How to Escape the Clinch - Continued

Here is another follow-up to the videos we shot in LA with Sensei Ando last year (May 2019) as we catch up with the backlog of footage. In this one, Thomas and I will cover the Reverse Hook and how to use it to gain control of the clinch, along with options for follow-up such as: crushing knee, wicked knee, and hanging hook.

You can find the videos with Sensei Ando here:

►►Leg Scissors Takedown with Holly and Ando

►►Clinch Escapes to Takedowns

The Art of Counter-Striking

photo by Max Kotchouro

There are two types of fighters - offensive fighters, and counter-fighters. A list of descriptors that may indicate we are an offensive style fighter are comprised of, but not limited to - competitive, aggressive, confrontational, type-A personality, control freak. We know who we are! On the inverse, if we’re a counter-fighter, we may be described as - laid back, docile, relaxed, non-confrontational. I contest that, no matter what our style of fighting is, counter-striking skills are crucial to both camps of fighters. For now, if you are an offensive fighter, skip ahead to the section below on offensive fighters. If you are a counter-fighter, then continue on to the next paragraph.

Counter-Fighters

If we are a counter-fighter, then the following techniques are going to be our bread and butter. We are the ‘shield-bearers’, the ‘defenders’. After we attain a base proficiency in blocking then we will need to immediately gravitate towards applying counter-strikes. We cannot defend, or retreat forever. In order to prevent our aggressor from becoming emboldened and running us down, we need to hit them back from time to time to send a message.

What defines “a base proficiency in blocking?” This manifests from learning to trust our blocks; an absolutely crucial facet to counter-striking strategy. Slipping and ducking can apply here as well. When we’re new to the striking arts we learn to block, slip, duck, dodge, but in the interim we usually have one, and only one gear we know how to use in regards to our footwork - reverse. This is OK at first, as it hedges our bets on blocking and keeps us at a safer distance. Meaning we can block, but we’re essentially neutralizing our opponents attack with our footwork at the same time.

If we examine this move for move, our opponent advances with a strike and our footwork, ‘could’, if properly timed and spaced, eliminate the need to block. While this is a fair tactic, we cannot backup forever and our opponent can move forward further and faster than we can move backwards.

The solution comes down to taming our fear, or attaining some semblance of emotional control. We do this by either learning to take a punch (an ill advised solution), or by gaining proficiency in blocking, slipping, ducking, or a combination thereof. The latter cogent so that our defensive deflection is dependable and worthy of trust. Once we have achieved this skill, then we can venture forth into the counter techniques shown further below. First, we need to address those offensive fighters, whose skills are also necessary to us when faced off against another counter-fighter. Otherwise…there is just an uncomfortable stare down.

Offensive Fighters

If we’re an offensive fighter then our strategy/tactics/game are comprised of - going in, stealing the initiative; or obtaining the first-strike. Unsettling our opponent so they cannot gain first-strike capability on us. We prefer to dictate the pace and energy of the fight. For us, bridging tactics, rather than counter-striking are the key to our survival; the primary swords in our arsenal. In a battlefield scenario, we are the ‘cavalry’, or the ‘archers’. We launch the preliminary attack, engaging the enemy, gaining initiative, and disrupting their defense.

Let’s examine this more closely in a play by play:

1. We launch our first-strike attack on our opponent.

2. As we enter the fray they blast us in the leg with a powerful round kick to the soft tissue of the quadricep muscle (think charly horse). Or equally destructive, the femoral nerve on the inside of the thigh.

3. This counter-attack stops us in our tracks and we miss our attack opportunity, opting to retreat and recover our position instead of pressing forth.

4. The second attempt…ends with the same result. If our opponent is good, then they nailed us in the same target as the first time.

5. We may muster the courage to try once more with the same assault. For the sake of this scenario, we meet the same fate for the third time. Our leg is now feeling like rubber and we decide at this point to stop pressing the attack and try to nurse our wounds.

What’s next? Scroll back up to the section on counter-fighting because we just got schooled on why, as offensive fighters, we need to have a counter-striking game in our arsenal. Our opponent just turned us into a counter-fighter.

Counter-Strike Setups

In order to develop counter-striking as an intrinsic part of our game, there are some simple counters we can start with. From there we can increase the complexity. Let’s start with counters found in some of the old mantis boxing forms such as ‘upper block/punch’, and ‘upper block/chop’, and more:

This weeks episode focuses on counter-striking techniques found in a Mantis Boxing form known as White Ape Steals Peach (Bai Yuan Tou Tao). Allen helps out with the striking demo, and we show the upper block and strike, plus a few important details on your arm position for the upper block to work effectively.

Starter Counters

• Upper Block to Straight Punch, or Thrust Palm

• Upper Block to Chopping Fist (Hammer Fist)

• White Snake Spits Tongue - Circle In Block to Spear Hand, or Eye Plunder

• Circle In Block to Thrust Palm

• Circle Out Block to Ear Claw

These are simple retaliatory strikes that flow naturally off of the blocks they accompany. The key to success with these counters is more about timing, proper range (may need to close the gap as part of the counter), and seeing them real time. The last being the most difficult, and only manifests from experience drilling with feeders, and light sparring.

Adding Complexity

The following are simple counters but rely heavily on an advanced awareness of our enemies position, proper guard, good blocks, and the aforementioned timing and awareness. The overall feeder (strike thrown from the opponent) that we’re looking for is easy, but reconnoitering the enemy footwork prior to execution is critical.

In regards to executing these techniques, it is imperative that the defensive guard facets of our game are in place before applying the following counters. See further below for common fail points with these two techniques. Hint: usually attributed to a failed guard component.

These next two counters are also prevalent in mantis boxing forms that have been handed down over the generations. They are, in my opinion, some of the better counters but they are mutually exclusive; related to one another only in a general category of counter-strikes, as they require unique entries by our opponent.

Monkey Steals Peach - Opposite Arm Attack

The setup we’re looking for to initiate monkey steals peach is as follows:

1. My left foot is forward and my opponent is matching/mirroring my stance with their left foot forward.

2. The strike initiates from their left (lead/opposite) hand as they shuffle in. As you’ll see in the video, use a parry (not a block) combined with a cross circle step to their outside line.

3. Counter with a groin slap.

Alternatively, my opponent is instead starting from a southpaw stance. In this case I would need them to step in vs shuffle in with their opposite hand (left hand strike in our example above). The end result is the same, I get the opposing arm and foot leading the charge.

Here is an in-depth look at the Mantis Boxing move - Monkey Steals Peach (猴子偷桃). This is one of my favorite counters. Over the years, I've come to rely on a few follow-ups after people began countering the move. In this video we're including some small details to help you with the execution, and diving into alternative outcomes.

Crazy Ghost Fist - Same Side Arm

The setup for crazy ghost fist is as follows:

1. My left foot is forward. My opponent’s right foot is forward placing us in a southpaw position.

2. The strike initiates from their right hand as they shuffle in. I use a parry rather than a block, guiding the hand off to the side, being sure not to aggressively push it away. This will cause my body to twist up and reduce my counter-punch power.

3. Coordinate the parry with a slip offline toward the outside of their lead (right) foot.

4. Shuffle forward and counter with cannon fist to the liver.

As with monkey steals peach, an alternate setup is for the opponent to start with left foot forward, but they step in, rather than shuffle in. We end up with the same right arm/right foot combo we need for the counter-strike opportunity to manifest.

Scenarios

When and where to apply monkey steals peach (MSP) vs crazy ghost fist (CGF).

