Chi Kung - Qigong Program Five Animals

The Five Animal Frolics

A Form Workbook

By John Du Cane

A Complete Qigong Program for High Energy, Vitality and Well Being


A Form Workbook

By John Du Cane

Dragon Door PublicationsPO Box 4381, St. Paul, MN 55104

Phone: (651) 645-0517 Fax:(651) 644-5676Credit Card Orders: 1-800-899-5111

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The Five Animal Frolics Form DescriptionsCopyright © 2002 by John Du Cane

All rights reserved. No part of this book may be reproduced, stored in a retrieval system ortransmitted in any way by any means, electronic, mechanical, photocopy, recording orotherwise, without the prior permission of the author.

Published in the United States by:Dragon Door Publications, IncP.O. Box 4381, St. Paul, MN 55104Tel: (651) 487-2180 • Fax: (651) 487-3954Credit card orders: 1-800-899-5111Email: [email protected] • Website: www.dragondoor.com

Book design, Illustrations and cover by Derek BrighamWebsite http//www.dbrigham.com Tel/Fax: (612) 827-3431 • Email: [email protected]

Manufactured in the United StatesSecond Edition: May 2002

DISCLAIMER

The author and publisher of this material are not responsible in any manner whatsoeverfor any injury that may occur through following the instructions contained in this material.The activities, physical and otherwise, described herein for informational purposes only,may be too strenuous or dangerous for some people and the reader(s) should consult aphysician before engaging in them.


A Form Workbook

By John Du Cane

Table of Contents

Chapter 1 1Daoist qigong techniques give promiseof longevity, self-healing

Chapter 2 3How Qigong Can Help You Relax Out of Stress

Chapter 3 7The Crane

Chapter 4 37The Bear

Chapter 5 69The Monkey

Chapter 6 85The Deer

Chapter 7 109The Tiger

Five Animal Video Information 122

Chapter 1

Daoist qigong techniquesgive promise

of longevity, self-healing

Daoism celebrates and cultivates the art of living in accord with the cyclicalplay of natural energies, maintaining an easy, humorous, yet commonsenseapproach to everyday life. Daoism cultivates our capacity to spiral from theserene and tranquil to the energetic and dynamic. In this spirit, the Daoistscreated refined qigong systems of meditative movement to induce harmonywith nature, generate energy, and at the highest levels, to achieve spiritualillumination.

Qigong teaches us to harmonize body, mind and breath while usingscientifically choreographed movements to stimulate or relax our energy.Qigong bolsters the primal, reproductive vitality, or “jing”; it potentiates thedaily bioelectrical energy, or “qi”; and it refines the light of our radiant spirit,or “shen”. Imagine yourself as a candle: the candle body is your jing, theflame is your qi, and the candle light your shen. These three treasures areinterdependent. Cultivation of the one leads to cultivation of the others, justas neglect or dissipation of the one will adversely affect the others.

Qigong divides into two main categories—the tranquil and the dynamic.But, typically of Daoist practice, tranquil qigong will have a dynamiccomponent—motionless on the surface, yet moving the qi internally. Dynamicqigong will also cultivate tranquility, learning to move vigorously from a stillcore. Skillful practitioners learn to be aware of and incorporate the fullspectrum of internal and external activity, equally comfortable with thetranquil or the dynamic, always cultivating the seed of one within the soil ofthe other.

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One of the most delightful and accessible of the dynamic qigongs has to bethe Five Animal Frolics. The exercises combine the internal with the external,invigorating the organs and soothing the nervous system, while strengtheningand toning the external musculature. They affirm a playful, uninhibitedapproach to meditative movement, allowing for strong benefits without anoverly serious slog for results.

The father of Chinese medicine, Hua To concluded that the single greatestsecret for a healthy life lay in the practice of correct movement. His analogybecame dear to the hearts of all tai ji enthusiasts: “A door’s hinge won’t getworm-eaten, if you use it.” Today we would say "If you oil and use thehinge.” Qigong and tai ji movements, when properly performed, stimulatethat internal lubrication of free-flowing qi, blood, and lymph essential to ourcontinued health and sense of well being.

Believing also that the highest healing skill is to teach others to healthemselves, Hua To set out to create a complete self-healing system thatanyone could use to stay healthy or cure themselves of most ailments.Synthesizing and refining a set of exercises based on a vast body of ancientshamanic and folk healing knowledge, he created The Five Animal Frolics.The Frolics incorporate many of the principles of tai ji but in a more basicform. They are far easier to perform than tai ji, very pleasurable and relativelysimple to maintain as a daily practice. Individual sequences can be used asquick, invigorating stress-buster; the full program is an exhilaratingtherapeutic experience.

