Zhan Zhuang

http://en.wikipedia.org/wiki/Zhan_zhuang
Zhan Zhuang, literally: "standing like a post", is a training method often practiced by students of neijia
(internal kung fu), such as Yiquan, Xing Yi Quan, Bagua Zhang and Taiji Quan. Zhan zhuang is sometimes
translated as standing-on-stake, standing qigong, standing like a tree, post-standing, pile-standing. It is
commonly mistakenly called a form of 'Qi Gong', but is in fact different to other Qi Gong methods in its
orientation.
History
The original Zhan Zhuang were health methods used by Daoists for ages. In recent centuries, martial
artists who had already had 'static standing' methods combined these with the Internal Mechanics of
Zhan Zhuang to create a superior exercise. The original goal of Zhan Zhuang in martial arts has always
been to develop a martially-capable body structure, yet nowadays most practitioners have again
returned to a health-preservation orientation in their training, and few teach Zhan Zhuang as a martial
method. The word Zhan Zhuang is the modern term. The word Zhan Zhuang was created by Master
Wang Jiang Zhai. Master Wang, a student of Xing Yi quan, created a method of Kung Fu based entirely
upon Zhan Zhuang. This Kung Fu is known today as Yiquan, " Intent fist". Yiquans method of study is
Zhan Zhuang and movements that continue the feeling of the Standing post in action.
The most common Zhan Zhuan method is known as 'Hun Yuan' ('Round Smoothness') or Chen Bao ('Tree
Hugging' stance). This posture is entirely Daoist in its origins, has many variations, and is the main
training posture in all branches of Yi Quan. This practice has recently also became common practice in
Taiji and Chi gong schools . In Xing Yi Quan, The practice of 'San Ti Shi', or Heaven earth and Man has
been a root practice for centuries.
Shifu Nitzan Oren, demonstrating a Zhan Zhuang posture which combines the San Ti posture of Xing Yi
Quan and a Hun Yuan hand variation
Those unfamiliar with Zhan Zhuang can experience severe muscle fatigue and subsequent trembling at
first. Later, once sufficient stamina and strength have been developed, the practitioner can use zhan
zhuang to work on developing the sensation of 'opposing forces', as well as one's central equilibrium
and sensitivity to specific areas of tension in the body.[4]
Zhan Zhuang has a strong connection with Traditional Chinese Medicine. Some schools use the practice
as a way of removing blockages in Qi flow. This blockage removal occurs because Zhan Zhuang, when
correctly practiced, has a normalizing effect on the body. Any habitual tension or tissue shortening (or
lengthening) is normalized by the practice and the body regains its natural ability to function optimally.
It is thought that a normalized body will be less prone to muscular skeletal medical conditions, and it is
also believed that zhan zhuang, when practiced for developing relaxed postures, will lead to a beneficial
calming effect. The Dan Tian is also involved in the practice of Zhan Zhuang.

The amount of time spent practicing Zhan Zhuang varies between styles and schools. One may spend
anywhere from 2 minutes to 2 hours standing in one posture.
Many styles, especially the internal styles, combine post standing with qigong training and other
coordinated body methods to develop whole body coordination for martial purposes. The martial
practice is thought to strengthen the body's Central Nervous System and develop the coordination
required for effective martial performance. In Yi Quan, a clear distinction is made between 'health
postures' and 'martially oriented postures'. In Bagua Zhang's circle walking practice, the upper body is
held as a Zhan Zhuang posture, while the lower body is more dynamic.

