Pakistan Shaolin Wushu Kung Fu Association: November 2011

Wednesday, 9 November 2011

Shaolin Kungfu-Wushu training with accomodation in hotel

One month: usd per person

Our price includes: Hotel (with air conditioning, IDD, TV), four hours daily training with master, transfers from Zhengzhou /Shaolin school/ Zhengzhou by private bus.

Not includes: foods, flights, airport tax, transfer hotel/school/hotel, tips, personal fee.

　* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

P.s. We can organise the training course for one year from 2007 !! You can come to China with a tourist visa, when you arrive in school , we can help you to request a visa for one year

From the hotel to school, there is autobus in every 15 minutes.

* * * * * * * * * * * * * * * * *

Shaolin Wushu training with accomodation and food in school

One month: USD per person

Our price includes: full package with daily chinese food in School Mess Hall, dormitory in school, four hours training daily with master.

Not includes: international flights, airport tax., tips, travel to/from Zhengzhou, trasfer to/from Shaolin.

P.s. the public WC is the traditional Chinese WC, and it's not clean.

The program suggested:

01day Arrive in Beijing free time. transfer to Railway station and departure by night train for Zhengzhou

02day Arrive in Zhengzhou at 6:30 , after chinese breakfast departure to Shaolin by private bus

??day Training course with master.

??day After lunch, transfer to Zhengzhou by bus, and after dinner departure for Beijing by night train at 22:20.

??day Arriving in Beijing at 6:30 , transfer to Hotel *** near the Beijing airport . free time

??day After breakfast Fin of service; leaving hotel for Beijing airport by Taxi.

WUSHU THE SAME AS KUNGFU

IS WUSHU THE SAME AS KUNGFU?

Continuing the turn, Sifu Wong grips Goh's throat in a Shaolin pattern called "Golden Cockerel Locks Throat" (Pattern 35 of the 72 Chin-Na Techniques)

QUESTION

There are wushu instructors who insist that their art is also directly from the Shaolin Temple. Without a genuine point of reference such as that which you can provide, many enthusiasts will also be mistaken. I know that these instructors are wushu exponents because they confirm their adequacy by mentioning their membership in wushu teams in mainland China, bronze medal awards, etc.

— Marlene, Australia — January 2000

Answer

Modern wushu is not Shaolin Kungfu. About the 1960s the Chinese government gathered together some kungfu masters of various styles with the objective of synthesizing the various styles into one uniform style, which is today's modern wushu. Prior to that, there were numerous kungfu styles like Lohan, Praying Mantis, Eagle Claw, Chaquan, Huaquan, Hoong Ka, Wing Choon, Hsing Yi, Pa Kua, etc. After that, there was to be no differentiation into these various styles, only wushu.
Wushu was invented solely for sports, and never as a martial art. For the purpose of competition, wushu was divided into seven categories, namely:

Changquan, or Long Fist
Nanquan or Southern Fist
Daoshu or Knife Techniques
Jianshu or Sword Techniques
Kunshu or Staff Techniques
Chiangshu or Spear Techniques
Taijiquan or Tai Chi Chuan

The sole criterion for the award of points in all wushu competitions is how graceful and elegant the performance is, and never how well a performer can defend himself or how much internal force he has.
The wushu instructors were quite right to say that wushu was derived from Shaolin Kungfu because except for Taijiquan and aerobatic movements, virtually all wushu movements were taken from Shaolin Kungfu. But their statement is misleading, as their nature and purpose are very different.

QUESTION

Also, a kungfu master insisted that Chinese martial arts are all called wushu; kungfu is only a Cantonese term meaning hard work.

Answer

From one perspective he is right, but from another perspective — the one we are using now — he is wrong. The sameness or difference between kungfu and wushu has confused many people, but the following explanation will clear the confusion.
Kungfu, used in the sense of Chinese martial art, has many terms in the Chinese language. The present official term is "wushu". Besides this term, another term that is most commonly used for what in the West would be conceptualized as "kungfu" is "quanfa", often shortened to "quan". Thus, Shaolin Kungfu is "shaolinquan" or "shaolin wushu" in Chinese, and Tai Chi Kungfu is "taijiquan" or "taiji wushu".
It is also true that in Cantonese, as well as many other Chinese dialects including Mandarin, "kungfu" literally means "work". But today when a person uses the word "kungfu", he usually means "martial art", using the term "kung-chok" for "work".
Complications started when the present Chinese government promoted newly invented modern wushu as a sport, and not as a marital art. The trend has been so established that today when the term "wushu" is used, especially in the West, it is conceptualized as a demonstrative sport, whereas when the term "kungfu" is used it is conceptualized as a martial art.
In other words, we now have an interesting situation whereby although the word "wushu" literally means "martial art", in practical usage it is a demonstrative sport; and although the word "kungfu" literally means "work", it is a martial art. To say that all Chinese martial arts are wushu is like saying all persons are men, insisting that the word "mankind" refers to humankind.

