Drills for sixteen representative techniques
Beng shou, Chuan zhang, Dai shou, Fan bei chui, Gai zhang, Kai zhang, Liao Zhang, Pi zhang, Qie zhang, Ta zhang, Tan zhang, Tiao fa, Xiao zhang, Ya zhang, Ye zhang, Zhuang zhang
Drills for training individual techniques
There are a myriad of techniques in Bagua, includihg the sixteen listed above, plus dian, gou, gua, lan, liao, tui, yanzhou, za, and our system’s special wan da and fanbeichui. We consider them abilities rather than techniques or skills, because when trained properly they express the true ability of the body and spirit to apply power. They are not a simple collection of skills that require memorisation or tricks that require opportunism to apply. It is best not to over-define the method, because that can make you think of doing something very specific. You should understand the principles of the movement and look for the feeling within. The goal of perfecting one technique is not simply that you get good at that technique. The goal is by deeply understand any one technique, you come to deeply understand the whole system.
The sixteen techniques listed above all occur sooner or later in the changes and routines, and below are stand-alone drills to practice them – either softly or with fali. The dragon way is considered the basic wawy. There are oher ways of doing the skills according to the model and spirit of the other animals. The drills presented here help you train the ability to apply them concentrating on whole body power, with different moving steps, with a partner, and in sparring practice.
Most practice, aside from circle-walking and dragon single palm change, is of these techniques with stake settling and stepping patterns. Different drills for each technique are just slight differences in combinations of footwork, setup, or following technique – they aren’t really ‘new’ ways of doing the technique. They are always done with whole body power, usually after a circle-walking practice, when the qi is full. The changes, routines, and weapons are not practised as often (except for the dragon’s single palm change, mastery of which is key to mastery of everything).
Stance training Bagua uses moving steps, so even the ‘stance’ training is not rigid. It is called ‘settling the stake’ rather than ‘stake standing’.
The basic stance is mabu, horse stance. Almost everything else feels like magu, even circle-walking. The main stances are probably best described as mabu, mabu open stance, mabu turned stance. ‘Mabu feeling stance’ is similar to Xingyi’s santishi. The basic use is almost always in shunbu (same arm and leg moving forward). There are four good reasons for this. A shunbu strike has a greater reach than a crossed hit. A shunbu strike can move in with a follow step or charge in strongly and quickly, and covers a considerable distance. When dropping back from a shunbu strike, it really gets out of the way and allows for easy repositioning. A shunbu strike is easy to change, it is not over-committed, but can easily continue on the same way or go back.
Stepping training footwork includes straight line advancing, inside triangle stepping, outside triangle stepping, zigzag advancing, back and forth bai-kou stepping, T pattern stepping, and turning kou large bai stepping. All use the baibu and koubu. Often the stepping drills are repeated with a full circle-walk in between. Random stepping is also often practised, as long as it uses the baibu and koubu. Take a good step forward in the stepping drills, so that the technique covers some distance. Advancing by stepping is more effective than kicking, as it covers more distance. When you change position by stepping, the space around you is big, and you control your hit, you have full choice of what you will do.
Straight line advancing involves moving forward, usually with one technique per step, or one technique per advancing three-step.
Inside triangle stepping involves doing a technique to the point of a triangle, aligning the inside arm with the same side leg. The foot then comes in to the rear ankle, then steps across the base of the triangle. The other foot can then advance to the point of the triangle, so that the arms have switched as well.
Outside triangle stepping involves doing a technique to the point of a triangle, but with the outside arm and leg aligned. To switch sides, then, the outside foot comes back to the rear ankle and does a large baibu across the base of the triangle. The other foot then does a big looping koubu to advance to the point of the triangle, with that outside arm coming through for the technique.
Zig-zag advancing involves stepping across to do an angled strike, often with a two-step advance – stepping a foot forward at an angle with a preparatory arm action, then bringing the other foot in to a close stance, striking with the rear arm, to that angle.
Back-and-forth kou-baibu stepping is similar to zig-zag, but the baibu and opening action need to be bigger so that the steps go back and forth on one line.
In T pattern stepping, from a back-and-forth stepping, do a large baibu outwards, so that the strike is on the vertical of the T. Then do another large baibu to get back to the top of the T.
Fali training (power issue) cannot develop the strength of the feet, lower back, and neck. Fali movements cannot be strong until the feet, lower back, and neck are strong. Only circle-walking develops the strength of these weakest links. The strength of the tendons, ligaments, and fascia determine the power of the techniques. So if you are not getting the results that you want, it is because you haven’t sufficiently changed the tendons. The only way to do that is circle-walking. If you just practise fali techniques you can injure yourself.
Do not get excited when you do the fali movements, keep the qi settled down so that you feel strong and settled. You should not feel empty and tired after a fali practice. Always start out slowly to find the feeling and movement, then add power and intensity as you feel good. Do not practise fali if you do not feel powerful.
