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.

Four Types of Teaching

The Daodejing (Tao Te Ch'ing), the central text of Daoism was written at least 2300 years ago. It is understandable to us today because around 2000 commentaries have, over the years, been written to explain it. Many chapters refers to a type of person called a Shang. In many commentaries this is often understood to mean a ruler or a king, but it could also be a Shaman-king, or simply a wise person, a sage, or even an adept or a teacher.

So in Chapter 17 (of the Wangbi edition) I take the liberty of translating Shang as Teacher.

The best teacher is one you don't even know is a teacher,

the next best is intimate and kind,

after that is the type that inspires fear,

and lastly the one that cuts you off.

Now Tom Sawyer painting the fence comes to mind immediately when I think of the first kind of teacher. Yes, but we're also talking about someone who is just a presence. They teach by example but they aren't even obviously teaching a method, their just making you a cup of tea and hanging out with you.

The second type of teacher is everybody's favorite, they praise us, we feel like they're really helping us. We believe in their goodness.

The third type of teacher uses fear to teach. They rile you up, they intimidate you, they inspire outrage, they make you push back and stand up for your ideas, your reasons for learning, and who you think you are.

The fourth type of teacher inspires revolt. If you won't leave on your own, they'll kick you out. Their gift to you is that they hack you off. They know that in certain situations the best relationship is complete disassociation.

All four types of teachers are actually four types of teaching and all good teachers use all four.

Talisman (Fu)

Formosa Neijia posted the last two paragraphs of this article by the Author of Chinese Martial Arts Training Manuals, Brian Kennedy.

The Dark side of Talismans
It was March of 2006. A pregnant woman and her unborn baby had been murdered. The Taiwanese police had narrowed their suspects down to one person, the boyfriend. A police raid is conducted on his house and the police find a most eerie thing when they burst through the doors.

The murderer has plastered hundreds of Taoist talismans over every square inch of his apartment. His purpose was obvious, at least to Taiwanese observers, and that was to protect himself from the ghost of his murdered girlfriend and their unborn murdered child.

Although Taoist priest and pundits were quick to try and distance "legitimate" Taiwanese Taoism from the dark evilness of the murderer, nonetheless folk belief in Taiwan is that such talismans are, for better or worse, "morally neutral," meaning they will work regardless of the motive or personal morality of the users. It is noticeable to any observer of Taiwanese Taoism or any observer of Taiwan's criminal element that the two things often go hand in glove. For example Taiwanese gangsters often wrap their illegal firearms or knives in Taoist talismans.

First of all let me recommend a really great Horror Movie on the subject, Double Vision (Taiwan, 2002) [review].

Kennedy is right that Talisman (as a whole category) are "morally neutral," but so are Emergency Rooms, Technology, and the Law. An emergency room will take anyone who bleeds.

Confucius listed four categories that he would not discuss. One of them was random/domestic violence. His reason was that it is so common, it happens everywhere to all types of people. The horrible scene above is all too common, a young man, probably in a possessive rage, kills his pregnant girlfriend. If the story is like so many others, he was instantly filled with unbearable guilt.

Kennedy says the Talisman are Daoist. It would be more accurate to say "Red-Hat Daoist," sometimes referred to as Wu, and in this blog what I have been calling Trans-mediums. However, there is no central authority in Daoism, so if someone puts on a black hat and calls themselves at black-hat-orthodox-Daoist, they may be able to get away with it, especially where people are uprooted from their traditional communities.

The Chinese term for Talisman is fu. Fu means contract. A fu, in this case, is a contract between the living and the unseen world. Those talisman he put up around the murder said something. Probably not "I'm sorry" and also probably not, "burn in hell," they were likely an attempt to protect the man from his own intense feelings of guilt. He was afraid, as anyone in that situation would be, that he was going to carry feelings of guilt for every minute of the rest of his life. The newly dead, had in a very real and even physical way, implanted themselves in his body.