Saturday, 5 November 2011

Zulfiqar Ali Zulfi

35th Generation Warrior Secular Disciple of Shaolin Temple
Olympic Qualified Wushu Kung Fu Coach Zulfiqar Ali Zulfi is a name not unknown to Martial Arts community in Pakistan. In recent years he has done a lot in promotion of Chinese Martial Arts of Shaolin Wushu (kung fu) in Pakistan. His untiring efforts have resulted in creating awareness in large numbers of youth about their health and healthier society.

Dr. Zulfiqar Ali Zulfi was born in Karachi Pakistan on 12/12/1981. He got his early education in government school’s and college and did his BA & Physical Education from Karachi University. He has done a Doctorate in Chinese Medicine, Acupuncture from International Collage of Acupuncture & Goang Zhou University. However along his studies Dr. Zulfiqar Ali Zulfi learned the ancient Chinese Martial Arts of Shaolin Wushu (kung fu). Dr. Zulfiqar Ali Zulfi holds Red Sash (Shi Dai Poo) Degree in Chinese Martial Arts from Shaolin Temple Henan China. He is a first Pakistan who received the honor of 35th Generation Warrior Secular Disciple of Shaolin Temple & representative. Dr. Zulfiqar also received “Spiritual Buddha Artist of the year 2001 it is a Oscar Award of World of Martial Arts. Moreover Black Sash from Shaolin Temple Reach Council Henan China, Red Sash Master Degree from Shaolin si Wushu (kung fu) institute of China, Black Sash of Leioning Sports university Leioning China, Black Sash 4th level from Pakistan Wushu (kung fu) Federation. Moreover he also holds Doctorate in Acupuncture (Chinese Medical), Diploma in Chinese internal Medicine, Diploma of Physiotherapy and Doctorate in Yoga Treatment. Dr. Zulfiqar Ali Zulfi holds the honorable position of Associate Secretary Pakistan Wushu (kung fu) Federation, Secretary General of Pakistan Chin Woo Wushu (kung fu) Association, Secretary General of Pakistan Shaolin Wushu (kung fu) & Tai Ji Association, Associate Secretary of Pakistan Wushu Coaches Association, Secretary Sindh Wushu (kung fu) Association. Secretary General of Martial Arts Association – International South Asian Chapter. Dr. Zulfiqar Ali Zulfi received an award of The Presidents Volunteer Service Award from USA Freedom Corps. National & Community Service White House Washington USA. Dr. Zulfiqar won many International and National Championships and got many designations from World Martial Arts, Yoga, Medical, Spiritual, Tai Chi, Chi Kung, Physical Fitness and Sports Organizations.

Dr Zulfiqar Ali Zulfi also participated in number of National International Events, in 15th World Shaolin Wushu (kung fu) Championship 1996 he got 3rd position in Tao Lou and 2nd position in San Shou fight also got 2nd position All China inter Shaolin Championship, 2nd position in 18th international Tai Ji Push Hand Championship 1997 Macao China.

In honor of his untiring efforts in Promoting Kung fu he has been awarded by number of certificates for recognizing his contribution. Some of these International certificates include, Sports Award By Prince Special Council, Kingdom of Saudi Arabia, Award of Honor from USA Taekwondo Federation, Master Certificate from MAA-I Germany, 9th level in kung fu from MAA-I Germany, yudansha Certificate from Martial Arts Association Japan, and Awarding rank of Yodan and Sensie

Recently International University of Sports and Martial Arts Sciences located at New Jersey, USA, appointed Mr. Zulfiqar Ali Zulfi as the vice president of board of directors. This is a great achievement for this young warrior, whose name has been enlisted with great martial art masters of the time and has been given signature authority for this prestigious institution

Chinese martial arts

"Kung fu" redirects here. For other uses, see Kung fu (disambig uation). Chinese martial arts, also referred to by theMandarin Chinese term wushu (simplified Chinese:武术; traditional Chinese: 武術; pinyin: wǔshù) and popularly as kung fu (Chinese: 功夫; pinyin: gōngfu), are a number of fighting styles that have developed over the centuries in China. These fighting styles are often classified according to common traits, identified as "families" (家, jiā), "sects" (派, pài) or "schools" (門, mén) of martial arts. Examples of such traits include physical exercises involving animal mimicry, or training methods inspired by Chinese philosophies, religions and legends. Styles which focus on qimanipulation are labeled as internal (内家拳, nèijiāquán), while others concentrate on improving muscle and cardiovascular fitness and are labeledexternal (外家拳, wàijiāquán). Geographical association, as in northern (北拳, běiquán) andsouthern (南拳, nánquán), is another popular method of categorization.

