- Yang Cheng Fu
- Yang Lu Chan
- Twelve Wudang Katas of chi disruption
- Small san shou
- Large san shou
- Straight sword
- Broad sword
- Wudang hand weapons form
- Push hands - single and double
- Pau Chui (Cannon fist)
- Mitt practice
- Bag work
- Bagua - circular and linear forms
About Josephine Anderson
I first learned the Ching Meng Ching forms in 1985 from Shawn Kelly and subsequently, Claudia Millman, both of whom had been former studends of Shirley and Stephen Choi. These included the short form, long form, the combination form (which strictly speaking is not part of the Ching Meng Ching system, but a form endorsed by the Republic of China supposedly for the betterment and general health of the public), straight and broad sword forms. I then spent some time with Shirley Choi herself ( after her husband Stephen had died), with whom I consolidated my form work.
Around 1987, I was introduced to Mike Babin with whom I studied occasionally and from whom I learned the rudiments of push hands and a number of sword forms, some of which were his own personal creation.
In the interim some other influences marked the terrain of my development. I was exposed to Sam Masiche's brand of Tai Chi, attending some of his workshops, and taking private instruction from him. I learned his five section empty handed form, his five section sword form (both solo and interactive) and his 'heart chi king form." Other influences included William Chen's form, Scott Rhodel's sword techniques, for which he claimed old Yang Style lineage, although my main attraction to them were their marital integrity and viability.
Each of the above teachers provided invaluable roles to play on route to my final destination, which was with Erle Montaigue, in 1993.
It was when I attended Erle's workshop, here, in Ottawa, of that year in 93, that I became converted to his system of Tai Chi and Pa Gua. I visited Erle in Australia twice, once in New Jersey, and twice in Europe. One of those trips involved my staying there for an extended period of time, attending his various workshops in Swansea and in Scotland. I also received private instruction from him, expanding my knowledge of push hands and form correction. I have learned from his system the old yang style, the Yang Lu Chen up through its various levels to an advanced state,the original Yang Cheng Fu Form, again up to its more advanced manifestations, for what was done by Erle to the Yang Lu Chen, was also done to the Yang Cheng Fu, as a matter of reinforcing the integrity of his entire system. And to that end, I have learned both the Small and Large San Sau up through its various levels such that they have become a "cannon fist exercise," an exchange of energy that simulates as closely as possible the sudden and unexpected violence of of real combat. I am in the process of rejuvenating the WTBA sword, staff, saber, spear, as I can now approach their study with the knowledge of the empty handed forms and practices which have enabled me to develop center line, ground and fluid coordination. Through the course of my teaching career, I have made the study of push hands, with my students, the center of focus, as Erle had encouraged his various teachers to see in its practice the means by which coordination, reflex and timing branch out into deeper form work and greater martial acuity. I have employed with my students various striking forms and methods ( the twelve deadly strikes, Chang Yu Chung's eight preemptive strikes etc), as the basis for gaining fajing power that generates energy pressed into both self defense and healing uses, as the situation may warrant. I have learned from Erle's system his Pa Qua, its circular and linear form, the animal forms, deer horn knives, and many of his training methods. As with Tai Chi, I have made Pa Gua push hands the main stay of my training with my students, as it is the notion of the circle that trains the center to rotate, first one way, and then another, up and down, continuously, lending itself to unerring connection to a partner's center, through a penetrative spiral action -- which has within it a pre emptive intention, an instinctive reactive timing. It becomes a free style or Chi Sau like practice, a stepping in to the center of the circle to deliver random strikes and receding back to the circle edge, in order to resume the equilibrium of a sticky palm connection with a partner. The Pa Gua program also includes the thirty two training methods, the Pa qua wooden man and others. I have immersed myself in the Wudang forms, which Erle received directly from the Wudang Mountain temple during his trip to China: the Twelve Chi Disruption Katas, Wudang Hand Weapon forms, Wudang stick and knife techniques. I have learned and taught some Chi kung, featured either as independent forms, or as integral elements of other forms, such as the Wudang Chi Disruption series. I am presently studying the Dimmak Corner Stone Wudang Techniques , and the Yang Lu Chen Root methods.
I have had the pleasure of hosting Eli Montaigue's workshops, and have also attended his workshops in P.A and Maryland for the last several years.
As of this date (March of 2016) I have been teaching for twenty-six years. I began my teaching career in various community centers and office buildings throughout the city. I then acquired my own space in a studio, which I shared with Sunny Tang Wing Chung under John Peluso. During this time, for a period of approximately three years, I also taught at the East Wind Budo Center. In the last few years I've been teaching out of my own home, both private and group lessons. I was designated by Erle an instructor of his system in 96, and in 98, I was asked to become the Canadian rep for the WTBA.