What do Daoist's do?

What do daoists do? It can be divided up into three categories: Conduct, Hygiene, and Method.
An example of conduct practices are the Xiang er precepts. These are a first century C.E. summary of what the Daode jing suggests trying, like be honest, be weak, cultivate stillness, and practice wuwei. They are considered scripture for religious Daoists.(see Bokenkamp, Early Daoist Scriptures)

Hygiene practices conserve qi and make it easier to follow these suggestions, they include things like bathing practices, qi gong, and an appropriate diet.
Methods include things like zowang(sitting and forgetting), jindan(the elixir practice, internal alchemy), and ritual.

Hygiene practices can also be considered conduct practices because they are meant to have an impact on physical and qi manifestation of our daily conduct.

Qi gong, like taijiquan and baguazhang, is the practice of cultivating weakness in order to sensitize us to our impact on our environment and our environment's impact on us. For instance, I notice that my knee hurts when I walk up a bunch of stairs. If I don't know that qi gong is a 'conduct' practice, I might be inclined to think that my qi gong practice is the cause, instead of considering that the way I've been charging up stairs has been to use strength to cover-up an old knee injury, which practicing qi gong actually revealed.
Practitioners of these so called "long-life" practices, reach their peak level of performance in their 60's and 70's.

Taiji and bagua probably have their origins in ritual dances which rectify qi. That is they dance the qi (time and directionality) of the universe into a condensed moment and then dance it back out into the universe again, (wuwei). Each step containing birth and death, the rhythms of life.
Tracing taijiquan and baguazhang back to their original roots may require such a huge step backwards that it is out of our range, but it is a mistake to think they are purely martial.

Play the Pipa

Making fun of the traditional names of various Taijiquan movements is pretty common. Many of the names sound weird to an English speaking ear. The poetry and metaphors are mostly obscure.
Recently a Taiwanese student of mine suggested a really great explanation for the name playing the Pipa (sometimes translated as playing the guitar). The pipa, as everyone knows, is a stringed instrument but pipa also means scapula. Breaking the scapula was a traditional punishment for fighting. The official administering the punishment would restrain the "fighter" and then slip one of his hands behind the scapula and use the other to chop, breaking it in half. This is just how the movement is done in Yang style taijiquan. Two broken scapulas would damage any fighting career for sometime, possibly forever.
Chinese law or jurisprudence, differs from jurisprudence in English speaking countries. An important difference is that they use different underlying metaphors for what constitutes a violation. In English speaking countries our metaphor is a line or a wall. If you cross this line, you have broken the law. The Chinese metaphor is more like a downward slope. For instance, if you have young children under you care and you are dueling, the punishment is likely to be much worse, because you are really risking other peoples lives. Fighting in this context can be more or less legal, depending on what the longer term outcomes could be. It is, of course, traditional to punish ones whole family because it is assumed that they must have seen you acting badly, bit by bit over time and done nothing to stop it.

Confucianism and Martial Arts

All of the major categories of Chinese religion have developed the notion of perfecting one’s self, though each in distinctly different ways. While each is a contributor, Confucianism is the obvious and most prominent origin of gongfu as a process of perfection. The Confucian approach is one of consistent vigilance in the refinement of a changing person in a changing world. The idea that one would practice the same routine everyday and thus constantly refine ones skill, while simultaneously adapting and applying that skill to ones ever changing duties, needs and circumstances is a Confucian idea. The result of such a practice would be a combination of embodied discipline, efficiency and flexibility. Confucians assert that Gongfu thus conceived does not need to be rewarded because the process of perfection is intrinsically rewarding.

Are you on a path of self-perfection?  Does this idea translate into English speaking cultures? When I searched Google images for "perfection" I mostly got images of nature, drugs, and technology.

Gongfu (kungfu) and Trance

Another possible source of gongfu is as a form of physical training to survive trance. As I've already said, the trance-medium tradition was pervasive in China for most of its history. Full-on possession by a god, as happens in both African religion and Chinese religion, is extremely taxing on the body. Wild movements may toss, whip, shake and gyrate the possessed person. I suspect that at some time in the distant past, this experience was a near death one; people who were repeatedly possessed had shorted lives. Yet in Africa as in China people who become possessed have extraordinary physical training which allows them to survive, some even with radiant health. In Africa this training is dance, and in China, at least in Taiwan and the South East Asian Chinese Diaspora, it is gongfu.

