Essence of Shaolin

[Karol]

30 patterns to go.

Thank You Sifu
Thank You Sigung

With Shaolin Salute
Karol

[Damian Kissey]

Some applications

Dear Family,

Does anyone know the combat application of patterns:

31 Little Child Worships Buddha

http://shaolin.org/video-clips-13/chin-na-sequences/sequence33.html

32 Little Devil Embraces Heaven King?

http://shaolin.org/video-clips-13/chin-na-sequences/sequence67.html

[Angel Guillermo]

Power Numbers

Dear Shaolin Wahnam Family,
Dear Karol,


thanks for posting the pictures of all the patterns. If someone want to know more about a single pattern
and its application(s) (and maybe about the historical story behind it) it would be very wise to learn it from a competent master, like Sigung.

But if you are preparing yourself for a course there are some useful tips you should know about patterns and applications in general.

Name of the pattern: The application of the pattern could be already hidden in the name of the pattern. Best example: "Black Tiger Steals Heart"
It tells you even where you have to hit the opponement, and how powerful the application should be.

Other techniques like pattern 51 from the picture series, "Sit Alone on Lotus Flower" is a very simple technique which many
may not realize how to use it for combat. The same with pattern 57, "Phoenix Flaps Wings" which may end the combat instant
if you are skillfully enough.

Multifuncitonal pattern: A single pattern may be a marvelous technique too like i.e. "Swimming Dragon Plays With Water", which we may also find in
pattern 75 under the name, "Houdred Steps through Willow". Both techniques may be looking quiete the same, the application may be
also the same, but there might be for some reason some difference between the two patterns (even in application).
If pattern 75 is working on the same principles like Swimming Dragon, it can be used to counter against all four categories of attack
and defense like: striking, kicking, felling techniques and gripping (Chi na). But that is a thing that only a competent master will tell you.

Hidden pattern: A hidden pattern is a pattern which many people may not realize it during a demonstration. It is actually a pattern which is hidden in the set and have it own
application. Some Masters may also hide their marvelous patterns during public demonstration as they, just dont practise them or they do them in a way that
it won't even look like a pattern (i.e. no picture perfect form). Some hidden patterns where only taught from a master to his succesor. If you want to find
some you have to read between the lines, or just look between the patterns. But don't try to be smarter than the master.


If you are not sure about the technique and its application, try it out with your Shaolin Wahnam brothers and sisters or with your invisible opponent.
It may help you to realize the application of the pattern. If you still dont have any idea about it, do a combat sequence with your partner or your invisible opponent,
then stop at a good moment and try to do the application (or see where it could be fit in the sequence).

Some patterns may be very sophisticated, so if you still can not realize its application yet you dont need to worry about it. If you are invited you will learn it at the course.
But anyway you can try them out some time later, maybe then you may realize them.

Why do the Essence of Shaolin Set is a 108 pattern set, but do have more than 108 patterns?
Some sources do say that the number 108 is the number of completeness. Even if a set would have more patterns, history stopped counting on 108 for some reasons.

So lets take a example:
If a Wing Choon set is a 108 pattern set it would mean that the art is completely. But the set would probably have more than 108 patterns as some Wing Choon sets
do have a left mode, and a right mode. Standing in a stance and (mostly goat riding) performing some patterns with the left hand (in the left hand mode), and then repeating the same routine of patterns with the right hand (in the right hand mode), sequence for sequence.
Some schools (or the creator of the set/art) would not count the patterns at the right hand mode because they are repeating already, but some other schools may count them.

If a set is having 72 patterns, that could mean that the art is more crystallized or even modifided for some purposes.


I also heard about other stories on that but maybe someone else can continue to tell us something about why 36/72/108 pattern do have such numbers?


I hope I could bring up some information for everyone.



With shaolin salute,
Dimitri.

Dear Dimitri,

Greetings! Thanks for sharing your very interesting thughts. It is a very thought provoking conversation indeed.

