ONE EXPLANATION OF INTERNAL

What does it mean to call a Chinese martial art internal or external? It may mean that the internal arts developed within China while external arts were acquired from elsewhere and brought into China by sages. Perhaps internal means soft as opposed to hard, but what exactly does soft and hard mean? Maybe internal and external mean something else? Well, they do.

Most Chinese external martial arts had no foreign influence in their creation, while TaiChiChuan, an internal martial art, received its roots from Northern India---a mere thirteen postures! Internal styles are both soft and hard in varying intensities which suggests that some internal styles are softer than others---depending on the particular style, and to a lesser degree, how it is taught and on the practitioner's execution of its manoeuvres. To complicate matters further, a few external styles are somewhat internal in their philosophy, the Blossom Fist sets for instance. Generally, with the "three sister arts" of the soft fist school, TaiChiChuan is softer than BaGwaChang and HsingYiChuan is harder than BaGwaChang. So what gives?

Internal styles are mainly defensive in nature and adhere with internal principles. It is these principles which define whether a style is internal or external. To the untrained examiner, these two categories seem to overlap at times, but once examined, the underlying principles are as distinct as night and day. The majority of Chinese external styles have been heavily influenced by Buddhist philosophy. Most internal styles stem from Taoist philosophy. Although not entirely accurate, a simple explanation characterizing these two major ideologies may be summed up as this: Buddhism emphasizes a straight line as the shortest distance between two points, whereas Taoism emphasizes a circular path. Furthermore, most external styles stress creating and controlling change opposed to harnessing change as with internal styles; though both implement hard and soft.

Striking in internal styles is done as a stimulus from attack opposed to initiating attack. Another common difference concerns the strikes themselves. When the internal man or woman strikes, he or she will less likely become injured as a result of the execution of an untenable technique. Let us put it another way: if you wanted to strike a brick wall with your hand, do you want to drive your fist into it, or use a palm heel strike? Many external styles emphasize the knuckle punch and chop; internal styles emphasize the many functional facets of the open hand. Having your fists clenched during practise or battle, produces tension in the muscles. This hinders speed and chi flow. With the hands open, the muscles stay relaxed, the chi is unhindered and speed is increased. Persistent tension too leads to unnecessary fatigue.

Movements are discharged by twisting the waist. Twisting generates power. This is similar to the circular action of a whip---the end of a whip explodes with energy! TaiChiChuan uses this type of power along with such diversional tactics as sidesteps and ward-offs. Retreat and advance are the snap-back actions of TaiChi which are like the willow bending with the wind, only to become still again as the wind subsides (when the threat has ended). Many external arts do not implement power generation via twisting. Instead, opponents stand "square" and rely on speed, size and strength. This certainly is disadvantageous especially for the slower or smaller individual. However, not all external styles lack waist generated power. To this day martial arts experts from both camps and even within identical styles have continued their disagreement over this issue.

Other types of power are manifested with compression/decompression, coiling/uncoiling, and of course, spinning. These techniques are springlike in nature: twisting, expanding and contracting; turning, deflecting and securing. BaGwaChang harnesses this category of energy. On the other hand, HsingYiChuan uses both these principles to a lesser degree and emphasizes linear strikes, but these strikes are executed from an assortment of angles. Originating from the internal mind, these strikes are then focused with chi, exploding with the strength of a cannon ball. HsingYi strikes are designed for devastating bone crushing power---no wonder in the Five Elements form their names are: splitting, crushing, drilling, pounding and crossing. And of course, do not forget this form's fundamentals also are defensive in their makeup. Blocking, breaking, trapping and locking are engaged with redirecting, circular actions.

Internal martial arts are logical. The practitioner's centre of gravity is kept low for steadiness. There are few kicks and they too are kept low. Only a small number of short hops and high kicks exist in a few forms. Nevertheless, most have none. Instead, the arms and hands are mostly used, along with some low sweep, stomp and snap kicks. Stability via solid rooting and alignment are foremost in their fundamentals: fixed "footwork" generates power. Being braced for only a moment when striking, serves as an anchor. How often have we martial artists seen beginners lose their balance when they punch, or seen them trip over their own feet? Perhaps worse, we observed an execution of a technique only to see the poor soul suddenly land on his rear? Sadly, this lack of rooting in many popular, "corner store" styles is what is emphasized nowadays.