This is also one of my favorate explanations for the difference between internal and external martial arts (neijia and waijia). In Africa and the African Diaspora, priests and drummers are required to be familiar with the rituals for each deity and his/her particular characteristics. For instance, a particular deity is invoked through specific rhythms, dances, songs, and sacrifices. A deity might be known for being jealous, carrying a sword, being female, being associated with the color green, having a sharp wit, and of course, wielding power in a particular realm. However, both priests and drummers are forbidden to become possessed by the deity. Should they become possessed they lose their ritual statues. They are experts in managing and differentiating the different types of human trance.

Chinese religion is very similar. Orthodox Daoist priests were forbidden to become possessed yet their training involves becoming intimate with each type of trance. Daoism is, among many things, a systematic ordering of all types of deities by the characteristics of their local or national cults--and by the specific types of trance that lead to possessions by particular deities.

Taijiquan, xingyiquan, & baguazhang each teach different types of trance. Taijiquan, for instance, teaches peng, ji, lu, and an. Xingyi teaches the five 'phases' and the various animals.

External martial arts is training to survive possession by a deity. Internal martial arts is training to become familiar with the ways in which our bodies fall into trance so that we don't become possessed. What we know in the 'West' as Chinese martial arts is actually fall out from this religious tradition.

Here is a great article about trance-mediums in China.

Update: Because the term "priest" doesn't real translate perfectly into any language, it would be more accurate for me to say about African religion that atleast one person in a given ritual has the role of not going into trance.  Sometimes the "priest" may be the only person possessed.

The origins of Gongfu (Kung-fu) (part 2)

Gongfu training has always been associated with the military, with militias, with crop guarding, with bodyguards, and with constables under the jurisdiction of a magistrate. The question anyone trying to sort out the historic origins of gongfu must ask is: Since most nations and peoples of the world trained and drilled armies, why did China alone (and later some of its neighbors: Japan, Korea, Tibet, Burma, the Philippines, and Indonesia) develop martial arts? Many cultures developed matched fighting, fencing schools, technical wrestling, and warlike games and dances, but not the sets and routines characteristic of all types of gongfu.

My answers to this question are conjecture, that is, I sometimes stray from what can be supported by the available facts, but I hope my answers are interesting food for thought and perhaps future research. (In other words, I'm doing something good scholars never do but the rest of us wish they would once and a while).

During the Warring states era, as the warrior class was loosing its grip on the kingdoms of China, larger and larger groups of peasants were forced into gigantic armies. The ability to conquer huge areas and incorporate those peoples into larger and larger armies was years ahead of the state-craft necessary to maintain them. A group conquered its neighbors and a few years later another group rose up and did the same.

At this time, armies prepared for a fight by singing, dancing and drumming themselves into a blood thirsty frenzy. When Qinshi huangdi, the first Chinese emperor, established his unified state, he banned this type of music and dance because it was within the song and the dance that all of the disparate peoples he conquered stored their enmity. After the Qin fell and the Han dynasty arose, the process of incorporating neighboring clans or tribes into the army continued.

While they wanted the physicality and the energy generated by music and dance, they did not want the enmity it perpetuated. These dances were trance invocations of powerful animals like snakes or tigers and the angry spirits of the unresolved (or un-avenged) dead. By taking the music out yet keeping the dances as a source of power focused on fighting, they developed into set routines that captured the physicality of powerful animals. Later the idea of a form or a set that could be passed down through time made it possible to immortalize the movements of individual great war heroes.

Thus practicing gongfu can be understood in the context of Chinese religion as a kind of trance-medium-ship; whereby, a practitioner regularly and systematically invokes the routine's martial ancestors. Through this act the prowess of those ancestors is received and embodied. (The Chinese term for this type of 'spirit' prowess is ling, but it is taboo to talk about it.)

The origins of Gongfu (Kung-fu) (part 1)

A saying of Confucius: "never worry your parent’s unless you are sick" has been interpreted to mean that children (starting at age 7 or 8 ) should be given substantial responsibility for maintaining their own health. This often manifests through the study of gongfu.