There is a principle in Numerology which states that you can simplify numbers to the smallest by braking down and add all the individual components. In essence Numbers are just manifestations of different kinds of energies and are at the core of all manifested creation. A Numerologist can tell what kind of information or energy particular numbers bring about, but for the time being and for the puropse of this conversation let us focus on your last question.

I also heard about other stories on that but maybe someone else can continue to tell us something about why 36/72/108 pattern do have such numbers?

Let us brake down those numbers and have some fun:

36 (3+6) = 9
72 (7+2) = 9
108 (1+0+8) = 9

9+9+9 = 27

27 (2+7) = 9

So the number 9 is found at the core of all the numbers you just mentioned. Any number you add to Number 9 will remain the same, once you brake it down to its basic form.

1+9 = 10 (1+0) = 1
2+9 = 11 (1+1) = 2
3+9 = 12 (1+2) = 3
4+9 = 13 (1+3) = 4
5+9 = 14 (1+4) = 5
6+9 = 15 (1+6) = 6
7+9 = 16 (1+7) = 7
8+9 = 17 (1+7) = 8
9+9 = 18 (1+8) = 9

We could say that number 9 will always respect the individuality or the original nature of any number you add to it. Can we say that practicing our genuine Shaolin Arts and repeating the particular patterns either 36, 72 or 108 times will bring about the same effect on our original nature? That is a question worth reflecting on or better yet practice about...


Looking forward to the Essence of Shaolin!

Best wishes,
Angel

[Kaijet]

Numbers and mind...

Hello all,

the simple answers why sets have 36,72 or 108 numbers was given to me from Sifu:

"All classical sets in Shaolin Kung Fu are starting from the 18 Lohan Hands of Bodhidharma" ...

So now its on you make some numerology out of it ... but keep it simple hahaha

[Angel Guillermo]

Same numbers, same mind...

Hello all,

the simple answers why sets have 36,72 or 108 numbers was given to me from Sifu:

"All classical sets in Shaolin Kung Fu are starting from the 18 Lohan Hands of Bodhidharma" ...

So now its on you make some numerology out of it ... but keep it simple hahaha

Dear Brother Kai,

Greetings! So sorry I could not visit you in Germany, past June as expected but looking forward to seeing you and enjoying your company once more in December. A very simple answer indeed, thanks to Sifu and you for sharing it here. And to continue our fun I will like to share another mathematical equation.

So now its on you make some numerology out of it ... but keep it simple hahaha

Here is a very simple numerology:

18 (1+8) = 9

Best wishes,
Angel

[Mark CH]

http://shaolin.org/video-clips-13/ch...equence67.html

Thanks for sharing this Siheng Many fun times in Sabah that year.

Best wishes
Mark

[Leo Shaolin]

Fast learning / Transmission already started

Dear family,

Since I started with Kung Fu, I learned quite a lot of sets. 73 to be exact, 38 of them in Shaolin Wahnam. Of course, learning a new set became easier time and time again. However, this time was very different.

It took some time until my boss granted my leave for December this time, but once I had his okay, I immediately started to learn the Essence of Shaolin.

On day 1, I covered the stationary part and furthermore until pattern 23, “Spiritual Lion Opens Mouth”.

On day 2, I repeated what I had learnt.

On day 3, I advanced to pattern 47, “Bail Moon from Sea Bottom”. The idea of finishing the set within two weeks arose.

The following days, I just added a few patterns, as I didn’t have much extra time in my practice.

Three days ago, I advanced from pattern 55, „Bagua Palm Techniques” to 78, “Golden Scissors Technique”.

The day after was solely repetition.

Yesterday, on day 9, I completed the last third of the set, much earlier than expected.

Her is my first run-through that was recorded directly after learning the last part:

(The video is not officially listed, so please don't share anywhere else!)