The term "kung fu" In Chinese, kung fu can also be used in contexts completely unrelated to martial arts, and refers colloquially to any individual accomplishment or skill cultivated through long and hard work.^[1]Wushu is a more precise term for general martial activities.

History The genesis of Chinese martial arts has been attributed to the need for self-defense, hunting techniques and military training in ancient China. Hand-to-hand combat and weapons practice were important in training ancient Chinese soldiers.

While it is clear that various forms of martial arts have been practiced in China since antiquity, very little detail on specifics can be recovered for times predating the 16th century. By contrast, there is a variety of sources on the topic from the Qing period (1644 to 1912).

Detailed knowledge about the state and development of Chinese martial arts becomes available from the Nanjing decade (1928-1937), as the Central Guoshu Institute established by theKuomintang regime made an effort to compile an encyclopedic survey of martial arts schools. Since the 1950s, the People's Republic of China has organized Chinese martial arts as an exhibition and full-contact sport under the heading of Wushu

Legendary origins According to legend, Chinese martial arts originated during the semi-mythical Xia Dynasty (夏朝) more than 4,000 years ago.^[6] It is said the Yellow Emperor Huangdi (legendary date of ascension2698 BCE) introduced the earliest fighting systems to China.^[7] The Yellow Emperor is described as a famous general who, before becoming China’s leader, wrote lengthy treatises on medicine, astrology and the martial arts. One of his main opponents was Chi You (蚩尤) who was credited as the creator of jiao di, a forerunner to the modern art of Chinese Wrestling Early history The earliest references to Chinese martial arts are found in the Spring and Autumn Annals (5th century BCE),^[9] where a hand to hand combat theory, including the integration of notions of "hard" and "soft" techniques, is mentioned.^[10] A combat wrestling system called juélì or jiǎolì (角力) is mentioned in the Classic of Rites (1st century BCE).^[11] This combat system included techniques such as strikes, throws, joint manipulation, and pressure point attacks. Jiao Di became a sport during the Qin Dynasty (221–207 BCE). The Han History Bibliographies record that, by the Former Han (206 BCE – 8 CE), there was a distinction between no-holds-barred weaponless fighting, which it calls shǒubó (手搏), for which "how-to" manuals had already been written, and sportive wrestling, then known as juélì (角力). Wrestling is also documented in the Shǐ Jì, Records of the Grand Historian, written by Sima Qian (ca. 100 BCE).^[12]

In the Tang Dynasty, descriptions of sword dances were immortalized in poems by Li Bai. In theSong and Yuan dynasties, xiangpu contests were sponsored by the imperial courts. The modern concepts of wushu were fully developed by the Ming and Qing dynasties.^[13]

[edit]Philosophical influences

The ideas associated with Chinese martial arts changed with the evolution of Chinese society and over time acquired some philosophical bases: Passages in the Zhuangzi (庄子), a Daoist text, pertain to the psychology and practice of martial arts. Zhuangzi, its eponymous author, is believed to have lived in the 4th century BCE. The Tao Te Ching, often credited to Lao Zi, is another Daoist text that contains principles applicable to martial arts. According to one of the classic texts ofConfucianism, Zhou Li (周禮/周礼), Archery and charioteering were part of the "six arts" (simplified Chinese: 六艺; traditional Chinese: 六藝; pinyin: liu yi, including rites, music, calligraphy andmathematics) of the Zhou Dynasty (1122–256 BCE). The Art of War (孫子兵法), written during the 6th century BCE by Sun Tzu (孫子), deals directly with military warfare but contains ideas that are used in the Chinese martial arts.

Daoist practitioners have been practicing Tao Yin, physical exercises similar to Qigong that was one of the progenitors to T'ai chi ch'uan, from at least as early as 500 BCE.^[14] In 39–92 CE, "Six Chapters of Hand Fighting", were included in the Han Shu (history of the Former Han Dynasty) written by Pan Ku. Also, the noted physician, Hua Tuo, composed the "Five Animals Play"—tiger, deer, monkey, bear, and bird, around 220 BCE.^[15] Daoist philosophy and their approach to health and exercise have influenced the Chinese martial arts to a certain extent. Direct reference to Daoist concepts can be found in such styles as the "Eight Immortals" which uses fighting techniques that are attributed to the characteristics of each immortal.^[16]

[edit]Shaolin and temple-based martial arts

Main article: Shaolin Monastery

The Shaolin style of wushu is regarded as amongst the first institutionalized Chinese martial arts.^[17] The oldest evidence of Shaolin participation in combat is a stele from 728 CE that attests to two occasions: a defense of the Shaolin Monastery from bandits around 610 CE, and their subsequent role in the defeat of Wang Shichong at the Battle of Hulao in 621 CE. From the 8th to the 15th centuries, there are no extant documents that provide evidence of Shaolin participation in combat.

