2017年9月16日
中国传统武术套路是技击和中国古典舞蹈的结合。我一直认为武舞才是它正确的名称。唐代公孙大娘的剑舞，是当时一绝。使诗人为之倾倒。书法家观后。书法艺术更上一层。
现在竞技武术套路。在50年代60年代到文革时期之前，都遵循传统武术规则。当时政府委派蔡龙云老师为首负责制定武术5项全能比赛。李天冀为首负责制定规定太极拳比赛套路。蔡龙云老师和李天冀都是家学渊博。武艺绝高之人。由他们制定的规定拳，规定刀，规定剑，规定棍，规定抢，都是严格遵照传统武术的要求。50年代蔡鸿祥老师多次荣获全国武术冠军。60年代蔡鸿祥老师的学生李福妹荣获全国武术女子冠军。虽然他们在竞技武术中夺冠。但他们都是在传统武术训练体系中成长的。文革结束后70年代80年代。政府开始重新开展武术比赛。那时李连杰。赵长军，戈春燕等全国武术冠军基本上还保留传统武术特点。 The traditional Chinese martial arts routine is a combination of martial art and Chinese classical dance. I always think that Wu dance is its correct name. The sword dance of Gongsun Aunt of the Tang Dynasty was a beautiful dance. Make the poet panegyrize. Calligrapher view. The art of calligraphy is even higher.
Now competitive martial arts routines. Before the 1960s to the Cultural Revolution, they all followed the rules of traditional martial arts. At that time, the government appointed Cai Longyun as the head responsible for formulating the Wushu 5 All-around competition. Li Tianji is responsible for formulating Tai Chi Quan routines. Both Cai Longyun and Li Tianji are very knowledgeable. The highest martial arts person. The prescribed boxing, the provision of the knife, the provision of the sword, the provision of the stick, and provision the spear. All the stipulation of New Wushu routines by them all strictly comply with the requirements of the traditional martial arts. In the 1950s, Cai Hongxiang won numerous national martial arts championships. In the 60s, Mr. Cai Hongxiang’s student Li Fumei won the National Wushu Women’s Championship. Although they won the championship in competitive martial arts. However, they all grew up in the traditional martial arts training system. After the Cultural Revolution ended in the 1970s. The government began to resume martial arts competitions. Jet Li at that time. Zhao Changjun, Ge Chunyan and other national martial arts champions still retain the characteristics of traditional martial arts.
中国传统武术技击也有不接手打法，一般称脱手打。因为有脱手打，传统技击才有：你打你的，我打我的。不招不架，就是一下的说法。蔡龙云老师所以能在15，16岁击败俄美拳击手，就是因为他在父亲的亲授下，掌握了接手打的同时，也学会了脱手打。尤其在和拳击手比赛前。他父亲蔡桂勤在一间小屋。重点训练蔡龙云老师脱手打技术。这样才能使蔡龙云老师在比赛时。轻松取胜。
我在大陆文革时期，跟蔡龙云师弟蔡鸿祥老师学习传统技击时
蔡鸿祥老师就详细和我讲了他老师蔡桂勤如何训练他和师兄蔡龙云老师的。并演示了不接手的打法，让我和他儿子蔡燕奭反复练习。并一再强调脱手打的重要性。当我同时掌握接手打和脱手打训练后，在文革年代在学武者之间比试，都可很轻易击败对手，主要绝大部分学武者练的都是接手打技术，这样打斗中就会慢一拍。
文革结束。政府慢慢开放。武术技击对抗开始走上擂台比赛。
武术技击，过去大部分武术门派叫散手。从80年代开始叫散打。因为是徒手比赛，以蔡龙云老师和蔡鸿祥老师等为首武术前辈就以不接手打法，制定规则。并培养出大量散打优秀人才。
但随着散打在省市政府和大专院校的支持和组织下。得到很大发展。随着比赛的激列，名次的高低。散打越来越脱离武术技击传统训练，而采用国际搏斗运动员训练方式。散打也独立于武术之外。 Traditional Chinese martial arts also has take off hands in the combat, and generally said it dont cover hands fight. Because there are fights, traditional martial arts combat also
have: You hit me, I beat you. Don’t do some action to lock his attack arm, you just to attack him in some time.it’s just a matter of saying. Therefore, Mr.Cai Longyun was able to defeat the Russian and American boxers at the age of 15, 16 because he had mastered the handover while playing under his father’s devotion. Especially before the game with the boxers. His father Mr. Cai Guiqin is in a hut. Focus on training Mr. Cai Longyun teacher to take off technology. This will enable Teacher Cai Longyun to play the game. Easy to win.