The exercises model movement from the crane, the bear, the monkey, thetiger, and the deer. These are animals with very distinctive styles of movement.The idea is not merely to mimic the external motions of the animal, but tointernalize the nature of that animal as you practice. Each Frolic alsoemphasizes different health benefits and you can choose a specific animal forspecific results. Their movements form arcs, spirals, waves and spins, inaccord with the Chinese belief that circular movement underlies all mentaland subtle energetic activity. To avoid imbalance, the movements aresometimes slow, sometimes fast, and are deliberately designed to alternatelystrengthen and soften the body.

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Chapter 2

How Qigong Can Help You Relax Out of Stress

Our birthright is to swim in an ocean of pleasure and harmony, luxuriatingin the rolling swell of life. As young children—if we are fortunate—we livethat birthright. We celebrate life with a buoyant, carefree, vital engagement inthe everyday moment.

Then something starts to happen to us. We begin to tense up. We begin toclose down. We begin to lose touch with our bodies and live in our heads. Webecome confused about our feelings. We start to regret the past or fantasizeabout the future. We begin to fragment. We start to lose our fluid integrity asfully expressed and responsive human beings.

What happened? In a nutshell, stress happened. While a certain amount ofstress is natural to life, our search for technological shortcuts to comfort andconvenience has ironically created unprecedented waves of stress in ourmodern lives. Our nervous systems are constantly reacting to a barrage ofphone calls, faxes, e-mails, frenzied traffic and numbing schedules.

Life seems to have become more of a struggle, with less rather than moretime to rest. Sooner or later we really hit the wall. We end up sick in bed. Ora major crisis stuns us into a temporary halt. Stress has got the better of us.Not surprisingly, the World Health Organization is now listing stress as aprime contributor to the five leading causes of death— such as cancer andheart disease.

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Although most of us are now aware of the dangers of stress, we’ve becomeso addicted to the surges and swings of feeling associated with stress, we canno longer imagine life any other way. If things get too quiet we start seekingout a new stressor to react to, for another chemical jolt, another toxic surgeof excitement and nervous expenditure.

The Most Effective Self-Care System in the World?

There are many ways to intervene in this vicious cycle and reclaim our peaceof mind—restoring balance and serenity in our lives. Meditation, yoga andmoderate exercise can all help. But, after twenty-five years of personalresearch into what works best to counter stress, I’ve found the ancientChinese art of qigong to offer the surest results.

So why and how is qigong so effective in managing stress?

First, qigong emphasizes and teaches how to breathe correctly into the lowerstomach. When we breathe this way consistently, our lymph systems areeffectively activated, detoxifying the body and sending a gentle stream ofenergizing oxygen into the tissues. Activation of the lymph systemautomatically triggers a relaxation response throughout the body. Weautomatically feel balanced and “well”. Qigong also activates the lymphsystem with off-the-body stroking movements and an emphasis on pumpingthe legs with up and down squatting movements.

Secondly, qigong’s strong mental emphasis on internal relaxation shifts usout of the sympathetic nervous system (associated with fight-or-flight and ournormal reaction to stress) into the parasympathetic nervous system(associated with feelings of pleasure and harmony). This is so important.Over-use of the sympathetic nervous system depletes our adrenals and floodsthe body with toxic levels of cortisol. We literally burn ourselves out. But likerats hitting the button for more cocaine, we just can’t stop. Qigong slowlyseduces us back into the gentle world of the parasympathetic and over timewe build up a “body-memory” that allows us to choose a different, relaxedresponse to stress rather than the frazzled, knee-jerk reaction we usuallyemploy.

Thirdly, qigong balances the meridian energy flow in the body, throughscientific movement and direction of mental intention. Areas that are depletedare restored to their correct levels; areas that are excessive are “calmeddown.” As we become more energetically balanced, we are automaticallycapable of better adjusting to daily stress.

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Fourthly, qigong practice builds the skill of becoming tranquil andappreciating the value of that tranquility. Qigong accomplishes this bymeditative standing and sitting practices where we go deep inside and use ourattention to release ourselves emotionally and psychically. Significant healingoccurs at this level of qigong practice, with tremendous implications for stressmanagement.

Lastly, qigong integrates our three major centers or “brains”, the third eyearea, the heart center and the stomach. In the computer age, we have become“headier” than ever, losing touch with the wisdom of our hearts and thegrounding of our stomachs. Western science and organizations likeHeartMath have proved that attention on the heart center can entrain thehead to process emotions in a less stress-inducing manner. Through itsemphasis and cultivation of all three centers, qigong ensures maximumresilience when it comes to handling stress effectively.

Qigong is like a practical course in acceptance and letting go. We learn howto conserve our energy and stay calm, whatever the pressures. We learn howto gain control of our inner being and take responsibility for enhancing thequality of our lives. These are skills you can use and apply for the rest of yourlife.

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7

Chapter 3

TheCrane

The Crane FrolicBreathing: inhale through the nose on the first movement, exhale through

the nose on the second movement, unless otherwise indicated. Always breatheinto the lower stomach, with slow, regular, "natural" breathing.

Repetitions: Traditionally, practice at least nine repetitions of eachmovement. If time allows, or if you develop a special feeling or need for aparticular form, do as many repetitions as you wish.