Sixteen abilities to get started with, in alphabetical order.
It is best to learn the Chinese words so that you don’t have a level of interpretation getting between you and the technique. Also, you can talk to people around the world without confusion. Once you are comfortable with the various drills, you can just pick your technique and do it with different stepping or settling drills.
1. Beng shou 崩手
Bengshou can be called ‘snapping hand’. It brings the arm up forcefully to break an opponent’s arm. It has the feeling of a bird opening its wings. Hit with the meat of the thumb or with the forearm near the wrist.
2. Chuan zhang 穿掌
Chuanzhang can be called ‘spearing palm’. It has the feeling of a bird threading its way through the branches of a tree to land near the trunk – the bird does not slow down to aim, it just goes. Consider that you are threading along or through something, not just going through the air to the target. Also, think of threading through something, not going up to something and stopping.
Chuan, along with tanzhang, is the main technique for quick and agile attack. Chuanzhang is the lightest attack of the system, and the most basic fighting skill. When Dong Haichuan first taught, new students did chuanzhang, circle-walking, and the single palm change for three years. With this training they could fight before they knew other techniques, simply doing chuan directly to the eyes or throat. This technique does not compete against an opponent, it just gets to the point efficiently. It relies on quick stepping – ‘when the body moves the chance is there’.
The hand doing the chuan has the thumb tucked in across to the root of the little finger. The arm is fully extended and can be rotated palm up, palm down, or thumb knuckle up. The arm is straight so that you don’t have to use force in the arm, it is connected to the body. The arms are connected, like a snake’s head and tail. When one arm moves, the other moves. The rear hand is hidden under the leading elbow, ready to go forward with the next chuan. The hand comes back naturally as the following hand goes out, you don’t need to pull it back. Although the stance look like a santi stance, the feeling is a mabu, and the hand aligns with the front leg, not down the midline. The shoulder extends but the body remains quite square.
3. Dai shou 帶手
Daishou can be called ‘dragging hand.’ It has the feeling of grabbing onto something and using your whole body to drag it backwards. It is the main way to apply force backwards in Baguazhang, so it is important to train it. Dai is the main defensive and continuous attacking move of a chuanzhang specialist. It is important to just attach the arm to the body as if it were a rope hooked onto the opponent. You have to give up the arm. Pulling with the arm is not effective.
Dai includes vertical and horizontal dragging. Someone highly skilled in daishou can uproot an opponent with just a touch and send him flying. Liu Wanchuan was especially skilled in daishou, so we like to practise it to emulate his skill.
Daishou does not go against the power of an opponent, it goes along the line of action of someone who is coming towards you. You have to be heavy and rooted – you cannot pull the opponent if you are not comfortable and well balanced. If you are, then it is a very natural movement. You destroy the opponent’s balance without destroying your own. Don’t try to pull back, but use stepping and the body. Don’t speed up to pull, either, keep the power settled.
Usually one hand holds on to the opponent’s wrist and the other hand holds his elbow. So you can see this is a close-range technique, with the arms in contact with the opponent. Keep the hands close to the body, don’t reach forward to get the opponent. If you need to do a daishou from arms length, then keep both hands together to both hang on to the opponent’s wrist. Dai can also be done with one hands.
4. Fan bei chui 反背捶
Fanbeichui can be called ‘backfist.’ It comes from deeper down in the body than the usual backfist. Fanbeichui is thrown out from the back. One of our young lineage members is known for knocking out a thief twice his size with this technique. It is one of the ‘mother abilities’, growing out of the dragon’s single palm change.
Fanbeichui is unusual in Baguzhang in that it uses a fist, but its power grows naturally out of the dragon’s single palm change. It is used along with stepping to apply a technique when it seems like the back is turned to the opponent. You turn your back a little, which changes the situation, so you attack when you appear to be losing. Because we spend so much time walking in circles, we have already developed the power of the turn, we just need to understand how to throw the fist while keeping it fully connected to the legs and body. It is not a snapped backfist.
5. Gai zhang 蓋掌
Gaizhang can be called ‘covering palm’. It has the feeling of reaching out to put a lid on a pot, if the pot is the back of someone’s head. The movement is something like putting a shot. It is one of the ‘mother abilities’, growing out of the dragon’s single palm change. The power is applied through the heel of the palm, and is intended to completely destroy the opponent. The arms work as one unit and the body stays connected, the movement and power must be smooth and full, and the strength must come from the legs. It is a key strong attack, and usually combines with a stepping pattern that gets you in beside your target. It usually uses a large koubu and large baibu stepping pattern, which gives it the characteristic of being large, heavy, and settled, but still light and agile.
6. Kai zhang 開掌
Kaizhang may be called ‘opening palm’. Both arms are opened spread-eagled in a straight line, either palm up or palm down. there is the slightest arc in the straight line, to maintain a bracing power. The point of contact can be anywhere along the upper body or arm, most likely on or close to the body, so the arms are extended soon in the action – the elbows are not flicked out.
