The Bridge as a Metaphor

I often hear the bridge metaphor in martial arts talk. It has a number of different meanings. Zhang Xuexin used it to describe what he called the bridge stance. His metaphor was a rainbow bridge, probably bamboo, which was a brilliant Chinese structural innovation of the Sung Dynasty.

The idea is that your legs are like huge bundles of bamboo stuck in the ground at angles leaning over a river. These bundles then have more and more bundles tied to them at progressively lower angels until the two sides of the bridge meet in the middle. By staggering the bundles you create many triangles in the structure and it becomes a self supporting woven structure, which is both strong and quite flexible.

In other words, he was saying that the two legs are a connected structure which is constantly redistributing the weight of the torso.

Luo Dexiu and the gang over at formosaneijia are using the metaphor to mean the act of crossing over. If you are going to have a fight at a bridge and you meet your opponent in the middle, you both have equally limited space to maneuver. Step back and you are below your opponent, step side and you're in the drink.

However; if your opponent decides to cross the bridge first you can gain an advantage by attacking him just as he is exiting the bridge, at the moment where his maneuverability is limited and yours isn't.

This complex metaphor is used to talk about how we enter a fight and close the gap between us. Speed, power, technique, and the use of timing all change dramatically as the two fighters get closer and closer together. (Basically we move through this approximate progression in an instant: Kicks, jabs, stomping, slaps, hooks, throws, knees, elbows, shoulders, more throws, grappling.)

Thus the bridge is often the movement or technique one uses to get in closer. If you "cross the bridge first" your technique should compensate for that moment of vulnerability just as you "get off the bridge." For instance, someone will often step in fast faking with the back of their hand outstretch, if this is met by the opponent's hand, one can can sense the opponents intentions, direction, and power at the moment of contact and spontaneously use that information to inform the next part of their attack.

Others, like the Blacktaoist, are, by extension, using the term bridge to mean one's arm. If the arm is the first contact with the opponent then it needs to have extraordinarily good structure, so that it can take all the heavy traffic that is going to be traveling over it!  More traffic, more power.  If you have a weak bridge (that can't handle much traffic), it doesn't matter how good your techniques are, your opponent's bridge will send more heavy traffic (o.k. how about troops then?) to dominate your side of the the bridge.

Eyes and Baguazhang (continued)

In the fourth Palm Change (zhen), the eyes smoothly transition back and forth between looking far off into the distance and zeroing in on a point, like clouds forming and then dispersing and then forming again.

In the fifth Palm Change (li) the eyes are trained not to respond to, or get drawn off when arms come in and out of the field of vision. This is done by circling the arms in the coronal plane, while turning and walking. It is also used for training us to not blink when bursts of air or hands come suddenly toward the eyes.

In the sixth palm change (kan) the eyes do the same thing they do in the third palm change, but instead of spinning the body, the head looks spontaneously form side to side, creating a similar blur or whirl effect while doing the palm change.

Again, it is easy to imagine these uses of the eyes becoming different types of possession. The fourth, taken to extremes is what people who are manic look like after not sleeping for a few days.

The eyes of the fifth are important for any type of fighting, but would be dangerous walking through brush because we need to close our eyes quickly if a branch is snapping toward them. I know of an old Gongfu master who worked bank security and kept a bit of metal-filings dust in his pocket to throw in peoples eyes if necessary. Better hope your blink reflex is operating if that happens. Taken to a possessed extreme, these are the bug eyes we sometimes see on crazy people.

The eyes of the sixth can be many things, among them an Exorcist head spinning type of effect, also seen in African and Chinese possessions.

If it is not obvious already, there is some danger in trying these yourself. The danger is minor as long as you:

1. Are relaxed, the eyes should never ever feel like they are doing work.
2. Understand that you are learning what not to do.
3. Are comfortable trying to be just below average.
4. Know in your heart that cultivating weakness is O.K. because we humans are strong enough already.

Eyes

I went to two parties after teaching all morning yesterday, so I haven't had time to edit all the comments in moderation. Sorry I'll get to it soon.

On the way home from one of the parties Sarah, the possible future mother of my possible future children, said people at the party were laughing about how I used my eyes. Apparently there was a certain woman I consciously, or unconsciously, did not want to talk to--and everyone knew this by looking at my eyes. Fortunately, this particular woman also had a sense of humor and made a lot of jokes about it.