During the Cultural Revolution in mainland China, when I was learning traditional arts and crafts with Cai Hongxiang, the school brother of Mr. Cai Longyun,
Cai Hongxiang told me in detail how his school Master Mr. Cai Guiqin trained him and his school brother Mr. Cai Longyun. And he demonstrated that he did not take over the game and asked me and his son Cai Yanshi to practice repeatedly. And repeatedly stressed the importance of taking off. When I mastered both takeover and take off training, I could easily beat my opponents during the Cultural Revolution era. The majority of the martial arts practitioners were trained to take over the technique. .
The Cultural Revolution ended. The government slowly opened up. Martial arts combat confrontation began to take the stage of the match.
Martial arts and martial arts, most martial arts martial arts in the past called Sanshou. Called Sanda from the 80s. Because it is a freehand game, senior martial arts leaders such as Cai Longyun and Cai Hongxiang will not take over the game and formulate rules. And cultivate a large number of Sanda talents.
But with the support and organization of Sanda in the provincial and municipal governments and universities. Great development. With the excitement of the game, the rankings are high and low. Sanda has become more and more detached from the tradition martial arts and traditional martial arts tradition training, and adopts international combat athlete training methods. Sanda is also independent of traditional martial arts.
中国传统武术的技击为什么绝大部分要接手打才能施展，是因为传统武术技击术的训练目的是为了打仗。徒手训练中都包含兵器的使用。古代作仗都是用兵器战斗。平时将士徒手训练是为了身体强壮，手脚灵活，反应敏捷。而且徒手技击动作练熟了。兵器拿了就会使，当然将士们也要练兵器。而且兵器都以长，大，重为主。动作简单实用。尤其骑马更讲究力大勢雄，双方兵器一碰。力弱的，被荡开兵器，就可能被对方一抢贯喉。兵器作战，必然发生阻格动作。也就是徒手技击术中的封闭拦截。传统武术套路中许多技击动作到现在都一直保留拳器合一的特点。所以武术对抗比赛一定要按接手打的规则才能体现出中国传统武术的风格和特色。 Why do most of the arts and crafts of Chinese traditional martial arts have to take over to play, because the purpose of traditional martial arts techniques is for war to fighting. The use of weapons is included in freehand training. Ancient battles were made with weapons. Peacekeepers are usually trained for physical strength, flexible hands and feet, quick response. And skilled arts and crafts were trained. Weapons will be taken when the weapons are taken. Of course, the soldiers must also train weapons. And weapons are long, big and heavy. The action is simple and practical. In particular, horse riding is more stressful and powerful. Both weapons touched. Weak force, was opened arms, it may be the other side of a snatch. Warfare operations will inevitably block motions. That is, the closed interception in the unarmed technique. Many martial arts routines in traditional martial arts routines have until now retained the characteristics of boxing. Therefore, the martial arts competition must follow the rules of taking over in order to reflect the style and characteristics of Chinese traditional martial arts.
中国传统武术是一种把徒手训练和器械训练紧密链接的训练系统。一个学武者，如果遵循这个训练系统。一段时间徒手技击训练后，转换兵器技击训练。会感到容易上手，练了一段时间后。转练徒手技击，你会发觉你的技击水平有很大提高。以前不清楚的地方，你会明白，以前会的动作，你能做的更好。经过几个这样的反复循环。你的技击水平会功半事倍。同样武术套路也必须遵循这个原理。徒手套路练了一段时间，改练器械套路，坚持这样训练自己，不断的
反复循环，你的套路演练会很快达到你门派要求。演练中把你门派的特点发挥的淋漓尽致。
Chinese traditional martial arts is a training system that closely links freehand training and equipment training. A martial artist if following this training system. After a period of unarmed combat training, he converted weapon training. Will feel easy to use, after practicing for some time. Turning to freehand arts and crafts, you will find that your skill level has greatly improved. Where it was not clear before, you will understand that you can do better with the actions that you used to. After several such repeated cycles. Your skill level will be twice as much. The same martial arts routine must follow this principle. Acting for a period of time in the hand routine, he changed his equipment routine and insisted on training himself.
Repeatedly, your routine will quickly meet your martial requirements. The performance of your school is played in the drill.
