Qi Gongfu Newsletter II

LI ZHONG TANG

"From "Zang Fu Syndromes," by McDonald and Penner

English: Decoction to Regulate the Middle

Also known as: Ren Shen Tang or Ginseng and Ginger Combination or Regulate the Center Decoction

* Ingredients

* Actions

* Syndromes

* Clinical Manifestations

* Treats

* Modifications

Ingredients

Latin

Pinyin

Dosage

Actions

Rz. Zingiberis

Gan Jiang

3-9g

Warms SP / ST and eliminates interior Cold.

With Gan Cao, for vomiting and epigastric pain due to SP / ST Xu Cold.

With Bai Zhu, for diarrhea due to SP Xu.

Rx. Ginseng

Ren Shen

3-15g

Reinforces Yang, strongly tonifies Yuan Qi and harmonizes MJ.

With Bai Zhu, tonifies the transformation and transportation functions of SP.

Rz. Atractylodis Albae

Bai Zhu 3-9g

2-12g

Strengthens SP and dries Dampness.

With Ren Shen, tonifies SP / ST.

With Ren Shen and Gan Jiang, for MJ Xu Cold with abdominal pain, distention, vomiting and diarrhea.

Rx. Glycyrrhizae (fried)

Zhi Gan Cao

3-9g

Augments Qi of MJ and harmonizes.

Actions

Warms MJ and Strengthens SP / ST.

Syndromes

SP Yang Xu

ST Cold

SI Xu Cold

MJ Yang Xu Tai Yin Shi (SP / KI Yang Xu - P: Slow and tight)

Tai Yin Xu (abdominal pain)

Sudden turmoil disorder (marked by absence of thirst)

Painful Obstruction in chest due to UJ Yang Xu Cold in chest during recovery from chronic illness (causes spitting of fluids)

Clinical Manifestations

Diarrhea with watery stools

No thirst

Abdominal and / or epigastric fullness (likes pressure)

Gastrointestinal weakness

Frequent urination

May have cold limbs

Body aches

Insomnia

Intestinal bleeding

Chest fullness

Rigid focal distention in HT region

Nausea / vomiting

Anorexia

Abdominal pain

Pale face

Tends toward fatigue

May have headache with fever

Edema

Hemoptysis

Chronic bleeding

Hypochondriac pain that shoots toward HT

T: Pale, may be moist

C: White or None

P: Deep, weak and slow

Treats

Acute or chronic gastritis

Gastric weakness

Gastroptosis

Chronic colitis

Oral herpes

Gastrectasis

Fright in children with vomiting

Excessive salivation

Tapeworm

Mild labor pains

Diabetes

Hemoptysis

Intestinal bleeding

Leukorrhea

Chronic childhood convulsions

Acute and chronic gastroenteritis

Gastric or duodenal ulcers

Irritable bowel syndrome

Chronic bronchitis

Functional Uterine Bleeding

Cholera

Anemia

Diarrhea

Dyspepsia

Intoxication

Shoulder ache

Chilled feet

Hemorrhoidal bleeding

Sneezing of a common cold

Contraindications

External invasion with fever.

Yin Xu.

Sudden turmoil disorder - stop when diarrhea and vomiting have stopped".

Source: Acupuncture.com

[PONDERING THE PATH OF THE SAGE'S WISDOM]

[NON-DUALISTIC MENTALITY]:

"In the world;

Everyone recognizes beauty as beauty;

Since the ugly is also there;

Everyone recognizes goodness as goodness;

Since evil is also there;

Since being and non-being give birth to each other;

Difficulty and ease complete each other;

Long and short measure each other;

High and low overflow into each other;

Voice and sound harmonize with each other;

And before and after follow each other":

[2:1-2]Sorurce: Tao Tae Ching

Amitoufo!

Samatha and Vipassana

In Buddhist meditation, there are two aspects. One is the aspect of experiencing calm and tranquillity, which is called Samatha. The other aspect is developing Vipassana, insight or wisdom. So it is interesting that this object of meditation, this technique, is relevant to both these aspects. When we are being aware of the in-breath and the out-breath, if we can learn not to react to what is happening, then the mind becomes calm and tranquil. And then this technique also helps us to develop wisdom or insight or vipassana.

