FIVE-ANIMAL COMBINATION SET

How to Improve Combat Efficiency

As we have seen, some people, including Kung Fu students, believe that if they know Kung Fu sets, they know how to fight. It is like thinking that if you learn the techniques of football or swimming, you can play foot- ball or swim. Of course you cannot; you need to practise on the football field or in the swimming pool Similarly, Kung Fu sets provide useful techniques, but to fight well, you need other ingredients like judgement, quick thinking, speed, power, spacing, timing, balance and fluidity of movement. And most important of all, you need to practise fighting, usually in the form of sparring. If you have never sparred, it is unlikely that you can fight, even ifyou have practised Kung Fu sets all your life.
Shaolin Kung Fu is rich in ways of developing combat efficiency. Specific techniques, combat sequences, combination sets, force training, and the principles of tactics and strategies are the specialized areas for combat training. Briefly, specific techniques provide you with knowledge and practice in overcoming particular combat situations; combat sequences enable you to apply these techniques in continuous fighting, with training in judgement and quick thinking to meet changing situations in the fight; combination sets allow you to improve your spacing, timing, balance and fluidity of movement; force training supplies the power, speed and agility that are crucial in winning a fight; and the principles of tactics and strategies help you to use your brain as well as your strength to clinch victory.
In this chapter we shall study a combination set based on the Five- Animal set we learned in the last chapter. A combination set is where two or more participants go over a routine of prearranged sparring patterns. It is much longer than a combat sequence, and serves different training purposes, although there are some overlapping factors. An average com- bat sequence consists of about three to six exchanges, whereas an average combination set consists of between 20 and 30. Because combat sequences are short, participants have more opportunities to develop their judgement and decision making in combat, as they frequently modify or change patterns from the prearranged sequences. Modification or changes are seldom made in combination sets, so that students can better concentrate on their prearranged patterns to improve such skills as spac- ing, timing, balance and fluid movement.
Hence, in the following combination set of the Five Animals, besides learning the combat application of all the patterns from the Five-Animal set, and how they are linked to achieve certain technical advantages you should try to develop skills like spacing, timing, balance and fluidity of movement, by practising the combination set with a training partner or an imaginary opponent.

The Fascination of Kung Fu Application

For convenience, the two participants in the combination set are referred to as X andY. The form and movement of the patterns, which are shown in figures 10.1-I0.6, are not explained in detail in the description, which only mentions the most important points.
1 Greetings. Be prepared for your opponent to attack you while you greet him. If he does, which is of course discourteous, you should just move to an appropriate response, treating your greeting pattern as part of the combat sequence. A useful piece of advice is: be gallant but be always prepared for your opponent to be a rogue. Seefigure 10.1 (a)

2 Poise patterns. X uses a variation of Single Dragon Emerges from Sea as a poise pattern, while Y uses Stabilizing Cosmos with One- Finger Zen, as infigure I0.1 (b). Both are dragon forms, intended to enable the practitioners to be calm and alert.

3 Golden Leopard Speeds Through Jungle. X initiates the combat with a fast attack, driving a right Leopard Punch atY -figure 10. 1 (c).

4 Poisonous Snake Basks in Mist. Y retreats to a False-Leg Stance, 'shallowing' X's attack, and coils a snake-head on X's forearm, ready to shoot out -figure 10.10.

5 Poisonous Snake Shoots out Venom (left). Y shoots out a left snake form at X's throat, with a right snake form guarding X's arm – figure I0.1 (d).

6 Single Tiger Emerges from Cave (right). X takes the front leg back to a right False-Leg Stance to avoid the snake attack, and uses a right Tiger Claw first to lean on the attacker's forearm, then to grip on the wrist-figure 10.1 (d).

7 Poisonous Snake Shoots out Venom (right). With a circular turn of the wrist, Y avoids X's attempt to grip the left wrist, and simultaneously shoots out a right snake form at X's throat -figure
10.1 (e).

8 Single Tiger Emerges from Cave (left). X retreats to a left False-Leg Stance and uses a left Tiger Claw to grip Y's right wrist – figure 10. 1 (e).

9 White Snake Crosses Valley. Y immediately releases the grip by making a circular twist of the right wrist, then moving the right leg forwards, swings up the right hand to slice X's body from the stomach to the chin -figure I0.1 09.

