"Without breath, there can be no life." Most who hear the words dismiss them as trite, comical, a
simple statement of the obvious. However, when spoken by a Master, the meaning is profoundly more complex.
We become transfixed when discussing "Ki" or "Chi". Those who have it, or who know it, are expected to perform supra natural feats. Those who don't, should watch. We've all seen
demonstrations of breaking, unbendable arms, bending re-bar or swords with one's neck, crushing blocks set on bodies lying on beds of nails, etc. But is that "Chi", or simply a good performance?
When David Copperfield does the impossible, does he use "Chi"? Is what you see what is really happening?
It's always interesting to visit the Chinese language and gain insight into what is being
communicated with a word. "Chi", the word you associate with "Ki", is the same character for
breath (as in normal breathing). In Chinese to breathe is to "he chi", to drink or consume breath
or air. A car is a "chi che" or steam cart. Note how the meaning is changed slightly by the context
of usage. A train would be a "huo chi che" or fire steam cart, and so forth. Generally the word shows up everywhere, like a thread connecting the concept of breath, with the application of
energy. Something which utilizes "Chi" is enlivened by it, without "Chi" all that remains is the
inanimate object, waiting for external impulse. With "Chi", the entity becomes self actualizing, alive, capable of performance.
I learned a long time ago that when sitting in a bar and someone enters betting $1000.00 they can
pull a talking rabbit out of their hat, it would be foolish to take the bet. That is, unless you want to
see a talking rabbit get pulled out a hat. Once, during a business trip to New Orleans, I visited the French Quarter and was confronted by some street youth who offered a $2.00 bet they could tell
me where I got my shoes at. Though I knew better, I was interested in how it would play out, so I agreed. They told me "Where you got your shoes at" was "on your feets."
A word of advice, don't look to "Chi" if you want to levitate, become invisible, jump through space and time, astral project, visit alien worlds, stop bullets, arrows, etc., etc., etc.
Unfortunately, there are some who will try to convince you to do just that, just before they try to sign you up for their program.
Remember that "Chi," if anything, is ordinary, and universal, just like the Chinese character. Masters of martial arts quickly lose tolerance for students who are no sooner through the door
than they demand to learn the secrets of "Chi." Yes, we all want to hit the lottery, and we all crave the emperor's jewels. But to ask for or expect it on day one is insufferably arrogant.
Acquiring understanding of "Chi" means mastering the ordinary. Translating, mastering the ordinary is something 99% of incoming martial artists will never accomplish. However, those who
seriously try, have a player’s chance, but it will take years. Go check out your average martial artist with 25 or more years experience. You'll be amazed at what he or she can do, and how the
ordinary, through them, has become something mysterious and magical.
By now, you're probably getting the idea that "Chi" is not something easily defined. True! But in
the alternative, allow me to share some of the characteristics common to persons I've known to have developed their "Chi" to high level:
1. They are aware. Read that to mean aware, as in wide awake. Ever come across a situation
where, afterwards, you ask yourself why you never saw it coming? If you were aware and awake, you would have! Persons with high "Chi" have a radar for danger or intrigue. They
know when the fight has started, often before the attacker does. Their lives are characterized by a sense of balance and harmony, as though trouble and ill will avoid them entirely. Of course,
nothing avoids them in fact. They are always navigating in "Chi," flowing between the life’s trees and rocks.
2. They can project incredible power, upon command. This might be in the form of certain types of breaking, or in the ability to move attackers about at will. I once met a 69 year old
lady (Mrs. Fujiko Gardner, Master of Ai Ki Do) who could physically resolve any attack, and then return to her affairs unaffected. The diminutive Mrs. Gardner could take you down with
finesse or with "Chi", whatever your preference. You might find her a waif one moment, the next, she is a mountain. Or suddenly she seizes you in her vice like grip, and you're down,
confused, unable to continue the attack (your confusion would also be an intended consequence of her response).