George Xu once said that many fights are determined by the eyes before the fight even starts. Bing Gong taught me to begin a Shaolin form standing still, looking far into the distance, then drawing everything I see into my eyes, then down to my feet at which point I should lift my foot, stamp the ground and sink; this will bring the shen (spirit) to the top of the head.

It is a very effective way to start a performance.

Bing also taught me to relax and "soften" my focus while doing standing meditation and while doing the Guang Ping Yang Style Taijiquan form. This means that when something enters your field of vision, your eyes do not track or latch on to it.

Years ago, George Xu talked about developing "killer yi." Yi, which roughly translates as intentionality, can be partially read by looking into someones eyes. At the time I understood "killer yi" to mean your gaze should pierce your opponent very much in the literary sense of, "if looks could kill!"

He now says, "Your eyes should drawn-in the distance the way a predator's eyes do. When you move forward, you should have the feeling that objects- people, rocks, trees- are being drawn-in toward you, not that you are getting closer to them." (I'm paraphrasing here.)

I interviewed a street-level assassin once who was trying to get out of the business. He was beaten often as a child. He said that when he got involved in acts of violence he would remember the very beginning, entering a space, seeing a car pull up, and then he would remember surveying the carnage as he left. But he rarely remembered actually fighting or killing. He would in some sense black-out. His eyes were like deep pits. You could look into them but he neither appeared to be looking straight at you, nor did he appear to be avoiding your gaze.

It is clear to me that this brutalized gaze is what Chinese martial arts is, at its core, trying to avoid.

I learned eight distinct different uses of the eyes in my baguazhang training, which will be the subject of a future video and blog post.

What is a root?

From looking around the net, and fielding comments on Youtube, I've found that lot's of martial artists are obsessed with having a good root. Unfortunately that seems to mean lots of different things, so let's try to sort it out.

First there is using imagination to visualize and/or feel a tap-root-like shape descending downward into the earth (or the downstairs apartment if you live in a flat). Many people call this a spiritual root but I find that word annoying. The root can become huge, or spread like a tree, or keep going down infinitely.

Imagination is a necessary part of feeling. Feeling in some kind of pure sense, like when we are infants, is not very functional. To be able use our senses to comprehend and to continuously adjust or integrate with our surroundings requires an active imagination. It does not necessarily require any visualization. When you are running full speed and jump to catch a football, you don't "think" about the ground, but you feel where it is. In Chinese this use of the imagination to feel or sense goes by various names including qi, yi (intent), shen (spirit), jingshen, and shi (potential energy). This internal mechanism is natural, functioning at all times, and can be improved by training.

Other meanings of "root" that I will cover in the next few days are:

• Sinking one's center of gravity.

• Aligning the basic structure of one's body so that if outside force is applied it will transfer to the back foot.

• Using sensitivity to attach to a forward moving opponent and then spinning them off of one's center.

• Various types of dynamic integration which allow one to neutralize/dissolve or simply relax an opponent's attack.

The bigger problem however is that people try to use this "root" as a defensive strategy. A corollary of this problem is that people fight with their qi on their back instead of surrounding their opponent.

A Parade in India 15 Miles Long

I saw this video on Youtube and it reminded me of the huge culture shock my girlfriend and I got on our first night in India.

We checked into a hotel early in the AM and went to see sights around the capital Delhi. As we left the hotel we looked down the long road our hotel was on and saw some elephants coming our way in the distance. Wow, "We're in India," I thought, I guess elephants are normal here.

We tried to return in the early evening but inexplicably no one would take us back to our hotel, so we had to walk. As we got closer, the number of people in the streets started to multiply. As we got within a couple of blocks of our hotel, the streets were packed. A man with a turban, took

my arm and said, "Sir, I don't want you to get the wrong idea about my people, we are a good people." "What do you mean?" I asked. "Who are your people?" "I am of the Sikh religion, and I am a professor. This is why I am telling you." he said as he disappeared into the crowd.

As we got to the street where I hoped our hotel was we heard music, and singing; a lively parade was going down the street; it was now dark. The road was thick with people on foot but also elephants and cars and buses and flatbed trucks, all with people on them shrieking and throwing candy (ouch!).

Now, I knew, that it was a requirement that at all times, men of the Sikh religion are required to carry a knife. However, in this parade most people had something longer than a knife-- swords, spears, halberds, shields, I even saw a morning star.

