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PREFACE [by Ling Rongqi]

The Englishman Charles George Gordon once said that the Chinese people are hard-working andeasily employed, and that if we train our military, we will have the strongest army in the world. It is because we are hard-working that we are easily employed. But where does our tendency to work hardcome from? It is because of our boxing arts. For all the styles of boxing arts, they are to be attended to

without interruption. Practitioners with genuine interest take no pleasure in going at them half-heartedly. Through personal hard work, everything will be achieved.

Ever since Europeans started bringing firearms to the East long ago, our nation has been defeatedagain and again, and so boxing societies have been abandoned. We did not understand that whilefirearms are advantageous for long-range attack, they are disadvantageous for close-quarter combat. When fighting in narrow alleys at the range of knife or body, rifles and cannons lose theireffectiveness, and boxing arts rival their use.

When the Japanese defeated the Russians east of the Liao river [in 1905], was it not because of jujitsu that they were victorious? Jujitsu is a part of our nation’s boxing arts. They actually stole ournation’s secrets and then changed the name. It has recently dawned on our countrymen that boxingarts are our nation’s specialty, able to both defend one’s health and protect the nation. The militaryuses them for training, and schools hold courses in them, thereby preserving our cultural essence.But these arts have no specialized literature adequate to supply for the self-training of students, for which the discerning regret.

The Jiangsu Educational Association set up a Physical Education Training Institute, in which thereis a boxing course taught by Zhang Mengji of Wuxing [in Zhejiang], who instructs in the northern artof Tantui. My classmates Hu Shaogang [Jian] and He Shoubai [Guangxian] have made a handbookabout it so that students may teach themselves. You can go by its explanations and drawings to obtainit for yourself without the trouble of seeking it. Inspired to share, Hu and He have generously madethis book available. It will go far and will become a bestseller shining in the world of physicaleducation. [This was apparently not a vain prediction – by 1923, the book was on its 7th printing.]

– written by Ling Rongqi of Nanjing at the Jiangsu Educational Association, Phy-Ed Bureaulecturer’s dorm -

PREFACE [by Zhu Hongshou]

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I once studied world history. Since the arrival of the modern era, every culture in the world hasadvocated using the military as a back-up for peace. We Chinese are called the “sick men of Asia”, looked down on by the whole world. Why is this? Because we have made the perilous error of notgiving attention to martial studies, and have become unaware that our nation’s study of martial skills was the earliest to develop.

During the Eastern Han Dynasty, commoners came up with systems in their own localities. Thenduring the Liang Dynasty, the Indian zen master Damo transmitted teachings to China and wrote thetwo classics of Changing the Sinews and Washing the Marrow . What he passed on to his followers was called the Buddhist School, what in modern times is the renowned Shaolin School. Hong Boxing

originated from the first Song emperor. The Wudang School began with Zhang Sanfeng. In the Yuan,Ming, and Qing dynasties, there were famous schools, but alas, the custom of venerating the civil andtrivializing the martial went to excess, and so skill in martial arts became inferior to earlier times.

As for their development in ancient times, although there has over the generations been no lack ofpeople studying these arts, they have generally been of a lower social status. Hence there are norecords of these systems that can be relied on, nor is there any lineage that can accurately be calledauthentic, and those who do have the real stuff spend so much time fighting that they only do harm tosociety. For these reasons, our sacred national culture may end up sinking into oblivion.

Martial arts stem from the goal of strengthening the body to extend one’s lifespan.Therefore theyare called “longevity arts”, and their main purpose is not really for fighting people. Furthermore,martial arts are in all respects related to physiology, yet within the world of our nation’s martial arts,there are those who do not even know what physiology is. Whenever we see practitioners of martialarts who have not learned the real stuff, their bodies have been extremely weakened by it. The reasonfor this is not a flaw in martial arts, but is the fault of instructors who have no understanding ofphysiology and are without systematic teaching materials.

During the last winter, everyone in the Jiangsu Educational Association has come to understandthat if we do not esteem our martial aspect, we will be inadequate to the task of building our nation’s presence in the world. Thereupon the Physical Education Training Institute was established, in whichmartial arts studies are a required course, and for which martial arts specialists have been invited toteach. Students have come from all over the province to learn, and have quickly become capable. Thecommon curriculum has been compiled into a book, complete with illustrations, to share with the world.