# One: Crane Breathing

Initial postural alignment:

• Seek to reduce the impact of gravity on your body to minimize tensionand maximize a relaxed flow of energy through your system.

• Stand with the heels touching and your feet angled out at 45 degrees. • Distribute your weight equally across the whole of the foot.• Bend the knees slightly. • Tuck the hips under. • Relax the lower dantien or stomach area.• Relax the upper chest and lower your shoulders.• Pull your chin in slightly and extend your head up, elongating and

opening up your cervical vertebrae.• Place your tongue lightly against the roof of the mouth.• Maintain a level gaze with a soft, 180-degree focus.• Put the hint of a smile on your face and allow the smile to permeate

your whole body.

Movement:

• The spirit of the crane encourages light, graceful and very relaxedmovement.

• Place the palms facing up at lower stomach level, just off the body andslightly apart from each other. Move the palms up the front of the chestto the level of the heart region, then back down to the lower stomach.

Attention:

• Move your attention up the spine as the hands rise and move theattention down the spine as the hands descend.8

# Two: Crane Beak


• Follow the same instructions as for Crane Breathing.• Begin with the arms extended to the sides at shoulder level, with a slight

bend in the elbow.• Bring the fingers and the thumb of both hands together in a beak-like

position.

Movement:

• On the inhale, raise and bend the wrists slightly, so the fingers andthumb point downwards and you feel a gentle stretch in the forearms.

• On the exhale, open the hands and lower them very slightly, whilespreading and extending the fingers.

Attention:

• Place your attention in the centers of your palms as you inhale, drawingenergy into the palms.

• Place your attention initially on the fingertips and then beyond the fingertips, on the exhale, to send energy out of the fingers.

10

#Three: Crane Flaps Wing


• Follow the same instructions as for Crane Breathing.• Begin with your arms at your sides.

Movement:

• Raise your arms, like wings, out to the sides, to shoulder height, thenbring them back down to your sides.

Attention:

• Place your attention in the centers of your palms as you inhale.• As you lower your arms, shift your attention to the wrist joints, then the

elbow joints, and then the shoulder joints. At each attention point,"instruct" the joint to relax and open. Obstructed joints block energy.Consciously opening and relaxing the joints will restore and enhanceenergy flow through the limbs.

12

# Four: Crane Squat


• Follow the same instructions as for Crane Breathing.• Begin with your palms facing the juncture between your thighs and

groin.• Alternately, you can begin with the palms facing the lower stomach, as

shown in the accompanying photograph.

Movement:

• Arc your arms out to the sides at shoulder height, slowly spiraling thepalms until they are facing up.

• As you arc the palms out the side, squat down, raising the heels off theground. Keep the torso upright. Allow the knees and thighs to open at a45-degree angle.

• Lower the palms back to the thigh/groin (or lower stomach) area following the same trajectory.

• Rise up out of the squat to the initial standing position, as you lower your arms.

Attention:

• Place your attention initially between your palms and the thigh/groin (orlower stomach) area. As you inhale, have the attention in the palms,with a sense that you are pulling energy in an arc up from the groin orstomach area and out to shoulder height.

• As you lower your palms on the exhale, use your attention in the samemanner to return the energy to your groin or stomach area.

14

# Five: Crane Stands On One Leg


• Follow the same instructions as for Crane Breathing.• Begin with your arms at your sides.

Movement:

• Circle the arms and cross them in front of your chest, palms facing in. • As your hands begin their initial movement in front of the chest, sink

your weight into the right leg.

Breathing:

• Inhale as you circle the arms up.

Attention:

• Place your attention in the dantien for the whole of this sequence

(continued next page spread)

16

# Five: Crane Stands On One Leg(continued)

Movement:

• Continue to raise the hands, turning the palms to face out as they passthe throat. Continue above the head, turning the palms out and thento the sides at shoulder level, palms facing down.

• As your arms circle above the head and out to the sides, bring the leftfoot up in front of the right knee.

• Lower the arms back down to your sides.• As you lower the arms back to your sides, sink your weight into the

left leg.• Repeat the entire sequence to the other side.

Breathing:

• Inhale as you circle the arms up and out, exhale as you lower the arms.

Attention:

• Place your attention in the dantien for the whole of this sequence.

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#Six: Flying Crane


• Follow the same instructions as for Crane Breathing. • Place the palms facing up at lower stomach level, just off the body and

slightly apart from each other.

Movement:

• Move the palms up the front of the torso to the level of the heart region,as in the initial movement of Crane Breathing.

• Turn the palms to face downward and extend the arms forward, crossingthe left hand over the right.

• As your hands begin their initial movement in front of the chest, sinkyour weight into the left leg.

• Move arms out to the sides at shoulder level. • Simultaneously, bend at the waist and squat down on the left leg, while

raising the right leg straight out behind you until it is parallel to the floor.

