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Experiences in My Thirty-year Pak Mei Life PDF Print E-mail
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Friday, 08 June 2007
Experiences in My Thirty-year Pak Mei Life
     I started learning Pak Mei Quan in my child hood more than thirty years ago from Master Zhang Binglin. In my opinion, many schools of Quan are very similar except some differences between their respective methods in practicing the Quan including its basic training, martial arts movements and necessary training. The essences of various schools of Kung-fu are with the same goal in learning their Quan mastering the skills in real fighting.
     In fact, Kung-fu is not mysterious. Every school demands the same thing that each player should learn to defeat his opponent's weakest point with his own strongest force in a shortest time.
     I sum up features of Pak Mei Quan into four words: Jing Zha(frightening my opponent), Nian Guo(sticking him), Zhong Jin(great strength) and Tuo Hua (escaping from his attacking).
     I have seen many Kung-fu masters including Li Xiaolong in Hong Kong playing their Quan. I thought Li emphasized the theory of dynamics inside human body in practicing Fa Jin (sending force). He ever summarized and analyzed the angle for attacking and defending as well as the movements one could take to throw his opponent a certain distance away easily. However, it is difficult to take time to turn such theory into practice. Besides, my understanding is that the one mastering good Kung-fu doesn't look fiendish, for a master with real Kung-fu should Fa Jin easily at his will freely. It's important for a Kung-fu player to learn manifesting his noble quality somewhat like a king rather than displaying in an aggressive manner.
     My teacher has taught me to start practicing how to Fa Jin while standing in an original place. Pak Mei Quan also attaches importance to Tun Yao (contracting muscles of the waist) and Cang Zheng (drawing back the elbows) existing both similarly demanded in practicing many schools of various Quan. The purpose and the way of Cang Zheng is to attack the opponent with the movements of Yao Ma (the waist and a horse style) by sending the strength through the shoulders, the upper arms and forearms focusing on the fists or palms.

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