7. Liao zhang 撩掌
Liaozhang can be called ‘slicing up palm’. It has the feeling of swinging your long robe out of the way. It uses a straight arm swing up to take care of anything in the way. It is the main rising power from to to shoulder height.
7. Pi zhang 劈掌
Pizhang can be called ‘chopping palm’. It has the feeling of chopping down through something. It is a relatively straight arm technique, so that the power of the body is used. It often involves a complete rotation of the arm or body, so is. strike down behind the original placement of the body.
9. Qie zhang 切掌
Qiezhang can be called ‘cutting palm’ . It has the feeling of cutting with a knife, using the blade of the hand with a relatively short, sharp strike. The feeling is like cutting a cabbage on the ground at the stem, and it is usually slightly angled. You can also think of hacking through a jungle with a machete.
10. Ta zhang 搨掌
Tazhang can be called ‘compressing palm’ or ‘collapsing palm’. It has the feeling of a pile of dirt that is settling and compacting. It strikes deeply into the opponent, although it down not necessarily hurt on impact.
11. Tan zhang 探掌
Tanzhang can be called ‘reaching palm’ or ‘probing palm’. It has the feeling of reaching into a bag to find something, and then perhaps pulling that out. It, along with chuanzhang, is the main technique for quick and agile attack. It is one of the ‘mother abilities’, growing out of the dragon’s single palm change.
The action is like pulling a bow and shooting an arrow. Focus like you are really shooting an arrow, so that the enemy is scared and might move away. Otherwise there is no meaning. All qi, power, and spirit are concentrated on one attack with one result – either you get him or he rungs away – there is no ambiguous result. You do not need to rush, this technique would usually be used when the opponent is retreating.
Do not over reach – keep heavy in the body. Always reach the leading hand forward with a clear circle and grab, then bring it fist heart up as the rear hand shoot out with the tanzhang. Open up more in the chest than with the arms, place the ‘arrow hand’ at the chest so that it can shoot out directly. This trains the ability to shoot directly from the dragon walking position without any preparation. The step ends up with the rear leg slightly behind the leading leg. This is a close mabu, a mabu feeling, not a reverse stance. The leading arm is in line with the leading leg. Tanzhang is often used in conjunction with Chuanzhang, and has many variations to both front and rear.
12. Tiao fa 挑法
Tiaofa can be called ‘scoop and hit’. Tiao is a technique that is always applied with others. It is the defensive part of the action, swinging straight up so that the following hand can come through. For example, Tiaoda is a tiao with a zhuang, Tiaoqie is a tiao with a qie.
Tiao must be connected to the body, and the foot and hand move together. Keep the shoulders set down so that the tiao uses the power of the body instead of the shoulders or arms. Do not think of the tiao as a ‘block’, just go with it and it will take care of anything that is there.
Sometimes the tiao is considered within the category of the attacking technique. For example, Tiaoda is one of the Zhuangzhang methods, as the attacking arm is a single-handed zhuangzhang. Tiaoda works on the principle of combining vertical and horizontal forces simultaneously. The swing can come up from knee height, but the effective part of tiao is from chest to above head height, as it braces forward to allow the zhuang to get in. Tiao is usually done with the rear arm and the strike is the smooth stance.
13. Xiao zhang 削掌
Xiaozhang can be called ‘slicing palm’ . It has the feeling of slicing something with a sword. It strikes upwards or downwards, usually slightly at an angle. The original meaning usually refers to paring an apple or taking a thin slice from something, so you can think of the cut more as slicing an arm off tha cutting the body in half.
14. Ya zhang 壓掌
Yazhang can be called ‘pressing palm’. It has the feeling of letting your whole body apply downward force into whatever it is connected to. You must use power from your body – if you press down with your arm you will lose your root. Pull the shoulder socket down and relax the arm, keeping it straight.
15. Ye zhang 掖掌
Yezhang can be called ‘tucking palm’ or ‘inserting palm’. It has the feeling of tucking something away into an inner jacket pocket, except perhaps that the jacket if on your opponent. The strike is low, going into the floating ribs, kidneys, or hip crease. The striking arm coils to place the palm out and then applies the power straight. The assisting arm can either be raised in a high block or settle behind.
16. Zhuang zhang 撞掌
Zhuangzhang can be called ‘ramming palm or ‘shoving palm’. It has the feeling of crashing a car into a wall (except that you are somehow both the wall and the car, since it is not you that gets smashed up). It was the special technique of Ma Gui.
The only way to have full power in zhuang is to be upright. Put power into the weakest parts of the body – the feet, lower back, and neck. Do not put power into the arms. The strength of the zhuangzhang is applied through the bones, so the wrist is quite bent to apply directly to the end of the arm.