Liang Zhen Pu Ba Gua Zhang 8 Diagram Palms Tom Bisio

八梁 卦振 掌蒲

LIANG ZHEN PU BA GUA ZHANG Eight Diagram Palm

NEW YORK INTERNAL ARTS

STUDENT HANDBOOK

Written By Tom Bisio © 2013 Trip Tych Enterprises LLC New York Internal Arts Internal Art International Cannot be reproduced or copied without permission from Tom Bisio and Trip Tych enterprises LLC

THE EIGHT TRIGRAMS

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Post-Heaven Trigrams

Pre-Heaven Trigrams

THE NINE PALACES 9

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TABLE OF CONTENTS INTRODUCTION 1 What is Ba Gua Zhang? 1 History of Liang Zhen Pu Ba Gua 2 About the Chief Instructor 3 Lineage And Teachers 4 Student Guidelines 5 Advice For Training in the Chinese Martial Arts 7 The Ba Gua Zhang Curriculum 9 LEVEL 1: FOUNDATIONAL LEVEL 11 Introduction to the Beginner Level 12 Tips for Practice 19 LEVEL 2: CORE PATTERNS & MOVEMENTS 20 Introduction to Level 2 21 Tips for Practice 30

LEVEL 3: INTERMEDIATE LEVEL 32 Introduction to the Intermediate Level 33 Tips for Practice 45 LEVEL 4: ADVANCED TRAINING 47 Introduction to the Advanced Level 48 WEAPONS TRAINING 61 GLOSSARY OF CHINESE CHARACTERS FOR BA GUA ZHANG 82 GLOSSARY FOR NEI JIA & BA GUA ZHANG 91

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INTRODUCTION New York Internal Arts was founded by Tom Bisio in 1996 to promote and teach the Chinese internal arts, including traditional Chinese medicine and Nei Gong exercises. In these classes and seminars, we are offering instruction in Liang Zhen Pu Ba Gua Zhang, one of the main Ba Gua lineages from Mainland China. This handbook contains information on the history of the Liang Zhen Pu Ba Gua, lineage and teachers as well as a detailed outline of the curriculum. Also included are some class guidelines. Please be sure to read and follow the class guidelines: they will make the process of learning Ba Gua easier and more enjoyable.

WHAT IS BA GUA ZHANG? Ba Gua Zhang is one of the Nei Jia Quan or internal boxing arts. In Chinese Wu Shu (martial arts) , these include: • Tai Ji Quan (Great Ultimate Boxing) • Xing Yi Quan (Form-Intention Boxing) • Ba Gua Zhang (Eight Diagram Palm) • Tong Bei Quan (White Ape Boxing) • Liu He Ba Fa (Six Harmonies Eight Methods) These five arts have in common certain principles that have come to be called “internal.” This is in part due to the fact that they all stress correct body alignment, the development of “whole body power” and the unity of mind and body in every action. The other primary reason these arts are considered to be internal is due to their role as a type of internal alchemy that transforms qi1 into jing (essence). Because jing in turn promotes the qi and shen (spirit), this transformative process serves to promote health and prolong life. Ba Gua Zhang or Eight Diagram Palm is a method of boxing that is characterized by footwork, evasive movement and constant change. The actions of the whole body are coordinated with the rotation of the waist and the walking action of the legs. This, combined with relaxation and connection of mind and body, produces an explosive, coordinated power that comes from the unified action of the entire body and is not dependent on the relative strength of the external musculature. Ba Gua’s unique feature is its use of curved steps and its practice of walking around a circle to train the mind and body and develop whole body power. Although there are various theories about the origins of Ba Gua Zhang, Dong Hai-Chuan is considered by most people to be the founder of Ba Gua. It is not known for certain what martial arts Dong studied in his youth, but there is evidence that he combined martial arts with Daoist meditation practices which involved keeping the mind empty while walking in a circle. Dong was often quoted as saying, “training in martial arts is not as good as walking the circle.”2 Hence circle walking is considered one of the key exercises in Ba Gua, because it aids in evasion and counterattack and enables one to literally turn the opponent’s corner in combat. In addition, circle walking calms the mind and trains both the spirit and internal energy. The forms and techniques of Ba Gua are manifestations of the principles of whole body coordination or “internal connection.” These internal connections are predicated on using circular and spiral forces to overcome straight line and arced attacks and to concentrate and suddenly release the body’s full power in combat. Anatomically, the human body—muscles bones, tendons, ligaments—is organized in spirals. Therefore moving the body in spiral and circular patterns preserves the health and integrity of the human organism, while taking advantage of its natural structure to generate efficient self-defense capability. In both training and combat, Ba Gua places an emphasis on internal stillness while the body is in motion, 1Q  i has no simple definition. Although often translated as “energy” or “vital force,” qi also refers to breathing and respiration as well as to mists, fog, air and vapor – things that are perceptible. but intangible. In Chinese medicine qi is the basis for the body’s activity, but the activity itself is also qi. Proper or correct qi maintains and renews the measured orderly changes that comprise normal bodily processes. Pathogenic qi (disease pathogens) violate this order. 2 P a Kua Chang Journal, The Origins Of Pa Kua Chang. High View Publications: Vol 3, No. 4 May/June 1993. pp. 25-9.

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constantly changing and transforming, able to create infinite techniques seamlessly linked together. That is why it is said that the basic skills of stepping and turning can create “1,000 changes and 10,000 transformations.” This idea of transformation can be expressed in many ways. Yin and yang are concepts commonly used in any discussion of Ba Gua Zhang. In part this arises from the connection of Ba Gua and the Yi Jing (Book of Changes). Combat can be a changing, unpredictable situation. Therefore Ba Gua emphasizes continuous movement, counter and re-counter, and dynamic states of change and transformation. Although Ba Gua is referred to as the “eight diagram palm”, it does not focus on the palm alone. In fact, every part of the body, fist, palm, elbow, shoulder, head, hip, knee and foot are trained to move and strike freely and continuously. Ba Gua is therefore characterized by “ambushing hands and hidden kicks.” Within the forms and movements are Sixty-four hands and seventy-two secret kicks, as well as da fa (striking methods), ti fa (kicking methods), na fa (seizing methods), and shuai fa (throwing methods). In practice these methods are often combined, so that a particular movement may be a strike, a throw, a joint-lock or even a kick.

HISTORY OF LIANG ZHEN PU BA GUA Liang Zhen Pu, whose personal name was Chao-Ting, was born in 1863 in Chi County of Hebei Province. Liang Zhen Pu began his training with Dong Hai Chuan at the age of fourteen (1877). Dong was a talented teacher and Liang, a dedicated, hard working student, so Liang made quick progress in Ba Gua. He was Dong’s youngest student and purportedly well liked by the other disciples. Since Dong died in 1882, Liang Zhen Pu only studied with him for about five years. Liang was nineteen at the time of Dong’s death so most Ba Gua practitioners surmise that he studied and practiced with Dong’s disciples, particularly Yin Fu, Cheng Ting Hua, Liu Feng Chun and Shih Chi Tung. Liang later returned to Chi County and set up the Te Sheng protection service. After the advent of the Chinese Republic in 1911, Liang began to teach martial arts at fourteen middle schools in Chi County. He also taught Ba Gua at the request of the Lu Ping County athletics department. Later he opened up the Kuei Ying protection service. He spread Ba Gua throughout Chi County during his lifetime. Liang Zhen Pu died in 1932 at the age of 69. Of Liang’s disciples, perhaps the best known in Beijing was Guo Gu Min. whose personal name was Te-Lin. Guo was accepted as a disciple of Liang when he was twenty years old (1907). Guo GU Min remained a bachelor his entire life and was renowned for his superlative skills in Ba Gua. Guo also studied with Liu De Kuan a famous practitioner of Xing Yi and Ba Gua. Guo’s knowledge of the Ba Gua forms and weapons was deep. Based on this knowledge he reputedly authored the 36 songs and 48 sayings that are now studied by most Ba Gua practitioners. Guo lived in Beijing and Shantung Province, and taught many students. He died in 1968. Some of Guo’s disciples include Wong Shi Tong and Gao Zi Ying, both of whom taught many students in Beijing. Gao Zi Ying had many disciples including Gao Ji Wu and Wang Zi Ping and was friends with many notable boxers including Li Zi Ming. Wong Shi Tong joined Li Zi Ming’s Ba Gua association during the cultural revolution and one of his more well known disciples was Wong Tong who later also became a disciple of Li Zi Ming. Li Zi Ming was born in Chi County, Hebei in 1900. He began to study with Liang Zhen Pu at the age of eighteen. He studied with Liang from 1918 until Liang’s death in 1932. Liang visited Tianjin in 1926 and Liang Zhen Pu introduced him to Ching Yuen, one of Yin Fu’s top students. Li stayed and trained with Ching Yuen. Li also trained with Guo Ge Min as they were school brothers together under Liang Zhen Pu. Li did not teach anyone outside of his family until 1974 when he was 74 years old. Over the past several decades, Li Zi Ming and his disciples have spread Ba Gua to over 30 cities in China and many foreign countries including Singapore, Norway, the United States and Australia. Some of Li Zi Ming’s more well known disciples are Vince Black, Zhao Da Yuan, Zhang Hua Sen, Ma Chuan Xu, Wang Tong and Di Guo Yong.

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After Li Zi Ming’s death in 1993, Vince Black and Tom Bisio traveled to China several times to study with Zhang Hua Sen, a senior disciple of Li Zi Ming and former Beijing Opera performer. Zhang had also studied Tai Ji Quan with Wu style practitioner Wu Tu Nan. Additionally, Tom Bisio and Vince Black had the opportunity to research Guo Gu Min’s contribution to the Ba Gua Zhang of Liang Zhen Pu through one of his few remaining students, Wong Shi Tong. In recent years Tom Bisio and other instructors at New York Internal Arts have had the opportunity to work with Gao Ji Wu and his school brothers who teach Beijing Gao Family Ba Gua Zhang, an off-shoot of Liang Zhen Pu Ba Gua. Gao Ji Wu’s grandfather, Gao Wen Cheng was a disciple of Liu De Kuan who purportedly created the 64 Linear Forms. Liu De Kuan and Liang Zhen Pu both taught Guo Gu Min. Although this style does not bear Liang Zhen Pu’s name, it is clear that Liu De Kuan was an important contributor. Gao Ji Wu’s father, Gao Zi Ying studied with both Gao Wen Chang and Guo Ge Min. Gao Ji Wu in turn learned from Gao Zi Ying and today teaches Beijing Gao Family Ba Gua in Beijing. Another influential teacher for students and instructors of New York Internal Arts and Internal Arts International is Zhao Da Yuan, a disciple of the great Li Zi Ming. Zhao Da Yuan is famous for his Qin Na skills and for his work training body guards and special forces operatives. Instructors from NYC recently trained with Zhao Da Yuan in Beijing.

ABOUT THE CHIEF INSTRUCTOR: TOM BISIO Tom Bisio began his study of the martial arts and Oriental medicine studying karate at age 14. A Black Belt in Isshin Kempo at 17, he continued his study of the martial arts while completing a BA in East Asian studies at Columbia University. During this period, Tom studied the Filipino martial arts of Pekiti-Tirsia Kali under Leo T. Gaje and Old-Style Doce Pares Eskrima under the late Filemon “Momoy” Canete. He competed in fullcontact tournaments in New York’s Chinatown and tied for first place as Co-Champion in the Senior Instructor Division at the 1st National Arnis Championships in Cebu, Philippines, in 1979. In 1984 Tom began to study Chinese medicine, Xing Yi Quan, Ba Gua Zhang and Tai Ji Quan with Vince Black. Mr. Black is the founder of the North American Tang Shou Tao Association (NATSTA), a national organization whose goal is to promote and research traditional Chinese martial arts and Chinese medicine. Tom also studied Kajukenbo with Vince Black and had the opportunity to train directly under the art’s founder, Adriano Emperado. As a representative, and later as President of the NATSTA, Tom took numerous trips to China and South East Asia where he studied both medicine and martial arts with many different masters including: Zhao Da Yuan, Zhang Hua Sen, Wang Shi Tong (Liang Zhen Pu Ba Gua Zhang); Gao Ji Wu (Beijing Gao Gamily Ba Gua); Li Gui Chang and Song Zi Yong (Xing Yi); Wong Shu Sheng, Ge Guo Liang, Liu Shu Hang and Li Xue Yi (Gao Yi Sheng Ba Gua Zhang). Tom also studied Xing Yi and Ba Gua with Liao Wan Fu (Tian Jin) and Fu Shu Yen (Taiwan). Tom has taught martial arts since 1978. During that time he apprenticed with Chinese herbalists and experts in acupuncture, Qi Gong, Chinese massage and bonesetting. He went on to become a licensed practitioner of traditional Chinese medicine. In 1992 Tom Founded New York Internal Arts (NYIA). At that time classes were held in lower Manhattan. During the day, the space functioned as a clinic specializing in the treatment of trauma and sports injuries. In the evenings and weekends, classes in traditional Chinese medicine, qi gong, and internal martial arts were held late into the evening. Since that time NYIA has evolved into a collective of martial arts instructors in the Tri-State area and abroad who teach and research the arts of Ba Gua Zhang and Xing Yi Quan. Many of these instructors are also practitioners of traditional Chinese medicine. We partner with Zheng Gu Tui Na, whose instructors keep the most effective traditional Chinese medical practices alive and vibrant in the modern world. This collective has expanded abroad to Europe and Canada and is now called Internal Arts International (IAI) www.internalartsinternational.com. 3

In recent years, Tom and the Instructors of IAI have pursued training in Liang Zhen Pu Ba Gua with Master Gao Ji Wu and Master Zhao Da Yuan. Tom is also a Xing Yi Quan disciple of the late Master Li Gui Chang. He continues to study Li Gui Chang’s Xing Yi with his senior school brother Song Zhi Yong. Song Zhi Yong and Gao Ji Wu are senior advisors to Internal Arts International. Today Tom heads a busy clinic that specializes in trauma and sports injuries. There he oversees and trains other acupuncturists and a constant stream of students from various acupuncture schools in the Tri-State area who come to observe and assist in the treatments. He has been a guest lecturer at the Tri-State College of Acupuncture and the Seattle Institute of Oriental Medicine, as well the Graduate Program of Oriental Medicine at Touro College. In 1990 Tom and his associate Frank Butler created Zheng Gu Tui Na, a system of orthopedic medicine, which they teach all over the world. Tom is the author of several books, including: •A  TOOTH FROM THE TIGER’S MOUTH: How to Treat Your Injuries with Powerful Healing Secrets of the Great Chinese Warriors (Simon & Schuster, October, 2004) • THE ESSENTIALS OF BA GUA ZHANG, co-written with Gao Ji Wu (Trip Tych Enterprises, LLC, February, 2007) •Z  HENG GU TUI NA, a textbook on Chinese medical massage, co-written with Frank Butler (Zheng Gu Tui Na, LLC, July, 2007) •T  HE ATTACKING HANDS OF BA GUA ZHANG, co-written with Gao Ji Wu (Trip Tych Enterprises, LLC, February, 2010) •S  TRATEGY & CHANGE: An Examination of Military Strategy, The I-Ching and Ba Gua Zhang, (Outskirts Press 2010) • NEI GONG: THE AUTHENTIC CLASSIC: A Translation of the Nei Gong Zhen Chuan (Outskirts Press 2011) • BA GUA CIRCLE WALKING NEI GONG: The Meridian Opening Palms of Ba Gua Zhang (Outskirts Press 2012)

LINEAGE & TEACHERS Yin Fu

Dong H ai Chuan (founder)

L iang Zhen P u

Cheng Ting Hua L iu De Kuan Gao Wen Chang

Guo Gu M in

Gao Zi Ying

L i Zi M ing Wang Shi Tong

Gao Ji Wu

Zhao Da Yuan

Zhang Hua Sen

Vince Black

Tom Bisio 4

STUDENT GUIDELINES CLASS CONDUCT Classes at New York Internal Arts are conducted in a relaxed atmosphere without rigid rules or rituals. Questions are encouraged - it is important that everyone understand what they are doing and why they are doing it. This often means seeing the big picture; where the techniques and training exercises practiced at one level fit into the whole process of development. Because of the informality of the classes it is important that the training be focused and that the learning time of others be respected. This means no side conversations during class time. If it is absolutely necessary that you converse with someone in the class, take it outside into the hall so that you will not disturb the other members of the class. For the same reason, telephone conversations should be conducted before or after class unless there is an emergency. This also prevents the instructor having to repeat corrections or instructions several times. Try to arrive on time. When you arrive late, someone must stop what they are doing to buzz you in to the building. This takes away from their training particularly when the class is performing Qi Gong, Standing or Ding Shi (fixed posture circle walking). Please be respectful of the process of learning and of the teachers. There is often no One right way to do a technique. Differences in height, weight, and temperament produce variations in the way movements are performed. In some cases, different instructors or assistant instructors do things differently. Therefore, arguing about the way a technique is performed, or accusations that a particular instructor is incorrect in the way that they perform a movement or technique wastes valuable time and accomplishes nothing. In class, work on the technique being presented. If you have a question, ask an instructor. Listen to the answer. You will miss a chance to make valuable observations if you immediately dismiss the other person as wrong. If two instructors do something differently, and you are not sure who is right, ask them in a polite way and they will be happy to resolve the dilemma. You may find that they are both right - the nature of the internal arts is that if people are learning correctly, they will not all look the same, or move in exactly the same way.

HOW TO LEARN It should be possible for someone who trains hard to learn the bulk of the forms and training procedures and understand the process of how to develop the skills of internal boxing training in 4-5 years. Some students may have extensive background in the martial arts or even the internal martial arts. Training methods may contradict what you have learned before, particularly at the basic levels. You do not have to give up what you know, just put it aside during class time, and be willing to try something a new way. Learning is much easier with an open, uncluttered mind. The internal arts are best learned through cooperative effort rather than competition. Any technique, lock, throw, etc. can be countered; particularly in class when we are often practicing a static pre-set response. This is especially true at the basic levels, because often only part of a technique or attack and defense sequence is being practiced. Counters are always anticipated, but you will not be able to learn if you and you and your partner over-resist each other. Over-resisting can lead to injury. The “see, it doesn’t work” attitude is a major stumbling block to learning, for both you and your partner. Because you cannot make something work in the moment does not mean it will not work in the right circumstance, or when your level of skill is higher. Your partner cannot get the feel of the technique if you fight him/her every step of the way. The famous Ba Gua Instructor Li Zi Ming said that progress in understanding Ba Gua could only be made by diligent training with your peers. If possible, get together with other students to review in between classes. 5

It is possible that a student may have more experience in the martial arts than some of the instructors, or possess superior fighting ability. This does not mean that the instructor has nothing to teach you. All the true teachers I have met were able to learn from anyone. I have also trained with legendary “street fighters” who couldn’t teach to save their lives. If you can only respect and learn from individuals you are afraid of or who can beat you up, then you are in the wrong school. If someone is really too advanced for a particular level, they may be bumped up to the next level of training. Pay attention to what you are learning. The class is comprised of different people working on assorted exercises or techniques. There is no one order of learning. Knowing more forms and techniques does not necessarily mean someone is more advanced. How much you know is much less important than how well you internalize the movements. Instructors are often waiting to see changes in the internal body motion before teaching more material.

KEEP A NOTEBOOK Keeping a notebook is an important aid to learning. Keep a notebook and after class write down various techniques you learned or corrections you received with the date. This is an invaluable way to remember things. Ba Gua is a dynamic art that adapts to the circumstances of the moment, so applications or corrections that happen one day may not be repeated the next class. If one keeps a notebook, it will help you remember techniques and corrections and make it easier for you to practice at home. IMPORTANT: From time to time, you may receive handouts, such as a list of exercises, or the names of movements in a given form. These handouts are invaluable aids in learning and remembering. Recopy them into your notebook, put them in a ring-binder or type them into your computer so that you do not lose them. Learn the names of the movements. In the Chinese martial arts, poetic names are given to movements to elucidate a feeling or quality that is integral to that movement. These names will not only help you to understand the movements better, but also serve as shorthand mnemonics for remembering them.

PRACTICE AT HOME Internal martial arts require quiet, solo practice time in which to observe breathing, posture, and alignment; this mainly happens when you practice alone. Class time is to receive corrections, to learn new techniques, forms and training methods, and to get time working with a partner. It is important for each person to practice everyday on their own in order to progress. Again, class time is limited so we must make the most of it.

OTHER CONSIDERATIONS If you have a physical problem that prevents you from performing movements correctly, let the instructor know and we will work around it or seek to improve the condition, through adjunctive training or even Chinese medical treatments. Disagreements between students or between students and instructors need to be resolved before or after class. We appreciate hearing about what bothers you face to face, rather than hearing about it through a third party. We do have guests who come to observe the class. If the instructor is busy and they enter, please greet them, be hospitable and offer them a seat to observe the class. There are no trial classes so they must observe and talk to an instructor about taking the class. Please clean up your mess, bottles, food, etc.. Keep the bathroom and school clean as we are often guests in the training space and no one else should have to clean up after us.

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GENERAL ADVICE FOR TRAINING IN THE CHINESE MARTIAL ARTS Training in the Chinese martial arts, especially the nei jia quan or internal boxing schools requires diligence and some willingness to understand the rudiments of Chinese thought and language. This does not mean you have to speak Chinese or study Daoism. It does mean that you should acquaint yourself with the basic terminology and concepts of the martial arts and to some degree Chinese medicine. One way to do this is to simply keep a notebook. When terms are mentioned in class write them down. There is a glossary in the back of this training manual to help with terminology, but you may also want to write down the teacher’s explanations when he or she answers questions in class.

Each movement has a name, often poetic. Do not dismiss the names as being unimportant. In the Chinese martial arts poetic names are used because they describe the essence of a movement in a succinct and memorable way. The names are images that help to create body patterns. For example to understand “the dragon reveals its claws,” one must understand how the Chinese think about the dragon and what it symbolizes in order to understand the specific intention, purpose and performance the action described by that name.

Keep a notebook. Often as you receive corrections and advice, or begin to figure out things on your own, you have realizations that are important. If forgotten they must be rediscovered. By keeping a notebook it is easier to keep track of a correction that helped you progress and your own process of This is particularly important when you miss a day between classes and/or training sessions.

Find people to practice with outside of class. Some of the interactive skills require a partner to practice with. Find someone with whom you can practice with some regularity outside of class or between seminars. Also two minds are better than one in researching applications and in correcting one’ movements.

Be patient. The beginning levels require a lot of practice and time. Often this is based on having faith in the training process as observable results are sometimes slow to reveal themselves. Plateaus are inevitable and everyone experiences them.

Ba Gua can be painful. The twisting spiraling motions literally wring out the fascia, muscles and joints re-aligning them. As one part of the body re-aligns and loosens up it will cause other areas of the body to have to change and accommodate, The body does not like change and will protest. Do not give up the minute something hurts Try to ascertain what is causing the pain. If a movement feels wrong or harmful, it may be that you have a prior injury or medical condition that makes that movement not right for you, or you may be doing something incorrectly.

The internal boxing arts are 50% for health and 50% for self-defense. On a very basic level, this dynamic is evident in the breathing and body alignment practices that form the foundation of the internal martial arts. These practices are said to aid health by improving basic body functions and increased resistance to disease. The same foundational exercises are also used to develop increased efficiency in the underlying mechanics of self-defense movements. The importance of both aspects of the internal martial arts cannot be emphasized enough. Practitioners who focus on one aspect to the expense of the other often fail to achieve their goals, and are disappointed with the results of their training.

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Don’t be afraid to practice the self-defense skills. Practicing self-defense skills, maintaining efficiency and calm in the face of an attack, prepares us for other outside forces that can so easily affect us, whether they be, irritating noises a stressful work place, or an abusive boss. In some sense, practicing with a partner is like standard resistance training to develop strength. The difference being that rather than merely strengthening muscles, self-defense training forges a strong body, mind and spirit. Through correct self-defense training, the innate resilience of the human organism can be exponentially increased conveying enormous health benefits that are rarely produced by meditation and health exercises alone.

Embrace the health promoting aspects of training in the internal martial arts. Practicing only the self-defense aspects of the internal arts can damage health, ultimately weakening the ability to defend oneself. Ironically, this is a self-defeating equation. The hard training that many martial artists endure in order to perfect combat skills can take a serious toll on one’s health and vitality, if not balanced properly with common sense and methods that protect and nurture the health of the body.

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THE BA GUA ZHANG CURRICULUM The complete Ba Gua curriculum is extensive, encompassing many different movements, exercises, techniques, Nei Gong methods, forms, and various weapons. Generally Ba Gua can be divided into four levels. These are not fixed or written in stone, but are rather general guidelines for training and learning. The heart of the Ba Gua Zhang system, the aspects which develop the self defense ability and health promoting effect, are found in the foundational material. The foundational level of training consists primarily of Nei Gong (inner exercise) training. Nei Gong training opens up and correctly aligns and harmonizes the body’s energetic systems as well as the joints, muscles and fascia. Nei Gong training also develops the coordination of body, mind and spirit that critical to correctly learning and performing internal martial arts. Without this foundation the techniques and other methods are like a house or a building built on a weak foundation.

LEVEL 1: FOUNDATIONAL LEVEL The Foundational level consists of six distinct Nei Gong Methods: 1. Zhan Zhuang: Standing Meditation (Stake Standing) 2. Yin Yang Patting and Dao Yin Exercises 3. Qi Cultivation Exercises 4. 12 Advanced Standing Postures 5. Ji Ben Gong: Foundational Exercise 6. Foundational Partner Exercises 7. Crane Stepping & Mud Stepping 8. Ding Shi Ba Gua (Circle Walking Nei Gong) If the foundational material is fully understood and inculcated into one’s everyday body actions and movements then it is much easier to learn and employ the eight palm changes and the advanced movements and applications. One important aspect of this level of training are the foundational partner exercises which help to develop the fundamentals of power generation, striking, parrying, seizing and locking.

LEVEL 2: CORE PATTERNS AND MOVEMENTS The three pillars that rest upon the foundation and hold up the rest of the edifice (keeping the analogy of a house or building) are the Tian Gan (Heavenly Stem) Nei Gong, and the single and double palm changes. All the other changes and movements emanate from the Tian Gan Nei Gong and these fundamental palm changes. Therefore even the great masters spend most of their time practicing the Circle Walking Nei Gong (Ding Shi), the Tian Gan, and the Single and Double Palm changes. These 3 Pillars, the Old Eight Palms (Lao Ba Zhang), and the various exercises and linear movements associated with the eight palms form the second level of training. The Eight Basic Single Movements, one associated with each of the Eight Lao Ba Zhang changes are also of critical importance at this level.

