DimMak

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Balance is the key to a healthy life filled with vitality. Most people don't realize when their system has gone out of balance. They may feel a little less energetic or not quite up to par. The next thing they know, they've come down with a cold or the flu or some other disease that could have been prevented by recognizing the imbalance and taking steps to restore balance.

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Hsing-i Before any real description of any of the Internal Arts of Hsing-I, Ba Gua or Tai-Chi can be rendered, we must first examine in brevity what actually constitutes an "Internal" Art form verses an "External" Art form. Indeed, at an even more base level, we must address the western conceptualization that the term "kung fu" actually applies to all martial arts that are Chinese in origin. The term "kung fu" strictly translated means "a skillful ability attained through hard work" period. It does not imply any specific style or system implicitly. In fact, one could be a concert pianist and be considered to have good "kung fu" as far as the Mandarin speaking population is concerned. In Asia, all art forms are referenced by their specific name to identify them from the myriad other forms of "kung fu". For example: ShanXi Style Hsing I Chuan, Lung Hsin Style Pa Kua Chang, Chen Style Tai Chi Chuan or Liou He Ba Fah Chuan respectively of the Neijia families. With that said, let us explore briefly what an Internal style is. The original meanings of Internal vs. External kung fu have been largely misconstrued over the last generation due to many "oral" variations of the many different kung fu families trying to paint a picture showcasing their own individual style. So, now adays a person hears many incorrect statements regarding these differences such as External Styles are "Hard" and Internal Styles are "Soft", but in reality the original meaning of this "difference" was entirely philosophic and geographic. The original me aning of the external styles was simply that those styles were originally started by Da Mo and the ShaoLin temples (buddhist philosophy) who purportedly came from India, and was hence from outside China (External Style). And the original meaning of "Internal" was to denote those styles that were founded on the Taoist philosophy of Lao Tzu and were created inside of China (Internal Styles). Of the over four hundred different styles of Chinese Kung Fu, only three types are considered "Internal" by that definition, and they are: Hsing I Chuan (Form of the Will Boxing), Pa Kua Chang (Eight Trigrams Palm) and Tai Chi Chuan (Supreme Pole Boxing). All other kung fu styles are considered External and derived from Da Mo and the Shaolin tradition. So, as you can see from this original and correct meaning, by definition there is no such thing as a style that is both internal and external. It would be a geographic and philosophic impossibility. It is also true, because of certain historical events, that nowadays the Internal school of thought focuses on not only self defense and external manifestations of ability, such as strength, stamina, flexibility and physical prowess, but also explores the inside of the practitioner’s development. Internal kung fu strengthens the internal organs and circulatory systems. It increases lymphatic circulation to aid the practitioner in removing toxins from the body more rapidly. It improves focus of mind and concentration of intellect. We also learn to apply the principles of Yin and Yang and the Five Elements, principles of redirection, absorption and reflection, evasion and entrapment, etc. These lessons are just as applicable strategically in a business m eeting as they are in self defense and confrontation. A person need only be taught their essence of expression in the practical sense. This is also part of Internal kung fu. The development of mind in the internal arts is a very important part of the training. We say that the specific part of the intellect we are trying to cultivate is the "Intention". What is Intention? It is the workings of the mind which when put in to motion causes the occurrence of events in our lives. When you intend to do something, you cause it to come to pass. When you do something unintentionally, it is a reflection of an undisciplined mind. To train the Intention is to train yourself to be successful in any endeavor. Hsing I begins from an empty posture, coiling the body's energy in readiness, and then springs San Ti Shr (three leg stance). From San Ti Shr all movement can then be brought forth. The mind, however, must remain still even while the body is active. The chi must be lead actively from one part of the body to the next with the intention while the postures transition from frame to frame. There must be a fullness of path maintained with the intention at all times throughout the practice. Both the closing and the opening energies must be experienced fully for the practice to be valuable. The serious student, learning the form from a competent teacher, will enhance the benefits of the learning by committing the forms as a series of pictures to memory. Then using them, both as a standard for practice, and as training in inner visualization of one's movement. Using visualization in addition to practice is a very powerful tool in developing true ability. The emphasis on inner visual training that is heralded in Hsing I is being echoed in modern scientific studies on the capabilities of the human body. For example, studies have shown that an average person is capable of clear visual memory and distinction between a minimum of one quarter of a million human faces. So, the capacity is definitely there. Studies on applied visualization have yielded impressive results in increasing skills such as dart throwing or shooting basketball free-throws. It should be noted, however, that visualization by itself is not sufficient to develop true Hsing I ability. Hsing I is an experiential art. First, the mind teaches the body, in that the student watches his/her teacher's movement and then tries to copy the movement as accurately as possible. With enough practice, the body begins to teach the mind. This is the first experiential stage whereby the body is beginning to "realize" things that the mind had previously missed in the first stage. After a good time of practice at this level, the final stage, which is the second and on-going, experiential stage is reached. This is the stage of true harmony between the mind, intention, and the body. Hsin, Yi, Li, Chi, Jing (Desire, Intention, Motion, Energy, Power). If the principles of Sung (relaxation), Yi 1

