Spear

Chen style offers a plethora of weapons to the interested student. Among the forms are straight sword, broadsword, staff, halberd, double straight sword, double broadsword , double maces and the spear- the traditional king of the long weapons.

Chen Wang Ting is credited with creating the Chen family spear form. This would make the routine one of the oldest forms in Taiji. One finds many similarities in technique with the spear and staff methods of other, external styles of traditional Wushu. In "The Origin, Evolution, and Development of Shadow Boxing" Gu Liuxin cites historian T'ang Hao's thesis that Chen Wang Ting was heavily influenced by the works of the Ming general Qi Jiguang in his formulation of the techniques of Chen style Taiji. It stands to reason that, as a military officer, Chen Wang Ting was also influenced by predominant weapons techniques of the time when creating his spear routine.

Watching Chen Zheng Lei (the head instructor of the Henan Wushu Training Center, Chengiagou International Taiji Popularization Center, and nineteenth generation inheritor of the art, ) demonstrate the Li Hua Chiang Jia Bai Yuan Kun form, the martial purpose of the Chen style spear becomes apparent. The form has very few slow movements. It is swift, direct, and powerful.Traditionally, the spear is one of the most advanced weapons in wushu. To correctly perform the techniques of the spear, the player must have a firm grasp of the basic and intermediate techniques of his style. It is necessary to develop upper body strength and flexibility, as well as strong stances and footwork.

A specific requirement of the Chen style Taiji spear is the the ability to issue force fa jing through the weapon in a relaxed manner. With the slightest of movements, Chen Zheng Lei is able to cause the end of a thick waxwood spear to shake wildly- a feat impossible to duplicate without extensive previous training in fa jing.

In order to discuss the techniques of the form, it is necessary to first describe the spear itself. It can be divided into three parts: the base, the middle, and the head. The head can be divided into three also: the tassel, the shaft, and the blade which can further be divided into point, side blades, and root. The blade, made of metal, is usually about 6 inches long. The shaft is of equal length, also made of metal, and is sometimes hollow, containing a metal ball, the noise of which alerts the user as to the location of the spear head while spinning the spear in combat&gt. Tied to the base of the shaft is a horse hair tassel, designed to soak up blood, stopping it from flowing onto the shaft of the spear itself, making gripping difficult.
The middle and base of the spear, or shaft, is usually of a flexible wood, such as waxwood, or rattan. It tapers from the base toward the head. The overall length of the spear depends on the player: the spear should be at least the length from the floor to the tips of the players' fingers when the arm is extended straight up, fingers straight. However, Chen Zheng Lei notes that, for training purposes, a longer spear will better develop the players' ability to fa jing.

As the name of the Chen family spear implies. Li Hua Chiang Jia Bai Yuan Kun includes techniques of both the Pear Flower Spear and the White Ape Staff. The routine is long-seventy one postures- and, executed at normal speed, takes approximately two minutes to perform. It consists of fourteen rows or sets of techniques executed in a particular direction. The directions are primarily north and south, although many movements within the rows are directed at a diagonal.

The form utilizes the basic postural requirements of the Lao Jia Chen style, as well as the basic stances of the system: ma bu horse stance, gung bu bow stance, xu bu stance, pu bu stance, xie bu stance, ding bu stance, chi lin bu stance, and the gin gi du li stance. Also employed are stepping techniques found in the routines of Yi Lu and Er Lu, such as forward stepping, backward stepping, following stepping, cover stepping, stealing stepping, stamping stepping, ambushing stepping, leaping forward, half body turning, and whole body turning.

Chen Zheng Lei divides the techniques of the form into two categories: straight-line techniques of the Pear Flower spear, utilizing the head of the weapon to pierce or cut: and angular movements of the White Ape Staff, employing the shaft of the weapon to block, deflect, and strike. In the majority of techniques, the concepts of sticking and listening, as taught in Tui Shou, are applied to the spear. Examples of straight line spear techniques include posture #5,Thrust Forward Three Times, a series of 3 swift parries and thrusts to the opponents chest utilizing following steps and posture # 26, Spear Thrusts like Falling Rain a thrust over the opponents spear aimed at the groin.

Among many examples of angular staff techniques are posture # 3, Full Turning Flowers a set of figure 8 blocks to the sides of the body accompanied by two full 360 rotations of the body and posture # 19, Spear Touches the Ground like a Snake in which, following a set of circular blocks, the body drops into pu bu, the spear pressing down on the opponents weapon, pinning it to the ground.There are several methods of gripping the spear. In general, the spear is held in a left leading position. That is to say, the bottom section of the shaft is held and manipulated by the right hand, the left hand serving as a fulcrum and stabilizer. When holding the spear, the hands are usually reversed from each other: if one palm faces upward, the other faces downward.

The distance between the hands, and their relative positions on the shaft of the spear varies from posture to posture, depending on the application of that posture. Specifically, the distance between the player and his intended target.In a short range technique, such as posture # 36, Cat Catching a Rat, the hands are held approximately 1.5 feet apart, grasping the upper half of the shaft.In a medium range technique, such as posture # 23, Brandish the Spear Like a Flag, the hands are again 1.5 feet apart, straddling the center of the shaft.In a long range technique, the rear hand holds the base of the shaft, and the forward hand grasps the center. This can be a static grip, in which the hands do not change relative positions while thrusting or blocking, such as in posture # 4,Mid Level Thrust. For added range, the rear hand can slide the shaft forward, the leading hand acting as a guide until the hands meet, as in posture # 22, Thrust Twice to Chest with Three Steps.

For extreme long range, the spear can be gripped by one hand at the base. This is usually accompanied by a 180 turning of the body toward the target in concert with a thrusting motion, as in posture #10, Thrust at Dragon's Feet, and posture #41, Thrust with One Hand.

In general, the techniques of the spear are designed to counter an armed enemy: short range techniques are suitable against short weapons, such as the sword, stick, or knife, and long range techniques are practical for longer weapons, such as spear, staff, or halberd.

Frontal body targets for the spear head include the instep, knees, groin, stomach, solar plexus, heart, throat, and neck. Rear targets include the Achilles' tendons, backs of knees, kidneys, and neck.

The Chen family spear is a beautiful and intricate form. Its' value is both practical and aesthetic. It is a practical training method: while the player is not likely to encounter a situation requiring him to engage in battle with the weapon, practice with the spear will enhance his bare hand skills by developing both balance and the ability to issue energy. Artistically, it is a complex and demanding routine to perform, and a pleasure to watch. It is also a valuable legacy: a connection to an ancient time, and a far-off place-a direct link to the origins of the art of Taiji.