Internal movements stress skilled defense opposed to offence. Rerouting and trapping incoming force is used instead of strictly relying on neutralizing speed with increased speed, power with greater power. Speed is achieved with the increased reactions of a clear mind, a honed mind. This is what is meant by the internal mind and this also generates power: reaction time + (speed x strength) = power---but one needs bracing so that in the internal formula, stance or rooting + reaction time + (speed x strength) = power. The brain functions like a computer. With the correct programming, the ingrained patterns are always ready. Force is seldom used against force except in a stop-hit. Instead, this implanted skill, grounded with logic, is used to defeat the opponent(s).

Thus internal martial arts develop the mind. They are not mere forms consisting of kicking, punching and a few firm blocks. Coordinated, rational patterns based on Taoist theory and adherence to sound principles are ingrained into the practitioner's subconscious. This is achieved by practicing the patterns and their partner training routines. Natural but sophisticated manoeuvres such as the precise manipulation of "powerlines" are incorporated. Economy of movement and reservation of energy ease the burden of multiple opponents. Additionally, internal styles promote free style training for endless options to be embedded. Beginning with basic partner training drills and progressing to slow speed sparring transforms the individual into a thinker, that is, someone using logical reasoning in his self-defence training. Many external styles thus lack these qualities akin with the internal school, but not all. The Praying Mantis style, originating from the Shaolin Temple opposed to Taoist philosophy, is one of the many exceptions. This unusual style incorporates many similar characteristics of HsingYi. Over the years martial arts have continually cross-pollinated each other, and as a result many of these arts share both internal and external characteristics.

"Bend and you will remain whole"---Lao Tzu. Intertwined with Chinese internal styles are Taoist principles, and these principles promote longevity. Physical, mental and spiritual health are embraced. The movements stimulate and massage the internal organs for improved blood flow, chi flow (neural electrical flow), and general good health. Each major muscle group is gently stretched and strengthened. Thus internal power is increased.

However, not all internal forms had their roots in Taoism. There are internal, Buddhist-based forms, but they are generally more chi gung in nature and contain little martial movement. In the bygone era of the Shaolin Temples chi gung forms or internal sets were plentiful but kept secret among their sects. Again, most of these forms were strictly chi developing exercises, though some did have martial characteristics to harness and control internal energy for combat. Yet none were as complete in design as the Taoist internal styles. It is unfortunate that most of these esoterical Shaolin exercises have now been lost forever due to the turmoil of past times. Shaolin Temples were obliterated, their monks slaughtered.

Basic Taoist theory begins with "out of nothing came one and then one produced two; two produced four and four produced eight; eight produced sixty-four which then created myriad beings and things of life and non-life." Along with the opposing forces of the universe, yin and yang, some internal arts correlate with the eight trigrams, others with the five elements, and a few with animal characteristics.

With breath there is life, and with the addition of Taoist breathing in the power formula, chi + rooting + reaction time + (speed x force) = power, we have now one primary separator of internal from external martial arts. Internal martial arts are designed to develop and hone the nervous system for unhindered flow of chi to create internal power. The breathing techniques open the gates to higher consciousness, and "the chi will eventually enter the legs, arms and hands, then permeate the bones and surround the entire body....The chi surrounding the body is used as a protective buffer from blows and aids in the sensitivity required to manipulate the attacker's moves. It also creates tremendous speed and power for the martial artist." (From the book, The Sun Style of BaGwaChang.)

Now for an explanation of soft and hard, beginning with the term soft fist. Soft fist refers to the way a strike is executed. Striking in such a way is unique with the internal martial arts but not entirely absent from the assortment of the external arts. From the tan tien or "tanden," both the pump and holding area of one's chi, its potential power is controlled by one's mind, then channelled via the nervous system. When used, reaction to an attack or stimulus is instantaneous. This response may be utilized as a sticking manoeuvre, a deflection, or released with an explosive strike---or soft fist. The mind is both the receiver and transmitter, the control centre. Hence it is like a mirror with the image stimulating a swift reaction. An advanced internal practitioner will also "feel" with his or her chi from the opened psychic realms---the Gates of Heavenly Palaces---to manipulate the stimuli. A soft fist strike itself blasts with a recoiling action, but bursting with potency. So when an internal or external art is described as hard or soft, it does not relate to this type of striking. Instead, it refers to the quality of the style's overall movements: hard means the style contains mostly hard hitting techniques (and usually linear), whereas soft means the style contains mostly soft movements such as circular guiding, light finger strikes to the eyes, etc. Soft movements are usually counter strikes; they are employed defensively.

