The thing that they had in common was that whatever they practised there was a certain pride in their faces and voices as they named their styles.Their answers also reminded me of several conversations I've had about 'tradition' with my friends Stephane Chollet, Jean-Philippe Gams and my Bagua teacher Luo Dexiu.

Stephane is championing an eclectic approach to martial arts based on an extenseive study of martial traditions. JP and I both teach very specific styles of Bagua, styles that we have invested much time, sweat and sacrifice to learn. All of us are interested in how best to teach our students.

While JP and I feel loyalty and affection towards our teachers, and a desire to pass on what we have learned from them as faithfully as we can. We have both cross trained in other arts, Western and Asian. We prefer to keep the methods of this cross training (if not the experience) largely separate from how we teach Bagua.

What we are doing is passing on a 'tradition'.

When I looked at the martial arts of the people I mentioned at the beginning of this article it was very clear that the styles they practised are very very incomplete in a martial sense. Their styles were fragments of what realistic martial arts training needs to consist of, the favourite bits of a teacher passed down to another teacher, who specialised, edited,  and passed down what remained in the name of refinement.

I'd like to distinguish between essence and tradition. A tradition is something that comes from the past, and people attempt to carry into the future. Traditions all have an origin in the  need to solve a specific problem in a specific context. This is the essence of the tradition.

Let me tell a story about traditions. 

A small child is watching her mother cook  a joint of meat. She notices that her mother cuts a section off the end off the joint and trows them away before puuting the joint in the oven. Having natural curiousity the child asks 

' Mummy why did you cut the end off the meat before you put it in the oven?' 

Her mother answers 'It's a little family secret that makes the meat taste better.'   

'But why does it taste better without the end?' 

Her mother reflects a moment and says 'It's to do with how the juices circulate in the meat.' 

The little girl walks off not entirely satisfied. Later in the week she sees her grandmother and asks the same question.

'Grandma why do we cut the end off the meat before we put it in the oven?'

'We do?' her grandmother asks in return.

'Mummy does. She says it makes the meat taste better.'

'Does she now?' the grandmother laughs 'You know that when your grandmother was a little girl we lived in a little house with a little oven. The oven was so small that I had to cut the end off the joint to fit it into the oven. I guess she's still doing it.'

The problem with traditions starts when the essence is forgotten or becomes unclear. 

All martial arts traditions start with people working on solutions to the problems of combat. In China this was often combat with spears (spears are a cheap and effective military weapon that keeps the enemy a good way out of arms reach), filipino martial arts to combat with machetes knives and other sharp agricultural implements, Indonesian arts to muddy jungles, Japanese martial arts to swords and armour, Westen fencing to the honourable duel  and so on (these are gross simplifications).

Whatever the weaponry, armour and environment the essence of martial arts is always about how to deal with someone using everything in their physical power to kill you.

Because this a problem that most of us fortunately no longer have to face very often it often gets forgotten. It is also a problem that presents physical and psychological challenges to visit. So you see fragments of martial arts, and bizarre justifications – like the mother and her circulating juices. 

Yet to teach a genuine martial art it is essential to revisit the original problem as closely as is possible. If the method has clear value in the original context then it is good, if not it needs modifying, supplementing or dropping altogether.

In Taiji I often see people who have no body conditioning, who see form, push hands and sensitivity the sum of martial arts practise. This is possible because they have not visited the original problem. 

This kind of sensitivity is a 'high level' skill. That means it needs  'low level' skills to function. Supported by a complete system sensitivity is great, but sensitivity alone will not deal with hard, fast, varied and well aimed attacks.

Pretty much wherever you look in Asian martial arts you will find similar attitudes, people who 'know' they practise a superior style because they practise big/small/fast/slow/specific/abstract/relaxed/intense/old/new etc. They often are fixated on the high level speciality of their style while forgetting the the low level skills and specialities of other styles.

In conjunction with this speciality fixation martial artists often get hung up on trying to duplicate movements and exercises, cloning what their teacher presented as their tradition. Really a martial art is just a series of methods to help a group of people learn to control their bodies better for the purpose of fighting. 

