The skill of ChinNa (seizing) Techniques In Chen Style Taijiquan/         by Yaron Seidman

   In this article, I aim to depict the effectiveness of Chen style Taijiquan combative skills. Taijiquan seizing/locking of the different joints will be described and illustrated in detail.

   Chen style Taijiquan is the oldest amongst the schools of Taijiquan. Its origin dates back to grandmaster Chen Wang Ting of Chen village (Henan Province, China) in the 16^th century. This system of martial arts is known for its aid in developing the fighting skills of its practitioners on various levels. The first and most basic is dealing with an incoming attack at the physical level. At this level the practitioner learns to relax and adjust his body to the incoming power. By doing that, the attack is dissolved, and the practitioner changes his defense into attack. While at this phase, it is common to use ChinNa (seizing) techniques. The practitioner locks his opponent�s joints, thus establishing the end of the fight.

   ChinNa (QinNa) translates from Chinese as Seizing and catching, however it also means catching and putting somebody in a difficult position. In Chinese martial arts history it is an inseparable part of every martial artist�s curriculum. Chen Style Taijiquan as an established martial arts system since the seventeenth century does not differ. Taijiquan, as a martial art based on the principles of Taiji and the so called �Thirteen Postures�, utilizes ChinNa application within its frame of concept.

   The �Thirteen Postures� are thirteen arts of energy- Meet, Follow, Push, Press, Pluck, Adverse, Elbow, Lean, Advance, Retreat, Rightwards, Leftwards and Centering. These energy arts are closely integrated in ChinNa techniques. Examples are �Meeting� is depicted in image A2, �Following� in image B5, �Pressing� in image E5. In reality every single technique contains the whole �Thirteen Postures�. While applying ChinNa the whole body is reacting as a one unified Chi (Qi), which means that every part of the body is synchronizing with its all other parts to work as one force. In one single technique it is sometimes necessary for the hands to meet, the legs to follow, the Dan Tian to press and the elbows to adverse all at the same time.

   The Taiji principle is �Yin and Yang�. Yin and Yang is �Softness and Hardness� and �Slow and Quick�. In Taijiquan ChinNa techniques the practitioner must distinguish clearly, hardness and softness, moving slowly and quickly. When the opponent is hard one must be very soft and follow, when the opponent yields one must be very hard and penetrating. When the opponent is moving slowly, one must follow slowly and adhere. When the opponent is moving fast one must respond quickly and reach first. As it is clearly stated in the Taijiquan classics: � When you do not move I do not move, when you move I moved first� and �When the opponents Chi reaches my skin, my Chi has reached his bone marrow�.

Keeping that in mind the practitioner is primarily practicing Taijiquan, as well as using ChinNa to supplement it. Exploring the vast field of Taijiquan there are many steps on the path to mastery. ChinNa is a building block on this path, where every practitioner should encounter and get familiar with.

      Following a description of several different techniques.

     1) Wrist lock- as in the form �Buddha�s Warrior Pounds The Mortar� (image A).

     The initial position for all the different locking techniques  A (black uniform) and B (pink uniform) stand 6 feet apart, (image A1).

When A steps in with his right foot and punches with his right fist, B steps in immediately with right foot, with his right hand and meets A�s right wrist and with his left hand meets A�s right elbow. (Image A2)

B than pushes his right hand forward, causing A�s right hand to bend backwards towards A�s face. At the same time B�s left hand controls A�s right elbow from moving. It is important for B, at this stage, to have both his elbows close to each other, to gain control over A�s arm (image A3). From here, B sinks down his knees, and uses his body weight to press down on A�s right wrist. At the same time B uses his left hand to push A�s right elbow upwards (image A4).

B turns his waist towards the left and sinks more, bringing A down to the ground (image A5).

    Points of attention: in this posture it is vital to synchronize the movements of the hands with the movements of the hips and legs. In addition, when pulling the opponent down, it is mandatory to keep oneself in an upright position, and not bend forward.

2) Elbow lock- as in the form � six sealing and four closing� (image A). 