One important difference with the internal martial arts is that they enhance both chi flow and its employment throughout the body; and the body remains relaxed---free from tension. When a strike hits, only the necessary muscles are momentarily tightened. On the other hand, most external strikes receive their power partially from a forced exhalation derived deep within the tanden and from tightening most of the body's muscles upon execution. Again, constant tension clearly fuels fatigue, and any type of martial art should be practised with minimal tension. Although we can now safely classify martial art styles by calling them either internal or external, there are still a few further factors that separate the two. But let us go on with a deeper look into the styles themselves and how they are taught.

LEVELS OF PROGRESSION
Embedded with internal styles are the yang principles of a power called fa jing or "explosion," and the yin principles of soft jing or sticky energy. This can be further explained as focused force and focused nonforce. There are also a number of other types of jings used in these arts, but all are based on internal breathing, and yin and yang. However, some internal solo performances, for example Yang Style TaiChiChuan, emphasize harnessing one's chi and manipulating this alluring type of internal power or soft chi in its martial aspects. Both the Old Yang, Yang and Chen Man Cheng's modification of this form are very soft in nature. So Yang TaiChi is primarily a chi gung exercise and uses mainly nonforce as its weapon by design. Fa jing (hard force) is used in limited amounts. And of course, classically, it is as close as one can get to the original TaiChi characteristics; it is a very old form indeed. Overall, little in it has changed throughout the years.

The apprentice of internal martial arts usually begins with the study of TaiChiChuan for its rooting and emphasis of chi, and the rudimentary principles of its elevated plane of self-defence training. When he has mastered its fundamentals, he goes on to the second level of internal study: HsingYiChuan. The basic Five Elements form of HsingYi is the logical progression, because it is extremely martial in makeup utilizing explosive fa jing power. It is a kind of opposite to TaiChi. This destructive power and aggressive but intricate footwork are its primary traits. Therefore HsingYiChuan or Mind Form Boxing uses hard internal energy opposed to TaiChi's soft internal energy. Thus each uses chi differently. Two additional notes:

1. The TaiChi stylist usually waits for the force to come within range before neutralizing it, but the HsingYi stylist applies forward attacking patterns.
2. TaiChi and HsingYi are both linear based but employ circular actions. This simple misunderstanding has led to the common fallacy that TaiChi is a circular style. It is not, but most of its arm and upper body movements are circular.

The third step in internal study is the progression to the full utilization of the circle, that is, BaGwaChang or Eight Trigram Palm. The Old Palms form is usually studied. It is as close to the classical BaGwa as one can discover today. Simple and chi gung in nature, it was created with the circle principles and correlated with the eight trigrams. Many prominent masters taught this form as a grounding in BaGwa fundamentals. Utilizing chi, its nature is both soft and hard in equal amounts. Circular movements designed for deflections, locking and power are employed, but its most important characteristic is its ability to manipulate powerlines from "the circle," so that the practitioner is always in a position of strength, the opponent in a position of weakness. BaGwaChang is the highest level in the internal school.

These three internal styles are often taught in this progression or studied together and are traditionally called the three sister arts. Also, these three patterns discussed are regarded as mother forms of many other highly specialized variants or expressions of these styles. In other words, they were used as a point of reference in developing new TaiChi, BaGwa and HsingYi forms. Chen Style TaiChiChuan, for instance, is a high-level TaiChi style. It is extremely martial in makeup. It is a short form using various low stances and fa jing, yet it fully incorporates the TaiChi principles. The novice would look at it and probably think: "That's not TaiChi; it's too fast, has too much hitting." If someone saw the Sun Style TaiChiChuan, he or she might conclude that it could be HsingYi or BaGwa. This is so because Sun Lu Tang's unique style incorporates principles of the two other sister styles. Then there is the Fu Style TaiChiChuan.