A member of the Training Institute, Huang Jingwan [editor of the book], asked a preface of me. Although I have studied these methods for more than twenty years, I have also been studyingmedicine, and between the two tasks I have not been able to focus on this one. Consequently mystudy and experience of these arts is superficial. Nor am I any good at writing, so how can I presumeto write a preface anyway? And so I must stop here, for I cannot relate my knowledge any further.

– written by Zhu Hongshou of Baoshan at the director’s building of the Chinese & WesternUniversal Hospital, 1916, 2nd month, 7th day -

AUTHOR’S PREFACE [Hu Jian]

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Boxing arts are our nation’s specialty, as everyone knows. Although there is such a variety of styles,for those who seek to be able to learn something in a short period of time, it turns out there are notmany options. This is why students often dabble in one of them and then give up, unable to attain adeep level.

We [“I, Jian, and the rest of us”] learned at the Jiangsu Educational Association’s PhysicalEducation Training Institute, where Zhang Mengji of Wuxing instructed us in the movements of thenorthern art of Tantui. All of its twelve lines are simple and nimble, easy for beginners to learn and become proficient in, thus able to succeed in one of the systems.

Regarding its educational result, the movements are balanced [i.e. are done on both sides], and soit can cause the body to be developed uniformly. Regarding its health effect, the exercise is

appropriately proportioned, and so it can improve blood circulation. Regarding its practical function, your hands are made agile and your steps are made stable, so that when you encounter danger, it will be sufficient to defend yourself with.

Our abilities are limited and shallow. Though we have explained every line in sequence, complete with drawings, and have published it to share with all those who are interested, we would notpresume to praise ourselves for what we have learned. -

ESSENTIALS OF BOXING ARTS – by Xu Tingjun

In boxing arts, there are hundreds of fundamental skills. Once you train in them until you areproficient, then [quoting from Qi Jiguang’s New Book of Effective Methods , chapter 14:] “Your bodyis nimble, your hands fluent. With your feet agile yet stable, and with correct advancing andretreating, [your legs will be able to fly.] Its ingenuity lies in dropping, turning, and slipping through.Its fierceness lies in chopping and swinging. Its swiftness lies in flinging the opponent down so he islooking up at the sky. Its softness lies in knowing when to lean out of the way… When posture afterposture follows upon each other, [you will subdue the opponent.] When your adaptations areinexhaustible, [he will have no idea what you are doing.] Your actions are shadowy and invisible, hecannot figure it out, [and so he calls it magic.]”

The use of weapons – staff, saber, spear, sword, lance, shield, etc – are all based in this. Now thatfirearms have been invented, the staff, saber, spear, and sword have all been abandoned, and boxingarts too are seldom considered anymore. Although firearms have the advantage at a distance, they donot at short range. When fighting close in, sharp weapons ought to come forth. Adapting tocircumstances will depend on the agility of hands and feet, and on the vigor of the body. So how can boxing arts be abandoned?

Therefore educational institutions nowadays incorporate both boxing arts and weapons. What Ihope of students is that you: do not shirk hard work, do not overemphasize posing, do not show off

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with flashy techniques, and do not paint yourself with a collection of empty postures, for you shouldseek applicable methods. Alas, this nation is trudging through troubles. Everyone should vigorouslyexpress diligence, rousing the weak of today. Why abandon health and courage? We have to esteem boxing arts.

Below are the essentials, followed by the Shaolin Stick and Shaolin Tantui methods. The stick

exercises are for training wrist strength, while Tantui is for exercising the leg muscles, both being very helpful things in boxing arts.

1. Generally when practicing boxing arts: your head should press up, your neck should be flexible,and your shoulders should hang down.

2. Energy passes through to your elixir field and wraps all the way around your waist. Your shoulders follow your elbows, and your elbows follow your hands. Both feet stand on the ground,all ten toes putting forth effort. These are the principles of standing.

3. Common methods of using the palm are: hooking hand, vulture hand, eagle hand, monkey hand,plucking hand, rubbing hand, knocking hand, switching hand, feigning hand, chopping hand, rushinghand, and blocking hand.

4. Common methods of using the fist are: thrusting punch, pressing punch, snapping punch,continuous punches, and “cannon to the sky”.

5. Common methods of stepping are: advancing, retreating, short step, long step, stealing step,advancing with one foot, advancing with both feet, continuous stepping, mandarin duck step,shivering chicken step, double circling step, squared step, double squared step, pointed step, andtiptoe step.

