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    Lecture 1

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    Ian Prescott
    This document provides a summary of the first sequence of forms in Liu He Ba Fa (LHBF), an internal martial art. It describes the coordinated movements of the knees, spine, hands, and elbows in 8 numbered steps. Key aspects include bending and stretching the joints gradually and simultaneously to create flowing movement, coordinating the breathing optionally for the first few moves, and practicing the form at least three times daily to develop internal strength, sensitivity, and mastery of the nine joints. The goal is to extract principles from the forms to create spontaneous responsive movement based on yin and yang principles rather than fixed techniques.

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    Lecture 1

    Uploaded by

    Ian Prescott
    329 views5 pages
    This document provides a summary of the first sequence of forms in Liu He Ba Fa (LHBF), an internal martial art. It describes the coordinated movements of the knees, spine, hands, and elbows in 8 numbered steps. Key aspects include bending and stretching the joints gradually and simultaneously to create flowing movement, coordinating the breathing optionally for the first few moves, and practicing the form at least three times daily to develop internal strength, sensitivity, and mastery of the nine joints. The goal is to extract principles from the forms to create spontaneous responsive movement based on yin and yang principles rather than fixed techniques.

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    This document provides a summary of the first sequence of forms in Liu He Ba Fa (LHBF), an internal martial art. It describes the coordinated movements of the knees, spine, hands, and elbows in 8 numbered steps. Key aspects include bending and stretching the joints gradually and simultaneously to create flowing movement, coordinating the breathing optionally for the first few moves, and practicing the form at least three times daily to develop internal strength, sensitivity, and mastery of the nine joints. The goal is to extract principles from the forms to create spontaneous responsive movement based on yin and yang principles rather than fixed techniques.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as RTF, PDF, TXT or read online from Scribd
    Download as rtf, pdf, or txt
    329 views5 pages

    Lecture 1

    Uploaded by

    Ian Prescott
    This document provides a summary of the first sequence of forms in Liu He Ba Fa (LHBF), an internal martial art. It describes the coordinated movements of the knees, spine, hands, and elbows in 8 numbered steps. Key aspects include bending and stretching the joints gradually and simultaneously to create flowing movement, coordinating the breathing optionally for the first few moves, and practicing the form at least three times daily to develop internal strength, sensitivity, and mastery of the nine joints. The goal is to extract principles from the forms to create spontaneous responsive movement based on yin and yang principles rather than fixed techniques.

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    Download as RTF, PDF, TXT or read online from Scribd
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    The text discusses different views on what constitutes an internal martial arts style and emphasizes that true internal martial arts training focuses on whole body movement through the nine joints and using yin and yang principles.

    The main criteria for an internal martial arts style according to the text are efficient whole body movement through the nine joints and correct usage of yin and yang.

    The text states that the nine joints is the main component for a style to become internal.

    Liu he ba fa (Lecture 1) 6/03/05 My formal LiuHeBaFa lineage is as follows: (1) Chan Yik Yan lineage Ng Yik Fai (Wu

    Yi Hui) - China | Chan Yik Yan (Chen Yi Ren) - China/Hongkong | Lau Sam Muk (Li San Mu) - Hongkong | David Chan (Chan Joe Kee) - HongKong/Philippines (also studied under Chan Yik Yan) | Ed Ramirez and Ng Yik Fai (Wu Yi Hui) - China | Chan Yik Yan (Chen Yi Ren) - China/Hongkong | Lo Chi Wun - Hongkong | Peter Olaes - HongKong/Philippines | Ed Ramirez (2) Monk Ho Yue Tin lineage Ho Yue Tin - China/HongKong | Lo Chi Wun - Hongkong | Peter Olaes - HongKong/Philippines | Ed Ramirez I consider myself more part of the Monk Ho Yue Tin lineage than the Chan Yik Yan lineage.

    What does the term "internal martial art" mean to you? What makes a martial art internal? What kind of training should a practitioner undergo to become an internal

    martial artist? There are many different views on what an internal martial arts style is and what makes a martial arts style internal. I used to practice a style called Shaolin Hung Fut. The teacher said that the style was both internal and external because they had SPECIAL POWER DEVELOPMENT TRAINING and CHI KUNG. Aikido practitioners say that their style is internal because they study how to CONTROL THE CHI (or KI) and because their movements are SOFT. TaiChi practitioners claim that their style is internal because SUN LU-TANG said so in his books on XingYi, PaKua, and TaiChi. They also believe they are internal because they try to be RELAXED in the practice of their form. Chi Kung practitioners claim that their practice is internal because their practice CONTROLS THE CHI through breathing practices. YiQuan practitioners claim that their style is internal because they do STANDING POSTURES. Let's make a list of these reasons why people consider a style to be internal: 1. special power development training 2. Chi Kung 3. controlling the Chi 4. soft movements 5. Sun Lu Tang says that XingYi, PaKua, and TaiChi are internal styles 6. practice of standing postures Let's say that i don't know XingYi and I pick up a book about this topic. Then I do all these things mentioned in the list. Does that make me an internal martial artist? The answer is no. Master David, my first LiuHeBaFa teacher stressed that the word "internal" referred to deeper teachings of martial arts rather than anything found in the list above. To him, being internal meant being able to (1) use the whole body as an integrated unit and (2) harmonizing with the opponent by being Yin or Yang against the opponent's movement and taking advantage accordingly. The end result of this kind of martial arts training results in what he called "body intelligence" or XinYi. Master Peter, my second LiuHeBaFa teacher taught me that the NINE JOINTS is the main component for a style to become internal. This is the same