These fu were likely a request that the dead be resolved as quickly as possible. When people die, especially young people, and especially people who die violently, they often leave intense unresolved problems, and feelings behind.

Does ritually creating and hanging a contract asking for resolution actually bring about resolution? I don't know, but I'll bet he is going to do some time behind bars.

footnote: The ad photo for Double Vision at the top, has a slogan for the English speaking audience about belief. It ain't in the movie.

More about Eyes

There was a debate with in the Zen community a few years back about whether the eyes should be open or closed. In the Orthodox Daoist practice of jindan, the eyes change between being closed, open and half open. Some scholars have suggested that a method mentioned in the Zhuangzi called "fixed staring," is actually a form of meditation. In my opinion it could only be a form of trance, there is nothing "fixed" about the eyes or the focus in the practice of meditation.

The popular religion of China is a trance-medium tradition. There are many variations of this. In some places an individual within a locale, will be the only person who becomes possessed by the local deity. He or she may channel the voice of the deity, may physically embody the movement of the deity, or may violently black-out and then recount the visit from the deity after waking up.

Some mediums are also adept at channeling multiple deities. If a new person becomes possessed by a known deity, villages have a mechanism for determining if the possession is really the deity it claims to be or an impostor. Possession has always been one of the ways to challenge authority. One of the ways of determining the authenticity of a possession is to observe how the eyes are used.

Mediums were so pervasive in China that the government certified certain mediums to testify in court on behalf of the recently murdered. One of the first signs that a medium is going into trance is a change in the eyes.

The term Daoshi (sometimes translated Daoist Priest) is like so many Chinese terms in that it has more than one meaning. One of its meanings is, an expert at identifying the type of Qi involved in a trance, a possession or even an entire cult. Detailed descriptions of Deities, spirits, demons, and ancestors were collected into books called Registers.

At the risk of over simplifying, we could think of a collection of Registers as sort of a cross-referenced Deity phone book. A place where a Daoshi could look up all the characteristics associated with a trance and find a match. The sounds one hears, the claims made by the channel about the deity, colors and smells described by those present, the physicality of the movement, the emotion, and the look of the eyes, were all details which could be cross-referenced to figure out what type of deity was present, how powerful it was, how dangerous it was, how it could be controlled, negotiated with, or appeased.

Part of the training to be a Daoshi is to actually practice all the different ways of going into trance, but never falling into full on possession. It is again, a practice that teaches you what not to do. Obviously a key part of this training is learning all the different things that can potentially happen to your eyes, or your gaze, as you fall into trance.

This little bit of Daoism, is part of the teaching of each of the eight mother palms of Baguazhang.

The Shaolin Grandmasters' Text

When I saw a book titled, The Shaolin Grandmasters' Text, History, Philosophy, and Gung Fu of Shaolin Ch'an, I ordered it immediately. I've been totally unimpressed with the histories of Shaolin Temple that I've seen, so I was hopeful with this one.

It's not as scholarly as I'd like. What is fascinating about it is that the authors  claim to be part of an unbroken oral tradition and on this account it comes across as pretty convincing.

The authors claim that all the Abbots of Shaolin Temple fled China by 1910 and many of them rendezvoused in New York (yes, a knife a fork a bottle and cork.) They abandoned their robes, grew their hair out, and started teaching 'indoor' students. Wow.

The main part of their teaching was a unique lineage of Ch'an (Zen) Buddhism. But they also taught martial arts (yeah.)

They dis' a little on all the Shaolin circus clowns coming out of the Chinese "Temple" these days, which makes for good reading. I'm hugely pro-circus, so I think it's funny, but they seriously wish that "their" name was not used irresponsibly.

Anyway, the book goes into depth on the martial and religious code of Shaolin Ch'an. It dives into a full accounting of what was actually taught and when (remember "Oral" history here, not documented, but still fascinating.)

The short section on Philosophy was a bit of a yawn, and the authors sometimes sound preachy. However, I think their basic premise, that Shaolin is a religious tradition with martial arts as an historical side-car is correct.