I recorded the video for my own review, but though I could share it here too, as I would like to see how others are getting along with the set as well. I’d like to mention that the performance is focused on the first stage, learning and remembering the routine. Picture-perfect form will be attained at the course (especially as some details can’t be seen in Sifu’s video). Force and flow follow later on during practice and repetition. I only cut out a few seconds where I had to take time to reflect on the universe, but it was all done in one go.

My general recommendation for learning a set is only adding 1-3 patterns and practicing them for 1-3 days before adding the next bunch. Over the time, the number of patterns can be increased and the repetition time (without adding anything new) shortened down.

To me it is clear, that Sifu’s transmission of the Essence of Shaolin to us has already begun. While it’s quite easy for me to put patterns in a sequence or set, this time was just adding more and more and more each session. Amazing!

By the way, I don’t have all the sets learnt ready at the same time. But having a look at the video quickly refreshes a set for me. Aren’t we living in a comfortable age? Sifu surely had to be very patient learning the Essence of Shaolin over the timespan of two years, while we can quickly prepare (using re-play and slow motion) for a course where we focus on the internal and combative aspects! Afterwards, we can use the videos to remember all the details.

Collecting sets is of course not the sole purpose of practicing Kung Fu. That’s why I stick to a certain set for up to 18 months (Dragon Strength) of daily practice for depth, while alternating the others for breadth.


The faster you learn, the more time you have for practice.

Here are some tips and methods I use to learn and remember a set.

I usually start a session repeating what I had learnt already. Then I add new patterns. When I learn patterns 50 to 55, I repeat this part many times, but start from pattern 48 or 49 (which I knew before already). This way it’s easier to link the parts together.

Learning at night, before sleep, helps to memorize very well.

When I have a spare minute, I practice the set in my mind.

I purposely didn't mention repeated and consitent practice, as this should be obvious.


I’m glad that the set was so surprisingly easy to pick up, so that I have a lot of time left to practice and prepare for the course.

I am so looking forward to this wonderful opportunity and to meet a lot of people of our Shaolin Wahnam family!

Enjoy your preparation!

Best wishes,

Leo

[Nessa]

Dear family,

thank you for posting your tips on training sets.

And thank you Leo for this reminder to start practicing the Essence of Shaolin set. I have been so focused on the five sets for the Winter Camp, that I actually forgot to practice the Essence of Shaolin set also. I learned 1/4 of the set last spring, but have happily forgotten it already. Luckily it comes to mind quickly.

My tips for learning sets:

I usually learn (by looking at the videos) 1-6 new movements every morning before my morning practice. I memorize them, and then when I'm practicing I start the set from the beginning once, add the new movements, and repeat them as many times as needed to get the movements flowing well.
This way I learn new sets quite fast, without having to add to the practice time.

Hoping to see many of you in December!


Best wishes,

Nessa

[Karol]

Re-re-re reading the Essence of Shaolin Q and A...

Let us take another pattern, “Dragons Return to Den”, which is found in every kungfu set, often called “Two Tigers at Ready”. It is bringing two hands of a practitioner to his waist after completing a pattern, like bringing back his two hands after a Shaolin greeting at the start of a Shaolin kungfu set. There is nothing special about this movement, so it is not a signature pattern.

But if this pattern, “Dragons Return to Den” or “Two Tigers at Ready”, is used in a special way like in Essence of Shaolin, it becomes a signature pattern. All the patterns in Essence of Shaolin are signature patterns as they are used in very special or sophisticated ways. But because all of them are special by themselves, they become normal when considered as a whole.

However, if I have to pick some favorites, I would, quite randomly, mention the following patterns: Show Dragon Conceal Tiger, Second Auntie Catches Crab, and Cross Step Horse-Riding. The first pattern contributes to dim mark, which is regarded as a lost art by many people but is still alive in our school; the second pattern contributes to chin-na, which is one of my specialties; and the third pattern demonstrates the marvelous, causing even opponents to exclaim why they didn’t think of such application before.

