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Park - Fundamentals of Pa Kua Chang Vol 2

Park - Fundamentals of Pa Kua Chang Vol

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Internal
Cultivation
27

Circle
Walking
as
a
Meditative
Practice

27
Circle
Walking
for
Ch
i
Cultivation

29
Fighting
Skills
31
Circle

Walking
Variations
31
The
Foot
Placement

31
Snake
Step
31
Lion

Step
34
Crane
Step
Conclusion
35

Advanced
Circle
Walking:
Training
to
Fight

36
The
Opponent
Attacks
First
37

You
Initiate
the
Attack
37
Advanced

Circle
Walking
38
Pivot
Stepping
and

the
Pa
Kua
Diagram
86
Circle

Walking
87
T

ai
Chi
Diagram

Circle
Walk
Pole
Training
39
Spiral

Pattern
Pole
Training
42
Two
or

Three
Pole
Practice
45
Adding
More

Poles
48
The
Tee

Pee
Pole

Arrangement
49
Changing
the
Poles
49

Conclusion
50

Chapter
4

Pa

Kua
Chang
Body
Training
51

Hiding
Flower
Under
Leaf
Exercises
55

The

Moving

Hiding
Flower
Exercise
57

The
Single
Palm
Change
61
The

Four
Pillars
of
Pa
Kua
Training

61
The
Study
of
Pa
Kua

Chang
Movement
63
The
Definition
of

Single
Palm
Change
65
The

Form

of
Single
Palm
Change
66
The

Movements
of
the

Standard

Single
Palm

Change
67
The
Principles
69
Variations

71
K
ou
Pu
and

Pai
Pu

in
Application
81
K
ou
Pu

Usage
81
K
ou
Pu
and

Pai

Pu
Kicks

85
The
Single
Palm

Change:
Conclusion
86
Table of Contents

Chapter

Pa
Kua
Chang
Palm

Training
87
The
Eight

Forty
Eight

Month

Palms
90
Single
and
Double

Palm
Change
92
Throwing
Palm
94

Slapping
Palm
96
Lifting
Palm
105

Chopping
Palm
109
White
Clouds
Chasing

the
Stars
Palm
118
Sliding
the

Window
Shutter
to
Look
at
the

Moon
Palm
124
Follow

on
48

Month
Palm
Training
127
The
Supplemental

Palms
133
Piercing
Palm
133
Swallow

Penetrates
Through
the
Forest
Palm
137

Three
Basins
Settling
to
the
Ground

Palm
142
Embracing
the
Moon
at

the
Chest
Palm
146
Conclusion
148

Chapter
6

Pa
Kua
Chang
Elbow

Training
149
The
Basic
Elbow
Exercises

151
The
Eight
Elbow
Combination
Drills

157
Conclusion
167

Chapter
7

Pa

Kua
Chang
Ch

i
Kung

169
Introduction
170
The
Mind
in

Ch

i
Kung
Practice
174
Body

Motion
in
Ch

i
Kung
Practice

181
Breathing
in
Ch

i
Kung

Practice
185
The

Standard
Eight

Ch

i
Kung
Set
187
Sliding
the

Window
Shutter
to
Look
at
the

Moon
188
Double
Palm
Change
190

Unicorn
Turns
its
Body
192
Serving

Tea
Cups
194
Serving
Tea
Cups

with
Throwing
Palm
197
Yin
and

Yang
Opposing
Palms
201
Scooping
the

Moon
From
Sea
Bottom
204
Closing

204
Conclusion
207

Chapter
8

Conclusion

209
Table of Contents

vi

Ackno
wledg
ments
I

would
like
to
thank
a
number

of
individuals
who
have
made
this

book
possible.
First
and
foremost,
I

would
like
to
thank
Park
Bok

Nam
for
his
teaching
and
guidance

and
his
patience
in
dealing
with

my
questions
and
endless
picture
taking.