(intention) and the manipulation of the jing (energy) pathway is not understood, the practice is empty. Without these principles, you are practicing only the shell of the form. Hsing-I places a great deal of emphasis on the three main segments of the body (Dragon Body) in terms of motion. These three main segments are named as the Head to the Waist, the Waist to the Knees and the Knees to the Feet respectively. It is said that these segments are to be unified in attack and separated in defense. This allows for the whole body power to be applied in attacking actions, and for soft evasive power to be applied in defensive actions. Furthermore, it is said that Hsing-I never defends. If ground must be given, it is given strategically while looking for the earliest opportunity to counter attack. If the opponent moves, I move more swiftly than he, and I need hit him only once although he may hit me lightly many times. The six body styles of Hsing I Chuan are: Trunk of a Dragon; Hands of an Eagle; Legs of a Chicken; Shoulders of a Bear; Poise of a Tiger; and Thunder and Roaring. Power is transmitted in a unified fashion from the legs, waist and torso by complex manipulations of the Jing path in a rapid pulse. The hands lead the body once the training is complete. The most notable characteristic of motion in this art is the ever present "half-step" (bamboo step) which punctuates a large number of the movements in Hsing-I. This step, when done properly, allows greater derivation of power through certain frames of motion by using a refined physics principle called a vector product. This simply means to combine two or more force vectors efficiently to multiply the force products of all into one magnified force. Done correctly, this method is extremely potent and one of the primary sources of the famed power of Hsing I Chuan. There are three primary types of release using this method of half-stepping found in the various forms. The first method times the release of energy with the arrival of the front foot to a rooted position with the second foot following up to adjust the center only. This method is useful for quick bridging attacks. The second method employs a rear foot release timed with the half-step itself although the body has been moved as a unit beforehand. This method is extremely powerful and useful for follow up and/or finishing strikes. The third employs again a front foot release with no half-step follow up. This method is useful for close quarters foot changes and/or angling counter attacks. A person reading about Hsing I Chuan may sometimes come across a phrase referring to "Hsing I Grunting". This phrase is indicitive of the sound made by the rush of air escaping the lungs during the issuing energy (fah jing) phases of Hsing I movement, which is quite frequent in this dynamic art form. One should be mindful that this is normal but, at the time, be equally mindful not to force the air out. The exhalation, although rapid, must still be smooth and natural. The ShanXi Hsing-I Style is composed of the twelve animals and the five forces (elements) as the heart and soul of the practice. The five forces (forms) contain nuances not found in the other branches of Hsing-I and are named as the following: Pi Chuan (Splitting) - Corresponding to the Metal Element (Lung and Lg. Intestine). Tsuan Chuan (Drilling) - Corresponding to the Water Element (Kidney and U. Bladder). Peng Chuan (Penetrating) - Corresponding to the Wood Element (Liver and Gall Bladder). Pao Chuan (Pounding) - Corresponding to the Fire Element (Heart and Sm. Intestine)(Also secondary fire correspondance to Pericardium and Triple Warmer). Heng Chuan (Crossing) Corresponding to the Earth Element (Spleen and Stomach). It should be noted that Hsing I Chuan's Five Forms have both a martial side (the five forces trainings to develop applied kinetic potential) and a philisophical/medicinal side hence the correspondance to the five elements of traditional Chinese medicine. This line between the two has become somewhat blurred in recent years. Accordingly, most modern practitioners will call the five forms by their elemental names as opposed to their actual names of Splitting, Drilling, Penetrating/Crushing, Pounding and Crossing. The twelve animals of ShanXi Hsing-I are more complex than those found in other branches and they are named (and most often translated) as follows: Ma Hsing (Horse Form) Yao Hsing (Hawk Form) Ing Shyung Hsing (Eagle/Bear Form) Dou Gi Hsing (Cockerel Form) Sir Hsing (Snake Form) Tuo Hsing (Tortise, Alligator or Water Stridder Form) Gi Hsing (Chicken Form) Tai Hsing (Phoenix or Ostrich Form) Yen Hsing (Swallow Form) Hou Hsing (Monkey Form) Fhu Hsing (Tiger Form) Lung Hsing (Dragon Form) The practitioner must learn all twelve animals to complete the body training of Hsing I Chuan. Then each practitioner will tend to choose four or five of the animals combined with the knowledge gleaned from the practice of the five forces to composite his/her personal fighting style. Only those that teach the art need be proficient at all twelve. ShanXi Hsing I Chuan also contains some combinative forms that mix and match the twelve animals with the five forces to further challenge the advancing skills of the practitioner, such as Shr Er Hong Chwei (Twelve Red Hammers). A healthy spirit can be seen reflecting brightly through the eyes of the person who possesses it. Dull, glazed eyes denote a spirit weakened through abuse of the body and an undisciplined mind. Only through training both the body and mind can a person achieve a state of balance that is conducive to creating a brightly glowing spirit, strengthened through the harmony of the mind and body. The most important thing to remember for the practice of Hsing I Chuan is "a serene heart Hsin and a sharp, concentrated mind Yi," which allows the nerve centers to attune, improving the ability to efficiently coordinate the functions of the various organ systems of the body. Relaxation (Sung) of the whole body, mind and spirit, deep and natural breathing, powerful spiral-like actions centering on the waist Dan Tien, and a training method designed to convey one's inner energy Chi to the tips of the limbs by use of intention Yi. All these aspects, when combined properly, result in harmony of the inside and outside body, unimpeded Jingluo, blood and lymphatic circulation, and improved functions of the skeletal, muscle and digestive systems. As a result, proper Hsing I practice creates a firing pulse of the chi through the associated structures relating to each posture, and is quite suitable for both martial training and general physical fitness. It is a very direct experience with one's internal energy. Hsing I utilizes a full range of body motion incorporating strikes from the "Seven Stars"; Hands, Feet, Elbows, Knees, Shoulders, Hips and Head. Also employed are close range Grappling, Throwing, Trapping and Locking techniques, creating a highly adapt able, powerful, and overwhelming style of self defence. Hsing I is tactically superior to most sytems of combat given its succinct & economical nature. In the practice of the ShanXi Style, the practitioner will first be instructed in the basics. The methods of aligning the body, stances, stepping and the five forces, will all be introduced and discussed in terms of mechanical performance. Then the basic forms of the five elements will be introduced posture by posture until completed. Generally, about midway through the process of learning the five elements, push-hands and two-person five element practice will also be introduced with an emphasis on blending with the opponent's energy without attempting to forcefully interupt. Standing Meditation (Zhan Zhuang) will also be a preferred staple during this time. Later, as the student becomes still more proficient, the twelve animal forms, weapons and additional two-person work will be introduced. Free-fighting would be the last endeavor that the developing practitioner will engage in, after the proper body parameters have been ingrained and understood to a reasonable level of competency. There is a great deal of emphasis placed upon two person exercises and practical training in Hsing I. Some of the more classical exercises are the San Shou Pao (Free Hand Pounding), Shrang Ren Wu Hsing (Two person Five Elements), and En Hsin Pao (Pounding Ways of Protection). In some schools there will be organized two person Chin Na (seizing skills) and two person Weaponry practices as well. The energy of Hsing I has been 2

