Fearless or Nothing to Lose?

Self-defense, narrowly defined, is the ability to hurt someone quickly and get away. How someone carries themselves, how we are perceived by others, is not generally considered part of self-defense, but it should be the main subject. Usually this aspect of ourselves is unconscious and people will resist paying attention to it. Taking stock of how we carry ourselves can be life transforming.

All of us have known people who manage to get in fights on a semi-regular basis and seem oblivious of the possibility that the way they carry themselves, or the way they smile or use their eyes, may in fact be provoking these fights. And we've also all known people who just act like victims, and because of that, such people often end up making life choices that shield them from contact with potencial perpetrators.

Both of these behaviors are true for all of us. To at least some tiny degree, we all at times slip into victim, challenger, and perpetrator roles.

There are some theatrical and real life extremes which are worth considering. Gilligan, of Gilligan's Island fame, is a character which was adapted from Comedia dell'arte. One of Gilligan's qualities is that he never gets hurt, he is plastic. His clothes don't fit, he slumps, he flops, he swings, and he is always over stepping the Captain's personal space and getting whacked. He is a great protagonist because he can innocently go anywhere, do anything, get in a whole mess-o-trouble--and yet he maintains this, "I'm not worth it" stance. His physicality tells us that he is just too weak, too accidental, to bother holding accountable--he is just not worth biting, boiling, or beheading. As he trips over the most important prop in the scene and lands face down in the lap of danger, he says, "Just pretend you don't see me, I'm not really here, heee, hee, heee."

Now compare that to a model on a catwalk. "Pffff, if I need to describe it for you...YOU obviously aren't in the know...is this like, the first blog you've ever read???"

O.K. most models don't even think WE are worth talking to, but that's what they would say if they stooped down to our level. The model flaunts her vulnerability with high heals, a tight skirt, and a long bare neck.  The model is provoking us to attack, like an alpha wolf sticking out its neck. We don't dare bite.

Like our untouchable model, the male alpha wolf dares by jutting out its neck, "Go ahead, hit me, I've got nothing to lose, how much damage could you possibly do? You're going to be reeeeally sorry, but heck, its your call, throw the first punch." Dirty Harry did this with the line, "Go ahead, make my day."

The physicality  of the vulnerable wolf and the physicality of a bumbling Gilligan can both be used to get out of a fight.

In the old days when you captured someone, stripping them naked was a way to make it difficult for them to run away.  With the invention of prisons and work camps and some forms of slavery, hobbling a person with chains, which restricted the length of a person's stride, became a common way to keep people from running away.  But with the advent of guns, chains became less important.  I'm not sure where the idea originated, but the Russian Gulags, as early as 1920, gave every person a pair of pants that was too big for them.  With no belt, if you wanted to run you had to do it naked or with one hand holding up your pants.  This also made it really difficult to fight because if you let go of your pants to take a swing at someone, your pants would fall down.

Since that time prisons everywhere have adopted the over-sized pants techniques.  American prisons are no exception, prisoners here wear baggy Levi's with no belt.

And thus the fashion of sagging was born! At first, we knew a person had just escaped or been released from prison if they were wearing Levi's half falling off their ass.  We knew such people were probably dangerious.  But then it became a fashion thing.  Pre-teens started doing it to imitate their dangerious uncles.  What a mess.

From a fighting point of view, having your pants hanging halfway down your ass is just stupid. Sadly, the two worst prejudices against black men are that they are dangerious and stupid.  Sagging perpetuates both prejudices.  Since this is obvious to everyone, we have to ask, why do they do it?

The central deity of religious Daoism is the god of fate and the North Star, after which I've named my school.  The actual god which sits in this central position at the North Star has actually changed several times in Chinese history.  The current deity is called Zhenwu (the perfected warrior) or sometimes Ziwei, or Xuande.  Before Zhenwu sat on the throne, it was occupied by the Jade Emperor, before that it was Laojun (the source of the Laozi), and before that it may have been Xiguanmu (the Queen Mother of the West).