One aspect of vipassana is to experience the fact of impermanence, the fact of change. And when we are aware of the breath, we'll realise how whatever is happening in our mind and body, including the breathing, changes from moment to moment. So if you are having thoughts you'll immediately realise how thoughts are arising, how thoughts are passing away. And the same thing becomes very clear with our breath. Here again, if we can be aware of the sensations, we'll realise how from moment to moment there are varieties of sensations taking place, and again how sensations are changing from moment to moment. So we learn to be open to any changes that are taking place in our mind and body from moment to moment.

This insight which we develop through being open to change and impermanence internally will help us also to be open to changes, the fact of impermanence when it happens externally. As you know, sometimes we have no control over what is happening inside us and we have no control over what is happening externally, in certain events in our life. Suffering arises when we resist these changes, when we resist impermanence. So if we can really be open to impermanence, and understand the nature of impermanence, this is a very powerful way of overcoming suffering. And as I said, we develop this very important insight: how suffering is created by resisting change and how we can overcome suffering by being open to change and to an understanding of impermanence.

Another important insight that can arise in relation to our breath, is that we can have moments when we realise that there is only the breathing that is taking place, the rise and the fall of the breath, and then there is no ego and there is no sense of "I" or "me" that is breathing, but just the process of breathing going on from moment to moment.

Another very important insight is to realise that we are all inter-connected, inter-related, inter-being, although we think we are separate, foreign to each other in some sense. But when we reflect on breathing, we realise that what is common to all beings is this fact of breathing. So this should enable us to have a feeling of oneness with all beings around us because what unites us, what is common to all beings, is this fact of breathing. And we have to realise that we breathe the same air, that in relation to the air that we breathe, we can't separate the breath and say the air that I'm breathing is mine. So there is this universality.

According to a Buddhist text, when we die, when we pass away, those who have meditated on this object can easily remember the breath at the time that they die if they are conscious, of course. I know some people who are working with people who are dying and one of the techniques that they use in helping people to die is to get them to breathe consciously at that time, to learn to be conscious of their breathing. So when we are dying, if we can experience the present moment with our friend, then we have a good chance of dying peacefully.

So our good friend helps us to live peacefully, and it can also help us to sleep peacefully. Before you fall asleep if you can spend sometime just to relax your mind and body, with the breath we can sleep peacefully. And then we can die peacefully. Is there anything more that we need to live in this world peacefully?

Amitoufo!

D.K.K.C.I. / B.D.C.C. Martial Studies Institute

Present

Let's Talk Kenpo

Session Host: Soke R. Hoover

World Street Combat Systems Organization

Greetings and welcome to the February issue of Kenpo Talk.

A monthly column covering street combat technique issues within the national and international kenpo / kempo communities.

We will begin this online training session with the basic technique of Novice At The Temple Gate.

Novice At The Temple Gate comes to us from Shaolin Iron Warrior Training of the Seng Ping Tao. Let us now begin the journey:

Novice At The Temple Gate is a Chinese Kenpo analogy of the Defense Against A Two-Hand Lapel Grab: Note; This technique is modified for the Dragon Kenpo street combat practitioner!

NOVICE AT THE TEMPLE GATE:

1.The attacker quickly walks up to you, grabs your lapel with both hands and starts to pull you forward. As your forward motion begins at the upper torso;

2.Execute left clockwise circular inside parrying forearm blocking strike to the attackers wrists. Pinning them against your chest as you step forward with you right leg.

3.Delivering a right single handed spear-hand strike to the attacker's left eye. As you continue your clockwise motion transforming you spear-hand in the,

4.Delivery of a right clockwise tiger-fist strike clawing across both eyes; as your right hand motion continues clockwise traveling downward.

5.Transforming into a hard right slightly upper-cutting hammer-fist strike to the attacker's mid to high rib cage. Continuing your clockwise right hand motion upward.

6.Finish by slightly stepping left with your right leg in the delivery of a hard-right closed fist inside forearm blocking strike to the attacker's left elbow as your waist quickly twists right; with your left leg naturally moving backward. Thus, forcing the complete release of both lapels as you push the attacker away and cover-out into your ready stance for escape!

Amitoufo!