What we are going to learn is beyond my imagination.

Considering how many secrets Sigung kindly shares with us is easy to forget that this is the one in a lifetime opportunity...

Thank You Sigung for Your kindness and generosity.

With Shaolin Salute
Karol

[James L]

Wow Leo, completed in 9 days, that’s impressive!

I started just after the UK Summer camp (June) with the aim to finish by end of October.
I worked out that I could do 5-7 pattern a week and then did my best on a daily basis to make the form as accurately as I could. Although I don’t have a great deal of Martial experience I am lucky to have Tim and Barry at hand in London for some tips.

So from start I focused on 1 pattern the added 1 or 2 daily. When I got through to pattern 6 or 7.
I then did the sequence minimum twice a day, once before adding the pattern and then after adding the pattern.

I finished the sequence by the end of October and now I can run over the set and any weaker points that need better form or more understanding in the way of combat application.

When reading Leo's post I relate to some of the below comments in that the Internal force follows, There was a few times when I knew I had done enough to continue as the set the time factor seemed shorter when running through. Basically it flowed and I didn’t have to think about the individual parts. If I’m in bed and wide awake similarly I do go through the set in my mind, if I drift I go to where I left off and continue until complete. By this time I'm sleepy and it saves counting sheep. Much more productive!

My partner took a video which was very useful, I can assess points and parts to make improvements and viewing the stances and form is very useful.

Immensely looking forward to being in Penang and sharing a marvellous experience!
/O
James

Dear family,

Since I started with Kung Fu, I learned quite a lot of sets. 73 to be exact, 38 of them in Shaolin Wahnam. Of course, learning a new set became easier time and time again. However, this time was very different.

It took some time until my boss granted my leave for December this time, but once I had his okay, I immediately started to learn the Essence of Shaolin.

On day 1, I covered the stationary part and furthermore until pattern 23, “Spiritual Lion Opens Mouth”.

On day 2, I repeated what I had learnt.

On day 3, I advanced to pattern 47, “Bail Moon from Sea Bottom”. The idea of finishing the set within two weeks arose.

The following days, I just added a few patterns, as I didn’t have much extra time in my practice.

Three days ago, I advanced from pattern 55, „Bagua Palm Techniques” to 78, “Golden Scissors Technique”.

The day after was solely repetition.

Yesterday, on day 9, I completed the last third of the set, much earlier than expected.


I recorded the video for my own review, but though I could share it here too, as I would like to see how others are getting along with the set as well. I’d like to mention that the performance is focused on the first stage, learning and remembering the routine. Picture-perfect form will be attained at the course (especially as some details can’t be seen in Sifu’s video). Force and flow follow later on during practice and repetition. I only cut out a few seconds where I had to take time to reflect on the universe, but it was all done in one go.

My general recommendation for learning a set is only adding 1-3 patterns and practicing them for 1-3 days before adding the next bunch. Over the time, the number of patterns can be increased and the repetition time (without adding anything new) shortened down.

To me it is clear, that Sifu’s transmission of the Essence of Shaolin to us has already begun. While it’s quite easy for me to put patterns in a sequence or set, this time was just adding more and more and more each session. Amazing!

By the way, I don’t have all the sets learnt ready at the same time. But having a look at the video quickly refreshes a set for me. Aren’t we living in a comfortable age? Sifu surely had to be very patient learning the Essence of Shaolin over the timespan of two years, while we can quickly prepare (using re-play and slow motion) for a course where we focus on the internal and combative aspects! Afterwards, we can use the videos to remember all the details.

Collecting sets is of course not the sole purpose of practicing Kung Fu. That’s why I stick to a certain set for up to 18 months (Dragon Strength) of daily practice for depth, while alternating the others for breadth.


The faster you learn, the more time you have for practice.

Here are some tips and methods I use to learn and remember a set.