A. CGF - opponent shuffles forward with lead hand strike from southpaw stance.

B. MSP - opponent steps in with a rear hand strike from southpaw stance.

C. CGF - opponent steps in with rear hand strike from matched stance.

D. MSP - opponent shuffles in with lead hand strike from matched stance.

Common Fail Points

1. Guard

   In order to apply counters successfully, especially monkey steals peach and crazy ghost fist, our guard must be intact and operating to maximum efficiency. With even one component of our guard out of place things unravel very quickly when trying to block, never mind trying to apply a counter-strike. It is possible to trade shot for shot while staying in the pocket, but this is ill advised especially against a larger, stronger, or more skilled opponent. Proper guard positioning will not only shut down many of our openings, but also lead to a successful block|counter response.
   
   Guard Components:
   Hands up - fingertips no higher than eyebrows. Preferably lower.
   Elbows tucked - covers the liver and stomach targets
   Staggered arms - 1 arm in, 1 arm out. This is assisted by a bladed body position and staggered stance.
   Shoulder Line - our hands are lined up on the opponents shoulders creating an open channel down the center

2. Crossing Zones

   This is usually a bi-product of our guard failing. Having to cross zones in order to block because our hands were down, or not lined up with the opponents shoulders. Crossing zones ties up our arms and forces us into awkward positions that spin wildly out of control. We’re forced at this point to bail out if we can, and try to reset our position to neutral.

3. Out of Neutral Position

   Allowing the opponent to gain our centerline before they close range can lead to a crisis we have to contend with rather than looking for counter-strikes. While it is still possible to counter from a bad angle, our position is so poor that our strike will lack power and we’ll quickly pay for any minor success by stumbling, falling, tripping, or succumbing to the rain of blows that is sure to follow from our opponents superior positioning. It is imperative we pay close attention to keeping neutral positioning until the engagement takes place.

Guest Appearance: Real Fake Swords and Fake Real Swords - Episode 61: Randy Brown the Senior Clinching Mantis

In August of 2019, I was graciously invited as a guest on episode 61 of The Real Fake Sword’s Podcast hosted by Haozhu Wang. This was a thought provoking and at times controversial discussion on training methods, Chinese martial arts, traditional vs modern martial arts, and even martial combat training vs LARP’ing. I thoroughly enjoyed our conversation and I think you will too. You can also listen to other great interviews Peter has had on his podcast with a myriad of guests.

Podcast Description:

Sifu Randy Brown is the instructor of Vincent Tseng (https://realfakesword.podbean.com/e/real-fake-swords-and-fake-real-swords-episode-43-vincen-tseng-the-clinching-mantis/) with 20 years of experience in the style of Praying Mantis as well as 7 years of Brazilian Jujitsu, he was able to make the 2 arts complement each other. In this episode we explore his background as well as the past and present state of Chinese martial arts and modern combat sports.

Credit of Jingle goes to Tengger Cavalry, contemporary Chinese Mongolian folk metal

"What Style of Mantis Boxing Do You Do?" - Answering your questions...

I get this question from all of you quite frequently - "What style of Mantis Boxing do I practice/teach?" Seven Star, Tai Ji (Supreme Ultimate), Plum Blossom, Supreme Ultimate Plum Blossom, 6 Harmony, 8 Step, Wah Lum? I decided to take some time to answer you instead of leaving a quick comment when you ask.

The 'Mantis Hand' was simply a 'Mantis Brand'

photos by Max Kotchouro

Suggested Reading:

Prior to reading these notes below, I recommend reading my research notes leading up to this point. It will help you lay context for my observations and findings.

1. Research Notes: To Dissect a Mantis

2. What Can BJJ Teach Us About Qing Dynasty Martial Arts?

3. Research Tool: Mantis Boxing Historical Timeline

Notes

What has become abundantly clear to me through the research I’ve been undertaking on Mantis Boxing; along with the discovery and extrapolation of more and more techniques from within the forms, as well as the examination of the historical data surrounding the collapse of a dynastic period of a major civilization in world history, is the following -

Mantis boxing as we know it today, the versions of the style passed down to us for the past 120 years, is fake.

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Mantis hand posture as depicted in a myriad of forms in Praying Mantis Boxing.

Now that I have your attention, allow me to explain. Fake is a strong word, and intentionally bombastic on my part. It carries with it a harsh connotation especially when it comes to an art that is held so dear to so many loyal followers. Present company included.

Fake, implies deception on the part of those teaching or partaking in the practice of it today. This...is anything but the truth. Without those teachers, practitioners, stewards of the art, who have carried this broken and hollow skeleton forward through time, we would not have any hope of a future for this art, or perhaps even Chinese boxing as a whole. To them, we owe everything. So what do I mean then when I use the word ‘fake’?

The idea that tanglangquan had some ‘special’ technique(s) never seen in any other Chinese boxing, or martial arts style in the world, is unrealistic, fantastical, or…fake. Almost all of the ‘real’ applications (and there are many), that come out of the forms, are absolutely amazing and effective combat methods. Methods that are alive in martial art styles today; including the remaining functional Chinese art, shuai jiao, and it’s progenitor from the Steppes peoples to the north - bokh.

A majority of the forms practiced by the various lines of praying mantis boxing were created after the turn of the 20th century. They are not combative forms. They are not even made by people who necessarily knew how to fight with mantis. This is evidenced by photographs we have of said people that began documenting the art in the first half of the 1900’s.

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Photo of application of Wicked Knee depicted in one of many of Huang Han Xun’s books on Mantis Boxing. Technique found in mantis forms such as Seven Star Mantis’ Beng Bu (Crushing Step). Why is he standing on one leg? Why is his opponent holding his fists at his waist?

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Wicked knee depicted in a mantis boxing form.

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Wicked Knee applied. Hook (Gōu 勾) to Pluck (Cǎi 採), to knee.

Note: I did not say, these practitioners could not fight. I am saying, that they did not fight with mantis. As is evidenced by the photo representations of the applications depicted in their books (see Huang Han Xun’s manuals for examples). Therefore, if some of the forms are choreographed by people that did not know how to use the moves within, then they are ‘fake’ martial arts.

If the forms contain applications common to the Chinese boxing methods of the time (1800’s), and offer nothing unique that sets the mantis ‘style’ apart, then the forms cannot be what defines mantis as being mantis. The keywords and their integration into a fighter’s combat methods could however, define what it means to be a mantis boxer.

The ‘mantis hand’ itself, is fake. This is unfortunate, as it’s rather unique and extraordinary, but it is the harsh truth. It is nothing short of branding. Marketing, as I explained at Chapman University in the Martial Arts Studies talk that I gave. The fingers curling under (as seen above) are incapable of grabbing effectively, and offer no distinct advantage in fighting. As a matter of fact, it offers a plethora of liabilities.

Unfortunately, this hand posture has confused generations of worthy and dedicated practitioners of the art. Myself included. A fleeting mirage we focused on as we have sought to unlock the applications behind this ‘Mantis Catches Cicada’ posture. Which at its core, is nothing short of - ‘engarde with the hook’ (depicted further below).

The reality of this is simple - these hooks with a hand (without the fingers curling), are common holds, ties, binds, and lifts. Think of how you would hook a leg for a knee pick. How you would hook a neck for clinch. An arm for a hold. These hooks are common to many throws, and clinches in Chinese boxing as well as other martial arts the world over. Something I began to realize and wrote about back in 2013. They are not grabbing full speed punches out of the air. This quickly becomes evident when testing our art against a 3-punch-combo from a western boxer.

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Mantis boxing form circa 2000.

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The move applied.