8 Fundamental Stances

Static

Able to hold each Stance for 30 seconds

The horse stance is an important posture in Asian martial arts and takes its name from the position
assumed when riding a horse.
It is called mb in Chinese, kiba-dachi in Japanese, kuda-kuda or kekuda in Malay and Indonesian, aswa
vadivu in Malayalam, and juchum seogi or annun seogi (lit. sitting stance) in Korean.
This stance can not only be integrated into fighting but also during exercises and forms. It is most
commonly used for practicing punches or to strengthen the legs and back.
Mabu is used for endurance training as well as strengthening the back and leg muscles, tendon strength,
and overall feeling and understanding of "feeling grounded".
Northern styles
The ideal horse stance in most northern Chinese martial arts (such as Mizongquan and Chaquan) will
have the feet pointed forward, thighs parallel to the floor, with the buttocks pushed out, and the back
"arched up" to keep the upper body from leaning forward. The emphasis on this latter point will vary
from school to school as some schools of Long Fist, such as Taizu and Bajiquan, will opt for the hips
forward, with the buttocks "tucked in."
In Northern Shaolin, the distance between the feet is measured by placing a fist and the lower leg on the
ground. A relatively narrow posture was assumed for the horse riding stance.
Southern Shaolin
In Southern Shaolin, a wide horse riding stance is assumed as if riding a horse. The reason for this is that
southern Chinese martial arts were designed to be used whilst fighting on boats and barges. The wide
posture was created for greater stability in such conditions. The horse stance in southern Chinese

systems is commonly done with the thighs parallel to the ground and the toes pointing forward or
angled slightly out.
Most southern Chinese styles (such as Hung Gar) are known for their deep and wide horse stance.
In Japanese martial arts, the horse stance (kiba-dachi) has many minor variations between individual
schools, including the distance between the feet, and the height of the stance. One constant feature is
that the feet must be parallel to each other.
Note that the horse stance differs from the straddle stance (shiko-dachi), widely used in sumo, in which
the feet point outward at 45 degrees rather than being parallel.

Translated as "bow stance", Gong Bu is also known as "Deng Shan Bu" (mountain-climbing stance) or
"Gong Jian Bu" (bow and arrow stance). The lead foot is pointed straight ahead, with the lead leg bent
slightly. The trailing foot is angled outward at a 45 degree angle, with the heel lined up with the heel of
the leading foot. The trailing leg can be held straight or slightly bent. The result is a "lunging" pose. In
southern styles, the toe is if it had stayed in Ma Bu; starting in Ma Bu, the hind leg steps forward and
turns while the front leg stays in the same position. In northern styles, the toe points forward. The given
weighting is 70% on the front foot and 30% on the rear.
In application, it is popularly used for attacking. The structure of the stance partially protects the groin
and allows the martial artist to punch with greater power by driving the rear leg into the ground.
Additionally, the rear leg can be quickly drawn forward for kicking attacks.

Zuo Pan Bu (interpreted as sitting on crossed legs stance) is known by a number of names, such as the
contemporary wushu cross stance or rest stance, lotus stance. It can be assumed by beginning in Ma
Bu, pivoting counterclockwise on the right toe, and crouching down with the back straight. The result is
a cross-legged stance that can be used for initiating attacks or defending, while facing the opponent
with ones side. The crossed legs protect the groin from attacks and prepare the practitioner for a side
kick.
More importantly, Zuo Pan Bu is the basis for Xie Bu (literally crab walking), which is also called
clandestine steps. Crab walking is performing by alternating assuming Zuo Pan Bu and Ma Bu, moving
to one side. From Ma Bu, stepping to the side with either leg effects a transition to Zuo Pan Bu. Using
the other leg, the next step to the side returns the practitioner to Ma Bu and the process iterates. The
overall effect is rapid movement to one side. Nearly all combat applications of Zuo Pan Bu involve Xie Bu
to some degree.

Fu Hu Bu is translated as tame the tiger stance. Other names include drop stance or Pu Bu, flat
stance. According to changquan master Yang Jwing-Ming, the stance was named after a martial artist
named Wu Song, who slew a leaping tiger with the stance during the Song Dynasty. In this position, the
martial artist squats on one leg until the thigh is parallel to the ground and extends the other leg out to
the side. Both feet are parallel and pointing forward, relative to the torso, and like Zuo Pan Bu, the
practitioner faces the opponent with his/her side.
Versatile in application, Fu Hu Bu can be employed for both attack and defense. A primary application of
this stance is defense against high or jumping kicks, as evidenced in the Taiji technique Strike the
Tiger. Baguazhang and Taiji forms also use the stance for low hand attacks, such as Snake Creeps
Down from the Yang-style taijiquan sequence. With Northern Praying Mantis, Fu Hu Bu is applied in Ba
Bu Gan Chan, a leaping attack to the opponents ankle with the foot. In traditional changquan forms,
such as Yi Lu Mai Fu, the stance is used to pick up objects from ground for use as projectiles during
combat.
As with Ma Bu, different styles assume Fu Hu Bu in differing ways.