"Fu Family forms are special," says Master Victor Sheng Lung Fu---grandson and heir of the Great Northern Tiger, Chen Sung Fu. "My forms are high-level, but most people don't know this. Most have never seen my forms!" Experts agree, Fu Style TaiChi is quite distinctive. And yet none of the Yang and Chen Style essence has been changed. Instead, Chen Sung Fu reworked them from the ground up producing one form and did so for TaiChi's betterment. Waist power was strengthened so that there is more bending, and major movements were advanced with their important ones repeated in their mirror image for balance. Even the push hands manoeuvres are remarkable. Along with Chen Style TaiChi, the Fu Style is one of the highest expressions of this art.

The Fu Soft Fist School, like many other acclaimed internal schools, such as the Sun School and Chen School, are regarded as "complete." What is meant by this is that all three internal styles exist within these schools, and these distinct expressions include weapon forms to complement each style. However, there is nothing wrong with mastering only one internal form or to learn one such form in conjunction with external study---this will certainly benefit an individual and expand his or her external skill level.

HsingYi too has other forms more advanced than the Five Elements form. The Five Elements form is meant for an introduction. Let us examine this "harder" internal style a little more closely as taught from the Fu soft fist perspective. Hsing means imitation of its form. Yi means taking or adopting its meaning. Again, the Five Elements form is the fundamental HsingYi set. The elements are: metal (splitting), wood (crushing), water (drilling), fire (pounding) and earth (crossing). Next is the BaShu HsingYiChuan set or Fu Style Eight Movements HsingYiChuan. This is the medium level HsingYi set. Finally, the last set of Fu Style Mind Boxing has the characteristics of twelve animal movements. This is the advanced set. The order of the twelve animals is: dragon, tiger, monkey, horse, reptile, rooster, hawk, swallow, snake, ostrich, eagle and bear. Each form is enacted twice in two directions, though it has a linkage bonding it to make it one form. Both sides, the right and left or mirror image, are thus balanced. As we can now see, HsingYiChuan entails sedulous study for its mastery.

Moving on to BaGwaChang, there have been interesting developments over the last two hundred years. For a style so little known in the West, BaGwa forms far outnumber the TaiChi and HsingYi forms combined. This was probably the result of the immense mystique associated with the outright splendour of its observance. Another possible reason is that it is remarkably intertwined with Taoist theory both in function and symbolism. For these reasons many diverse expressions of the Old Palms form were created. Some entirely new ones too were reformulated with little or no influence of the Old Palms style. Though, when compared with each other, many Eight Trigram forms may seem quite different, but in fact, they always share common characteristics in their circle walking and spherical operations executed from the circle. The circle is used both horizontally and vertically, and with many angles in-between. The ability to cut the corner at lightning speed is another shared characteristic.

One widespread fallacy among the linear mentality is that the BaGwa practitioner stalks the opponent by walking around and around until he or she suddenly "rushes in for the kill." The execution of a technique should be rendered within two or three steps at most, and this angular counter attack or evasive action utilizes precise footwork: cutting in and cutting out; inside and outside directional changing; spinning in and spinning out from the circle. BaGwaChang is an indirect fighting art designed for multiple opponent attack. It is truly the thinking person's art and not an exercise in futility. Eight Trigram forms usually have eight distinct smaller forms combined to make "the whole," and each individual change palm is correlated with one of the eight trigrams surrounding the Grand Ultimate symbol. Explained in another way, the quality of each trigram is reflected in its correlated change palm action.

Most BaGwa patterns are practised around an imaginary circle with no set circumference, because the width is dependent on the length of the practitioner's footsteps. If the Wudang method of circle walking is used, then the width of the circle increases. This is so because each Wudang step is approximately twice the shoulders' width of the practitioner, thus equalling the length of a full horse stance, instead of the length of the circle walking stance (shoulders' width). Standard circle walking employs the logical heel-to-toe stride when walking forward (toe-to-heel when walking rearwards). However, the higher level Wudang sliding method of circle walking stresses the opposite. It begins with thrusting the leg out much like a low toe kick, then either landing lightly onto the toe or keeping the foot up slightly without yet a commitment, because the weight is kept back. Then it concludes with a contiguous slide forward thus covering more ground. Walking in such a way looks as if a ripple runs through the entire body. Wudang stepping is especially useful for fooling the opponent in the distance covered.