described as that of a piece of Rattan. It will not flex very far before snapping back at you. Energetically, the art has a Yang exterior and a Yin interior. The practitioner seeks to create his own openings in attack and defense. It is extremely efficient in its expression of power.

The dark side of the force Dim Mak Dim mak (death touch) is an ancient martial art that consists of striking certain points on the body to cause illness or death. The points are usually called dim mak points, but they are also referred to as vital points and pressure points. The majority of these points correspond to the same locations as acupuncture points. Dim mak is an extremely dangerous martial art, which can cause a great deal of damage to the human body. The effects of attacking the dim mak points include knockout, death, and a delayed death. Many have seen videotapes and seminars where a subject looses consciousness after being struck on certain points. Although this is a very dramatic demonstration method, it could have dangerous consequences. Dim mak was created centuries ago by the same man who is believed to have developed the original tai chi form. Some have postulated that this form contained the founder's methods of attacking the most dangerous dim mak points. According to legend, this knowledge spread rapidly and influenced the development of many Chinese martial arts. These martial arts then influenced the ancient Okinawin martial art called karate. It is believed by many that the traditional katas of the Okinawin martial arts also contain the secrets of striking the dim mak points. This is interesting because Okinawin karate has had a major impact on the martial arts of Korea and Japan. Thus, it is conceivable that the traditional katas of these other martial arts could also contain the secrets of dim mak. In the past, this knowledge was only taught to the most advanced and trusted students. As the martial arts spread around the world, the knowledge of dim mak (pressure point fighting) remained in seclusion. Thus, the true nature of many martial arts remained shrouded in secrecy. Recently this tradition of secrecy has been broken and there are martial arts masters who teach the methods of attacking the points to the public. This information is now available at seminars, in books, and on videotapes. Although this has had a positive effect on the martial arts, it does raise the issue of safety. In most instances, dim mak is explained and taught using ancient theories based on acupuncture. Although this has been the tradition for many years, it has led to a great deal of skepticism and confusion. Because of this, many have disregarded the warnings about dim mak and started to experiment with the points. This practice could have tragic consequences. If the dangerous effects of dim mak could be explained scientifically, the warnings about the points might have more credibility. There is a definite need for a reference on dim mak that is based on modern medical science. DIM MAK "THE DEATH TOUCH" The Dim Mak or "Death Touch", as it is typically referred, is a part of several Chinese Martial Arts. White Eyebrow and Eagle Claw, for example, teach "Dim Mak" striking techniques as integral parts of their systems. These styles are not particularly popular or wide-spread because knowledgeable "Dim Mak" masters take only a few students and only after a long screening process. These are dangerous techniques and the moral integrity of the student is of the utmost importance. Tai Chi Praying Mantis and Choy Li Fut also teach "Dim Mak" which is referred to as pressure point training by some. These techniques are reserved only for students of good character who have reached high levels in these styles. The effectiveness of "Dim Mak" strikes is in direct relation to Chinese Medicine's theory of blood circulation and energy balance. Circulation and energy must be balanced congruently throughout the entire body. The Chinese refer to the blood as being like a river--if its flow is not balanced it will flood, causing too much water in some places while there is too little in others. According to this theory, the body's energy source controls the balance of blood circulation. If circulation is not balanced the body can become damaged in those areas of incongruence. Some of the principles of acupuncture as well as "Dim Mak" strikes are based on this theory. For example, an acupuncturist will attempt to release blocked energy by stimulating certain points or nerve centers along the body's 12 energy meridians. The "Dim Mak" expert will attempt the same procedure with one major difference--he prefers to cause a blockage by pressure point stimulation rather than release one. Another theory of Chinese Medicine is that each of the 12 energy meridians corresponds to a specific time period or "hour" of the Chinese "12-hour" day. If, indeed, the "Dim Mak" practitioner strikes the correct point/meridian at the correct time he could cause greater injury to his opponent. But simply knowing the location of a certain "Dim Mak" point is not quite enough for the average person to perform "Dim Mak" successfully. One must know the exact location, depth and measurement of each pressure point. "Dim Mak" experts are trained in the internal aspects of these kinds of strikes and are very adept in focusing their own energy into the opponent via the "Dim Mak" strikes. "Dim Mak" experts also practice extensively on external conditioning of the hands and fingertips in order to be able to strike as deeply as is necessary for each "Dim Mak" technique. In Choy Li Fut there are four principle hand techniques implemented for "Dim Mak" strikes-Phoenix Eye Fist (Fong-Ngan Chui), Crane Beak (Hok-Juei), Arrow Finger (Jin-Ji) and Leopard Fist (Tsop-Chui). Traditional "Dim Mak" training includes acupuncture and medicinal methods to counteract the damage inflicted by "Dim Mak" strikes. Each of the 12 meridians employs a different antidote and there are specific healing formulas that correspond to the exact time of day that the damage was done. Do not take "Dim Mak" training lightly. True "Dim Mak" training is difficult to find and should be considered only as a life-saving defense. HOUR ORGAN 1:00AM - 3:00AM LIVER 3:00AM - 5:00AM LUNGS 5:00AM - 7:00AM LARGE INTESTINES 7:00AM - 9:00AM STOMACH 9:00AM - 11:00AM SPLEEN 11:00AM - 1:00PM HEART 3