Between the 16th and 17th centuries there are at least forty sources which provide evidence that not only did the monks of Shaolin practice martial arts, but martial practice had become such an integral element of Shaolin monastic life that the monks felt the need to justify it by creating new Buddhist lore, the earliest appearance of the frequently cited legend concerns Bodhidharma's supposed foundation of Shaolin Kung Fu dates to this period.^[18] The origin of this legend has been traced to the Ming period's Yijin Jing or "Muscle Change Classic", a text written in 1624attributed to Bodhidharma. References of martial arts practice in Shaolin appear in various literary genres of the late Ming: the epitaphs of Shaolin warrior monks, martial-arts manuals, military encyclopedias, historical writings, travelogues, fiction and poetry. However these sources do not point out to any specific style originated in Shaolin.^[19] These sources, in contrast to those from the Tang period, refer to Shaolin methods of armed combat. This include a skill for which Shaolin monks had become famous—the staff (gùn, Cantonese gwan). The Ming General Qi Jiguang included description of Shaolin Quan Fa (Pinyin romanization: Shào Lín Quán Fǎ or Wade-Giles romanization Shao Lin Ch'üan Fa, 少林拳法 "fist principles"; Japanese pronunciation: Shorin Kempo or Kenpo) and staff techniques in his book, Ji Xiao Xin Shu (紀效新書), which can be translated as "New Book Recording Effective Techniques". When this book spread to East Asia, it had a great influence on the development of martial arts in regions such as Okinawa ^[20] and Korea.^[21]

People's Republic Further information: Wushu (sport) and International Wushu Federation Chinese martial arts experienced rapid international dissemination with the end of the Chinese Civil War and the founding of the People's Republic of China on October 1, 1949. Many well known martial artists chose to escape from the PRC's rule and migrate to Taiwan, Hong Kong,^[27] and other parts of the world. Those masters started to teach within the overseas Chinese communities but eventually they expanded their teachings to include people from other ethnic groups.

Within China, the practice of traditional martial arts was discouraged during the turbulent years of the Chinese Cultural Revolution (1969–1976).^[3] Like many other aspects of traditional Chinese life, martial arts were subjected to a radical transformation by the People's Republic of China in order to align them with Maoist revolutionary doctrine.^[3] The PRC promoted the committee-regulated sport of Wushu as a replacement to independent schools of martial arts. This new competition sport was disassociated from what was seen as the potentially subversive self-defense aspects and family lineages of Chinese martial arts.^[3]

In 1958, the government established the All-China Wushu Association as an umbrella organization to regulate martial arts training. The Chinese State Commission for Physical Culture and Sports took the lead in creating standardized forms for most of the major arts. During this period, a national Wushu system that included standard forms, teaching curriculum, and instructor grading was established. Wushu was introduced at both the high school and university level. The suppression of traditional teaching was relaxed during the Era of Reconstruction (1976–1989), as Communist ideology became more accommodating to alternative viewpoints.^[28] In 1979, the State Commission for Physical Culture and Sports created a special task force to reevaluate the teaching and practice of Wushu. In 1986, the Chinese National Research Institute of Wushu was established as the central authority for the research and administration of Wushu activities in the People's Republic of China.^[29]

Changing government policies and attitudes towards sports in general lead to the closing of theState Sports Commission (the central sports authority) in 1998. This closure is viewed as an attempt to partially de-politicize organized sports and move Chinese sport policies towards a moremarket-driven approach.^[30] As a result of these changing sociological factors within China, both traditional styles and modern Wushu approaches are being promoted by the Chinese government.^[31]

Chinese martial arts are an integral element of 20th-century Chinese popular culture.^[32] Wuxia or "martial arts fiction" is a popular genre which emerged in the early 20th century and peaked in popularity during the 1960s to 1980s. Wuxia films were produced from the 1920s. The Kuonmintang suppressed wuxia, accusing it of promoting superstition and violent anarchy. Because of this, wuxia came to flourish in British Hong Kong, and the genre of kung fu movie inHong Kong action cinema became wildly popular, coming to international attention from the 1970s. The genre declined somewhat during the 1980s, and in the late 1980s the Hong Kong film industry underwent a drastic decline, even before Hong Kong was handed to the People's Republic in 1997. In the wake of Crouching Tiger, Hidden Dragon (2000), there has been somewhat of a revival of Chinese-produced wuxia films aimed at an international audience, including Hero (2002),House of Flying Daggers (2004) and Reign of Assassins (2010).