I suppose it would have been less intense if we were just watching, but we really

wanted to find our hotel and with all the distraction is was really difficult. We went back and forth many times looking for the hotel sign, in the direction the parade was moving, and against the tide.

There was food stuff for sale in the shops along the sides, which in India spill out into the street, so it was really tough squeezing through, and no joke, some of the shops had vats of boiling oil we had to maneuver around! All this chaos meant that my girlfriend and I got separated several times.

I suppose even this would have seemed cute if the weapons weren't actually being used. But they were. People were dancing wildly with their swords, jousting with their spears (a la the video!) and playing various versions of what we used to call on the playground, "chicken." Except it was "armed" Chicken.

At one point I was walking with some guys with broad swords and one of them grabbed my arm and asked, "What religion are you?" My blood ran cold, "American," I said after hesitating. "But what religion?" he asked over and over, and each time I answered the same thing, "American." I pretended not to speak English and finally made a dash for my hotel.

I later learned that this was a 15 mile long parade with over a million Sikhs. It was explained to me that if someone swings a sword at you, naturally you duck, and if it misses this is because God has protected you. If not, not.

Ahhhhhh a little bit of warrior code, and a little bit of shamanic power.

Musashi vs. Baiken the Last Great Warrior

This is a continuation of my discussion of Warriors.

Miyamoto Musashi challenged Shishido Baiken to a duel.

Baiken represented the old order of Samurai who follow a strict code for which fearlessness and a willingness to die were necessary qualities. He was growing old and had never been defeated in a duel. Baiken's weapon of choice was a kusarigama, a short staff with a hooked chain. Musashi fought with his sword.

They met on a bridge near Edo and Baiken stuck first with his kusarigama the chain wrapped and then instantly dulled and bent Musashi's blade. As the gap between them closed, Musashi pulled out his short sword, used exclusively for suicide. Baiken, seeing this, did the honorable thing and hesitated so that Musashi could save face by doing himself in. In that split second, Musashi turned the blade around and stuck it in Baiken. As they stared into each others eyes Baiken smiled and said, "Thank you."

Painting of Musashi Dueling the Whale of Tradition.

Warriors Part 3

This is a continuation of my discussion of Warriors, part 1, and part 2.

Shaman Warriors of old were experts in using Spirit(s) to invoke absolute terror in their opponents, and blind fury in their allies. In the transition from shaman warriors to lineages that follow warrior codes, some shamanism became institutionalized.

During the Holy Crusades, both sides made extensive use of protective talisman. In Indonesia, the dagger known as a Kris is understood to capture and enslave the spirits of all the people it has slain. The more dead warriors in your Kris, the more power it has. A very powerful Kris itself becomes a player, and can possess a weak owner.

This is one of the parallel stories told in the block buster hit “Crouching Tiger, Hidden Dragon.� In the beginning when Chow Yun Fat returns from his meditation retreat, Michelle Yao asks, “Why did you come back?� she is thinking, “He must have come back because he loves me.� But he doesn’t answer, he just looks over at the sword; the sword has it’s own name, Green Destiny (yuming).

In Japan, only Samurai were aloud to own swords. Swords were passed down from one generation to the next. The long sword captured the spirits of one’s opponents; the short sword captured only the spirits of ancestors who had used it to kill themselves. If a Samurai pulled out his short sword in the midst of battle, everyone would just run past him because they knew he was going to use it only on himself.

In this warrior code, a Samurai needed only two things, fearlessness and a willingness to die. The change from Warrior to skilled technician and martial artist is marked historically with the life of Miyamoto Musashi.

Cool footnote: In the Chinese army during the Tang Dynasty there were Korean Suicide Troops, which were used in the wars against Tibet.

Baguazhang: Please don't hurt me!

I hope this blog riles some people up.

The basic circle walking style with the hands out to the side and fingers open is utterly unique to baguazhang. Unique of course unless you're an actor and you've had to play a sneaky, frightened character who is trying to get around the outside of a fight in order to make off with the money, (like mister Pink at the end of Quentin Tarantino's Reservoir Dogs).

In Capoeira there is an idea called poison and honey. Here is how it works. One tries to appear submissive and vulnerable in such a way that it will draw an attacker into a trap. For example, it looks like you could step on my leg, but when you try to do so you get kicked or swept by my other leg.