Master Isidro Archibeque is a long time legend in the Pacific Northwest, not only for his
staggering record of breaking accomplishments, but also for his ability to transform from a freely moving martial artist into an outer worldly opponent. One who can't be physically moved,
or penetrated. If he chooses, your punches and kicks suddenly bounce from his body, your arm bars and joint locks can no longer be applied, or have no effect. There are countless stories and
anecdotes regarding his abilities. There was, for example, the nurse who broke several needles trying to draw blood for a physical exam (Sifu doesn't like needles!).
In a different vein, the late Judo Master Jerry Dalien frequently demonstrated his ability to extend "Chi" out and away from his body, causing a person standing in its path to drop
backwards. He points his fingers, the balance slowly erodes.
3. They sometimes possess a "soft" or "embracing energy", which when meeting with the
incoming attack, completely dissolves the threat and allows for it to be redirected. Picture Tai Chi, and its pushing hands drill, then transpose that into everything you do. While living in
California, I was casually acquainted with a very old Tai Chi Master who was once attacked by some street thugs in Monterey. A witness across the street was preparing to rush and assist
when he saw the body of one attacker sailing over the hood of a car, and the body of a second bouncing off an adjoining wall. The intended victim had done nothing but change the position
of his body adjusting for their incoming energy, embraced it, then returned it.
4. Their balance is impeccable. Though appearing quite ordinary, scrutiny of their balance
and posture will reveal volumes on how mind, body and spirit should be aligned. It doesn't matter if they use a cane, or lie in a sick bed. You can still see it (if you look very close).
Consequently, their leverage is superior in every situation. Come at them as they sit, and sailing you go. Attack while they are lying down, and suddenly they loom above you like an animal about to feast.
5. They move with nature. This is not easily explained, or appreciated, since so many of us work out in health clubs or the like. Historically, martial artists intentionally exposed
themselves to the environment, and its changing conditions. My teacher was adamant about "steeling" the body. We worked in snow drifts, ocean waves, during rain squalls, in the wind,
on desert sands, the more challenging, the better. In time, wind seemed to move within our blood vessels, imbuing our spirits with the same unseen driving energy, and again, in time, we
could summon this energy when needed, and command it at will.
6. When caught off guard, they survive. I remember the story of one Master who was struck in
the head with a baseball bat. The bat literally broke in two. The master turned to face the attacker, and the shocked assailant ran. There was no injury, no mark, no loss, no harm done.
7. They control the confrontation. Master Russ Kauffroath of Sam Pai Kenpo epitomizes this characteristic. Have you ever played cups and ball, where you had to pick the cup with the ball
under it. Not only can you not pick the right cup, but before long, there are balls showing up everywhere, just not where you are saying they should. Finally, you point to a cup, lift it, and
an orange drops out. Technically, this is the least mysterious of the characteristics, because it's associated with awareness, but then again, it could be a trick. When a master of "Chi" does it,
there is no trick, and its happening all the time. If you don't believe me, go spar with Master Russ. Staring across at him (remember the story of Matsumura?) you already begin to feel
hollowness in your stomach. There is the sense he knows what you are about to do. Even worse, that he's making you do what you are about to do. Very disconcerting indeed!
8. They are committed. When they say something, consider it a promise. You might recall Miyagi's words from the movie (Karate Kid) to the effect that Karate is either "Yes or No, never
in between." Inherent in any understanding of "Chi" or its application, is commitment. You are
either going to do it, or you are not. You choose. If you elect to go for it, have no doubts. If
you elect not to, have no regrets. Every Master understands this. "Chi" Masters, to the person, are as serious as heart attacks, even when they appear to be joking. That's because they are no
longer hampered by barriers. It's as though we spend a lifetime learning the limitations of our abilities. Suddenly, we find a path where the possibility arises for us to move beyond those
barriers. However, we've spent our lifetimes training (Actually training by not training, not training being equivalent to training to do nothing) to accept the barriers and to integrate them
completely into our performance. For many, this lifetime of conditioning is an insurmountable barrier. On its other side lies "Chi." The hammer which brings down the wall is
"commitment." In our own style (Gun Fu), we are reminded of this in the name itself. The word
"Gun" in Gun Fu tells us our knowledge is like a gun. It must be respected, treated with the greatest care, and because of the commitment behind it, never used unless there is no alternative.