1:00PM - 3:00PM 3:00 PM- 5:00PM 5:00PM - 7:00PM 7:00PM - 9:00PM 9:00 PM- 11:00PM 11:00PM - 1:00AM

SMALL INTESTINES BLADDER KIDNEYS PERICARDIAL TRIPLE WARMER GALL BLADDER

10 SHAOLIN DIM MAK PRESSURE POINT SECRETS FOR HEALIONG AND SELF DEFENCE SECRET NUMBER 1: Dim Mak is NOT Acupuncture ... and Not All Acupuncture Points are Dim Mak Pressure Points. You would have seen charts of human bodies with big dots marked on them. These charts are acupuncture charts. They are not Dim Mak pressure point charts. Contrary to popular belief, not all acupuncture points are Dim Mak points. Some students are told by their instructor to just hit these dots as seen on the acupuncture charts. But all they are told is that these points can kill or cause serious injury. No further information is provided. As a consequence, students are using the wrong points and often miss their targets completely because they are not taught how to correctly locate the points. Our research indicates that the Dim Mak knowledge of many instructors does not extend beyond those big dots on the charts. Some freely refer their students to these dots, others hide in the mystery and say nothing about Dim Mak Pressure Points. What's worse, some instructors PRETEND to know and continue to mislead their students. Another important thing we have found is that students are not taught exactly how these pressure points work. They are not taught why certain points are targeted, and what the consequences are when these points are struck. Furthermore, students who are taught pressure points are still being taught points located in the wrong place! Now that’s dangerous. You must know that you put yourself at risk if you have incorrect information. Furthermore, there are distinct differences in the theories of dim mak and acupuncture. One cannot just copy from acupuncture books and call it dim mak. SECRET NUMBER 2: You must understand the theories of Chinese medicine in order to master pressure points To understand pressure point fighting, you must gain an understanding of the basic concepts of traditional Chinese medicine, and in particular, the flow of energy within the body. Other oriental medicines such as Japanese or Korean medicine was based on traditional Chinese medicine. However, those cultures have evolved and have their own medicine called Japanese or Korean acupuncture, which is different to the original Chinese model. Naturally, the greater the understanding, the more effective the pressure point fighter will become. Keep in mind also that there are fundamental differences between acupuncture theories and dim mak theories. As every martial artist knows, the flow and function of Chi (that is, vital life-force or energy) is fundamentally important in the martial and healing arts. Pressure point fighting can interrupt or even reverse the flow of Chi producing devastating consequences. Not only is it important to understand Chi but one must also know about the meaning and functions of points, their exact location, point combinations, the flow and stagnation of Chi, Jing, Zang Fu organs, meridians, Yin and Yang, development of trauma and the five elements. There is nothing new about meridians and their function in the martial and healing arts. The ancient Chinese recognised the existence of meridians thousands of years ago. When ancient tombs were recently excavated in the Hunan province in China, archaeologists discovered silk books about meridians. Modern traditional Chinese medicine speaks of 12 meridians and eight vessels with about 1000 pressure points located on the human body, many of which are not located on these meridians and vessels. I teach you which of these 1,000 points are used and why! SECRET NUMBER 3: Both Chi and meridians are critically important in pressure point defence Meridians connect with one another, with organs and with all other body parts. They are an intricate network of pathways for the transportation of Chi, blood and essential fluids around the body. Pressure points lie on those meridians. A blow to a pressure point affects the flow of Chi, blood and other bodily fluids, which in turn affects the organs or other body parts to which that particular meridian is connected. Other related or linked organs or body parts may likewise be affected. Chinese Tui Na massage and Japanese Shiatsu massage make use of the meridian system as does Chinese acupuncture and herbal medicine. It is therefore important to know which pressure points lie on which meridians, and which organ is affected by a blow to a particular Dim Mak Pressure Point. For example, pressure point liver 14 is located in the intercostal space between the sixth and seventh ribs. It is called a liver point to indicate that the organ involved is the liver. Here, pressure point liver 14 is numbered as the fourteenth point on the liver meridian. A blow to this point interrupts the flow of energy on the meridian, and its associated organ, the liver. Here’s another example. I have chosen this one because it is an example where a pressure point is used in both Dim Mak Pressure Points and for healing. SECRET NUMBER 4: Stomach 36: A healing and a Dim Mak point you can use now 4