We all know that Baguazhangs's open and extended fingers  are used to develop a type of power training. But they really look like an enticement to grab that will perhaps trap the attacker. Even so, the side walking with hands out is pretty much what anyone trying to walk around someone else's fight would do.

Hunch up like a turtle or a rabbit while doing the walk and you'll really look scared and pathetic. Is this part of the tradition? Could it be that the original inventors of Baguazhang were trying to synthesize the qualities of a frightened body with the qualities of a fearless body? (Here I'm talking about before Dong Haichuan, since I don't find the single inventor story all that credible.)

P.S. The great picture above is of Dr. Her Yue Wong founder of the Ching Yi Kung Fu Acadamy.

P.P.S. Capoeira Science has great videos!

Warriors, Artists, and Technicians #1

What is the difference between a warrior, a martial artist, and a skilled expert?

A warrior is a member of a class, generally it is a privilege of birth. The warrior is not a universal concept but variants of it exist world wide. The first warriors could also be called shaman-kings. Most likely they developed from hunter-gather groups that occupied mountains, jungles or dry plains. These hunter-groups, often at war with each other, were in the habit of raiding the first agricultural settlements. At some point, these settlements probably got the idea that they could offer the hunter-groups ruler-ship in exchange for protection. They thus became the first warrior classes.

These warrior shaman's most powerful weapon was inspiring fear. Chinese historians record this kind of shaman-commander charging off into battle with a poisonous snake in each hand, wild hair, animal skins, horns and a terrifying mask. After countless generations, these shaman-warriors morphed into warriors with a strict code. The warriors of neighboring kingdoms fought each other on designatied fields of battle, with codes of conduct and rules about how to kill, whom to kill, and what to do with captured enemies.

In China, this was the time when the Zhouyi was written. The Zhouyi eventual developed into the Yijing (I Ching) or the book of changes. Richard Rutt's translation and commentary sheds really interesting light on this era of warrior inspired codes that used divination and both mass animal and human sacrifice as a tools for staying in power.

This is not just history. The warrior-shaman-kings are still around in isolated parts of Indonesia. (See Don F. Draeger's beautiful book the The Weapons & Fighting Arts of Indonesia.) The Lords Army in the Congo, would also qualify. As would The Terror Twins in the Burma-Thai boarder region.

Part two: Warrior Codes

Nei Jia Quan

Jess O'Brien edited together a bunch of interviews with internal martial artists called Nei Jia Quan Internal Martial Arts, Teachers of Tai Ji Quan, Xing Yi Quan, and Ba Gua Zhang.
What I like about the book is I can really imagine these various teachers are talking to me. In fact, it's pretty funny, because a lot of the time I have this sense that the teachers are shouting at me. I'm willing to bet Paul Gale likes to shout. Here is a nice excerpt:

"'The bottom of the foot is the back.' There's a physical reality of it that the bottom of the foot is the back, meaning that the bottom of your foot is pulling your back forward. You have to learn to move that way, otherwise there's no foundation. You'll always get swept and knocked down because you'll be top-heavy."

I think my favorite section was the interview with Luo Dexiu where he talks about the cultural barriers he had to get around in order to learn from very traditional teachers. In that traditional setting a direct question would have been perceived as a challenge to the status of his teacher, and his teacher would have gotten very angry. He and his fellow students came up with all sorts of ingenious ways to get questions answered with out actually ever asking a question.  At one point he and another student stage angry huff and puff arguments and then ask the teacher to settle them.   This technique got some their questions answered.
I noticed a theme that many of the teachers brought up.  They said qi is given too much attention and that yi (intentionality?)  is not given enough.  I guess that's true with some teachers, but it wasn't true with any of mine.

It's impossible to generalize about all the student teacher relationships out there, but in my opinion once you've internalized about 300 martial applications of various sorts, yi in the application sense of the word becomes less important.  One can continue using the word yi by tweaking it's meaning but there are other terms for this "higher level" yi such as jingshen. 

It's a good book and I had fun arguing with the various teachers.  I would have shortened most of the interviews if I was editing it, but I'm planning to buy volume 2 if there is one.
The book includes interviews with these teachers: Gabriel Chin, Tim Cartmell, Paul Gale, Fong Ha, Luo De Xiu, Allen Pittman, William Lewis, Tony Yang, Zhao Da Yuan, Bruce Frantzis. Check it out.