Styles Main article: Styles of Chinese martial arts See also: List of Chinese martial arts

China has a long history of martial traditions that includes hundreds of different styles. Over the past two thousand years many distinctive styles have been developed, each with its own set of techniques and ideas.^[33] There are also common themes to the different styles, which are often classified by "families" (家, jiā), "sects" (派, pai) or "schools" (門, men). There are styles that mimic movements from animals and others that gather inspiration from variousChinese philosophies, myths and legends. Some styles put most of their focus into the harnessing of qi, while others concentrate on competition.

Chinese martial arts can be split into various categories to differentiate them: For example,external (外家拳) and internal (内家拳).^[34] Chinese martial arts can also be categorized by location, as in northern (北拳) and southern (南拳) as well, referring to what part of China the styles originated from, separated by the Yangtze River (Chang Jiang); Chinese martial arts may even be classified according to their province or city.^[22] The main perceived difference between northern and southern styles is that the northern styles tend to emphasize fast and powerful kicks, high jumps and generally fluid and rapid movement, while the southern styles focus more on strong arm and hand techniques, and stable, immovable stances and fast footwork. Examples of the northern styles include changquan and xingyiquan. Examples of the southern styles include Bak Mei,Wuzuquan, Choy Li Fut and Wing Chun. Chinese martial arts can also be divided according to religion, imitative-styles (象形拳), and family styles such as Hung Gar (洪家). There are distinctive differences in the training between different groups of the Chinese martial arts regardless of the type of classification. However, few experienced martial artists make a clear distinction between internal and external styles, or subscribe to the idea of northern systems being predominantly kick-based and southern systems relying more heavily on upper-body techniques. Most styles contain both hard and soft elements, regardless of their internal nomenclature. Analyzing the difference in accordance with yin and yang principles, philosophers would assert that the absence of either one would render the practitioner's skills unbalanced or deficient, as yin and yang alone are each only half of a whole. If such differences did once exist, they have since been blurred.

Training

Chinese martial arts training consists of the following components: basics, forms, applications and weapons; different styles place varying emphasis on each component.^[35] In addition, philosophy, ethics and even medical practice^[36] are highly regarded by most Chinese martial arts. A complete training system should also provide insight into Chinese attitudes and culture.^[37]

[edit]Basics

The Basics (基本功) are a vital part of any martial training, as a student cannot progress to the more advanced stages without them; Basics are usually made up of rudimentary techniques,conditioning exercises, including stances. Basic training may involve simple movements that are performed repeatedly; other examples of basic training are stretching, meditation, striking,throwing, or jumping. Without strong and flexible muscles, management of Qi or breath, and proper body mechanics, it is impossible for a student to progress in the Chinese martial arts.^[38]^[39] A common saying concerning basic training in Chinese martial arts is as follows:^[40]

Which can be translated as:

Train both Internal and External.
External training includes the hands, the eyes, the body and stances.
Internal training includes the heart, the spirit, the mind, breathing and strength.

Stances

Stances (steps or 步法) are structural postures employed in Chinese martial arts training.^[41]^[42]They represent the foundation and the form of a fighter's base. Each style has different names and variations for each stance. Stances may be differentiated by foot position, weight distribution, body alignment, etc. Stance training can be practiced statically, the goal of which is to maintain the structure of the stance through a set time period, or dynamically, in which case a series of movements is performed repeatedly. The horse-riding stance (骑马步/马步 qí mǎ bù/mǎ bù) and thebow stance are examples of stances found in many styles of Chinese martial arts.

Meditation

In many Chinese martial arts, meditation is considered to be an important component of basic training. Meditation can be used to develop focus, mental clarity and can act as a basis for qigongtraining.^[43]^[44]

[]Use of qi

Main article: Qigong

The concept of qi or ch'i (氣/气) is encountered in a number of Chinese martial arts. Qi is variously defined as an inner energy or "life force" that is said to animate living beings; as a term for proper skeletal alignment and efficient use of musculature (sometimes also known as fa jin or jin); or as a shorthand for concepts that the martial arts student might not yet be ready to understand in full. These meanings are not necessarily mutually exclusive.^{[note 1]} The existence of qi as a measurable form of energy as discussed in traditional Chinese medicine has no basis in the scientific understanding of physics, medicine, biology or human physiology.^[45]