But our interest lays in Zhenwu before he got promoted to the throne at the beginning of the Ming Dynasty (1368 CE).  Zhenwu, the Perfected Warrior, wasn't always perfected.  Before he was perfected, he was just Fearless.  At that time he was depicted with wild hair and barefeet.  Now-a-days if you see someone with wild hair you think, "Homeless dude," but in those days it meant something different.  It meant you were a crazy shaman warrior who answered to no lord.  It meant you were so far out of conventional thinking or morality that you were beyond nobility, rank, or status. You were fearless because you had no attachments, no loyalties, nothing to lose.  Zhenwu in those times was also depicted with a straight sword in his hand and no scabbard.  His sword was always out.  In fact he usually dragged the tip of his sword behind him on the ground as if to say, I'm so dangerious I don't even care about keeping my sword sharp.  "You wanna test me...bring it on?"

In my experience, when I do my Zhenwu routine in front of a couple of isolated  young guys with sagging pants,  they  usually start doing their  Gilligan routine pretty fast.  But if they are being watched by other people from their neighborhood, they'll jut out their neck and say, "Shoo...you wanna start something?"

I see sagging as an attempt to project an image of fearlessness.  It communicates, "Look!  I have nothing, no loyalties, no morality, nothing to lose. If you are seeking status or power or even a quick buck, I'm not worth attacking! I may look vulnerable with my pants hanging down, but if you do attack me, I will fight you fearlessly to the death."

If I felt trapped in a dangerious place, where the people around me were seeking power through direct violence and intimidation, I have to admit, sagging might be a good strategy.

As cults go, I find the cult of sagging pretty horrible, but perhaps in the next era we will promote these deities to a higher court.

Daoism and Sex (part 2)

In my previous post I didn't get as far as discussing the history of Sex and Daoism or misunderstandings resulting from that history. Instead I focuses on what Daoism understands sex to be.

The brilliant young scholar Liu Xun has written about two person Daoist practices from the ~1600's generally undertaken by two people of the opposite sex. Unfortunately it looks like his writing on this subject remains unpublished at this time. Perhaps he will read this and correct me. My recollection is that it is often difficult to tell from textual sources whether sex of any kind was involved because most of it is written in metaphoric language. There probably were some practices involving sex and meditation, but they were by no means widespread and it is questionable whether they should be called Daoist at all. (More on this below.)

Others have tried to say something about early Celestial Master (~200 CE) sex practices, but the truth is we don't know much about them. It seems like there was a short period in which teachers would pick two people of opposite gender from among their disciples and guide them through some sort of private marriage ritual in which the teacher and the two disciples were all present. Because the practice was discontinued, I think it is fair to conjecture that it didn't produce the best results.

Judging only from the precepts followed by Celestial Masters at the time, I think it is safe to say they were not engaged in anything they thought would increase desire. Most likely they were practicing not getting excited. Or, as I describe in the previous post, perhaps they were engaged in some type of physiological awareness which had as its goal, limiting the production of jing in the form of eggs or sperm, so that it would be available for some other practice. Generally speaking, sexual desire causes our bodies to produce more sperm/semen and more warmth excitement and lubrication.

I have heard that some Chinese Emperor's may have practiced getting an erection with out any desire. Supposedly it is possible, through extreme discipling of the mind, to get an erection, have sex, and neither ejaculate nor feel any desire. Presumably one doesn't feel much pleasure either, but I don't know. This kind of practice makes a little sense if you are an Emperor and have 800 concubines who are bored. It is important to remember that while some Emperor's were no doubt sex addicts, each and every concubine represented a political alliance which had to be maintained. If you never had sex with them, you might cause more trouble that it was worth. I can't imagine why anyone would want to try those practices today.