10 White Tiger Presents Claw. X moves the left leg back to form a right False-Leg Stance to avoid the snake attack, and simultaneously grips Y's elbow with a right Tiger Claw. This is attacking Y at his or her weak point, following the momentum of the attack – figure10. l (f).

11 Poisonous Snake StrikesVital Point. Y circles the right forearm in an anticlockwise movement to push away the Tiger Claw grip, simultaneously changing into a Unicorn Step and using the left snake form to strike a vital point below X's armpit. This is defence and counter-figure 10.2 (a).

12 Hungry Tiger Catches Goat. X uses a right Tiger Claw to tame the snake attack, and simultaneously presses forwards with the right leg to attack Y's face with a left Tiger Claw. This is the formidable Shaolin Double Tiger Claws. See figure I O. 2 (b).

13 Fierce Tiger Crouches on Ground. Instead of meeting the pressing attack of X's Double Tiger Claws,Y crouches on the ground and grips X's ankle with a right Tiger Claw -.figure 10.2 (c).

14 Crane Drinks Beside Stream. X quickly lifts the leg to avoid the Tiger Claw, moves diagonally forwards, and simultaneously uses a left Phoenix-Eye Punch to strike a vital point at Y's shoulder joint, which controls the muscles holding the forearm to the shoulder -figure 10.2 (d).This strike can immobihzeY's forearm.

15 Spiritual Dragon Rises Towards Sky. Y wards offthe Phoenix- Eye strike and holds X's elbow with the left hand, supporting X's body with the shoulder, and holds X's leg with the right hand. With the help of the body's rising momentum, he or she throws X off the ground -.figure I0.2 (e).

16 Black Tiger Steals Heart. With a clockwise circular sweep of the heft hand to push offthe elbow hold, and jumping diagonally forward with the left and then immediately the right leg, X avoidsY's throw X instandy makes a left about turn and drives a straight punch int0Y-figure I0.2 60.

17 Green Dragon Shoots out Pearl. With a clockwise circular movement of the left hand,Y sweeps away X's punch, and simultaneously strikes X's chest with a right Dragon Palm. This is defence and counter. See.figure 10.3 fa).

18 Fierce Tiger Descends Mountain. X moves the back right leg diagonally to the right, chen brings the left leg close to the right leg in a left Cat Step -.figure 10.3 (b) – then immediately moves the left leg forward and attacks Y's head with a left Tiger Claw, while a right Tiger Claw guardsY's left hand -.figure 10.3 (c).

19 Golden Leopard Watches Fire. Y sits on the ground in the Seven-Star Stance, turns the body to the left and strikes X's ribs with a Leopard Punch in a beautiful no defence, direct counter -figure 10.3 (d).

20 Crane Drinks Beside Stream. X moves the front left leg diagonally forwards, thus avoiding Y's attack, and simultaneously strikesY's temple with a right Phoenix-Eye Punch in another beautiful no defence, direct counter-figure 10.3 (e).

21 Crane Stands Among Cockerels. Y springs up to the left and kicks X's genitals with the right leg in what is called the Organ- Seeking Kick -figure 10.3 ~'). In line with the compassionate teachings of Shaolin,Y would just touch the opponent's organ, instead of exploding it as a hard kick could. Spacing and Timing in Combat

22 Swimming Dragon Plays with Water. X moves the right back leg a small step further backwards, swerves to avoidY's kick, and uses the left hand to thread the kicking leg away -figure 10.4 (a).

23 Golden Leopard Speeds Through Jungle. Immediately X moves the left front leg a step forwards and strikes with a right Leopard Punch at Y's soft spot below the ribs -figure 10.4 (b).

24 Black Tiger Presents Claw. Y places the right leg behind, thus moving the body backwards to avoid the Leopard Punch, sits in a sideways Bow-Arrow Stance and grips X's wrist with a right Tiger Claw, and X's vital point below the armpit with a left Tiger Claw figure 10.4 (c).