Someone, at some point, took said hooks, curled the fingers, and stamped the name ‘mantis boxing’ on it. This includes other moves that have ‘faux’ hooks such as - the double hands up engarde with cat stance (mantis catches cicada seen below), curling the hands over into hooks and branding it ‘mantis’. The double rising hands that is also seen in Méihuā Quán (Plum Blossom Boxing), but without the mantis hooks exists as the opener to a mantis boxing classic known as Lan Jie (Intercept and Counter). This is a push counter takedown that is now stylized with unnecessary hooks. Something akin to performance art, rather than real fighting.

Incidentally, that opening move found in Lan Jie, is the exact opening move of the Méihuā Quán form. Minus the hooks. The closing 180 degree turn to mantis catches cicada? Also in Méihuā Quán minus the hooks. Thanks to the works of Zhang Guodong, Thomas Green Carlos Gutiérrez-García, and Ben Judkins, whose works I cited in my research on Qing dynasty totem styles, Méihuā Quán was being spread through marketplaces in Shandong and other northern provinces and heavily influenced the martial arts of the late 1800’s in China. The abundance of ‘plum blossom’ references in the mantis boxing of the turn of the 19th to 20th century cannot be ignored. An entire line of mantis was born with this moniker, forms were named after it, symbols adopted, and moves in forms were direct simulacra.

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Mantis Catches Cicada posture found repeatedly in forms of the style Tángláng Quán (Praying Mantis Boxing 螳螂拳).

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Cat stance engarde position found in Méihuā Quán (Plum Blossom Boxing 梅花拳), Chángquán (Long Boxing 長拳), Yīng Zhuǎ Quán (Eagle Claw Boxing 鷹爪拳), and likely more Chinese boxing styles. Often depicted as the closing move of the Méihuā Quán form precipitated by the same 180 degree turn found in mantis forms.

The photos above show exactly the same posture. The former is branded as ‘mantis boxing’ by using the hooks. Countless hours have been spent by myself, and other accomplished boxers/fighters trying to crack open the application of this move. Once you look at the prevalent styles in the Shandong region that influenced mantis boxing, it becomes apparent what this posture truly is - engarde w/ mantis. A way of stating - ‘we are mantis’.

When I use the work fake, it is not to insult, or demean any of us who have dedicated our lives to this art. Mantis practitioners are some of the most committed people I have met. The purpose, is to shine full light on the shadows. Exposing our weaknesses and laying bare a truth that we as mantis boxers all need to come to grips with. Our art stopped working a long time ago. We need to be focused on fixing it.

Embracing this truth so that we may turn our attention away from forms, styles, lineage, ceremony, and other superfluous distractions to what really matters - survival. We must turn to the task at hand. Restoring this dying martial art to relevance in the modern world. Making mantis boxing ‘real’ again. Setting it up to be the art it can truly be - a well rounded hand-to-hand combat system that works superbly in the clinch.

To Dissect a Mantis - A Summarized Re-Written History of Mantis Boxing

The following takes all of the data collected this past winter from my timeline research (people, places, events, catastrophes, wars, rebellions, etc), as well as the mantis family tree, and assembles it into a condensed re-write of a more grounded history for mantis boxing. This is a brief overview notating some discoveries and answering questions…there were many. For the purposes here I removed mythical backstories and unsubstantiated people. Beginning instead with verified living representatives/associates.

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Chinese soldiers 1899 1901 - Leipzig Illustrierte Zeitung 1900 [Public domain]

Here are a few of the questions I hoped to answer in my research on Praying Mantis Boxing.

1. The records are foggy prior to the 1800’s on the history of Mantis Boxing. Did mantis exist prior to this period?

2. If so, why did the 4th generation, fresh out of catastrophe on an epic scale in the late 1800’s, and the Boxer Uprisings that followed, suddenly start branding vanilla Mantis Boxing with other names such as - Plum Blossom, Supreme Ultimate, Seven Star? Other Chinese boxing arts of the region/time period did not see this same anomaly yet it was prevalent in Yantai. Did this ‘branding’ happen with the 5th generation of boxers in the first half of the 20th century?

3. Why are the forms inconsistent with each line of Mantis? If the forms existed as part of Liang Xuexiang’s art, why then did the next generation of boxers change them? If so, then why for the next century, were practitioners so meticulous about keeping these forms intact with little to no disruption?

4. Why was Li San Jian credited as a Praying Mantis Boxer when there is no evidence that he ever practiced the ‘style’?

5. Why did Li’s descendant, Wang Rong Sheng, who, by using dates and events, could not have learned Mantis from Li San Jian, but instead clearly learned mantis boxing from his friends - Jiang, Song, Hao, (‘students’ of Liang Xuexiang), end up as a major representative of the mantis style? Especially when he did not have the pedigree the other’s shared?

6. There is a recognizable crossover with meihuaquan in tanglangquan. What is the significance of the plum blossom symbolism and the prevalence with its use? Is there a link to meihuaquan? This style was spreading through marketplaces in the northern provinces leading up to the Boxer Uprisings, were the mantis boxers in Yantai connected with the uprisings? This creates more questions as the meihuaquan society was adamantly opposed to the violence and attacks on soldiers, missionaries, civilians, and property, such as churches and railways.

7. According to records, Jiang created and named a form in honor of the boxers connected with the rebellion - ‘Righteous and Harmonious Fist’. Was Jiang connected to the Boxer Uprising? Or was he simply angry at western encroachment and abuses like many in Shandong during this time?

8. Why is 6 Harmony Praying Mantis Boxing so different from the other lines?

Begin…

A man by the name of Li Bingxiao (李秉霄, 1713-1813), becomes known for his fighting skills in the late 1700’s and early 1800’s. He supposedly uses technique(s) that hook with two hands. As he gets older, he’s nicknamed - ‘2 hooks, Li’, or ‘2nd Elder of the Hook’. There is scant evidence of his backstory, but what has been carried down the lineage tree, is suspiciously close to the Confucius origin story. Confucius being highly revered in China for centuries, and originating in the same province - Shandong. Borrowing origin stories is a common phenomenon. Li allegedly teaches a student named Zhao Zhu.

Note: 6 Harmony Praying Mantis Boxing Segway

At this point there is an oral note in the lineage charts that Wei San (De Lin), the accredited founder of the 6 Harmony Praying Mantis Boxing line, met and sparred with Li Bingxiao.

“They could not best one another, but Wei San took some of Li Bingxiao’s methods.”

Thus begins the historical record of 6 Harmony Praying Mantis Boxing. Wei San’s background was in liuhequan (6 Harmony Boxing), aka xingyiquan. The oldest form in this line of mantis is known as ‘duan chui’ - referred to in English as ‘short strikes’, but more appropriately it means - ‘to hammer a weak point, or to beat a weak point or fault with one’s fists’. This form is known to be the creation of Wei San’s student Lin Shichun, who was a bodyguard for the Ding family for a large portion of his career.

Note: This form is quite possibly the oldest representation of xingyiquan in a form.]

This form, known as ‘short strikes’, is the only form in this line at the time and has zero mantis hooks within. Something the practitioners of this line seem well aware of as it varies significantly from their other forms. However, it does share much of its striking and power generation with xingyiquan. I will continue this further down as we get to the branching out of mantis.

Resume…

Zhao Zhu (1764-1847), becomes a teacher himself. He allegedly teaches his sons, and a student named Liang Xuexiang (1810-1895) as Liang grows up. Liang goes on to serve in the military, and becomes a famous biaoshi ​ (security-escort master) & boxer; one with a reputation and record that makes him a well known fighter in his province. His nickname is ‘iron fist’.