If you do any kind of Shaolin Quan, you should own this book.

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.

What is a Jing? (Part 2)

Most people, including me, first learned internal martial arts and qigong with out a Daoist inspired view.

This missing view is "a way of seeing the world, or a way of affirming experience." If we are not presented with a view we tend to bring what ever view we are already familiar with to the new topic. [Like, dude, is this going to make me into the like ultimate greatest fighter?]

For example, because the Western historical view of creation is deeply embedded in the English language, even at the level of grammar and metaphor, people tend to see 'a divine agent' in the following translation which is not in the original classic text (jing). This translation from a Daoist Shangjing classic(jing), is itself explaining the nature of a jing:

Now the jing "in the beginning coexisted with the Original Breath and were produced at the same time as the Original Commencement." They are formed by the coagulation and the condensation of this first Breath or from one of the three primordial Breaths. Spontaneously born from the Void, they appeared as rays of light that came before the genesis of the world. In these grandiose divine prologues that refer to the time when yin and yang divided and "the five colors started to shoot forth,"....

"Purple books written in characters of red cinnabar" fasten themselves onto the Ch'ien tree growing on the moon. These Books shine "like moonlight" and are the nourishment for immortality. In the Pi-lo heaven within the trees of K'ung-ch'ing grove, the True Writings are formed in purple characters. In this sacred grove, the sound of blowing wind becomes music. And if a bird eats the leaves off the trees in this grove, then written texts appear on its body and whoever is able to obtain its feathers is able to fly. Thus the Tree of Life is Writing and Writing is a Tree of Life.
(Isabelle Robinet, Taoist Meditation, p21,23.)

This amazing definition goes on without a break for seven pages. This little reference may give readers a taste of what they can expect from any traditional Chinese subject.

Roger Ames makes some salient points about the nature of Chinese thinking:

We are always a participant in the unraveling of traditional Chinese subjects, never an 'objective observer.' From the Chinese perspective, agents cannot be decontextualized and superordinated in any final sense; to identify and isolate an agent [re: divine creator] is an abstraction which removes it from the concrete reality of flux, exaggerating its continuity at the expense of its change. Since change is interior to all situations, human beings do not act upon a world that is independent of them. Rather, they are interdependent in the world in which they reside, simultaneously shaping it and being shaped by it. Order is always reflexive, subject and object, are not contraries, but interchangeable aspects of a single category in which any distinction between the agent and the action, between subject and object, between what does and what is done, is simply a matter of perspective.(Roger T. Ames, Yuan Dao, p.20-21)

Roger Ames again:

In fact, categories used to define a Chinese world are fluid, and must be seen as often crossing the borders of time, space, and matter in an unfamiliar way. Dao so understood offends against the most basic of Western cultural distinctions, mixing together subject and object, as well as things, actions attributes, and modalities. Dao is at once"what is" (things and their attributes) and "how things are" (actions and their modalities), it is "who knows" as well as "what is known."(Ames, p. 27-28)

In the above paragraph the term Dao could easily be replaced with the words jing or qi.

In order to understand Internal Martial Arts or qigong and bring the practices to fruition, it may be necessary to relax some of the most basic ways we think about the world. What is the appropriate attitude with which to approach a traditional Chinese subject? How do we go about the process of unfolding the subject keeping in mind its traditional context?

While we are free to dive into these scholarly debates, there is a traditional answer which also points in the right direction and wishes a person good luck at the same time: Long-life!

What is a Jing?

A TRADITIONAL CHINESE ORIENTATION TOWARD KNOWLEDGE.

Sometimes when a Chinese teacher is trying to explain a term they will instead explain a term which is a homonym. Because there are so many words in Chinese which sound alike, simular sounding words can, over hundereds of years, take on parallel or related meanings and so in this chapter, instead of explaining jing, the solid, more structural or dense aspect of Qi, I will instead explain jing, a classic.