Thanks
is
also
due
to
my

senior
classmate.
Glen
Moore,
who
proofread

the
material,
gave
valuable
suggestions,
and

answered
many
of
my
questions.
I

would
also
like
to
thank
Jimmy

Koo
for
helping
with
some
of

the
computer
work
and
Chris
Stevens

for
his
proofreading
job.
Very
special

thanks
to
Mariann
Draga
for
her

patience,
love,
and
support,
and
for

answering
the
phones
and
doing
most

of
the
office
work
during
the

months
I
was
engrossed
in
this

project.
Thanks
is
also
due
to

all
of
my
students,
each
one

has
taught
me
something
new
about

teaching
Pa
Kua
Chang.
There
are

three
other
individuals
1
would
like

to
thank,
not
so
much
for

their
work
on
this
particular
project,

but
for
the
invaluable
lessons
they

have
taught
me
about
martial
arts

in
general.
Although
all
of
the

material
here
is
from
Park
Bok

Nam

s
system
of
Pa
Kua

Chang
and
the
ideas
and
principles

expressed
here
are
all
taught
by

Park,
my
ability
to
put
these

concepts
into
words
comes
from
a

culmination
of
my
martial
arts
background

and
experience.
During
my
martial
arts

career,
there
have
been
three
individuals,

other
than
Glen
Moore
and
Park

Bok
Nam,
who
have
helped
to

greatly
improve
my
understanding
of
the

internal
martial
arts
and
my
ability

to
explain
the
principles
of
the

martial
arts
as
I
understand
them.

These
individuals,
Vince
Black,
Tim
Cartmell,

and
Ken
Fish,
are
all
brilliant

teachers
and
I
am
forever
in

their
debt
for
the
lessons
they

have
taught
me.
Thanks
guys.
vii

Dedica
tion
Dedicated
in

Memory
of
Pa
Kua
Chang

Master
Lu
Shui

ien

(1894

1978)

viii

Preface
It
has
been
three

years
since
I
sat
down
to

write
the
preface
to
the
first

volume
of
this
book.
In
that

three
years
1
have
learned
a

lot.
1
have
learned
a
lot

about
Pa
Kua
Chang
and
1

have
learned
a
lot
about
Park

Bok
Nam

s
system
of
Pa

Kua
Chang.
Since
writing
the
first

volume
of
this
book
I
have

made
four
trips
to
mainland
China,

two
trips
to
Taiwan,
and
one

trip
to
Hong
Kong
researching
the

art
of
Pa
Kua
Chang
as

it
is
taught
by
various
instructors

in
China.
Shortly
after
writing
the

last
book,
my
status
in
Park

Bok
Nam

s
school
also
changed

from
that
of
being
a
student

to
that
of
being
an
assistant

instructor
and
then,
most
recently,
a

licensed
instructor.
In
making
these
transitions,

my
Pa
Kua
Chang
training
under

Park
Bok
Nam
changed.
It
was

only
after
I
started
actually
teaching

Park

s
Pa
Kua
system
as

an
assistant
instructor
that
I
really

began
to
appreciate
the
depth
of

his
art,
his
teaching
style,
and

his
systematic
approach
to
helping
his

students
reach
their
full
potential
in

the
art.
Park
teaches
all
students

by

prescription.

This
means
that
each

student
is
given
exactly
what
he

or
she
needs
based
on
age,

sex,
physical
health,
ability,
coordination,
occupation,

size,
personality,
and
goals.
When
I

first
began
studying
with
Park,
1

had
about
seven
years
experience
in

the
internal
martial
arts,
I
was

relatively
young
and
in
fairly
good

shape,
and
so
he
began
teaching

me
his
Pa
Kua
Chang
pretty

much
as
it
was
presented
in

the
last
volume
of
this
book.

For
the
first
six
or
eight

months
of
training,
all
of
my

lessons
were
private
and
so
I

did
not
get
a
chance
to

see
how
any
of
the
other

students
were
training.
I
figured
that

they
were
being
taught
about
the

same
thing
1
was
being
taught.