Xuan Ji Bu is rendered as the false or tricky leg stance, associated with kicking attacks. Popular
alternative labels include the "empty stance" (Xu Bu) or "cat stance (Mao Bu). Xuan Ji Bu is assumed by
placing ones entire body weight on a single leg and extending the other leg in front to lightly touch the
ground. Since the frontal leg has no weight placed on it, it can be used to launch fast kicks. It is
sometimes used in conjunction with other stances for evasive actions.

Rooster Stance ~ Jin Ji Du Li Bu ~ 100/0 Weight Distribution

Heart facing forward. Sweep the left leg up to a Rooster Stance. Be sure your toes point straight down
and your left thigh is across the front of the body.
Note: Hold the Rooster for a moment to develop balance and stability while standing on one leg.

In the case of the Neutral Stance, the one foot or the other is just slightly in front of the second

foot, about shoulder width apart. The weight is adjusted to have one leg full and the other
nearly empty, but not markedly appearing as so. This allows for greater mobility and allowing
one to quickly retreat or advance. Within the KuroShinobi Ryu this is typically regarded as our
fighting stance.

Many find this stance the most difficult and out of all the basic stances. The back stance should
be roughly two shoulder lengths deep, front foot facing directly forward and back foot facing 90
degrees to the side. The front leg bent should not be locked straight, there should be slight
bend, the back leg is bent heavily, but naturally, do not force the knee outwards. 60-70% of the
weight should be on the back leg and 30-40% on the front and the heels should be in a straight
line.

The hip of the back leg should be pushing 45% forward and the hips should be rolled up. Try
and pull the front hip back and down.
Keep the back straight and once again, the back knee should not be forcing back, try and bend
the knee naturally, but without the knee collapsing inwards.

Angles of the Octagon

The tai chi form- Oneness

1-Salutation
The form begins with the salutation. A Prayerful Bow.

2-Make the Wave

From ready position we transition right into Make the Wave. Some tai chi practitioners have
references this move or a variation thereof as Lift Water or Existence before Heaven and Earth. The
feet remain in the same position and it is the hands which move. Release the closed fists of Ready
Position to an open hand, palms facing the earth. Begin by raining both hands, leading with the wrists,
slowly to eyebrow level as the palms remain facing the earth- the hands move slightly away from the
body as they rise. As the hands reach eyebrow level, lift the fingertips upward showing the palms of the
hands directly to the front or angle 1. Now return the hands to waist level, once again leading with the
wrists, to where you began; noting when the arms stop the palms are was again open and facing the
earth.

3-Push Forward
Step forward with the right foot . In doing so lift the right arm to chest level-palm facing toward you and
palm is sideways; fingers pointing to left. The left hand (fingers pointing up) and palm pointing toward
right inner wrist moves in succession with the right away from the body (triangulation is important
here). Push is directed with intention toward angle

4-Single whip
Now step forward to angle 7 with the left foot and begin Single Whip. Single Whip is one of the most
common of tai chi postures. Since the left foot is considerably forward we will move in this directional
intent. Your intention will be at angle 7 (review the octagon), creating a slight front stance on the left
leg. Triangulation will be at angle 7. Single Whip is a common posture found in most forms of t'ai chi
ch'uan. Typically at the end of the posture onehand is in a palm outward push and the other hand held
most commonly in the form of a hook or closed fist.
Lift the left hang to shoulder level into a shuto strike (what we commonly refer to as a karate-chop).
Your intent in placed on the shuto. Simultaneously the right hand lifts to armpit level in a hooked
manner (fingers down). The left hand shuto is in a plane directly over the knee, and the knee over the
toes but not beyond. Your triangle here is third eye, lower dantien, shuto. The hook is aligned over the
toes of the right foot.