In traditional Chinese society health is considered a kind of accumulated merit which you dedicate to others-- and to the resolution of your own unresolved ancestors. For instance, I might decide I’m going to eat only vegetarian food and dedicate that act to my mother, who is prone to illness. There is a confluence between religious Daoism, Buddhism and Confucianism in which they all agree that there is a mechanism whereby the inappropriate actions of our ancestors can, to some degree, be rectified ('put right') by the upright conduct of their descendants. This notion is at odds with Western cultural distinctions but is intrinsic to the meaning of the word gongfu.
Inappropriate conduct in the Chinese context, a Chinese sin—if you will, is an action which creates ongoing problems for other people. It is an event which is unresolved. Thus appropriate conduct is action which resolves lingering problems, but it is also actions which are efficient in that they leave no need for further action—they are self resolving. The term for this process in Chinese is zhengqi. (The word means orthodox and upright, but also to rectify, resolve, or correct qi).
For example, I was teaching some Chinese elementary school students in San Francisco, and I had learned from a very smart 5 year old girl that her grandfather, a Red Army general, had come from China to live with her family and that he was very sick. After winter break I asked after his health and she stood very upright and said with a big smile, "My grandfather died two weeks ago." This was not the first time I had experienced this cultural phenomenon, but every time it happens my first reaction is shock. " She can’t be happy," I thought to myself. By smiling she was letting me know the facts, but also letting me know that I did not need to get involved emotionally in her family affairs. She was trying to limit the spread of those aspects of her grandfather’s life which were still unresolved. Her actions were zhengqi. Obviously this particular expression of cultural values doesn’t translate very well, otherwise I wouldn’t still be talking about it.
When a person dies, his inappropriate conduct, and his unfinished projects can linger. Most influence fades quickly after a persons death, but not everything. Imagine if you were to die right now? What actions would your family or friends have to take to resolve your death. If you have young children, someone is going to have to care and provide for them. This is why we write wills. But only issues of money and property get dealt with in a will. It is even possible that the will we left could create jealousy and lawsuits. If you were murdered the perpetrator would have to be found and punished. If you have a job, someone would likely have to be found and trained to replace you, or perhaps your business would close and all the people it serves would have to find that service elsewhere. Emotional conduct can linger after death too. Hatred of a particular ethnic group can be passed on to ones children, as can a habit of drinking alcohol to numb depression.
So the idea of gongfu, is to improve yourself. It is to improve your collective-family-self. It is to take actions which resolve bad habits you may have inherited, directly or indirectly.

Of course the influence of our ancestors need not be negative. Our condition and opportunities at birth are largely do to our ancestors. It is hard to say how much of the way our lives go is do to our own merit and how much we inherit. The idea of gongfu, accumulation of merit, acknowledges that the merit we eventually pass on to others is an accumulation of the merit of our ancestors, our teachers and our own upright conduct.
Gongfu means: self-improvement for the good of others.

African Bagua #1

The first in a series of lectures I am producing about the origins of Chinese martial arts is up on Youtube. Check it out

Pirates of Tai Chi

North Atlantic Press has put out a whole bunch of great martial arts books, many of which need a lot of editing. Among them is: Scholar Boxer, Chang Naizhou's Theory of Internal Martial Arts and the Evolution of Taijiquan with complete translation of the original writings (editied by Xu Zhen, 1932), by Marnix Wells. See, even the title needs editing! Yet, it is the best attempt at a history of Taijiquan's actual historic origins I have seen.

It's a tough challenge. The textual sources are really limited and he seems to have drawn on most of them. I, of course, would want to look into actual Daoist writings, but I'm not optimistic that relevant late Ming or early Ching Dynasty Daoist sources are going to surface anytime soon, if they exist. I would also look in theatrical sources. He does deal with Shaolin Buddhist origins, and that's great. Aye...maties, but here is the money quote:

"Qi Jiguang's boxing, the major source of Taijiquan techniques, and the internal School Boxing of Wang Zhennan are both traceable to maritime Zhejiang in the early sixteenth century. Its city of Ningbo had been the official port for Japanese missions. After their forced termination in 1549, its off-shore Zhoushan Island became a base for Japanese and local pirates. It was there that Qi Jiguang describes learning the practical art of boxing in Major Liu's thatched hall. Manuals by generals Qi Jiguang, and his mentor Yu Dayou, leaders against Japanese pirate attacks, provide us with the first detailed knowledge of Chinese (internal) fencing and boxing." [Page 7.]