There are many ideas regarding the control of one's qi energy to such an extent that it can be used for healing oneself or others: the goal of medical qigong. Some styles believe in focusing qi into a single point when attacking and aim at specific areas of the human body. Such techniques are known as dim mak and have principles that are similar to acupressure.^[46]

[edit]Weapons training

Further information: Chinese swordsmanship

Most Chinese styles also make use of training in the broad arsenal of Chinese weapons for conditioning the body as well as coordination and strategy drills.^[47] Weapons training (qìxiè 器械) are generally carried out after the student is proficient in the basics, forms and applications training. The basic theory for weapons training is to consider the weapon as an extension of the body. It has the same requirements for footwork and body coordination as the basics.^[48] The process of weapon training proceeds with forms, forms with partners and then applications. Most systems have training methods for each of the Eighteen Arms of Wushu (shíbābānbīngqì 十八般兵器) in addition to specialized instruments specific to the system.

[edit]Application

Main article: Lei tai

[edit]Forms

Further information: form (martial arts)

Forms or taolu (Chinese: 套路; pinyin: tào lù) in Chinese are series of predetermined movements combined so they can be practiced as one linear set of movements. Forms were originally intended to preserve the lineage of a particular style branch, and were often taught to advanced students who were selected to preserve the art's lineage. Forms were designed to contain both literal, representative and exercise-oriented forms of applicable techniques which would be extracted, tested and trained by students through sparring sessions.^[53]

Today, many consider forms to be one of the most important practices in Chinese martial arts. Traditionally, they played a smaller role in training combat application, and were eclipsed by sparring, drilling and conditioning. Forms gradually build up a practitioner's flexibility, internal and external strength, speed and stamina, and teach balance and coordination. Many styles contain forms using a wide range of weapons of various length and type, utilizing one or two hands. There are also styles which focus on a certain type of weapon. Forms are meant to be both practical, usable, and applicable as well as promoting flow, meditation, flexibility, balance and coordination. Teachers are often heard to say "train your form as if you were sparring and spar as if it were a form."

There are two general types of forms in Chinese martial arts. Most common are "solo forms" which are performed by a single student. There are also "sparring" forms, which are choreographed fighting sets performed by two or more people. Sparring forms were designed both to acquaint beginning fighters with basic measures and concepts of combat, and to serve as performance pieces for the school. Sparring forms which utilize weapons are especially useful for teaching students the extension, range and technique required to manage a weapon.

[edit]Forms in Traditional Chinese Martial Arts

The term “taolu (套路)” is a shorten version of “Tao Lu Yun Dong (套路运动)”; an expression that was introduced only recently with the popularity modern wushu. This expression refers to “exercise sets” and is used in the context of athletics or sport.

In contrast, in traditional Chinese martial arts alternative terminologies for the training (練) of 'sets or forms are:

lian quan tao (練拳套)- practicing sequence of fist;
lian quan jiao (練拳腳) - practicing fists and feet;
lian bing qi (練兵器) - practicing weapons;
dui da (對打) and dui lian (對練) - fighting sets.

Traditional "sparring" sets, called dui da, 對打 or, dui lian, 對練, were an important part of Chinese martial arts for centuries. Dui lian (對練), literally means, to train by a pair of combatants opposing each other (the character l練, means to practice; to train; to perfect one's skill; to drill). As well, often one of these terms are also included in the name of fighting sets: 雙演, shuang yan, 'paired practice'; 掙勝, zheng sheng, 'to struggle with strength for victory'; 敵, di, ' match – the character suggests to strike an enemy; and 破, po, 'to break'.

Generally there are 21, 18, 12, 9 or 5 drills or 'exchanges/groupings' of attacks and counter attacks, in each dui lian, 對練 set. These drills were considered only generic patterns and never meant to be considered inflexible 'tricks'. Students practiced smaller parts/exchanges, individually with opponents switching sides in a continuous flow. Basically, dui lian were not only a sophisticated and effective methods of passing on the fighting knowledge of the older generation, they were important and effective training methods. The relationship between single sets and contact sets is quite complicated in that in many cases there are skills which simply can not be developed with single sets, and, conversely, with dui lian. Unfortunately, it appears that most traditional combat oriented dui lian and their training methodology have disappeared, especially those concerning weapons. There are a number of reasons for this. In modern Chinese martial arts most of the dui lian are recent inventions designed for light props resembling weapons, with safety and drama in mind. The role of this kind of training has degenerated to the point of being useless in a practical sense, and, at best, is just performance.

By the early Song period, sets were not so much "individual isolated technique strung together" but rather were composed of techniques and counter technique groupings. It is quite clear that "sets" and "fighting (2 person) sets" have been instrumental in TCM for many hundreds of years - even before the Song Dynasty. There are images of two person weapon training in Chinese stone painting going back at least to the Eastern Han Dynasty.