Li Bingxiao’s, and then Zhao’s techniques are passed on from Liang Xuexiang’s hands, including his own influences, to a new generation (4th) of boxers that includes his son. With the exception of his son, the teaching of many of his students takes place while Liang is in his late 60’s during a major famine preceded by 3 years of drought. Deathtoll - 9.5 to 13 million people died in the region during this 3 to 6 year time period.

At the time of joining Liang, all of these men were reported to be accomplished proficient fighters before meeting their ‘teacher’. Given Liang’s age and the surrounding events, this student/teacher relation appears to be more indicative of a mentor/client relationship. Liang possibly showing them some of his techniques, but their presence being more in line with protecting him and his family in his old age during extremely violent times.

His counterpart, Li Sanjian, did the same with his two students when visiting a friend in Yantai during this same period of unrest in Shandong province. It would make sense that an elderly, seasoned biaoshi (escort master) entering a foreign city in a time of catastrophe, would also be seeking out young, competent fighters to bring into his stable. Li’s students? Wang Rongsheng, and Hao Shunchang,

Note: Li Sanjian was credited with starting the line known as Seven Star Praying Mantis Boxing. Most people are now in agreement that this is false, and a way for Wang Rong Sheng to pay respect to his teacher, a branding advantage, or otherwise. Li never did mantis boxing, and while it is possible he knew, or knew of Liang, there is no indication he learned mantis from Liang, and was a more famous fighter by all accounts than Liang.

Liang Xuexiang, and Li Sanjian were both renowned escort-masters that ran dart bureaus (​ biaoju ) ​ in their lifetime. While they were likely still quite capable at defending themselves, it seems more plausible that they saw the writing on the wall in violent and chaotic times, and circled the wagons so to speak. Calling on younger, more capable fighters to assist them.

These fighters would benefit immensely from this relationship as well. It would after all, be an honor to claim either of these famous veterans as one’s teacher. The younger generation benefiting from this arrangement as much as the old.

The fighters under Liang Xuexiang, if they learned techniques from him, would then add Liang’s techniques (these hooking methods) to their own fighting skills. Each of these men could reasonably be considered rough and tumble fighters since they have each gone through multiple ‘mass droughts/famines’, rebellions, and grew up in a region full of strife. Their home province of Shandong has a reputation in China for producing tough, hardy people, especially boxers. It is a significant region in the history of the nation, where rebellions, bandits, invasions, and catastrophe have all left their mark.

The 4th Generation prior to ‘Mantis’

Style Notes:

Luohanquan, or Arhat Boxing, is a term developed in the early nineteen hundreds by boxers of the time attempting to revise history and accredit their martial arts to Bhudda. Stripping this away, it points to a general ‘Chinese boxing’ style of the Qing era that comprised of many common techniques that were not particular to any one ‘style’. ​ ​ Without the ability to label them, anything not clearly defined, usually gets called luohanquan.

Changquan, or Long fist is a more modern term used to classify the large body of ‘styles’, or more appropriately, boxing methods of the northern Chinese provinces. This can include lesser known styles as well as techniques shared in Hong Quan, Meihuaquan, Tongbei, Tanglang, Ying Zhua, Taijiquan, etc.

Hou Quan, or Monkey Boxing, is by all accounts one of the older ‘systems’ in the north. As evidenced by mention of it in Qi Jiguang’s book, in which he takes survey of the local martial arts in 1560 during the Ming dynasty. 300 years prior to the lives of these boxers.

Ditang, or Ground Boxing, is still alive in Shandong to this day. Evidence is lacking from General Qi’s book on the existence of ditang during the Ming, but it is apparent that it predates, or at the least runs concurrent with mantis boxing.

Liuhequan (6 Harmony Boxing), aka xingyiquan is a style born from the Muslim population in northern China and eventually adopted by the Dai family as the fighting methods for their biaoju company, and the guards under their employ. This is relevant to mantis boxing as it is the primary influence behind the 6 Harmony Praying Mantis Boxing line.

The following styles are accredited to each of these mantis boxers prior to their association with tanglangquan.

• Jiang Hualong - luohanquan, hou quan (monkey boxing)

• Song Zide - luohanquan, hou quan (monkey boxing)

• Hao Lianru - luohanquan

• Sun Yuanchang - ?

• Wang Rongsheng - changquan (long fist) + ditang quan (Ground Boxing) + whatever Li Sanjian taught him. Although that relationship was similar to Liang and his disciples.

• Ding Zicheng - luohanquan (family art), xingyiquan/liuhe.

Four of the above mentioned fighters all opened schools post Boxer Rebellion. One of these boxers, Wang Rongsheng, goes on to teach two people privately. A disciple named Fan Xudong (silk merchant), and Wang’s own son. Prior to this, or during, Wang became good friends with Liang’s disciples, and at this time they shared knowledge with one another. Eventually all adopting the common banner of ‘Praying Mantis Boxing’. Each of them have all survived harrowing times up until this point.

6 Harmony Praying Mantis continued…

It is not until the 3rd generation of the 6 Harmony line (and 5th with the main mantis line), that ‘mantis hooks’ show up in 6 Harmony. Also accompanied by more forms. Ding Zicheng grew up under the tutelage of Lin Shichun. Learning Ding’s methods/bodyguard techniques. As we travel into the 20th century, Ding becomes good friends with one of Jiang Hualong’s students - Cao Zuohou, a 5th generation mantis boxing practitioner, now branded as plum blossom style mantis.

Ding and Cao, go on to share students with one another and cross pollinate. It is noted in their records that their followers could come and go to either school. This period is where we begin to see the additional 6 Harmony Praying Mantis Boxing forms. Post Boxer Uprisings and well into the ‘martial arts for physical education’ stage of Chinese history.

Resume Main Line…

Each one of Liang Xuexiang’s students, as well as Wang Rong Sheng, goes on to brand their own version of mantis (seven star, plum blossom, and supreme ultimate). This draws into question the legitimacy of the existence of a ‘praying mantis boxing’ prior to this generation.

Evidenced by the simple fact that the only commonality among all of their arts are the following:

• Forms with shared names.

• The move known as ‘mantis catches cicada’ (engarde with hooks). Which appears to be nothing more complex than ‘branding/marketing’.

• And the hooking techniques -​ seize leg, twisting hook, piercing hooks, lifting hook.

Nothing listed above is unique per se. The hooking techniques, absent the extra, and highly impractical curled fingers, all exist in Shuai Jiao records. Perhaps these methods were unique to this area at the time, exclusive in the setups to initiate the moves, or the follow-ups to the technique if the move is countered. The last being of particular interest to other fighters as is found in modern fighting arts.

The forms vary from each line at this point, or perhaps were mutated in the generation(s) to follow.

Note: Assuming the style existed prior to these boxers, or more specifically the forms of mantis boxing, and the methods of the mantis were Liang Xuexiang’s and his teachers before him; why would these boxers take it upon themselves to change these forms? Practitioners since then, have been incredibly adept at keeping these forms intact for the past 100+ years. Why would all of these boxers alter them?

Without supporting evidence to the contrary, it is difficult to accept that the name Praying Mantis Boxing existed prior to this point in history. It appears more likely that it was created by these 4th generation boxers/friends in the early 1900’s post Boxer Uprising, well after Liang Xuexiang, and Li Sanjian are deceased.

Did these younger boxers/friends brand their stuff ‘mantis boxing’ as a group? Was it based on the techniques from Li Bingxiao they now have in common with one another?