6. Amongst common principles of application, there is: emptiness and fullness, advance and retreat,hard and soft, long and short, above and below, left and right, front and behind, far and near, and wide and narrow.

There is the bow & arrow stance, in which your front leg is bent like a bow and your rear leg isstraight like an arrow, thereby protecting your lower abdomen and strengthening your legs.

Loosen your elbows. Your punch is like a meteor streaking. Your eyes are like lightning flashing. Your waist is like a

snake slithering. Your leg is like a drill poking through. Your hand shoots out like an arrow, then withdraws fast as lightning.

7. Common methods of kicking are: pressing kick, chopping kick, snapping kick, front sweep, kicking while punching with the opposite hand, swinging kick, back sweep, whirlwind kick, back kick, swordkick, spinning kick, millstone leg, deflecting kick, rushing kick.

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strong enough to lift a caldron, what good is that? Those who value strength hope that ability withhands and feet will count as applicability.

Beginners rarely understand these things, and so they only seek of Tantui’s postures, overlookingits wonders, showing a lack of discernment [“buying the box and returning the pearl”]. But how can we mock them? To know it and not explain it is a fault that lies in ourselves, and therefore they are

not to be despised. So that our comrades will not look down on them, its functions are explained indetail below.

[1] It develops power:

The body of a beginner is not very flexible, and thus the power emitted from the hands and feet is tiny. After training over a long period, energy gradually extends from flank to fingertips, and at that time, you will apply as much power as you wish. When focused in the exercise, with your hands and feetexpressing to the same place over and over again, it causes your muscles to daily develop and your

power to daily increase.

[2] It stabilizes stances:

A person who has not yet trained will be top-heavy. The soles of your feet will lack substance and beunable to stand flush against the ground. As soon as any effort is used, you will become unsteady and your feet will constantly tremble. In the old days, boxing masters had to first go through stancetraining, in which the feet do not move, and which is incredibly dull. Tantui’s method uses theexercising of the hands and feet instead. Students who would otherwise be bored will say this is agood method, a wonderful idea.

After the first few days of training, you will inevitably find your whole body to be extraordinarilyaching, especially your knees. This gradually happens simply because the muscles are performing somany movements. Do not let this make you cower. You must forge on ahead. After about a week, theache will go away and your heels will become strong. Potential students often begin to distrustnorthern instructors because of this experience, resisting their instruction, not going along with itthough they take it in, and when they talk with older students about any injuries, they become afraidof it, diminishing their enthusiasm to learn it. Alas.

[3] It has practical application:

Tantui not only can train the self, for you can seek out a person of equal strength and work each line with a two-person exercise, what is called Contact Tantui (compiler’s description). After practicing itfor a long time, you will dodge and deflect with unusual agility. Whether you work with a partner orget attacked by someone, you will be able to perform all of its applications and also protect yourselfefficiently, and the methods of eye, body, hand, step, and so on (the [eight] methods described earlier

as a part of northern boxing arts), will be daily refined as a bonus.

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[4] It toughens muscles and bones:

With Tantui it is said that if the Contact version be worked on, the hands and feet of both people will be clashing with each other, and so they need to understand that the stronger the clashing, the hardertheir bodies will get. After practicing it for not even half a year, their arms and legs will be hard asiron. But whether or not such progress is made depends on how much hard work both people can bear.

Comparing it to methods in the old days of striking against wooden dummies, sandbags, and so on,it differs in severity and difficulty, and cannot be thought of in the same terms. This is because whentwo partners are being equally forceful against each other, both will experience the pain of it, whereas

when striking dummies and the like, you alone will taste the hardship. Described above are only the essential ideas. Its adaptability is difficult to describe in words, and

until you have become skillful and precise, you will not have a sense of it. It is said among northern practitioners that for those who practice only the first line of Tantui for

several years, it is almost always the case that it is over before the opponent has kicked, for with asingle kick, a three hundred pound stone will be rolled away more than ten feet. How could anopponent stand up to that?

Those who unceasingly work to toughen their muscles and bones may be few, but it is evident that when it comes to developing power, toughening the muscles and bones, and invigorating the whole body – nothing compares to Tantui.

[Although inspiring, the exhortations in 3 & 4 to practice the Tantui two-person set do seemsomewhat out of place in a book that contains only the solo exercise.] -

GENERAL REMARKS

- The materials that went into making this book were selected from what instructors have taught, what my fellow students have learned, and what I [Hu Jian] have learned myself.