The term jing (ching) is usually translated: Classic. "...(It) is the underlying structure, both in the human body, such as the meridians of acupuncture, and in the body of knowledge of a civilization. This is the general name given to all the "master texts," such as the Tao-te ching, ... [or the I Ching (Yijing)]. It can be used to describe books that are not philosophical (e.g. Nei Ching, "The internal Classic," the master text of Chinese medicine) or even Chinese (e.g. Shen Ching, "The Holy Classic," the Bible). The literal meaning of this character is "warpage" (the threads stretched out lengthwise in a loom that give structure to the fabric that is woven),...." (Cyrille Javary, Understanding the I Ching, p. xii.)

What is the appropriate attitude with which to approach a traditional Chinese subject? How do we go about the process of unfolding the subject of the Internal Arts keeping in mind their traditional context?

The classical version of traditional literature uses very dense concentrated metaphorical and symbolic language to describe a topic. Often it is a consolidation of many earlier texts which have made mention of the topic at hand. These concentrated classics are committed to memory. Understanding is expected to come over an extended period of time, with experience. In some ways this is a good summary of what a Taijiquan form or a qigng movement series is in itself.

Out of this literary tradition grew a tradition of commentary and explanation, probably the consolidation of many generation of practitioners notes from the margins of their copies of the original classic. A popular way to begin a study of a classic, or jing, is for the teacher to take only the first character of the text and from just that character, reconstruct the essence, or "view" of the entire text. Commentaries which really pull apart or expand the meanings of a classic text tend to read like overwhelming layers of wafting clouds passing through the reader; too much to actually grasp, likely to invoke sleep, an inventory of embedded meanings meant to have an influence over time.

Studying Internal arts is something like memorizing a classic (jing). A classic, like a an Internal arts routine, embodies conservation, efficiency and the unfolding of the totality of previous experience in a concentrated form. In both cases the relationship of student to practice and student to teacher is the processes of unfolding and revealing the text or form and then re-embodying it in its concentrated efficiency.

I'm calling it concentrated efficiency because that is what it seems like from the outside looking in, but to actually embody either a classic text or a internal arts form feels plain, bland and simple. A traditional Chinese scholar can seamlessly weave a classic, they have memorized, in and out of their speech in such a way that someone who is unfamiliar with the classic won't notice. In fact, scholars who have memorized and embodied many classic texts can play games together where they seamlessly string together classic quotes and yet speak to each other from the heart about things which are important to them. In fact, China has a tradition of scholars with huge appetites for study who can actually quote continuously with genuineness and sincerity. To truly embody an internal practice is the same. On the outside one appears to be doing regular everyday movement, but inside the form (or we could say qigong) is happening all the time, it becomes second nature.

The practice of Push-hand is analogous to the senario where two scholars are spontaneously exchanging quotes from classic texts while discussing a third topic.

Use Chinese Methods to Convert Barbarians

When two different cultures meet, dance is the first art across the border. Music is very close behind. Interaction with another culture has great potential to create change; most societies fear change. This is why societies so often ban or at least try to control dance.

Dance often invokes trance of various sorts, heroic, competitive, sexual, or ecstatic. All of these types of trances have the potential to disrupt traditional designations of authority and hereditary power.

The brilliance of Chinese (Han) culture is that it has spread Martial Arts (gongfu) instead of dance to all of it's neighbors and all of the societies it comes in contact with. Gongfu is merit based, and on the surface it shuns trance. It seduces the naturally aggressive, and trains the wild-at-heart.

The expression "Yong yu bian yi", use Chinese methods to convert barbarians really captures the idea. I got the expression from a book I recommend about the relations between China's dominant Han majority and the numerous smaller peoples who inhabit the broad periphery of China's territory: Cultural Encounters on Chinas Ethnic Frountiers, Edited by Stevan Harrell.
I think it's interesting that in China right now the most common activities in a public park are, gongfu/qigong, ballroom dance, Weiqi (Go), Chinese Chess and basketball.