According to what has been passed on by the older generations, the approximate ratio of contact sets to single sets was approximately 1:3. In other words, about 30% of the sets practiced at Shaolin were contact sets, dui lian, 對練, and two person drill training. This is, in part, evidenced by the Qing Dynasty mural at Shaolin.

Ancient literature from the Tang and Northern Song Dynasties suggests that some sets, including those which required two or more participants, became very elaborate, "flowery", and mainly concerned with aesthetics. During this time, some martial arts systems devolved to the point that they became popular forms of martial art storytelling entertainment shows. This created an entire new category of martial arts known as Hua Fa Wuyi , 花法武藝, or "fancy patterns for developing military skill". During the Northern Song period it was noted by historians that this phenomenon had a negative influence on training in the military.

For most of its history, Shaolin martial arts was largely weapon-focused: staves were used to defend the monastery, not bare hands. Even the more recent military exploits of Shaolin during the Ming and Qing Dynasties involved weapons. According to some traditions, monks first studied basics for one year and were then taught staff fighting so that they could protect the monastery. Although wrestling has been as sport in China for centuries, weapons have been the most important part of Chinese wushu since ancient times. If one wants to talk about recent or 'modern' developments in Chinese martial arts (including Shaolin for that matter), it is the over-emphasis on bare hand fighting. During the Northern Song Dynasty (976- 997 A.D) when platform fighting known as Da Laitai (Title Fights Challenge on Platform) first appeared, these fights were with only swords and staves. Although later, when bare hand fights appeared as well, it was the weapons events that became the most famous. These open-ring competitions had regulations and were organized by government organizations; some were also organized by the public. The government competitions resulted in appointments to military posts for winners and were held in the capital as well as in the prefectures.

[edit]Controversy

Even though forms in Chinese martial arts are intended to depict realistic martial techniques, the movements are not always identical to how techniques would be applied in combat. Many forms have been elaborated upon, on the one hand to provide better combat preparedness, and on the other hand to look more aesthetically pleasing. One manifestation of this tendency toward elaboration which goes beyond combat application is the use of lower stances and higher, stretching kicks. These two maneuvers are unrealistic in combat and are utilized in forms for exercise purposes.^[54] Many modern schools have replaced practical defense or offense movements with acrobatic feats that are more spectacular to watch, thereby gaining favor during exhibitions and competitions.^{[note 2]} This has led to criticisms by traditionalists of the endorsement of the more acrobatic, show-oriented Wushu competition.^[55] Even though appearance has always been important in many traditional forms as well, all patterns exist for their combat functionality. Historically forms were often performed for entertainment purposes long before the advent of modern Wushu as practitioners have looked for supplementary income by performing on the streets or in theaters. As documented in ancient literature during the Tang Dynasty (618–907) and the Song Dynasty (960–1279) suggest some sets, (including two + person sets: dui da, 對打 also called dui lian, 對練) became very elaborate and 'flowery', many mainly concerned with esthetics. During this time, some martial arts systems de-evolved to the point that they became popular forms of martial art storytelling entertainment shows. This created an entire category of martial arts known as Hua Fa Wuyi , 花法武藝 - fancy patterns for developing military skill. During the Northern Song period, it was noted by historians this type of training had a negative influence on training in the military.

Many traditional Chinese martial artists, as well as practitioners of modern sport combat, have become critical of the perception that forms work is more relevant to the art than sparring and drill application, while most continue to see traditional forms practice within the traditional context—as vital to both proper combat execution, the Shaolin aesthetic as art form, as well as upholding the meditative function of the physical art form.^[56]

Another reason why techniques often appear different in forms when contrasted with sparring application is thought by some to come from the concealment of the actual functions of the techniques from outsiders.^[57]

Wushu

“‘Wu’ 武” is translated as ‘martial’ in English, however in terms of etymology, this word has aslightly different meaning. In Chinese, “wu 武” is made up of two parts, the first meaning “stop”(zhi 止) and the second meaning “invaders lance” (je 戈). This implies that “wu’ 武,” is a defensive use of combat. The term “wushu 武術” meaning martial arts goes back only to the beginning of the 20th century. Prior to that it meant military affairs. The earliest term found in the Han History (206BC-23AD) was "bing jiqiao" 兵技巧，military fighting techniques. During the Song period (c960) the name changed to "wuyi" 武艺，literally "martial arts". In 1928 the name was changed to "guoshu" 国术 or "national arts" when the National Martial Arts Academy was established in Nanjing. The term reverted to "wushu" 武術 under the People's Republic of China during the early 1950s.