Breathing:

• Just breathe in a relaxed natural manner with this sequence, allowing themovement to determine the breath pattern.

Attention:



20

22

#Six: Flying Crane(continued)

Movement:

• Bring right palm down to touch the outside of the left foot, palm facingin, while the left arm remains extended to the side at shoulder level.

• Bring the left arm behind your back, also parallel to the floor with palmfacing in, while raising the right arm and extending it forward parallelto the floor, with the palm facing in.

Breathing:

• Just breathe in a relaxed natural manner with this sequence, allowingthe movement to determine the breath pattern.

Attention:



24

#Six: Flying Crane(continued)

Movement:

• Staying in the low squat, cross both hands in front of the chest, whilebringing the right leg bent behind the left.

• Rise up on the left leg, as you raise the arms above the head, turning thepalms out and then to the sides at shoulder level, palms facing down.

• Bring palms back in front of lower stomach and repeat on the otherside.

Breathing:

• Just breathe in a relaxed natural manner with this sequence, allowingthe movement to determine the breath pattern.

Attention:


#Seven: Crane Spreads WingsBehind


• Follow the same instructions as for Crane Breathing.

Movement:

• Begin with your hands in front of the lower stomach, palms facing away from each other.

• Open your arms wide to the sides in an arcing motion, stepping to the left at a 45-degree angle, keeping the weight on the back leg.

• Bring your arms in an arc back to the stomach. • Repeat this sequence to the other side and continue to alternate.

Attention:

• Place your attention in the centers of your palms for the entire sequence.

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#Eight: Crane Walk



Breathing:

• When performing the walking sequences, breathe naturally withoutmaking an effort to link the inhale and exhale to a particular part of themovement, unless otherwise indicated.

Movement:

• Step out with the left leg to the front, keeping the weight back on theright leg. Simultaneously, raise both arms out in front of the body toshoulder height and shoulder width, with the fingers and palms relaxed.

Attention:

• Place your attention in the dantien for the entire sequence.


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#Eight: Crane Walk(continued)

Movement:

• Shift the majority of the weight onto the left leg, while opening the armsto the side of the body, shoulder height, palms facing out.

• Shift majority of the weight onto the right leg, arcing the arms down tothe sides of the torso and finally just behind the torso, palms facing back.

• While the weight is still on the right leg, turn the left foot out at a 45-degree angle, then step forward with the right leg and repeat the wholesequence to the other side.

Attention:


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#Nine: Crane Walks Along the River Bank



Movement:

• Step out with the left leg to the front, keeping your weight back on theright leg. Simultaneously, bend your waist slightly, turn the torso to theleft, while moving the left arm behind the body, palm up, and extendingthe right arm to the front, palm up.

• Repeat movement to the other side.

Attention:


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#Ten: Crane Takes-Off from the River Bank



Movement:

• Step out with the left leg to the front, keeping your weight back on theright leg. Simultaneously, bend your waist slightly, turn the torso to theleft, while moving the left arm behind the body, palm up, and extendingthe right arm to the front, palm up.

• Bring the left foot up to the right knee, put it back down then stepforward with the right leg and repeat the whole sequence to the otherside.

Attention:


34

Chapter 4

The Bear

37

The Bear Frolic Breathing: Breathe into the lower stomach, with slow, regular, "natural"

breathing. Inhale to the front, exhale to the side, unless otherwise indicated.

Repetitions: Traditionally, practice at least five repetitions of eachmovement. If time allows, or if you develop a special feeling or need for aparticular form, do as many repetitions as you wish.

#One: Bear Turns


• Seek to reduce the impact of gravity on your body to minimize tensionand maximize a relaxed flow of energy through your system.

• Adopt a wide low leg stance, with your feet angled out at 45 degrees.The two photographs on the opposite page illustrate the range of stancefrom very low to relatively high.

• Distribute your weight equally across the whole of the foot.• Keep the knees in line with the feet. • Tuck the hips under. • Relax the lower dantien or stomach area.• Relax the upper chest and lower your shoulders.• Pull your chin in slightly and extend your head up, elongating and

opening up your cervical vertebrae.• Place your tongue lightly against the roof of the mouth.• Maintain a level gaze with a soft, 180-degree focus.• Put the hint of a smile on your face and allow the smile to permeate

your whole body.


38

#One: Bear Turns(continued)

Movement:

The spirit of the bear encourages a deliberate, rooted, powerful style ofmovement.

• Place your arms, elbows bent, above your shoulders, as if holding a log.• Keep the chest open by holding the arms out to the sides throughout the

movement.• Twist your upper torso slowly to the left without moving the hips, so

you feel a squeeze in the kidney/adrenal region.• Inhale as you return your torso to the front.• Repeat the movement to the right side.

Attention:

• Have your attention in the lower dantien for the whole sequence.

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#Two: Bear Pushes Behind


• Follow the same instructions as for Bear Turns.

Movement:


movement.• Turn your torso to the left and push your left hand, bent back at the

wrist, behind at a 45-degree angle, shoulder height, looking at the backof the hand.