中国传统武术套路是技击和舞蹈的结合。我以为应该名之为武舞才对。
记得我在蔡鸿祥老师家学技击术时。蔡老师一再强调传统技击的实用性和传统套路的欣赏性，并再三说明技击是源头，套路是艺术，真正的传统武术者就必须在打斗中能运用技击而取胜；同时也可以在套路中把本门特点表演的精彩纷呈。
现在中国散打已经和传统武术分道扬镳，散打选手不属于传统武术中任何门派，训练方法越来越运用国际上通用的技术。而且散打选手不会练习传统套路。他们训练的目的很清楚，就是比赛夺冠军。
我的梦想就是中国传统武术必须用传统的技击，和传统套路来开创一条属于传统武术的舞台，在这个舞台上，每一个武术选手都必须进行传统技击比赛和传统套路比赛。武术有武术的比赛规则。不必和其他搏击比赛混和。
我将把自己有限的时间和精力投入在真正的传统武术推广之中。
我恳切地希望：能得到全世界热爱中国传统武术的朋友们的支持和援助。 The traditional Chinese martial arts routine is a combination of martial arts and dance. I think it should be named Wuwu dance.
I remember when I was learning the technique at the Mr. Cai Hongxiang. Mr. Cai has repeatedly emphasized the practicability of traditional arts and attacks and the appreciation of traditional routines. He repeatedly stated that art and crafts are the source, and that routines are arts. True traditional martial arts players must be able to use techniques and fights in combat to win; at the same time, they can also be used in routines. Each Chinese martial arts school features spectacular performances.
Now that China Sanda has parted ways with traditional martial arts, Sanda players do not belong to any martial arts in traditional martial arts school, and training methods increasingly use internationally accepted technologies. And Sanda players will not practice traditional routines. The purpose of their training is very clear, that is, the game wins the championship.
My dream is that traditional Chinese martial arts must use traditional techniques and traditional routines to create a stage that belongs to traditional martial arts. On this stage, every martial arts player must carry out traditional martial arts competitions and traditional routines. Martial arts have martial arts rules of the game. You don’t have to mix with other fight games.
I will devote my limited time and energy to the promotion of true traditional martial arts.
I sincerely hope that we can get the support and assistance of friends who love the traditional Chinese martial arts in the world.
Stevens Zou 2017年9月9日
中国传统武术基本功中腰腿的柔软训练，身体的平衡训练和现在世界广泛流行的瑜伽其实动作相差不大。一个经过严格武术基本功训练者，要完成大部分瑜伽动作并不难。现在在美国瑜伽学校遍地开花。尤其女士更热衷于此。许多练瑜伽的都喜欢拍瑜伽照，秀美。同样跆拳道也由于注意腰腿柔软，身体平衡的训练，所以年轻人特别喜欢，尤其女孩。我们到处都可以看到跆拳道的照片。漂亮潇洒。现在由于瑜伽，跆拳道容易招生。在中国大陆一些武术教练都改行教瑜伽或跆拳道。
我当然希望以教传统武术谋生者，能生意兴隆。愈多愈好。 我们如果能以瑜伽，跆拳道为样板。仔细研究如何开展武术基本功的教学。我相信学生有了好的基本功，那么武术照片，武术视频一定更受欢迎。 The soft training of the waist and leg in the basic skills of Chinese traditional martial arts, and the physical balance training are not much different from the current popular yoga practice in the world. A person who has been trained in basic martial arts skills is not difficult to complete most yoga exercises. Now in the United States yoga school blossoms everywhere. Especially women are more enthusiastic about this. Many people who practice yoga like to take yoga pictures and are beautiful. Similarly, Taekwondo is especially fond of young people, especially girls, because of its attention to the softness of the waist and legs and the training of physical balance. We can see taekwondo photos everywhere. Nice and chic. Now, because of yoga, Taekwondo is easy to enroll. Some martial arts coaches have been diverted to teach yoga or Taekwondo in mainland China.
Of course, I hope to make a living by teaching traditional martial arts and be able to thrive. The more the better. If we can use yoga, Tae Kwon Do is a model. Study carefully how to develop the basic skills of martial arts. I believe that students have good basic skills, then martial arts photos, martial arts video must be more popular.