- This book makes use of basic northern boxing, the movements of which, being simple and essential,are not only convenient for self-study but are also suitable for group instruction.

- This book has both illustrations and explanations. When you work from the illustrations, you willnot find it difficult to understand them at a glance, and so because time has been brief, theaccompanying explanations are not very detailed. May the knowledgeable pardon us for this.

- Because this book was hurriedly sent to the printers before there was time to proofread it in detail,and since the compiler’s knowledge is superficial, errors are bound to be numerous. We hope that topmartial arts experts will come forward and put us right, for which we would feel most fortunate. -

A BRIEF LOOK AT [THE NAME OF] TANTUI

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Tantui is the fundamental training in northern boxing. In the north, athletic boys train in it upon becoming teenagers. There are different explanations as to who created it:

Some say that a certain monk from the Dragon Pool Temple in Shandong created it for teachinghis followers. Later generations of martial arts practitioners then honored him by using “Pool” in itsname.

Others say that a man from Henan named Tan created it to emphasize training the legs. Once hisskill was deep and abundant, he defeated all challengers. His students who taught his methodtherefore used “Tan” in the name.

[In this book, the author chose to go by the place name ( ) rather than the surname ( ). Between

these two choices however, the surname is probably more reasonable, since to abbreviate DragonPool to Pool seems unlikely, nor does there appear to be any reason to abbreviate it at all. The Shaolin version mentioned earlier uses a different “tan” altogether ( ), meaning “springy”, “snapping”, or “to

shoot”, describing a quality of the kicking rather than a source of the system. Amongst our different ways to render Tantui – Mr. Tan’s Kicks, Dragon Pool Temple Kicks, Snapping Kicks – the safest is to just refer to it as Tantui, which covers all of these explanations.] -

NAMES OF THE TWELVE TANTUI LINES

Line 1: THRUST PUNCH

Line 2: KICK & STRIKE

Line 3: CHOP & TIE

Line 4: PROP & PEEL

Line 5: SIDE STRIKE

Line 6: SINGLE SPREADING

Line 7: DOUBLE SPREADING

Line 8: SIT LIKE A MOUND

Line 9: TOUCH & LOCK

Line 10: ARROW KICK

Line 11: ABOVE, BETWEEN, BELOW

Line 12: ADVANCE WITH SIDEWAYS DRUMMING -

METHODS OF MAKING A FIST AND USING A PALM

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A. How to make a fist:

Tightly bend in all four fingers so that the larger joint sections make a single flat plane. The thumb bends in at the upper joint, the tip placed between the middle finger and ring finger. The back of your

hand makes a flat plane with your forearm.

B. What to avoid when making a fist:

The grip is empty and there is no strength in it.

C. How to use a palm:

The thumb tightly bends in. The four fingers are straight, gathered together with strength. Do not let

them spread apart. When using a palm, push forward with the inner [outer] edge (the meatiest area below the little finger and above the wrist), the fingers pointing upward.

D. What to avoid when using a palm:

The four fingers are not tightly together. The palm is facing forward. -

THE DIFFERENT TYPES OF STANCES

A. Horse-riding stance:

Your feet are spread apart with the toes wider than the heels. The distance between your feet issomewhat wider than shoulder width. Bend at the knees and squat down. Your thighs should be flat. Your kneecaps must be in a vertical line with your toes. Your upper body is upright and your chestshould be sticking out. [For an example, see 1.2 of Line 1.]

B. Bow stance – facing to the left:

The toes of both feet are pointed to a forty-five degree angle. Your left thigh is almost flat and yourright leg is straight. Your right heel must not leave the ground. Your upper body must be erect andcannot be leaning. [See 1.1 of Line 1.] (The bow stance on the right side is the same as this, just on theopposite side.)

C. Pouncing stance:

The standard is that when squatting down on your right leg, your left leg is prostrated straight, and when squatting down on your left leg, your right leg is prostrated straight. But the foot of the straight

leg should still be flat on the ground and must not lift up the slightest bit. As for your upper body, itshould slightly incline in the direction of the squatting leg. [See 1.2 of Line 6.]

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D. T stance – right:

With your left leg bent so the thigh is flat, your right toes are touching the ground. Your right toes

should be in a straight line with your left heel. (The T stance on the left side is the same as this, juston the opposite side.) [See 1.6a of Line 8.]