Later,
Park
started
teaching
a
group

class
in
Baltimore,
Maryland,
and
I

attended
those
classes.
The
prerequisite
for

the
class
was
that
the
students

have
a
martial
arts
background.
What

Park
taught
there
was
pretty
much

the
way
I
had
been
taught.

There
were
no
beginners
in
the

class,
everyone
was
male,
and
everyone

was
in
about
the
same
age

group.
Park
did
not
teach
beginning

level
material
there.
Because
everyone
there

was
just
gaining
a
foundation
in

Park

s
system,
all
were
taught

the
same
basic
material.
When
I

moved
to
California
in
late
1992,

Park
asked
me
to
start
a

class
here.
I
started
teaching
a

few
guys
in
a
local
school

yard
every
evening.
There
were
only

a
few
people
in
the
class

and
they
all
had
a
martial

arts
background.
Basically
1
used
the

time
to
do
my
own
workout

and
these
guys
followed
along.
I

did
not
have
to
do
a

lot
of
teaching
because
they
picked

it
up
pretty
fast.
The
way

I
taught
was
the
way
I

had
been
shown.
I
started
by

teaching
the
material
that
was
presented

in
the
first
book.
The
students

learned
the
eight
direction
rooted
stepping,

the
circle
walk,
the
fan
Chang

exercises,

the
palm
exercises,
etc.
Park
came

out
to
California
about
four
times

that
first
year
and
watched
what

we
were
practicing,
made
corrections,
and

taught
some
new
things.
In
late

1993,
the
local
kung
fu
teacher

decided
he
would
move
out
of

town
the
next
Spring
and
he

asked
if
I
would
be
interested

in
taking
over
his
school
when

he
left
in
April
of
1994.

The
school
was
located
right
across

the
hall
from
my
publishing
office

and
we
had
used
the
school

on
numerous
occasions
to
host
seminars

conducted
by
Park
and
other
visiting

instructors.
I
thought
it
would
be

a
good
opportunity
since
the
old

teacher
already
had
a
group
of

students
who
wanted
to
continue
training.

1
called
Park
and
asked
if

he
would
give
me
permission
to

open
up
a
school.
He
told

me
that
I
could
open
up

a
school
and
teach
for
him

as
an
assistant
instructor.
He
said

that
1
did
not
have
enough

experience
teaching
to
be
an
full

instructor
on
my
own.
That
was

fine
with
me.
1
figured
my

small
group
would
just
carry
on

as
we
had
been
in
the

school
yard,
except
for
now
we

would
have
a
place
to
practice

indoors.
ix
The
next
time
Park

visited,
several
months
before
I
opened

my
school,
he
said,

You
want

to
have
a
school,
you
need

to
learn
how
to
teach.

What

1
found
out
was
that
since

Park
teaches
by
prescription,
all
I

d
really
seen
of
his
Pa

Kua
program
was
my
personal
prescription.

1
got
the
prescription
that
he

gives
to
people
who
are
young,

in
good
shape,
and
already
have

a
martial
arts
background.
What
Park

began
to
teach
me
next
was

the
basic
prescription
he
gives
to

beginners
who
have
no
martial
arts

background
whatsoever.
There
was
quite
a

difference.
This
program
included
basic
posture

holding
in
various
low
stances,
basic

low
posture
forms,
jumping
sets,
Shaolin

Long
Fist
forms,
Praying
Mantis
forms,

and
rudimentary
straight
line
sets.
All

of
this
was
integrated
in
with

the
fan
chang
exercises,
basic
circle

walking,
palm
exercises,
and
eight
direction

rooted
stepping
exercises
in
a
systematic

method
designed
for
beginners.
When
Park

began
teaching
me
these
things,
I

asked,

How
come
I
never
learned

this
before?

He
said,

You
didn

t
need
these
things.
You
already

had
some
background.
But
beginners
who

have
no
martial
arts
foundation,
no

flexibility,
no
coordination,
no
balance,
need

these
basics.

