300th Post & Business News

The Three Hundredth post of this blog came and went recently. Maybe I should go out and celebrate, but instead I'm at home cleaning and organizing my room/office.
When I started the blog last year I had a business plan in the shape of a triangle. In one corner was my regular website which promotes my classes, another was the videos on my Youtube page, and the third was this blog. The idea was that they would all be mutually supporting, people who looked at one would be drawn to the other two.

My success has been modest. One of my videos has had 90,000 viewers. Combined with the others my videos have been watched a total of 145,000 times. I haven't made time for more videos in 9 months. My goal for the summer is to produce a video I can sell, and to make more videos for Youtube.

I've also got a plan to make some cool t-shirts to sell through Cafe Press or some such site.

My regular website has basically been doing its job of informing people about my classes and getting me new adult students, but I've done almost nothing to improve it, so that is on my list of things to do this summer too.

Over all I've been happy with the look of my blog but disappointed in my abilities to do more with it technically. I made about $15 from Amazon books linked through the site for the whole year. I'm considering having a separate book reviews page that will sell books, but I've decided not to have them on the main page.

I would like to go through all my posts and put them into new categories so that people can follow the themes I have covered over time more easily. However, that is a big project and I may not get to it for a while. I also want people to be able to see the most recent comments, but the software I'm using has resisted that change, so I may be changing software. Perhaps I'll attend a Wordpress camp or something.

The various tools I've tried for counting how many people read my blog, and how often, have been frustrating. At one point in the spring my yahoo counter was telling me that I was getting 2000 hits a day. Now it's way down at 150. Go figure. Still I'm happy for even one reader. When I started I had no idea whether people would be interested in what I have to say.

San Francisco is usually a great place to practice outdoors all year round, if you don't mind wearing long underwear . At the moment, however, San Francisco has been covered in smoke from fires burning all over California. It's been like this for a week. After practicing outside I come back in and cough. I hope the fires end soon. Despite the fires, my practice has been taking new turns and is a great source of excitement. Of course when that happens it means I change from being a wuwei master who is content with his faults, to striving for transcendence. In other words, I'm back on the track of striving for perfection which leaves me feeling imperfect.

One of the difficulties of teaching children through the schools is that I don't have a way to keep them together after the residencies end. I would like to have a children's performing troupe but for that to happen I think I will have to have a dedicated space, which is really difficult in San Francisco because renting space is so expensive. Most of the martial arts schools either shoot for huge numbers of students, thereby lowering the quality of teaching, or they have a lot of teachers in the same style, or they run their space as a business that rents to yoga and other simple fitness stuff. Renting to other teachers is a whole business unto itself, one that would take away from my role as a teacher. Still the thought lingers.

In the past I've done workshops during the summer but this summer I'm laying low. I'll probably do a couple of ad hoc workshops for my students in push-hands and roushou but by next year I should be ready for something on a larger scale.

The article I wrote in the Journal of Daoist Studies in now available for purchase in electronic form or hard copy.

Thanks to all of my readers, this year has been a great beginning.

The Foot Fist Way

I had to go see this movie, The Foot Fist Way.

It is about an American Tae Kwon Do teacher named Fred Simmons. He says and does all the wrong things. As a teacher myself, occasionally something inappropriate has come out of my mouth while I was talking to a parent or a student. When that happens, immediately I go in to back peddle mode, I do everything I can to try and take it back. If I can't do that I apologize, or deflect, or change the subject. Fred Simmons says and does inappropriate things and then he just keeps going, he makes them worse and worse and worse.

It is a painful movie to watch. It is funny, but not in a way I recommend. I mean I had to laugh to keep my sanity, but I wouldn't wish that pain on another. At one point my friend was bent over with his face in his hands while I was laughing and pounding on his shoulder blade with my fist--If I have to watch this, you have to watch this too.

On my very worst days as a teacher I have thought to myself, "People laugh at me when they hear I'm a martial arts teacher. What am I doing with my life?"

I'm a pretty happy person, I love what I do, those bad days are few and far between. But this film made me think about them. Skip it unless you want to pass through the "Seven Rings of Pain!" (Movie title with in the movie.)

Accidents (part 3)

People sometimes achieve very high level martial arts by accident. Accidents happen when we aren't paying attention, so they are often effortless.

A few years ago I was teaching Northern Shaolin to juvenile delinquents. A program was set up that was a collaboration between the school district, the sheriff's department, and Performing Arts Workshop. It was a lock down school which had a significant performing arts component. My classes always had a probation officer present watching on the side. All the students were between 13 and 16 years old and had been convicted of crimes.

