Chapter 2: The Kung-fu Code

 2~3. Footwork : The Un-told Secrets :

   2~3. Footwork : The Un-told Secrets :


  "The arms are two doors of a gate, hitting relies entirely on the legs." Phrases and sayings like these consistently
  emphasize the importance of the leg in Chinese martial arts. However, because these phrases are often quite old,
  the vocabulary they use naturally follows ancient conventions, which can lead to misunderstandings and
  misinterpretations nowadays. Sometimes misinterpreting just one character can lead to a major flaw in the execution
  of all your moves. For example, when interpreting the phrase "hitting relies entirely on the legs,"
  we might misinterpret "hit" to mean "kick," since that is the sort of attack we associate with the legs.
  But this would be a great misunderstanding that could result in losing so much of the true function of the legs
  in Chinese martial arts.


  The word "hit" is used to cover a very broad sense in Chinese martial arts. For example, in Chinese we use the
  exact same verb to describe someone performing a form. We may also ask "how do I hit with this move?"
  The verb "hit" in this case is used in a very broad sense—it doesn't fall into the category of specialized vocabulary
  in such cases.  Once we get into the technical details of how a specific move works we never use the word "hit"
  in Chinese martial arts—after all, attacking is a complex and technical subject that always involves the whole body
  and which includes such varied considerations as angle, power generation, coordination of upper and lower body,
  and so on. A simple verb like "hit" cannot possibly describe it all adequately. Thus when we say "the arms are two
  doors of a gate, hitting relies entirely on the legs," we mean to encompass all the various functions of the lower body,
  from kicking to stances, footwork, throws, and so on. Used skillfully, the legs alone can constitute both a tight defense
  and a penetrating offense. In such a case we may say, "the arms are two doors of a gate, the legs pressure the enemy
  into defeat."


  "First create the frame before you take a step. Once the frame's created, the step is easy to take."
  When training our "frame" or "structure" we use a very low and open sort of stance, but when we move to "flowing"
  through our moves we naturally practice a little higher and a little smaller. Nevertheless, we must be careful not to go
  too high or too narrow. What we want is for our stances to be naturally somewhat low and somewhat wide even as
  we flow through our moves more quickly. This "just right" level is not only so that our forms look nice in performance,
  but also so as to compensate for a natural aspect of human psychology. When confronted with a dangerous situation,
  people naturally tend to tense up and restrict their movements. When tense, the punch you throw will not go as far,
  the kick not as high and the stance not as low as when you practiced. Even if your moves only shrink by one inch,
  this one inch could mean the difference between life and death. This is the reason for the practice we call "practice long,
  use short." If you practice the moves slightly lower and longer than you would use them in real life then they will
  naturally shrink back to that "just right" level when you use them under pressure.


  "Where a move is executed there must the footwork follow." Chinese martial arts are not conducted on a straight line.
  Rather, they must take into account all three dimensions. We must learn to view things not in terms of "opponents,"
  but rather in terms of "situations." Praying Mantis practitioners even go so far as to joke: "if you want to learn Praying
  Mantis you must first learn the skill of not seeing the person in front of you." Even when a fight is a one-on-one situation,
  Praying Mantis teaches us to always view the situation as a battlefield. In a battle you can't think in terms of a dignified
  duel; you can't just think "so long as my punches connect I’ll be alright." A battle requires strategy and positioning.
  In order to strategize you must first consider positioning and in the case of a fist fight the "positioning" is actually
  the footwork itself. But where exactly do we find the "work" in "footwork"? It's because of this "work" that Praying
  Mantis has a reputation for endless variability. By simply adjusting the footwork slightly a Praying Mantis form can take
  on a whole new flavor. Unchanging Mantis is no Mantis at all, and the key to this variability lies in the footwork.


  "Work" is a type of "method" and also an "attitude." The variability of footwork relies upon a combination of broad
  principles and finer details. Once you understand the broader principles you can vary those larger frameworks with
  a flexible understanding of detail. Among the broader methods of Praying Mantis footwork, there are three basic
  "attitudes," called "flowing water step," "seven star step," and "hall-sliding step."


      "Flowing Water Step":

      The movement of footwork is like a wave. Flowing water can look smooth on the surface but can also produce
      powerful tidal waves. Imagine for a moment a quantity of water in a box-like container. If you shake it back and
      forth it will naturally produce waves. The force of gravity behind these waves can put a lot of force behind these
      waves as they hit the sides. It may even cause the container itself to move. This sort of wave-like forward motion
      which takes advantage of gravity is the key and fundamental point to remember when practicing the flowing water step.
      When practicing the flowing water step, the wave motion is generated by a grasping and releasing motion of the front
      part of the foot against the ground. The body should move back and forth on its own, but rather should be carried
      along by the wave generated in the feet. When advancing in this manner, the front foot moves first and the back foot
      is dragged along behind. Retreating, dodging, and stepping side-to-side all follow this basic pattern.
      The outward appearance of this sort of footwork will be one of a ceaseless rocking back and forth.
      It is important to move the whole body as a unit and not just the legs on their own. Though in practice this footwork
      will look like a constant advance and retreat, in actual usage it puts great forward pressure on the opponent.