5-Hold the Ball

As we prepare to move forward (angle 1), we move into Hold the Ball. The feet remain in the same
position as step 4. The shuto will circle in and down forming the lower aspect of the ball, palm facing
toward the heavens as the hook circles to form the top of the ball, palms facing the earth. Our
attention automatically turns to angle 1 (forward). You should look like you are holding a beach ball,
arms curved appropriately; you should not be squared off like you are holding a box.

6-Splitting
Traditionally this posture has been referred to as Part the horses wild mane. Once again without
moving your feet and facing forward to angle 1 the intention of the posture is created. Following midline
the top hand comes down (as if to block a kick to the groin) hand open and palm continuing to face the
earth, as the bottom hand comes up the midline, slightly in front of the path of the other hand upward
as if to block or create a midline ridge-hand strike. Triangulation is key with this move and virtually the
same (at the same time) with both hands.

7-Transition and second Split

Now we are going to move forward now in the form which means our footwork in crucial. A general rule
of thumb is feet move before hands. Also the position the feet are in involves a halfmoon step forward
into a square stance. A square stance provides stability within the stance; such a stance is important if
delivering a strike; a narrower stance is less stable balance wise and actually preferred if in motion.. For
purposes of this form we are focusing on the halfmoon transition foot work and square stance. In order
to have a halfmoon; one foot becomes empty weighted (the foot moving) as the other foot becomes full
weighted (stationary foot). As the weight shift occurs the empty foot moves towards center in a
halfmoon shape foreword.

Let us begin now by applying this concept of footwork into the confines of the form. You have
completed the split from step 5. The lead foot, your left foot in this instance, lifts the toes (heel
remains in contact with the ground) and by pivoting on that heat the toes (and your midline) turn to
angle 7. While the feet are turning the left hand circles inward to form the top of the ball (palm facing
earth) and the lower right hand turns palm toward the heavens as it forms the bottom of the ball. Now
set the toes down at angle 7 (and yes your midline/ triangle is following the lead toe). Halfmoon forward
to angle 1 with the right foot landing heel first then followed by the toes hitting the ground. Your toes
point forward to angle 1 (your goal is a square stance). As the toes touch the ground the top hand of
the ball (left hand) comes down and the right hand pushes up (yes another split but opposite sides of
the last one) while simultaneously the left heel kicks out so the toes of the foot are pointed to angle 1
allowing the hips to square off.

8- Transition forward to Brush Knee Step Push

Form the ball again with the right hand on top. The right hand drops to brush the right knee (low block)
while half mooning forward with the left foot and simultaneously pushing the left hand forward at
heart level with a palm heel strike.

9- On Guard
This posture, traditionally, is also known as Play the Lute. Move the back foot (right) up behind the left
and move into a cat stance.

While moving the feet, simultaneously keep the left hand (open and in a shuto) while you move the
right hand in a circular motion just lower than the left hand but between the left hand and the chest.
The right hand is also in a shuto.

10-X2 Repulse the Monkey

Circle the right hand counter-clockwise in a circle to the left arm near the shoulder while forming a
Tigers Mouth with that right hand over the left arm. Step back with the left foot, and while pivoting 45
degrees to angle 7 on the balls of both feet, move your lower body from the waist down to angle 7.
Keep your upper body and focus to angle 1. You will notice as your lower self migrates to angle 7 the left
hand moves with the body pulling it thru the right hands Tiger Mouth.

Step back now with the right boot, again pivoting on the balls of the feet but this time to angle 5 and do
a second Repulse the Monkey opposite the first.

11- Circle up Double Low Block

Upon completing the two Repulse the Monkeys, the left leg steps slightly behind the right as the
center faces Angle 1 at a distance equal to their shoulders. Toes of both feet face angle 1. Both arms
circle upward from the lateral over the head and return back to the pelvic area coming down the midline
of the body, palms facing the earth.