Now on to the misconceptions (no pun intended). The Daozang, generally known as the Daoist Cannon, has been complied by order of various governments into different additions over the last few hundred years. It is an enormous collection of texts (≤5000). No Daoist could study or use more than a fraction of these texts in a lifetime. Which would lead one to ask, "Are there texts in the Daozang which no Daoist has ever used?" And the answer is, probably. Compared to Buddhism, and Confucianism, Daoism has been a lot more lax about condemning what other people do. Practices which were outside the norms of Confucianism or Buddhism, were openly rejected by these two traditions. But Daoists have been more likely to respond, "Maybe it is Daoist, I don't know." So there is a trend that whatever no one else wanted, got stuck with the label "Daoist" simply because Daoists didn't reject it. Daoists have generally held precepts encouraging discretion and even secrecy, so it's likely that individual Daoists would not know the details of what other Daoists were doing.

That being said, there have been lots of books written about Daoist sexual practices. For the most part these have been invented out of whole cloth, or deal with issues your average sex advice columnist could handle better. But we also have the problem that people have intentionally limited (and therefore mis-translated) the meaning of the term jing to mean simply semen. Thus, we have been treated in some books to the disgusting image of semen traveling up the spine to nourish the brain.

And yes, of course, there are Daoist precepts against wasting jing. But folks, that is meant to refer to jing before it goes into sexual reproduction. There are many ways you could interpret this precept. For instance, I would say push-ups and sit-ups are a violation of the "don't waste jing" precept because the day after you do them your body will start using jing to regenerate your injured muscles, which is a waste because push-ups and sit-ups serve no purpose (except perhaps vanity).

[Note to readers, my updated position as of 11/17 is that people should practice Maximum Vanity. There is not enough true vanity in the world.]

The crazy idea that an average Joe, like me, would get an erection, make-out for twenty minutes and then have sex and not ejaculate, is the stupidest idea ever!

Man, just shoot!

Let it out, it's too late to save it, might as well clean out those pipes.

On a slightly different note.

Over the years, many people have come to me wanting to study qigong because, in their own words, "I want more energy!" After a couple minutes of interviewing it inevitably turns out that they are deficient either because they do drugs, don't get enough sleep, work too many hours, have a poor diet, or don't exercise enough. All of these problems are solvable with out qigong, so they never stick around. (A couple of times the problem has been they exercised too much, in which case the problem was easily solved by suggesting they do less.)

However, there are some weird power accumulation exercises out there falling under the category of sexual qigong. None of these are good for your longterm health, because like taking drugs, they mess with your endocrine system (In TCM language they use up yuan qi). They are also completely unnecessary because you can get the same amount of energy from proper diet, sleep and exercise. My guess is that these practices were originally invented for people who were starving in times of famine, when such practices might have served a real purpose.

Distinguishing Jing and Qi (part 2)

Musicians must learn to distinguish between jing and qi.

Most of you don't know that I studied Indian Classical Tabla drumming.  You can hear me playing on a few of my Youtube videos, but don't go back and listen to them for that reason alone, because I never got especially good.  I did, however, approach the study of Indian Classical music the way I approached everything in my twenties--that is, I practiced like crazy (four hours a day for several years).

In Indian music there is a virtuoso  rhythmic pattern which repeats three times called a tihai.  Tihais can be long or short, they come in many different types and they are amazing to hear.  But at the highest level, the level of the greatest musicians, there are actually only two types of tihais, ones from the heart and ones from the mind.

Both of these two types of tihais are improvised.  Tihais from the mind blow you away with their perfect blend of structural precision and complexity.  Tihais from the heart are more difficult for me to explain, they are more relational, emotional, and transcendent.

Zakir Hussein said that when he plays tihais he is actually making and seeing multi-dimensional geometric patterns in his mind.  Ali Akbar Khan said that he is playing with pure light.

When we really play music, our mind is not on the notes, the time signatures, beats, or scales.  When we really play music we want to express mood, sentiment, and emotion.  It's not usually raw emotion either, it is what we might call a crystalline form of emotion--Emotion which has already been explored, plumbed, completed or even resolved.

One's mind must not be focused on the musical details of technique, composition, or if I understand the Indian master's explanations above correctly--our minds shouldn't be on the music either.
In music as in internal martial arts, one must separate jing and qi--the physicality from what animates it.  