The control and body awareness may have many deisrable side effects, health, calmness, coordination, emotional equilibrium, discipline and so on.

However if the students do not actively return to the context of the fight the art can easily become as relevant to the original problem as a travel guide to a distant country written in a foreign language. Reading the book is certainly not a qualification to become a travel guide.

When MMA started it forced the people from more restricted styles (the ones who chose to compete – many others watched from the sidelines and justified their styles bys saying they were too dangerous to compete) to visit the original context of martial arts. 

Since then as UFC and similar tournaments have introduced more rules and become more commercially viable. The essence has shifted slightly so that name fighters can continue to attract crowds. MMA fighters are still more in touch with the original essence of martial arts than most 'traditional' stylists.

You can argue that the context and purpose of martial arts changes with time. I agree, and I'd like to see this clearly expressed and understood by the people who teach their arts. 

For example most of the people who practise Taiji is not really a martial art. The problem that its practitioners want it to solve is no longer how to survive the physical attack of someone trying to kill them. It is how to maintain a healthy mobile body and relaxed mind in a high paced stressful world.

Equally for many commercial schools of martial arts the problem that defines their essence is 'How can I entertain people so that they come back week after week.' but that is another story….

As the problem changes so does the essence  and practise of the art, which is natural and desirable. What is less desirable is that many people practise arts that claim to have an essence that was lost generations back.. Entertainment arts often market themselves on the basis that they solve combat problems.

Taiji's modern focus on health is a worthwhile goal, and I think that the students would be better served if they gave up baggage that comes from paying lip service to a martial art, and felt free to modify their exercises according to the modern goals.

Whatever art you practise ask yourself where it came from. What was the original problem that it was designed to solve. If you want to make the art alive then get familiar with that original problem, not just intellectually, but physically.

It is this clarity that makes exceptional practitioners.

My teacher Luo Dexiu was a skilled Xingy fighter when he started to research Bagua. For him the problem he wanted to solve was how to fight with people considerably bigger than himself. 

Luo did not stop looking with the methods that his teacher gave him, but went to his teachers brothers, each of which had a diiferent body type and personality. He also went to his teacher's classmates and teachers of other styles. He stands out from others of his generation because he did not copy what was taught to him, but adapted it to suit him.

When Luo teaches his Bagua is very alive because it comes directly from his research and his ability to solve the problem of how to fight with bigger people. It is full of subtlety, but never at the cost of losing the broad strokes.

Luo does his best to pass on the entirety of what he has learned. He does this both out the frustration he felt from the more conservative teaching that he received and out of loyalty to the people who taught him. Still Luo recognises that it is too much for most people to take on, and even if they do it does not necessarily make it 'theirs'. The student has to revisit the problem to capture the essence and make it really theirs. He does not know where the system he compiled will be in  a couple of generations. Nor do I.

If there is a tradition that he has passed down to me on one level it is forms and exercises of the his Bagua, Xingyi, Taiji and meditative practises. Deeper than that though is the attitude that cuts down to the simplest method to solve a defined problem. I hope that I can be equal to passing that on.

You can also ask yourself what is the problem that you want the art to solve for you now. Do you want to survive a medieval battlefield? Do you want to look good on a dance floor? Do you want to entertainment? Social interaction? Enlightenment? Playful physical contact? A sense of superiority to people who practise other styles?

Whatever it is you'll get more from your art, practise and life if you are clearer. You may decide to take up another practise or modify your existing practise. You may realise that what you are pursuing is nt a worthy use of your life's energy.  Whatever you choose to do this question will help you to clearly pursue the essence of your art or activity.

"We once again have the luck and pleasure to welcome master Luo Dexiu for two and half days of seminars in Nimes.

Master Luo is internally recognised for the depth and quality teaching of internal martial arts. Despite the variety of subjects each seminar shares a similar structure built around forms and their martial application. From this point of view these workshops can appeal to all practitioners of martial arts, whatever your style or level of experience. So please feel free to pass this information on to anyone who might be interested."