Dude, you hear that! Taijiquan comes from fighting pirates on the sea! Johnny Depp look out! After Pirates of the Caribbean 3, we can make Tai Chi Pirates of Zhejiang!

I always felt like all those dantian circles had something to do with the sea. When you are fighting on boats for weeks at a time all your organs learn to move with the natural pulsation of your "sea-legs." I know my Chen style Taijiquan improved a lot after a month of working 20 hours a day standing in a modified horse stance on fishing boats in Alaska.

Xingyi

I've studied both types to Xingyi quan (hsing i ch'uan), Wuxing (Five element) and Liuhe (six harmonies), but I've trained Liuhe a lot more. Both are powerful internal fighting arts. Both can be performed in a small space. Video

More, and More.

The histories I have read about this art really don't tell us much. Liuhe is thought to be the older style. I find it difficult to believe, but Liuhe was taught only to Muslims before 1949. Wow, there is some truth there but at some point they must have been teaching others because it's supposed to be the older style.

I do think liuhe is actually an older style because wuxing seems to have become simpler, perhaps even gentrified. (George Xu used to say "think kill!" when we practiced liuhe.)

The main weapon of war for the infantry for most of history was the spear. A phalanx protected by a small cavalry was very difficult to beat. Cavalries with huge Arabian horses became a cult of the emperor by the time of the Tang Dynasty (cavalries were later used by the Mongolian hordes conquered the world) and they were formidable, but training war horses was harder and more expensive than training huge infantries. The spear remained very important until the invention of the gun.

Spear training is evident in luohe xingyi both in the stepping and in the shrinking of the body size, not to mention the turning maneuvers and the focus on forward movement. I really can think of no martial art that is better designed for fighting with a group in tight formation, shoulder to shoulder.
I have heard that xingyi was officer training for the infantry but I don't know of any facts to back it up.

Another theory goes that xingyi could be practiced on the thin paths of the rice paddies and in small places (as opposed to Shaolin which needs an open court yard or a walled park). It could be practiced on the road, going and coming from work.

Update: China From Inside is a pretty good site.

Three Daoist Paths

What do these three things have in common?
1. Taking a step and putting your foot down with out any agenda or plan. (Like in Bagua zhang)
2. These pictures and videos of the Goddess Mazu, in Taiwan.
3. The Chinese word for fist: quan. (By linguistic extension it also means a martial arts routine which can be performed.)
The answer is they are all different parts of a processional religious tradition. This tradition of performance and ritual cuts deeply across western conceptual categories of meaning.
A few days ago I wrote about Paulie Zink, and the difficulty I had making sense of his monkey style Daoist religious performance training. When we think of African religion, a dancing ritual expert is not so hard to imagine. How about a Chinese dance that is so full of unseen power that if word spreads it is about to be performed, people run home and lock their doors?
Kristofer Schipper in his brilliant work The Taoist Body, explains that people trained in monkey gongfu also played the monkey god (who steals the peach belonging to the Queen Mother of the West) in ritual performances which had a strong religious function for Chinese communities. Such performances were part of religious celebrations, festivals and processions associated with local temples and sacred history. He also talks about Daoist puppet masters:

"Puppets are rarely called in just for the show; their power is such that they are considered invaluable aids in the battle against evil influences. A troupe is called on to exorcise these influences in the event of disaster such as fire, flood, drought, or epidemics. They also come to purify newly built houses and temples or to consecrate important offerings, either to the gods or to the orphan souls. This is because the puppets do not just represent the gods: they are the gods."
"As a rule, a marionette ensemble consists of thirty-six bodies and seventy two heads. Together, these add up to 108, which corresponds to the total number of constellations. The puppets, therefore, represent all the essences of the universe. Before the play begins, the marionettes are consecrated in the same way as the statues of the gods and the tablets of the ancestors. They are thus infused with the spiritual force of the gods they represent. So fearsome is their strength that when they chase away demons with their chants and dances, and assail invisible devils with their miniature weapons, no one dares to look. The orchestra plays, the master puppeteer recites sacred formulas, the puppets move about, but the place in front of the stage remains empty and the common people stay home behind closed doors afraid that , in a panic, the demons might take refuge in their homes, or even it their bodies."

When a puppet god puts his foot down, does he have an agenda? Or is his foot embodying the Daoist idea of wuwei: nothing is done, yet like water, nothing is left unnourished?