Now, with all of the above in mind, where does one start on this path in pursuit of "Chi"?
The universal answer is breath, learning to breathe so that "Chi" can flow unimpeded.
I'm going to take this opportunity to share a few breathing exercises with you. First, I need to
caution. If you undertake these, or any other breathing exercises, be mindful of unusual sensations. If you feel faint, stop! The same if you see black or red or white, stop! Working on
breathing exercises can sometimes leave you feeling like you've been blowing up quantities of balloons. You can become faint, especially at first, when your abilities and capacities are undeveloped.
These are the Tan Jun breathing exercises of Hap Ki Do. There are several layers of exercises, first the basic, then the intermediate. We have found that all of the basic exercises are
incorporated into the intermediate set, so we prefer to teach the intermediate set from the start. That way, you don't have to learn a basic set, then replace them later with a new set.
These breathing exercises are ancient. Go to the library and check out some texts on Chinese History, especially as it pertains to Bodhiharma. You may stumble upon some drawings
portraying his teaching of technique to disciples. Some of those drawings will be representations of these very same exercises. Needless to say, if it was good enough for Bodhiharma, it's good enough for us.
In all of the exercises which follow, keep the following guidelines in mind:
1. Breathe in through the nose, and move the incoming breath into your abdomen. It should feel like you are placing it into your stomach, and your abdominal wall should bulge, and
become firm. An advanced student might describe the sensation as feeling like there was a basketball in the stomach. Don't overfill with air, usually 75% of capacity is enough.
2. Grab the ground with you feet. For some, this requires they twist their feet and toes inward. As you do this, there should be moderate tension in your legs, extending to your buttocks.
3. The "live hand" figures prominently in virtually all of the exercises. This hand configuration
can be visualized as your hand being spread wide open, with slight tension on your fingers. In other words, if someone grabbed your fingers, they would be springy. Put your hands in front
of your body, then imagine they are holding a basketball. Now, emergoze the hands. That's the "live hand."
4. In all but exercise #4, you begin the exercise with a controlled exhalation of breath, maintaining the elements described above. This usually starts with the utterance of a strong
"utz", which then trails off into an "sssssss...." sound as the breath releases. When your air is
almost completely discharged, you transition from the "sssssss...." sound to a "saaaaah..." as your whole body relaxes.
5. Each of the exercises should be repeated three times, with the exception of #4, which is executed as two sets of 60 repetitions. You can do more repetitions if you like, but three is enough.
6. Never do more than the described number of repetitions in a single session. You'll progress better by doing a single session every day, or by doing the exercises as part of your warm-up before working out.
Ok, keeping these guidelines in mind, let's move on with our study.
I have recorded a video detailing the exercises. I include it here for your view, and to use as a reference. Before trying anything, listen carefully to the pattern of breathing. Make sure you
understand the breathing sequence before trying the exercise. The clip is set up with the recommended number of repetitions.
Tan Jun Breathing Explained
Tan Jun Breathing Demonstrated
If you practice these diligently, within several months you will notice changes in your awareness.
You will be more alert in unfamiliar situations, and will sense when danger lurks. When being struck or impacted, you will sense the energy moving through you, rather than into you. When
setting a stance, you will feel more grounded, when evading, more light.
There will be more, but as for that, I will trust your sense of discovery.
Addendum of January 10, 2018:
Responding to questions regarding the relationship of “mind” and “consciousness” to the
movement of energy, we have added this supplemental video detailing one of our own techniques for anchoring the full power potential of your movement to your mind and willful
control. Also, I am including a demonstration of the “Shadow Form,” which demonstrates how to incorporate all of the referenced concepts into systematic flow.