I usually start a session repeating what I had learnt already. Then I add new patterns. When I learn patterns 50 to 55, I repeat this part many times, but start from pattern 48 or 49 (which I knew before already). This way it’s easier to link the parts together.

Learning at night, before sleep, helps to memorize very well.

When I have a spare minute, I practice the set in my mind.

I purposely didn't mention repeated and consitent practice, as this should be obvious.


I’m glad that the set was so surprisingly easy to pick up, so that I have a lot of time left to practice and prepare for the course.

I am so looking forward to this wonderful opportunity and to meet a lot of people of our Shaolin Wahnam family!

Enjoy your preparation!

Best wishes,

Leo

[Zhang Wuji]

Review of Essence of Shaolin (1)

Molly reminded me over lunch that I used to take copious notes at courses and post a full review during major courses. Although I have not been active on this forum, today is as good a day as any to start again.

Day 1
....happened 3 days ago, but is still fresh in my mind. Guess what we did at the very start. That's right - enter into a qigong state of mind. But Sifu has been adding this phrase to the instruction: "at whatever level you are". Initially, I just followed the instruction without really comprehending it, but after a few exhortations about not over-training, it occured to me that it is not only our qigong or kungfu attainment that Sifu is referring to, but also our needs at that point in time. If we are already fully charged with energy, our qi flow can be more gentle, or our qigong state of mind less so.

As every kungfu student expected, we began with the stances, which allowed me to cheat because I could dispense with my stance training for the day in good conscience for once. We then went through the form and routine. To our great dismay, Sifu practically raced through the whole set in less than an hour. To add to the consternation, Sifu made a number of changes to the patterns, eliciting silent groans from those who had already (and diligently) learnt the set by heart. As for those who had not learnt the set (like yours truly), there were no groans, just resigned signs of despair.

I told Molly I hesitated to write this post, as I did not want to ruin things for the second batch. But I have decided to follow the new tradition of today's movie reviewers. I will just flash a spoiler alert. Ergo, caveat lector! My fellow Essence Shaoliners, read on at your own risk.

Sifu divided us into groups to work out the applications of assigned patterns. We took about 30 minutes for this, and truth be told, the applications, for the most part, turned out to be pedestrian. But as Sifu promised, we would become more marvellous as the course progresses(ed). The modus operandi was simple. First, demonstrate the pattern and then show the application with a partner. Sifu expected, and as more people cottoned on, received masterpiece demonstrations of good form and force.

Sifu continually reminded us that this is an elite masterclass, and we should ("should" being a negative term) have a minimum level of attainment. As it turned out, demonstrations of the patterns and the applications were often interrupted because of deficiencies in basic principles like safety first, covering the opponent, element of threat, spacing and proper form. Sifu was quite prepared to halt the class to reiterate these essential principles because "these are more important than the applications".

There are a few other gems from Sifu that I will record here in shorthand, namely:

1) Do not twist the pattern to suit the application or situation. Choose the best pattern for the situation.
2) "Sin hop kei seong, hou yin kei bin" (apologies for the poor Cantonese translation - I am only a Mandarin speaker). Sifu took pains to reiterate this phrase several times, and it means, first learn the basics, then react to the variations.
3) Retreat from the arena in 3 circumstances: (a) when you have accomplished what you have set out to do (either victory, or having completed your planned sequence even if you have not defeated the opponent); (b) when in difficulty (but don't give up too easily), or (c) when in doubt (of your own sequence, plans, skills or intentions).

On my part, I realised, as did many others, that the demonstrations of the sequence applications directed by Sifu on the stage and performed by the two instructors/students were one thing, but the actual exectuion during partner practice was quite different. We thought we remembered the sequence but would end us forgetting steps, or the technqiue that looked so effortless on stage became a dog's breakfast when we met with some resistance from the partner. Truly, it was a case of easier watched than done. Kind of reminds me of my lectures and tutorials in university. We may think we understood the lecture but when actually setting pen to paper to answer the tutorial questions, we would draw a blank.