12-Lava Flows Upward

With your feet remaining in the same position this will have similarities to the traditional tai chi posture
known as Cloud Hands. Your torso will turn slightly left or right in accordance with lifting the left then
right hands respectively. A total of six lifts will occur, three on the right and three on the left. From
where posture 11 stops, raise the right hand directly up the midline lead by the finger tips and palms
facing the body, turning outward and away from the body when it reaches face level. As the hand is
pulled back down midline the left hand repeats what the right had just did. This set is repeated a total of
three times.

13-Circle Walk
This is the next and near-final move of the actual form. Those who have studied martial will see a
similarity to Bagua Circle Walking. Essentially the hand movements will be that of step 12. Depending on
the size circle you choose to do, you will average 4-5 steps in a counter clockwise motion. With the left
hand up from the last posture step to the right crossing the left leg in front of the right leg in a twist
stance-like move. Step out with the right leg as the hands switch placement. Now cross the left leg in
front of the right again as before and move the hands back as before. Continue this movement until you

complete the circle returning to where you began in the same stance you started (the way step 12
ended).

14- Ending
To end the form Oneness is as simple as how we began with the salutation. In fact we end in the same
place we began, facing Angle 1; and repeat the Salutation in the manner you initially did it. You have
now completed the form, Oneness. Remember there are truly only two moves in the form; the
Salutation and the Ending. What lies between is merely flow and transition.

Tai Chi Sensitivity Drills

Each tai chi system has Sticky Hands or Push Hands exercises. And these may vary from one system to
the other, even from what is in this book. Look for the similarities and not the differences and you will
understand what each system is getting to.
These drills are partner drills intended to teach sensitivity of the physical and chi; they look quite easy
but do require attention and practice. The purpose that these drills serve are to keep one's own balance,
while affecting the opponents balance; this is done by attempting to diffuse incoming forces by sensing
them and redirecting them. The goal is to make your Golden Triangle stronger while weakening theirs.
Sticky Hands
Typically, players begin facing each other with contact between the back of the hands, the limited
pressure between the hands throughout the drill is enough to trap a butterfly there but not crush it. As
one leads in a simple pattern of circular movement, the other follows, the feet are not allowed to
move from their place but they are allowed to pivot. One player is yin while the other is yang. As one is
aggressor the other a follower. The players wait for that moment when their opponent is not yin or
yang, leaving one and entering the other to make this move. Players search for a way to disrupt the
opponent's balance while maintaining their own balance through adjustments of position, stance,
balance, intent, and hand position. When one of the players is "uprooted" or loses balance, the action
stops and the players begin again. Emphasis is placed on using proper "technique" as opposed to "brute
force" to accomplish this task. Do not crush that butterfly. Think of two Golden Triangles in play- yours
and your opponents. Make is triangle weaker and yours stronger by maintaining alignments.

Push Hands
Push hands is just like sticky hands except the free hand in Sticky hands now reaches out in front to
touch the opponents elbow as the opponent touches yours. Instead of 2 triangles like in Sticky Hands,
we now have six triangles. This drill is excellent for understanding striking and joint locks.

Tai Chi Concepts

Whether performing tai chi for health, spiritual, or martial application there are some basic concepts
which apply to all.
-When perform tai chi remember it was first a martial art that later has been researched and found
great in the treatment of many disease processes. But even if performing it for health, remember it is a
combative art. You may not be defending yourself against an attacker in an ally wielding a knife, but you
are battling with health issues, cancer, hypertension, arthritis. Art these not your knife wielding
attackers of health? All my classes represent a combative attitude against an opponent. Sometimes you
are fighting that knife wielding attacker and sometimes you are fighting your F.U.D. or Fears,
Uncertainties,
and/or Doubts.

-The concept of moving very slowly cannot be over emphasized! Moving slow and precisely allows for
proper technique and alignments to create muscle memory. Moving at this almost painfully slow speed
supports connectiveness in transitions and smoothness of the actual movement. Our cells have memory,
and we need to repeat this process many times throughout our practice.
-Remember all forms only have two moves, beginning and end. Everything else is merely transition
between the two movements.
-The Golden Triangle. Every move we do in tai chi is based on alignments and the Golden Triangle is
how we understand those alignments. We create the Golden Triangle with one point at the third eye,
the other point along midline located at the umbilicus or belly button, and the third point our weapon or

point of intent, be that a punch, a kick of the contact of the opponent with a weapon. This concept in
turn allows the tai chi practitioner to move 1000 lbs with only 4 oz of force. Misalignment used muscle
strength and not chi and posture (natural law) to do the work. Being disconnected is a serious fault that
can only be overcome with slow movements and proper instruction.