LEVEL 3: INTERMEDIATE FORMS AND APPLICATIONS The third level expand upon the eight palms by showing numerous variations and applications (the 64 forms and 72 techniques). The 64 Forms, attributed to the great boxer Liu De Kuan, are characteristic of the Liang system and have three levels of performance, which must be carefully developed. However the focus at this level is on smoothly linking techniques and movements into continuous unbroken sequences, all the while turning walking and changing. This is developed through extensive practice of Ba Gua Lian Huan, the chain-linking form.

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LEVEL 4: ADVANCED The fourth level encompasses the advanced Nei Gong methods such as Marrow Washing Nei Gong and Daoist Alchemical meditation, as well as the advanced forms and weapon forms. These forms round out one’s ability and help one develop Ba Gua’s subtle body skills. Each weapon - sword, saber, staff, spear, seven star stick (whip stick), rooster knife, mandarin duck knife, hook-sickle swords, and wind cloud wheels - develops and emphasis different body mechanics and power dynamics (Shen Fa). The advanced forms also stress different body dynamics such as smoothly flowing stepping and striking: the Cloud Swimming Dragon Body, or the ability to fluidly the change intention and spirit of the movements as in The Pre-Heaven Eight Animal form. Marrow Washing Nei Gong and Daoist Alchemical meditation further refine the spirit and the vital energy. These levels are not fixed in stone, nor is learning completely sequential. In the Chinese internal arts, learning is circular and recursive . The path to mastery is a constant revisiting, and reexamining of the beginning levels each time informed by more the more “advanced” principles and methods. Through this recursion one comes to realize that all the myriad movements and methods lie within the most simple and fundamental actions. This is an ongoing process that can continue throughout one’s life.

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Advanced Forms

Daoist Meditation Marrow Washing

Na Fa

Shuai Fa

Ti Fa

Eight Single Movements Lao Ba Zhang (Old Eight Palms) Eight Attacking Elbows Single Palm Change

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Ba Gua Tui Na

64 Forms & 13 Elbows Single Movement Practice Ba Gua Lian Huan (Linking Form) 72 Techniques (Applications)

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Weapons

Tian Gan Neigong

Da Fa Double Palm Change

Ding Shi Ba Gua Zhang Basic Zhan Zhuang Qi Cultivation Exercises 12 Standing Postures Ji Ben Gong Exercises Yin Yang Patting & Dao Yin

THE BA GUA BUILDING 10

LEVEL 1

FOUNDATIONAL LEVEL

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INTRODUCTION TO LEVEL 1: FOUNDATIONAL LEVEL Skill in Chinese Internal Arts relies on the development of a strong foundation of body skills. For this reason the beginning levels take time and require diligent repetitive practice, particularly in the standing postures and footwork practice. The legs are the body’s foundation and provide the root for power. The Patting Nei Gong opens and clears blockages in the tissues and the energy channels (meridians), while the Dao Yin exercise regulates the Qi Dynamic. The Qi Cultivation Exercises, work in concert with the basic stake standing exercises (standing meditation). Together basic standing and Qi cultivation connect one with the subtle internal body movements. Understanding and feeling these subtle movements is critical to one’s internal development and to learning more advanced skills. The Ji Ben Gong Exercises are employed as a warm up for Ding Shi (Circle Walking Nei Gong) and more advanced practices These “warm up exercises” serve two important functions. They open up the joints and loosen tight areas. This prepare the body for more rigorous exercise while removing restrictions to the natural power dynamic of the body. These exercise also develop basic body alignments and attributes that are specific to Ba Gua. Coordination is difficult at first, akin to patting your head and rubbing your stomach at the same time. This is because the two sides of the body need to be able to perform different but connected actions. At this level one also engages with basic skills like footwork, and simple partner exercises like the seven-star drills, leg trapping drills and the basic parries which develop rudimentary fighting tactics, principles of body positioning and an understanding of lines of power. The fixed posture circle walking (Ding Shi) with the mud-wading step (tang ni bu) is perhaps the single most important skill in Ba Gua Zhang. It might be argued that Ba Gua begins and ends with Ding Shi. The Ding Shi positions, and the changes between them, provide effective basic self-defense techniques and are, at the same time the highest level of self-defense skill – leading the opponent into emptiness. The Ding Shi practice is also the key Qi Gong/Nei Gong skill in Ba Gua Zhang. Regular practice of Ding Shi, Crane Stepping and tang ni bu strengthens and tones the entire body and creates a spiral of qi/breath that ascends up the spine and then descends to store below the navel in the Dantian. Each posture also specifically opens a different meridian or group of meridians thereby activating and stimulating the body’s energy system on a profound level. Ding Shi is the key Yang Sheng ( “life nourishing”) practice of Ba Gua Zhang.

Ba Gua Yin-Yang Patting Nei Gong Ba Gua Yin Yang Pai Da Nei Gong 陰陽拍打内功 1. Pat the Head 2. Pat the Dantian 3. Pat Up the centerline ard Chest 4. Pat the Yin side of the Arm: chest to hand 5. Pat the Yang side of the Arm: hand to shoulder 6. Pat the Yang side of the Arm: shoulder to hand 7. Pat the Yin side of the arm hand to chest 8. Pat down the side of torso to Dantian 9. Pat the Dantian 10. Pat the Belt Channel 2-3x 11. Pat the outer (yang) side of the legs from the hips to the feet 12. Pat the inner (yin) side of legs from feet to groin 13. Pat around the genitals. 14. Pat Dantian 15. Pat the Belt Channel 2-3x 16. Pat down the buttocks and back of legs to the Achilles Tendon 17. Pat up the deep inside of the legs to the Dantian 18. Pat the Dantian 19. One hand over the other rub Dantian 36 times clockwise and 36 times counterclockwise

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Ba Gua Leading-Guiding Life Nourishing Nei Gong Ba Gua Dao Yin Yang Sheng Nei Gong 導引養生内功 1. Kidney Breathing for 3-9 breaths 2. Click the teeth 36 times 3. Circle the tongue 9; gather saliva and swallow in three parts 4. Warm Hands; massage sides of nose nine times 5. Press the LI 20 (Ying Xiang) acu-points 9 times 6. Use the fingertips to massage around the eyes 9 times 7. Rub palms and use Lao Gong (P 8) point to warm eyes 8. Wash the face with the palms nine times 9. “Comb” the hair nine times 10. Massage the GB 20 (Feng Chi) acu-points 9 times 11. “Beat The Sky Drum” 18 times 12. Press Du 15 and Du 16 (Feng Fu) 9 times 13. Grasp up and down the nape of the neck several times 14. Massage the ears 15. Rub up an down in front of and behind the ear 9 times 16. Massage Du 14 (Da Zhui) 17. Hold GB 21 (Jian Jing) 18. Stroke down the front of your throat nine times 19. Dredge the chest with interlaced fingers and pulling them outward 20. Rub the right side and left sides of the chest 9 times 21. Stroke the arm meridians 9 times 22. Massage the left and right ribs 9 times 23. Massage Ren 12 (Zhong Wan) with two fingers 9 times 24. Stroke up from the lower ribs up to the chest and then down to Dantian 9 times 25. Massage Dantian in a circle 36 times clockwise and then 36 times counterclockwise 26. Massage the sacrum and the tailbone 9 times 27. W  arm Palms and stroke upward from the sacrum to the kidneys 18 times. Hold the kidneys and let the heat of the palms penetrate into them. 28. Rub the knees with the palms, circling outward 9 times and inward 9 times. 29. With the palm center (Lao Gong), massage the KID 1 (Yong Quan) acu-point on sole of each foot 81 times 30. Perform Kidney Breathing 3 times 31. Stand and massage leg meridians 9 times 32. Relax and breathe into Dantian

Standing Meditation Zhan Zhuang 站桩 1. Wu Ji Posture 2. Embrace Posture 3. Ball Floating Posture

Qi Cultivation Exercises Duan Lian Qi Gong 锻炼氣功 1. Wu Ji Posture 2. Embrace Posture 3. Ball Floating Posture

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Ba Gua Zhang Twelve Standing Postures Ba Gua Zhang Shi Er Zhan Zhuang 十二站桩 1. Posture  1: San Ti Shi3 三體式. The Old Monk Offers the Alms Bowl

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Lao Seng Tuo Bo 老僧托钵.

2. P  osture 2: Hooking Step: Kou Bu 釦步 Hide Flower Under Leaf | Ye Di Cang Hua 叶底藏花 3. Posture 3: Swing Step Bai Bu 擺步 Green Dragon Turns Its Head | Qing Long Hui Shou 青龙回首 4. Posture 4: Hawk Step: Ying Bu 鷹步 Hawk Overturns Its Body | Yao Zi Fan Shen 鹞子翻身 5. Posture 5: Sitting Step Zuo Bu 坐步 Black Dragon Searches the Sea | Hei Long Tan Hai 黑龙探海 6. P  osture 6: Resting Step Xie Bu 歇步 Yin Yang Coiling Dragon | Yin Yang Pan Long 阴阳盘龙 7. Posture 7: Balance Step: Ping Heng Bu 平衡步 Wing Spreading Flying Palm | Zhan Chi Fei Zhang 展翅飞掌 8. P  osture 8: Single Standing Step Du Li Bu 獨立步 White Ape Offers Peach | Bai Yuan Xian Tao 白猿獻桃 9. Posture 9: Crouching (Falling) Step Pu Bu 仆步 Dragon Crouches on Ground | Shen Pu Di Long 身扑地龙 10. Posture 10: Bow Step Gong Bu 弓步 Embrace the Moon to the Breast | Huai Zhong Bao Yue 怀中抱月 11. P  osture 11: Horse Step Ma Bu 馬步 Three Plates Fall to the Ground | San Pan Luo Di 三盘落地 12. Posture 12: Empty Step: Xu Bu 虛步 Qi Lin Spits Out the Book | Qi Lin Tu Shu 麒麟吐书

Linking the 12 Postures 1. From the natural stance: Step right foot out and pierce outward with the right hand to form a right Old Monk Offers Alms Bowl Posture (San Ti Shi). 2. T  he right foot half-steps forward and then the left foot steps to Kou Bu (Hook Step) and form Hide Flower Under Leaf. 3. Step left foot out in Bai Bu (Swing Step) as the arms turn and press outward to form Green Dragon Turns Its Head. 4. Step forward with a right Kou Bu (Hook Step), push the right hand forward and turn back 180 degrees as the left hand spirals overhead lift and hang the left leg inward to form the Hawk Posture: Hawk Overturns its Body. 5. T  he arms pull downward and the left leg extends. Pause. This transitional position can also be held as a standing posture. Then set the left heel on the floor and bend to form the Sitting Step: Black Dragon Searches the Sea as you stretch right hand along the left leg and left hand rises behind you in a hook shape. 6. R  ise with arms extended, keeping weight on right leg with the left heel resting on floor. Twist leftward to form the Resting Step: Yin Yang Coiling Dragon. 7. Step the right foot to Kou Bu (hook step) to turn back and form the Balance Step: Wing Spreading Flying Palm with weight on right leg and left leg extended out, right hand pointing back and left hand pointing forward.

3T  his is the Ba Gua Zhang equivalent of Xing Yi Quan’s “Three Body Posture” (San Ti Shi) 三體式.

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8. Straighten the body and lift the left knee to form the Single Standing Step with White Ape Offers the Peach. 9. S tep the left foot down in Kou Bu (hook step) as you turn back and the right leg extends out with the weight sitting on left leg to form Pouncing Step: Dragon Crouches on the Ground. 10. Shift weight forward to right leg to form the Bow Step: Embracing the Moon to the Breast. 11. Shift weight back to form the Horse Step: Three Plates Fall to the Ground. 12. T  urn left and drill the right hand outward with the left foot empty to form the Empty Step: Qi Lin Spits Out The Book. Step out with the left foot and pierce outward with the left hand to form a left San Ti Shi: Old Monk Offers the Alms Bowl. Now repeat the sequence on the on the opposite side.

The 28 Ji Ben Gong Foundational (“Warm Up”) Exercises Ji Ben Gong 基本功 1. Yin Yang Meridian Patting Method 2. R  otation Of Joints • Gaze at the Heel • Cock Pecking Rice • Rotating the Hips Strengthens the Kidneys • Hula Hips • White Crane Rotates the Knees • White Crane Flexes the Knee • Rotating the Ankle 3. Inward Hanging Leg 4. Outward Hang Leg 5. Spring Leg (Toe Kick) 6. F iling and Cutting Leg • Basic • Lift and Cut 7. Forward Stomping Leg 8. Backward Stomp as Hands Push Forward 9. Pouncing Step 10. Standing Snake Body 11. Slapping & Flicking Hands • Single • Double 12. Three-Way Slapping 13. Body Slapping High & Low 14. Rotating Arms in opposite Directions 15. Windmill Arms 16. Grasp Empty Hands 17. Twisting Shoulders/Changing Palms (Lengthen Tendons/Pull Bones) • Arms Only • Whole Body

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18. Serving Teacup Exercises • One Hand (Open; Cover ; Coil; Pierce) • One Hand (Chop; Coil; Swing Across; Open) • Tea Cup with Both Hands Moving in Opposite Directions – End in Pierce 19. Drawing Hand 20. Front & Back Piercing Hand 21, Upper Drawing Hand 22. Guiding Hand 23. Drilling and Pulling Hand 24. Piercing Palms 25. Picking Hand 26. Hiding Flower Under Leaf 27. Drill Upward & Millstone Posture 28. Shake & Vibrate Body

Basic Footwork Exercises 1. Plum Blossom Stepping: Hourglass Stepping 2. Plum Blossom Stepping: Figure 8 Stepping 3. Kou Bu Bai Bu Linear Exercise 4. Basic Tang Ni Bu: The Slow Walk 5. Crane Stepping (He Xing Bu)

Ba Gua Circle Walking Nei Gong Ding Shi Nei Gong 定式内功 1. Downward Sinking Palm (Fierce Tiger Descends the Mountain) 2. Moon Embracing Palm 3. Mountain Pressing Palm (Double Bumping Palm) 4. White Ape Offering Fruit Palm 5. Heaven Upholding Palm 6. Ball Holding Palm (Lion Plays With Ball) 7. Spear Holding Palm 8. Heaven Pointing Earth Penetrating Palm (Heaven & Earth Palm) 9. Yin Yang Fish Palm (Yin Yang Palm) 10. Millstone Pushing Palm (Green Dragon Extends Claws)

Ding Shi Stepping Patterns 1. Plum Blossom Stepping: Hourglass Stepping 2. Plum Blossom Stepping: Figure 8 Stepping 3. Kou Bu Bai Bu Linear Exercise 4. Basic Tang Ni Bu: The Slow Walk

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FOUNDATIONAL EXERCISES & PARTNER DRILLS I. Piercing Palm Exercises: Solo 1. Stationary • Palm Up • Vertical • Palm Down • Piercing/Shearing 2. Forward & Back (2 Step) 3. Forward & Back (3 Step) 4. Dodging 3 Step: Forward & Back 5. Side to Side 6. Plum Blossom Triangles

II. Piercing Palm Exercises: Partner 1. One Step Forward and One Back 2. Line Forward & Partner Retreats 3. Dodging Forward & Back 4. Side to Side (3 pierces) 5. Flat Pierce – Advance and Shear

III. Seven Star Drills 1. 3 Count Drills • Stationary • Spinning • With turn pierce with elbow and slap chest elbow strike 2. 6  Count Drills • Basic 4 • Basic 6 • Basic 6 – move on outside • Basic 6 move and spin on outside • Basic six move on each – trap legs • w/ shoulder stroke (and foot sweep) • w/ hip strike • triangle stepping hip strike • w/ foot switch and break arm • w/ millstone change from low to grab shoulder • w/ low palm strike counter w/ arm bar • w/ high attack, pivot and throw 3. Palm Slapping

IV. Leg Trapping Drills • Inside kou bu – outer reap - inside kou bu • Inside kou bu – outside bai bu –inside kou bu • Combine previous exercises • Free-style leg trapping 17

V. Parry Drills 1. Basic • Straight Punches: Shearing Palm Up or Down • Hooks: Elbow lift or lift arm • Low Hooks: Cut Down • Uppercuts: Drill Upward 2. Parry and Pierce (sweeping parries) 3. Parry and Counter • Parry Straight Punch and Palm Strike to Face • Parry Hook and Palm Strike to Face • Parry Upper Cut and Upper Cut with Knuckle to CV 23 • Parry Low Hook & Chop Neck 4. W  edge vs. Grabs • High Wedge Inside (heaven uplifting) w/ Kick • High Wedge Outside (heaven uplifting) w/ Double Pierce • Low Wedge w/ Double upward Palm Strike (monkey offers fruit) 5. T  en-Count Parry Drill 1. Parry Straight Punch (shear) 2. Parry Straight Punch (shear) 3. Parry Hook (lift arm) 4. Parry Hook (lift arm) 5. Parry Uppercut (drill upward) 6. Parry Uppercut (drill upward) 7. Parry Low Hook(cut down) 8. Parry Low Hook (cut down) 9. Stop High Grab (high wedge) 10. Stop Tackle: (low wedge)

VI. Na Fa Seizing Exercises 1. Grabbing Wrist Exercises • Pull • Push 2. B  reak Grabs w/ Chin Na Entries • Cross grab – Golden Threads Wraps Wrist • Same Side Grab – Clouds Follow Coiling Dragon • Same Side Grab – White Horse Rolls Leg • Reverse Same Side Grab – Hide the Flower to attack elbow • Cross Grab- Turn into Arm Bar • Cross Grab – Dragon Waves Tail into Galloping Horse Looks Back (Outer Wrist Lock) • Double Wrist Grab – Turn to Hide Flower

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FOUNDATIONAL LEVEL: TIPS FOR PRACTICE 1. Practice the Yin Yang Patting in the morning to open up the meridians and activate and concentrate the qi. The Dao Yin exercise are an important first step in Qi Cultivation. They can be done before patting or later in the day. 2. A  fter Yin Yang Patting practice the Standing Meditation postures (Zhan Zhuang) daily to develop relaxation, alignment, stamina power and root. Gradually increase the standing time in embrace posture to 15-20 minutes. 3. After Zhan Zhuang practice the qi cultivation exercises. Alternatively try doing Qi Cultivation first and then experience a subtler version of the same movements spontaneously occurring inside the body as you hold the Zhan Zhuang Postures. 4. T  he Ji Ben Gong exercises are critical to the practice of the more advanced methods. Many of these movements and body dynamics appear again and again throughout Ba Gua training. They are also the basis of many of the martial techniques and so must be completely mastered. Use them as part of your daily warm up following the Dao Yin exercises and before practicing other skills. 5. Practice the footwork drills and Piercing Palm exercises as much as possible. 6. D  ing Shi Ba Gua Zhang (fixed posture circle walking) is the key Nei Gong Practice which teaches proper circular stepping, and builds internal strength. Once you learn them, practice the walking postures on the circle at least 5 times a week. 7. One can also do standing in the morning and ding shi later in the day. These two practices are the key foundational practices for more advanced training. 8. Add in practice of the 12 Standing Exercises. These are another type of Qi cultivation training, that also develops the twisting spiraling power that is used in Ba Gua They also develop strength and stability in the joints. 9. P ractice ding shi around a post, a stake in the ground or a tree. As you walk you can spiral inwards narrowing the circle and spiral outwards widening it. When practicing with the post keep your attention on it even when you are not facing it directly. 10. Try and get together out of class to master the parry drills, foot trapping and the 7-star drills until they are reflexive 11. If you do not have a partner then visualize the applications and partner work and perform the 7 star drills, na fa skills and parry drills in the air like shadow boxing. Some of these exercises, like piercing palms, seven star and leg trapping drills, can be practiced against a post. A very good morning practice session can consist of: • Dao Yin – 10 minutes • Standing and Qi cultivation – 20-30 Minutes • Ji Ben Gong – 15 -20 minutes • 12 Standing Postures 10 minutes • Ding Shi 20 -30 minutes Total: 1 hour and 15 minutes to 1 hour and 40 minutes

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LEVEL 2

CORE PATTERNS & MOVEMENTS

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INTRODUCTION TO LEVEL 2: CORE PATTERNS AND MOVEMENTS The key elements in Level 2 are the three pillars mentioned earlier: 1. T  he Tian Gan (heavenly stem) Exercises which build on the basic warm-ups but more specifically develop torsional winding or “silk reeling” power. These exercise wring out the spine section by section and then develop integration of the spinal movement with the movement of the ribs, legs and waist. As the Du meridian runs through the spine the Tian Gan exercises help to remove blockages which impede the upward and downward movement of the Qi. 2. T  he Single Palm Change is the basis of all the other changes and movements in Ba Gua. The Single Palm Change Zhan Zhuang (standing exercise) is essentially the opening movements of Lao Ba Zhang. It is also an excellent practice method to develop the power dynamics of the Single Palm Change. 3. The Double Palm Change is an extension of the Single Palm change which works with more complex internal spirals and circles. The single and double palm changes develop the coordination of the feet and hands while stepping, wrapping and turning smoothly. It is said by many practitioners that the single and double palm changes contain all other changes and can be expanded to perform infinite changes and transformations. This levels also introduces some other key elements which continue the development Body Skills (Shen Fa) and foundational martial skills: 4. The Basic Linear Movements teach basic self-defense principles, including lines of power, direct and indirect attacks, and bridging movements. Because each linear movement is an abbreviated expression of one of the basic eight circular palm changes (Lao Ba Zhang), they can be combined with the circular palms to produce a wide variety of defensive and counter-attacking tactics. 5. Lao Ba Zhang (Old Eight Palms) circular palm changes which develop variations of the foundational single and double changes. The Single and Double palm changes comprise the first two palms of Lao Ba Zhang. The other six combine single and double changes with different types of footwork and changes that emphasize the eight directions and six facings: front, back, up, down, turning leftward and turning rightward. These Eight Changes are the heart of the Liang system of Ba Gua Zhang. 6. E  lements of the Four Methods of Attack and Defense are also introduced at this level in order to develop foundations for the various aspects of the art of Ba Gua, which include striking (da) seizing and locking (na fa or qin na ), kicking (ti fa), and throwing (shuai fa). To this end methods of controlling, locking and striking with the elbow, basic kicking skills, falling skills (a pre-cursor to the practice of throwing) and various qin na locking, joint seizing methods are introduced in order to build a foundation for more advanced techniques.

Single Palm Chang Zhan Zhuang • Old Monk Hold Out the Alms Bowl • Hide Flower Under Leaf • Millstone Pushing Posture

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SINGLE AND DOUBLE PALM CHANGES OF GAO JI WU Old Eight Palms Lao Ba Zhang 老八掌 OPENING Old Monk Holds Out The Alms Bowl Hide The Flower Under The Leaf Lone Goose Leaves (Separates From) The Flock 1. S  ingle Palm Change Shepard Boy Points The Way Hawk Penetrates (Darts Through) The Forest Hiding Flower Under Leaf Lone Goose Leaves The Flock 2. D  ouble Palm Change Shepard Boy Points The Way Removing The Helmet From The Head Horse Shakes The Bell Hawk Penetrates the Forest Hiding Flower Under Leaf Lone Goose Leaves The Flock 3. Body Turning Palm Sweep of One Thousand Armies Hiding Flower Under Leaf Lone Goose Leaves The Flock 4. Chopping Palm Tai Shan Presses Down The Head Hawk Penetrates The Forest Tai Shan Presses Down the Head Hawk Penetrates Through The Forest Hiding Flower Under Leaf Lone Goose Leaves The Flock 5. Opportunity Seizing Palm White Snake Coils Its Body Hang The Golden Bell Upside Down Step Low & Pierce The Palm Double Spreading Arms White Tiger Shakes Its Tail Iron Plate Kicks To The chest

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6. S  tep Following Palm Shepard Boy Points The Way Hawk Penetrates The Forest Ten Ton Weight Falls To The Ground Rhinoceros Gazing At The Moon Hiding Flower Under Leaf Lone Goose Leaves The Flock 7. Downward Dropping Palm White Snake Coils Its Body Pierce The Palm Downwards Slice (chop) Left & Right Hiding Flower Under Leaf Lone Goose Leaves The Flock 8. F  lat Penetrating Palm Four Dragons Drawing Water Flat Penetrating Palm Horizontal Chop To The Rear Hawk Penetrates The Forest Hiding Flower Under Leaf Lone Goose Leaves The Flock

Eight Linear Movements 1. Uplifting Palm 2. Yin Striking Palm 3. Opening Palm 4. Wind Wheel Chopping Palm 5. Heaven & Earth Palm 6. Ten Ton Weight Falls to the Ground & Rhino Gazes at the Moon 7. Insert the Flowers Under the Armpit & Phoenix Enters the Nest 8. Face Slapping Palm: Vertical & Horizontal

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The 16 Tian Gan Exercises 1. Sword Hand 2. Diagonal Chop 3. Covering Hand Palm • basic covering palm • covering palm with chicken head 4. Reverse Covering Palm 5. D  rill and Pull • cross body drill and pull • forward drill and pull 6. Piercing Palm 7. Hawk Penetrates the Forest 8. Tiger Plays with Ball (Rolling Upward) 9. R  olling Back-Fist • 3 count rolling back-fist • 2 count rolling back-fist • continuous rolling back-fist 10. Bursting Fist 11. Shoulder Roll (2 Directions) 12. Cobra Out Of Basket 13. Drill & Chop 14. Spiral Upward & Press Downward 15. Moving The Mountain 16. Rocking Horse With Three Roots • rocking horse with downward pressing • rocking horse with pushing • rocking horse with coiling and piercing

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Miscellaneous Single Movement Exercises 1. Walk Forward & Scissor Kick - 3 Styles • lead poke and kick • rear poke and kick • pull and kick 2. Pulling Hand & Piercing Kick 3. Rolling Chopping Hand 4. Bumping & Pushing 5. Chopping Hand With Tiger Push 6. Chopping Hand With Two Palm Strikes 7. Walk Forward & Flicking Fist (and with backfist) 8. Dragon Body 9. Immortal Sifts The Rice 10. Walk Forward With Lion Holds The Ball 11. Paddle Wheel Arms & Millstone Sweep 12. Picking Hand With Step

Kicking: Developmental Exercises 1. Crane Step 2. Phoenix Walk 3. Lift Leg, Scoop Step and Bai Bu Stepping

Stationary Kicking Drills 1. Straight Kick 2. Diagonal Kick 3. Inward Crescent 4. Outward Crescent 5. Inward Hanging Leg 6. Sweeping Kick 7. Pull and Knee 8. Upward Kick 9. Turn and Back Kick