Multi-level workshops with master Luo Dexiu

September 24-26, Salle des combats, Stade des Costières, 123 rue de la Bouvine, Nimes

Friday 24th

18H- 22H Xingyi monkey form

Saturday 25th

9H30-12H30 Pre-heaven circular Bagua forms 4 and 5

14H30-17H30 a study of straight line Bagua forms from the first line

Sunday 26th

9H30-12h30 sticking hands

14H30-17H30 methods of self defense for common situations

Prices

Week end + Friday evening :110 euros

Week end : 90 euros

One day: 50 euros

half a day : 35 euros

To reserve a place and help with our organisation please send a deposit cheque for €30 to the following address, and do not hesitate to contact us for further information.

Association Yizongbagua

1360 chemin de Camplanier

30900 Nimes

06 85 64 75 03

yizong30@gmail.com

www.bagua-nimes.fr

For lodging in Nimes…

auberge de jeunesse de Nimes : http://fuaj.net/homepage/nimes/   
Hotel Kyriad : http://www.hotel-kyriad-nimes.com/
Hotel première classe : http://www.premiere-classe-nimes-centre-gare.fr/fr/index.aspx
Formule 1 : http://www.accorhotels.com/fr/hotel-2270-formule-1-hotelf1-nimes-ouest/index.shtml
Hotel Ibis : http://www.accorhotels.com/fr/hotel-0629-ibis-nimes-ouest/index.shtml
Holiday Inn : http://www.holidayinn-nimes.com/fr/hotel-holiday-inn-nimes-gard-camargue-sud-france.php
Hotel des Tuileries : http://www.hoteldestuileries.com/
hotel Majestic : http://hotel-majestic-nimes.com/
Hotel de provence : http://www.provencehotel.net/

The contents of Luo laoshis seminars in Paris in June this year are here!  

Luo is exceptionally clear and no nonsense in his teaching style. His explanations make the the mysterious aspects of Chinese martial arts not only understandable, but directly practical as well. He is also extremely hands on in his style so you can learn as you watch, listen and feel how he moves.

Whether or not you practise Gao style Bagua the principles that Luo laoshi demonstrates can be applied to any martial art. His quality of movement is superb, with a bewildering mix of light nimble movement, control and convincingly heavy impact.

If you want to learn a skill it is advisable to find the best example of that skill to learn from, and in martial arts Luo is a excellent model.

There are five sessions open to everyone, with a 6th by invitation only. The days can be divided into morning and afternoon sessions. Every session will have a mix of form/solo practise and application.    

Friday June 18th, 19H00-22H00, 單換掌 Single Palm Change and circle walking

These two activities form the basis for Bagua practise – we will go over the most important points in practise and use. Whether you have seen Luo laoshi teach this before you will find new material to work on. This session will be the easiest for people who have little experience of Bagua

Saturday 19th June 10H-17H30, Circular Bagua, 八大掌  Big Eight Palms

Last year we covered the first 2 of these palms. This year we will review the snake and dragon palms, then continue with the next palm changes as time allows.

1. 蛇形順勢掌 Snake form smooth force palm

2. 龍形穿手掌 Dragon form piercing hand palm

3. 回身打虎掌 Returning body, strike the tiger palm

4. 燕翻蓋手掌 Swallow overturning covering hand palm

5. 轉身反背掌 Turn the body over the back palm

6. 擰身探馬掌 Twist the body searching horse palm

7. 翻身背插掌 Overturn the body, through the back palm

8. 停身搬扣掌 Stop the body, move and hook palm

Sunday 20th June 10H-17H30 2nd set of linear Bagua:  坎八式 kan gua

These straight line forms contain many techniques for striking with the hands, and also other parts of the body.

   1. 截肋掌, chui, intercepting ribs palm

   2. 葉下藏花掌 cang, flower hidden beneath the leaf

   3. 內砍掌 kan, inside chopping

   4. 外削掌 xiao, outside cutting

   5. 二仙傳道 er, two sages preach the way

   6. 惡虎撲羊 hu, ferocious tiger pounces on shoulder

   7. 鳳凰奪窩 duo, phoenix robs the nest

   8. 進退連環 huan, advancing and retreating continuing

Monday 21st June 19H-22H00 – sanshou -sticky hands

The sanshou (sometimes called roushou) of our school is a refined skill to link and integrate different techniques. This session is invitation only.    