As forms have grown in complexity and quantity over the years, and many forms alone could be practiced for a lifetime, modern styles of Chinese martial arts have developed that concentrate solely on forms, and do not practice application at all. These styles are primarily aimed at exhibition and competition, and often include more acrobatic jumps and movements added for enhanced visual effect^[58] compared to the traditional styles. Those who generally prefer to practice traditional styles, focused less on exhibition, are often referred to as traditionalists. Some traditionalists consider the competition forms of today's Chinese martial arts as too commercialized and losing much of its original values.^[59]^[60]

[edit]"Martial Morality"

Traditional Chinese schools of martial arts, such as the famed Shaolin monks, often dealt with the study of martial arts not just as a means of self-defense or mental training, but as a system of ethics.^[37]^[61] Wude (武德) can be translated as "martial morality" and is constructed from the words "wu" (武), which means martial, and "de" (德), which means morality. Wude (武德) deals with two aspects; "morality of deed" and "morality of mind". Morality of deed concerns social relations; morality of mind is meant to cultivate the inner harmony between the emotional mind (Xin, 心) and the wisdom mind (Hui, 慧). The ultimate goal is reaching "no extremity" (Wuji, 無極) (closely related to the Taoist concept of wu wei), where both wisdom and emotions are in harmony with each other.

Virtues:

Deed
Concept	Yale romanization	Traditional Hanzi	Simplified Hanzi	Putonghua	Cantonese
Humility	Qian	謙	谦	qiān	him1
Sincerity	Cheng	誠	诚	chéng	sing4
Courtesy	Li	禮	礼	lǐ	lai5
Loyalty	Yi	義	义	yì	yi6
Trust	Xin	信		xìn	seun3

Mind
Concept	Yale romanization	Hanzi	Putonghua	Cantonese
Courage	Yong	勇	yǒng	yung5
Patience	Ren	忍	rěn	yan2
Endurance	Heng	恒	héng	hang4
Perseverance	Yi	毅	yì	ngai6
Will	Zhi	志	zhì	ji3

[edit]Notable practitioners

See also: Category: Chinese martial artists and Category: Wushu practitioners

Examples of well-known practitioners (武术名师) throughout history:

Yue Fei (1103–1142 CE) was a famous Chinese general and patriot of the Song Dynasty. Styles such as Eagle Claw and Xingyi attribute their creation to Yue. However, there is no historical evidence to support the claim he created these styles.
Ng Mui (late 17th century) was the legendary female founder of many Southern martial arts such as Wing Chun Kuen, Dragon style and Fujian White Crane. She is often considered one of the legendary Five Elders who survived the destruction of the Shaolin Temple during theQing Dynasty.
Yang Luchan (1799–1872) was an important teacher of the internal martial art known as t'ai chi ch'uan in Beijing during the second half of the 19th century. Yang is known as the founder ofYang style tai chi chuan, as well as transmitting the art to the Wu/Hao, Wu and Sun t'ai chi families.
Ten Tigers of Canton (late 19th century) was a group of ten of the top Chinese martial arts masters in Guangdong (Canton) towards the end of the Qing Dynasty (1644–1912). Wong Kei-Ying, Wong Fei Hung's father, was a member of this group.
Wong Fei Hung (1847–1924) was considered a Chinese folk hero during the Republican period. More than one hundred Hong Kong movies were made about his life. Sammo Hung, Jackie Chan, and Jet Li have all portrayed his character in blockbuster pictures.
Huo Yuanjia (1867–1910) was the founder of Chin Woo Athletic Association who was known for his highly publicized matches with foreigners. His biography was recently portrayed in the movie Fearless (2006).
Yip Man (1893–1972) was a master of the Wing Chun and the first to teach this style openly. Yip Man was the teacher of Bruce Lee. Most major branches of Wing Chun that exist today were developed and promoted by students of Yip Man.
Bruce Lee (1940–1973) was a Chinese American martial artist and actor who was considered an important icon in the 20th century.^[62] He practiced Wing Chun and made it famous. Using Wing Chun as his base and learning from the influences of other martial arts his experience exposed him to, he later developed his own martial arts philosophy which evolved into what is now known as Jeet Kune Do.
Jackie Chan (b. 1954) is a Chinese martial artist and actor widely known for injecting physical comedy into his martial arts performances, and for performing complex stunts in many of his films.
Jet Li (b. 1963) is the five-time sport wushu champion of China, later demonstrating his skills in cinema.
Donnie Yen (b. 1963) is a Hong Kong actor, martial artist, film director and producer, action choreographer, and world wushu tournament medalist

Pakistan Shaolin Wushu Kung Fu Association