Special Thanks to Edward Orem PhD [Seng Ping Tao, 340 Arts Of Zen Kempo-jitsu](Zen Tao Kempo System / World Nibuikai Budo Federation / World Martial Arts Masters Society) for his continued efforts in revealing the Mystries Of Shaolin.

http://www.dkkc.us/index.html.1073895005

Source: B.D.C.C.I. Shaolin Kenpo Library, [Seng Ping Tao] 'Path Of The Warrior Monk'

Black Dragon Clandestine Combatives

Institute Of Martial Studies

Present

Shaolin Five Animals

Tiger-Fist Form

Fierce Tiger Stands Mightily [ Meng Hu Shen Wei]

From your opening salutation position;

1. Step forward into a left bow stance as your arms spread across the left leg. (Left arm on left side of leg and right arm on the other side)! Both palms should be facing downward as you step forward forming twin tigers-mouth palms.

2. Step forward with you left leg as your left palm rotates counter-clockwise and right palm rotates clockwise simultaneously forming double palm-up closed fists. Strike with both fists in this position.

3. Turn your waist left as you settle into a riding horse stance facing 6 o'clock. Shooting your left reverse, (open palm down) elbow to the rear while placing your left palm on top of you right fist; (as it guides your shooting reverse elbow strike).

4. While whipping your waist to the right; pushing your right elbow with your left open palm.

5. Finish with a shooting right reverse elbow to the attacker's throat.

Source: [B.D.C.C.I. Shaolin Gongfu Library]

Amitoufo!

Dragon Kenpo Karate Consortium International

Black Dragon Clandestine Combatives Institute

Presents

The Analogy Of Basic DK Techniques

Entering The Centerline Versus Evading The Centerline

In Dragon Kenpo

Yellow 2nd Black Belt [ 1st Dan]

Part 1; Yellow Thru Purple [Advanced Orange Belt]

Welcome to dragon kenpo! This analogy will examine the first hand principles of the original Ed. Hutchison DK Techniques as they apply to entering and evading the attacker's centerline in the execution of counter attacking defenses. This analogy should add some light on the intent of the founder as his art unfolds from yellow belt through 2nd dan black belt.

Let us know examine the following factual data concerning dragon kenpo yellow belt techniques.

A.Yellow Belt:

1.Defense Against A Right Punch.

a.This counter-attacking technique Evades the attacker centerline:

2.Defense Against A Choke From The Front.

a.This counter-attacking technique Enters the attacker centerline:

3.Defense Against A Choke From Behind.

a.This counter-attacking technique Enters the attacker centerline:

B.Yellow Belt Analogy:

Since there only three techniques x 2 [practicing from both left and right sides respectively]. It is clear that upper extremity arm and hand motion is merely touched upon. Thus, the trend toward evasion is not emphasized. This may be due to the fact that many prospective students will take what they have learned at this level of street combat proficiency and discontinue training.Therefore, believing that they have learned enough or that they can figure the system out from this point!

Let us now examine the Orange Belt Techniques!

A. Orange Belt:

1. Defense Against A Left Punch.

a. This counter-attacking technique Evades the attacker centerline:

2. Defense Against A Right Punch.

a. This counter-attacking technique Evades the attacker centerline:

3. Defense Against A Right Punch.

a. This counter-attacking technique Evades the attacker centerline:

4. Defense Against A Right Punch.

a. This countering technique Evades the attacker centerline:

5. Defense Against A Right Punch.

a. This counter-attacking technique Enters the attacker centerline:

6. Defense Against A Lapel Grab (A).

a. This counter-attacking technique Enters the attacker centerline:

7. Defense Against A Lapel Grab (B).

a. This countering-attack technique Evades the attacker centerline.

8. Defense Against An Attack From Behind.

a. This counter-attacking technique Evades the attacker centerline:

Advanced Orange Belt:

1. Defense Against A Right Punch.

a. This counter-attacking technique Evades the attacker centerline.

2. Defense Against A Right Punch B.

a. This countering defensive Evades the attacker centerline.

3. Defense Against A Left Punch.

a. This counter-attacking technique Enters the attacker centerline.

4. Defense Against A Left Punch B.

a. This counter attacking defense Evades the attacker centerline.