Some forms, such as the Old Palms style, utilize the circle differently. Its changes are executed from directions associated with the trigrams, and the circles vary from a small 360 degree circle done with four tight steps, to a larger eight-step circle. Yet others are meant to be performed with a degree of leeway, that is, in a freestyle fashion without executing their manoeuvres around a circle.

It is important to note that the bulk of BaGwa forms is regarded as low to medium level forms even though they are the most difficult forms in the Wudang school. Only a handful of high level forms exist. The unique BaGwa Swimming Dragon Palm is one such form, but absolutely nothing matches the astounding BaGwa Dragon Palm form. The creator of this masterpiece, Chen Sung Fu, was known as one of the great BaGwa masters. No other eight trigram solo form assimilates the raw Taoist principles in such a practical array. Honed and hardened, combat proven, his BaGwa Dragon form was remarkable, and his skill was nothing short of stunning. Numerous stories of his feats have been documented. His Dragon Palm form is the highest level in the internal school, period!

The Dragon Palm form, however, is not the only BaGwa form in the Fu Family of Wudang forms. The practitioner begins with the BaGwa Yang Palm form and then goes on to the Yin Palm form. While the Yang Palm is the basic form, it is still regarded as a high expression of the art. Furthermore, both forms are meant to be correlative: one hard, one soft, therefore complementing each other. Both are the foundation for further study of Fu's Dragon Palm form. Another interesting feature of the Fu Style BaGwa is that it has a high level partner set. It too is at the peak of perfection. This Dragon Palm Push Hands form is unique in BaGwa itself! Most other styles have only exercises with their changes, practised with a colleague and using simple attacking routines. A handful of other two-man sets exists in some BaGwa styles, but they have neither the superiority nor the polish of Chen Sung Fu's set. There are also high level BaGwa weapon forms in the Fu Family forms: BaGwa Flying Dragon Sword, BaGwa Cyclone Broad Sword, BaGwa Spear, and the BaGwa Staff form, to name a few. One can now understand why the Northern Tiger, Chen Sung Fu, was so highly respected as a BaGwa master.

FURTHER SPECIALIZATION
In existence today there is a handful of extremely rare internal styles based on Taoism, and elevated by their sheer singularity, they are worth examining. We will briefly begin with LiHo BaFa or the Six Harmonies and the Eight Methods boxing form. Also known as Water Boxing, this unusual style incorporates the principles of both TaiChi and HsingYi. Its stances are low and long, its movements soft and hard. The suppler TaiChi-like movements are circular and forever in flux, waving intricate patterns of takeovers and trapping manoeuvres while engaged with snapbacks and ward-offs. The harder HsingYi-like movements implement the locking and bone crushing explosiveness. This form's characteristics truly stand alone.

LiangYiChuan is another interesting style. In Chinese cosmology, "there was the beginning/end; the void/source. This Tao (universe), or cosmos of eternity/infinity, gave birth to the Grand Ultimate: the one unity, TaiChi. It had its bounds and limits because TaiChi was finite. Thus it gave birth to the Two Instruments or LiangYi. LiangYi then gave birth to the Duality: Yin and Yang...." Although internal forms have been representing the Tao, TaiChi and BaGwa, there have never been any fist sets representing LiangYi. For this reason Chen Sung Fu created the Two Instruments (Yin/Yang) Fist. This jewel is often referred to as Fast TaiChi. Its movements are mostly soft, flowing and fast. The legs too are always in motion: moving and repositioning the body weight. Waist power is utilized in such a way that organ stimulation is intensified. As a result, this develops and realises internal power similar to chi gung exercises. The form has many health benefits, but it is also a superior martial art. LiangYi is one of the major Fu Family forms. Its conception was exceptional within the Chinese martial arts.

CONCLUSION
The internal arts, truly, are set apart from external ones. Geniuses developed these arts from the existing science and philosophy of their day. From low level to high level expressions of logic were these special crafts created. From the sidesteps and snapbacks of TaiChi, the trapping and smiting blows of HsingYi, to the deflections and securing of BaGwa, the road to internal excellence is a long one, but an interesting and rewarding one. By their study and practice the practitioner will enhance both longevity and martial superiority. They will ignite the mind with insight and fuel the soul with fire. What else could we expect from a martial art? Flying?