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Any serious enquiry into animal kung fu requires a brief excursion into the complex and ancient Taoist philosophy. Sages of Taoism studied with great care the nature of our environment and animals. Observations on the behaviour of animals has influenced traditional Chinese medicine and in fact many natural methods of healing. When many animals become ill, for example, they immediately enter a stage of inactivity or hibernation and for the next day or two drink only water and eat grasses until they return to normal health.
Animals also seem to have a greater connection to the universe and heightened intuitiveness. I recall viewing on television the unbelievable devastation caused by the tsunami on Boxing Day 2004, and listening sadly to an interview with a fisherman in Thailand who survived the wave because he had observed the animals scurrying to higher ground before the tsunami actually struck, and had followed them.
Since the beginning of time, man has always been at war and imitating the fighting spirit of animals in many different ways. Unlike humans, wild animals are not guided by their emotions but are focused simply on their own survival and their offspring, which ultimately makes them enviable as fighting machines. Many ancient cultures have performed dances celebrating the spirit of animals and some even consume certain animal parts, hoping to develop a characteristic or superior health benefit of that particular creature. Although it is an endangered species, the tiger still remains a coveted ingredient in Asian markets. The wisdom behind this may be dubious, but the Chinese have also taken inspiration from animals to formulate hundreds of health-preserving exercises, combat training methods and fighting systems.
Some arts are inspired by many animals. For example, in the internal art of Hsing-I Chuan, 12 different animal fighting movements are practised:
- Dragon (mythical)
- Tiger
- Monkey
- Horse
- Turtle
- Chicken
- Hawk
- Swallow
- Snake
- Tai bird (mythical)
- Bear/eagle combined movement.
Among the best-known arts based around one particular animal are the Crane styles. White Crane, in particular, has been the main influence of my own studies in karate and tai chi. Many believe that the white crane's style of fighting was first noticed by Chang Sang-feng, the reputed founder of tai chi chuan, who was said to have had such an affinity with animals he kept a pet ape that collected firewood and performed tai chi. The famous legend says he observed the crane in combat with a snake. The two animals managed to keep just out of reach of each other with their spiraling and evasive movements. Chang Sang-feng adopted the principles he observed and applied them to tai chi. Another early originator of the White Crane style of kung fu was the Reverend monk Adato who lived in Tibet during the 1400s. Adato retreated to the mountains to live a secluded life and discover the true nature of man but while there, he witnessed a white crane basking leisurely in the sunshine, when suddenly a huge ape appeared and attempted to seize its wings. The startled crane evaded the ape's grasp and fiercely retaliated by pecking at the ape's face with great accuracy. The fascinated monk studied the fight and was impressed by the expertise displayed by the crane. The crane's movements were systematic and meticulous; evading, nullifying and countering each offensive. The spirit of the White Crane system developed further by Reverend Adato is described by four major principles:
• Chan, meaning ruthlessness and an indomitable spirit. Shan, literally translated as body-evasion - like a crane darting left and right, dodging, circling, skipping and deflecting the brute force of a stronger opponent.
• Chuan, meaning to penetrate or bore through an attacker when least expecting it; a strategy of surprise.
• Tsieh, meaning to intercept an attack after or before it is has even been launched, or to absorb and deflect the attack away from you, then destabilise the attacker. White Crane forms and even complete fighting systems have been inspired by characteristics of the crane, for example:
- Flying Crane
- Eating Crane
- Jumping Crane
- Whooping Crane
- Sleeping Crane
- Eating Crane
These discoveries of the White Crane in its normal behaviour have been an enormous influence on many modern fighting systems such as Wing Chun, Shaolin and many Japanese karate systems. Okinawa's Goju-ryu in particular has been strongly influenced by the Whooping Crane principles. Higashionna Kanryo, the teacher of Goju-ryu founder Chojun Miyagi, studied under the famous White Crane teacher Ryuruko (Xie Zhong Xiang) from Fukien Province in Southern China.
About the author: Kyoshi James Sumarac, 7th Dan in Goju karate, has been a personal student of Professor Tadahiko Ohtsuka (9th Dan Goju Kensha Saishin Kan) for 30 years and is the head instructor of Goju Ryu Kaikurin Kan Australia. He teaches Chen Pan Ling's Chinese internal kung fu and is a practitioner of traditional Chinese medicine. He operates a healing clinic and martial arts school near Lancefield, Vic.
References:
• Chinese Boxing, Masters and Methods by Robert W Smith (North Atlantic Books)
• Art and Science of Energy Healing by Kenneth S Cohen (Batman Books)
• Hsing-I Chuan Textbook by Chen Pan Ling (Zhen Shan Mai, Taiwan)
• Five Animal Play by James Sumarac (The GKA Press, Australia)
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