• Withdraw your hand to its original position on the inhalation. • Repeat sequence to the other side and continue to alternate.

Attention:

• Place the attention in the hand that is pushing out and pulling back.

• When pushing out, sense that is hard to push out, when pulling back in, sense a resistance attached to the hand.

• The idea is to use your consciousness to imbue your movement with afeeling of deliberate power. There is no need to deliberately tighten upthe muscles, just create a mental intensity in the movement.

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#Three: Bear Pushes Down



Movement:


movement.• Turn your torso to the left and push the left hand directly downwards,

wrist bent back, looking at the back of the hand. • Withdraw your hand to its original position on the inhalation. • Repeat sequence to the other side and continue to alternate.

Attention:

• Place the attention in the hand that is pushing down and pulling back.• When pushing down, sense that is hard to push down, when pulling

back up, sense a resistance attached to the hand.• The idea is to use your consciousness to imbue your movement with a

feeling of deliberate power. There is no need to deliberately tighten upthe muscles, just create a mental intensity in the movement.

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#Four: Bear Puts Out Claws



Movement:

• Place your palms facing up, just off the breastbone, opposite the middledantien area.

• Extend the left hand to the left side, looking at the left fingertips, whilethe right hand goes to the inside of the left elbow.

• Withdraw your hands to their original position on the inhalation. • Repeat sequence to the other side and continue to alternate.

Attention:

• On the exhalation, place the attention on the fingertips of the extendedpalm.

• On the inhalation, place the attention in the middle of both palms.

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#Five: Bear Double Push



Movement:

• Place your palms facing up, just off the breastbone, opposite the middledantien area.

• Bring both hands to the side of the left ribcage and push both hands outto the left side, palms bent back at the wrists, keeping both hands in thesame plane.

• Withdraw your hands to their original position on the inhalation. • Repeat sequence to the other side and continue to alternate.

Attention:

• On the inhalation and exhalation, place the attention in the middle of both palms.

• As you push out, create a feeling of pressure against the hands.

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#Six: Bear Push To Ground

Breathing:

• Breathe naturally, without a deliberate attempt to match the inhalationand exhalation to the movement.



Movement:


• Bend at the waist, relax the hands and circle the arms down and aroundto just outside of the right ankle.

Attention:

• Keep the attention in the palms for the whole sequence.


50

#Six: Bear Push To Ground(continued)

Movement:

• Draw the hands up the side of the right leg and torso, about one inch offthe body, until they reach the middle of the ribcage.

• Push the hands out to the right, palms bent back at the wrists, keepingboth hands in the same plane.

• Repeat the sequence in the opposite direction.

Attention:


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#Seven: Bear Pushes Back

Breathing:

• Breathe naturally, without a deliberate attempt to match the inhalationand exhalation to the movement.



Movement:


• Circle both arms to the front of the body at height of the breastbone,palms bent back at the wrists, tented in toward each other at a 45-degree angle.

Attention:



54

#Seven: Bear Pushes Back(continued)

Movement:

• Bend at the waist, relax the hands and circle the arms down and aroundto just outside of the right ankle.

• Draw the hands up the side of the right leg and torso, about one inch offthe body, until they reach the middle of the ribcage.

• Push the hands out to the right, palms bent back at the wrists, keepingboth hands in the same plane.

• As you push, shift your weight into the left leg, keeping the torso erect.• Repeat the sequence in the opposite direction.

Attention:


56

#Eight: Bear Ambles through the Woods


• Adopt a shoulder-width leg stance, with your feet facing forwards. Placeyour hands on the front of the thighs.

Movement:

• Step forward with the left leg. Twist torso to the left, over the left thigh,palms staying on the thighs. The torso inclines at about a 45-degreeangle. Transfer about seventy percent of the weight into the front leg.

• Shift the majority of the weight into the right leg, turn the left foot outat a 45-degree angle, then step forward with the right leg repeating themove to the other side.

Attention:

• Keep the attention in the lower dantien for the whole sequence.• Maintain a "heavy", slow, ponderous, and deliberate feeling when

practicing the walk.

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#Nine: Bear Walk With Fists


• Adopt a "cat" stance, with the left foot in front, very light. Have all theweight on the back leg. Make light fists and hold them at the lowerdantien.

Movement:

• Shift the majority of the weight into the left leg. Twist torso to the left,over the left thigh. The torso inclines at about a 45-degree angle.

• Circle your left fist simultaneously in front of the chest at heart level, fistfacing down, while the right arm simultaneously circles up to guard infront of and just above the forehead, fist and forearm facing out.

• Shift the majority of the weight into the right leg, turn the left foot out ata 45-degree angle, circling the fists back to the stomach.

• Step forward with the right leg and repeat the same sequence to the otherside.

Attention:

• Keep the attention in the lower dantien for the whole sequence.