pressure point Stomach 36 is located below but near the knee. It is called a stomach point because it is on the meridian that is linked to the stomach. Some people may be surprised to learn that a point which affects the stomach is located nowhere near the stomach itself. The ancient Chinese learned that manipulation of this point causes a reaction which, depending on the form of manipulation could be favorable or adverse. It is reliably documented that soldiers in Chinese armies hundreds of years ago would gently manipulate that point and thereby invigorate the soldiers to enable the army to continue to march or do battle after they were exhausted. The translation of the Chinese name for the point is "Leg 3 miles." It is told that soldiers could march a further three miles when they were fatigued following manipulation of this point. On the other hand, when a front or sidekick strikes stomach 36 with force, not only is damage done locally at the point, but also other bodily functions, mainly those relating to digestion are impaired. Paralysis of the lower leg is the usual consequence of a kick to this point. A blow to stomach 36 will also cause abdominal pain, gastritis, diaphragmatic spasm, diarrhoea or constipation. A skilled pressure point fighter knows that a blow to a certain pressure point will cause localised damage as well as damage to bodily functions and organs. How you can improve your health with Stomach 36 To improve your energy and boost your immune system, massage this point with your thumb every day for three minutes. This can be done anytime, for example while sitting or watching television. Do not massage the point while eating or drinking. SECRET NUMBER 5:The Counter flow Technique The Counter flow technique not only describes the technique used to cause injury to a meridian but it also describes the Death Touch and the Delayed Death Touch. Its effects are deadly yet the method used is deceptively simple. It is one of the more sophisticated skills used in pressure point fighting. Essentially, the Counter flow technique causes serious injury or death (whether immediate or delayed) through striking a particular meridian in a particular way so that energy is forced in the opposite direction to which it naturally travels. The results are devastating. To master the technique, the practitioner must know in which direction energy naturally flows along any given meridian. For example, the stomach meridian runs from head to toe sending energy downwards. By applying the Counter flow technique, a strike to the stomach meridian in an upwards direction using, say an uppercut, will result in damage to the stomach meridian, the stomach itself and organs and tissue associated with the stomach. Take another example. The spleen meridian has 21 points on it. Energy flows upwards along the meridian from the big toe to the chest. By applying the Counter flow technique, a downwards strike to some selected points along the spleen meridian will cause adverse consequences to the proper functioning of the spleen thereby producing symptoms such as vomiting, feverishness, hemorrhage, yellowing of the skin and a prolapsed of the spleen. Here’s another example. Energy flows in a downward direction along the heart meridian. Nine pressure points are located on the heart meridian, the first of which is near the armpit and the last is on the little finger. An upward blow to any one of the nine pressure points along this meridian, in other words a blow which sends the flow of energy in the opposite direction to its natural flow, will cause cardiac pain, palpitations and heart attacks. The key of course is to know which Dim Mak Pressure Points are used in the Counter flow technique. Not all points are used. In the latter example, only Heart 2 Qing Ling, which means "Green Spirit" is used. SECRET NUMBER 6: The midday-midnight law in pressure point fighting Accidental injuries to these points are more common than a Dim Mak hit At different times in any 24-hour cycle, each organ in the body is at its peak or its low point of activity. As a result, energy flows into and out of that organ either at a rapid rate (at the high point) or at a slow speed (at the low point). In every 24-hour period, energy in the body makes one full cycle of the 12 main meridians and takes two hours to pass through each of the 12 meridians. This is relevant to the martial artist because he or she should aim to strike the meridian corresponding to the organ in which activity is at its lowest point in the 24-hour cycle. A skilled pressure point fighter knows which organ is at its peak or at its low point of activity at any given time in the 24-hour cycle. Thus, a blow along the heart meridian at midday or at midnight will cause maximum damage. That is because the organ is at its weakest when the energy level in that organ is at its lowest. SECRET NUMBER 7: Too much force is counter-productive when hitting a Dim Mak Pressure Point There is no hard and fast rule, but the severity of the injury, whether physical or energetic, will depend on the accuracy of the strike and the degree of force which is used. The injury can occur at martial arts training, while doing odd jobs at home or during sports. A strike may cause an external physical injury, that is an injury which is visible to the eye, or an internal injury to the energy systems which is obviously of greater concern to the victim. The strike may cause an acute injury manifesting itself in redness, pain, swelling, loss of function, impaired mobility or even shock. If the strike is accurate and made with full force, the result will be a chronic or severe injury. A chronic injury is one which lingers for a prolonged period such as arthritis caused by a blow, say, to the knee by a cricket ball. A severe injury is one where, for example, internal organs or the natural flow of Chi and blood are so badly damaged by the strike or blow that instant or delayed death results. So it is important to understand the traumatology of pressure point fighting, its effects, at least in traditional Chinese medical terms, of various injuries which occur in pressure point fighting.