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Kicking Drills 1. Drill and Pull with Basic Ba Gua Kick 2. Drill and Pull with Wrist Wrap and Stomp Kick; 3. Drill and Pull with Stomp Kick to Outward Cutting Kick 4. Two Hand Pull and Inward Hanging Leg; 5. Drill and Pull and Upward Kick 6. Drill and Pull with Covering hand and Sweep 7. Double Pull with Upward Scraping Kick and Down Stomp Step 8. Swing Arms with Outward Crescent Kick 9. Pull and Knee Strike 10. Cover and Inward Knee Strike 11. Basic Ba Gua Kick-Inward Crescent Kick- Back Kick 12. Drill and Pull with Stomp Kick; Inward Slicing Kick; Spin and Spin with Downward Scraping kick 13. Run Away Back Kick; Turn Cover Leg; Sweep; Spin and Outward Cutting Kick 14. Drill Grab and Cover and Sweep Kick Outward Cutting Kick w/ same leg. 15. Figure Eight Stepping with Kicks and Knee

Basic Qin Na 1. Golden Threads Wraps the Wrist 2. White Horse Rolls Its Leg 3. Tying the Phoenix’s Wings (lapel grab) 4. Galloping horse Looks Back (outer wrist lock) 5. Clouds Follow Coiling Dragon (drill and pi) 6. Step Back and Lead the Sheep (reverse outer wrist lock) 7. Golden Bracelets 8. Basic Arm Bar 9. Hammerlock 10. Embracing Yang/Gathering Yin (gooseneck) 11. Raise the Spear to kill the Tiger 12. Embrace Pi Pa in Arms 13. Thousand Catty Finger 14. Finger Locks 15. Old Pine Leans Over (figure 4 lock) 16. Lapel Grabs

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Lead, Seize and Pull Drills 1. Basic Pressing Shoulder 2. Pulling an Stepping with Arm Bar 3. Wrist Radius Head Qin Na with Stepping 4. Pulling an Stepping with Arm Bar and Poke

Eight Linking Qin Na 1. Parry the Arm to Grab the Wrist and Seize the Throat 2. Xiang Xi Presses the Basket (Elbow Locks Wrist) 3. Step Back and Press the Hand 4. White horse Rolls its Leg 5. Golden Threads Wraps the Wrist 6. Wild Swan Overturns its Body (Cutting Elbow) 7. Galloping Horse Looks Back (Outer Wrist Lock) 8. Golden Cicada Sheds Skin (Yin Yang Throw)

Basic Elbows: Stationary 1. Upward Striking Elbow 2. Backward Striking Elbow 3. Lateral Striking Elbow 4. Wing Spreading Elbow 5. Inward Wrapping Elbow 6. Upward Lifting Elbow 7. Downward Dropping Elbow 8. Body Embracing Winding Elbow

Ba Gua Zhang Eight Attacking Elbows Ba Gua Zhang Ba Gong Ji Zhou 八卦掌八攻击肘 1. Double Stretching Elbow 2. Chest Embracing & Pouncing Elbow 3. Turn the Body & Sit (Lower) (the Elbow 4. Turn the Body & Cover with the Elbow 5. Walk Forward & Lift the Elbow 6. Turn the Body & Explode the Elbows Backward 7. Withdraw the Body & Pierce the Elbow 8. Queen Wang’s Thread Winding Elbow

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Falling Skills 1. Rolling Front 2. Rolling Back 3. Side Break-Falls 4. Back Break-Fall 5. Rolling Sideways 6. Front Breakfall

Slap Away Millstone Exercises 1. Basic • from side • from above 2. With Foot Trap 3. Step in with Clothes Line 4. Step in with yin strike/ shoulder strike 5. Step back w/ Rotary Throw

Spinning Exercises 1. Push to Chest & Spin 2. Push from outside and spin 3. Continuous Spinning

Winding/Entangling Hand Throws & Techniques 1. Piercing and Entangling 2. Outside Position on Neck: Neck and Elbow Rotary Throw 3. Inside Position on Neck - Bump and Backward Hip Throw 4. Low Position, Pierce Low: Grab Collar and Hip and Pivot to Throw 5. High Position: Pierce to Eyes , Turn and lock elbow with Forearms 6. Deep Entwine and step behind to Monkey Cleaning Teeth 7. Entangle and Outer Wrist Throw (add Figure Four Throw) 8. Entwine and Turn into arm to Block and Break Shoulder 9. Entwine and Outer Wrist lock to Wrapping and Grab Throat 10. Entwine and Slap Face with Left and Pull Arm Attack Elbow step Across and Throw

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Seizing Hand Locks and Throws 1. Wrist Seizing Hand and twist wrist: left hand rotates pinky side upward 2. Elbow Seizing Hand: Forearm controls his elbow and step across throw 3. Shoulder Seizing Hand: Seize Armpit and left hand slips to hammerlock as block leg

Ba Gua Throwing 1. Rotary Throw 2.Leg Pickup Throws • Inside • Outside 3. Clothesline Throw • Outside: w/Hip Displacement Throw • Inside 4. Y  in Yang Throws • Classic Yin Yang Palm Throw • Outside Yin Yang Palm Throw 5. D  ownward Pressing Palm Throw • Basic • Phoenix Throwing Wing 6. Monkey Cleaning Teeth 7. Single Palm Change Throws 8. Double Palm Change Throw (scoop legs) 9. T  en Ton Weight Falls to Ground • Straight • Side- holding upper arm • Cross body

Circling Piercing Palm Exercises 1. Pierce Palm Up 2. Three Piercing Palms 3. Three Piercing Palms w/ Lotus Kick • catch leg and throw 4. T  hree Pierces; Pull partner across circle and walk • clothesline if resists 5. Three Pierces and enwrapping arms as walk 6. Enwrapping arms with turning and spinning

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CORE PATTERNS AND MOVEMENTS: TIPS FOR PRACTICE 1. Continue to perform the warm-ups followed by stake-standing and Ding Shi as much as possible. Add in the 12 Stake Standing Exercises. Follow them with a few minutes of the Qi cultivation Exercises. If time is short, do less repetitions of each exercise so that you can spend time on the Tian Gan exercises. 2. T  he opening to Lao Ba Zhang can be done as a Qi Gong Exercise or more smoothly thinking about applications. Practice both ways and spend time perfecting the stances and positions of each of the three postures. Pause holding the Old Monk Holds Out the Alms Bowl Posture, the Hiding Flower Under Leaf Posture and the Millstone Posture. This can be a type of stake standing exercise. This will prepare you for the next level. 3. Crane stepping is a key exercise for developing a light quick step. Additionally it is important in developing kicking skills, so it should be practiced until it is comfortable. Gao Ji Wu recommends 20-30 minutes at a time. When practicing crane form stepping, keep the body level – don’t bounce up and down. If necessary balance something on your head (a plastic cup) to make sure your stepping is level and smooth. 4. P ractice Tian Gan as part of the warm-ups. The Tian Gan exercises are very important in developing winding power and torsion power. Because the Tian Gan exercises develop the ability to use the waist to generate torsional spiraling power and free the spine of restrictions to turning, twisting extending and flexing. In this sense they can be said to “wring out”: the spine. They also develop the so called “silk reeling power” used to offbalance, lock and strike the opponent If possible perform 10-20 repetitions of each, in the order they are listed, before practicing Ding Shi or Lao Ba Zhang. They are practiced in that order because each exercise builds on the exercises that preceded it. If time is limited, practice the ones that you have the most difficulty with. 5. T  he Single and Double Palm Changes are the key to Lao Ba Zhang (the Old Eight Palms) and more advanced techniques. Practice them until they are smooth and fluid. After Ding Shi practice the body is connected and stable – this is a good time to practice the single and double palm changes of Gao Ji Wu. These changes help develop winding and wrapping energy while changing and stepping. 6. P ractice the Eight Linear Movements frequently in lines and stepping forward and back. Get comfortable with performing them with different types of steps. 7. Practice Lao Ba Zhang slowly and precisely, feeling the actions of coiling and drilling, embracing/wrapping and pressing/separating. 8. In practicing Lao Ba Zhang, pay attention to the turning of the waist. The actions of the arms come from the steps, the folding of the kua (inguinal area) and the turning of the waist. 9. P ractice the Qin Na/Na Fa techniques as much as possible outside of class. If you have no one to practice with, visualize the techniques and perform them in the air. Always remember to use the idea of initiating movements from the body and not the hand as in Black Dragon Waves its Tail and Hiding Flower Under Leaf (ning -twist; guo-wrap) & Sparrow Hawk Drills Up to the Sky and Lone Goose Leaves the Flock (zuan-drill; fanoverturn). If you are wrestling with your partner or using muscular strength, stop, relax and analyze what is wrong. Perfect as many Qin Na methods as you can. Imagine grabs and how you might neutralize them 10. Rolling and Falling is an important skill. Practice whenever you can. Make the rolls slow and smooth. 11. Keep in mind that ultimately Ba Gua is a really just a set of principles that are learned through the basic training methods in the beginning level. These key principles and exercises provide a foundation that are built upon at the intermediate and advanced levels - these beginning levels are the key to mastery. 12. T  his level adds a lot of new material that builds on what came before. Slowly master all the techniques in order to build a base for more advanced forms and methods. 30

13. Keep practicing Ding Shi. Ding Shi is the beginning and the end of training. It is basic, but its practice also generates some of the most advanced techniques. 14. L ao Ba Zhang is at the heart of Ba Gua Zhang. By combining Ding Shi and Lao Ba Zhang infinite changes and applications can be created. 15. This level adds elbow strikes. The Eight Elbows form shows how Lao Ba Zhang movements can be used in close quarters by employing elbow strikes. 16. Kicking skills are an important part of Ba Gua Zhang. Every step is potentially a kick. Many of the advanced Linear Movements include kicks – so training the kicking drills along with the crane step will help the linear movements and vice-versa. 17. The Circling and Piercing Palm exercises develop the piercing palm and the ability to change and open and close lines of attack. Practice them frequently until they are reflexive. 18. A good strategy for training is to start with standing and progress sequentially through Tian Gan, Ding Shi and Lao Ba Zhang, followed by the Eight Attacking Elbows and the Eight Kicks. If you do this every day even in a short session, they will become part of your natural movement. 19. A  nother important practice method is to mix the eight linear movements with the Lao Ba Zhang palm changes. Explore how linear number one is really hidden with in the first palm change. This is true for each linear movement and its respective palm change. 20. Do the warm-ups for kicking: Phoenix walk; Lift Leg, Scoop Step and Bai Bu; Crane Form Stepping before practicing the kicks. These are the developmental exercises for kicking. Do the kicks easily and lightly using the principles developed in the basic warm-ups so that the hip opens and the leg muscles are loose and relaxed.

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LEVEL 3

INTERMEDIATE LEVEL

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INTRODUCTION TO THE INTERMEDIATE LEVEL The Intermediate level continues to develop and integrate foundational work while at the same time introducing a more complete expression of the Ba Gua movements and their employment in attack and defense. To this end students learn variations of the Lao Ba Zhang and the 64 Hands. The 64 Hands are the straight line fighting sets of Ba Gua that are extensions of the basic palm changes and the eight basic linear movements. These 64 movements can be performed individually or in linked sets. They develop practical self-defense skills while integrating footwork with striking, kicking seizing and throwing. The 13 Elbow is an important form with variety of practical movements that are chained together in a linear sequence. It expands on the use of the elbow in striking controlling and locking. The 72 Techniques add another repertory of practical applications that also combine and integrate, kicking, striking, locking and throwing. These techniques are essentially sophisticated and practical applications of the single and double palm changes. They have considerable overlap with the 64 hands allowing the two sets of techniques to be mixed freely in order to create a vast number of applications. Ba Gua Lian Huan, the Ba Gua linking or “chain linking form” develops the ability to combine linear and circular movements in a continuous unbroken sequence. Its employment of the crane form step further develops kicking skills and their combination with hand skills. Ba Gua Lian Huan introduces the “dragon body” or “cloud swimming dragon” movements which are characteristic of Ba Gua Zhang. Pushing hands exercises develop higher level interactive skills that help in all facets of self defense and enhance the ability to sense the opponent’s intention. Ba Gua whipping hand exercises, which strengthen tendons and ligaments and help to develop powerful relaxed strikes, are also taught at this level. Although weapons are considered advanced training, the basics of the Chinese Saber and Ba Gua Yin-Yang Staff are often introduced at this level. The Yin-Yang Staff in particular directly connects the hands and the waist together so that they move as an integrated unit.

Ba Gua Chain Linking Palm Ba Gua Lian Huan Zhang 八卦连环掌 1ST PALM: SINGLE CHANGING PALM 1. H  ook Step and Hide Elbow Kou Bu Yan Zhou 扣步掩肘

Song of the Single Changing Palm The posture on one side is not a miracle, Training on both left and right sides is beneficial. Left form should be changed to right and vice versa Pull the body backward by retracting the steps for good opportunity.

2. G  reen Dragon Turns Head Qing Long Hui Shou 青龙回首 3. Advancing Step Piercing Palm Shang Bu Chuan Zhang 上步穿掌 4. Turning Body Covering Palm Hui Shen Gai Zhang 回身盖掌 5. White Snake Spits Out Tongue Bai She Tu She 白蛇吐舌 6. W  ithered Tree Entwines Roots Ku Shu Pan Gen 枯树盘根 7. Advancing Step Penetrate and Kick Shang Bu Chuan Ti 上步穿踢 8. S  parrow Hawk Drills Upward to Heaven Yao Zi Zuan Tian 鹞子钻天 33

2ND PALM: HAND COVERING PALM 1. H  ook Step Covering Palm Kou Bu Gai Zhang 扣步盖掌 2. B  lue-Green Dragon Tests Its Claws Qing Long Tan Zhua 青龙探爪

Song of the Hand Covering Palm Two forms of covering palm go to pounce on the face. Move away the clouds to see the sun and walk freely. Left form should be changed to right and vice versa, Phoenix faces the sun and comes out upward

3. Shaking Body Crouching Dragon Yao Shen Pu Di Long 摇身扑地龙 4. Red Phoenix Faces Sun Dan Feng Chao Yang 丹凤朝阳 5. Heavenly Emperor Holds up Pagoda Tian Wang Tuo Ta 天王托塔 6. B  lack Dragon Waves Tail Wu Long Bai Wei 乌龙摆尾 7. Sparrow Hawk Drills Upward to Heaven Yao Zi Zuan Tian 鹞子钻天 8. T  urn Over the Body Rotate and Walk Fan Shen Zhuan Zou 翻身转走

3RD PALM: OVERTURNING PALM 1. T  urning Body Leading Hand Zhuan Shen Ling Shou 转身领手 2. H  ook Step and Backward Overturning Palm Kou Bu Fan Bei Zhang 扣步反背掌

Song of the Overturning Palm Overturning forms should bump together, Changes in the two hands can lead to firm and powerful strength. Left form should be changed to right and vice versa, Pull the body by the long hand without hurrying.

3. White Robe Cutting Grass Bai Pao Zha Cao 白袍铡草 4. Cat Washes Face Mao Xi Lian 猫洗脸 5. Qi Lin Spits Out Letter Qi Lin Tu Xin 麒麟吐信 6. A  dvancing Step Pouncing Palm Shang Bu Pu Zhang 上步扑掌 7. Black Dragon Waves Tail Wu Long Bai Wei 乌龙摆尾 8. A  dvancing Step Penetrate and Kick Shang Bu Chuan Ti 上步穿踢 9. Sparrow Hawk Drills Upward to Heaven Yao Zi Zuan Tian 鹞子钻天

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4TH PALM: SPLITTING HAND PALM 1. G  o Forward to Uplift Yin (Uplift the Groin) Shun Bu Liao Yin 转身领手 2. T  urning Body Splitting Palm Fan Shen Pi Zhang 翻身劈掌

Song of the Splitting Hand Palm Chop with the hand and walk freely. Tricky methods should be sought with both hands. Left form should be changed to right and vice versa, Don’t turn the head backward without kou bu.

3. Wind-Wheel Splitting Palm Feng Lun Pi Zhang 风轮劈掌 4. Zhou Cang Carries The Saber Zhou Cang Kang Dao 周仓扛刀 5. Liu Chuan Offers the Melon Liu Chuan Jin Gua 刘全进瓜 6. G  olden Silk Brushes Eyebrows Jin Si Ma Mei 金丝抹眉 7. Black Dragon Waves Tail Wu Long Bai Wei 乌龙摆尾 8. S  parrow Hawk Drills Upward to Heaven Yao Zi Zuan Tian 鹞子钻天

5TH PALM: POSTURE FOLLOWING PALM 1. E  scape and Change the Shadow Tuo Shen Hua Ying 脱身化影 2. W  hite Snake Hides in the Grass Bai She Fu Cao 白蛇伏草

Song of the Posture Following Palm The 5th form is to follow the posture and change the shadow. The hand follows the foot to stretch (open). Left form should be changed to right and vice versa, Dodge and Move in different positions and win by changing steps.

3. Sucking Step Testing Palm Xi Bu Tan Zhang 吸步探掌 4. Advancing Step Pushing Palm Shang Bu Tui Zhan 上步推掌 5. Leopard Cat Climbs Tree Li Mao Shang Shu 狸猫上树 6. S  tep Down with Splitting Palm Luo Bu Pi Zhang 落步劈掌 7. Raise Knee Turning Back Hammer Ti Xi Fan Bei Chui 提膝反背锤 8. B  lack Dragon Waves Tail Wu Long Bai Wei 乌龙摆尾 9. Advancing Step Penetrate and Kick Shang Bu Chuan Ti 上步穿踢 10. Sparrow Hawk Drills Upward to Heaven Yao Zi Zuan Tian 鹞子钻天

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6TH PALM: STEP FOLLOWING PALM 1. T  housand Ton Weight Falls to Ground Qian Jin Zhui Di 千斤坠地 2. S  un and Moon Move Together Ri Yue Bing Xing 日月并行

Song of the Step Following Palm The 6th form is to follow the step with double pulling. Many changes in thousand ton weight falls to the ground. Left form should be changed to right and vise versa, Sun & Moon go parallel for opening and closing.

3. Golden Cicada Sheds Skin Jin Chan Tuo Ke 金蝉脱壳 4. Stroking Hand Plays with Pearls Lu Shou Xi Zhu 捋手戏珠 5. Great Roc Spreads Wings Da Peng Zhan Chi 大鹏展翅 6. B  ody Shaking Alligator Form Yao Shen Tuo Xing 摇身鼍形 7. Hook Step Ground Crouching Dragon Kou Bu Pu Di Long 扣步铺地龙 8. B  lack Dragon Waves Tail and (Sparrow Hawk Drills Upward to Heaven) Wu Long Bai Wei 乌龙摆尾 and (Yao Zi Zuan Tian 鹞子钻天)

7TH PALM: DOWNWARD DROPPING PALM 1. H  ook Step Dropping Palm Kou Bu Ta Zhang 扣步搨掌 2. A  dvancing Step Uplifting Palm Shan Bu Tiao Zhang 上步挑掌

Song of the Downward Dropping Palm The 7th form is to drop downward for delicate changes Thrust flower and strike the waist transversely Left form should be changed to right and vice versa, Turn the body and step backward like a dragon.

3. Rotating to Slice Two Gates Pian Xuan Liang Men 片旋两门 4. Wind-Wheel Splitting Palm Feng Lun Pi Zhang 风轮劈掌 5. Golden Rooster Stands on One Leg Jin Ji Du Li 金鸡独立 6. G  olden Rooster Pecks Rice Jin Ji Shi Mi 金鸡食米 7. Golden Rooster Shakes Tail Jin Ji Dou Ling 金鸡抖翎 8. B  lack Dragon Waves Tail Wu Long Bai Wei 乌龙摆尾 9. Advancing Step Penetrate and Kick Shang Bu Chuan Ti 上步穿踢 10. Sparrow Hawk Drills Upward to Heaven Yao Zi Zuan Tian 鹞子钻天

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8TH PALM: HORIZONTAL PIERCING PALM 1. I mmortal Watches Chess Game Xian Ren Guan Qi 仙人观棋 2. S  weeping Ear with Single Hammer Sao Er Dan Chui 扫耳单锤

Song of the Horizontal Piercing Palm The 8th form is to pierce horizontally toward the face, By changes in the two hands and walking steps. Left form should be changed to right and vice versa, Walk like the wind, stand like a nail.

3. Four Dragons Drawing Water Si Long Qu Shui 四龙取水 4. Turn Body and Wave the Lotus Zhuan Shen Bai Lian 转身摆莲 5. Hook Step Hiding Palm Kou Bu Ye Zhang 扣步掖掌 6. G  iant Python Turns Over Its Body Da Mang Fan Shen 大蟒翻身 7. Turn Body and Ground Crouching Dragon Zhuan Shen Pu Di Long 转身扑地龙 8. A  dvancing Step Piercing Palm Shang Bu Chuan Zhang 上步穿掌 9. Sparrow Hawk Drills Upward to Heaven Yao Zi Zuan Tian 鹞子钻天

Straight Line Eight Diagram Sixty-Four Palms (64 Hands) Zhi Tang Ba Gua Liu Shi Si Zhang 直趟八卦六十四掌 第一趟：FIRST LINE 1. S  tep Forward with the Uplifting Palm Jin Bu Tiao Zhang 進步挑掌 2. L ion Rolls the Ball Shi Zi Gun Qiu 獅子滾球 3. Entangling Hand Hidden Strike Chan Shou Ye Zhuang 纏手掖撞 4. Crouching Tiger Leaps the Ravine Wo Hu Tiao Jian 臥虎跳澗 5. Punch Under the Elbow Zhou Di Kan Chui 肘底看捶 6. T  urn Over the Arm Splitting Strike Fan Bi Pi Chui 反臂劈捶 7. Double Whip to Press the Elbow Shuang Bian Ya Zhou 雙鞭壓肘 8. S  tep Forward with the Cutting Elbow Jin Bu Jie Zhou 進步截肘

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第三趟：SECOND LINE 1. G  reen-Blue Dragon Extends its Claw Qing Long Tan Zhua 青龍探爪 2. B  rush the Sleeve and Strike Continuously Mo Xiu Lian Chui 抹袖連捶 3. Cloud Dragon Offers its Claw Yun Long Xian Zhua 雲龍獻爪 4. Move Away the Clouds to See the Sun Bo Yun Jian Ri 撥雲見日 5. Pat the Chest and Pounce with the Elbow Pai Xiong Pu Zhou 拍胸扑肘 6. T  urn the Body and Butt with the Elbow Zhuan Shen Ding Zhou 轉身頂肘 7. Punch the Ear with Penetrating Strike Guan Er Chuan Chui 貫耳穿捶 8. H  ungry Tiger Tears Open the Heart E Hu Ba Xin 餓虎扒心

第三趟：THIRD LINE 1. S  tep Forward Unite and Strike Jin Bu Tuan Zhuang 進步團撞 2. W  hite Ape Offering Peach Bai Yuan Xian Tao 白猿獻桃 3. Wind Wheel Overturning Elbow Feng Lun Fan Zhou 風輪反肘 4. Immortal Watches the Chess Board Xian Ren Guan Qi 仙人觀棋 5. Golden Silk Brushing the Eyebrow Jin Si Mo Mei 金絲抹眉 6. J ade Maiden Throws the Shuttle Yu Nu Chuan Suo 玉女穿梭 7. Stepping Back and Lead the Sheep Tui Bu Qian Yang 退步牽羊 8. T  he Overlord Sends Off the Guest Ba Wang Song Ke 霸王送客

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第四趟：FOURTH LINE 1. D  eparting Horse Turns Back Zou Ma Hui Tou 走馬回頭 2. T  wo Immortals Preach the Dao Er Xian Chuan Dao 二仙傳道 3. Body Overturning Splitting Strike Fan Shen Pi Chui 翻身劈捶 4. Wild Horse Crashes Through the Trough Ye Ma Zhuang Cao 野馬撞槽 5. Great Roc Spreads its Wings Da Peng Zhan Chi 大鵬展翅 6. W  hite Robe Scythes the Grass Bai Bao Zha Cao 白袍鍘草 7. Zhou Cang Shoulders the Broadsword Zhou Cang Kang Dao 周倉扛刀 8. L iu Quan Advances the Melon Liu Quan Jin Gua 劉全進瓜

第五趟：FIFTH LINE 1. E  scaping Body Changing Shadow Tuo Shen Hua Ying 脫身化影 2. S  troking Hand, Slicing [Kick] and Trample Luo Shou Bian Cai 捋手蹁 踩 3. Advancing Step Bumping Strike Jin Bu Zhuang Chui 進步撞捶 4. Head On Spring Kick to the Knee Ying Mian Tan Xi 迎面彈膝 5. Head On Spring Kick to the Knee Sao Er Dan Chui 掃耳單捶 6. A  rm Overturning Charging Strike Fan Bi Chong Chui 掃耳單捶 7. The King of Heaven Holds Up the Pagoda Tian Wang Tuo Ta 天王托塔 8. Queen Mother Winds Thread Wang Mu Guai Xian 王母拐線

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第六趟：SIXTH LINE 1. T  housand Kilo Weight Falls to Earth Qian Jin Zhui Di 千斤墜地 2. S  un and Moon Advance Together Ri Yue Bing Xing 日月並行 3. Golden Cicada Shedding Skin Jin Chan Tuo Qiao 金蟬脫殼 4. Lean On Mountain Squeezing Yi Shan Ji Kao 倚山擠靠 5. Pull the Hand and Bump with the Knee Lu Shou Zhuang Xi 捋手撞膝 6. L azy Dragon Lies on Pillow Lan Long Wo Zhen 懶龍臥枕 7. Twist and Lift the Hand to Slap Upward Niu Shou Ti Liao 扭手提撩 8. S  tep Forward with the Downward Pressing Palm Jin Bu Ta Zhang 進步塌掌

第七趟：SEVENTH LINE 1. T  hrust Flower Under the Elbow (Gao: Thrust Flower into ribs) 肋 Cha Hua Ye Zhou 插花掖肘 2. L one Phoenix Enters the Nest Dan Feng Tou Chao 單鳳投巢 3. File Inside and Stamp Outside Li Cuo Wai Duo 裡挫外跺 4. Cover the Elbow and Push the Mountain Yan Zhou Tui Shan 掩肘推山 5. Wind Elbow and Wave the Lotus Chan Zhou Bai Lian 纏肘擺蓮 6. T  urn Around Beat the Waist (like a Drum) Zhuan Shen Lei Yao 轉身擂腰 7. Ape Climbs the Pole Yuan Hou Pa Gan 猿猴爬杆 8. B  end the Bow to Shoot the Tiger Wan Gong She Hu 彎弓射虎