This would explain how:

1. They each have different names of their mantis style. Each able to keep an individual identity because they all had their own techniques unique to themselves prior to incorporating these ‘mantis’ techniques of Li Bingxiao on down. We end up with labels to signify the differences of each boxer prior to intercepting mantis - seven star, supreme ultimate, plum blossom.

2. It perhaps explains why the forms are inconsistent in each line. Shared in name only, but beyond that never having more than 2 lineages with consistent forms to one another. If the forms were handed down for generations prior, they would be sacred and undisturbed, not changed by Jiang, Hao, and Wang. ​
   
   Liuhe tanglangquan ​(6 Harmony Praying Mantis Boxing) is a good example of this. The second generation of 6 harmony style (Lin Shichun) created a form known as Duan Chui ​ (the only form prior to the 4th generation. Duan Chui still exists to this day, relatively undisturbed. Practitioners of all other lines of mantis since this period, have been obsessively adept at keeping these forms well intact with minimal changes. This makes it all the more improbable that the 4th generation would all of a sudden change the forms as they saw fit. Unless…there were no forms prior to this time…or forms were considered insignificant and not revered as they often are today.

3. This would explain how, and why, Li Sanjian receives an honorary accreditation for a style he never did. It wasn’t a ‘style’ at all. It was a handful of techniques that Wang Rongshengs’ friends showed him. Wang never studied with Liang Xuexiang, as evidenced by the fact that he took the mantis moniker yet still claimed Li Sanjian (a non-mantis boxer) as his teacher.
   
   If Wang had studied with Liang, and then changed his forms without giving proper credit, it would be incredibly disrespectful, and dishonorable. His ‘friends’ would certainly take issue with this. Instead, if it were simply a handful of methods from Liang that were passed down, it would make it easy to blend in with the other things Wang already knew and learned. Wang keeps his ‘teacher’ because there is no pure ‘line’ of mantis boxing to be loyal to prior to this.

4. This also identifies why one of Wang Rong Sheng’s descendents was selected to represent ‘mantis’ in Jin Wu. Wang wasn’t ‘true mantis’ under the ‘Li Bingxiao -> Zhao Zhu -> Liang Xuexiang line’. So why would one of his students be picked to represent the mantis style for such a major endeavor in the south such a Jing Wu? If it really mattered that is? Why not one of the ‘true heirs’ - Jiang, Song, Sun, or Hao’s students? These boxers even had schools at the time, and Wang was only teaching one non-family member.

5. Lastly, this would explain why it was so easy for a 3rd generation descendant of Liuhe/xingyiquan to blend ‘mantis techniques’ that he learned from a 5th gen mantis practitioner, with his style of liuhequan. Combining a few techniques using the foundation taught to him by Lin Shichun, Ding Zhicheng wasn’t learning an extensive ‘system’, merely some techniques unique to these mantis boxers at the time. But certainly not unique in all of China, or the world.

What about the forms?

The forms could not have mattered. They obviously were not cemented in place. They were certainly not sacred if they were so freely altered. The techniques within these ‘sacred sets’ were common to other ‘styles’ of Chinese boxing, and Shuai Jiao in the region during that period of the Qing dynasty.

The curled finger mantis hooks expressed within the forms, are not necessary for the techniques to work. They all too often confuse observers/practitioners on the true martial intent of the move. If anything, they prevent the actual moves from working properly due to aesthetic stylization being placed above practicality.

What about the keywords? Aren’t they unique? Do they not define it as ‘mantis’?

No. I no longer believe this to be the case. These words are also part of the common boxing vernacular of the time. They offered nothing unique that isn’t found in Cotton Boxing and other fighter’s systems. Evidence by a few of the 12 keywords, and a plethora of techniques being shared with taijiquan. The mantis keywords that are not primary taijiquan principles, are listed in other subtexts as supplemental to the primary 13 keywords of taijiquan. A comparison can be found here in this working document Praying Mantis Boxing vs. Supreme Ultimate Boxing.

In Summation

As we would find in Brazilian jiu-jitsu today, with someone using the infamous ‘spider guard’ synonymous to that style - in mantis we have Li Bingxiao using his ‘double hooks’, aka - mantis controls/takedowns that caused him to stand out from the crowd of other boxers. Giving him an edge.

His methods were only allowed to exist as a ‘style’, because of a unique set of circumstances in history. Occurring at the end of an era of combat for survival, and the beginning of an era of wuxia, and physical education for profit.

Having seen and studied a wide range of Chinese boxing forms, provides me with a unique vantage point to be able to compare forms from various Chinese boxing systems north and south. The following are the moves I have found to be unique to ‘mantis forms’ that I have not seen in the other styles (this does not mean they do not exist. My knowledge/experience is certainly no where near all encompassing):

1. Seize leg (one variation)

2. Wicked knee

3. Hanging Hooks

4. Twisting Hooks

5. Pierce hooks (Edit: I later realized this is a shared application with one of the moves in Yang taijiquan’s - snake creeps down)

6. Possibly the ‘kicking legs’ methods are also unique.

All of the above methods are easily shared with competent experienced fighters/martial artists. Simple, easy to grasp methods. Akin to what ​ fighters​ would be learning from one another, rather than convoluted systems of 70, 80, or 100’s of techniques/moves.

If we take each ‘boxing set’ at face value as a fighter’s ‘system’, consider for a moment how unlikely it would be to collect those in times of chaotic strife...

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Arriving full circle -

We need not be bogged down by the chains of the past - politics, lineage, forms, etc. Take the best, discard the rest.

What is Mantis Boxing? An arsenal of hands, elbows; knees, kicks; throws and locks from Chinese boxing. We have the keywords to define it, and learn by. We have the roots. We honor them in our practice and continuation of the art.

What Can BJJ Teach Us About Qing Dynasty Martial Arts? - Randy Brown - MAS Conference 2019

This podcast is a re-recording of a talk I gave at the 5th Annual Martial Arts Studies Conference held at Chapman University in Los Angeles, California in May 2019. The event was hosted by Dr. Paul Bowman, and Dr. Andrea Molle. A two day extravaganza of martial arts history, politics, and culture. There is amazing research into the martial arts taking place around the globe today. It was an honor to be a part of this significant event, and contribute in some small way to the Martial Arts Research Network. Below is a copy of the abstract submission for my talk at the conference to help lay context before listening.

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Abstract

What Can Brazilian Jiu-Jitsu Teach Us About Qīng Dynasty Martial Arts?

The continually evolving art of Brazilian jiu-jitsu (BJJ) and the journey of this style throughout the 20th century can provide insights into key elements of the Qīng dynasty Chinese martial arts, helping to demonstrate similar developments in the ‘Chinese Boxing’ systems of that era. Specifically, by following the modern evolution of BJJ, it is possible to gain insights into the sudden appearance of totem styles or subsets across China, how these anomalies become styles in their own right, and how they survived and thrived for over a century. A martial arts cross-cultural comparison of style subsets within BJJ, which have developed since the early 1990s, can be juxtaposed with the pre-modern development of comparable ‘subsets’ within Qīng dynasty ‘Chinese boxing’. On the other hand, the survival and globalization of this stylization in China differs with how developments within BJJ propagate, where instead changes become rolled into a pool of common knowledge and do not take hold as independent systems or alternative styles outside of the core art. A question needs to be asked, did ‘Chinese boxing’ of the era, have a similar common pool of knowledge? Qī Jì guāng’s manual would hint at such. Within ‘Chinese Boxing’, attributes, feats, or skills defining one fighter over another became definitive styles of their own right due to events of the time, compared to a failure in modern times for these subsets to survive independent of BJJ, even though properly vetted in the crucible of worldwide tournaments. In the Qīng dynasty a confluence of events which included rebellions, opium wars, global humiliation and the collapse of a dynasty, began to solidify these subsets as styles in China. Eventually, cultural industrialization of Chinese martial arts, notably through the Hong Kong movies, ingrained these styles into popular culture with the result being securing their legitimacy to the public eye without any evidence of martial prowess.