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#Ten: Pointing at the Sun, Holding up the Moon

Breathing:

• Inhale on one step, exhale on the next step.


• Adopt a "cat" stance, with the left foot in front, very light. Have all theweight on the back leg.

• Place the left hand, palm-up at upper chest level. Place the right handpalm-down at lower stomach level.

Movement:

• Step forward with the right leg and switch hand positions, with eachpalm turning over and moving in the opposite direction.

• The weight is now completely in the left leg. • Step forward with the left leg and repeat the same sequence to the other

side.

Attention:

• Move the attention up the front of the torso on the inhalation and downthe front of the torso on the exhalation.

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#Eleven: Bear Plucking Berries


• Adopt a "cat" stance, with the left foot in front, very light. Have all theweight on the back leg.

• Place the left hand, palm-up at upper chest level. Place the right handpalm-down at lower stomach level.

Movement:

• Shift the weight into the left leg and put your right foot in front of and atright angles to the left toes.

• Simultaneously arc your right hand up above the left palm, with theright fingertips touching the left fingertips.

Attention:



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#Eleven: Bear Plucking Berries(continued)

Movement:

• Shift your weight into the right foot, step behind the right foot with the left foot.

• Shift the weight into the left foot and pivot 180-degrees to the left.• Simultaneously, circle the right hand up and allow the left hand to move

in a pendulum-arc to face downwards at stomach level.• You are now back in the starting position with the right instead of the

left leg forward. • Repeat the sequence in the other direction.

Attention:


66

69

Chapter 5

TheMonkey

The Monkey FrolicBreathing: Breathe into the lower stomach, with slow, regular, "natural"

breathing.

Repetitions: All of the Monkey sequences are walks. Perform as manyrepetitions of each step as you wish.

#One: Monkey Grasping Branch


• Adopt a "cat stance" with the left foot in front and all the weight on theright leg. The right foot is turned out at a 45-degree angle.

• Hold loose fists at the level of the lower dantien.

Movement:

• The spirit of the monkey encourages a light, springy, agile style ofmovement.

• Step forward with your left leg, stretching both arms out in front atshoulder level and shoulder width.

• Form curled "monkey paws" with the palms, as if grasping at branches.Extend the left arm slightly, while pulling the right palm close to the left elbow.

• Simultaneously turn your head to look back and up at 45-degrees,keeping most of the weight on the left leg.

• Bring loose fists in front of the stomach, shift your weight into the rightleg, turn the left foot out 45 degrees, and step forward with the right leg,repeating the sequence to the other side.

Attention:

• Maintain your attention in the lower dantien for all of the Monkeysequences.

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#Two: Monkey Looks Behind


• Adopt same initial alignment as for Monkey Grasping Branch.

Movement:


• Form curled "monkey paws" with the palms, as if grasping at branches. Extend the left arm slightly, while pulling the right palm close to the left elbow.

• Simultaneously turn your head to look back and up at 45-degrees,keeping most of the weight on the left leg.

• Place your right foot in front of the left, instep facing out, while circlingthe left hand over the top and the right hand down and behind.

• The left hand stops at chest level, palm facing out. Look back at theoutstretched right palm.


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#Three: Monkey Offers Fruit



Movement:

• Step forward with your left leg, keeping the weight on the right leg. • Move the left arm straight out in front and bring the right hand to the

inside of the left elbow.• Circle both arms, bringing the right arm into the extended position in

front of the torso and the left palm by the inside of the right elbow,while stepping forward with the right leg.

• Continue this sequence to the other side.

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#Four: Monkey Offers Fruit, Variation A



Movement:


inside of the left elbow.• Circle both arms up, round, and in front of the body, palms facing up,

slightly apart at shoulder height, while stepping forward with the rightleg.

• Continue by repeating the circling movement while stepping forwardwith the left leg.

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#Five: Monkey Offers Fruit, Variation B



Movement:


inside of the left elbow.• Circle both arms up, round, and in front of the chin, heels of the palms

touching, cupped in front of the face, while stepping forward with the right leg.

• Continue by repeating the movement while stepping forward with theleft leg.

78

#Six: Monkey Offers Fruit Twice



Movement:


inside of the left elbow.• Step up lightly with the right foot into a "post position"—no weight on

the right foot as it rests next to the left. At the same time bring your fistsin near the chest and turn them to face away from the body.


80

#Six: Monkey Offers Fruit Twice(continued)

Movement:

• Take a small step with the right foot, separating and opening the handsas if opening a veil.

• Take a small step with the left foot while circling both arms up, round,and in front of the chin, heels of the palms touching, cupped in front ofthe face.

• Step forward with the right leg, circling both arms back into the originalstarting position—with the right arm now extended and the left palm bythe inside of the right elbow.

• Continue the whole sequence on the other side.

82

85

Chapter 6

The Deer

The Deer FrolicBreathing: Breathe into the lower stomach, with slow, regular, "natural"

breathing.

Repetitions: All of the Deer sequences, other than Deer Standing, are walks.Perform as many repetitions of each step as you wish.