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第八趟：EIGHTH LINE 1. F  our dragons Drawing Water Si Long Qu Shui 四龍取水 2. E  mbrace Moon To Breast Huai Zhong Bao Yue 懷中抱月 3. Immortal Sifts the Rice Xian Ren Bo Mi 仙人簸米 4. Stroking Hand Plays with the Pearls Luo Shou Xi Qiu 捋手戲球 5. Zhang Fei Steals Horse (by Trickery) Zhang Fei Pian Ma 張飛騙馬 6. S  lice Two Revolving Doors Pian Xuan Liang Men 片旋兩門 7. Wind Wheel Splitting Palm Feng Lun Pi Zhang 風輪劈掌 8. L one Goose Leaves the Flock Gu Yan Chu Qun 孤雁出群

Ba Gua Zhang Thirteen Elbows Zhang Hua Sen 八卦掌十三肘 1. Lt. Millstone Posture 2. Windmill Chopping Palm 3. Slant Flying 4. Coiling the Hand and Stomping the Knee 5. Side Cutting Kick 6. Pao Chuan (Pounding Fist) 7. Entwine Stop & Strike Up with the Elbow 8. Cover High & Strike Underneath (Punch) 9. Cover The Elbow & Slap (Poke) High 10. Cover High and Slap Underneath 11. Jump, Sweep & Switch Feet with Pi Chuan (Splitting Fist) 12. Entwine, Step & Strike Up with he Elbow 13. Turn Around & Push Up with the Elbow 14. Slap the Chest & Strike with the Elbow 15. Immortal Studies the Chest Game 16. Retreating Step and Cover with the Elbow (Lt) 17. Retreating Step and Cover with the Elbow (Rt) 18. Retreating Step and Cover with the Elbow (Lt) 19. Turn, Entwine with the Rt Hand, Step Left Foot Forward and Lt Penetrating Palm 20. Turn, Step Through and Strike with the Left Palm 21. Retreating Step and Lift & Pull (Lt) 22. Retreating Step and Lift & Pull (Rt 23. Retreating Step and Lift & Pull (Lt) 24. Step with Upward Striking Palm into Revolving Hands Hit Two Doors as Cross Behind with the Lt. Foot. 25. Step Feet Together & Poke with Both Hands 26. Rt. Kou Bu to Turn with Windmill Chopping Palm 27. Step Left Out & Millstone Sweeping Throw 28. Swallow Skims the Water 29. Left Piercing Palm & Step Back as Swing Arms Into Lt. Millstone Posture

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Eight Diagram Palm Seventy Two Techniques Ba Gua Zhang Qi Shi Er Zhao 八卦掌七十二招 1. G  olden Rooster Shaking Wing Feathers Ji Ji Dou Ling 金鸡抖翎

22. Two Dragons Drawing Water Er Long Xi Shui 二龙吸水

2. Hawk  Grasps the Shoulder Yao Zi Zha Jian 鹞子抓肩 3. Bend the Bow to Shoot the Tiger Wan Gong She Hu 弯弓射虎

23. Zhang Fei Beats the Drum Zhang Fei Lei Gu 张飞擂鼓

4. Leopard Cat Climbs the Tree Li Mao Shang Shu 狸猫上树

25. F  ire the Cannon to Heaven Huo Pao Chong Tian 火炮冲天

5. Uproot the Willow Tree Dao Ba Chui Liu 倒拔垂柳 6. B  uddhist Guardian Explores the Sea Ye Cha Tan Hai 夜叉探海 7. Hungry Tiger Pounces on its Prey E Hu Pu Shi 饿虎扑食 8. Push  the Mountain Into the Sea Tui Shan Ru Hai 推山入海 9. Move Away the Clouds to See the Sun Bo Yun Jian Ri 拨云见日 10. Uphold the Spear to Strike the Tiger Tuo Qiang Da Hu 托枪打虎 11. L u Bu Plays with Halberd Lu Bu Wan Ji 吕布玩戟 12. Make the Character “Ten” Shi Zi Ban Lou 十字搬搂 13. Wipe the Eyebrows with Gold Silk Jin Si Ma Mei 金丝抹眉 14. H  awk Turns Over Its Body Yao Zi Fan Shen 鹞子翻身 15. Overlord Draws the Bow Ba Wang Kai Gong 霸王开弓 16. S  teal the Peach from Underneath the Leaf Ye Di Tou Tao 叶底偷桃 17. White Robe Scythes the Grass Bai Pao Zha Cao 白袍铡草 18. Golden Thread Entwines the Wrist Jin Si Chan Wan 金丝缠腕 19. Cloud Dragon Shows Its Claws Yun Long Xian Zhao 云龙献爪 20. T  he Overlord Ties Up the Pig Ba Wang Kun Zhu 霸王捆猪 21. Turn Over the Body and Stamp the Egg Fan Shen Duo Zi 翻身跺子

24. G  olden Silk Pats Elbow Jin Si Pai Zhou 金丝拍肘

26. Lone Goose Leaves the Flock Gu Yan Chu Qun 孤雁出群 27. Red Phoenix Looks toward the Sun Dan Feng Chao Yang 丹凤朝阳 28. H  eavenly Emperor Opens the Umbrella Tian Wang Da San 天王打伞 29. Insert the Flowers Into the Ribs Cha Hua Yei Lei 插花掖肋 30. Topple Mount Tai Shan Ban Dao Tai Shan 搬倒泰山 31. Queen Mother Winds the Thread Wang Mu Guai Xian 王母拐线 32. Yellow Hawk Climbs the Frame Huang Ying Shang Jia 黄鹰上架 33. Taoist Acolyte Claps His Hands Dao Tong Ji Zhang 道童击掌 34. Wild Horse Crashes Through the Trough Ye Ma Chuang Cao 野马闯槽 35. White Horse Rolls Its Hoof Bai Ma Gun Ti 白马滚蹄 36. L ean in Close and Strike Wei Shen Kao Da 偎身靠打 37. M  ove the Elbow to Block Horizontally Heng Lan Jin Zhou 横拦进肘 38. G  olden Cicada Sloughs Its Skin Jin Chan Tuo Qiao 金蝉脱壳 39. R  oll Up the Sleeve to Kick and Stamp Lou Shou Pian Cai 捋手蹁踩 40. P  ound and Pierce Through the Ear Guan Er Chuan Chui 贯耳穿捶 41. D  runk Breaks Through the Mountain Gate Zui Da Shan Men 醉打山门 42. Zi Xu Goes Through the Pass Zi Xu Guo Guan 子胥过关 42

43. W  hite Snake Spits Out its Tongue Bai She Tu Xin 白蛇吐信

65. Tiger Enters the Flock of Sheep Hu Ru Qun Yang 虎入群羊

44. Bind Up the Hands Like the Character “Ten” Shi Zi Kun Shou 十字捆手

66. Immortal Watches the Chess Game Xian Ren Guan Qi 仙人观棋

45. P  ull Away the Roof Beam and Change the Pillar Chou Liang Huan Zhu 抽梁换柱

67. O  riole Grabs The Throat Huang Ying Qia Su 黄莺掐嗉

46. O  ld Monk Rings the Bell Lao Seng Zhuang Zhong 老僧撞钟

68. Carry the Bag Playfully Kang Kou Dai Wan 扛口袋玩

47. Black Dragon Entangles the Waist Wu Long Chan Yao 乌龙缠腰

69. B  lunt Sickle Harvests Rice Dun Lian Ge Gu 钝镰割谷

48. Y  ellow Dragon Grasps the Arm Huang Long Zhuo Bang 黄龙捉膀

70. R  espect Virtue and Uphold the Whip Jing De Tuo Bian 敬德托鞭

49. T  he Immortal Crosses the Bridge Xian Ren Guo Qiao 仙人过桥

71. O  ld Tree Entangles Roots Ku Shu Pan Gen 枯树盘根

50. King of Heaven Upholds the Pagoda Tian Wang Tuo Ta 天王托塔

72. Fire the Cannon Toward the Gate Yin Men Kai Pao 迎门开炮

51. Draw the Bow to Shoot the Arrows Kai Gong Sa Jian 开弓撒箭 52. B  lack Dragon Enters the Cave He Long Ru Dong 黑龙入洞 53. Hold The Pi Pa in the Arms Huai Bao Pi Pa 怀抱琵琶 54. Roll Up the Sleeves and Pound Lu Shou Chong Chui 捋手冲捶 55. H  ook and Hang Up the Jade Bottle Gou Kua Yu Ping 钩掛玉瓶 56. Galloping Horse Moves Diagonally Zuo Ma Huo Xie 走马活斜 57. P  oint to the East to Strike the West Zhi Dong Da Xi 指东打西 58. P  oint to the Mountain to Sell the Millstone Zhi Shan Mai Mo 指山卖磨 59. W  hite Ape Offers Peach Bai Yuan Xian Tao 白猿献桃 60. R  oll Up the Sleeves Chop and Pound Lu Shou Pi Za 捋手劈砸 61. Follow the Leg Upward to Hit the Groin Shun Tui Liao Dong 顺腿撩裆 62. The Wind Sweeps Away the Leaves Shun Feng Sao Ye 顺风扫叶 63. P  hoenix Spreads Wings Feng Huang Zhan Chi 凤凰展翅 64. T  he Immortal Props Up the Waist Xian Ren Cheng Yao 仙人撑腰 43

Whipping Hand Exercises 1. Slapping Points and Flicking Hands 2. T  hrow Arms 4 Ways • Back • Up • Front • Out 3. Alternate Ridge Hand – Horse Stance 4. Alternate Fingers Push Out (ridge hand) - one foot forward 5. Alternate Drill Hands Out (chop) – one foot forward 6. Throw One hand Upward on Diagonal 7. Whip Hands Outward Circle – elbow as axle 8. Whip Hands Inward Circle – elbow as axle 9. Teacup Hands To backs of Hand Touching/Reverse to Double Chop 10. Teacup Hands To Pushing the Mountain 11. Shake wrists –one goes in/other goes out 12. Throw Hands (wrist) Up Diagonal 13. Chopping Wrapping (leg-hand-leg-shoulder) 14. Drill-Poke-Pluck

Ba Gua Pushing Hands Exercises 1. Hip Sucking Palm • single hand and double hand • single hand and lift leg • hip • leg 2. Vertical Hip Sucking Palm 3. Covering Palm 4. D  ouble Pulling Palm (arm bar) • With Circling Step 5. Entangling Palm (wrapping arms) 6. Hand Tearing Palm (spinning; turning) 7. Uplifting Palm Pushing Exercise 8. Yin Striking Palm Pushing Exercise 9. Pushing the Mountain 10. Walking Double Pushing (embrace moon & push mountain)

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INTERMEDIATE LEVEL: TIPS FOR PRACTICE 1. Continue practicing Ding Shi and Lao Ba Zhang as well as the Tian Gan exercises. 2. B  a Gua Lian Huan employs the dragon body and requires a fine tuning of the other skills so that the body moves smoothly and seamlessly like a cloud swimming dragon. Each palm relates to the palms of Lao Ba Zhang, (the first palm of Lao Ba Zhang to the first palm of Lian Haun and so forth through the eight palms). This is also true for the right Linear Movements and the eight lines of the 64 hands. In this way each new form builds upon the last one and each informs and is informed by the other. Try and understand for yourself why the forms are structured this way, Also notice how Lian Huan blend movements from the 64 hands with circular turning movements. 3. Endlessly practice the Black Dragon waves its tail and Sparrow Hawk Spirals up to Heaven. These two movements are emphasized throughout Ba Gua Lian Huan. They are key movements that are characterized by ning -twist; guo-wrap as in Black Dragon Waves its Tail, and zuan-drill; fan-overturn as in Sparrow Hawk Drills Up to the Sky and the millstone posture. These four movements are essential actions in Ba Gua Zhang that can be employed in countless ways. The leg actions of lifting and setting down to step use the principles of crane stepping. This can help your kicking techniques. 4. W  ork on the seamless blending of tight circles and larger. This is one of the points emphasized in Ba Gua Lian Huan. Keep a forward driving force even when circling tightly. 5. T  he 13 Elbows should be practiced on both sides until the movements are smooth and reflexive. This form blends circular and linear combat skills into practical applications and develops footwork for forward, backward and side to side attack and defense movements. 6. I f you have been practicing the 8 Linear Movements all along then the 64 forms will be easier to learn, although to master them will take a lot of practice. Practice the 64 hands as individual movements on both sides as well as in the connected sequence. 7. The 64 hands illustrate many practical applications of the single and double changing palms, combining locking, throwing striking and kicking. Try to relate these movements to the eight single movements, the single and double palm changes and the Lao Ba Zhang palm changes they are associated with, so that you understand them as extensions of the basic principles rather than fixed techniques. 8. Try mixing the 1st line of the 64 forms with the first palm change of Lao Ba Zhang. Mix them freely just using one or two or all eight. Do the same with the other seven lines of the 64 Forms. 9. T  he whipping hand exercises will give the movements you already know a different power dynamic. They can be practiced as part of your warm up or after Tian Gan. 10. At this level there are many throws so continuing falling practice is essential. 11. In throwing, seek to make the techniques effortless by studying the angles of off-balancing and correct body dynamics. 12. B  a Gua Pushing Hand exercises develop the skills of attaching, sticking, absorption and projection. Get together outside of class and practice these and other partner skills. Pushing hands is an exercise in which starting slow and relaxed will develop refined skill. Do not make it competitive. Help each other to figure out correct application and usage.

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13. The Qi Cultivation exercises and Zhan Zhuang develop subtle body skills that are very useful in developing body connection for freestyle push hands. Continue to practice them as you engage in push hands practice, or use them as a warmup before push hands practice. 14. U  pon completion of this level, the student will have learned the key elements of Ba Gua Zhang. Even if training ends here, there is a life time of material to practice in what has been already learned. The Advanced level adds other forms and weapons exercises to round out one’s knowledge of the art so that it is more complete.

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LEVEL 4

ADVANCED TRAINING

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INTRODUCTION TO ADVANCED TRAINING The advanced forms and weapons training round out one’s training in Ba Gua. The advanced forms help to make the stepping and changes more fluid and natural, while also introducing different aspects movement intention and self-defense. For example the Dragon Palm focuses on the development of the Ba Gua Swimming Dragon body, the Changing Palms develop fluidity and smoothness, the Xian Tian Eight Animal Palms, introduce some concepts from Xing Yi Quan and the idea of changing the intention to change the body’s expression of movement and power. In this eight animal form, the practitioner transforms the body from one animal to another as the form takes on the appearance of the dragon, snake, tiger, horse, monkey, swallow, hawk and lion. Lastly, Ba Mian Zhang deveops fast changes with attacks to multiple directions. Weapons training teaches the practitioner to extend their intention beyond the limits of their body and each weapon trains the body’s attributes in a unique way. For example, the Yin-Yang Staff in particular connects the hands and the waist together so that they move as an integrated unit, and it develops strong basic power dynamics. The Ba Gua Saber and the Rooster Claw Knives are two of Ba Gua’s most important weapons. The saber develops strength and power in cutting, hacking and slicing movements while the rooster claw knives develop strength in the arm shoulder connection and improve skill in pulling, hooking, filing and piercing. Other weapons like the Heart-high Stick and the Ba Gua Jian (Straight Sword) develop dexterous, quick and refined movements. On a practical level once the traditional weapons are mastered, anything can be used as a weapon. Variations of the techniques and forms studied earlier are also learned in order to round out one’s understanding of the art. This enables one to better teach students with different body types, different needs and varied temperaments. Understanding variations allows one to better adapt to the potential for change inherent in a particular situation and also allows each individual to develop their own unique expression of the art. To this end, more free style push hands with stepping introduces freely changing in accordance with your partner’s movements. Lastly the advanced levels introduce advanced Nei Gong Methods such as the Marrow Washing Nei Gong and Daoist Alchemical meditation. These Nei Gong methods, aim at transforming essence (Jing) into spirit (S hen)and are an extension of those earlier methods like Patting, Dao Yin, Qi Cultivation Exercises, Ji Ben Gong, Zhan Zhuang, Circle Walking Nei Gong (Ding Shi) and Tian Gan. In the advanced Level other miscellaneous abilities such as vital point striking are also covered.

Eight Changing Palms Ba Zhuan Hua Zhang (Li Zi Ming) 八转化掌 Open the Form • Raise the arms in the heaven uplifting posture • Step the left foot counter-clockwise onto the circle with the downward pressing palm • As you walk assume the millstone posture. • Right Kou Bu, and left bai bu as you turn left and pierce palm-up with the right hand. The right hand is overhead palm-down so that the body takes the Ball Holding Posture and walk clockwise. First Palm: Lion Plays With Ball • Left kou bu and right bai bu, then left kou bu and right bai bu again turning the body 360 degrees as you roll the ball over head, returning to the ball holding posture facing clockwise. The hands face each other throughout the movements. • Repeat these movements again. rolling the ball to end facing counter-clockwise and piercing palm-up with the left. Walk counter-clockwise holding the ball. Second Palm: Downward Piercing & Uprooting Palm • Walking clockwise in the millstone posture, as the right (inside) foot steps begin to pierce downward with the right hand, walk 3 more steps (left, right, left) as the right hand pierces straight downward to the level of the knee as “in needle to sea bottom.” The left hand remains by the right elbow and the right leg is empty next to the left ankle (chicken step). 48

• Pierce out from under the chin palm-up (snake spits out tongue style) as you step to the center of the circle with the right leg. The left arm stretches out behind you. • The left arm arcs, thrusting down to cross over the right as you step forward with the left leg. • Step the right foot out and throw the arms upward as in “uprooting the willow tree.” • Pierce the left arm out under the right and turn to walk counter-clockwise in the millstone posture. Third Palm: Body Rotating Double Chopping Palm • Walking clockwise in the millstone posture, kou bu with the left foot as the right arm curves inward, then bai bu with the right foot and right back-fist. • Step the left forward in kou bu and wrap with left, then spin and right bai bu to back-fist with the right. • Step forward with the left and pierce the left fist downward in an arc over the right hand. • Step out with the right turning the body to face the center of the circle and chopping with both hands • Circle the right hand to chop again. • Step forward with the left and pierce the left fist downward in an arc over the right hand. • Step out with the right turning the body to face the center of the circle and chopping with both hands. • Pierce with the left under the right and walk counter-clockwise in the millstone posture. Fourth Palm: Attack High to Kick Low & Make Noise in the East to Attack the West • Walking clockwise in the millstone posture, kou bu with the left foot and bai bu with the right as you pierce palm-up with the right hand. • Pierce with the left passing underneath the right as you step forward with the left foot. • Slap upward obliquely with the right hand as you lift the right leg then quickly turn the body stomp the knee as you turn the right palm into a backward hook at waist level. The left hand stretches out to the left. • Walk clockwise two steps, (right and left) with the arms a stretched out in the style of “twisting shoulders changing palms”, then half step turning back to the right as you twist shoulders and change palms, piercing to the right (counter-clockwise) with the right hand. • Pierce the left hand under the right as you step forward with the left foot and walk counter-clockwise in the millstone posture. Fifth Palm: Butterfly Flits Among the Flowers • Walking clockwise in the millstone posture, toe in with the left foot and bai bu with the right as you pierce with the right palm. • Step the left foot forward and kou bu as you pierce upward palm-up with the left hand under the right. • Keep the left hand up, guarding the left side, as you step lift right foot the so that the body turns to face the center of the circle. The right hand lifts to head height and slices downward arcing along the body from the head to the hip as the weight shifts to right leg, and the left leg is empty in a “chicken leg.” • The left hand then slices downward arcing along the body from the head to the hip as the weight shifts to left leg, and the right leg is empty in a “chicken leg.” • The right hand lifts to head height and slices downward arcing along the body from the head to the hip as the weight shifts to right leg, and the left leg is empty in a “chicken leg.” • Piece with the left hand under the right as you step counter-clockwise with the left leg. Turn and walk counterclockwise in the millstone posture. Sixth Palm: Three Piercing Palms • Walking clockwise in the millstone posture, kou bu with the left foot, and pierce the left palm under the right as you raise the left knee. • Step down and pierce the right palm under the left as you lift the right knee. • Step down and pierce the left palm under the right as you lift the left knee. Step down and walk counter-clockwise in the millstone posture.

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Seventh Palm: Yin Striking & Body Rotating Palm • Walking clockwise in the millstone posture, kou bu with the left foot as the right hand covers inward across the face. • Step out with the right foot and strike the groin “snake style” with the right hand; walk left; and then right kou bu as the left hand covers across the face. • Step out with the left foot and strike the groin “snake style” with the left hand • Kou bu with the right foot and bai bu with the left as the hands perform a double palm change. • Kou bu with the right foot and bai bu with the left as the left hand spirals to drill upward • Kou bu with the right foot and bai bu with the left as the hands perform a double palm change ending by stepping right back and lifting the left leg (hanging inward) with the left palm facing outward at the height of the groin and the right hand in a hook behind you • Step down with the left to pierce the right hand under the left to walk clockwise in the millstone posture • Change direction by turning with a right kou bu and left bai bu as the right hand sweeps across the body and the left hand pierces underneath to go to the left millstone posture walking counter-clockwise Eight Palm: Changing Palms & Stand on One Leg to Touch Heaven and Earth • Walking clockwise in the millstone posture, stop on the right step as the arms wind and then left bai bu and swing the arms –right arm crossing the body and left arm piercing underneath to form the left millstone posture facing counter-clockwise • Walk several steps, stopping on the left step, letting the body wind as the left hand drops slightly palm-up and sweeps across the body with the right hand piercing underneath. Simultaneously bai bu with the right foot and walk clockwise • A s you walk clockwise, kou bu with the left foot and bai bu with the right as the hands perform the double palm change. • Kou bu with the left foot and pierce with the left hand upward as the body turns so that you end standing on the left leg with the right foot hanging inward. The right hand is palm out in front of the lower right leg and the left hand is palm out stretching upward.

Pre-Heaven Shape-Form Imitating Palm: Eight Animals Pre-Heaven Shape-Form Imitating Palm: Eight Animals 先天象形掌 (Gao Ji Wu) I. Q  ian Trigram: Snake Shape Smooth Body Palm Qian Gua She Xing Shun Shi Palm 乾卦蛇形顺式掌 1. H  ide Elbow and Posture Following Snake Form Yan Zhou Sun Shi Si She Xing 掩肘顺势似蛇形 2. G  reen Dragon Extends Claws and Turn the Body to Walk Qing Long Tan Zhao Xuan Shen Xing 青龙探爪转身行 3. Crouching Step Thrusting Palm and Snake Enters the Cave Wo Bu Cha Zhang She Ru Dong 卧步插掌蛇入洞 4. Hand Follows Foot, Open, Straighten and Twist the Body Shou Sui Jiao Kai Ting Shen Ning 手随脚开挺身拧 5. Silver Snake Coils Around Willow Tree and Spits Out Its Tongue Yin She Pan Liu She Tu She 银蛇盘柳蛇吐舌 6. K  oubu Turn the Body and Dragon Extends its Claw Kou Bu Xuan Shen Long Tan Zhao 扣步转身龙探爪 7. Bend Body, Pounce on Ground and Snake Comes Out of Cave Fu Shen Pu Di She Chu Dong Ta Di Shen 俯身扑地蛇出洞

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8. B  aibu, Turn the Body and Stamp the Enemy’s Chest Bai Bu Zhuan Shen Ta Di Shen Long Xian Zhao 掰步转身踏敌身 9. Left Pulls, Right Seizes, Dragon Offers its Claw Zhou Lou You Zhua Long Xian Zhao 左搂右抓龙献爪 10. Extend Left Hukou to Seize the Throat. Zuo Shen Hu Kou Qia Hou Long 左伸虎口掐喉咙 II. K  an Trigram: Dragon Shape Piercing Hand Palm Kan Gua Long Chuan Shou Zhang 坎卦龙形穿手掌 1. G  reen Dragon Extends its Claws and Turn the Body to Walk Qing Long Tan Zhao Zhuan Shen Zou 青龙探爪转身走 2. S  tep Forward and Hit Upward to Split the Face Jin Bu TIao Da Pi Mian Ying 进步挑打劈面迎 3. Golden Dragon Coils Around the Pillar & Right Foot Stamps Down Jin Long Pan Zhu You Jiao Deng 金龙盘柱右脚蹬 4. Cloud Dragon Offers its Claw to Grasp the Face Yun Long Xian Zhao Zhua Qi Mian 云龙献爪抓其面 5. Shake the Head and Walk Forward Yao Tou Huang Nao Wang Qian Zou 摇头晃脑往前走 6. S  tep Back and Cover the Elbow to Protect the Chest Tui Bu Yan Zhou Hu Qian Xiong 退步掩肘护前胸 7. Chop Inward Slie Outward with Yin Yang Palm Li Kan Wai Xiao Yin Yang Zhang 里砍外削阴阳掌 8. L eft and Right Forms Cut the Enemy’s Neck Zuo You Liang Shi Zhan Di Jing 左右两式斩敌颈 9. Cloud Dragon Offers its Claw Like Fetching an Object Yun Long Xian Zhao Ru Qu Wu 云龙献爪如取物 10. White Snake Spits Out its Tongue and Poke the Eyes Bai She Tu Chuo Yan Jing She 白蛇吐舌戳眼睛 III. G  en Trigram: Body Turning Tiger Striking Palm Gen Gua Hui Shen Da Hu Zhang 艮卦 回身打虎掌 1. T  urn the Body Strike the Tiger Rotate and Walk Hui Shen Da Hu Zhuan Shen Xing 回身打虎转身行 2. K  ou Bu and Squat Down and Brace Up with Two Palms Kou Bu Dun Dang Shuang Zhang Cheng 扣步蹲裆双掌撑 3. Withdraw Step and Pile Hands to Cut the Grass Che Bu Luo Shou Shi Zha Cao 撤步摞手使铡草 4. Step Forward and Punch the Face with Drilling Fist Jin Bu Zuan Quan Ying Mian Chong 进步钻拳迎面冲 5. Crouch and Leap Over the Ravine to Strike the Face with the Fist Wo Bu Tiao Jian Quan Ji Mian 卧步跳涧拳击面 6. H  ungry Tiger Pounces on its Prey and Pulls Open the Enemy’s Chest E Hu Pu Shi Ba Di Xiong 饿虎扑食扒敌胸 7. Pull the Two Hands Apart and Ring the Bell with the Head Shuang Shou Lou Kai Tou Zhuang Zhong 双手搂开头撞钟 51