I
learned
all
of

these

beginners

exercises
and
began
teaching

them
to
the
beginners
who
signed

up
at
my
school
starting
in

April
of
1994.
In
my
classes,

I
mixed
these
exercises,
forms,
and

practice
drills
in
with
the
material

which
was
presented
in
the
first

book
in
order
to
form
a

training
curriculum
for
the
school.
Now

1
thought
I
was
on
my

way.
I
had
a
beginners
curriculum

and
I
started
teaching
all
of

the
exercises,
forms
and
drills
in

sequence
to
my
students.
The
next

time
Park
visited,
he
looked
at

my
students
practicing
and
he
said,

Now
you
need
to
learn
to

teach
by
prescription.

He
began
pointing

out
different
characteristics
about
students
at

my
school
as
they
were
practicing.

He

d
say,

This
guy
has

a
very
stiff
upper
body.
You

need
to
teach
him
the
first

Long
Fist
form
and
have
him

practice
more
t

ien
fan
chang.

He

d
spot
someone
else,

This

guy
over
here
has
trouble
with

coordination.
You
need
to
teach
him

the
basic
Shaolin
kicking
set.

Through

the
course
of
his
visit
he

would
tell
me
what
he
thought

all
of
the
students
needed,

This

one
needs
to
concentrate
on
slow

shaking
palm
because
he
has
trouble

with
his
body
connections
and
his

hips
are
tight,
that
other
one

needs
more
stance
training
because
his

legs
are
weak,
etc.

So
I

began
to
learn
how
to
teach

each
individual
student
based
on
their

unique
needs.
Some
students
needed
more

of
one
thing
than
others,
some

students
needed
to
learn
things
the

other
students
didn

t
need
to

learn,
and
some
students
could
skip

over
some
of
the
basics
if

they
already
had
a
good
foundation,

flexible
body,
or
good
balance.
Over

the
past
two
years
Park
has

continued
to
monitor
my
students
and

suggest
what
they
need
and
don

t
need
in
their
individual
training

programs.
What
was
interesting
to
me

was
that
my
research
into
the

history
of
Pa
Kua
Chang
and

the
biographies
of
the
old
masters

which
I
conducted
during
my
trips

to
China
was
very
consistent
with

Park

s
method.
In
researching
the

backgrounds
of
the
most
famous
Pa

Kua
Chang
masters
in
China,
I

found
out
that
the
majority
of

them
were
from
small
farming
villages,

began
their
practice
of
martial
arts

with
Shaolin
based
arts,
and
then

later
practiced
Pa
Kua
Chang
as

graduate

level
martial
arts
study.

Park

s
teacher,
Lu
Shui
T

ien,
had
this
identical
background.
In

the
old
days,
the
pattern
of

development
was
such
that
the
students

first
gain
physical
strength
and
endurance

working
around
the
village
and
in

the
fields
performing
manual
labor.
At

the
same
time
they
gained
increased

levels
of
flexibility,
coordination,
balance,
and

basic
martial
arts
skills
in
the

study
of
a
Shaolin
based
systems

village

style,

family

style,
or

farmer

style
martial
arts).
Later
they

progressed
to
Pa
Kua
Chang
where

they
learned
how
to
refine
the

strength
and
skill
they
had
already

developed.
One
of
the
main
problems

I
see
in
the
United
States

today
is
that
many
practitioners
are

trying
to
jump
straight
into
the

performance
of
Pa
Kua
Chang
forms

which
are
specifically
designed
to
refine

martial
arts
skill
and
polish

trained

strength

without
having
any
strength
or

skill
to
begin
with.
They
are

trying
to
build
a
house
on

a
shaky
foundation.
Park

s
method

is
different.
His
training
program
develops

basic
strengths
and
skills
in
the

performance
of
exercises
which
are
designed

to
build
a
strong
foundation
before

any
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