25 Poisonous Snake Basks in Mist. BeforeY can successfully apply the Tiger Claw grip, X quickly sits back on the right back leg in a left. False-Leg Stance, sharply jerks the right hand downwards against Y's wrist, and lowers the forearm close to the body to protect the armpit all in the same smooth movement, thus neutralizingY's attack. X is about to shoot out a snake pattern, but Y swiftly moves away into a poise pattern, Swimming Dragon Plays with Water -figure I O. 4 (d).

26 Swimming Dragon Plays with Water. Y's Swimming Dragon Plays withWater is a very good poise pattern, as it is well covered for defence, as well as ready for instant attack. X remains with Poisonous Snake Basks in Mist, which is another excellent poise pattern, as it also provides good defence coverage and attack readiness, although it is different from Swimming Dragon in many ways. Both combatants assess each other for opportunities.

27 Dragon's Chi Spreads Across River. As both poise patterns constitute very good defence positions, neither combatant wishes to attack. Among masters, the one who starts an attack is at a slight disadvantage, unless there is a good opportunity. Thus X changes from the Poisonous Snake Basks in Mist poise pattern to a variation of Dragon's Chi Spreads Across the River to offer Y an opening -figure I0.4 (e).As this poise pattern is wide open, it is not suitable for beginners; but you must be very careful if a master uses it, for he is likely to employ it as a bait.

28 Black Tiger Crosses Valley. Y moves in with a right Bow-Arrow Stance and a straight right punch. This is an appropriate attack against an open poise pattern which may be a bait, because this attack, in a straight line, minimizes the areas which the opponent can exploit figure 10.5 (a). Moreover, as this tiger form uses internal force and not external strength, it is not necessary to use charging momentum, which means Y can move in cautiously, thus eliminating the risk involved in rushing in.

29 Crane Stands Among Cockerels. As Y's punch approaches, X shifts his or her body weight to the left leg and inflicts a right snap kick to Y's ribs. This is no defence, direct counter, which is an advanced way of countering. See`figure 10.5 (a).

30 Poisonous Snake StrikesVital Point. Y turns to a Unicorn Step, thus avoiding X's kick. The right hand guards against any further variation of the kicking leg. Simultaneously a left snake form strikes a vital point below X's breast -`figure 10.5 (b).

31 Crane Drinks Beside Stream. X brings the right leg back immediately after the kick, uses the right palm to push aside Y's arm, then moves the right leg diagonally forwards, and simultaneously uses a left Phoenix-Eye Punch to strike Y's vital point at the waist -figure 10.5 (c).

32 Reincarnated Crane (right). Y hooks X's attacking arm with a left Crane Beak, and strikes a vital point behind X's left ear with a right Crane Beak. This is an elegant pattern, and not easy for a student to counter. Without moving leg position, but just by a shift of stance,Y avoids X's attack and simultaneously strikes him or her from behind figure 10.5 (d).

33 White Tiger Presents Claw (right). X's counter is beautiful too. By turning around into the left False-Leg Stance, he or she avoids Y's attack, and simultaneously grips the vital points atY's elbow with a right Tiger Claw. This is another example of no defence, direct counter. See figure 10.5 (e)

34 Reincarnated Crane (left). By shifting his or her body weight to the left leg and standing in the right False-Leg Stance, Y avoids the Tiger Claw. With a right Crane Beak he or she hooks away X's arm, and simultaneously strikes X'S temple with a left Crane Beak -figure I0.50').

35 White Tiger Presents Claw (left). X uses the same tiger pattern against Y's second crane attack, shifting his or her body weight to the left leg and standing in a right False-Leg Stance, simultaneously gripping Y's left elbow. A Tiger Claw gripping the elbow of an attacking crane pattern is a very good counter-attack, employing the principle of using one's strength against the opponent's weakness. This counter is like a tiger gripping a crane's neck. See figure 10.5 (g).

36 Old Dragon Takes Water. Y makes a circular movement with the left hand to push away X'S Tiger Claw, and simultaneously strikes X's ribs with a right Dragon Pahn -figure I0.6 (a). He or she may need to adjust leg position, for example moving the right leg back, to achieve the best spacing for this purpose.

37 Golden Leopard Speeds Through Lotus. 'To avoid Y's attack, X moves the left leg across the right leg from behind, makes a left about-turn and sits in a sideways Horseriding Stance, striking out a right Leopard Punch figure 10.6 (b).This is also a no defence, direct counter.