Distinguishing Jing and Qi (part 1)

When I'm typing, I'm not thinking about the keys I'm hitting, and I'm not thinking about the words I'm spelling, I am thinking about what I want to say. I am thinking about the sentiment I want to convey, the style, the flavor, and the rhythm.

But in actual practice even those things I am consciously thinking about spin in and out of my mind in a very spontaneous way, they don't have any particular order, often they simply emerge fully formed at the moment of expression.

Martial arts are the same. This is as true for fighting as it is for performing forms.

In typing, if my mind goes to the keys, I stumble. In internal martial arts, taiji, xingyi, bagua--the moment you distinguish one muscle group from another, you have made a mistake. You can no longer have whole body power. You can no longer have the differentiation of jing and qi.

When you are learning to type, of course you look at the keys. When you are training martial arts, of course you make distinctions between muscle groups (and a lot of other things.) But once you are performing at the level of an art, once you are an artist, your mind must not get stuck distinguishing different parts of your body.

Trusting the Circle

One of the first obstacles a push-hands student has to overcome is the tendency to either pincer or be "against the wall."

To pincer means to bring your forearms towards each other in an attempt to squeeze off your opponent's forward attack.  A pincer motion will compress the shoulders  creating a rigid defense.

To be "against the wall" is the opposite of pincering.  It means to pull your arms away from each other as if you were falling back against a wall and you wanted to cushion yourself by having your completely spread arms hit the wall first, palms to the front.

Pincering and "against the wall" are impulses, they don't need to taken to their complete expression-- the smallest hint of either is a mistake.

Instead of these two, we learn to make a circle with our arms.  If my opponent attacks from the outside of my circle, I make it bigger.  My arms don't have to be touching each other but the arc of each arm should be on the same circle as the other arm (they should feel connected).  The most common defect here would be to push up against the attack instead of just making the circle bigger.  (This defect will force a reversal from your opponent.)

If my opponent attacks form the inside of my circle, I make the circle smaller.  The two arcs of your arms can overlap.  The most common defect with this one is pushing downward, (which will also cause a reversal).

Once the technique is mastered the opponent attacks with one arm inside the circle and one arm outside the circle.  So that you have to create two circles (arcs or partial rings really).  Then you add turning in the kua (hip region).

Once these techniques have been internalized, it becomes much easier to trust the circle.  An attack in which you can feel your opponent's jin or power, can be stopped by keeping and changing the circle.

Push Hands: Small Circle, Big Circle

Small Circle push-hands is a rules set which can have moving feet, but really ought to be learned with fixed feet first.  Small circle push-hands allows no grabbing, slapping or striking.  You can only do peng, ji, lu, and an.  The reason it is called small circle is because you are trying to develop peng, ji, lu, and an (ward off, push/poke, draw inward, cover/contain) in a continuous circle, no breaks, no moments of intermittent force.  Small circle push-hands can be completely improvised or it can follow a set sequence.
Once you have established small circle push-hands there are lots of subtler games that can be played from it.

Big Circle push-hands gets it's name because to play it one must break the small circle.  The rule set allows for grabbing (chin na), plucking (zai), elbow strikes, throws, and traps (zhou), forward strikes with the shoulder (kao), and two directional attacks to the opponent's frame which can be light swipes, slaps or sudden jolts(lieh).

Most people learn both big circle and small circle at the same time.  I think that is a mistake, the two rule sets should be clearly differentiated.   The question remains, which is better to learn first?

Small Circle push-hands is the heart of the game, but to deal with an aggressor you must know Big Circle push-hands cold.

Workshop Yu Cheng Yong

I'm going to a workshop this weekend with Yu Cheng Yong:

Master Yu Chen Yong Born in 1943 Tian Jing, China. Started his training as a wrestler in 1953 then moved to Tai Ji in 1957 with famous Master Wu and Master Niu. He also studied Ba Gua with famous Master such as Gao Yi Shen and Yang Ban Hou large frame Tai Ji with Master Niu Lian Yuan and Zhao Bao Style Tai Ji with Master Hou and Master Yue. One of his teacher is the very famous master Han Mu Xia whom defeated the Russia champion wrestler in 1930, which he then went on to win 10 gold metal from 10 different countries. The metals are now in the China National Historical Museum. In 2000, the master performance in Tian Jing master Yu got 1st place for the title of "best Master performance". In 2005, Master Yu acquired famous master Zhao Bao Tai Ji title from Wu Dang Mountain.