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SECRET NUMBER 8: You cannot ignore the oriental concept Yin and Yang in pressure point fighting If you already have studied pressure points, I'll expand here, just a little bit, on Yin and Yang. And if you are a complete beginner, don't worry because you will still enjoy discovering the deeper secrets of the Art and Science of Pressure Points. So read on. The concept of Yin and Yang is one of the underlying foundations of the martial arts. Perhaps more than any other concept, it defines and distinguishes the martial arts way of life because practitioners of martial arts believe that in everything, in every part of the Universe is Yin and Yang. Yin and Yang are two complementary forces that interact and join to form the Universe. Yin represents energies that are cold, watery, heavy, hidden, night, female, weakness or internal. Yang energies represent the opposite of these states such as hot, dry, light, revealed, day, male, strength or external. Yin cannot exist without Yang and vice versa. For example, night cannot exist without day, hot without cold, shadow without sun. Apart from these universal Yin Yang energetic manifestations, the human body as a whole is also a carefully balanced representation of Yin-Yang. The front of the body is considered Yin while the back is Yang; the lower body is Yin and the upper body Yang. Certain organs such as Heart, Liver, Kidney are Yin organs whereas others such as Small Intestine, Bladder or Gall Bladder are Yang organs. Of particular importance to Dim Mak Pressure Points, blood is classed as Yin while Chi is classed as Yang. Blows to certain pressure points destroy blood (blood energy not blood substance) and blows to certain other pressure points destroy chi. Traditional Chinese medicine states that once both blood and chi are destroyed; death results because Yin and Yang are destroyed. Once Yin and Yang are eliminated, our very existence ceases. Being complementary opposites, Yin and Yang combine as much in pressure point fighting as in any other aspect of life which calls for balance and harmony (the Taoist theory of the duality of Yin and Yang and also of chi also need to be studied alongside this subject). But in pressure point fighting, the strike which upsets the body’s balance of Yin and Yang or which scatters Yang will cause the maximum destructive effect leaving the opponent drained of energy and the eventual collapse of Yang thus death. No one can function effectively with an imbalance of either Yin or Yang. Successful pressure point fighting causes an imbalance of Yin and Yang by damaging the meridians through which energy flows thereby damaging the organs which we need to live. SECRET NUMBER 9: Consequences of a Dim Mak hit Balance, harmony and a smooth flow of Yin and Yang energies are required to maintain good health. Otherwise, illness or death occurs. One of the causes of disruption in the harmony of Yin and Yang is when various master points that control Yin, Yang, Chi and Blood are intentionally struck. Dim Mak uses 14 specific powerful pressure points to directly destroy Chi, Blood, Yin and Yang. Whilst one point may only destroy one of these four energies, other points such as Liver 13 may destroy a multiple number of these energies. For instance, a strike to one or more points that control Chi in order to disseminate Yang in the body. One of the effects is to scatter Yang leaving the opponent weak and drained of energy (Yang is strength-energy) leading to eventual collapse of Yang, hence death. In self-defense or combat where full contact is made to the body, Dim Mak Pressure Points intentionally cause violent imbalances in the flux of Yin and Yang. When one of these 14 Dim Mak Pressure Points is hit, illness develops through an excess or deficiency of either Yin or Yang. This disrupts harmony, which is then unable to correct itself. Note that if either aspect is out of balance, it will eventually cause disruption in the opposite aspect. Consequently, the production and movement of Chi and blood are impeded. For example, too much of Yang type of energies creates heightened organic activity and produces symptoms of dryness, thirst, fever or headache. If a fever develops, one may become lethargic, agitated, disorientated or even delirious. On the other hand, too much of Yin type of energies (excess cold for example) creates a blockage in the movement of Chi and blood. This may result in shivering, joint pain, spasms, or contractions. It can be seen that when a Dim Mak Pressure Point is hit to affect Yin and Yang, one or more pathologies result. Often one pathology leads to the rise of another. The following scenarios explain, very briefly, how the mind and body are damaged when a Dim Mak Pressure Point is struck. Excess Yang — the body becomes full and hyperactive, the Yin is burnt up Deficiency of Yang — cold disease occur due to little metabolism and circulation, there is degraded organ function Deficiency of Yin — Yin fails to properly control Yang letting Yang activity go out of control Excess of Yin — here Yin does more that just keeping Yang in check, it suppresses Yang Obviously, the forces of Yin and Yang influence our physical and mental aspects. Our emotions, for example, can fluctuate between excitement or anger (Yang) to lethargy or sadness (Yin). SECRET NUMBER 10: What is Dim Mak and What Is Not A lot of people talk about dim mak pressure points but they do not really know dim mak or pressure points. There are also a lot of misconceptions being taught about dim mak, for example "set-up" points, "knock out" points, 5 elements cycle of destruction, diurnal cycle of chi flow, attack left and right side of body to represent yin and yang .... and others. These are partly true but they represent only about 10 percent of the answer. There is a lot more to dim mak than what is written in acupuncture books. There are a number of strategies used in Dim Mak and the calculation of the Death Touch. As I have explained Yin and Yang in more detail, let's continue with Yin and Yang and reveal to you just how one of the strategies work. If your aim is to destroy Yin or Yang, you may choose to strike one, two or three points in succession. The points are chosen from the list of 14 points that destroy Chi, blood, Yin and Yang. Once these points are struck, collapse of Yin and-or Yang occurs. This is due to the close relationship and interdependent nature of Yin and Yang, so collapse of Yin leads to collapse of Yang, and vice versa. This collapse leads to death. Below are just two examples of Dim Mak Pressure Points strategies used: Hit one point that destroys Yin followed by one point that destroys Yang, or 6