Keywords:

Chinese martial arts, Brazilian jiu-jitsu, Qīng dynasty, animal styles, Chinese boxing

Biography

Randy Brown

Randy is an owner and teacher at Randy Brown Mantis Boxing, Brazilian Jiu-Jitsu in Acton Massachusetts. Randy has over 20 years’ experience with praying mantis boxing with additional cross-disciplinary training in various Chinese martial arts: eagle claw, Hung gar, long fist, Yang, xingyiquan. Randy has trained in 17 Chinese martial arts weapons and specializes in staff, saber, sword, and military saber and has seven years’ experience in Brazilian jiu-jitsu. He has published a number of articles in martial arts journals, including Kung Fu Tai Chi Magazine and Journal of 7 Star Mantis and has competed and placed in both the U.S. National Wu Shu Championships and the International Brazilian Jiu-Jitsu Federation. Randy holds a Bachelor of Science in computer science from Franklin Pierce University. In his spare time, he enjoys writing, drawing, painting, and hang-gliding.

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Bibliography

• Wile, Douglas. Lost Tʻai-Chi Classics from the Late Chʻing Dynasty. State University of New York Press, 1996.

• Lorge, Peter. Chinese Martial Arts from Antiquity to the Twenty-First Century. Cambridge University Press, 2011.

• Silbey, David J. The Boxer Rebellion and the Great Game in China. Hill and Wang. 2012.

• Tong, Zhongyi. Cartmell, Tim (translator). The Method of Chinese Wrestling. North Atlantic Books, 2005 (original 1935).

• Kennedy, Brian. Guo, Elizabeth. Jingwu The School that Transformed Kung Fu. Blue Snake Books, 2010.

• Leung, Shum. The Secrets of Eagle Claw Kung Fu Ying Jow Pai. Tuttle Martial Arts, 1980, 2001.

• Keown-Boyd, Henry. The Fists of Righteous Harmony - A History of the Boxer Uprising in China in the year 1900. Leo Cooper, 1991.

• Kennedy, B., & Guo, E. Chinese martial arts training manuals: A historical survey. Berkeley, CA: Blue Snake, 2008.

• Laurent Chircop-Reyes. Merchants, Brigands and Escorts: an Anthropological Approach of the Biaoju ffff Phenomenon in Northern China. Ming Qing Studies, WriteUp Site, 2018, Ming Qing Studies, 2018, http://www.writeupsite.com/eng/ming-qing-studies-2018.htmlff. ffhal-0198740

• Article on Biaoju Companies - https://baike.baidu.com/item/%E5%90%8C%E5%85%B4%E5%85%AC%E9%95%96%E5%B1%80/8761785

• E. Henning, Stanley. (1999). Academia Encounters the Chinese Martial Arts. China Review International. 6. 319-332. 10.1353/cri.1999.0020.

• Interview with the last Manchu archer - By Peter Dekker, January 23, 2015 - http://www.manchuarchery.org/interview-last-manchu-archer

• Library of Congress maps - https://www.loc.gov/maps/?c=150&fa=subject:maps%7Clocation:china%7Clanguage:chinese&st=list

• List of Rulers of China - Metropolitan Museum of Art - https://www.metmuseum.org/toah/hd/chem/hd_chem.htm

• Li San Jian - http://www.shm.com.cn/special/2015-07/22/content_4365668_2.htm

• McCord, Edward A. The Power of the Gun. University of California Press, UC Press E-Books Collection, 1982-2004 - https://publishing.cdlib.org/ucpressebooks/view?docId=ft167nb0p4&chunk.id=d0e288&toc.depth=1&toc.id=d0e288&brand=ucpress

• Guodong, Zhang & Green, Thomas & Gutiérrez-García, Carlos. (2016). Rural Community, Group Identity and Martial Arts: Social Foundation of Meihuaquan. Ido Movement for Culture. 16. 18-29. 10.14589/ido.16.1.3.

• The Mantis Cave - Fernando Blanco - http://www.geocities.ws/mantiscave/fernando.htm

• The Taiping Institute - http://www.taipinginstitute.com/courses/northern-central-plains/tanglangquan

• Judkins, Ben. Lives of Chinese Martial Artists (13): Zhao San-duo—19th Century Plum Flower Master and Reluctant Rebel - https://chinesemartialstudies.com/2017/04/20/lives-of-chinese-martial-artists-13-zhao-san-duo-19th-century-plum-flower-master-and-reluctant-rebel-2/

• Judkins, Ben. Research Notes: Xiang Kairan on China’s Republic Era Martial Arts Marketplace - https://chinesemartialstudies.com/2016/08/14/research-notes-xiang-kairan-on-chinas-republic-era-martial-arts-marketplace/comment-page-1/#comment-81216

• Perdue, Peter C., Sebring, Ellen. The Boxer Uprising 1 - The Gathering Storm in North China (1860 - 1900) - https://visualizingcultures.mit.edu/boxer_uprising/pdf/bx_essay.pdf

• The Worst Natural Disasters by Death Toll - Contributed by Administrator - June 15, 2007 Last Updated April 06, 2008 - http://www.armageddononline.org

• Professor Peter Lorge's keynote, 'The invention of "traditional" martial arts" - given at the July 2017 Martial Arts Studies Conference, Cardiff University - https://youtu.be/9Y_1tKVvwNc

Mantis Boxing Historical Timeline - Qing Dynasty to Republican Era

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How to Escape the Clinch

We were in Los Angeles last week for the 5th annual Martial Arts Studies Conference, and after it wrapped up, we dropped in on Sensei Ando at his location. While there, I showed some 'clinch escapes' that I like. Ando asked me to come home and share the follow-up to the escapes - takedowns!!! We tried to get him to come out here and finish the shoot, but he said the pie in New England is inferior.

Part 1 - Neck Slice/Frame Escape - Slant Chop a.k.a. - Single Whip (擔扁), Single Whip to Embrace Tiger, & the Piercing Hook, also known as Snake Creeps Down in Tai Chi.

The Rowing Hook 2 - 7 Star

Here's a second variation of the rowing hook maneuver found in mantis boxing forms. This time Mantis boxer Vincent Tseng is going to show his discovery. This variation is used when the opponents leg is in front of us versus behind.

The Rowing Hook - A Flank Takedown

This is a unique throw that shows up in some Chinese boxing styles such as Mantis Boxing and Shuai Jiao. In mantis boxing it appears in forms as a single leg stance and what seems to be an uppercut. Without context, it's hard to see what the move does. It's highly effective for a unique circumstance we can find ourselves when battling in the flank position. Today Vincent is going to help demonstrate the position you find yourself in where this counter shines.

Countering the Clinch (Lǒu 摟) - FRAME! FRAME!! FRAME!!!

The clinch can be a nasty place to be stuck. When our opponent is larger, and/or stronger, and has their hooks on our neck, some of our escapes can be difficult to pull off. Building frames can help shut down the clinch, but we have to know where to go next after building the frame. Knee strikes, arm triangles, hip tosses. Check it out.