8. W  hite Ape Upholds the Palms and Offers the Peach Bai Yuan Xian Tao Shuang Zhang Tuo 白猿献桃双掌托 9. Lift the Knee and Strike Upward to the Fatal Spot Ti Xi Shang Da Zhi Ming Chu 提膝上打致命处 10. Stamp th Feet Downward Without Mercy Xia Duo Er Zu Bu Liu Qing 下跺二足不留情 IV. Zhen Trigram: Swallow Overturning Hand Covering Palm Zhen Gua Yan Fan Gai Shou Zhang 震卦燕翻盖手掌 1. S  wallow Overturns Hand Covers and Turn the Body Nimbly Yan Fan Gai Shou Zhuan Shen Ling 燕翻盖手转身灵 2. P  ull Upward Insert Downward Dragon Pounces on the Ground Shang Tuo Xia Cha Pu Di Long 上拖下插扑地龙 3. Cross the Hands Under with Palm Centers Hollow Shuang Shou Xia Cha Zhang Xin Kong 双手下叉掌心空 4. Lift Knee Jumping Step and Spread Wings to Fly Ti Xi Yue Bu Shuang Zhan Chi 提膝跃步双展翅 5. Swallow Dodges and Walks to Pass Through the Willow Trees Shan Zuo Yan Zi Liu Lin Chuan 闪走燕子柳林穿 6. S  wallow Rolls Up its Tail and Turn the Body to Strike Yan Zi Juan Wei Hui Shen Da 燕子卷尾回身打 7. Ring Linking Piercing Palm and Grab the Face Lian Huan Chuan Zhang Zhua Qi Mian 连环穿掌抓其面 8. G  olden Rooster Stand on One Leg and Pile the Hand to Split Jin Ji Du Li Luo Shou Pi 金鸡独立摞手劈 9. Golden Rooster Pecks Rice and Follow-Step Bursting (Beng) Jin Ji Shi Mi Gen Bu Beng 金鸡食米跟步崩 10. Cloud dragon Offers its Claw and Grab the Face Yun Long Xian Zhao Zhua Qi Mian 云龙献爪抓其面 V. X  un Diagram: Monkey Shape Jumping Body Palm Xun Gua Hou Xing Zong Shen Zhang 巽卦 猴形纵身掌 1. L earn to Jump Nimbly like a Monkey Yao Xue Huo Xing Song Shen Ling 要学猴形纵身灵 2. T  urn the Body Advance and Retreat Like a Whirlwind Zhuan Shen Jin Tui Si Xuan Feng 转身进退似旋风 3. Shrink the Body Extend the Palm to Pounce on the Enemy’s Face Suo Shen Tan Zhang Pu Di Mian 缩身探掌扑敌面 4. Stepping Back Moving Body Forward Most Nimbly Tui Bu Jin Shen Yi Zui Ling 退步进身艺最灵 5. Hand Strikes the Canopy and Eyes Look Shou Da Liang Peng Yong Mu Kan 手打凉棚用目看 6. T  urn the Body Lift the Knee to Stand on One Leg Xuan Shen Ti Xi Du Li Shi 转身提膝独立式

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7. White Ape Upholds and Offers Peach with a Single Hand Bai Yuan Tuo Tao Dan Shou Xian 白猿托桃单手献 8. R  ight Kick Left Stamp and Turning Over the Body Stomp You Ti Zuo Duo Fan Shen Chuai 右踢左跺翻身踹 9. Turn Over the Body Hit the Ears like Picking Fruit Fan Shen Guan Er Zhai Guo Xing 翻身贯耳摘果形 10. Step Back to grasp and Pile [the Hands] Monkey Pounds the Rope Tui Bu Zhua Luo Hu Dao Sheng 退步抓摞猴捣绳 VI. L i Diagram – Body Twisting and Horse Exploring Palm Li Gua Ning Shen Tan Ma Zhang 离卦 拧身探马掌 1. M  oving backward, and Twisting the Body is Called Horse Exploring Dao Bu Ning Shen Tan Ma 倒步拧身探马名 2. P  ile the Hands Step Up and Wipe the Eyebrow Cleverly Luo Shou Shang Bu Ma Mei Ling 摞手上步抹眉灵 3. Walk Forward Poke and Splitting Strike to the Face Jin Bu Tiao Da Pi Mian Ying 进步挑打劈面迎 4. Zhang Fei Slicing Horse Lifting Knee and Foot Zhang Fei Pian Ma Ti Xi Jiao 张飞片马提膝脚 5. Turn and Slice Two Gates with Revolving Body Pian Xuan Liang Men Sui Shen Zhuan 片旋两门随身转 6. T  urn the Body Split and Smash Lift Up and Lean (the Body) Fan Shen Pi Zha Huo Liao Kao 翻身劈砸豁撩靠 7. Hands and Feet Open and Control with Twisting Yao Shou Jiao Qi Kai Ba Yao Ning 手脚齐开把腰拧 8. L eft Pulls and Right Extends for Horse Exploring Palm Zuo Luo You Shen Tan Ma Zhang 左搂右伸探马掌 9. Fists Embrace and Pile and Advance to Bump Shuang Quan Bao Luo Jin Bu Zhuang 双拳抱摞进步撞 10. Hands and Feet Move Unceasingly in the Horse Shape Shou Jiao Bu Ting Si Ma Xing 手脚不停似马形 VII. Kun Trigram: Hawk Overturning Palm Kun Gua Yao Zi Fan Shen Zhang 坤卦 鹞子翻身掌 1. H  awk Body Overturning Rotating Chop Yao Zi Fan Shen Zhuan Shen Pi 鹞子翻身转身劈 2. H  awk Enters the Forest and Advances to Strike Yao Zi Ru Lin Jin Bu Ji 鹞子入林进步击 3. Hawk Shrinks its Body to Strike Upward and Chop Yao Zi Shu Shen Tiao Da Pi 鹞子束身挑打劈 4. Hawk Penetrates the Forest and Dodges East and West Yao Zi Chuan Lin Shan Dong Xi 鹞子穿林闪东西 5. Hawk Face Upward [Leans Body] to Pierce and Kick Yao Zi Yang Shen Chuan Deng Chuai 鹞子仰身穿蹬踹 6. H  awk Rolls the Body and Entangles the Wrist to Chop Yao Zi Gun Shen Chan Wan Pi 鹞子滚身缠腕劈 53

7. Step Smoothly to Punch Suddenly and Stamp with the Right Foot Shun Bu Chong Quan You Jiao Ta 顺步冲拳右脚踏 8. H  awk Seizes the Shoulder and Eyebrow Wiping Palm Yao Zi Zhua Jian Ma Mei Zhang 鹞子抓肩抹眉掌 9. Hawk Overturns its Body to Hold Up the Yin (Groin) Yao Zi Fan Shen Liao Yin Zhang 鹞子翻身撩阴掌 10. Hawk Drills Up to Heaven to Punch Directly Yao Zi Zuan Tian Zhi Quan Chong 鹞子钻天直拳冲

Dui Trigram - Lion Rolling Ball Palm Dui Gua Shi Zi Gun Qiu Zhang 兑卦 狮子滚球掌 1. W  alk Out Coordinate the Hands and Twist the Yao Chui Bu He Shou Ba Yao Ning 出步合手把腰拧 2. L ion Rolls the Ball and Extend the Body to Walk Shi Zi Gun Qiu Tan Shen Xing 狮子滚球探身行 3. Lion Overturning Body Ball Holding Posture Shi Zi Fan Shen Fu Qiu Shi 狮子翻身扶球式 4. Squat Crotch, Sit Kua and Press with the Hands Dun Dang Zuo Kua Shang Shou Zheng 蹲裆坐胯双手挣 5. Lion Shakes Head and Opens the Mouth Shi Zi Yao Tou Da Zhan Zui 狮子摇头大张嘴 6. W  alk Forward, Push the Ball and Pounce with Both Hands Jin Bu Tui Qiu Shuang Shou Pu 进步推球双手扑 7. Step Backward and Hide the Elbow to Protect the Chest Tui Bu Yan Zhou Hu Qian Zhang 退步掩肘护前胸 8. W  alk Forward, Uphold the Ball Toward the Sky Jin Bu Tuo Qiu Mian Chao Kang 进步托球面朝空 9. Green Dragon Extends its Claws and Pounces on the Enemy’s Face Qing Long Tan Zhao Pu Di Mian 青龙探爪扑敌面 10. Green Dragon Turns Body and Walks Qing Long Zhuan Shen Sui Bu Xing 青龙转身随步行

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Ba Gua Swimming Body Dragon Palm Ba Gua Yao Shen Zhang (Li Zi Ming) 八卦游身龍掌 First Palm 1. Walk Forward With The Uplifting Palm 2. Kou Bu (90 degrees) & Turn Back (270 degrees) To Strike The Waist Like 3. Hawk Turns Its Body 4. Entwining Roots of The Ancient Tree 5. Remove The Helmet From The Head 6. White Snake Spits Out It’s Tongue 7. Black Dragon Whips Its Tail 8. Sparrow Hawk Penetrates The Forest

A Drum

Second Palm 1. Windmill Chopping Palm 2. Green Dragon Retreats Into Its Cave 3. Sparrow Hawk Penetrates The Forest 4. Windmill Chopping Palm 5. Big Pong Bird Spreads Its Wings 6. Sparrow Hawk Penetrates The Forest 7. Turn Back (270 degrees) To Strike the Waist Like A Drum 8. The Goddess Upholds The Plates Third Palm 1. Green Dragon Extends Its Claws 2. The Eagle Reveals Its Talons 3. Wild Donkey Kicks Backward 4. Black Dragon Shows Its Claws 5. M  onkey Frolics In The Forest A. Monkey Enters The Cave B. Monkey Climbs The Tree 6. Pulling The Arm & Cutting The Waist 7. Move The Ground & Shake The Mountain 8. Goddess Serving Teacups Front & Back Fourth Palm 1. Black Bear Claws The Tree 2. White Snake Moves Through The Grass 3. Hang The Golden Hook Upside Down 4. Great Pong Bird Spreads Its Wings 5. Boy Immortal Turns His Elbows 6. Step Forward & Pierce With The Elbow 7. Kou Bu, Slap The Chest & Strike With The Elbow 8. Phoenix Turns Over Its Body Fifth Palm 1. The King Offers The Wine 2. Golden Dragon Coils its Body 3. Bind Up The Reins & Overturn The Cart 4. Advance To Strike the Enemy 5. Snapping Kick To The Knee Face to Face 6. Pluck With The Hand To Stamp One’s Chop (Seal) 7. Heaven & Earth Palm 8. Shake The Body & Pierce The Ear

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Sixth Palm 1. Fierce Tiger Pushes The Mountain 2. Giant Snake Turns Its Body 3. Ten Ton Weight Drops To the Ground 4. The Sun & Moon Advance Together 5. Golden Cicada Sheds Its Skin 6. Leaning Against The Mountain 7. Pluck With The Hand & Strike With the Knee 8. Lazy dragon Lays Its Head On The Pillow 9. Windmill Chopping Palm 10. Wild Stallion Kicks Down the Gate 11. Rolling Chopping Hand 12. Small Ghost Pushes the Millstone 13. White Snake Spits Out Its Tongue Seventh Palm 1. Wind & Rain Together 2. Swallow Skims The Water 3. Lone Goose Leaves The Flock 4. M  onkey Frolics In The Forest A. Monkey Enters The Cave B. Monkey Climbs The Tree 5. Pull the Arm & Cut The Waist 6. Move The Ground And Shake The Mountain 6. Entwining Hand & Piercing Palm 7. Monkey Frolics In The Forest A. Monkey Enters The Cave B. Monkey Climbs The Tree 8. Wild Horse Crashes Through The Manger 9. Great Pong Bird Spreads Its Wings 10. Zhou Chang Shoulders The Broadsword (3x) 11. Swallow Skims The Water (2x) 12. White Snake Moves Through The Grass 13. Swing The Lotus Kick Eighth Palm 1. Turn Backward To Separate Yin & Yang 2. The Butterfly Darts Among The Flowers 3. The Magpie Lights On The Branch 4. Rib Cutting Kick 5. Hang Up The Silver Bell 6. Turn Both Ends (Heaven & Earth) To Reverse The Situation 7. Turn Back & Strike The Waist Like A Drum 8. The Goddess Upholds The Plates

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Ba Mian Zhang: Eight Diagram Swimming Body Eight Directions Palm (Wang Shi Tong) Ba Gua You Shen Ba Mian Shi Zhang 八卦游身八面势掌 1st Palm: Downward Dropping Palm of the Qian Diagram Begin: Walk Counter-clockwise with Downward Dropping Palm 1. Turn left: Zhang Fei Acquires A Horse By Trickery (NW) 2. Turn left: Wind/Thunder Chopping Palm (NE) 3. Turn left: Pierce With A Forward Palm (SW) 4. Turn right: Covering Palm (SE) 5. Turn right: King Drawing The Bow (East) 6. Turn left: Horse Whipping Palm (West) 7. Turn left: Uplift And Dropping Palm (North) 8. Turn left: Lion Rolling Ball Palm (South) Walk Clockwise with Ball Holding Posture 2nd Palm: Ball Holding Palm of the Kan Diagram Begin – Walking clockwise with Lion Holding Ball Posture 1. Turn right: Lion Opens Its Jaws Palm (North) 2. Turn right: Backward Piercing Palm (South) 3. Turn right: Pulling & Slicing Palm (NW) 4. Step forward w/ Lt. Foot Crossing Hand & Rubbing Palm (NE) 5. Turn left: Black Bear Waving Palm (SE) 6. Turn left: King Offering Wine Palm (SW) 7. Turn left: Eagle Claw Palm (West) 8. Step forward: Snake Hiding In The Grass Palm White Tiger Shaking Tail and Walk Counter-clockwise with Pointing To Heaven & Earth Penetrating Posture 3rd Palm: Heaven Pointing & Earth Penetrating Palm of the Gen Diagram Begin: Walking Counter-clockwise with the Pointing To Heaven & Penetrating The Earth Posture 1. Open The Palm Laterally (NE) 2, Turn left: Hawk Turning Body Palm (SW) 3. Turn left: Escape Without A Trace to form Lion Jumping On the Ball Palm (NW) 4. Turn left: Wild Goose Wing Spreading Palm (SE) 5. Turn left: Groin Slapping Palm (West) 6. Turn left: Black Dragon Extending Claw Palm (East) 7. Turn left: Raising Curtain To Gaze At The Moon (South) 8. Turn right: Strike With The Iron Plated Foot (North) Walk Clockwise in the Heaven Uplifting Posture

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4th Palm: Uplifting Heaven Palm of the Zhen Diagram Begin: Walk Clockwise with Uplifting Heaven Palm 1. Immortal Sifting Rice Palm (East) 2. Turn left: Uprooting The Willow Tree Palm (West) 3. Turn left: Spreading Wing & Flying Palm (North) 4. Turn left: Four Dragons Fetching Water Palm (South) 5. Turn left: Small Ghost Pushing Millstone Palm (NE) 6. Turn right: Body Turning Palm (SE) 7. Turn left: Open The Window To Welcome The Wind Palm (NW) 8. Turn right: Face Slapping Palm (SW) Walk Counter-clockwise with the Spear Upholding Posture 5th Palm: Spear Upholding Posture of the Xun Diagram Begin: Walk Counter-clockwise with the Spear Upholding Posture 1. Blue Dragon Leaving Cave Palm (SE) 2. Turn left: Lateral Chopping Palm (NW) 3. Turn left: Push the Mountain Into The Sea Palm (SW) 4. Turn right: Oblique Chopping Palm (NE) 5. Turn right: Immortal Points the Way Palm (North) 6. Turn right: Strike Horizontally With The Iron Cross Bar (West) 7. Step left: Immortal Points The Way Palm (East) 8. Turn left: Strike Horizontally With The Iron Cross Bar (South) Walk Clockwise with embracing The Moon Posture 6th Palm: Embracing The Moon Palm of the Li Diagram Begin: Walk Clockwise with The Embracing the Moon Posture 1. Double Elbow Protecting Heart Palm (South) 2. Turn left: Snake Flicking Its Tongue Palm (North) 3. Turn left: Brushing Away The Clouds To See the Sun Palm (West) 4. Step left: Inserting The Flower Under The Armpit (East) 5. Turn left: Hungry Tiger Pounces On Its Prey Palm (SE) 6. Turn right: Heaven & Earth Palm (NE) 7. Turn Left Spiraling Palm (SW) 8. Turn left: Posture Following Palm (NW) Walk Counter-clockwise with the Yin Yang Fish Posture

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7th Palm: Yin Yang Fish Palm of the Kun Diagram Begin: Walk Counter-clockwise with the Yin Yang Fish Posture 1. Lonely Phoenix Returning To Its Nest Palm (SW) 2. Turn right: Lifting Jacket Palm (NE) 3. Turn right: Lone Goose Leaving Flock Palm (NW) 4. Turn right & step forward: Face Slapping Palm (SE) 5. Turn right: Black Bear Turning (Back) Palm (West) 6. Turn right: Phoenix Spreading Wings Palm (East) 7. Step backward and turn right: Rhinoceros Gazing At The Moon Palm (North) 8. Turn left: Stomp On The Ground & Pierce The Palm (South) Walk Clockwise with Millstone Pushing Palm 8th Palm: Millstone Pushing Palm of the Dui Diagram Begin: Walk Clockwise with the Millstone Pushing Palm 1. Turn right: Clap Two Hands (West) 2. Turn left: Immortal Picking Up Melon Palm (NW) 3. Turn left: Strange Giant Snake Turning Body Palm (NE) 4. Turn left: Leopard Cat Climbing Tree Palm (North) 5. Turn right: Eagle Revealing Its Wisdom Palm (South) 6. Turn right: Body Rubbing Palm (SE) 7. Turn left: Golden Monkey Wiping Its Eyebrows Palm (SW) 8. Turn right: Wind Moves The Lotus Leaves Palm (East) Walk under your arm to walk clockwise in the Uplifting Heaven Palm and then press hands down to end.

ADVANCED NEI GONG

1. Marrow Washing Nei Gong Xi Shui Jing 洗髓經 2. Regulating the Du Meridian: Spinal Meditation 3. Daoist Meditation • Wu Ji Meditation 無極 • Microcosmic Orbit Meditation Xiao Zhou Tian 小周天 • Macrocosmic Orbit Meditation Da Zhou Tian 大周天 • Golden Fluid Returning to Dantian Nei Gong Jin Ye Huan Dan Tian Nei Gong 金液還丹田内功

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60

WEAPONS TRAINING

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Ba Gua Yin Yang Staff Ba Gua Yin Yang Gun (Gao Ji Wu) 八卦阴阳棍 Open the Form • Poke forward with the Staff • Wrap with the Staff and Walk counter-clockwise with Yin-Yang Staff 1. S  ingle Changing Staff • Kou Bu and Raise the Staff • Bai Bu and Strike with the Staff • Walk, Wrap and pull the Staff to Walk with Yin-Yang Staff 2. S  triking and Pulling Staff • Kou Bu and Raise the Staff • Bai Bu and Strike with the Staff • Turn, Pull and Row with the Staff • Turn and Strike with the Staff • Walk, Wrap and pull the Staff to Walk with Yin-Yang Staff 3. Downward Striking Staff • Walk with the Hidden Staff • Bai Bu, Walk Forward and Split the Vertex • Walk and Strike the Staff Downward in Coiling Stance • Step Forward and Pierce with the Staff • Walk with the Hidden staff 4. Concealing Piercing Staff • Step Forward and Pierce Quickly with the Staff • Walk and Strike the Staff Downward in Coiling Stance • Step Forward and Pierce with the Staff • Walk with the Hidden staff 5. Upward Piercing Body Overturning Staff • Wrap with the Staff and Pierce Upward • Kou Bu, and Overturn the Body Lift the Leg and Strike Downward with the Staff • Step Back and Pierce Upward with the Staff • Wrap with the Staff & Walk the Circle Change direction with the Single Changing Staff • Kou Bu and Raise the Staff • Bai Bu and Strike with the Staff • Walk, Wrap and Pull the Staff to Walk with Yin-Yang Staff 6. U  pward Blocking and Body Changing Staff • Withdraw the Body and Lift the Staff • Wrap with the Staff, Step Behind and Pierce Downward • Step Out and Pierce with the Staff • Turn, Walk Forward and Strike Downward with the Staff • Turn and Pierce with the Staff • Withdraw the Body, Strike Downward, Wrap, Row and Walk the Yin-Yang Staff

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7. Lateral Striking Staff • Bai Bu and Drill to Strike Laterally with the Staff • Step Forward and Strike Laterally with the Staff • Step Forward and Pierce with the Staff • Turn and Pierce with the Staff • Walk, Wrap and Pull the Staff to Walk with Yin-Yang Staff 8. D  ragon Turning Body Sealing Staff • Bai Bu and Drill with the Staff • Kou Bu to Hit the Temple • Bai Bu and Cover with the Staff • Overturn the Body and Poke Back with the Staff • Seal with the Staff • Turn the Body and Drill with the Staff • Seal with the Staff • Walk, Overturn and Strike Down with the Staff • Step Out and Pierce with the Staff • Walk and Pull the Staff to Walk with Yin Yang Staff

Ba Gua Dao (Saber) Basics Ba Gua Dao Ding Shi: Four Postures and Eight Changes 1. Millstone Posture • Walking Clockwise Inside Change: Thrust • Walking Counter-Clock Inside Change: Thrust • Walking Clockwise Outside Change: Forehand Cut • Walking Counter-Clock Outside Change: Backhand Cut 2. B  all Holding Posture • Walking Clockwise Inside Change: Hang the Saber Tip Up • Walking Counter-Clock Inside Change: Hang the Saber Tip Down • Walking Clockwise Outside Change: Thrust by the hip • Walking Counter-Clock Outside Change: Thrust by the Shoulder 3. Heaven Upholding Posture • Walking Clockwise Inside Change: Forehand Cut • Walking Counter-Clock Inside Change: Thrust/Backhand Cut • Walking Clockwise Outside Change: Thrust/Forehand Cut • Walking Counter-Clock Outside Change: Backhand Cut/Thrust 4. H  eaven & Earth Posture • Walking Clockwise Inside Change: Cut and Pull Down • Walking Counter-Clock Inside Change: Thrust and Lift Up • Walking Clockwise Outside Change: Thrust by Hip • Walking Counter-Clock Outside Change: Thrust Over the Shoulder

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Eight Star Blocking Set with Dao Ba Gua Dao Ding Shi: Four Postures and Eight Changes 1. Solo Attack: Stepping Forward and Backward 1. Forehand 2. Backhand 3. Vertical 4. Stab 5. Stab and step up 6. Forehand Diagonal 7. Stab and step up 8. Backhand diagonal Defense: Stepping forward and Backward 1. Parry blade In 2. Parry blade out 3. Parry upward 4. Pull in to parry (palm faces right) 5. Shear w/ stabbing motion 6. Parry with back of blade 7. Shear with stabbing motion 8. Shear with back of blade 2. Blocking Set with Partner 3. Blocking Set Back and Forth Person A Forehand Parry Blade Out Vertical Pull in parry Stab rt hang guard and Forehand Diagonal Parry back of blade – go around head & Back hand Diagonal Press across body with flat of blade

Person B Parry Blade In Backhand Parry Upward Cut horizontally Stab w to shear and block Parry back of blade Parry back of blade Backhand Diagonal

4. Other Blocking Drills 1. Forehand Cut Back and Forth, Parry with Back of Blade : Linear: • Three targets Neck; Arm; Wrist 2. Thrusts Back and Forth – Linear 3. Forehand Cut Back and Forth, Parry with Back of Blade • Circle Walk • Sudden Switch to counter-clock millstone posture (sword Back) 4. T  hrust Back and Forth • Circle Walk • Sudden Switch to counter-clock millstone posture (sword Back) 5. C  ircular Walking, One gives forehand and Opponent does backhand and thensudden switch to counter-clock millstone posture (sword Back) 6. D  ownward Cut and opponent blocks up–they downward cut and you block then sudden Switch to counter-clock millstone posture (sword Back) 7. From Circular Walking: Person A Person B Forehand Back of Blade Block Quick Backhand Parry blade out Forehand Parry blade in Pull Switch to counter-clock millstone posture (sword Back) 8. Freestyle Practice 64

Eight Diagram Palm Slicing Rotating Saber Ba Gua Zhang Pian Xuan Dao (Gao Ji Wu) 八卦掌片旋刀 1. O  pen Step to Show the Pattern Kai Bu Liang Shi 开步亮式