E. Retreating insertion stance:

Your front leg is slightly bent, rear leg straight. Your upper body should bend to the side, be it left orright, but must not bend forward or back. [See 1.1 of Line 4.]

Points for attention:

The stances described above should change direction in accordance with what your hands are doing.The postures should most of all avoid being stiff. Keep your attention by watching the actions of yourfists. -

ILLUSTRATED HANDBOOK FOR TANTUI

EXPLANATIONS FOR EACH LINE

LINE 1: THRUST PUNCH (three times, five counts each)

Preparation:

Your body stands straight, chest sticking out forward, buttocks arched to the rear, your feet arestanding toes together [i.e. not only heels together]. Your right arm grasps into a fist (the standard being that the thumb presses down on the ring finger) and is raised level to the right with the tiger’s mouth facing upward (performing a side punch), while your left arm bends to be in front of yourchest, palm facing to the right and placed beside your right shoulder bone. This is the preparation forthe movements.

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Movements:

1.1: Your left foot steps out to the left and the knee bends, making a bow stance, while your left hand

grasps into a fist and extends level to the left (performing a thrust punch). Your head goes along withthe movement and turns to the left. Your eyes must be looking toward your left fist.

1.2: Your left arm bends in horizontally to be to the side of your chest (performing a “refusing hand” technique). At the same time, your right knee bends and flattens out so that both legs are bent into ahorse-riding stance.

1.3: Your left arm goes from beside your left lower leg to draw a half circle to the rear until at shoulderlevel (performing a raising fist). At the same time, your right arm goes from the right, drawing a halfcircle, your upper body turning to the left, and your right arm is raised level in front (performing acarrying punch). Your right leg is now straight, and you are again in a bow stance facing to the left.

1.4: Your right arm draws a circle on the left side (performing a drumming punch) and the upper arm

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iii. Your arms hang down, your toes may spread apart, and you return to standing at attention.

Points for attention in this line:

Bow stance and horse-riding stance should be distinct from each other and must not get blurredtogether. The raising fist must go from below the forward knee. When the kick comes out, the kneeshould be straight, but the knee of the standing leg should be slightly bent. While the fists are moving,it should not cause the legs to wobble. If you can do it in this way, you will obtain the art. -

LINE 2: KICK & STRIKE (three times, three counts each)

Preparation: same as in Line 1.

Movements:

1.1: Your right arm draws a circle going from above your head until placed below your right flank. Atthe same time, your left fist extends to the left over your right arm (performing a flat leading punch),the center of the fist facing downward, as your left foot steps out to the left. Both legs are bent tomake a horse-riding stance. Your head is turned to the left, eyes looking toward your left fist.

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2.2&2.3 are the same as in 1.2&1.3, except on the other side.

3.1-3.3 are the same as in 1.1-1.3.

[Stand at attention: same as before.]

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When both legs bend, they should be neither too high nor too low. When in a bow stance, the kneecap[of your front leg] should be in a vertical line with the toes, and for the leg that is not bent, thestraighter it is the better. -

LINE 3: CHOP & TIE (three times, five counts each)

Preparation: same as before.

Movements:

1.1: Your left foot steps out to the left and the knee bends (making a bow stance). At the same time, your left hand grasps into a fist and extends to the left (performing a thrust punch), your head turnsto the left, and your eyes look to your left fist.

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1.2: Your left knee straightens, your right knee bends, and your upper body turns to the right. At thesame time, your right hand goes from below, arcs a half circle to extend to the upper right, theforearm slightly bent in, the center of the fist facing to the right, while your left hand goes from abovein front, and arcs a half circle downward to raise to the rear (When your fists cross, your left fist is on

the outside, right fist on the inside. This is called “cannon to the sky” or “threading punch”.).

1.3: Your left arm goes up from below, arcs a circle in front of your body, and is raised level to the left(performing a carrying punch [raising fist]). At the same time, your upper body turns to the left, yourright arm goes from above, arcs a half circle, and is raised level in front, the center of the fist facing tothe left (performing a chopping punch).

1.4: Your right fist arcs a circle on the left, the upper arm leaned in close beside your chest, theforearm raised level, the center of the fist facing upward.

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1.5: Your right toes forcefully kick out slightly forward (performing an inch kick), and your left knee isslightly bent.

2.1: Your right foot steps down and the knee bends, your right arm extending to the right. At the same

time, your torso turns to the left. It is the repeat of 1.1 [except on the other side].

2.2-2.5 are the same as in 1.2-1.5, except on the other side.