      "Seven Star Step":

      Footwork does not always follow a straight line. This step follows a zig-zag shape.
      Because the points which the feet step on are similar in shape to the stars of the big dipper constellation,
      this type of footwork is referred to as the "seven star step." The appropriate time for employing seven star footwork
      is during a quick advance. Therefore, it involves a rapid shift from one foot to the other which also coordinates
      with a rapid series of upper body attacks. Because of the speed of its coordinated attack and defense,
      the seven star footwork emphasizes the "setup" more than actual fact of entry.
      Pressing forward quickly like wind is the characteristic of seven star footwork.


      "Hall-Sliding Step":

      If the flowing water step is like an oppressive wave and the seven star step is like a wind, then the hall-sliding step
      is like a drill. It includes characteristics of both the flowing water step and the seven star step.
      Because the step is often used to enter at an angle, and because the advancing step slides across the floor in an arc,
      it is also called the "arc step." The hall-sliding step is a kind of direction change executed in the middle of another
      footwork pattern. One leg acts as the axis as the other foot slides in an arc as if slipping across ice.
      The back leg can either cut in or swing out and back as the front leg acts as axis. The choice depends on the specific
      combat situation. Sliding steps may also be used one after the other in rapid succession.
      A common application is to use the sliding step to move off the enemy's line of attack and then to counter attack from
      an angle. Because it is effective at penetrating the opponent's defense, it has the effect of a penetrating drill.


  The "work" part of footwork lies in the planning and the "foot" part refers to the specific succession of steps involved
  in a given pattern. You must first have a plan before you can take a step. This is part of battle strategy.
  When you think of the steps you take or the moves you execute in terms of battle strategy then you will have intention
  behind even your solo practice. But, whether for footwork or for other attacks, just practicing the same moves
  over and over is not enough to constitute a strategy. You need to understand both how to string moves together
  and how to connect the upper and lower bodies before you have a real strategy. With regards to footwork,
  the Praying Mantis system includes a detailed and complete catalogue, moving from the previously described "stances,"
  to the moving "footwork." Among the steps involved in Praying Mantis footwork are: "inch step," "stealing step,"
  "passing step," "pulling step," "shifting step," "target step," "retreating step," "straddling step," "walking step,"
  "rush step," "leaping step," and "drilling heel step."


      Inch Step:

      a derivative of the flowing water step, where the flowing step is "soft," the inch step is "hard." When performing
      the inch step, the body must remain rigid and not swing back and forth. When advancing, you take a step with the
      front foot and pull along the back foot, maintaining the same structure throughout. The following step for the inch step
      is also different from the flowing step. While the back foot gets dragged along in the case of the flowing water step,
      in the inch step, it comes off the ground and lands on the ball of the foot. As the name would indicate,
      the inch step is only for taking very small steps. By taking many small steps in rapid succession we can alter
      the distance between ourselves and the opponent before he even notices. Though the inch step is used primarily
      for advancing, there are a few instances in which it can be used for retreating or dodging as well.


      Stealing Step:

      Named for the difficulty of following it with the eye, the stealing step is often used to dodge. Taking the example
      of the advancing version, the body remains facing the same direction as the back leg passes behind the back of the
      front leg and advances forward. As the back leg passes behind the front leg it will create a position similar to the
      sitting basin stance. This is the beginning of the stealing step. Besides being usable for advancing, retreating,
      and dodging, it also can be used to trip up the opponent’s legs.


      Passing Step:

      Very similar to the stealing step, except instead of passing behind the front leg, the back leg passes in front
      of the front leg. Taking again the advancing version as an example, the body continues to face its original direction
      as the back leg speedily passes in front of the back leg, again producing a position similar to the sitting basin stance.
      Besides possessing the same advancing, retreating, and dodging functions of the stealing step, the passing step may
      also be used to attack the opponent’s lower body with such attacks as a sweep kick, "white horse presents hoof,"
      and so on. This is a very common type of footwork in Praying Mantis.


      Pulling Step:

      Also called the "lifting step." The pulling step involves lifting one leg up as hard as possible.
      The pulling step may be divided into "retreating lift," "advancing lift," and "lift in place."
      The outward appearance of the lifting step is the same as the one-legged stance. One could even say that the lifting step
      is one sort of application of the one-legged stance. The key with the pulling step is to focus the power on the knee
      as you raise the leg quickly as if pulling it out of mud. The lifting action of the pulling step may be used to add power
      to other moves or more directly as a knee attack.