UPDATE:  The US State Department would not give him a visa.

Cranes Feet

Taijiquan is often said to be the combination of the movements of a crane and the movements of a snake. I haven't had a lot of time to observe cranes but there are some great blue herons around the park where I teach.

The other day I watched a heron stand on a grassy field and eat five live baby gophers. It waited in stillness and then struck suddenly into the soil. I have it from a reliable source that they are actually feeling the vibration of the gopher under the ground. They must use the difference in the intensity of the vibration in each foot to determine the location of the gopher. They may even develop a mental picture of the gopher's movement and tunnel system.

When you practice internal martial arts you want your feet to be so relaxed that you could pick up even the slightest vibration and get a mental picture of what is causing it. Any tension or excess movement in your feet and this ability will be obstructed. Your feet must be completely devoid of an agenda.

Our great ape ancestors hunt gopher-like critters called bushbabies. They sharpen sticks and wait by their holes to spear them. My guess is that they also have some ability to sense vibration with their feet and use it to create a mental picture.

I have an "edge theory" based on my experience which goes like this. At the tip of our tail bone there is a small sphere called the coccygeal body (Wiki). It is surrounded by a capillary net strongly suggesting that it excretes something which goes directly into the blood, a property which would make it an endocrine gland. But so far, no one has figured out what it excretes. My theory is that vibrations come up both legs and meet at the tip of the tail bone simultaneously triggering this gland and vibrating the spine all the way up to the teeth. If the frequency of the vibration is one we associate with small animals which we would like to eat, our mouth starts watering. If the frequency of the vibration is very deep like from an elephant, a stampede, or a lion, our mouth goes dry, creating a fear response. (Here is a wacky site which presents another edge theory.)

Anyway, practice keeping your feet so relaxed that you can feel under the ground.

Are Some Ideas About the Heart Trash?

In chapter eight of the Neijing Suwen we have the saying:

The heart holds the office of lord and sovereign.

The radiance of the spirits stems from it.

That translation is from Claude Larre and Elisabeth Rochat, The Secret of the Spiritual Orchid. Often called the Inner Classic of Chinese Medicine, this 2000 year old text is referenced occasionally in the modern teaching of Chinese Medicine. It is used more often when teaching esoterica because it isn't all that specific.

The expression translated above as "radiance of the spirits," is actually a common martial arts term--mingshen.

Mingshen is mentioned in the taijiquan classics as the fruition of practice. I think it is what I see in a young student's eyes when they are ready and eager to learn. It is also that quality you see in a great fighter's eyes which is capable of ending the fight before it has even started.

Mencius said: If a ruler has mingshen, when he and his army invade a country, its people will lay down their arms and join him. Now that sounds like either a really good reputation or very potent shamanic prowess.

Descriptions of mingshen in the martial arts deal with perception, consciousness, proprioception, and kinesthetic awareness. These descriptions often sound mystical. Mingshen is the ability to wield forces that seem to be outside your body, outside your opponent's body too. This "space power" gives liveliness and dimensionality to our movement, it is the main subject of the highest level martial arts.

You can't really be a "modern" person and not ask the questions with regard to pre-20th century ideas, "What should I keep and what should I discard?" "What can I use, and what will just hold me back?"

Everyone has to answer these questions for themselves. Are useless acts good for the heart? Does extraordinary martial prowess have any real utility?
Hardly any country in the world has done as much discarding in the 20th century as China has. But it hasn't always been honest or well considered discarding. Now they are looking through the trash to see what can be salvaged.

Fight to the Death

Is push-hands a fight to the death or an intimate bonding experience where you try to get your partner to blush?

That depends on what rule set you are using. The rule set you choose will be determined by your view-- that base or root which orients you towards experience.