     When A steps in with his left foot and punches with his left fist, B receives A�s left wrist with his left hand (image B2).  B continues to advance with his right foot and places his right hand on A�s left elbow (image B3).  B then, using his left hand, pulls A�s left fist downward, at the same time he presses with his right palm on A�s left elbow (image B4).  Thereafter B lowers his right knee and presses  down with his right forearm on A�s left elbow during which B uses his left hand to pull A�s left hand backwards and upwards (image B5).  Following the last move, B shifts his weight on to the left foot and uses this power to pull A off his feet (image B6). 

     Points of attention:  B�s right elbow must synchronize well with his left hand.  Pulling, grabbing and twisting all must happen together.  In addition when shifting the weight onto the left foot, the right foot must keep rooted into the ground.  The posture must stay upright and not lean forward or sideways. 

3) Shoulder lock�as in the form � Part the horses mane� (image C)

     When A steps in with his left foot and punches with his left fist, B takes a small step with his right foot and block with his left hand A�s attack (image C2). Immediately after that, B steps in with his right foot, places his right arm underneath A�s left upper arm  (image C3).  He then pushes A�s left hand down and A�s upper arm up, so that A�s left shoulder and elbow are locked (image C4).  B then sinks and turns his waist to the right, pressing with his right elbow on A�s left ribs, causing him to lose balance (image C5). 

     Points of attention:  While locking A�s shoulder and lifting him up, B must keep his feet rooted into the ground. 

4) Hip Lock as in the form � Turn the flowers out of the bottom of the sea� (image D). 

     When A steps in with left foot and attacks with his left fist, B immediately steps in with his left foot and uses his left hand to block A�s left fist (image D2).  Next, B steps in with right foot behind A�s left foot.  At the same time B inserts his right forearm under A�s left upper arm (image D3).  B then pushes his own right upper arm upwards and his left hand downwards as to lock A�s left elbow and cut the rooting of A�s right foot (image D4).  Following that, B turns his hips to the right, raises his right knee pushing A�s left knee upwards. At the same time B presses down with his right elbow on A�s left ribs causing A to lose his balance and fall back (image D5).

     Points of attention:  In this particular technique, prior to locking A�s hip it is necessary to lock A�s left elbow and sever A�s right foot roots to the ground.  This action causes A to rely on his left foot for balance.  As a result, when B raises his right knee, pushing A�s left knee upwards, A will lose balance and fall down.

5) Whole body lock- as in the form �Wade Forward and Twist Step� (image E).

     When A steps in with his right foot, using his right hand to grasp B�s right hand, B immediately steps in with his right foot, and offer slight resistance to A�s grab (image E2). Following, B places his left hand on top of A�s right hand. B attaches A�s right hand to his own wrist, thus eliminating the possibility of A escaping. B pushes his right hand upwards, turns his hips and right hand to the right, locking A�s right elbow and shoulder (image E3). Without intermission, B sinks his waist down, pushing A�s right forearm down, farther locking A�s right hip (image E4). B than pushes his own Dan Tian (abdomen area) forwards and downwards, locking A�s right knee as well (image E5).

     Points for attention:  In this technique it is important to synchronize the movements of B�s right hand and hips. At a beginner level, it is necessary for B to use both his hands to lock A�s joints (as demonstrated above). However, at a more advanced level, the master will use only his right hand to lock A�s whole body.

     In conclusion Taijiquan in combat has several levels of accomplishment. The first and most basic level is using the muscles and joints to encounter an opponent. At a higher level it is important to sense the opponent�s energy, and neutralize it with one�s own energy. Yet, the highest accomplishment of all is to know the opponent�s intentions, and defeating them before they are initiated. When learning Taijiquan the levels of progress are, first, training the body (as in ChinNa techniques); than training the Qi (energy); and, at the highest realm, training the Yi (mind intentions). However the first and basic level of body mechanics and ChinNa is essential for ones progress and can not be overlooked.

The techniques are demonstrated by master Chen Zhonghua and Yaron Seidman. Master Chen is a disciple by the late grandmaster Hong Jun Sheng, and grandmaster Feng Zhi Qiang, both favorite disciples of the Chen style Taijiquan legend Chen Fa Ke. Master Chen is teaching Chen style Taijiquan in Edmonton, Alberta, and all across Canada.