#One: Deer Standing



• Extend your arms bent at 45 degrees in front of the chest, palms facingout.

Movement:

• The spirit of the deer encourages a strong, alert and graceful style ofmovement.

• There is no movement as this is a standing posture. • Hold the position on each side for a period of one to five minutes.

Attention:

• Maintain your attention in the lower dantien for all of the Deersequences.

86

#Two: Deer Turns Head



• Hold light fists at the level of the lower dantien.

Movement:


• Curve the wrists gently so the fingers angle down and the palms are relatively hollow.

• Extend the left arm slightly, while pulling the right palm close to the left elbow.

• Simultaneously turn your head to look back and up at 45 degrees,keeping most of the weight on the left leg.


Attention:


88

#Three: Deer Turns Head, (hand to dantien)




Movement:



• Extend the left arm slightly, while pulling the right palm close to the left elbow.

• Continue by bringing your right hand in front of chest.• Turn the right palm so it faces the floor and move it down to the lower

stomach.• Simultaneously turn your head to look back and up at 45 degrees,

keeping most of the weight on the left leg.• Bring loose fists in front of the stomach, shift your weight into the right

leg, turn the left foot out 45 degrees, and step forward with the right leg,repeating the sequence to the other side.

Attention:


90

#Four: Deer Sips from Stream




Movement:



• Extend the left arm slightly, while pulling the right palm close to theleft elbow.

• Continue by bringing your right hand in front of chest.• Turn the right palm so it faces the floor and move it down to the lower

stomach.• Simultaneously turn your head to look back and up at 45 degrees,

keeping most of the weight on the left leg.

Attention:



92

#Four: Deer Sips from Stream(continued)

Movement:

• Guide your right hand along the belt channel, one inch off the body andplace your palm on the right hip.

• Keep your left arm extended out.• While your weight is still mostly in the left leg, turn your right foot to a

right-angle position and shift your weight back on to the right leg. • Rotate your hips to the front and bend over to touch the front of the left

ankle with your left hand.


94

#Four: Deer Sips from Stream(continued)

Movement:

• Bring your hands in front of the body, forming them into fists.• Raise the fists to the level of the lower stomach. • Shift your weight into the right leg, turn the left foot out 45 degrees, and

step forward with the right leg, repeating the sequence to the other side.

96

#Five: Stag Leaps Up




Movement:

• Raise both fists above the head, while bringing the left foot up in frontof the right knee.

• Step down, with the left instep facing out, placing the right knee into theleft calf, and circling your fists down to the stomach.

• Repeat this sequence to the other side.

Attention:


98

#Six: Wild Stag Twists and Sits




Movement:

• Step out to the left diagonal raising both fists up at 45 degrees. • Place your right heel in front of the left foot, forming an L shape. • Pivot on the ball of the left foot, bringing the left knee into the right calf. • As the torso straightens up the arms will naturally move above the head.

Attention:



100

#Six: Wild Stag Twists and Sits(continued)

Movement:

• Bring the left foot into a T position in front of the right foot.• Pivot both feet and the body through 270 degrees, to face back to the

front.• Place the left knee into the right calf.


102

#Six: Wild Stag Twists and Sits(continued)

Movement:

• Lean over to the right side with both fists extended out. Straighten up.• Straighten up and uncoil all the way round to the front with the arms

above the head.• Finish by circling the fists down to the stomach.• Repeat the whole sequence to the other side.

104

#Seven: Deer Parts the Grasses




Movement:

• Step forward with the left foot very light, your right arm extended infront, your left arm behind, wrists slightly bent, weight staying in theback leg.

• Step forward with the right leg, reversing the arm positions.• Repeat this sequence as many times as you wish.

Attention:


106

109

Chapter 7

The Tiger

The Tiger FrolicBreathing:

• The Tiger lends itself well to "reverse breathing". As the name implies,the breathing style is the opposite of "natural breathing".

• Draw the stomach in on the inhalation and allow the stomach toexpand on the exhalation. Reverse Breathing is very warming andenergizing and also helps to push qi up the spine.

• According to many leading Tai Ji and Qigong teachers, ReverseBreathing should be employed judiciously, because of its power. Most ofthese teachers advocate the long-term, regular cultivation of NaturalBreathing as the best strategy for overall health and vitality.

Repetitions:

• All of the Tiger sequences are walks. Perform as many repetitions ofeach step as you wish.

110

#One: Tiger Searches for Food



• Hold relaxed fists at the level of the lower dantien.

Movement:

• The spirit of the tiger encourages a powerful, coiling, explosive style ofmovement.

• Step forward with the left foot, bringing your hands out at shoulderlevel in front, forming claws.

• Deliberately tighten and tense up as you make the claw movement.• Relax as you bring your fists back to the stomach. • Step forward to the other side and repeat the sequence.

Attention:

• Place your attention at the Ming Men on the inhalation and the lowerdantien on the exhalation for all of the Tiger sequences.