Steves Zou 2017年9月1日
80年代中国开始尝试武术散手比赛。我舅舅的学生张笃为荣获两届上海轻量级散手冠军。后随李国机先生学习法律。成为上海大律师。
蔡鸿祥老师的公子蔡燕奭转行荣获柔道冠军，后成了优秀的柔道教练。多次公派出国教学。
蔡鸿祥的学生钱仁标多次荣获上海，全国散打重量级冠军。
85年受聘上海体育学院任专职散打教练。87年任总教练。
90年国家散打队首任总教练。
92年受国家公派出国，任埃及皇家保卫队总教练。
现在在上海开武馆培养搏击人才。
钱仁标还得到蔡龙云的武术技击训练。张立德的拳击训练。
他身高力大，技术全面。是中国搏斗界的代表人物。
王翰之老师的学生张笃淦在意大利全国推广八卦掌。现在学生
都已经在意大利全国各地教授八卦掌。真可谓桃李满天下。
王翰之老师的学生Samuel Jiang 也在澳洲推广八卦掌。并拍摄电影来加强八卦掌宣传。
正当我如痴如醉地悠荡在武术宝殿时。一件发生在我舅舅身上的事。让我产生迷惘。抱着对武术前途无望的心情。我默默地，悄悄离开了深深热爱的武壇，跟随舅舅一同扎入求师学医的旅途。
我不知道为什么有关部门要迫害审查我舅舅。禁止他教拳。并把他下放去最艰苦的地方干活。
舅舅教拳场地，在上海人民广场，面对人民公园1号门，靠近西藏南路。原来是蔡鸿祥老师的。因为蔡老师担任上海武术队教练，上海体育宫副负责人，正负责人顾留謦。（顾是上海武术协会会长。许多中央首长的太极老师。因教过越南胡志明。在文革时得到保护。）
蔡老师将练武场地交给我舅舅，希望他能发扬光大。我舅舅不负厚望。把场子搞得红红火火。是当时上海最大的拳场。每天早晨围观的人群里三层。外三层密密麻麻。很多人成了老看客。
舅舅是黄埔区武术教练。他的武术训练完全证照蔡鸿祥老师的训练教程。和专业队训练一样，动作要求严格。所以学生打的武术套路都很漂亮。套路又多。单打，对练，徒手，器械。软的，硬的，长的，短的，十分好看，围观群众很喜欢。到了星期日，节假日。人更多。加上舅舅的师兄弟带着学生赶来，大家兴致更高，常常练到中午才结束，那是一段艰苦的历程。但对我们来说，更是一段快乐的光阴。
传统武术技击术必须在老师的口传心授中才能领会精髓，在多次的喂招中，才能学会。在师门学会了传统技击术，只是掌握技击术的一半。还有一半就要靠自己出去磨练。这就是为什么过去徒弟学会了本领，师傅要他离开师门出外云游江湖的原因。
文革时代，学校没课。我把时间都用在随老师学武，找练武者比试。由于多数习武者没经过技击术训练。所以在无数次的打斗比试中。我都轻而易举的赢了。华拳技击术和八卦技击术的融合，使我如虎添翼，即使遇到身高力大者，仗着步伐轻盈，身法灵活，手脚快捷，也能克敌制胜。
在那个年代，我们练武者之间常常比试。但无人有成名成家之念，更没输赢赌钱之举。那年代有名就会被打倒，有钱就会被抄家。人怕出名猪怕壮。那个年代的人，不像现在想出名，想发财。我们就是看看自己所学能不能用。对输赢不计较，心里也没压力。比试就是看看自己所学用不用得上。对比试结果都怕人知道给师傅找来麻烦。所以无人会说。真因为如此。我才能经历了无数比试，还平安无事。
王壮飞老师，本名鹏程，字云飞。壮飞乃宫宝田所赐。
舅舅是王壮飞老师磕头弟子。因我痴迷八卦掌技击。引荐我进入王家。蒙师门厚恩。王壮飞老师亲授八卦穿掌，八卦盘手，八大锤，四路巴掌等等八卦掌技击术，由其公子王翰之老师带我穿掌，盘手。
王翰之老师长我八岁。天赋极高，却因家庭成分不能进大学。
王壮飞老师让他协助教拳。只要跟王壮飞老师学八卦掌。不管年龄多大，都受到王翰之老师的恩惠，而且都受益非浅。都叫王瀚之为：大师兄。只有我始终称呼王翰之，王老师。
八卦穿掌乃董海川传下的武林绝技。看似平淡无奇，实则内藏无穷玄机，踢，打，摔，拿，跌各种技击技巧都蕴含其中。
八卦盘手和太极推手虽然都是以柔化为主。但实则区别很多。八卦掌一切技击动作都是以我为主。不管对方动作如何，都必须努力掌握主动权。不能消极陷入被动之局。