People whose primary orientation is health, are often worriers. Push-hands is just not self-centered enough for them. Put in a push-hands situation, they will be flimsy and blasé. They'll be thinking, "Why would I want to puuuush you?"

People who see life as a struggle will be looking for an advantage because "Baby, if you aren't on top, you're on the bottom!"

Nobody holds on to the same view all the time, it would be too exhausting. I often teach push-hands from the view that aggression is a naturally occurring process which obscures subtlety. Aggression makes it more difficult to see or feel what is happening. At the same time, this view is not a rejection of aggression, after all who wants to live in a world where everything is subtle? A world without sci-fi or punk rock? (OK, I know the answer, Buddhists right?)

So from this view, the rule set should be designed to bring out an aggressive intent which consistantly loses to a less aggressive intent.

I know some of you are reading this and thinking, "Come on, how is that going to train killers?" or "How could we apply that idea to produce the worlds greatest fighter?"

Is it possible that the weakest approach is destine to prevail? This is not about me claiming to know.  It's about having fun trying.

But let's return to the beginning and look at the question of how people determine their rule sets for push-hands.

I was one of several people teaching at a retreat and after class a guy wanted to push-hands with me. He was strong and thin, about 5 inches taller than me and about 30 lbs heavier. He had been practicing martial arts all his life. We agreed on fixed foot rules. As I filled in his empty spaces, he would duck and twist rather than lose his footing. This is what my students and I call, "losing your frame." If I want to win in such a situation (at least at the jin level of practice) I have to apply either shoulder attack, elbow attack, or split. All three types of techniques could be considered an increase in aggression because they have a high probability of producing an injury in the opponent. Since I didn't want to hurt him, I didn't apply those techniques and I didn't win. But he really wanted to win and so after one of these duck-twists his stiff hand came up and hit me in the jaw chipping my tooth.

Afterwards he told me that he usually practices push-hands with a mouth piece. Later he told one of my students that all of his teeth were knocked out, he had false teeth.

Over the years I've had many push-hands matches which I lost because I would not up the aggression when the other person did. In all cases, at the point in which we were playing by the same set of rules, I was winning, but as the rules changed I accepted the loss.

Kuo-lien Ying said, "You can't convince someone that martial arts works if they don't want to be convinced." They will always have a reason why that wasn't the "real thing."

When I'm teaching I give myself handicaps. I create rule sets which allow the student to win if they catch me being aggressive. For instance, rather than trying to sink below my student, I may sink my qi to exactly the level they are sinking to. I'll take out all the tricks I know and try to use the simplest clearest techniques. If I win, the student has a better chance of understanding why. If I lose, the student should be able to show where my defect was.

If my students start to win by aggression I'll change the rule set and my handicap so that they are always looking for the less aggressive way to win.  (People are often so in love with their aggressive strategies, they have so much fun losing, that it takes a long time to get them to progress. )
Unfortunately you can't do that with a friendly challenger from another school, you have to work with whatever rule set you have in common and hope they don't try to change the rules halfway through.

Again, it is not that winning by aggression is bad, we are always winning by aggression even if that aggression is really really subtle.

What is the fruition of this practice? Is it a skill? Do you get really really good at it? The answer to those questions will depend on your view (that which orients you towards experience).

Clearly a fruition for me has been that I have a choice about whether to react aggressively. That choice may have always been there, but I doubt I would have taken it if I hadn't done the practice. Another fruition is that I welcome aggression rather than rejecting it or attempting to flee it or dominate it. Students are free to explore aggression in my classes, if it comes up we play with it.  And that's true in my daily life too.

Is that a skill?  Am I good at it?  The thing about push-hands is that the moment you kinesthetically understand a skill, it becomes a form of aggression--such that-- if you recognize that skill  in your opponent, you can use it to defeat him/her.  If you catch your opponent using a skill you understand, you can easily defeat them in push-hands.  So skill accumulation is not personal, you don't own it, it is something you are learning to recognize.  A skill is something which will cause you to blush if you get caught using it.  Like an old cheesy pick-up line you thought was original.