Tear Down the Monkey - Fight Stance Revamp

A critical analysis of the fighting stance we've been using for years. And why I got rid of it.

I recently went through some changes in my teaching and practice. One of these recent changes was in our fighting stance. The reasons for these are many, and too lengthy to explain for these purposes. However, the root of any changes I make are always born of a desire to improve things for myself and my students.

Let’s compare the stance we were using for years, the Monkey Stance, with the 3 Dimensional Stance, 4-6 Stance, or 40/60 Stance common to other Chinese boxing systems from the same region and era.

Monkey Stance (Hóu Shi 猴势)

Monkey Stance

The ‘monkey stance’ is found in seven star praying mantis boxing, plum blossom praying mantis boxing, and supreme ultimate praying mantis boxing. Although used within these branches of mantis boxing it is not necessarily a ‘sparring’ stance. It shows up within moves in the boxing sets of old, but usually aligns with the execution of specific techniques. More common in these old forms, is actually, the bow stance, or mountain climber stance.

Upon recent discovery, these monkey stance techniques are typically leg wrap takedowns which necessitate this stance in order to shadow box the move absent a partner, without falling on one’s face. I had fully integrated this stance into my fighting and movement patterns after having learned it from a coach I worked with for years. He taught/used this monkey stance in fighting predominantly because of the correlation he found in Western Boxing. However, the latter is usually in a much higher posture due to the lack of necessity in defending kicks and takedowns.

The higher posture found in western boxing allows for increased mobility when using this stance/footwork, and has less detrimental effect on the fighter’s balance. The feet are closer together which leaves the stability of the boxer mostly uncompromised. This has issues in a mixed martial art arena, which is why you do not see MMA fighters using this stance.

When used as a lower stance (as we were doing), the monkey stance is rather unstable and rife with problems. Least of which is it’s mobility. Let’s rip it down so we can understand the inherent strengths and weaknesses of this ‘stance’.

Strengths

1. Offers solid defense capabilities - decreased profile for target acquisition from the opponent.

2. Forward position offers quicker range to target - a 50/50 weight displacement puts the range to target of the striker closer to their target. This helps get hands on the opponent faster and offers a range assist for smaller fighters.

3. Increased mobility - this is only active when the fighter is in a high stance. Otherwise, this is negated.

4. Protects the Knee - this is one of the finer points of this stance in my opinions. With the knee over the toe, the boxer is almost immune to cross kicks and side kicks which are designed solely to attack the knees. Proper execution of this stance nullifies this threat.

5. Good in the Clinch - when engaged in grappling, the 50/50 position of the monkey stance, and the lowered center of gravity are where this stance shines the most. A stance with weight distribution forward, or behind this 50/50 center of gravity point, causes us to be open for pulls, pushes, and a variety of throws. This, in my opinion, is where the monkey stance becomes necessary, and relevant.

Weaknesses

1. Unstable - this stance is extremely unstable. Especially from lateral attacks such as haymakers, which are an extremely common strike even from novices. The stance can become stable with a great deal of tweaking and perfection, but the amount of time required to do this, certainly nullifies its benefits, which are few compared to other stances. The ease of which a smaller fighter can be rocked and toppled makes this a dangerous choice when looking at stances to use in hand-to-hand combat.

2. Difficult for beginners - there is a massive learning curve with this stance. When sitting in this stance to maximize its effective traits, it is extremely finicky. Knee over toe, back foot angle/position, hip alignment, shoulders over hips, balls of the feet, hips dropped. Remembering all of that, while trying to move in a completely foreign manner that is counter to our human movement patterns, can take a casual practitioner years to get down. With diligent focus, the stance still requires hundreds of hours of training to overcome and perfect the stability and mobility deficiencies.

3. Decreased mobility - when hunkered down in this stance it is lacking mobility in order to maximize defense. While defense is great, it is not the endgame. The ultimate goal, is to defeat our opponent(s). Imagine being faced with multiple attackers, and sitting in a fighting stance that creates a 50% speed reduction. Or you are in a cage fight, facing a mobile, and speedy opponent. You won’t keep up.

4. Vulnerable to Leg Kicks - The forward 50/50 position for the center of gravity, causes the leg to become a closer target for our opponent’s leg kicks. Additionally, more weight on the forward leg, causes an extreme delay in response time in getting the leg up to check, or avoid an opponent’s leg attack. This is the number one attack I would use against someone in this stance. Destroy leg. Compromise their mobility, and take their will to fight.

5. Exposed Striking Power - in order to generate maximum power in this stance, a fighter must learn to shuffle with each strike, or twist/rotate the hips when throwing off the rear hand. This is common in western boxing for producing awesome striking power. However, when we twist and throw ‘long’ punches/strikes we create a longer opening in our defense that is susceptible to counter-strikes. This window of opportunity can be an issue against a seasoned opponent.

6. Takedown Defense - if you were to classify each type of throw, trip, takedown that exists within martial arts styles the world over, and then categorize them based on frequency of use, the single and double leg takedown would be at, or near the top of that list. These are common weapons in the arsenal of wrestlers the world over. The monkey stance, becomes necessary within the clinch, but when used prior to the clinch phase, it creates a leg position that is extremely vulnerable to single/double leg takedowns. Additionally, the 50/50 weight distribution again creates a speed limit on the ability to sprawl. A veteran shoot fighter that is highly adept at setting these up, will close the gap from striking range to the takedown in the blink of an eye. Any speed/range advantage we can have in striking range can be a deterrent against these attacks. This stance is not the choice selection when it comes to this.

The Three Body Solution - San Ti Shi (三体势)

Used in a derivative of Mantis Boxing known a 6 Harmony Praying Mantis Boxing, and a newer (1900’s) subset of that known as 8 Step Praying Mantis Boxing. The 6 Harmony line has roots in another style of Chinese boxing, that is derived from Liuhe Xingyiquan (6 Harmony Mind Intent Boxing). A system taught by the Dai family in Ming dynasty who owned a security/escort company known as a biaoju. This explains why this line has an entirely different stance than the other branches of mantis boxing.

The concept is - simple striking with solid footwork designed to maximize power. The striking was used in conjunction with blocks/intercepts and could be blended together for combinations as needed. Throws and other techniques were included in the system, but it was overly simplified to keep the training methods efficient and effective. Something you would want when training security and bodyguards.

The stance used in ‘mind intent boxing’ is called a San Ti Shi (three dimension stance 三体势) and while not unique to this one style, it is effective. It appears in other Chinese boxing systems originating from northern China as well.

In my opinion, this is a much better stance for a variety of reasons. Hence why I began adopting it in my system and discarding the monkey stance except when grappling. The following breaks down the advantages and disadvantages of the three dimensional stance before we get into the details on proper execution.

Strengths

1. Stability - this stance is incredibly stable, especially when compared with the monkey stance. The 40/60 weight distribution, with hips dropped offers a stable platform for striking, kicking, or defending even from lateral angles of attack.

2. Ease of Use - one of my biggest criticisms of the monkey stance is it’s long and finicky learning curve. For beginners who are training 2 to 3 hours per week, the san ti stance is much easier to learn, and execute. Unlike the monkey stance, it takes very little maintenance to get people on board with the concepts and application of it.

3. Power Generation - next to stability, and ease of use, this is probably one of the greatest advantages of this stance. The power generation capacity from this stance versus the monkey stance is phenomenal when looking at a fixed stance platform to compare. The monkey stance can generate power as well, but usually at cost of defense, or stability when committing to the twist execution to produce the force. The 3-dimension stance however, can outperform without compromising the integrity of the defense/position of the fighter.