[Zhang Wuji]

Unlike my previous reviews, I will not be presenting a linear account of what happened day by day. One reason is that my learning and assimilation in this course follows a more circular route, and some lessons sank in only a few days later (and in some cases, years later), and more bizzarely, were transmitted years ago and only became clear today.

The past few days comprised mainly group work to discover the applications hidden in each pattern, but Sifu sped up the process after a while. He took the first 2 days to teach us how to fish, and as we began to see the common threads, he would show us the marvellous applications more rapidly. Some of the applications were not new to me - I suspect those of us who have done enough courses with Sifu would have seen them in one way or another. I saw qin-na applications in just about every pattern because I had gone for the 2008 qin-na course (in my view, still the most intensive course in our school's history. 72 sequences, with 3 applications in each sequence, with the partner side because he has to counter each of the three qin-na locks = 72 x 3 x 2 x 3 ).

Others who have learnt the myriad of sets taught by Sifu over the years would have also been taught the pattern applications. I was gratified to see that some of the applications came right from the 16 basic sequences, which fortifies the tenet that in Shaolin Wahnam, we are given the best at the start.

I am still figuring out why there seems to be so many apparently repetitive patterns in the set. The patterns have different names but seem to be applied in the same way. For example, there are several patterns similar to "Bailing Moon from the Sea", or various reiterations of the Bagua Palm, or double punches. Some situations could use any one of these variations.

Sifu emphasised the need to use a planned sequence or series of them to attack. He made an illuminating point today - a master who would have no trouble defeating a kungfu novice even if he uses an inferior art, simply by virtue of his force and skill. So, he has to lower himself down to the rookie's level or slightly above, so that the rookie can use his techniques to secure victory. A car is superior to a bicycle, but a Tour de France champion can cycle faster than a new driver unless the conditions are more challenging for the cyclist. But as a rule, a car is faster than a bicycle by multitudes.

[Zhang Wuji]

In terms of techniques, my major takeaway is the Tiger Tail Kick and the roll. The odd thing is that I first learnt this technique 10 years ago and several times since, but for some reason, I never really got it. Maybe I am obtuse or something, but I chose to specialise in this technique for today, and I had a great time with it.

We were instructed to choose one sequence and practice it with form-flow-force. It may surprise some but I actually managed to get a nice flowing sequence from what would otherwise seem like awkward movements - simulating a leg being caught, turning around, putting the hands down and kicking before the roll, and repeating the same on the reverse side. In practising our chosen sequence, Sifu admonished us to flow, not re-start from a poise position. As I mentioned to another student, the poise and starting patterns are stylised "introductions", so we need not get all hung up about them.

It must be serendipity - as I was planning this post, I read this thread which describes the application.

[Zhang Wuji]

A lesson about safety first for your training partner - remember that a training partner freezes for you to execute your technique and practice what you have learnt, and is not your personal punching bag. Without the artificial restrictions to shackle him for the purpose of practice, a trained Shaolin exponent is not a sitting duck.

Sifu said "slowly!" so many times earlier that I lost count. Going slow is for safety, but also so that we and others watching can learn. Leaving aside the other crucial factors like spacing and covering, going fast at the beginning just makes one not grasp the steps in the sequence, and practice just becomes a mess of flailing arms and legs. The Essence of Shaolin set contains marvellous patterns and applications, and there is no reason to rush to execute these exotic patterns and their applications.

An interesting training procedure was revealed today, using one of the patterns. We nornally use poise patterns to limit our exposure, but occasionally we can let ourselves be vulnerable at the start, so that we can train to react instantly to an attack (going from slow, to medium, to fast speed). I immediately thought of that dreadful movie, the original Karate Kid Part 2, where Daniel-san stands in front of the fishing hook, and side-steps at the last moment.

[Damian Kissey]

Many thanks for your great on going review Wuji ..
and nice to hear from your goodself again

See you at graduation dinner tomorrow