Somewhere towards the end of my residency I brought my friend and Choi Li Fut expert Greg Mooney in as a guest artist. One of my rules is that students bow as they enter or exit the room. On this particular day, like most days, they were unruly, rude and disorganized as they entered the auditorium. As I introduced Greg they started pestering and shouting that they wanted us to fight, "We want to see you fight."

I looked at Greg, he is a performer, a stunt clown (he used to do 500 shows a year), we had sparred enough to know each others stuff. He looked game.
"OK," I said, "I'll make a deal with you guys." "You give us your full attention, you work hard, concentrate, and give todays class the best effort you've ever given, and we'll fight for you-- at the end of class."

As I said it, I thought to myself, 'these kids don't have any discipline, there isn't much chance that they will really concentrate?'

"Really?" They asked, "If we do our best you'll really fight each other, for real?"

"Yes," I said. I knew I was taking a little risk, I looked over at the probation officer and he was motionless. "Alright, it's a deal then let's practice."

That day they practiced harder than they ever had before, it was a fun class. I guess they trusted me. So at the end I had them all sit down and Greg and I went at it.

Neither of us were looking to connect a punch, we were putting on a show. Our strikes were intentionally missing by just enough to make it look real, we each took a couple of dive rolls on the hard floor, our sweeps were slow enough to give each other time to fall the easy way, our kicks were to the meaty parts. The juveniles were screaming with delight.

Then I did a simple bagua zhang single palm change. Greg accidentally turned into it. I was trying to make all my movements empty of force, and at that moment I wasn't even aiming at a target, I was paying attention to my audience. But my elbow connected with Greg's temple and he flew backwards into the air. His temple opened up and blood spurted out everywhere. My movement at that moment was so effortless I didn't even feel my elbow connect.

I helped Greg to his feet and we had an eye to eye bonding moment. The juveniles were completely blown away, their enthusiasm was profound. They also found it incredible that after such an event we were showing all the signs of being best friends.

As they left class that day, each of them bowed with reverence and sincerity I hadn't believed possible. The staff of the school reported to me that a year later the students were still talking about it as their best day ever at school.

Lesson Plan for Kids

One of my Kungfu lesson plans has been posted on the internet at Performing Arts Workshop. Because kungfu is dangerously close, in people's (closed) minds, to a sacred category called Physical Education, and because of Teacher's Union absurdly protectionist rules in the public schools-- what I do is sensibly under the category of World Dance (scroll to the bottom.)

And you can check out my biography too, by scrolling down here--alphabetical by first name.

Why Ritual?

Sometimes we have very rational explanations for our actions which later turn out to be dubious. The human mind likes to believe it is taking a particular action because it is right or justifiable or natural or smart. We have the ability to think up strategies for gaining advantage. We can manipulate our environment. But we also seem to have the ability to get "stuck" in "mind-sets" and to repeat strategies which have worked before but which no longer are very effective.

Occasionally I get a student who has a strong reason for wanting to study gongfu or qigong who sticks with it for a few months or a year and then forgets why they are studying. Perhaps that is because their relationship to movement and body image has changed and they simply don't have the same problems they used to have.

Sometimes that forgetful student who used to have strong motivations will quit practicing for a time until they come up with a new reason for studying. Then they will start the cycle over again, eventually they forget why they came to practice and they quit again.

There are hundreds of great, mediocre, and rather weak reasons for practicing gongfu or qigong. Just because you are able to remember your "strong" reason for practicing doesn't make it true. In actuality our reasons for practicing are changing continuously. From era to era, from year to year, from day to day, from hour to hour.

The ability to use reason effectively means understanding both how easily it can change within a complex or dynamic context and how easily we can fall prey to dogma or a mind-set or a "strong reason."

Ritual; whether it is doing a gongfu practice everyday, or performing a Daoist ceremony on a particular day of the calendar, is done regardless of the immediate reasons one may have or not have. Ritual is action taken with out consistent meaning. Ritual practice itself is not a defense against dogma; however, the practice of ritual has the capacity to reveal the way or mind seeks to lock on to a particular way of perceiving our world.

For heaven's sake, ritual is not a discarding of reason. It is a good thing we use reason to manipulate our environments for pleasure and power. But reason is a form of aggression which itself can cloud our vision. Ritual has the capacity to re-pose the question: How important is reason?

If you don't practice ritual from this point of view, you will occasionally have a crisis of meaning.

Shaolin Monks: Ballet

Last night I saw a wonderful sold-out performance of Alonzo King's Lines Ballet company doing their smash hit Shaolin Monks. Watch a clip here.

Much to my relief, the performers from Shaolin Temple USA were a pretext to show some great dancing, not the main attraction. It was a vehicle for exploring a theme.