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Stand at attention: as before.


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For the threading punch, your fist is at shoulder height. The chopping punch and raising fist should both be very forceful for it to be the right method. -

LINE 4: PROP & PEEL (three times, five counts each)

Preparation: as before.

Movements:

1.1: Your left hand grasps into a fist and extends to the left (as a flat fist) while your right arm bendsin to be in front of your chest, palm facing to the left, placed beside your left shoulder bone. Yourhead is turned to the left, eyes looking toward your left fist, and your right foot has advanced a smallstep to the left rear (making a retreating insertion stance).

1.2: Your left foot retreats as your upper body turns to the right, making a diagonal bow stance. At thesame time, your left hand comes out as a palm to the right corner while your right hand goes acrossand withdraws behind you as a hook.

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1.3: Your right hand threads past your left palm, your left hand now below your left armpit.

1.4a: Your right hand draws a circle below your right knee.

1.4b: Your right hand continues the circle from behind your head until in front of your head.

1.4c: Your right hand (as a hook) then raises up behind while your left hand (as a palm) extends beside [above] your leg. At the same time, your upper body turns from the left to the rear [from theright to the left], making a left bow stance facing to the left.

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1.5: Your right foot kicks out slightly to the left (performing a propping kick).


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Whether palm or hook, all four fingers put effort into joining tightly, but in the case of the palm, thethumb bends inward toward the center of the palm. -

LINE 5: SIDE STRIKE (three times, four counts each)


Movements:

1.1: Same as in 2.1.

1.2: Your left fist bends in and raises up to be in front of your forehead (about two inches away from

it) while your right fist extends (performing a thrust punch to the chest) and your upper body twiststo the left to make bow stance facing to the left.

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1.3: Your right arm draws a circle downward on the left side (performing a drumming punch), theupper arm coming in close beside your chest, the forearm raised to be diagonally upward, the centerof the fist facing upward.

1.4: Your right foot kicks out (performing an inch kick), left leg slightly bent.


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Your stance should be stable. Your eyes look to the extended fist. Your chest should stick out and your belly should withdraw. -

LINE 6: SINGLE SPREADING (three times, four counts each)


Movements:

1.1: Your left foot steps out to the left and the knee bends (making a bow stance). At the same time, your left hand grasps into a fist and extends to the left (performing a thrust punch), your headturning to the left. Your eyes are looking to your left fist.

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1.2: Your right arm raises diagonally to the rear as your left arm bends its fist to be beside your chest. At the same time, your right knee bends downward, your upper body inclines to the right, and yourleft leg straightens, the toes turning to the right (making a pouncing stance).

1.3: Your left fist arcs a half circle above your left leg, turning and bending in to be raised in front of your forehead. At the same time, your upper body turns to the left to make a bow stance facing to theleft, and your right fist chops down from above (performing a chopping punch), placed so that theupper arm is close in front of your chest and the forearm is lifted up (performing a drumming punch).

1.4: Your right foot kicks out forward (performing an inch kick), your left leg slightly bent.

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When in the pouncing stance, your torso should incline to the side, the straight leg must not bend,and the heel should press the ground without slackening. -

LINE 7: DOUBLE SPREADING (three times, four counts each)


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Movements:

1.1: Same as in 1.1 of Line 2.

1.2: Your left fist coils a half [full] circle from in front of your left knee, upward and forward, and isplaced at your waist. At the same time, your torso twists to the left (making a bow stance) as yourright fist coils a half circle upward from your right side, and is placed below your left fist (performinga waist-driven punch).

1.3: Your right fist does a crosswise strike forward, the center of the fist facing to the left (performinga crosswise backfist).

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2.1: Your right foot steps down, your torso turning to the left, and both legs bend to make a horse-riding stance. At the same time, your right arm extends to the right, the center of the fist facingdownward (a flat fist), repeating 1.1 [except on the other side].


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The crosswise backfist should go diagonally upward to the right [in 1.3 and diagonally upward to theleft in 2.3]. In the case of the waist-driven punch, both fists must come tight in to the waist. -

LINE 8: SIT LIKE A MOUND (twenty-eight movements [including Stand at Attention])


Movements:

1.1-1-5 are the same as in 1.1-1.5 of Line 1.

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1.6a: Your right foot steps down forward as your torso turns to the left, your right knee bends, and your left heel lifts so the toes are touching down. Your right fist is slightly bent in to be above yourhead, the center of the fist facing forward, while your left fist is placed beside your left heel. Both legs

are squatting down (making a T stance).