    teaching that Master Choi propagates. In our branch of LiuHeBaFa, we believe that the main criteria for being an internal martial arts style is (1) the efficient WHOLE BODY MOVEMENT through the NINE JOINTS and (2) the correct usage of Yin and Yang. We will discuss what the NINE JOINTS is all about as we go along. Martial arts styles nowadays are technique-oriented. That means the styles teach technique after technique after technique. Here in the Philippines, one such style is Arnis. And like many styles, he who can use the best technique that can beat the technique of the opponent wins. In LiuHeBaFa, since we train mainly on utilizing the NINE JOINTS, we are concerned more on CREATING MOVEMENT rather than applying a previously learned form. It's like giving you a brush for you to paint real art rather than let you repeatedly draw a picture of something again and again. But just as creating art follows certain principles, CREATING MOVEMENT is based on using the NINE JOINTS and following the principles of Yin and Yang. For now, just take note of this premise so that I could explain this more in detail as we go along. The reason why we learn the Main Form or the Twelve Forms is so that we could extract the principles and use those principles to CREATE MOVEMENT based on Yin and Yang. So, the martial arts aspect of those forms can be considered as samples of principles in action. So, to address the demands of an internal martial arts style, we have four aspects of LiuHeBaFa training: (1) Developing Internal Strength (2) Nine Joint Training (3) Main Form (with the Nine Joints) (4) Sensitivity More on these as we go along.

    First Sequence of the LHBF form


    1. All movements described under each number should be performed at the same time. 2. In order to describe the direction of the movements with greater precision, I shall use E, W, N, S, SE, SW, etc. (east, west, north, etc.) to denote relative positions. I shall use east as the starting direction. But in actual practice, you can face any direction. 3. While learning the form, I suggest that you practice the form while starting from the same position and direction. This helps remembering. 4. When doing the form, practice the larger frame to work on the NINE

    JOINTS. But when demonstrating for others, tighten the frame to conceal the action of the NINE JOINTS. The pictures are demonstrated in a more compact frame. However, I shall discuss the larger frame. 5. Breathe naturally. Breathing should be relaxed and should not be intentionally coordinated with the movements. An exception to this rule may be for the first few moves of the Introduction. 6. Notice that a lot of coordination goes on into the movements. This means that all the joints must move simultaneously and gradually to CREATE MOVEMENT. Sometimes a movement may require you to turn one joint by 90 degrees and another by 180 degrees. Keep in mind that both joints must turn in a coordinated fashion such that both joints start and complete their required turns at the same time. To do this, certain joints need to be turned slightly faster than others in order to complete their turns at the same time. 7. The form must be practiced at least three times a day. Preparation: Stand upright facing E (east) with the arms at the sides and the feet a little over shoulder-width distance from each other. 0001 Introduction A. KNEES: Lower your body by bending your knees so that they are positioned right above their corresponding toes. B. SPINE: Arch your spine as if slouching a bit. C. HANDS: Turn the wrists of the hands so that the palms face diagonally forward. This means that the left palm should face SE and the right palm NE. D. ELBOWS: Bend the elbows by around two inches. 0002,0003 A. KNEES: Gradually stretch the knees by 50%. B. SPINE: Gradually stretch the spine by 50%. Use the spine to raise the arms by 90 degrees. C. HANDS: Maintain position. Feel as if your fingers are scooping the energy of the universe into your body. D. ELBOWS: Maintain position. E. BREATHING (optional). Gradually inhale. 0004 A. KNEES: Gradually fully stretch the knees but without locking it into a stiff position. B. SPINE: Gradually fully stretch the spine but without locking it into a stiff position. Use the spine to raise the arms almost fully above. C. HANDS: Gradually turn the wrists of the hands so that the palms face diagonally forward. This means that the left palm should face SE and the right palm NE.

    D. ELBOWS: Maintain position. E. BREATHING (optional). Continue gradually inhaling. 0005,0006,0007 A. KNEES: Gradually bend the knees. B. SPINE: Gradually bend the spine. Use the spine to lower the arms until the height of the navel. C. HANDS: Feel as if your palms are slightly pressing an invisible bubble downward. D. ELBOWS: Maintain position. E. BREATHING. If you performed the optional inhalation, gradually exhale now. Comment: Pictures show front view. 0008 A. KNEES: Gradually fully stretch the knees but without locking it into a stiff position. B. SPINE: Gradually fully stretch the spine but without locking it into a stiff position. Use the stretching action of the knees and the spine to lower the hands down to the sides. C. HANDS: Maintain position. D. ELBOWS: Maintain position. E. BREATHING. Breathe naturally from this point onwards.

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