B. Orange Belt Analogy:

There are approximately 8 times 2, or 16 techniques in the DK orange belt arsenal of counter attacking defenses. It, unlike the yellow belt techniques, is very clear that upper extremity motion provides some descriptive analysis, of how the arms and hands of the practitioner should defensively express themselves as counter attacks. The introduction to waist motion in striking provides insight into the elbow striking and smashing within the DK orange belt analogy. It is also safe to assume that the stylist must begin to understand how waist motion is applied for his/her advantage. So, the DK stylist begins the study of basic upper extremity mechanics of the hands, arms and elbows in countering a violent assault. Therefore, just as the majority of the kenpo arts; the orange belt defines the basic self-mastery within the system.

There are also 6 times 2, or 12 evasive analogies within the orange belt arsenal.

Considering the advanced orange belt, which consists of 4 techniques prove that again, 3 x 2 or 6 evasive countering analogies are the key to defining self-mastery within the Dragon Kenpo street combat system.

This data suggests that the original intent of the styles’ founder was not only to protect the practitioner as a lower belt rank. It was also meant to define the structure of the DK system as it applied to present and future stylist countering motion. This last statement also provides some truth to the Mitose philosophical theory of [Destruction Of The Fort] to enter the unknown given gates of the attacker in failing his/her violent assault attempt!

Finally, the given data above provide the assumption of creativity within basic evasive countering. Suggesting that counter striking lower extremity footwork can consider the American, Japanese, and Chinese appearances of recognition. Thus, providing the basis for future analytical expression within the Dragon Kenpo / Quan Fa, or Chinese Temple lineage.

Factoid: The total number of techniques within the Dragon Kenpo arsenal from the ranks of Yellow thru 3rd Brown Belt or [Green Belt] = 40. Only 16 techniques attack or counter attack the assailants centerline in failing a violent attack! This fact leads one to safely assume that 24 + at least 60% of the remaining techniques of 3rd brown-1st Dan [Shodan] tend to evade the attacker centerline in defensive countering analogies within the streetwise combat Ed. Hutchison Dragon Kenpo system!

Therefore, the above last statement proves beyond doubt the true intent of DK Founder[Ed Hutchison] as to his analogy of the AK/DK likeness other than the 'Tailoring Principle'!

So, i ask all whom may read this article; If American Kenpo uses ''Wing Chun' as it's primary Gung Fu concentration within it's Ed. Parker System: Then what 'Gung Fu' / [Chinese] martial (style 0r system) does DK use as it's primary concentration in the Quan / [Fist]?

Answer: Any free expression of the various Shaolin Quan /(Fists)!

Part 2 will cover Purple thru Brown Belt analogies. Until next time.

Amitoufo!

The 10 Laws of Kempo:

The 10 Laws of Kempo Laws 2 & 3:

2. Law of the First Strike:

This principle has several meanings. First, it indicates that Kempo is primarily a striking art. "70% Hands & 30% Feet" is the classic breakdown, but you can change the techniques according to the circumstances of your body build. The second meaning is that if a confrontation is inevitable, a thug is climbing through your bathroom window at two o'clock in the morning and starts swinging a baseball bat at you, you should not wait for the aggressor to attack first! You need to hit him first with your foot, fist, elbow, knee, etc. You need to hit the attacker hard and hit continuously until they are subdued. The Kempo curriculum also includes numerous grappling & throwing techniques, but research has shown they are used in less than 25% of the encounters practitioners have found themselves in, and they are ineffective against multiple attackers. Grappling uses 4-times as much strength & energy as striking does, it has been deemed a last resort suitable for use only if your opponent penetrates your first and second lines of defense, your Hands & Feet, respectively.

3. Law of Multiple Strikes:

Kempo is different from many karate styles in that it teaches you to strike first and strike often in rapid succession, high, low, straight in, and along a circular path. While unleashing such rapid fire strikes, it becomes difficult to "Kiai" (shout) in conjunction with each strike. Therefore you should forget about shouting with each blow. In fact, doing so means you are expending excess energy. Shouting is good when you need to put a scare into your opponent, or to physic your opponent out. Your first & second strikes should be designed to stun, distract, and slow your opponent. Your third and if necessary, fourth strikes are the power blows. Remember the Kempo maxim: "First set your opponent up, then take them out".