The seminar will take place at  la Maison du Taiji, 57 rue Jules Ferry, 93170 Bagnolet on the East side of Paris. Prices: 1 session €60, 2 sessions €110, 3 sessions €150, Full weekend €190, Weekend+ Friday €230. Discounts for regular students, students, the unemployed and teachers who bring their students, call or e-mail me to qualify.   

To reserve your place please send deposit of €50 then cash on day. Make and send cheques to Edward Hines, 111 rue Caulaincourt, 75018 Paris until May 25th 2010, and then to 15 quai de la Gironde, Paris 75019.

The dates for Luo laoshi's seminars in Europe and the US are confirmed. It will be a little time before the contents of the seminars are decided, but in most places you can expect a long weekend of teaching that will cover an interesting mix of Bagua and Xingyi.

For people new to Luo laoshi's teaching there are usually sessions that are easy entry points for people without much previous experience.

Paris 17-23rd June

Switzerland 23rd-30th June

Brittany/Rennes 30th June-7th July

Manchester England, 7th-14th July

London England, 17th-21st July

Israel 21st-28th July 

then off to the US

DC 29th July-7th August

Denver 14th-21st August

SF 21st-30th August

then back to Taipei on the 30th.

I will post more information as soon as I have it, including contact details for seminar organisers.

My schedule will probably let me join in with Switzerland and London – as well as Paris, naturally.

Luo laoshi will teach a seminar in Paris towards the end of June this year. I will keep you updated as we decide what Luo laoshi will cover and exactly when he will be here.

You know that whatever he teaches it will there will be an immense amount to learn.

I'll find some more video to post here as a teaser…

During the Summer I taught a number of introductions to Bagua outdoors in the jardins de Palais royale. I had a variety of people come to train, but two young women stood out for me, even if each attended only once. While they were both distractingly pretty what I really liked about having in them in the class was that they moved simply.

Simple natural body movement is something so obvious that it probably needs explaining, and the best way I can explain it is through contrast.

I have seen a lot of martial artists in my classes and seminars, as well as the ones that come to Luo laoshi’s seminars. These martial artists are mostly male, and come from a variety of styles. When I watch them copy a movement, or try and perform and exercise it is clear that their prior conditioning makes it very hard to move naturally.

Actually I think that their conditioning makes it hard to even see what was demonstrated. They see what they think martial arts should look like, and in imposing these ideas they warp their natural movement.

I see two main ways that these people to warp their movement.

The first is that they try and make a movement snappy and forceful– more common from shaolin or karate backgrounds.

The second is that they try and make the movement conform to some idea of what they think their art should look like. As a result their movement is excessively flowery, complicated and contrived. Often the more contrived the movement the smugger they seem in their ‘achievement.’ Often I see both in the same person. I call this martial arts disease.

In the case of Bagua these people think that Bagua is circular, so they try to move in a circular manner and twist themselves into bizarre contortions.

It is not Bagua that is circular, it is human movement that is circular.

Trying to move in a straight line is like trying to stop change. It is difficult if not impossible. If sometimes we do give the impression of moving a hand or an object in a straight line it is the result of a whole range of joints circling around each other.

Look at people involved in other sports. The legs of football players swing in arcs as they run, as do the arms that harmonize and add to the overall motion. Football and basketball players curve around each other as they aim to conserve their momentum on their way to their goals. Cricketers and golfers swing their implements through circles around their centres, bowlers and pitchers transfer the momentum of their bodies into a roundly whipping arm that releases a projectile at a tangent which gently curves downwards in gravity’s embrace.

None of these athletes needed to be told to move in a circular fashion. While they may have spent time developing their fitness, strength, reflexes and coordination their movement is essentially natural.

