Each person's perspective is shaped by their unique journey through life, informed by experiences both aligning with and diverging from those of their peers. This is how we gain an understanding of any discipline or practice and how we root those disciplines in the world around us. Martial arts are no different and how we inform and develop that discipline is a reflection of our personal journey.
I was drawn to Traditional Chinese Martial Arts (TCMA) or kung fu because of the beauty and complexity of its movements. Few movement arts rival the Northern Chinese styles for the sheer diversity of the movements incorporated in the practice. This emphasis on movement complexity and diversity invites comparison to modern dance and other very broad styles of movement. For many, TCMA has become a danceform devoid of any combat context. For myself, my experience in weapon based competition before TCMA gave me an early desire to see how the movements I was learning could be used under pressure in combat.
Fighting is a form of serious play with structure and rules like any game. The exception is when individuals seek to use violence against others but don’t want to engage in the game of fighting at all, instead using some hidden advantage or surprise to get what they want. The world of ‘self-defense’ is attempting to prepare people for these surprise violent encounters. In contrast, ritualised combat as we find in sports and even ‘street fights’ are games with some measure of rules and specific contexts which determine what will be effective or will not. There is social expectation and pressure on how to act and what to do. If someone tries to get into a street fight with you and you drop your trousers and wave your hands in the air as though you’re not in your right mind, they probably won’t want to play with you . The context in which you are playing this game will decide what movements are favoured by the rules, the environment, or the physicality of the fighters.
In any fighting discipline, there is a balance being found between the advantage gained by being really good at a few techniques, specialising in strategies for how to use them, and the advantage gained by doing diverse techniques the opponent is not prepared for, expecting, or experienced with. Should I have a huge list of options that keep the opponent guessing? Or should I just master a few techniques, improve my tactics with them, and focus on getting as fast and as strong as possible. This is not a new question and martial artists have always grappled with this. There are hundreds of TCMA styles and they all answered these questions differently as well. The Northern Shaolin style I have dedicated myself to chose diversity over specialisation.
Sport Combat traditionally limited the number of techniques a person could use (ie. only certain punches, kicks, or throws), simplifying that aspect of the game so that physical ability, tactics, and willpower became the clear source of success. Creativity occasionally finds ways to challenge this formula but that is not the norm. These games are the best way to get really good at a subset of techniques. Boxers will be the best at using the handful of techniques allowed in boxing. Taekwondo competitors will be the best at using their subset of kicks. In the modern era, mixed martial arts competition typically take the limited technique subsets from these sports and add them together into larger subsets for a more complex game. Thanks to flexible rules, movements beyond the classical sport systems (boxing, wrestling, jiu jitsu, judo, k-1 kickboxing, muay thai, taekwondo, karate point fighting) do occasionally find their way into the mix. However, generally everyone has a handful of techniques taken from the styles they or their coaches have had the most experience with putting into practice in other games. No one practices every judo throw or kickboxing attack; instead, fighters focus on moves they trust will work for them within the complexity of the game.
Few would dispute that modern MMA's repertoire of techniques continues to expand. At some point in the near future, if you took all the moves used by all the fighters in MMA I think it will be as diverse and complex a library of movements and techniques as you typically find in TCMA. Most traditional martial arts are mixed martial arts, involving all the types of fighting ‘games’ you might encounter. The fact that you might kill or be killed didn’t stop these from being games in my perspective. You needed to be ready for whatever the other person tried to do and you had to be good enough at some of those games that you were likely to be able to outsmart or overwhelm your opponent in that way.
Additionally, training involved the entire physical culture of preparation. This included all the training and conditioning necessary to get the body to be able to both perform desired techniques and avoid being overwhelmed by the techniques of others. Before modern workout methods, Kung fu styles were famous for their intense strength, flexibility, and toughness training. Long hours in challenging positions built isometric strength, vital for strengthening tendons and ligaments. Iron body skills, a form of conditioning to develop the body’s capacity to withstand impact, thickened bones, skin and connective tissue. Training TCMA in a traditional way requires a lot of time spent pursuing these methods, although they may be derided for being outdated or suboptimal. My own experience has shown these traditional techniques to be effective for all the needs of my own training. Additionally, this sort of training prioritises moderation and longevity, with a cultural focus on being capable and strong for as many years as possible.