2a. Our Dragon Kenpo Karatejutsu Street Combat Analogy:

The Dragon Kenpo Analogy in respect to street combat uses the concepts of the 70% Hands and 30% Feet when the opponent attacks you. It also states that " You can change the techniques according to your body build". This again is contrary to the standard example of linear counter-attacking concepts; or fitting the size of the defender to a particular set of techniques. This concept is feasible in some cases and not so feasible in others. In order to offset this dynamic motion juxtapositioning; the stylist is assigned an animal-fist concentration according to his/her natural body build. This assures both the student and teacher optimal usage of both narural and learned physical expressive skills, as progressing through the kempo / kenpo rank structure occurs.
Thus, the techniques are not changed due to the student's physical bulid. They are just taken as conceptual analogies of expressive improvements which can develop into higly skillful expressions earlier in the learning process. So, weaknesses are addressed early and the qigongfu improvements in those areas are then assigned.
This approach also fits well with womens street combat training. Thus, their physical areas concerning strength in application and emotional expressiveness can develop positively in what normally would be considered negative physical and emotional traits!
A typical example of this approach would be the so-called weak minded woman whom allows a strong man to stay in close to her and forceably control her with words and physical grabs and violent shakes. This so called physical & emotional weakness would be a natural candidate for the explosive analogies of the leopard, and snake's-fist expressive skills!
Therefore, providing the added assurance of effective physical protection within the woman's emotional confrontational uncertainty; of usage as a viable progressive tool in failing violent close range attacking analogies.

3a. Black Dragon Kenpo Karatejutsu Street Combat Analogy:

["Kempo is different from many karate styles in that it teaches you to strike first and strike often in rapid succession, high, low, straight in, and along a circular path. While unleashing such rapid fire strikes, it becomes difficult to "Kiai" (shout) in conjunction with each strike. Therefore you should forget about shouting with each blow. In fact, doing so means you are expending excess energy. Shouting is good when you need to put a scare into your opponent, or to physic your opponent out. Your first & second strikes should be designed to stun, distract, and slow your opponent. Your third and if necessary, fourth strikes are the power blows. Remember the Kempo maxim: "First set your opponent up, then take them out"]".

Yes, kempo does teach striking in many directions. Yet, striking during the yell is very permissible! Our students learn not only to strike using standard breathing methods. They train also to strike rapidly using reverse abdominal breathing methods! These conceptual analogies reveal to the student practitioner the opportunity to experience what is considered normal breathing on the 3-6 round striking burst. As well as reveal the ability to create in the yelling the 4-8 round burst in the reverse abdominal breathing analogy! The master key hear is breathing and striking using the Chinese yell.
The yell "Kiai" is used considering the expulsion of large amounts of air as strikes impact a specific targeted area. This expulsion creates a more explosive damaging strike upon impact. So, this concept is very effective for it's primary usage; which is hard powerful striking.
Yet, devastating striking bursts require a different type of rythnmic breathing which not only help control the amount of strikes delivered. This breathing analogy controls the type and speed in which the strikes will be delivered in succession. Where and how the strikes will be delivered; and what and or which series bursting of different strikes will provide the the best economy of motion delivery for any given attack / counter-attacking situation.
Therefore the single and double strike 'kiai'or [ "ya", "oh”, “I-yah” , or “orya”] is replaced with the chinese hu, wu, wei, he, chi, e-xia, i-i-e, etc,!
So, rapid powerful bursts of different strikes in succession can be delivered to variable vital target areas very effecxtively in damaging an attacker's body at multiple regions.
Thus, providing unlimited striking potential and englightenment within physical expressive street combat skills developmental reasoning.
We will discuss Kenpo Law #4 in the next issue of the B.D.C.C.I. Newsletter.

Amitoufo!

The B.D.C.C.I. Martial Studies Institute

Present

[Ba Wang Ju Ding]

Great Prince Raises A Tripod

I. Hands Divide Water Into Two Streams, Legs Are Filled With Strength:

Place feet in wide legged riding horse stance with your heels are on one line, {toes are slightly angled at about 23 degrees or less from the heels}. While looking straight ahead of you, place both palms facing each other in the prayer position. Finger-tips raised just below your bottom lip at the mandible. With prayer hands placed at your breast area, use standard abdominal quiet even breathing inhaling and exhalations.