22. [Kou Bu] to Pierce the Saber Rearward Bei Hou Zha Dao 背后扎刀

2. W  hirlwind Hiding Saber Xuan Feng Cang Dao 旋风藏刀

23. Exploring Sea Form (Lifting Leg) Tan Hai Shi 探海式

3. Walk Forward and Pierce with the Saber Jin Bu Zha Dao 进步扎刀

24. E  scape and Change the Shadow Tuo Shen Huan Ying 脱身换影

4. Turn the Body (Back) and Chop with the Saber Fan Shen Pi Dao 反身劈刀

25. L azy Dragon Turns Over Its Body Lan Long Fan Shen 懒龙翻身

5. Uplift the Saber Rotate and Walk Tuo Dao Zhuan Zuo 托刀转走

26. Rearward Piercing Saber Bei Hou Zha Dao 背后扎刀

6. T  urn Over and Lift Up the Saber (to Rear) Fan Liao Dao 反撩刀

27. Uplifting Yin (Groin) Saber Liao Yin Dao 撩阴刀

7. Turn Over and Chop the Saber Fan Pi Dao 翻劈刀

28. B  elt Ring Saber Dai Huan Dao 带环刀

8. T  urn Over the Body and Chop with the Saber Fan Shen Pi Dao 翻身劈刀

29. Turn the Body and Chop with the Saber Fan Shen Pi Dao 反身劈刀

9. Turn, Rotate and Carry the Saber Zhuan Shen Dai Dao 转身带刀

30. Retreating Step and Greet the Saber Dao Bu Ying Dao 倒步迎刀

10. Slice the Shoulder Rotate and Walk Pian Bang Zhuan Zuo 片膀转走

31. Turn the Body and Chop with the Saber Fan Shen Pi Dao 反身劈刀

11. T  urn and Rotate the body for a Whirlwind Saber Zhuan Shen Xuan Fang Dao 转身旋风刀

32. Uplifting Yin (Groin) Saber Liao Yin Dao 撩阴刀

12. Recognize the Stirrup and Remove the Saddle Ren Deng Ban An 认蹬搬鞍

33. Slice the Shoulder Rotate and Walk Pian Bang Zhuan Zuo 片膀转走

13. Turn the Body and Chop with the Saber Fan Shen Pi Dao 反身劈刀

34. Whirlwind Saber Xuan Feng Da 旋风刀

14. R  etreating Step and Greet the Saber Dao Bu Ying Dao 倒步迎刀

35. Sweep Away a Thousand Armies Heng Sao Qian Jun 横扫千军

15. Turn Over the Body and Push the Saber Fan Shen Tui Dao 反身推刀

36. T  wine the Head and Wrap the Brain Chan Tou Chan Nao 缠头缠脑

16. L ift Knee Intercept and Block with the Saber Ti Xi Jie Lan Dao 提膝截拦刀

37. D  ouble Hand Hacking Saber Shuang Shou Duo Dao 双手剁刀

17. Turn Over and Chop the Saber Fan Pi Dao 反劈刀

38. S  lice Leftward and Rotate the Saber Zuo Pian Xuan Dao 左片旋刀

18. Left Whirlwind Saber Zuo Xuan Feng Dao 左旋风刀

39. P  ouncing Step Embracing Saber Pu Bu Bao Dao 扑步抱刀

19. Giant Python Turns Over Its Body Da Mang Fan Shen 大蟒翻身

40. P  ulling Out Heart Saber Tao Xin Dao 掏心刀

20. R  earward Piercing Saber Bei Hou Zha Dao 背后扎刀

41. E  mbracing Saber Charging Stab Bao Dao Chong Ci 抱刀冲刺

21. Advance and Pull the Hand to Hack with the Saber Shang Bu Lu Shou Duo 上步捋手剁刀

42. Recognize the Stirrup and Remove the Saddle Ren Deng Ban An 认蹬搬鞍 65

43. T  urn the Body and Chop with the Saber Fan Shen Pi Dao 反身劈刀

74. Scoop Up the Moon from the Sea Bottom Hai Di Lao Yue 海底捞月

44. Retreating Step and Greet the Saber Dao Bu Ying Dao 倒步迎刀

75. Double Hand Carrying Saber Shuang Shou Peng Dao 双手捧刀

45. T  urn the Body and Chop with the Saber Fan Shen Pi Dao 反身劈刀

76. T  wisting Body Whirlwind Saber Ning Shen Xuan Feng Dao 拧身旋风刀

55. U  plifting Yin (Groin) Saber Liao Yin Dao 撩阴刀

77. G  ather Up the Form Shou Shi 收式

56. Slice the Shoulder Rotate and Walk Pian Bang Zhuan Zuo 片膀转走 57. R  etreating Step Piercing Saber Dao Bu Zha Dao 倒步扎刀 58. L ift Knee Intercept and Block with the Saber Ti Xi Jie Lan Dao 提膝截拦刀 59. T  urn Over and Chop the Saber Fan Pi Dao 翻劈刀 60. T  urn Over the Body and Chop with the Saber Fan Shen Pi Dao 翻身劈刀 61. Uplifting Yin (Groin) Saber Liao Yin Dao 撩阴刀 62. S  lice the Shoulder Rotate and Walk Pian Bang Zhuan Zuo 片膀转走 63. R  ecognize the Stirrup and Remove the Saddle Ren Deng Ban An 认蹬搬鞍 64. T  urn the Body and Chop with the saber Fan Shen Pi Dao 反身劈刀 65. Retreating Step and Greet the Saber Dao Bu Ying Dao 倒步迎刀 66. Turn the Body and Chop with the Saber Fan Shen Pi Dao 反身劈刀 67. U  plifting Yin (Groin) Saber Liao Yin Dao 撩阴刀 68. S  lice the Shoulder Rotate and Walk Pian Bang Zhuan Zuo 片膀转走 69. L azy Dragon Turns Over Its Body Lan Long Fan Shen 懒龙翻身 70. T  urn the Body and Wave the Flag Zhuan Shen Yao Qi 转身摇旗 71. S  coop Up the Moon from the Sea Bottom Hai Di Lao Yue 海底捞月 72. Turn the Body and Explore the Sea Zhuan Shen Tan Hai 转身探海 73. T  wine the Head and Wrap the Brain Chan Tou Chan Nao 缠头缠脑 66

Ba Gua Saber: Sixty-Four Methods Ba Gua Dao Liu Shi Si Ban Fa (Wang Shi Tong) 八卦刀六十四办法 Part I 1. Hold the saber in the right hand 2. Wave the saber clockwise 3. Pierce the leg and wrist downwards 4. Pull (draw) the knife and walk counter-clockwise 5. Lower the body to cover the left shoulder 6. Strike the leg and wrist 7. Move the saber in a circle 8. Wave the saber forward & upward (upward slash) 9. Slice the left knee and walk 10. Lower the body to form gazing at the sea posture 11. Cut the waist 12. Turn the body to gaze at the sea Part II 13. Cover with the saber to the right side 14. Hold up and hook 15. Pierce the wrist to the right and pull the knife and walk 16. Carry the saber on the right shoulder 17. Cover with the saber toward the left side 18. Lift the leg to poke the face 19. Pick up the moon from the bottom of the sea 20. Cut the west in interior and exterior 21. Cover with the saber forwards 22. Step backward and chop three times 23. Step forward and chop forward 1 24. Step backward and pull the hand 25. Turn the body backward and chop 26. Pull the hand 2 27. Chop with the saber 28. Turn the body backward and chop 29. Pull the hand 30. Chop with the saber 3 31. Turn the body backward and chop 32. Roll the saber backward and lift the right leg 33. Pierce, straight thrust 34. Pierce forward and jump back and pull the saber to walk 35. Form gazing at the sea posture Part III 36. Drill the body upwards to wave the flag 37. Pick up the moon from the bottom of the sea & walk clockwise 38. Twist the body, cover with saber to gaze at the sea and walk 39. Turn counter-clockwise, block the wrist, slice the throat and walk 40. Turn clockwise, pierce the wrist and slice the neck to walk 41. Drill the body upwards to wave the flag 42. Lower the body and strike the saber backwards 43. Move the saber in a circle 44. Strike forward with the saber 45. Slice the left shoulder and block 46. Cover with the saber

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47. Wave the flag 48. Pick up the moon from the bottom of the sea 49. Walk and form gazing at the sea posture Part IV 50. Block the wrist with the saber and walk 51. Poke the face 52. Drill the body upwards and wave the flag 53. Hang the saber vertically downwards and cut toward the waist 54. Turn counter-clockwise and rotate clockwise to gaze at the sea 55. Turn backward to gaze at the moon 56. Cover with the saber backward 57. Wave the flag 58. Step forward toward the left to strike the brain 59. Step left and walk forward with the right to turn the body and drop the head 60. Press the saber to gaze at the sea Part V 61. Thrust the saber over the arm and poke out 62. Cover with the saber backwards to gaze at the sea 63. Cut toward the waist in the interior and exterior 64. Walk the circle and hide the saber to end the posture

Ba Gua Jian (Straight Sword) Basic Exercises 1. Ci (Thrust; Pierce) • Zheng Li Ci (Vertical Thrust) • Fan Li Ci (Reverse vertical Thrust) • Zheng Pi Ci (Palm Up) • Fan Ping Ci (Palm Down) 2. P i (Chop) • Zheng Pi (Vertical) • Fan Ping Ci (Diagonal) 3. Liao (Slide, Block and Cut) 4. Tiao (Pluck; Lift Up) 5. Beng (Bursting) 6. Tui and La (Push and Pull Sword Handle) 7. Heng (Horizontal) • Zheng Ping Beng(Palm Up) • Fan Ping Beng (Palm Down) 8. Cuo (File) 9. Jiao (Wrap; Stir) 10. Lan (Obstruct) • Nei Zhong Lan (Inside) • Wai Zhong Lan (Outside) • Nei Xia Lan ( Low Inside) • Wai Xia Lan (Low Outside) 11. Dian (Point) 12. Le (Draw Back) 13. Ge (Block Upward) 14. H  ua (Flower) • Upward • Wrist Cutting 68

Ding Shi Postures 1. Wave the Banner 2. Search the Sea 3. Pushing the Millstone 4. Hiding Flower under Leaf

Circle Ding Shi Posture Changes Start in the Pushing the Millstone circle walking posture 1. Pierce And Withdraw: end in Hiding the Flower circle walking posture. 2. Pierce and Push the Millstone: end in Pushing the Millstone circle walking posture. 3. Lift and Cover With the Sword: end in Hiding the Flower circle walking posture. 4. I mmortal Changes His Shadow: end in Pushing the Millstone circle walking posture. Lift the Sword to Wave the Banner circle walking posture. 5. Cross and Wipe: end in Search the Sea circle walking posture. 6. Scoop and Lift: end in Wave the Banner circle walking posture. 7. Strange Boa Turns the Body: end in Search the Sea circle walking posture. 8. Escape with the Body and Dissolve Shadow: end in Wave the Banner circle walking posture. 9. Chop Mt. Huashan Powerfully: end in Search the Sea circle walking posture. 10. Clouds Block and Fog Covers: end in Wave the Banner circle walking posture. 11. The Immortal Spreads the Net: end in Search the Sea circle walking posture. 12. Cloud Dragon Playing with Water: end in Wave the Banner circle walking posture. To start again lower the sword to form the Millstone Pushing circle walking posture.

Eight Diagram Palm Rotating Ring Sword Ba Gua Zhang Zhuan Huan Jian 八卦掌转环剑 (Gao Ji Wu) 预备式面向南并步站立，左手持剑 Yu Bei Shi Mian Xiang Nan Bing Bu Zhan Li, Zuo Shou Chi Jian Preparatory Form Face Toward the South Feet Together, Left Hand Holding Sword 1. I mmortal Points The Way Xian Ren Zhi Lu 仙人指路

8. B  ird Enters The Forest Su Niao Tou Lin 宿鸟投林

2. S  top The Horse & Listen To The Wind Le Ma Ting Feng 勒马听风

9. Push Open The Window To See The Moon Tui Chuang Wang Yue 推窗望月

3. Walk Forward & Enter The Nest Jin Bu Tou Chao 进步投巢

10. Strike With The Golden Whip Backward Dao Da Jin Bian 倒打金鞭

4. Chop the Huang Shan Mountains Forcefully Li Pi Hua Shan 力劈华山

11. W  hip The Galloping Horse Kuai Ma Jia Bian 快马加鞭

5. Turn the Body & Slice the Arm Niu Shen Pian Bang 扭身片膀

12. Turn Over The Body & Chop With The Sword Fan Shen Pi Jian 翻身劈剑

6. B  lock Horizontally, Slice & Walk Heng Lan Pian Zou 横栏片走

13. Supporting Hand Wiping Form Ma Shi Fu Shou 抹式扶手

7. Galloping Horse Turns Its Head Zou Ma Hui Tuo 走马回头

14. F  ierce Tiger Turns The Body Meng Hu Zhuan Shen 猛虎转身

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15. Immortal Enters the Cave Xian Ren Ru Dong 仙人入洞

36. F  lock Of Geese Play With The Sea Qun Hong Xi Hai 群鸿戏海

16. S  itting Step Chain Linking Zuo Bu Lian Huan 坐步连环

37. I ron Fan Greets (Welcomes) The Wind Tie Shan Ying Feng 铁扇迎风

17. Follow The Wind, Guide The Clothes Shun Feng Ling Yi 顺风领衣

38. G  olden Rooster Spreads Wings Jin Ji Sa Bang 金鸡撒膀

18. Three Rings Hook The Moon San Huan Tao Yue 三环套月

39. S  weep Away One Thousand Troops Heng Sao Qian Jun 横扫千军

19. Turn The Body Backward To Pierce Straightly Hui Shen Zhi Ci 回身直刺

40. T  urn & Walk With A Swarm of Swords Zhuan Zuo Qun Jian 转走群剑

20. T  urn & Walk To Wave the Flag Zhuan Zuo Yao Qi 转走摇旗

41. T  urn Over The Hand (Backward) To Block The Wrist Fan Shou Jie Wan 反手截腕

21. White Snake Hiding In The Grass Bai She Fu Cao 白蛇伏草

42. Pull the Whip Behind The Back Bei Shen La Bian 背身拉鞭

22. Dodge The Body To Change The Shadow Tuo Shen Huan Ying 脱身换影

43. Chop Backward with Marvelous Hand Miao Shou Bei Zhan 妙手背斩

23. Giant Python Turns Over Body Da Mang Fan Shen 大蟒翻身

44. Ghost (North) Star Plays With The Dipper Kui Xing Xi Dou 魁星戏斗

24. C  hop The Mountain Behind The Back Bei Hou Pi Shan 背后劈山

45. S  wallow Penetrates The Forest Yan Zi Chuan Lin 燕子穿林

25. F  ollow The Wind to Sweep The Leaves Shun Feng Sao Ye 顺风扫叶

46. J ump, Net & Hang on the Wall Teng Luo Gua Bi 腾罗挂壁

26. Turn The Body To Block The Waist (Yao) Zhuan Shen Lan Yao 转身拦腰

47. Hate The Happiness That Comes Too Late Hen Fu Lai Chi 恨福来迟

27. Step Backward & Wipe The Wrist Tui Bu Ma Wan 退步抹腕

48. L ie Down To Look At Marvelous Clouds Wo Kan Qiao Yun 卧看巧云

28. M  ove Away The Grass To Search For The Snake Bo Cao Xun She 拨草寻蛇

49. Whirlwind Wringing Sword Xuan Feng Jiao Jian 旋风绞剑

29. Phoenix Enters The Nest Dan Feng Tou Chao 丹凤投巢

50. White Snake Spits Letter (Tongue) Bai She Tu Xin 白蛇吐信

30. T  urn Backward To Chop The Face Hui Shen Pi Mian 回身劈面

51. Ghost (North) Star Plays With The Dipper Ku Xing Xi Dou 魁星戏斗

31. Ghost (North) Star Plays With The Dipper Kui Xing Xi Dou 魁星戏斗

52. H  ang Chops & Offer The Sword Gua Pi Xian Jian 挂劈献剑

32. Hook and Hang, Lead and Circle Gou Gua Dai Huan 钩挂带环

53. Wave (Open) The Fan against The Wind Ying Feng Hui Shan 迎风挥扇

33. Touch (Dot) Ni Wan (Mud Ball) With the Sword Jian Dian Ni Wan 剑点泥丸

54. Liu Hai Plays With Toad Liu Hai Xi Chan 刘海戏蟾

34. Embrace The Moon In The Arms Huai Zhong Bao Yue 怀中抱月

55. D  rop The Step & Chop With The Sword Luo Bu Pi Jian 落步劈剑

35. W  hite Snake Spits Letter (Tongue) Bai She Tu Xin 白蛇吐信

56. Twist The Body To Explore The Sea Niu Shen Tan Hai 扭身探海 70

57. P  ick Up the Moon from The Bottom Of The Sea Hai Di Lao Yue 海底捞月 58. B  lue Dragon Turns Over Body Qing Long Fan Shen 青龙翻身 59. T  urn The Body To Explore the Sea Zhuan Shen Tan Hai 转身探海 60. W  hite Crane Shows Wings Bai He Liang Chi 白鹤亮翅 61. Two Rings Hook the Moon Shuang Huan Tao Yue 双环套月 62. Turn Over The Body To Chop The Face Fan Shen Pi Mian 翻身劈面 63. C  oiling Step Chain Linking Rao Bu Lian Huan 绕步连环 64. C  rouching Tiger Listens To The Wind Fu Hu Ting Feng 伏虎听风 65. Retreat The Step & Return To The Origin Tui Bu Huan Yuan 退步还原

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Seven Star Staff Qi Xing Gan 七星杆 Heart High Stick Xin Gao Gan 心高杆 Whip Stick Bian Gan 鞭 杆 Qi Xing Gan Ding Shi: Four Postures and Eight Changes 1. Millstone Posture: • Walking Clockwise Inside Change: Thrust • Walking Counter-Clock Inside Change: Thrust • Walking Clockwise Outside Change: Turning Whipping Strikes • Walking Counter-Clock Outside Change: Turning Whipping Strikes 2. Y  in Yang Posture • Walking Clockwise Inside Change: Whirl Stick and strike with both Ends • Walking Counter-Clock Inside Change: Whirl Stick and strike with both ends • Walking Clockwise Outside Change: Change Hands and Thrust to Rear • Walking Counter-Clock Outside Change: Change Hands and Thrust to Rear 3. Spear Holding Posture • Walking Clockwise Inside Change: Switch Hands and Lift Stick • Walking Counter-Clock Inside Change: Switch Hands and Lift Stick • Walking Clockwise Outside Change: Turn over body Smash Down and Lift Stick • Walking Counter-Clock Outside Change: Turn over body Smash Down and Lift Stick 4. H  eaven and Earth Posture • Walking Clockwise Inside Change: Short Poke and Smash Down • Walking Counter-Clock Inside Change: Short Poke and Smash Down • Walking Clockwise Outside Change: Thrust Backward and Smash Down • Walking Counter-Clock Outside Change: Thrust Backward and Smash Down

Basic Seven Star Staff Form (Zhang Hua Sen) 1. Hold the stick along the right side of the body 2. Single palm change & walk counter-clockwise with the stick behind you Yin Yang Posture 3. Poke out from under the right arm 4. Step lt. forward & poke the top of the foot 5. Step rt. and lt., striking twice 6. Retreat 2 Steps w/ double vertex strike 7. Wrap, step rt. forward and strike 8. Rotate the arms to cover and slap the stick downward 9. Poke the groin and escape without a trace 10. Lift the left leg and poke over the shoulder 11. Swing the right leg and strike backward to the knee 12. Toe in with the right foot and cover the head to strike the ankle 13. Bai bu and double force backhand whip 14. Kou bu, cover the head and back hand whip again 15. Cover the head, feet together and place the stick in the left hand

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Intermediate Seven Star Staff Form (Li Zi Ming) Starting Position: Stand with the feet together with the staff standing vertical in the right hand and the butt of the staff on the ground. 1. Tai Gong Gazes at the Stream and Hooks a Fish 2. Hang the Stick to Scrape the Ear and Left Temple 3. When He Moves, Offer the Chisel 4. Overturn the Body to Strike the Ear and Temple 5. Turn the Body and Push the Boat with Flowing Hands 6. Turn and Poke Back and Down 7. Turn the Body and Intercept with Stealthy Steps 8. Twist the Body, Step Rightward and Strike the Ribs 9. Fold the Elbows and Cover 10. Twist the Body, Step Leftward and Strike the Ribs 11. Shrink the Body and Return the Hand to Strike the Horse’s Head 12. Twist the Body, Step Rightward and Dot the Liver and Kidney 13. Twist the Body, Step Leftward and Dot the Liver and Kidney 14. Coiling Root Staff and Whipping Strike 15. Hoe the Ground to the Rear 16. Flick Upward and Circle and Turn the Tip to Attack the Shoulder 17. Rotate Inward and Poke the Shoulder 18. Pierce Right and Left Below the Waist 19. Fold the Elbows and Smash and Poke to the Four Directions 20. Eliminate the Weapon, Toss the Wrist, and Dot Twice 21. Hanging Hook Dots the Wrist Joint 22. Embrace the Staff and Guard the Head 23. Split and Stick with the Staff 24. Circle Inward to Seek the Wrist and Head 25. Step Forward and Drill to the Throat 26. Swing the Staff in a Circle with Circular Steps to Cover the Eight Directions and Then Strike and Poke 27. Steady Body, Stillness and Movement Tai Gong Hangs Rod and Hook Finish the Form: Return to Start Position.

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Advanced Seven Star Staff Form (Li Zi Ming) Starting Position: Stand with the feet together with the staff standing vertical in the right hand and the butt of the staff on the ground. 1. Tai Gong hooks a Fish 2. Wind, Stomp and Throw the Staff Forward 3. Step Forward to Circle, Twist and Dot the Eyes 4. Flowing Hands Strike the Four Corners 5. Angle the Staff and Walk a Circle (counter-clockwise) 6. Angle the Staff and Walk a Circle (clockwise) 7. Wave the Body, Circle the Staff and Strike the Ribs (right) 8. Wave the Body, Circle the Staff and Strike the Knee (left) 9. Empty the Step and Coil the Staff 10. Coil and Pull the Staff and Insert the Flowers to Poke the Knee 11. Turn the Body and The Weaver Parts the Flax 12. Turn the Body with Winding Strikes to the Left and Right 13. High Hand Descends to Dot the Hua Gai Point4 14. Crouch the Body and Pound the Jaw 15. Seven inch Rear Chisel Pounds the Scrotum 16. Parry and Tread, the Staff Goes to Sweep the Ankle 17. Shrink Er Men Left and Protect the Brain 18. Toss the Rod, Pounce on the Ground and Dot the Head 19. Cover Twist and Pound the Scrotum 20. Intercept and Pierce to Chase the Wind Like Lightning 21. Uphold the Staff to Poke Over the Top and Hit Tai Yang 22. Press the Staff on the Ground 23. Drill Upward with the Staff 24. Poke the Solar Plexus 25. Pierce Forward, Pound backward and Pierce Again 26. Walk a Circle Counterclockwise and Push the Millstone 27. Walk Forward and Whirl the Staff Upward 28. Reverse the Hand and Split the Head 29. Jump the Step and Toss the Staff to Strike on the Right 30. Flowing Steps and Hold the Staff in One Hand (left-right-left) 31. Move at Will - Up, Down, Left and Right 32. Roll the Silk Ball Backward 33. Stand on One Leg and Strike 34. Steady Body, Stillness & Movement Tai Gong Hangs Rod and Hook Finish: Step Down and Return to the Starting Position 4R  EN-20 (Hua Gai) Florid Canopy attacking this point can damage the lung.

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Xing Yi - Ba Gua Cane Xing Yi Ba Gua Teng (Vince Black) 形意八卦藤 1. Starting Position 2. Lift The Cane 3. Turn (90 degrees), Poke Low & Dragon Chop 4. Step Forward & Thrust the Handle 5. Turn (180 degrees), Poke Low & Dragon Chop 6. Step Forward & Thrust the Crook 7. Turn (90 degrees) & Poke Low 8. Strike with the Crook 9. Strike with the Tip 10. Hook with the Crook, Twist the Body and Spread the Arms 11. Step, Cloud with the Crook and Step Again to Pull & Hook with Both Hands 12. Kou Bu, Turn (180 degrees) and Poke With the Tip 13. Turn (90 degrees), and Strike Down with the Crook 14. Step out and Thrust the Shaft of the Cane 15. Step Back into Dragon & Hook and Pull the Neck 16. Step Back and Pull the Can Again 17. Draw Back into the Empty Stance and Wrap the Cane Under the Arm to Hook the Leg 18. Half Steps Forward & Back to Cloud and Hook with the Cane 19. Kou Bu and Turn to the Front To Poke with the Cane like a Sword 20. Finish the Form

Ba Gua Rooster Claw Yin Yang Knife Ba Gua Ji Zhao Yin Yang Rui (Wang Shi Tong) 八卦鸡爪阴阳锐 1. S  tep out and raise the elbow to walk (turn) the circle, Chu Bu Jia Zhou Zou Zhuan Huan, 出步架肘走转环, 2. T  oe in and cut outward to pierce upward. Kou Bu Wai Jie Xiang Shang Chuan 扣步外截向上穿。 3. Toe out and turn the body to cover downward, Bai Bu Fan Shen Chao Xia Gai 掰步翻身朝下盖， 4. Turn over the body with sliding step to strike upward, block and pierce. Fan Shen Wo Bu Liao Jia Chuan 翻身卧步撩架穿。 5. Poke the neck and lock the throat and block leftward and rightward. Ci Jing Suo Huo Zuo You Lan 刺颈锁喉左右拦。 75

6. W  alk forward and lift the knee to pierce underneath the tibia. Jin Bu Ti Xi Jing Xia Chuan 进步提膝胫下穿。 7. Step back to hook, embrace and pull first, Tui Bu Gou Lou Lu Dang Xian 退步钩搂捋当先 8. W  alk forward and embrace the heart to walk a circle. Jin Bu Bao Xin Zhuan Yi Quan 进步抱心转一圈 9. Chop the mountains leftward and rightward like awhirlwind, Zuo You Pi Shan Ru Feng Juan 左右劈山如风卷 10. Cover the vertex and use the fist underneath the elbow again. Gai Ding Zai Yong Zhou Xia Quan 盖顶再用肘下拳 11. T  urn the body to use the millstone rubbing elbow swiftly, Zhuan Shen Ji Yong Mo Pan Zhou 转身急用磨盘肘 12. Turn and walk circle to link the head and tail in dragon motion. Zhuan Zou Long Hang Shou Wei Lian 转走龙行首尾连 13. Necessary to remember to press the elbow in turning the body, Fan Shen Qie Ji Mang Ya Zhou 翻身切记忙压肘 14. A  nd slice the ear quickly without any stain on the knife. Xue Er Kuai Ba Dao Shang Guang 削耳快把刀上光 15. Turn the body to poke with the elbow toward the ribs, Zhuang Shen Ding Zhou Shi Ci Lei 转身顶肘是刺肋 16. T  urn over to cover the vertex and strike down (drop) heaven. Diao Tou Gai Ding Da Ta Tian 调头盖顶打塌天 17. Pursue the wind with quick step to double poke the ribs, Jian Bu Zhui Feng Shuang Ci Lei 箭步追风双刺肋 18. Toe in and spread the wings to whip the horse. Kou Bu Zhan Chi Ma Jia Bian 扣步展翅马加鞭 19. The form looks like white crane appearing in the clouds, Xing Ru Bai He Yun Zhong Xian 形如白鹤云中现 76

20. W  alk like swallow flying through the willows, Zuo Ru Yan Zi Liu Lin Chuan 走如燕子柳林穿 21. Rub the clouds to pull back the knife and return to the origin. Mo Yun Shou Rui Shi Huan Yuan 磨云收锐是还原。