Along with the development of martial skills, importance was given to the development of an individual’s sense of virtue. Especially given the ties between martial arts and the religious movements in China, a responsibility of any teacher was to imbue a sense of ethic in their students, known as Wǔdé. This is a focus of TCMA which is somewhat underappreciated or missing in modern sport styles. Understanding how to choose the appropriate and minimal amount of force for any encounter was one key, while seeking the best and often non-violent way to protect those in danger was another. This ethic of minimising violence has sometimes become a justification for those who do not wish to engage in fighting games at all, and has lead to TCMA moving further and further from combat efficacy over time.
Unlike most people who love fighting and competition, I love forms. Forms, or tàolù, are central to many TCMA systems. These are choreographed sequences done alone or in pairs. These do not teach you how to fight and they were never intended to. They teach you principles of movement, good mechanics of force generation, posture and footwork. They are not sufficient for any of these skills either however. Subjectively my body loves practicing them, and I feel great doing them. Having choreographies passed down to me that I keep with me everywhere I go and that keep my body feeling capable and strong are a tremendous gift. They are a storehouse of techniques, practices, and ideas influenced by all the teachers who knew the form before me. Whether a given form is a few centuries old or a few decades old does not change this embodiment of knowledge and experience. As a practitioner you have to trust that each teacher included the techniques they personally had the most experience with while preserving the techniques of other teachers, even when those techniques didn’t work as well for themselves. This leads to a comprehensive library of possible techniques, combinations of techniques, and hints to the strategies for applying them. Coding the knowledge of the system in this way makes the tradition much more resilient than memory would otherwise allow. Also, even movements I do not find personally useful might be ideal for my students with different body types or dispositions and this prevents me from only showing those techniques I favour.
My journey as a martial artist and a teacher has been to understand all of the movements passed down to me. I was lucky that my Sifu and the other teachers who helped me offered me a good understanding of many applications for the movements in the forms. This was much more help than many people get learning TCMA. For my interest this still wasn’t enough. My goal has been to understand and feel confident in using all the movements I know. This has led me to seek out techniques and strategies from other styles but specifically sport styles who have the most experience putting their techniques into practice.
Often, once I have learned a key principle which enables a movement I know to work, it unlocks many other variations on the movement which are already locked away in my forms. When I get better at other systems of wrestling, or striking, or throwing, I am much better able to make use of all that my own system has to offer. My hope is to do much of this work so that those following after me don’t have to. People who learn from me should get the chance to develop all of those skills and to a level that permits them to jump into competition with people who specialise in those specific games, and at least offer some challenge. After that, they can choose to specialise and develop in the ways they personally prefer, but regardless, the mixed martial arts system of Northern Shaolin kung fu will continue to be a complete system from which someone can be based.
Most people who practice traditional martial arts and value being able to realistically put their art into practice have a difficult position in the modern culture of fighting. The skillsets used in combat games are really good at winning those combat games. TCMA won’t be as good at those games which favour other movements. Modern MMA competition has decided the best skillsets are the ones used in those combat games. Many traditional martial artists lack opportunities to engage deeply with their own combat games, which limits their ability to refine their skillsets and thus contribute to broader conversations on martial arts. Also, even those who get good at one game, such as taiji ‘push hands’ or wing chun ‘sticky hands’ don’t play other games so that they could become well-rounded mixed martial artists. Because people are not training this way, there are not good examples of TCMA winning fights in modern competition. This doesn’t mean that the arts can’t be used that way, but its current practitioners haven’t done the work to do so. Without any fighters ‘proving the system’, the techniques and principles are often disregarded as ineffective. Often the martial artists who want to develop their skillset for competition are told they have to use other systems, and so even people who say they are doing kung fu rarely fight using the techniques of their system. I have encountered this for years.
I don’t have enough people who practice what I do with whom to play the games I need to in order to get good at my movements. Instead I go and play games with people from other styles and try to beat them at their own games, which is not as good at getting me good at what I do. I would argue some of my greatest insights come from teaching and working with my students but this is still not equal to having regular competition with practitioners at my skill level. I’m still trying anyway and as I step into boxing/mma/kickboxing matches, I have to accept not doing as well as I would like and often losing. Even as I continue to get better at my skillset, getting good at ring fighting and becoming proficient at managing nerves, excitement, and fear is its own challenge.
In 20 years of training, I cannot remember a single year in which I did not gain new insights into how to better practice and apply my art. It has provided me a relationship to my body and access to states of flow which have seen me through my hardest times. Foremost, in games with competitors, training partners and students it has been a deep source of fun. I hope I’ll be able to say the same in 20 more years.