112

#Two: Tiger Seizes Prey




Movement:

• Step forward with the left foot, bringing your hands out at shoulderlevel in front, forming claws.

• At the last moment turn the claws to face down as if digging into a prey.• Deliberately tighten and tense up as you make the claw movement.• Relax as you bring your fists back to the stomach. • Step forward to the other side and repeat the sequence.

Attention:


114

#Three: Tiger Leaps from Den




Movement:

• Step forward with the left foot, to the left diagonal, bringing your handsout at shoulder level in front, forming claws.

• At the last moment turn the claws to face down as if digging into a prey.• Deliberately tighten and tense up as you make the claw movement.• Shift your weight into the right leg and relax as you bring your fists

back to the stomach.• Shift the weight back into the left leg and draw the right foot in close to

the left instep.• Step forward to the right diagonal and repeat the sequence.

Attention:


116

#Four: Tiger Leaps from Den Twice




Movement:

• Step forward with the left foot, to the left diagonal, bringing your handsout at shoulder level in front, forming claws.

• At the last moment turn the claws to face down as if digging into a prey.• Deliberately tighten and tense up as you make the claw movement.• Shift your weight into the right leg and relax as you bring your fists

back to the stomach.• Lift the left foot and step out further to the left diagonal, really

stretching out the body.• Shift your weight again into the right leg and relax as you bring your

fists back to the stomach.• Shift the weight back into the left leg and draw the right foot in close to

the left instep.• Step forward to the right diagonal and repeat the sequence.

Attention:


118

#Five: Wild Tiger Roams the Steppes


• Adopt a "cat stance" with the left foot in front and all the weight onthe right leg. The right foot is turned out at a 45-degree angle.

• Place the right hand in a claw-gesture above and in front of body.Place the left hand in a claw-gesture down and behind the body.

Movement:

• Step forward to the other side, switching the arms in a crawl-likecircling movement.

• Continue to repeat, always keeping the weight in the back leg.• Remain relaxed through out the movement.



120

What Health BenefitsCan You Expect from the

Regular Practice of Qigong?

• Improve your metabolism, digestion, and elimination—for weight control,more youthful appearance, and balanced energy.

• Stimulate the lymph system—for a stronger immune system. Be lesssusceptible to flus and other viruses, and recover faster if you do get sick.

• Improve your circulation—alleviating conditions such as arthritis and chronicfatigue.

• Give your internal organs an “inner massage”—retarding the aging process byrestoring your organs to healthy functioning.

• Increase oxygen in the tissues—reducing tensions, blocks and stagnant energy.• Lubricate the joints—for pain free movement and greater flexibility.• Soothe the nervous system—for feelings of contentment and serenity.

John Du Cane

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The Relax into Stretch drills—1. The Souped Up Toe Touch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 492. The Spine Decompression Hang . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 513. The Improved Cobra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 544. The Side Bend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 575. The Spine Rotation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 606. The Lateral Neck and Trap Stretch . . . . . . . . . . . . . . . . . . . . . . . . .Page 617. The Headache Buster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 628. The Anti-Slouch Neck Stretch . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 639. The Head Turner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 6410. The Chest Opener . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 6511. The Overhead Reach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 6712. The Biceps and Shoulder Stretch . . . . . . . . . . . . . . . . . . . . . . . . . .Page 6813. The Shoulder Blade and Lat Stretch . . . . . . . . . . . . . . . . . . . . . . .Page 6914. The Upper Back Loosener . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 71 15. The Wrist Flexion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 7316. The Wrist Extension . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 7417. The Good Morning Hamstring Stretch . . . . . . . . . . . . . . . . . . . . .Page 75

a) standing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 75b) seated on a chair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 76 c) seated on the floor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 77

18. The Kneeling Hip Flexor Stretch . . . . . . . . . . . . . . . . . . . . . . . . . .Page 7819. TheLunge Hip Flexor Stretch . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 80 20. The Karate Stance Hip Flexor Stretch . . . . . . . . . . . . . . . . . . . . . .Page 8221. The Karate Stance Groin Stretch . . . . . . . . . . . . . . . . . . . . . . . . . .Page 84 22. The Seated Groin Stretch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 86 23. The Calf Stretch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 89 24. The Shin and Instep Stretch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 91

Advanced Russian Drills for Extreme Flexibility—25. The Side Stretch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 10026. The Cossack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 10227. The Reverse Cossack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 10428. The Hip and Side Stretch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 10629. The Crawling Lizard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 10830. Hamstring Stretches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 10931. Hip Flexor/Quad Stretches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 11432. The Lower Calf Stretch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 11733. The Front Split . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 11834. The Bent Press Stretch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 12335. The Modified Reverse Triangle . . . . . . . . . . . . . . . . . . . . . . . . . .Page 12636. The Roadkill Split . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 12837. The Side Split . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 131

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Chi Kung - Qigong Program Five Animals

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