1.6b: Your right hand comes down from above, threading past your left fist, then bending in to be beside your chest. At the same time, your left foot does a level kick to the left (a bracing kick) while your left fist does a level strike to the left.

1.7 is the same as in 1.6, except the movement is done on the right side.

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2.6a: Your left foot lifts [steps down forward] as your right foot [torso] turns to the right. When yourleft foot comes down, the knee bends, and your right heel lifts. Your left fist is slightly bent in to beabove your head, the center of the fist facing forward, while your right fist is placed beside your rightheel. Both legs are squatting down (making a T stance).

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2.6b: Your left hand comes down from above, threading past your right fist, then bending in to be beside your chest. At the same time, your right foot does a level kick to the right (a bracing kick) while your right fist does a level strike to the right.


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When your left foot does the level kick to the left, your left fist should be in line with your left foot.(And when your right kick does the level kick to the right, your right fist should be in line with yourright foot.) When making the T stance, your chest should be erect and must not slouch forward. -

LINE 9: TOUCH & LOCK (three times, five counts each)


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Movements:


1.2: Your left elbow draws back, the center of the fist facing inward, your right palm slapping onto your left fist. At the same time, your torso turns to the left.

1.3: Your left palm braces level to the left side as your right palm braces level forward.

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1.4: Your right arm arcs a circle on the left (performing a drumming punch), the upper arm sticking

close beside your chest, the forearm raised diagonally upward, the center of the fist facing upward. Atthe same time, your left hand stays where it is but grasps into a fist, the center of the fist facingoutward.

1.5: Your right foot kicks out forward (performing an inch kick), and your left knee is slightly bent.

2.1: Your right foot steps down, your right arm extending to the right. At the same time, your torsoturns to the left. It is the repeat of 1.1 [except on the other side].

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2.2-2.5 are same as in 1.2-1.5, except on the other side.

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3.1-3.5 are then the same as in 1.1-1.5.



When your palms go out in unison, your torso must face halfway to the left, as in 1.2 and 1.3. Once you become familiar with the movements, you can do it in this way as one movement [i.e. 1.2 and 1.3 will merge into 1.2&3]. -

LINE 10: ARROW KICK (three times, eight counts each)


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Movements:

1.1-1-5 are the same as in 1.1-1.5 of Line 1.

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1.8: Your right hand extends forward (with a level punch) as your left fist withdraws beside your chest,

the center of the fist facing upward. At the same time, your feet perform level kicks in succession(performing a double flying kick), left foot first, with your left fist tapping your right toes.


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During the flying kick, your upper body should be erect. When your feet come down, your bodyshould be stable and must not wobble. -

LINE 11: ABOVE, BETWEEN, BELOW (three times, five counts each)


Movements:


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1.2: Your left arm shifts from the outside of your left knee to be below your right armpit. At the sametime, your left leg shifts behind your right leg (making a bow stance).

1.3: Your left arm goes horizontally to the left rear, hooking across, palm to the rear, fingers making ahook shape (performing a “hook and kick” action) as your left foot kicks out forward (as a sweepingkick), your right knee straightening. Your eyes are looking straight ahead.

1.4: Your left leg, in unison with your torso, turns to the left rear (making a horse-riding stance), yourright fist hanging across until below the hip, the center of the fist facing inward, while your left fist is

raised across to the left side, the center of the fist facing outward.

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1.5: Your left fist goes from the left side upward to the right side with a diagonal strike. At the sametime, your torso twists to the right (making a bow stance).

2.1: Your left fist goes outward while your right fist goes inward (performing a threading punch). It isthe repeat of the posture in 1.1 [except on the other side].


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During the third part of the movement [the “hook and kick”], hand and foot should both exert forceat the same time, and you must not give emphasis to one or the other. -

LINE 12: ADVANCE WITH SIDEWAYS DRUMMING (three times, two counts each)


Movements:


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1.2a: Your right foot does a low kick to the left.

[1.2b:] Then your torso turns to the left (as you make a pouncing stance) and your right fist is placednear your right leg, the center of the fist facing downward.

2.1: Your right fist goes to the right to be raised level. It is the repeat of the posture in 1.1. Your eyeslook to your right fist. (You are in a bow stance.)

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When changing from pouncing stance to bow stance, your torso and hand should coordinate witheach other.

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