      Shifting Step:

      Shifting refers to moving your body off the line of the enemy's attack. Though all footwork requires coordination
      with the body, the shifting step relies entirely on proper use of the body—that is, the movement of the body
      is what drives the whole movement. In order to perform the shifting step correctly, therefore, you must first master
      the body method of dodging. Dodging is a kind of quick, pulling motion which relies on a very refined body control.
      The focus of the movement is at the base of the neck near the top of the back. Lifting from that point and slightly
      curving the back, you shift our upper body to the side and then allow the legs to follow, giving you the opportunity
      to attack the opponent from the side.


      Target Step:

      This footwork is like a dart flying swiftly towards a target. When performing the target step the front leg steps
      quickly forward, causing the body to move swiftly forward. The forward thrusting power comes not only from
      the front leg straddling forward, but also from the springy power of the back ankle. Because the target step relies
      on an explosive power to move swiftly forward, it can also take advantage of this explosive quality to add to the
      power of "jindao" in a given attack. This is a primary goal in using the target step.


      Retreating Step:

      The opposite of the target step, which moves forward rapidly, the retreating step moves back rapidly.
      When performing the retreating step, the back leg straightens and reaches back as far as possible,
      touching the ground with the ball of the foot and using the power of that step to quickly pull the front leg back
      along with it. As with the target step, the retreating step also makes use of explosive power, which in this case
      is generated by the movement of the back leg extending and stepping. This explosive power can add to the
      "jindao" power of a counter-attack.


      Straddling Step:

      Also called the "straddling arcing step," this is one application of the hall-sliding type of footwork.
      Its primary function is to dodge and counter-attack. To achieve this end, the front leg first moves to the side,
      getting your body off the line of attack. The back foot then uses an arcing step to slide in along the opponent's side,
      facilitating a counter-attack. The straddling step in Praying Mantis is actually used so frequently that it tends to be
      overlooked. Thus, it is rarely listed specifically in boxing manuals, but is often glossed as an "intermediate movement"
      —"the straddling step comes between other steps." The tight connection between various steps that this helps create
      makes for a continuous flow of attack that is hard for the enemy to follow or catch.


      Walking Step:

      The walking step means to step swiftly and rapidly, either to pursue the enemy or to dodge and escape.
      Therefore, speed is an essential element, but it is speed with method.


      Rush Step:

      Also called the penetrating step, this step is modeled after an animal movement akin to a cat pouncing—that is,
      closing the distance between a distant target and oneself very quickly. This is the function of the rush step.
      "Rushing" is not the same as "leaping," rather it seems like a jump and yet in terms of feeling is closer to flying.
      That is, a jump or leap describes an arc of going up and coming back down, whereas the rush movement moves
      straight forward. Hence, performed correctly it looks almost like floating across the floor. The key factor in the
      rush step is distance—by closing a bigger distance in a shorter time than your opponent could expect you have
      the opportunity to take him off guard.


      Leaping Step:

      In contrast to the rush step, which moves horizontally, the leaping step jumps up and comes back down.
      If you can jump high then you will be able to cover a long distance. The goal is the same as with the rush step—
      to close distance between yourself and the opponent quickly. The difference is that in the case of the leaping step,
      the legs are in a good position to attack the enemy as you enter. Therefore, the leaping step is often combined
      with kicking, tripping, or knee-type attacks.


      Drilling Heel Step:

      Also called the "horse-reigning step," this step is actually a leg technique which is included under the classification
      of "footwork." It isn’t just a simple footwork pattern, but rather a type of "habit" that is ingrained in all types
      of Praying Mantis footwork. The drilling heel step is created by a level twisting motion of the ball of the back
      foot which cause the front foot to change direction and creating a kind of spring-coiled explosive power.
      This move can then be used to attack the opponent's structure and trip him up. Further, the "spring-loaded"
      power of the step may be used to add power to a wide variety of upper body attacks, such as punches,
      palm strikes, elbow strikes, shoulder strokes, and so on.


  The guideline: "the move you throw determines the step you take" refers to a natural and organic coordination,
  not a rigid, unchangeable set of rules. Martial arts depend on your ability to apply fully-body force against
  an opponent when faced with danger. This application of force is not something unnatural, but rather involves
  cultivating the sort of motions you perform in daily life towards a new aim. Footwork is a type of habit—in terms
  of Praying Mantis it's as simple as enter, retreat, feint, and dodge. Learning the more specific details are all a part of the
  Mantis training curriculum, but it's important not to let these more specific types of footwork become a burden—if you
  don't practice till they feel natural then you may freeze up if you try to use them in an actual combat situation.
  There's a saying, "fighting is just like walking down the road—view the opponent as grass." When people walk down
  the road they don't think about how to do it, nor do they try to make it fancy, dance-like, or acrobatic—if they do then
  it will have lost its function as walking. Footwork has to be as natural as walking. Martial arts teachers should never neglect
  footwork. Without the footwork how the art stand on its own? At the same time, you can't limit yourself by an inflexible
  interpretation of footwork. Only by teaching it till it becomes natural will the student truly understand this too often
  un-spoken of aspect of martial arts.