38 Double Dragons Play with Pearl. Y 'shallows' X's attack by shifting the body to the back right leg, then shoots his front left leg forward into a left Bow-Arrow Stance, simultaneously striking out a Double Dragon attack with the right punch above, and the left punch below, and the palms, if they had been open, facing each other figure 10.6 (c).This is an example of defence and counter.

39 Crane Stands Among Cockerels. X jumps to the right with the right leg, and kicks atY's ribs with the left leg, using the toes as striking points -figure 10.6 (d).

40 Angry Leopard Charges at Rock. Y moves the back right leg to tile right into a left False-Leg Stance, thus avoiding X'S kick, and simultaneously strikes X'S ankle with a left Leopard Punch -figure10.6 (e).Y is about to follow up with another attack, but X has jumped away after pulling the leg back immediately after the kick.

41 Poise Patterns. For their poise patterns, X uses Lohan Asks the Way whileY uses Single Tiger Emerges from Cave -figure 10. 6 09.

42 Focus Chi at dantlan. Both participants complete the combination set with mutual greetings, followed by focusing chi at their dantian -figure 10.6 (g).

Advanced Techniques to Clinch Victory

The techniques illustrated above are quite advanced. For various reasons, the fighting techniques used today are relatively simple compared to those of the past, and are mostly comprised of elementary punches and kicks, and straightforward blocks. Hence, some people who are used to seeing such simple techniques may question whether the elaborate Shaolin techniques shown above are practical, or whether they are merely flowery movements of use only in prearranged demonstrations. They may doubt whether any person can be skilful enough to apply these complex techniques in a fight.
It is true that if someone gives you a straightforward punch, it is easier to respond with a straightforward block. It needs more skill, which means much more dedicated practice, to respond in the ways demonstrated in the Five-Animal combination set, such as hooking the attack long arm with one Crane Beak and striking the temple with another, or gripping the attacker's wrist in one Tiger Claw and gripping the armpit in another. But it is more combat efficient to employ the more advanced techniques. In a combat situation, if exponents do not use the more efficient advanced techniques, it is because they do not know' them, or because they lack the skill to use them effectively.
In the past, when efficient fighting might mean the difference between life and death, combatants would attain very advanced levels of skill and techniques. It was the norm to use advanced techniques, because they are more efficacious than simple ones. Combatants who used simple punches and kicks and elementary blocks (with a few exceptions which will be explained in the next chapter), would easily be defeated, because their simple techniques put them at a disadvantage.
If you are prepared to spend the time and effort to develop these advanced techniques and skills to a high standard, you ,,viii easily beat opponents who use only simple punches, kicks and blocks, and whose skills in using them are not as good as yours in executing advanced techniques. When someone punches you, for instance, and you shift your body to one side and grip his or her elbow with your powerful Tiger Claw, that ends the combat. If someone gives you a side kick and you thread away his leg, and follow up with a Leopard Punch at a soft spot below his ribs, this puts the attacker out of action. You can win easily because your opponents, who only know simple punches, kicks and blocks, have never seen such 'outlandish' techniques before. When they meet a master who exe- cutes them well, they simply do not know how to react.
But in time, as you use these advanced techniques more often, others will learn and practise ways to overcome them. When you grip someone's elbow with your Tiger Claw, he or she may know how to neutralize it with a circular sweep of one hand and strike you with a Dragon Pahn of the other hand. When you drive a Leopard Punch into somebody's soft spot, he or she may grip your wrist, twist it and grip some vital points at your armpit with a Tiger Claw of the other hand. You will have to respond to these counter-attacks, and then they will have to respond to yours. Because you will all have passed beyond the level of simple attack and defence, you will, if you want to win, have to use only techniques; that can give you the best advantage in the different combat situations. In other words, when the level of fighting has become high, most combat- ants will use techniques like those that were illustrated in the Five-Animal combination set above, because they give the most advantages.
However, techniques are not the tuffy deciding factor in combat. You must have force to back your techniques. For example, you may be able to grip your opponent's elbow or drive a Leopard Punch, but if your grip or punch lacks the force to cause sufficient damage, you will not win. Force training will be explained in the next chapter.