-
lection of VCD’s developed by Zhang Guizeng of Ma Xiaohe’s Muslim lin-
eage.
10
The usual meaning of the character for jin means “force” or “big force,” but it
can also express a pattern of behavior, such as emotions, internal feelings, or
one’s disposition. The latter is a very common usage for jin in northern
China and is the meaning used here.
ACKNOWLEDGMENT
A special thanks for the photography work by Paul Keane and Chris Young,
and to Peter Capell who helped Strider Clark in the technical sections.
Journal of Asian Martial Arts ◊ Volume 13 Number 1 - 2004 55