Ba Gua Spear Ba Gua Qian 八卦鎗 Ba Gua Qian Ding Shi 1. Millstone Posture: • Walking Clockwise Inside Change: Thrust • Walking Counter-Clock Inside Change: Thrust • Walking Clockwise Outside Change: Turn back, change hands and thrust • Walking Counter-Clock Outside Change: Turn back, change hands and thrust 2. S pear Holding Posture • Walking Clockwise Inside Change: Change hands and Strike Up • Walking Counter-Clock Inside Change: Change hands and Strike Up • Walking Clockwise Outside Change: Turn over Change and Poke • Walking Counter-Clock Outside Change: Turn over Change and Poke 3. Heaven and Earth Posture • Walking Clockwise Inside Change: Poke and Switch Hands • Walking Counter-Clock Inside Change: Poke and Switch Hands • Walking Clockwise Outside Change: Lever, Poke Back and • Walking Counter-Clock Outside Change: Lever, Poke Back and Switch Hands 4. H  eaven and Earth Posture • Walking Clockwise Inside Change: One Hand Thrust • Walking Counter-Clock Inside Change: One Hand Thrust • Walking Clockwise Outside Change: Turn Back and Hit Laterally Twice • Walking Counter-Clock Outside Change: Turn Back and Hit Laterally Twice

Double Headed Spear (Li Zi Ming) 1. Single Palm Change 2. Double Palm Change 3. Basic Exercises • Single Palm Change back and forth with Downward Smashing Strike • Walking forward with Single Palm Change • Zig-Zag Walking with Single Palm Change: Turn with Double Palm Change • Changing Hands & Lateral Strikes and Zig-Zag Walking

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N

Wind Wheel Swords Feng Lun Jian (Wang Shi Tong) 風輪劍 1. Face East - Feet Together, Hands at Sides 2. Step Forward & Divide Heaven and Earth 3. Rotate Arms to Hold the Swords Overhead

W

E

4. Drop the Swords to Hang Like Bracelets 5. Turn to the North and Parry and Poke (5 times) 6. Cover the Head to Separate the Neck

S

7. Spin, Swing the Arms (left circles head) & Use the left backward Thrusting Step to Strike to the Rear (face south) 8. Rt. Cover, Step Lt. Forward & Poke with the Left 9. Lt. Cover, Step Rt. Forward & Poke with the Right 10. Lift the Step (Rt.) to Turn to the SE and poke with Left 11. Turn and Whirl the Arms ( right makes an extra circle) to Slice with the Swords (end facing west) 12. Walk Forward and Right Snake Turns Over Its Body (east) 13. Step Rt. Down and Walk Lt. Forward; Rt. Parry and Poke with the Lt. Sword 14. Walk Forward, Parry and Poke with the Right Sword 15. Walk Forward & Left Snake Turns Over Its Body (west) 16. Step Lt. Down and Step with Rt. As You Separate the Swords to Slice Obliquely to the South 17. Cover with the Left, Step the Left Forward Twist the Stance and Stab Downward with Both Swords (south) 18. Turn Rightward to the East , Hang the Left Leg Inward & Separate the Swords Left & Right 19. Jade Maiden Throws the Shuttle (NE) 20. Jade Maiden Throws the Shuttle (NW) 21. Step Back and Strike Back to the Southeast 22. Kou Bu, Step Back and Strike Back to the Southwest 23. Swallow Skims the Water & Cover the Head to Slice the Waist (north) 24. Swallow Skims the Water & Cover the Head to Slice the Waist (north) 25. Cover the Head & Separate the Neck (palm-up variation) 26. Retreat (step back south) with Cat Washes Its Face (Lt.) (then repeat four more times) 27. Umbrella Covers the Head & Step (Rt.) Forward to Stab the Waist (north) 28. Step with the Left, Kick with the Right and Push Both Swords Forward 29. Step Down, Cover the Head and Separate the Neck (palm-up variation) 30. Turn, Step Back to the NE and Slice Diagonally to the SW 31. Turn, Step Back to the SE and Slice Diagonally to the NW 32. Jump to the NW and Slice Diagonally to the SE 33. Jump to the SW and Slice Diagonally to the NE 34. Walk to the Northeast Cover with the Left & Poke Downward with the Right 35. Raise the Arms to Ride the Chariot (NE)

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36. Rotate the Swords, Cover Your Left Wrist and Raise the Right Sword as You Lift the Left Leg to Hang Inward (N) 37. Walk Forward to the North & Swing Both Swords To Stab Diagonally Upward (3-5x) 38. Cover the Head to Separate the Neck 39. Retreat stepping south with Cat Washes Its Face 3x (Lt.; Rt; Lt) 40. Turn Left & Walk a Counterclockwise Circle in the Posture of: Raise the Arms to Ride the Chariot - Until You Face North 41. Cover the Head to Separate the Neck & Spin to Strike North 42. Draw Rt. leg back and Rt hand back and Strike (north) and Walk in an Arc from the North to the Southwest in the Pushing the Mountain Posture 43. Cover the Head (west) & Separate the Neck Striking North 44. Jump, Slice and Spin to the North to Form Phoenix Facing Sun (S) with the left leg hanging inward. 45. Swing the Swords & Walk a Figure 8 (end facing east) 46. Stab Downward Crossing the Rt. Sword Over the Lt. (east) 47. Rotate the Swords, Cover Your Left Wrist and Raise the Right as You Lift the Left Leg (east) 48. Step Down and Rotate The Arms to Hold the Swords Overhead 49. Drop the Swords to Hang Like Bracelets 50. End the Form

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ADVANCED LEVEL FORMS AND WEAPONS: TIPS FOR PRACTICE 1. The Pre-Heaven palms explore the transformative quality of the Ba Gua movements. By changing one’s intention the same movement can look like a monkey climbing a tree, a cloud swimming dragon, or a snake coiling around a pole. Practicing the Pre-Heaven palms refines intention and movement to a high degree. In a practice session, it is best to start with Lao Ba Zhang and Lian Huan and then proceed to practice the Pre-Heaven Form. 2. T  he Changing Palm develops smoothness and yin and yang polarity changes that are deceptive and fluid. Follow practice of Ding Shi and Lao Ba Zhang with this form, and experiment with combining changes and varying the walking patterns. 3. The Whipping Hand Exercises and the Dragon Body single movement exercise make an excellent warm up for the Dragon Palm as these kind of strikes are contained within the forms. When performing the Dragon palm let the body whip the arms and initiate the changes so that the action of one posture rebound you into the next posture. 4. B  a Mian Zhang is a very sophisticated form that combines elements of Ding Shi, the 64 forms, the Dragon Palm and the Changing Palm. Each set of eight movements is proceeded by one of the Ding Shi and is in some way an expression of that Ding Shi. See if you can understand how the internal dynamic of Ding Shi posture relates to these more complex movements. With this form we come full circle to return to the foundation. This allows one to directly experience how the most advanced techniques and movements are merely expressions of the baiscs. 5. T  he use of the 4 primary weapons (sword, saber, staff and spear) are explored in form and application. Understanding these four weapons allows one to understand the four different energies they employ. Developing these energies aids empty hand practice and develops the agility and flexibility of the body movements. The weapons also teach one how to extend power outward through the weapon. 6. S ome of the staff movements are also similar to the elbow techniques. Try performing the elbow exercises and the eight attacking elbows during the same practice session to experience the connection of the body movements between the elbow strike and the yin yang staff. 7. Feel how the Yin Yang staff helps you to develop large power dynamics combined with wrapping and winding force. 8. The saber is a weapon used in most styles of Chinese martial arts and was in the past, along with the spear, the primary battlefield weapon. In modern times the long machete is the equivalent weapon. The Ba Gua Saber is one of the key Ba Gua weapons. It develops body connection and strength and refines the movements of piercing and chopping. It develops strength and teaches one how to apply Ba Gua principles to edged weapons, sticks and clubs. Rather than using arm strength alone, let the waist and the step move the saber. Practice the form and individual movements several times a week. 9. T  he saber exercises introduce the basic movements with this weapon. Practice of these exercises is critical to understanding the more advanced Ba Gua Saber techniques. Practice the cuts and thrusts until they are comfortable. Practice the 8 star blocks with and without a partner. The saber develops strength in chopping, splitting and slicing movements. 10. Perform the Eight Single Movements and the 64 Forms with both Saber and the Jian (Straight Sword). This refines your understanding of these key empty hand forms and allows you to understand the saying “use the hand like a sword and the sword like a hand.” 11. The Heart High Stick develops light quick movements and has fast deceptive, changes. It combines movements of the four primary weapons (sword, saber, staff and spear) allowing one to make infinite changes. Practice the changes until they are smooth and effortless. The Heart High stick form can be adapted to the Cane. 12. T  he Rooster Claw Knife, is one of Ba Gua’s unique weapons. Practicing with the rooster claw knives develops power as well as skill in hooking, filing, chopping and piercing. The Rooster Claw Knife form can also be performed with the Hook-Sickle Swords.

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13. The Spear in Ba Gua is often used in close as a short weapon in contrast to many Chinese styles like Xing Yi in which it is used as a long weapon. This is because Ba Gua’s circular stepping creates unique changes and angles. 14. P ractice the Ba Gua Marrow Washing Nei Gong to refine qi and condense qi into the bones. It is a vital precursor to refining Jing, Qi and Shen in the Golden Fluid Meditation . After practicing Marrow Washing for 3-6 months, move on to the Golden Fluid Meditation. 15. Vital points and the use of the point-striking stick are introduced to increase the effectiveness of striking, and seizing techniques. The point-striking stick helps to learn the striking areas more precisely and is an effective tool for self-defense as it increases one’s ability to hit powerfully and precisely. 16. Variations of the various forms as taught by different teachers within the Liang Zhen Pu lineage are examined. Different teachers perform and think about movement and application differently based on their physical attributes, temperament and prior martial arts background. These varied expressions are helpful in teaching students who also have their own unique temperaments, skills and physical wherewithal. 17. The study of variations has another purpose as well. At this level it is important to understand that there is no one way to do things. Exposure to different ideas about form and application give the practitioner the freedom to explore Ba Gua principles and techniques so that each person can go on to develop their own unique expression of the art. In this way Ba Gua remains a living art.

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GLOSSARY

OF CHINESE CHARACTERS FOR BA GUA ZHANG

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Bai 擺

• To Swing • Pendulum

Ban 搬

• to remove • to take away • to transport , transfer or shift

Beng 崩

• smash • collapse • fall into ruin • one of the five fists in Xing Yi

Bo 撥

• to push aside • remove • to appropriate (money) • to move • to set aside; group • batch • to poke; to stir

Bu 步

• step • pace • walk; march

Chan 纏

• wrap • coil • wind around the hand • tangle; tie up; twine around; like silk threads twined round something harass; annoy • can’t get it off: like a burr on a shirt • in chin na/na fa methods refers to “little wrap” and “big wrap”

Cheng 撑

• stretch • prop up; support • push with a pole; pole a boat • open; hold open a sack • overfill • A word often associated with the staff/spear

Chuan 穿

• penetrate • pierce through; bore through • thread through • conveys an ease (easily slips through): like “a small bird going through a cloud”

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Ci 刺

• thorn; • sting; prick; pierce • stab; thrust • assassinate; murder • word often associated with the jian - sword

Da 打

• strike • break • beat • contains the radical for “hand”

Dai 帶

• literally: “belt” • picture of skirts with girdle at top • bring; take; lead: but indicates an aggressiveness, waiting for opportunity – snatch what appears

Dao 刀

• Knife • Saber (broadsword)

Dian 點

• downwards- right convex character stroke • point • convex • one of the words associated with the staff

Diao 刁

• hook • tricky; artful; sly • passive trap • hook like a fish or to fish with hook and line • in Northern Mantis boxing this is a word for the hooking hand methods used in chin na

Duo 剁

• Hack • It also means cut, chop. • I have duo (chop up, mince) five kilos of pork meat. • The enemy was duo (chopped) mincemeat.

Fan 翻

• overturn • turn over; turn upside down • capsize • also can mean: get over; climb over • the ancient form of the character looks like a hand overturning

Feng 封

• to seal • to grant • to confer • one of the words associated with the staff 84

Gan 杆 • stick • pole

Gong 弓

• Bow • Bend; Arch

Gua 掛

• to hang • to put up • to suspend

Gun 棍 • staff

Guo 裹

• wrap • wrap something up completely - like wrapping the head with a big scarf, so you only can see the eyes. • wrapping a package with paper

Hua 劃

• to delimit • to transfer • to assign; to differentiate • to mark off; to draw (a line) • to delete • stroke of a Chinese character • word often associated with the jian – sword

Huo 攉

• Push • Literally, it means to shovel something from one place to another place • A word often associated with the spear

Jian 劍

• Sword (double edged) • In Chinese martial arts the straight double edged sword

Jian 剪

• scissors • cut with scissors • in xing yi “jian” can refer to movements that open like scissors from into out

Jie 截

• intercept • cut off; cut off a section • sever, cut • he starts before you, but you get there before him • one of Xing Yi Quan’s “eight words” referring to the action/function of the drilling fist (zuan chuan) • this character also contains the halberd radical (to cut off) • this character contains the quick little bird radical – you go to move and suddenly I am there. 85

Jin 進

• advance; go forward; put something forward • enter; go into • the outer part of the character conveys motion: “moving along a path”; the Tao etc.

Kan 砍

• to cut off something with a big tool violently, as in chopping off a tree branch • “This article is too long and should be cut down at least one third.” • Pi also means to chop, but it is more close to “split”, like to split logs or chop wood. For instance, “the old tree was split by lightning into two pieces.”

Kou 扣

• button together • buckle • retain • take into custody • one of Xing Yi Quan’s “eight words” meaning the two shoulders “fastened together” (power alignment) • can also mean to rap or to hit • can also mean hook • also used in chin na to describe sealing a blood vessel

La 拉

• pull, pull open a door • drag; haul • tug • Take something toward yourself or move together with you • For instance: “drag by the arm”, “pull open a door”, “tug the boat into the river,” and “He drew me aside to tell me a story.” • Playing a bowed instrument • “drag out” • With another character can mean pull up, pull down • contains the radical for hand • can also mean: slash; slit; cut; gash • one of the words associated with the Ba Gua saber

Lan 攔

• block; obstruct; impede • hinder • bar • hold back

Lian 連

• link • ring linking/chain linking: like the interlocking links of a chain or interlocking rings (lian huan) • continuous; not stopping • connect or join in an unbroken fashion • the outer part of the character conveys motion: moving along a path; the Tao etc. • forms in Xing Yi Quan (Wu Xing Lian Huan) and Ba Gua Zhang (Ba Gua Lian Huan Zhang)

Liao 撩

• move something up from the low to high position • hold up (a skirt) from the bottom - for instance, she takes up the bottom part of her skirt to keep it from getting wet. • strike upward – someone smaller slaps a taller person’s head with his hand suddenly 86

Ling 領

• lead; guide • usher • receive; get • draw • collar; pull by the neck • contains the radical for “head” • implies a less aggressive leading than “Dai”

Lu 捋

• stroke • smooth out with fingers • rub one’s palm along • roll up sleeves

Ma 馬

• horse • ma bu: horse riding step/stance

Mo 磨

• to grind big things into small things like powder. • for example, mo (grind) coffee beans, or grind wheat into flour. • grindstone or millstone. As in: tui mo zhang (millstone pushing palm) • rub; polish • wear down

Na 拿

• to hold • to seize; • to catch • to apprehend • to take

Nian 粘

• stick; stick to • glue • like glutinous rice

Ning 擰

• twist • wring • tweak; pinch • in martial arts refers to cutting hands that twist the bones in the arms • in the Southern style Hung Fist (Hung Ga) one of the 18 key words referring to locking hands

Pi 劈

• chop; split • cleave; divide • wedge • injure by splitting • strip off • strike of lightning • in Xing Yi Quan the first form (pi quan: “splitting fist”) associated with the metal element 87

Pian 片

• this is often a noun. It means a slice (piece) of something, in flat shape • it can also be used as a verb, then it means to cut something into pieces in flat shape. • “Give me one pian (a slice) of cheese, or bread.” • “He is a very skillful chef and he can pian (slice) a 2cm thick pork into six pieces.” • xiao is similar to pian. It is usually a verb and means to cut into a thin and small piece from a big thing. It also implies to cut very fast and easy, with a sharp tool. Like, “xiao (peel) an apple.” • one of the words associated with the Ba Gua saber

Pu 仆

• crouching • fall Forward • pouncing

Qiang 鎗 • spear

Qin 擒

• capture; catch • seize

Quan 圈

• circle; ring • loop

Rao 繞

• go around; wind around • coil • circle

Sau 掃

• broom • to sweep • one of the words associated with the staff

Shan 閃

• dodge; evade • not getting hit by not being there • “shan zhan teng nuo” - a saying in Mantis Fist and Eagle Claw meaning: “evade by jumping from one foot to the other.” This is also a strategy in Ba Gua Zhang. • Flash • Lightning

Shuai 摔

• throw on the ground • fall • tumble

Si 撕 • rip • tear

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Sui 随

• to follow • comply with; allow • listen to

Tan 探

• to explore • to test: as in testing the water with ones foot

Tao 掏

• fish out (of pocket) • dig out • hollow • scoop

Ti 踢 • Kick

Tiao 挑

• to pick up - usually, it means to pick up something with the tip of the stick or the head of spear. • to pick out, like a splinter • upraise, like raising up a window curtain

Tui 推

• push • push forward • promote; advance • push a grind stone or mill stone as in the millstone pushing palm (tui mo zhang) • contains the radical for “hand”

Tuo 托

• uphold • hold up something with two palms, for instance carefully holding a bowl of soup to carry into the dinning room • support from underneath • contains the radical for “hand”

Xiao 削

• pare or peel with a knife • whittle, like peel an apple, whittle a wood. • xiao implies to cut a thin piece of something very quickly with a sharp knife • to slice

Xu 虛

• empty • void • false • hollow

Za 咂

• pound • smack one’s lips

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Zha 扎

• prick, or stick something into something, or make a hole violently. • prick his thumb on a thorn • stick a needle into the skin

Zhan 沾

• moisten; wet • touch • stick together socially in a beneficial way • In mantis fist, this word is used in conjunction with establishing a bridge or position to lock the arm

Zhua 抓 • grab • seize • scratch • arrest

Zhuan 轉

• rotate • turn • transfer with rotation • rotate; revolve like a top • one of the key principles in Ba Gua Zhang • Ba Gua is sometimes referred to as “ba gua zhuan zhang” which means “ba gua revolving palm”

Zhuang 撞

• to bump • like a car bumping and moving another car

Zou 走

• walk • to go • move on foot • also can mean to leak: when stopped leak around. When the opponent stops you or locks you out, rather than resisting directly, you “leak around him” by walking to a new position

Zuan 鑽

• literally and auger or drill • to make your way into something; dig into something • zuan refers to the drilling fist in Xing Yi Quan which is associated with the water element

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GLOSSARY

FOR NEI JIA & BA GUA ZHANG

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A

An Mo: Massage; In the context of Nei Gong, self-massage of acu-points and other areas of the body aimed at regulating the qi.

B

Ba Da Mu Zhang: The Eight “Mother” Palms of Ba Gua Zhang. In some styles, this term refers to the Eight Ding Shi – fixed walking postures. Ba Gua (Pa Kua): Literally “Eight Diagrams”; the eight trigrams of the Yi Jing (I Ching - Book of Changes): Qian, Kun, Li, Kan, Dui, Gen, Zhen and Xun. Ba Gua is also a way of referring to the martial art Ba Gua Zhang. Ba Gua Zhang (Pa Kua Chang): Literally “Eight Diagram Palm” a martial art purportedly developed by Dong Hai Chuan. Modern scholars think that Dong developed Ba Gua Zhang by combining Daoist circle walking meditation with various martial arts, especially Lohan Boxing. Ba Gua Ji Zhao Yin Yang Rui: A Ba Gua Zhang Weapon. Literally, “Eight Diagram Chicken Claw Yin Yang Knife” but often simply called the Rooster Knife. Ba Gua Lian Huan: Ba Gu Zhang’s “chain linking” or “ring linking form”. an intermediate or advanced level form emphasizing fluid stepping and interconnected movements. Ba Gua Shuang Yue: A Ba Gua weapon known as the Mandarin Duck Knife. Ba Mian Zhang: The Eight Direction or Eight Facing Palm. An advanced Ba Gua form in which attack and defense movements are employed in all eight directions. Its full name is Ba Gua Swimming Body Eight Directions Palm (Ba Gua You Shen Ba Mian Zhang). Bai Bu: Literally “swing step,” One of two main steps used in walking the circle in Ba Gua Zhang. Beng Quan: Xing Yi Quan’s “Bursting Fist” related to the wood element. Bone Breathing: A Nei gong method associated with Marrow Washing Nei Gong. Bang: A stick, cudgel or club. Also can refer to the staff in martial arts. Bow and Arrow Stance (see Gong Bu) Broadsword (Dao): The Chinese broadsword. Dao literally means “knife.”

C

Central Channel: The central energetic pathway that runs longitudinally through the center of the body. The Central Channel is composed of the four of the Extraordinary Vessels: the Ren Du and Chong channels and to some degree the Dai Channel. Also referred to as Tian Gan or “Heavenly Stem” Cheng Style Ba Gua: The style of Ba Gua Zhang taught by Cheng Ting Hua and his disciples. Cheng Ting Hua: One of the original disciples of Dong Hai Chuan. Founder of Cheng Style Ba Gua Zhang. Chong Mai; Chong Mo: The “Thrusting” or “Thoroughfare” Vessel – one of the Eight Extraordinary meridians. Crane Stepping (see: He Xing Bu)

D

Da Cheng Quan: “Great Achievement Boxing.” Originally called Yi Quan (I Chuan), it is als known in the West as “Intention Boxing”, “Natural Boxing” or “Natural Style Xing Yi” and in Japan as “Taiki Ken”. Created by Wang Xiang Zhai.

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Da Fa: A term referring to the striking methods used in Chinese martial arts. Da Zhou Tian: The “Greater Heavenly Circuit” or “Macro-Cosmic Orbit”. A Nei Gong practice in which qi is circulated throughout the entire body generally following the circulation of the Eight Extraordinary channels. It is practiced by Daoist adepts and martial arts practitioners. Dai Long Bang: Dai Long Bang was from Shanxi province and taught Xin Yi Quan (Heart-Intention Boxing), the precursor of Xing Yi Quan. Dai Mai; Dai Mo: The Belt or Girdle Vessel – one of the Eight Extraordinary meridians. It travels around the waist area like a belt. Datian (Dan Tian; Tantien; Dan Tian): A place where qi or vital force gathers in the body. Usually, the term refers specifically to the area below the navel – which is also called “Lower Dan Tian.” Dan Tian literally means “Cinnabar Field” or “Elixir Field” referencing Daoist internal alchemy. In the nei jia, qi and breath are trained to gather here in order to root and generate power. Dao; Daoism (Tao; Taoism): A Chinese philosophy and religion that emphasizes living in harmony with the “Way” or Dao, the natural essence of the universe and the source of everything that exists. Daosim emphasizes a kind of harmony with natural forces and Wu Wei (action through inaction) The Dao De Jing (Tao Te Ching) and the Zhuang Zi (Chuang Tzu) are well known Daoist texts. Dao (see Broadsword) Dao De Jing: (Tao Te Ching)The “Classic of the Dao and its Virtue.” One of the seminal works on Daoism attributed to the Daoist sage Lao Zi (Lao Tzu) and sometimes referred to as the Laozi. Dao Yin: What we today call Qi Gong, Nei Gong or “internal exercises,” come under the category of nourishing life (Yang Sheng) techniques. In the past, Yang Sheng methods were often collectively referred to as Dao Yin exercises. Dao Yin means to “Guide and Lead” or “Guide and Pull.” The original Dao Yin Exercises originally included An Mo (selfmassage), Tu Na (breathing; inspiration-expiration), and moving exercises. Dian Xue: The art of striking or seizing vital points. Die Da (Dit Da; Tieh Ta): Literally “fall-hit,” this term refers to the treatment of trauma with traditional Chinese Medicine. Also called Die Da medicine or “Hit Medicine.” Die Da Jiu (Dit Da Jow): “Fall-Hit Wine” or “Trauma Liniment.” Dim Mak: The Cantonese pronunciation of Dian Xue. Ding Shi: Means “fixed posture” or “fixed pattern.” An important part of Ba Gua training in which one walks the circle holding eight different postures. This is foundation of the martial skill in Ba Gua and a powerful form of Nei Gong. Dong Hai Chuan: The purported founder of Ba Gua Zhang. Dong Xiu Sheng: A practitioner of traditional Chinese medicine who studied with many famous Nei Jia Quan masters and was proficient in Xing Yi, Ba Gua and Soft Southern Shaolin. Double Palm Change: Along with the Single Palm Change, this is one of the two key movements in Ba Gua Zhang from which all other movements arise. Du Mai; Du Mo: The Governing Vessel – one of the Eight Extraordinary meridians. Du Mo governs all the Yang meridians in the body travels along the back midline of the body. Dui Trigram: Dui-Lake, the Joyous; one of the Eight Trigrams of the Yi Jing.

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E

Earth Element: One of the “five Elements” or “five fundamental forces” - the Wu Xing. Earth is associated with the Spleen and Stomach and the flux between the seasons in traditional Chinese medicine. Eight Extraordinary Vessels (see Qi Jing Ba Mai) The Qi Jing Ba Mai or Eight Extraordinary Vessels are not so much pathways as a kind of matrix of energetic organization that balances, supplements and harmonizes the activities of the other meridians They are important channels in Nei gong and Daoist alchemical practices. Eight Mother Palms (see Ba Da Mu Zhang) Eight Trigrams: The Eight Trigrams are also known as the Ba Gua. They are derived form the Yi Jing (I Ching – Book of Changes)They are eight diagrams used in Daoist cosmology to represent the fundamental principles of the universe. They are seen as eight interrelated concepts. Each consists of three lines, each line either “broken” or “unbroken,” representing yin or yang, respectively. The eight trigrams permeate Chinese culture and are important in understanding Nei Gong and Daoist practices.

F

Fa Jin: Issuing power, or “shock power.” Also called Fa Li. Feng Lun Jian: The Wind Wheel Swords, a unique Ba Gua weapon. Fire Element: One of the “five Elements” or “five fundamental forces” the Wu Xing. Fire is associated with the heart and small intestine and the Summer season in traditional Chinese medicine. Five Elements or Five Phases (see Wu Xing) Five Element Qi Gong: See Wu Xing Qi Gong Fu Shu Yun: Fu Shu Yun attended the prestigious Nanjing Central Kuoshu Academy. There she studied with some of the great martial artists of the day: Tai Ji Quan from Ma Yung Shen and Yang Cheng Fu, Wu Style Tai Ji from Wu Jian Chuan, and the rare Bagua-Taiji Form. She later moved to Taiwan.