Hit three Yin points in succession, such as a Heart, Spleen and Liver point. So how does this blow work in the Death Touch? The effects on the body's Yin or Yang energies are not absolutely separated from each other. Due to the relative mutual consuming and supporting relationship between Yin and Yang, Dim Mak Pressure Points causes a confusing series of symptoms to arise when one of these two aspects is hit. In other words, when Yin or Yang collapse, a series of symptoms that reflect the other occurs. In some severe cases, symptoms for both Yin and Yang collapse may be present. This is an example where the Dim Mak Pressure Points master requires experience and professional qualifications in clinical acupuncture in order to teach the entire dim Mak knowledge proficiently. One example is that when Yin is struck to cause it to collapse, Yin becomes deficient and symptoms of Yang hyperactivity occur. One can be easily fooled because this apparent hyperactivity of Yang gives off symptoms that are an illusion of excess rather that true excess. The final decision will rest with the Chinese medicine doctor who is skilled and experienced in uncovering these complex pictures, as the reading of the tongue and pulse require expertise. There is no tolerance for those who pretend to know. For the casualty, this is the difference between life and death. Collapse of Yin and Yang are serious life-threatening situations, as they can quickly transform into each other to confuse the observer. When both Yin and Yang collapse, death is immediate.

How should you use these skills? You’ve learnt much more than 10 secrets and you should use these skills wisely. As every martial artist knows, you and you alone are responsible for the consequences of your actions. The ancient Chinese have given us a gift — knowledge, and the skills of pressure point fighting techniques. That gift is given on condition that we use the skills wisely and not in breach of the law. The consequences of pressure point fighting can cause death or very serious injury. Use the skills wisely.