-Suspend from the crown. Feel as though you are suspending from a string at the crown of your head
held up by the heavens.
-Relax shoulders. By relaxing your shoulders, your neck muscles also begin to relax.
- Relax the Lower Dantien. The Lower Dantien is approximately an inch below your navel. The literal
meaning of Dantien is 'Field of Elixir'. This is a very important energy storage space for cultivating chi. By
simply placing our attention on Lower Dantien, it becomes energized.

-Relax at the waist, sink and root. By relaxing your waist, your chi is able to sink and flow down into your
feet. This will give you a very distinctive sense of being grounded, or rooted. Also, with a relaxed waist,
you are able to neutralize the spine and compression of the discs caused by resistance (stress) to gravity.
-When doing tai chi or qigong run your microcosmic orbits. Whether they are run yang or yin is best
guided by your teacher. The microcosmic orbit also known as the 'Self Winding Wheel of the Law' and
the circulation of light is a Taoist chi kung or Taoist yoga- chi energy cultivation technique. It involves
deep breathing exercises in conjunction with meditation and concentration techniques which develop
the flow of chi along definite pathways of energy in the human body; the conception vessel and
governing vessel. The exercise can be performed usually at first in a sitting position, but it can also be
practiced standing or in Tai Chi. The tongue is placed into the roof of the mouth the soft palette, which
acts as a switch completing the energy circuit from the conception and governing vessel. Then with the
minds eye use your imagination (as chi is moved with the mind) to envision chi circulating up the back
(Yang) from the perineum to the top of the head; at the top of the forehead the chi rolls down the front
of the body and collects in the Lower Dantien (where is lies in reserve when needed). To run a Yin orbit
the energy starts at the perineum runs up the front of the body to the back of the head where it rolls
down to the Lower Dantien for collection. Whether you are running the microcosmic orbit or not
ALWAYS PLACE THE TOUNG AT THE SOFT PALATTE OF THE MOUTH WHEN DOING ENERGY WORK.
Rule of thumb Yang run warms you up, Yin Run cools our down.

-Movements in tai chi have application and purpose. Take the time to understand their energetic and
martial applications.
-The joints of the body should never lock out, but be supple. Locked out joints inhibit chi flow. Keep your
knees bent to some degree during the entire form. Your height must not bob up and down. Although,
there are some considerations, your height must still be maintained at a constant level throughout the
form.
-Move from your center, your Lower Dantien. All life begins and ends from center.
-The power of tai chi will start from the feet going up to the legs, controlling the shoulders, and will be
expressed through the fingers and hands. This concept of power is different from the movement of tai
chi.
-Without exaggeration throughout the form, avoid puffing out the chest. The chest should remain
relaxed and slightly concave.

- Keep your breath to your bodys center of gravity, the Lower Dantien ; again this must be done without
effort. As you master this, you will synchronize your breathing with your movements. You should always
consult your teacher when to exhale or inhale.
-Shoes or no shoes? That is the question. Traditionally tai chi is done wearing shoes. Some prefer being
bare foot so that they can connect with the earth and stimulate those kidney 1 points and reflexology
points on the bottoms of my feet. Both are correct, it all depends what you prefer.
-Practice daily. We suggest at least 15 minutes daily in order to receive the health benefits. In Asia they
say one must practice a move 1000 times before they actually learn it. Enjoy! Tai chi is a relatively safe
practice on the other hand, there are some cautions to be aware of. Tell your health care provider if you
are thinking learning tai chi. If you do not position your body properly in tai chi or if you overdo practice,
like any other form of sport or fitness you may get sore muscles or even strains and sprains. A rule of
thumb with many tai chi instructors is that they recommend that people not practice tai chi right after a
meal, or if they are very tired, or when they have an active infection.