The choreography is pure modern, in the sense that its single purpose is to display virtuosity. What I personally love about ballet is perfect technique, and these dancers have it. Their bodies exquisitely reveal the heights of muscular agility. The dancers muscles draw the torso inward and upward; creating a dense yet highly mobile structure for the expression of line and shape, time and gravity.

Interestingly, from a martial arts point of view, dancers don't move around their center. This is funny to me because I myself studied for two years with Alonzo King (20 years ago) and like all dance teachers, he teaches his dancers to "find their center." But in dance, one's center is the center of mass or the center of gravity. Ballet dancers are sometimes even more perceptive about space than martial artists are, but they don't differentiate qi and jing, they don't move qi around the body.  They spin like a dynamic top which can change its shape in motion, not like a gyroscope.

Alonzo is a wonderful teacher, encouraging and funny, he taught me to appreciate classical music with every cell in my body. Although I was always a jumper who loved jumping, my favorite part of class was Adagio, big and slow. (Small wonder that I ended up putting most of my eggs in the internal martial arts basket.) During the very last class I took with him, we were doing balance work at the barre (leg extensions and port de bras). I remember I was having a really good day, my balance was on, I was on my toe with my leg in an arabesque and my hand off the barre. Alonzo noticed, walked over, and whispered in my ear, "Great, but you look like a zombie."

It was very funny, but I thought to myself, "Ballet is turning me into a zombie!" My long term readers will probably remember that I love zombies; however, at that time I didn't want to become one. I realized that I didn't care enough about how I looked to be a ballet dancer, and I still needed to find out what I did care enough about.

Yesterday afternoon a group of about 25 of my Northern Shaolin students performed at their school. These 3rd and 4th graders rocked the house. One of the things I'm most proud of is that I've been teaching a number of Special Education students with autism and other disabilities. They have improved so much that you would not have known which students they were just from watching the show.

A few of my students are getting so good that I was disappointed. I wanted them to be more professional, I wanted them to put on the best possible show. They don't yet have the consistency of a professional, even if they do some things as well, or dare I say it, better than the "monks" from Shaolin Temple USA!

In a way it is not fair to compare them because Shaolin Temple USA is not authentic Shaolin. It's wushu. It lacks the weight of true Shaolin. (You may be thinking, come on man, who are you to say that? But remember, I started studying Shaolin in 1977, before Shaolin Temple was reconstituted.) The "monks" are at their best when they are in the air or rolling on the ground and doing tricks. Near the end of the piece a few individual "monks" did some elegant soft choreography that I would love to see again.

Forgive me, I'm too tough to be a proper critic, I care too much. I'm too inspired! If this show is coming through your town definitely check it out! It will inspire you too.

I also hope that this is the beginning of a trend--where dancers and martial artists see their common goals, aspirations, and history.

And Alonzo, if you are reading this-thank you.

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.

Breath

Dave from Formosa Neijia asked why I didn't mention breathing as a method for lowering heart rate in the previous post about the heart.

First of all, yes, labored breathing is an indicator that you are over working the heart. But if you are panting, or gasping you have gone too far. In other words it is not a very good indicator of over work because the heart has to be pumping too fast for a while before it effects the breath.

To extend the classic Chinese metaphor. The heart is the Emperor and the lungs are the Ministers. If the Emperor is acting inappropriately, the Ministers are likely to be indulgent for a while and they'll try dropping subtle hints before they run into court shouting.

But all of this misses the point that liver stagnation is rampant everywhere there is a booming service economy and cheep food! (For those of you who don't speak Traditional Chinese Medicine Lingoâ„¢, Couch Potatoismâ„¢ is the modern slang term for liver stagnation.) People with liver stagnation need to breath hard! They need vigor. They need to get their hearts pumping. They need to stimulate the liver to surge blood in and out of their limbs. They need to shout at something other than the TV set.

Another reason I didn't mention breathing in the previous post about the heart is that breathing practices are too strong and very hard to generalize about. I have two basic teachings about breathing: 1) Yin Proceeds Yang. 2) "Breath like the silk spinner and the jade carver."
Teaching about breathing is highly individual. If you have ever had an injury to your pelvis, shoulder, neck, ribs, or spine, there is a high probability that it changed your breathing. When injuries occur the breath immediately comes in to numb the area and increase blood flow. It is a bit of a mystery to me why these injuries linger so long in the way a person breathes, but they do. So teaching breathing is highly personal and esoteric.