4. Kick Defense - the round kick is a powerful weapon in a boxers arsenal when used as to attack the lead leg of the opponent. Opposite the monkey stance, the three dimension stance offers a quicker reaction time to move our leg, or shin-check the opponent’s attacking leg. When it comes to groin kicks, the narrow stance of the san ti offers defense by itself. Once again, the lighter weight on the front leg allows for a quick reaction time against leg attacks, knee attacks, or groin attacks.

5. Takedown Defense - this is specific to shoot takedowns such as single leg, double leg, or rushing/tackle takedowns. The rear sitting san ti stance, offers a larger timespan to initiate a sprawl, or rearward step to avoid these takedowns. The forward weight of the monkey stance was not useless, but the timing was harder to get down.

6. Range Manipulation - another exceptional advantage to this stance, is the ability to manipulate range. The slight rearward weight distribution offers an appearance to the opponent that we are further away than we really are. The lead foot position indicates our true range to target. We can therefore, get that position across the ‘critical distance’ line of our opponent with them unaware that we moved in. This allows for us to gain range advantage on an offensive assault. Additionally, as mentioned above, the defense is also assisted with the range increase offered by the rear sitting san ti stance compared with forward-weighted stances.

Weaknesses

1. Knee exposed - if your stance sits too far back, meaning you violated the 40% weight on the front and 60% on the back, it exposes the knee. This is improper or lazy execution and can cost you your knee if you are not careful. Be mindful of the cross kicks, and side kick attacks your opponent may throw at your foreward leg and you should have plenty of time to defend if that happens. To nullify this, train the proper weight distribution and sink your hips. This will keep the front knee rounded, arcing against your opponents thrust force.

2. Mobility - the stance is less mobile in circle patterns commonly found in boxing and MMA bouts. Use it for engagement purposes only, once you have crossed ‘critical distance’ and committed to your assault.

3. Clinch Deficient - this is not an optimal stance inside the clinch. The weight being back makes us susceptible to being pushed over backward. Once the clinch happens, shifting to the ‘weight-forward’ advantage offered by the monkey stance, bow stance, or horse stance when in the flank, is a better tool for the job.

Mechanical Breakdown

• Weight Distribution - 40% of body weight on front leg. 60% on the back leg.

• Center of Gravity - CG should be slightly rear of the 50/50 mark. Sink your CG by dropping your hips 3 to 4 inches. This will also bend the knees and create a suspension system in your legs allowing for better balance, and mobility.

• Front Foot - aimed at target, or direction of travel.

• Rear foot angle - it is imperative for stability that the rear foot be at or around 45 degrees angled off from the front foot.

• Width - heel of the rear foot is in line with the heel of the front foot (see diagram).

• Splitting the Floor - Focus the pressure on the pads of feet. When hips are dropped, it should feel like you are splitting the floor between your feet.

• Posture - sit up straight. Shoulders over hips.

The san ti shi is an all around better stance as we can see from our strengths vs weaknesses evaluation above. The ease of use, striking power increase, kick defense capability, improved range manipulation, and takedown defense make this an optimal fighting stance far superior to the monkey stance. Therefore, it’s a no-brainer from a coaching perspective, as well as a fighter’s methodology. You can see why we switched.

Mantis Captures Prey Takedowns

Trapping the elbow as our opponent shoots for the underhook. They go for the position under the arm to try and set up a variety of throws, or gain positional control. What we have lying in wait for them, is a potential shoulder lock if we can get it. If they dive the arm deep to save it, then we follow up with tight arm control and a solid frame as we strike with knees, and/or go for takedowns.

The following are a couple of takedowns I like to use from this position - White Ape Falls In Hole, and Monkey Goes Over Falls.

Change Moon - Clinch Takedown

Change Moon is an alternate throw from the clinch. Sometimes our attempts at Crane Spreads Wings are blocked. This takedown can provide an alternate strategy that twists the opponents upper body, splitting them from the lower. The leg wrap adds a preventative measure keeping them from stepping out to regain balance and posture.

Diagonal Flying

When grappling in the flank position, and tied up, Flying Diagonal showed up as a good counter to our opponent’s counter for Double Seal Hands, or in general - if our opponent postures up while in this position. Check out these nuances and details to add Diagonal Flying into your arsenal.

Double Seal Hands

It may not happen often, but when it does, it's good to have an answer for it. We're in the flank position, and our opponent is holding our wrists to shut down strikes. We're not in a good position for knees, elbows, or kicks. Many of the throws (Shuāi 摔) in our arsenal are shut down. What do we do?

Double Seal Hands! This armbar/joint lock setup (Chin Na or Qín Ná 擒拿) can be highly destructive to our opponent, and get us out of a bind and put them into one. There's a nice throw component I'll show that you can add on to the arm bar as well.

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►Listen to PODCAST: https://randybrownmantisboxing.com/swamp-talks-podcast/

Seize Leg - Mantis Heel Kick Defense

I absolutely love this heel kick defense. My favorite one to practice, as you'll see in the video; thank you Thomas! There are two variations of this depending on the leg the opponent kicks with, and whether we end up on the inside or outside position.

Some clear distinctions:

Variation I (above) - uses the chopping hand to clear as we are cutting across the chest to get the sweep. 

Variation II (below) - uses Inverted Mantis Neck Hook. The chopping hand won't work here because of the neck angle, so the Mantis Hook is used to catch the neck and unbalance them for the sweep.

For some of my personal notes on Seize Leg and where it shows up in Mantis Boxing forms, check out my backer page. You get early access to videos, and exclusive content for joining.

Tame Tiger - Heel Kick Defense

Here's a great counter to the heel kick. This move is actually inside Tai Ji Quan forms, but I adopted into my Mantis Boxing system after seeing it in Muay Thai. It's an awesome counter/defense against the heel kick, and definitely one I want in my arsenal.

There are some nuances to it, and inside this video I'll highlight 3 fail points that are common and how to avoid them. Check it out.

Oh, and Thomas really took one for the team on this video, so be sure to give him a shout out in the comment section.

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LEAN (Kào 靠) - 12 of 12 - The Keywords of Mantis Boxing

Lean (Kào 靠) - to lean against one’s opponent. Due to the heavy reliance upon grappling and clinchwork in Mantis Boxing, Kào is an important keyword when engaged close range with the enemy.

Postural Defense

Once we are entangled in the Clinch (Lǒu 摟), we lean in to protect our position, or risk being taken down, or pushed over. We use our foe as a support structure, leaning against them whilst engaged in grappling and clinchwork. This is synchronous with Adhere (Tiē 貼).

While we Adhere, we shore up our position by using Kào. If this becomes impossible, we should break range and secure a better position. Kào can shut down my opponent’s attempt at hip toss throws; dropping my CG making it difficult for him/her to get their hips (fulcrum) under my CG.

It also reduces chances for them using Crashing Tide; their posture would become compromised simply upon attempt. Another advantage provided by Kào, is buffering the double leg takedown. If we’re upright, our legs are within easy grasp, and shortens the time until their shoot. By leaning, I can sprawl easier and faster by dropping my CG and putting my weight down upon their shoulders.

Overall, if we can stay inside the clinch with a solid posture, and forward lean, we can use this pressure to time takedowns with applied force.

Applied Force

In addition to securing our position with solid posture, we can also use the shoulder to assist in our own throws. The shoulder is used heavily in a lean forward type motion to affect applied force. This assists in the execution of many takedowns such as Crashing Tide, Single and Double Leg Takedowns, Point at Star, Reaping Leg, Crane Spreads Wings, and more.