A Tai Chi Fa jin Journey By Paul Brecher This article was first published in Combat and Healing Magazine in December 1997 When I began training twenty years ago I had never heard of fa-jin and I never suspected that it would eventually be the at centre of my martial, health, self and spiritual development.It is only now that I can start to see were it is that my fa-jin journey has taken me / is taking me. My understanding of Fa-jin over the years has developed in a rather jumbled way however in this article I am going to try and create some kind of structure. In the beginning when I used to hit some one it would just be with my fist or foot and the action was always out there , I used to make a big effort without getting much effect. Now when I fa-jin it is all in here and there is a big result with little effort. The more internal the fa-jin becomes the greater its external self defence effectiveness. So by concentrating on the development of Tai Chi Internal Principles one is able to get to higher and higher levels of fa-jin. At the highest levels fa-jin is more than just a way of defeating opponents and creating good health , it is a way of changing the future. The best place that I know of to develop the internal principles to make fa-jin possible is in Yang Lu chans Old Yang Style Tai Chi Long Form. Beginners do the whole form slowly, intermediates make certain moves big fa-jins.Then the big fa-jings are done with slap steps. At the most advanced level all the moves are small fa-jins. Then the small fa-jins are done with shuffle steps, apart from the big fa-jins which are still slap steps. At its highest level the Old Yang Style becomes Hao Chuan Loose Boxing and it is at this stage where every movement in the form is some type of fa-jin, that the most advanced type of fa-jin is attainable, which I call The Vibrating Palm Fa-jin. The first set of internal principles to be put into the form to create the right environment for fa-jin could be called Internal Principles of Posture. For this the feet claw the ground , to help develop rooting and activate acupoint kidney 1.The knees are slightly bent , to activate the lower Tan Tien and strengthen the legs.The first point on the conception meridian is pulled up in rhythm with the reverse abdominal breathing, to help pump the chi up into the body. The spine is stretched in to first a vertical straight spine (this activates the governing meridian) and then at a more advanced level a C back (this releases Yang survival chi). The tongue is on the roof of the mouth,to connect the governing and conception meridians together so that the chi can circulate.The shoulders are relaxed and down,this lets us let go of tension and is also part of the C back. The elbows are lower than the shoulders, again this helps there be less tension , it also makes it easier for the Hip Power to connect to the elbows.The armpits have a space under them, this keeps the shoulder joint open to the chi flow and keeps the Kwa (bridge) open. The arms maintain a circular shape,this is part of the Kwa and also by not having the elbows bent the chi flow is not restricted.The hands are slightly flexed and concave, this brings the chi to the hands for making the Dim Mak Claw effective. The next set of internal principles to be added on top of this could be called Internal Principles of Movement.Starting with Circular/Spiralling/Smooth movement,to aid the chi flow.Sung, to increase the chi flow, develop a lower centre of gravity and bring about Loose Heavy Power.Rooting from the legs pushing against each other and the ground,to develop stability and Earth Power. Waist Rotation to generate Centrifugal and Centripetal Power.Lower and Upper Body Integrated Movement, for Whole Body Power and Counter Toque Power. Sinew and Tendon Activation, for Jing Elastic Resilient Power.Connection as a result of each part of the body being moved by the pervious part, this develops Flowing Power.Opening and Closing of the arm and spine bows, to have whole body breathing integrate the C Back Power with the Squeezing Chi Power.Avoiding Double Weightedness in the hands, to keep the chi dynamo turning and to develop the Yin Yang Palm Power. So we have three levels of fa-jin, the first is the basic shake the waist, shift the weight and shout type of Big fa-jin for which we need to have all the Internal Principles of Posture operating smoothly.This Big fa-jin is like a tiger impacting with its prey and can be made to happen, you can do this fa-jin, it comes from you. 7

The second more advanced and more internal type is the Small fa-jin which is only possible when we have the Internal Principles of Movement all operating simultaneously in an integrated way.This Small fa-jin is like a snake striking and cannot be made to happen, this fa-jin does you, it comes through you. Getting to this stage in my fa-jin journey took me ten years, it was a very long way to go to get something that cant be seen.I got there because I met Erle back in 1987 just by the beach near byron bay in eastern Oz and he showed me the whole of Yang Lu chans Old Yang Style Tai Chi Long Form with the Fa-jin. It was like a treasure map with the route clearly marked out on it. So its now ten years later, Ive followed Erles foot steps in the sand and now Im walking into the third most advanced type of fa-jin that happens at the Hao Chuan level, I call this the Vibrating Palm Fa-jin. To get to this third level of fa-jin one needs to have the third set of internal principles that I have decided to call Internal Principles of Intention. At this level I have found that a certain type of energetic momentum has accumulated over the years and this last set of principles although very small have a very big effect. They tip the balance and cause the Vibrating Palm fa-jin to occur. There are only two of them,the first one is just like one tiny pebble added to an overhang that is enough to start an avalanche. This internal principles I call the Chi Wave, it flows through the hips and causes the hands to move in a wavy way. As the top end of the big leg bone (the femur ?) pushes into the hip it feels like a wall of chi pushing the body forward.The hips move like a wave, you are not moving them, they are being moved by the chi flowing through you.This causes the hands to move like a wave, if you have it you can just see it in others, if you dont have it you cant see it. The second internal principle I call Being Dangerously Mad this is like with a forest of dried wood one tiny match is enough to start an inferno.With this internal principle the body behaves like a shark in a feeding frenzy and the eyes burn very brightly. I showed this level of the Form to an old martial arts friend of mine who I hadnt seen for many many years, he said he thought I looked Bloody Mad. To me it seems that the Big fa-jin can be made to happen and the Small fa-jing cannot because it comes through you rather than from you. And The Vibrating Palm fa-jin is the biggest mystery of all, the few times it has manifested itself to me have been amazing and exciting. With out a doubt its appearance is encouraged by having the Internal Principles of Intention activated but it is something above and beyond them. There is a very slight visible shaking of the hand but you are not shaking the hand, it feels like all the bones in the hand are vibrating. When you have finished the form and the vibrating palm is no longer visible on the outside you can still feel it for a while on the inside. Well this is were I am now on my Fa-jin journey, I hope that this article which is my interpretation of the map that Erle gave me will be of some use.

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