Natural movement means using the anatomy we have to perform a function. For example to get somewhere fast, lift something, throw something, kick something, or dodge something. The movement is derived from the function, the intention to achieve a certain result. Natural movement does not come from trying to micromanage the body, or make it conform to an idea.

Internal martial arts may seem complicated and a long way from natural, simple movement. After all they give so many instructions as to how to hold the body – sink the shoulders, drop the elbows, hollow the chest, raise the back, unify the upper and lower body.

It is simple if you just think of these as useful tips to maintain integrity through the body while applying force in different directions.

Now let’s take a step backwards. The first requirement is internal martial arts is ‘to relax’ which really just means to use appropriate natural power – not too much and not too little. But due to movement habits, bizarre ideas, stiffness from lack of use, poor coordination or emotional over reaction actually not many people in our society have very relaxed movement.

Is there a remedy for contrived movement? Yes, there are several. The hard part is to show people that they are doing it.

Some people are so invested in the contrivance of their movement that they find it hard to give them up. They fear that simple movement would make them less special or unique. After all simple movement is just every day and ordinary, like babies or sunsets or cats. They may have forgotten that just as we do not have to try to move circularly we do so automatically, we also do not need to try to be unique – we already are.

I have decided that the best way to make them aware of their unnecessary complication is through relentless teasing.

You can divide the antidote to contrived movement can be divided into two parts. The first is in simple movement, for example easy qigong with no application, just feeling the weight of the body and moving with minimal force. Gentle Yoga or Feldenkrais serve the same purpose.

The second is in joyful exertion. Run faster than your mind can coordinate. Give the controls back to your body. Play football, basketball, frisbee, rugby, tennis or anything that you do not associate with a style.

All our movement is based in (but not reduced to) the transfer of mass through the medium of bone, tendon, connective tissue and supported by the earth. We can go into levels of refinement but that’s the foundation. We can explore an intricate pattern of angles, shapes and directions but they still come back to a dance of mass.

I do not know if the two women who I referred to at the start of this article will come back explore the swirl of arcing physical forces, animal emotions and human ideals that I love in martial arts. Their natural movement will be welcome.

If not I’ll simply have to ask them for a drink.

This October Luo laoshi will teach two weekend seminars on the 10th-11th October in Nimes and 16th-18th October in Rennes. Check out the links, sign up and have a great bagua experience.

Luo laoshi teaching the form fan

Luo laoshi’s paris seminars were a big success. Martial artists from within the school came from around France, along with people discovering Luo teaching for the first time. I take my hat off to all of you who travelled some way to train with us, Adrian driving from Romania, Olaf from Germany, Paulina from Finland and the laughing Swiss Contingent.

Luo laoshi was on good form, sharing his considerable knowledge with clarity and humour. Very few people are as convincing as him when it comes to martial arts in general, and internal martial arts in particular. He tosses people around like children, sets up situations and angles so that even when you know something is coming you cannot get away. Then he explains how he does it and helps the students along the way to be able to do it themselves. He does nothing magical, just clear principles skillfully applied, and the results are impressive enough.

One aspect of the seminar that I especially appreciated was his overview of training and development in Bagua. I have always admired Luo for his capacity to explain in simple terms what most teachers turn into esoteric concepts. This year he seemed to get even simpler, without losing any the core of the subject.

One of my students e-mailed me at the last minute asking if he could join the final part of the seminar, but worried that his skill would not be enough to learn anything. In my reply I told him to come along and ignored his comment about ‘not skilled enough to learn.’  Fifteen minutes into the session after he arrived I went up to my student and teased ‘So are you learning anything…?’ his wide shining eyes and broad smile were all the answer I needed.

If you are considering going to Luo’s seminars in Manchester, London, Israel or the united states, stop hesitating and get yourself along. You will thank me afterwards. I’ll be going to London so join in and thank me in person!

For the London seminars go to Palmchange or download a booking form directly here, and Dave Bolton can set you for Manchester.

Enjoy the photos, taken by Huguette Simjee, and I’ll post some video of Luo here soon.

application from the form 'ting'

hands on teaching

Try translating and being hit simultaneously...