In The Fundamentals of Pa Kua Chang by Park Bok Nam and Dan Miller they outline a systematic way of developing breathing. They start with one type of breathing and then move to another and then another. But they are very careful to point out that when you switch from one type of breathing to another has to be decided by a teacher who is monitoring your progress closely. In other words, the method can't really be systematized, it is esoteric.

In fact, over many years, unmonitored breathing practices can be harmful to the heart. I'm thinking particularly of taijiquan and yoga instructors who guide their students to breathe into the arms.

While I'm on a roll I should also point out that during intense exercise the muscles and the heart/brain compete for blood.  Since the heart/brain is more important, your body will close off the perineum at the base of your pelvis in order to restrict circulation into the legs, and sometimes it will do the same thing at the armpits.  You will know this has been happening to you if after exercising you feel all "tingly" in the limbs.

How do Kids Learn?

Because I perform several different sword forms I've gotten in the habit of explaining a little bit about dueling.  It is a nice tie in with History and teachers appreciate it.  The funny thing is, students already know what a duel is.  They often don't know it by name, but when I describe the type of thing a duel would be fought over, namely honor, and that every duel needs to have seconds (to enforce the rules and to fight themselves if the rules are broken)--elementary school students all recognize the "fair fight" so common on the school yard.

Students also know the difference between a matched or a fair fight and bullying.  Why do they know this? How do they learn it?  Is there something in our DNA?  Is dueling as natural as mothering?

I loved this book.

Orange Juice and Hermits

I grew up arguing every night at the dinner table. For the most part it was an edifying and respectful experience. This kind of intensive educational model is pretty rare world-wide (except in Israel where it is the norm).

We also drank orange juice with our dinner which is a real "no-no" in Chinese medicine, mainly because your spleen will reject all the highest quality nutrients in favor of the simple sugars. The rejected foods still get digested but your body needs to create more heat to digest these higher quality nutrients once they have been passed on to the large intestine. The result is that your body takes on fluids in order to insulate the other organs from all the heat. Orange juice makes most people gain body weight in water, edema. (After years it becomes the syndrome known as "damp heat.")

However; I don't think drinking orange juice had a negative effect on my health, most kids are pretty resilient as long as they are getting enough food.

But there was one strange effect. Now if I drink orange juice with a meal, even breakfast, I'll get in an argument. I become completely posessed by my ancestors. Generally I believe things like this can be overcome with will power, but in this case I have no control. If I'm alone, I'll argue with a chair.

One of my students sent me this email:

I wrote down what we just talked about because I didn't want to forget it. Then I wondered if I'd really understood correctly. So if this does not look like what you meant, could you let me know.
-H

My Question: Should one practice differently on different days? For example should some days be longer, more in-depth etc?

Your Answer: There are two Wuwei approaches:

1) Practice at the same time, same place, same duration, same stuff. The difference will still be there; it will be made apparent with a backdrop of sameness.
2) Hermit method: move with the qi of the moment. Practices will vary significantly.

There are also two De or "virtuous perfection" approaches:

1) Urban – Do many discrete experiments with one's practice so that you will achieve certain and specific fruitions. This could include the calendar (tongshu), food, intensity, etc. But it will include record keeping of some sort, as experiments involve constant evaluation and recalibration to produce fruition.
2)Hermit method: Could involve calendar, detailed seasonal correspondence. Embodying and exploring the qi of various events (like grass sprouting or mushrooms coming up). Records will also be kept for the same purpose.

Follow up question: Is the difference between the hermit and urban methods, the level of detail and in-depth relation with natural environment?

Now in my family, if after a long discussion someone were to restate my argument in crystal clear and respectful terms, there is a good chance that they would be on the verge of delivering a fatal blow.

But putting that possibility aside, this question shows the difficulty of communicating Daoist view and practice with words.

The key thing to digest here is that the wuwei view does not require analysis. By asking the question you are already in the de (perfection, integration, improvement) camp. [note: De is often translated "virtue," it is the de used in the title of the Dao De Jing.]

The wuwei hermit method is called "The Wandering of the Mare." Living around other people means having to coordinate with their schedules and that is antithetical to constant spontaneity.

The wuwei view suggests that practice is self-revealing, it doesn't require any discipline other than trusting your appetites.

Yes, the difference between the urban and the hermit models of de (perfection) is one of detail and depth. But it is also a difference of scale.

The urban perfection seeker is very playful and creative. The fact that I spent many years doing a 20 minute Japanese Tea Ceremony in my elevated gold-painted elixir-dedicated Quiet Room before leaving the house, means that now when I walk into Starbucks I'm getting an enormous hit of mythic transcendence--office furniture and paper cups are not obstacles.

The hermit version of perfection studies is so big, complex, and refined that I'll have to save it for another post. (That's a joke.)