G

Gao: The term for both medicinal plasters and poultices in Die Da medicine. Gao Ji Wu: A master of Ba Gua from Beijing who learned from his father Gao Zi Ying. His style is called Beijing Gao Family Ba Gua Zhang. It has influences from Yin Fu, Liu De Kuan, Wang Xiang Zhai, Li Cun Yi, and Guo Ge Min. Gao Zi Ying: The father of Gao Ji Wu. He learned Ba Gua from his grandfather who studied with Yin Fu and Liu De Quan. Gao Zi Ying also studied Da Cheng Quan with Wang Xiang Zhai, Xing Yi Quan with Li Cun Yi and Tai Ji Quan under the great Yang Chen Fu. Gen Trigram: Gen-Mountain, Keeping Still: One of the Eight Trigrams of the Yi Jing. Gong Bu: The “Bow and Arrow Stance.” A front weighted stance with 60-70% of the weight on the front leg and the rear leg pushing forward. Gong Fu (Kung Fu; Gung Fu): Means “achievement through great effort.” Originally referring to any acquired skill, it later came to be associated with martial arts. It is both a name for Chinese martial arts in general, and for the effort put into the mastery of the basic skills which form the foundation for all that comes after. Guo Ge Min: Guo Ge Min was one of the most famous and skilled practitioners of Ba Gua in Beijing in the 20th century. Guo was a disciple of Liang Zhen Pu, as well as a student of Liu De Kuan. Gou Lian Jian: The hook sickle swords - a Ba Gua weapon.

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Guo Yun Shen: Famous Xing Yi teacher who studied Xing Yi Quan with Li Neng Ran. Guo was legendary for his proficiency with Beng Quan which, supposedly earned him the sobriquet “demon hand.” Gun: A staff or walking stick

H

He Xing Bu (Crane Stepping): A method of stepping in Ba Gua in which the leg is lifted and lowered like a crane stepping. It is also an important Nei Gong exercise. Heibei Xing Yi: Xing Yi Quan methods are usually divided into two general camps Heibei and Shanxi, named for provinces in China. The division is largely artificial as many of the great practitioners studied with different teachers in both provinces. In general, Heibei style emphasizes power that is firm on the outside and soft on the inside and Shanxi style emphasizes softness on the outside with firmness inside. Heng Quan (Heng Chuan): Xing Yi Quan’s transverse or crossing fist, which is related to the earth element. Hexagram: Two Yi Jing trigrams can be combined to produce a hexagram of six lines. There are 64 hexagrams. The hexagrams are part of Chinese philosophy, divination practices, Daoist alchemy and meditation, Hit Medicine (see Die Da) Hook Sickle Sword (see Gou Lian Jian) Horse Stance (see Ma Bu) Hou Tian: “After Heaven” - the “post heaven” or post natal state. Refers to the Qi Mechanism of the body that transforms qi after one is born as opposed to the inherited energies. With Xian Tian (Pre-Heaven) this term also refers to two different orientations of the trigrams, one expressing the unchanging polar forces of the universe (Xian Tian) and the other - Hou Tian expressing the temporal earthly cycles In Ba Gua Zhang, sometimes the 64 forms are called Hou Tian, and the 8 circular changes, Xian Tian. Hu Kou: “Tiger’s Mouth” – the area between the thumb and forefinger. Huang Di Nei Jing: This is one of the oldest books on Chinese medicine which focus largely on acupuncture but also provides much of the philosophical underpinning of Chinese medicine. Hui Yin: The acu-point DU 20 “Hundred Meetings”, which lies on the top of the head opn the midline between the tips of the two ears.

J

Ji Ji Ke: a legendary master of Xing Yi Quan. Also known as Ji Gong an Ji Long Feng. Ji Ji Ke was from Shanxi Province. In a version of the origin of Xing Yi Quan, after the death of Yue Fei (the purported founder), the art was lost for half a millennium. Then, during the Ming and Qing Dynasties in Shaanxi Province’s Zhongnan Mountains, Yue Fei’s boxing manual was discovered by Ji Ji Ke. Jia Ji: (see San Guan) Jiang Rong Jiao: Jiang Rong Jiao (Jiang Rong Qiao; Chang Rong Chiao). Jiang was a student of the famous Li Cun Yi and Zhang Zhao Dong.. Jiang was an instructor at the famous Nanjing Guoshu Institute where he taught a variety of martial arts. He taught extensively and published a number of books on Ba Gua, XingYi, the sword and spear. Ji Ben Gong: Foundational training which is an essential part of acquiring the basic body skills necessary to develop skill in Chinese martial arts. Ji Zhao Yuan Yang Yue: The “Mandarin Duck Knife”. A Ba Gua weapon that is often erroneously called the deer horn knife. Jian: The Chinese double edged straight sword.

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Jin (jing): 劲 strength, energy, spirit. The same jin as in Fa Jin. Jing Luo: Jing, refers to the warp threads in a piece of fabric and has the meaning “to go through, lead, transmit or to direct.” Luo means net or network. Jing Luo is usually translated as “channels and collaterals” referring to the energy pathways in the body which are also called “meridians.” See also: Mai Jing Mai (see Mai) Jing Qi: 精气 “Essence Qi”. Refined essence that is the yang energetic aspect of the jing. A term referring to the substance, associated with the kidneys that, in Chinese medicine, represents the foundational matrix of the body’s vital energies.

K

Kan Trigram: Kan-Water, the Abysmal, is one of the Eight Trigrams of the Yi Jing. Kidney Breathing: This is deep diaphragmatic breathing that expands and contracts the Dantian and Mingmen. It involves letting Qi and breath sink to the Dantian and circulate internally. It is also called “Dantian Breathing”. Kou Bu: Literally “hook step,” but often erroneously called the toe-in step. One of the two main steps used in walking the circle in Ba Gua Zhang Kua: Often mistranslated as “hip,” kua refers to the inguinal area in the front of the pelvis and all the internal and external structures in that area. Kun-Trigram: Kun-Earth, the Receptive, is one of the Eight Trigrams of the Yi Jing

L

Lao Ba Zhang: The “Old Eight Palms” – In many styles of Ba Gua Zhang this is the name for the eight basic palm changes. Laogong: The “Palace of Labor” – acu-point Pericardium 8 (PC 8) in the center of the palm. Lao Zi (Laozi; Lao Tzu): The legendary author of the Dao De Jing which is often called the Laozi. This is a key Doaist philosophical work, but also a manual for Daoist meditation practices. Large Heavenly Circulation (see Da Zhou Tian) Li Trigram: Li-Fire, the Clinging, is one of the Eight Trigrams of the Yi Jing. Li Cun Yi: A famous practitioner of the Heibei School of Xing Yi Quan. He initially studied with Liu Qi Lan and later with Guo Yunshen and Cheng Ting Hua. Li Gui Chang: A Shanxi Xing Yi master. He studied Xing Yi Quan; Ba Gua Zhang, Tai Ji Quan and Shaolin Five Elements Soft Art with Dong Xiu Sheng. Li Neng Ran (Li Luo Neng): Li Neng Ran was also known as Li Fei Yu and Li Luo Neng. He learned Xin Yi Quan (Heart-Intention Boxing) from the Dai family, which he later modified, calling it Xing Yi Quan. Liang Style Ba Gua: The Ba Gua style taught by Liang Zhen Pu and his disciples. Liang Zhen Pu (Liang Zhen Fu): One of the original disciples of Dong Hai Chuan. Founder of Liang Style Ba Gua Zhang. Liu De Kuan: Liu De Kuan studied many martial arts and was famous for ability with spear and halberd – hence his nickname “Big Spear.” Purportedly created Liang Style Ba Gua’s 64 Hands. Liu He Ba Fa (Liu Ho Ba Fa): Also called “water boxing”, because of its fluid movements; literally means “Six Harmonies and Eight methods.” 96

Liu Qi Lan: Liu Qi Lan was one of the top Xing Yi students of Li Neng Ran. Liu Wen Hua: Liu Qi Lan’s son – famous for his Xing Yi. Liu Zi Jue: A Qi Gong or Nei Gong method known as the Six Healing Sounds, in which the practitioner utters words or sounds that vibrate specific internal organs and their associated structures. Li Zi Ming: A Disciple of Liang Zhen Pu and friend and student of Guo Ge Min. A famous master of Ba Gua Zhang in Beijing.

M

Ma Bu: “Horse Stance” or “Horse Riding Stance” It looks like the position one takes when riding on horse back. Ma Chuan Xu: One of the top disciples of Ba Gua Zhang under Li Zi Ming. Macrocosmic Orbit (see Da Zhou Tian) Mai; Mo: Literally meaning “to pulsate”. The mai (or mo) refer to the pulsating blood vessels of the body, but also the Jing Luo or meridians. In this context they can be called the Jing Mai or Jing Mo. This tern is used fairly interchangeably with the term Jing Luo. Mandarin Duck Knife (see Ji Zhao Yuan Yang Yue) Marrow Washing Nei Gong (see Xi Shui Jing) Meridians: The energy pathways in the body according to Chinese medicine. Meridian is a somewhat misleading term. Jing Luo is the more correct term. Metal Element: One of the “Five Elements” or the Wu Xing. Associated with the lungs and large intestine and the fall season. Microcosmic Orbit (see Xiao Zhou Tian) Middle Burner: One of the “three burners” or San Jiao in traditional Chinese medicine. The middle burner refers to the energetic activities and physical organs of digestion. It also refers to the structures and organs in the area between the navel and the nipple line (Gallbladder, Liver, Spleen and Stomach). Middle Dantian: This is essentially the acu-point Zhong Wan (Ren 12) – “center venter” It is the area where qi gathers in the middle burner and is associated with the post-heaven vital energies and the Spleen and Stomach. Ming: Ming 命: vital force or life is often paired with Xing 性: inner nature; character; disposition; property; quality. Ming Gong: One of two methods or “schools” of Daoist cultivation: Xing Gong and Ming Gong. Xing Gong refers to self-cultivation which employs quiet seated meditation to cultivate the mind, while Ming Gong trains the body through qi cultivation exercises. Ming Gong is sometimes referred to as You Wei 有爲 and Xing Gong as Wu Wei 無爲. These two methods or schools are complimentary. Mingmen: The “life gate” or “gate of destiny” – an area behind the navel and in front of the spine called the “moving qi between the kidneys” or the “true fire within water.” Also called the “life gate fire” as it acts like a fire that moves and transforms water (like converting water to vapor). An important area in Nei Gong and Daoist inner alchemy as well as in internal martial arts. The acu-point Mingmen (Du 4) lies between the 2nd and 3rd lumbar vertebrae. Mud Stepping (see Tang Ni Bu) Muscle Tendon Change (see Yi Jin Jing)

N

Na Fa: The seizing methods of Chinese martial arts. Sometimes used inter-changeably with the term Qin Na. (see Qin Na)

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Nei Dan: A term for internal alchemy or Daoist alchemy. A general term for Daoist practices which involve transmutation of the three treasures (jing; qi; shen) Nei Dan practices are part of the internal martial arts and nei gong. They are said to transform consciousness and prolong life. See also: Wai Dan Nei Jia: Nei Jia 內家 literally means “inner family or inner school.” It is a term used to refer to styles of martial arts that in English we call “internal,” particularly if we add the character for “fist” resulting in the term 內家拳 Nei Jia Quan. Today these styles are considered to include Tai Ji Quan, Xing Yi Quan, Ba Gua Zhang, Tong Bei Quan, Da Cheng Quan and Liu He Ba Fa. Nei Gong: Literally “Internal Achievement” or “Internal Exercise. Nei Gong is a general term referring to various sets of breathing, meditation and spiritual practices associated with Daoism and especially the internal martial arts. Nei Gong exercises are an integral part of the internal martial arts.

O

Original Qi (see Yuan Qi) Outer Alchemy (see Wai Dan)

P

Pao Quan: Xing Yi Quan’s Cannon Fist; related to the fire element. Pi Quan: Xing Yi Quan’s Splitting Fist; related to the metal element. Post Heaven (Post-Natal) (see Hou Tian) Pre Heaven (Pre-Natal) (see Hou Tian) Pu Bu: “Crouching Step” or “Pouncing Step” in which one drops low onto one leg with the other extended outward. Push Hands (see Tui Shou)

Q

Qi: Qi气 is often translated as “energy,” “vital energy” or “vital force.” In common usage, qi can refer to air, gases and vapors, smells, spirit, vigor; morale, attitude, the emotions (particularly anger), as well as tone, atmospheric changes, the weather, breath and respiration. In the body, qi is often discerned by its actions, the balanced and orderly regulation of bodily functions. Qi also embraces properties that we would refer to as being emotional and spiritual. Qi Hai: Literally “Sea of Qi.” Generally refers to the Dantian, or more specifically to the acu-point Qi Hai (CV 6) which lies 1.5 body inches below the navel. But can also refer to other places in the body where qi gathers. Qi Jing Ba Mai: The Qi Jing Ba Mai or Eight Extraordinary Vessels are not so much pathways as a kind of matrix of energetic organization that balances, supplements and harmonizes the activities of the other meridians They are important channels in Nei gong and Daoist alchemical practices. Qi Mechanism: A Chinese medical terms referring to the orderly actions, movements and functions of the qi. Usually referring to these actions as they manifest in the human body. Qian Trigram: Qian-Heaven, the Creative, is one of the Eight Trigrams of the Yi Jing Qiang: The Chinese spear. Qin Na (Qinna): Qin Na (chin na) is variously translated as, “capture methods,” “seizing and controlling,” seizing and locking.” Qin means to capture, catch, or seize. Na means to hold, grasp, or squeeze. Because the word na also implies seizing, some practitioners simply refer to these kinds of techniques as na fa (seizing or grasping methods). Qi Gong: Literally “qi work” or qi achievement.” A name for internal exercises like Nei Gong, Tu Na or Dao Yin. Qi Gong is a more modern term created in the 1950s by the Chinese government. Today it is often used interchangeably with Nei Gong.

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R

Ren Mai; Ren Mo: The Conception Vessel – one of the Eight Extraordinary meridians. Ren Mai governs all the yin meridians in the body travels along the front midline of the body. Rooster Knife (see Ba Gua Ji Zhao Yin Yang Rui) Rou Shou: Literally “soft hands” or “supple hands,” but also known as San Shou (“Free Hands”). A sensitivity practice exercise in which practitioners roll their arms in spirals while maintaining contact.

S

San Bao: The “Three Treasures”: Jing (essence), Qi (vital force) and Shen (spirit) are referred to collectively as the Three Treasures. San Cai: 三 才 The “Three Powers”: Heaven, Earth and Man. San Da: Free Fighting as in Sparring. San Da competitions include throws. San Guan: “Three Passes.” Three stages in Nei Dan (inner alchemy) practices. Also three barriers along the Du channel through which the qi and breath must pass. 1) Wei Lu: at the coccyx. 2) Jia Ji: in the middle of the spinal column where it joins the ribs at the shoulder blades. 2) Yu Zhen: (“jade pillow”) at the occiput. San Jiao: The three heaters (Triple Heater), Three Burners (Triple Burner), or Triple Warmer. The San Jiao is both the water passageway in the body and the pathway for the Yuan Qi (Original Qi). The San Jiao is closely associated with the fire of the Mingmen. The Three Burners or San Jiao can also refer to three sections of the body (upper, middle and lower). San Shou: This term can refer to free-style fighting (San Da) such as sparring, but can also refer to Rou Shou. San Ti Shi: The “Three Body Posture” or “Trinity Posture” in Xing Yi Quan. Holding this posture is the basic Nei Gong practice in Xing Yi. Sea of Qi (see Qi Hai) Seventy-Two Leg Attacks: Seventy-Two methods of using the legs to kick, check, lock and disrupt the opponent in Ba Gua Zhang. Seventy-Two Techniques: Qi Shi Er Zhao - Seventy-Two applications of Ba Gua’s basic principles and palm changes. Shanxi Xing Yi (see Hebei Style Xing Yi) Shaolin: Shaolin 少林 refers to the Shaolin temple and the martial arts and Nei Gong methods practiced by Buddhist monks that developed there. Shen: Usually translated as “Spirit,” Shen is stored in the heart and radiates out through the whole body. The radiance of the Shen, manifests through the light, the brightness (shenming: “spirit brightness”) shining out of a person’s eyes. Shen is one of the three treasures. Shen Fa: Literally, “body methods” The body movements and techniques in martial arts. Shen Qi: The three treasures are interdependent, hence they are often referred to together as jingshen (精神), essence-spirit (spirit derived from essence) or shenqi (神氣), spirit-qi. Shuai Fa: Throwing methods in Chinese martial arts. Shuai Jiao (Shuai Chiao): Chinese Wrestling. The word shuai, means “to throw onto the ground”, while jiao means “to wrestle or trip using the legs”.

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Single Palm Change: Along with the Double Palm Change one of the two key movements in Ba Gua Zhang from which all other movements arise. Six Healing Sounds: see Liu Zi Jue Sixty-Four Hands: In Liang Style Ba Gua Zhang the 64 hands, or 64 Forms (Liu Shi Si Zhi Tang), consist of 8 linear forms with 8 movements each. These are direct martial applications of the basic palm changes. Sixty-Four Hexagrams: In the Yi Jing (I Ching – Book of Changes) the 64 hexagrams are created by combining the Eight Trigrams, so that each hexagram consists of six stacked horizontal lines. Lines are yang (unbroken) or yin (broken). Like the eight trigrams, the sixty-four hexagrams permeate Chinese culture and are important in understanding Nei Gong and Daoist practices. Small Heavenly Circulation (see Xiao Zhou Tian) Song Zhi Yong: A disciple of Li Gui Chang and well-known Master of Xing Yi Quan in Taiyuan in Shanxi province. Standing Meditation or “Stake Standing” (see Zhan Zhuang) Sun Lu Tang: Also called Sun Fuquan. A renowned practitioner of Xing Yi, Ba Gua and Tai Ji who was also Daoist and Yi Jing scholar. Sun wrote several influential books on the internal martial arts. He created his own Tai Ji Quan form, today known as Sun Style Tai Ji Quan. Swimming Dragon (see You Shen)

T

Tai Ji: Tai Ji, “great pole”, or “extreme polarity.” Tai Ji represents the division of things (from the Wu Ji) into Yin Qi and Yang Qi - movement and stillness, up and down, right and left, etc. Tai Ji Quan (Tai Chi Chuan): This internal martial that is based on the concept of Wu Ji and Tai Ji and is well-known for its slow movements and health benefits. Yang, Wu and Chen are the most well-know styles of Tai Ji. Tang Ni Bu: Ba Gua Zhang’s unique “Mud-Stepping” or “Mud-Wading Step” used in the practice of circle walking. The sole of the foot stays parallel to the floor like walking in mud. It is a key Ba Gua Nei Gong practice. Three Burners; Three Heaters (see San Jiao) Three Powers (see San Cai) Three Treasures: (see San Bao) Ti Fa: This term refers to the kicking methods used in Chinese martial arts. Tian Gan: Literally “Heavenly Stem.” Refers to the central energetic pathway that runs longitudinally through the center of the body. Also called the “Central Channel.” Tian Gan also refers to a set of Nei Gong exercises that open the central channel and develop power and spiraling force. Tiger’s Mouth (see: Hu Kou) Tong Bei Quan: Commonly called White Ape Style, the full name is Bai Yuan Tong Bei Quan, (“white ape penetrating through the back boxing”). Considered to also be one of the nei jia. Triple Heater (see San Jiao) Tu Na: An ancient name for breathing exercises. Tu 吐 means literally “to spit out” and Na 纳 “to receive” or “accept”. Tui Na: Literally “Pushing-Grasping” – Chinese medical massage. Tui Shou: “Pushing Hands” – a sensitivity exercise associated with Tai Ji Quan that develops sensitivity, listening skills and fighting applications. 100

W

Wai Dan: Outer Alchemy- Wai means “outer” and Dan refers to cinnabar, but can be taken to mean “elixir.” Originally it referred to the refining of minerals to make an elixir which was ingested to prolong life. Today it often refers to physical exercises which transform the body from the outside as opposed to Nei Dan (“inner elixer”) in which the body is transformed from the inside. Wang Shi Tong: A Master of Liang Style Ba Gua Zhang who lived in Beijing and was disciple of both Guo Ge Min and Li Zi Ming. Water Boxing (see Liu He Ba Fa) Water Element: One of the “Five Elements” or Wu Xing. Water is associated with the Kidneys, the Bladder and the winter season. Wei Lu (see San Guan) Wei Qi: Wei Qi, or “Defensive Qi,”. An aspect of the qi that moves in the exterior layers of the body and the skin. Its main functions are to warm the body and defend the exterior of the body from penetration by pathogens. White Ape Boxing (see Tong Bei Quan) White Crane: The red-crested white crane is a symbol of immortality and wisdom in Asia and is associated with Heaven. White Crane boxing is also a style of martial arts. Wind Wheel Sword (see Feng Lun Jian) Wood Element: One of the “five Elements” or “Wu Xing. Wood is associated with the Liver, the Gallbladder and the spring season. Wu Ji: Wu Ji means literally “no limit” or “no polarity. In the internal martial arts, form and movement begin in the Wu Ji posture which is characterized by this place of undifferentiated mind and body. In meditation, it is the origin, the place of unity to which the meditator is trying to return. Wu Shu: Literally “martial arts”. Today the term is usually associated with the competitive performance of Chinese martial arts. However, traditionally it was a term for the battlefield arts and martial arts ing general. Today, outside of mainland China Wu Shu is often replaced by the more general term “Gung Fu” (Kung Fu). Wu Wei: Action through inaction, or “non-doing,” a concept in Daoist thought. Wu Xing: “Five Elements,” or “Five Phases.” Five dynamic interacting forces. They are also called the five agents or five forces: Water, Wood, Fire, Earth and Metal. Also a name for Xing Yi Quan’s five fists.

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Xi Shui Jing: “Marrow Washing Nei Gong”. An advanced Nei Gong method is which qi is guided to the bones and bone marrow, in order to strengthen the bones, the essence and the constitution, as well as to promote the production of blood. Xian Tian (see Houtian) Xiao Zhou Tian: “Small Heavenly circulation” or the “Micro-cosmic Orbit.” Internal transformation of the Three Treasures (San Bao) practiced by Daoists and martial arts practitioners, in which qi is circulated through the Ren and Du Meridians. Part of Nei Gong practices and Daoist inner alchemy. Xin: Heart. Also refers to the heart and mind together as part of the psycho-spiritual aspect of hman beings. Xing (see Ming) Xing Gong: see Ming Gong 101

Xing Yi Lian Huan: The linking or “ring-linking” form of Xing Yi Quan in which the basic techniques are mixed with varied steps. Xing Yi Quan: Literally “Form Intention Boxing.” Probably created by Li Neng Ran. Xing Yi Quan focuses on San Ti, the five element and twelve animal forms. Some say that Xing Yi Quan derived from spear fighting methods. Other s that General Yue Fei created the art. Xu Bu: The “Empty Stance,” in which one foot has no weight. In Japanese martial arts it is often called the “Cat Stance.” Xun Trigram: Xun-Wind (or Wood), the Gentle or the Penetrating, is one of the Eight Trigrams of the Yi Jing.

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Yang Sheng: “Nourishing Life” – many of the practices that we today call Qi Gong, Nei Gong or “internal exercises” come under the category of nourishing life (Yang Sheng) techniques. Yao: The waist in general, but more specifically the lumbar area emanating out to what we in the West call the waist. Yi: Intention; meaning; idea. Yi Jin Jing: “Muscle Tendon Change”. A Qi Gong method which aims at strengthening the sinews (ie: muscles, tendons and ligaments) through concentration, breathing and movement. Often a key part Shaolin Gong Fu training. Yi Jing (I Ching): literally the “Classic of Change” or “Book of Changes.” One of the oldest books in China and part of the Daoist Canon. Internal martial arts practitioners borrow Daoist imagery from the Yi Jing, to talk about the aspects of their practice that derive from Nei Dan. The 64 Hexagrams and 8 trigrams come from the Yi Jing. Arguably one of the most important books in Chinese thought. Yi Quan (see Da Cheng Quan) Yin and Yang: Polar opposite universal forces existing only in relation to each other which inter-transform and interact. The character for yin refers to the north, shady side of a hill and references the moon; the character for yang refers to the south, sunny side of a hill and references the sun. Yin and Yang Meridians : The Twelve main meridians which are divided into six yin and yang pairs. Yang meridians are on the back and sides of the body; yin meridians are on the front of the body and inside the arms and legs. Yin Fu: A disciple of Dong Hai Chuan who created what is today called, Yin Style Ba Gua Zhang. Yin style Ba Gua: The style of Ba Gua Zhang taught by Yin Fu and his disciples. Ying Qi: Ying Qi (“Nutritive Qi”; “Constructive Qi”) is also referred to as acquired or Post- Heaven Qi. It is an aspect of the qi that nourishes the organs and tissues. You Shen: Literally “Swimming Body.” Ba Gua practitioners strive to move seamlessly and smoothly like a dragon “swimming through the clouds. This is also know as ”Dragon Body” Ba Gua.” Some styles of Bagua have a “swimming dragon” forms that help to develop this aspect. Yongquan: The acu-point “bubbling well” - Kidney 1 (KID 1) in the hollow in the ball of the foot. This point is sometimes called the lower Dantian. Yu Zhen (see San Guan) Yuan Qi: “Original Qi” or “Source Qi”. Part of the qi acquired from one’s parents and derived from Jing. Associated with Pre-Heaven qi. Yue Fei: A famous general of the Song dynasty who (it is believed by some) created Eagle Claw Boxing, Xing Yi Quan and the Eight Brocade Qi Gong set (Ba Duan Jin). 102

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Zhan Zhuang : “Post standing”, “Pile Standing” or “Stake Standing,” a practice common to the internal styles of Chinese martial arts in which one holds a static posture. Also called “Standing Meditation” or “Standing Zen.” Zhang Hua Sen: Beijing Ba Gua Master; a disciple of Li Zi Ming; studied Mian Quan (Cotton Fist), Shuai Jiao, Tai Ji. Also a Beijing Opera performer. Zhao Da Yuan: Beijing Ba Gua Master- one of the original disciples of Li Zi Ming. Famous for his Ba Gua, Qin Na and throwing skills. Zheng Gu: Literally “Correct the Bone,” or “Straighten the Bone.” Commonly known as “bone setting.” Zheng Gu is a part of Tui Na. Zhen Trigram: Zhen-Thunder, The Arousing, is one of the Eight Trigrams of the Yi Jing. Zhuang Zi (Zhuangzi; Chuang Tzu): The purported author of the Zhuangzi, an important text in Daoist philosophical and religious thought. Zuan Quan: Xing Yi Quan’s drilling fist; related to the water element.

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