不管穿掌，或者盘手，在动作基本清楚后，都必须在行步走动中练熟练透。在王壮飞老师和王翰之老师大力栽培下，我终于学到八卦掌技击术。
踢，打，摔，拿传统武术技击术，蔡鸿祥老师样样精通，示范动作出神入化，我和蔡燕奭一遍一遍的练，每一个看上去简单的动作，却需要蔡老师一次一次的讲解和示范，才能领会其中的要点，真正达到蔡老师的标准。
在技击术训练中。踢打尚可，摔拿就很累。我个小人瘦。蔡燕奭人比我高，体格比我壮。力气当然比我大。好在蔡燕奭年龄比我小，人很敦厚，总是在我力量范围内，配合我完成动作。这样才能顺利达到蔡老师的肯定，接着练下一个动作。
那一段时间里，我和蔡燕奭累了。就看蔡燕华练武术基本功。
蔡燕华累了，就看她哥哥和我练打。我们都很累，但我们都很开心。这几十年前的往事，那是我生命中幸福的时光。
蔡鸿祥老师是全国著名专业武术队教练。本身武术功夫炉火纯青，武术讲解明白清晰。示范时，每个技击动作干脆利索。使我学得很容易。
传统武术技击术训练最大的秘密是
喂招。由于喂招必须花费师傅很大的精力和时间。完全靠口传心授。所以一个武术老师一生不可能教很多学生。加上老师考核学生品质天赋也要时间。我有缘得到，主要是蔡老师和我舅舅相知至深。舅舅虽然是蔡老师的学生，却年长与蔡老师。彼此之间，相敬相爱，友谊很深。我从小跟着舅舅。蔡老师也知道。这样就少了考核时间。
每教一个动作，我都要和老师的公子蔡燕奭反反复复的练习。每个动作我们不知道要练多少次。外人看来简单无聊，苦糙无味。我们却练得兴趣盈然，乐此不疲。
舅舅见我对传统武术的技击术很着迷。就把我先后送到他的华拳老师蔡鸿祥；八卦掌老师王壮飞那里。专门学习传统技击术。
蔡鸿祥老师是华拳门代表人物蔡桂勤的最喜爱的弟子，蔡龙云的师弟。
蔡鸿祥老师文革前是上海武术队教练。上海体育宫副负责人。
1953年起，多次荣获全国武术冠军。他执教的上海武术队也是一支夺金摘银的劲旅。文革中蔡鸿祥老师蒙遭冤害，受牢狱之苦。
舅舅带我去蔡老师家。蔡老师见我基本功好。腰腿柔软灵活，弹跳力强，当时我的单飞，双飞。腾空摆莲，旋风腿都跳得很高，在空中身体还有一种停止的感觉。这种体会，我想凡是努力练过武术弹跳训练的都有经历。
蔡老师见我基本功不错，武术套路练得很好看。知道我想学打。就答应教我了。这给了我一个接受系统华拳门技击术的机会。
在我舅舅严格的训练下，我的基本功越来越扎实。武术套路也打的越来越漂亮。正在我们可以扬眉吐气，炫耀我们武术套路水平时。中国爆发了文化大革命。一切都禁止了。
武术也从公开转入地下。当武术套路失去比赛和表演的舞台。
我舅舅在文革前已经开始偷偷教我武术技击术了。十几岁的男孩。真是好打架的年齡。但我舅舅再三告诫，学武之人，绝不可和不学武者打架。（我舅舅一生从无和人，因争吵而打，我遵循舅舅告诫。也一生没有与人因争吵而打架）但年少气盛，喜欢和学武者较量。那时我不懂怎么叫切磋。就叫比武。仗着身体灵活，闪展腾那，手脚快捷，侥幸未败。这样经历的多了。
对武术技击的兴趣就越来越浓。
八卦穿掌运用易经卦象，阴阳消长盈虚之理，变化往来顺逆之法。运先天之气，化后天之力。体柔用刚，内含玄机，令人不识端倪。乃中华武术中上乘技击术。
八卦穿掌过去为中国清朝皇家垄断。故知者不多，我有幸在1960s 学的此术。现欲公布于世。有兴趣者，可联系：
zou@baguamaster.org
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练八卦掌，第一要 把头挂在空中。即顶头悬也。
初练者。很难做到。可以先下巴微收。头顶百会穴用力向上顶即可。
八卦掌转掌走圈，脊椎旋转，腰胯灵活。脊如游龙，胯似猛虎。力由脊发。脊椎在不停的走转中，人体背后的肌肉韧带得到充分的舒展和卷缩，从而充满弹性，力量充沛。
腰胯骨盆在八卦掌左旋右转中，脊椎骨盆之间的活动空间越来越大，腰胯关节越来越鬆，人体会越来越平稳，行动会越来越轻捷。这种状态下，八卦掌的演练动作如行云流水，龙腾虎跃。
鄒增華八卦拳教室 