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Written By Tom Bisio © 2015 New York Internal Arts LLC & Tom Bisio New York Internal Arts Internal Arts International Cannot be reproduced or copied without permission from Tom Bisio and New York Internal Arts LLC

THE EIGHT TRIGRAMS

Pre-Heaven Trigrams

Post Heaven Trigrams

THE NINE PALACES

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Contents Introduction What is Ba Gua Zhang? History of Liang Zhen Pu Ba Gua About the Chief Instructor Lineage And Teachers Student Guidelines Advice For Training in the Chinese Martial Arts The Ba Gua Curriculum

4 4 8 10 12 13 16 18

Level 1: Foundational Level Introduction to the Beginner Level Tips for Practice

21 22 32

Level 2: Core Patterns & Movements Introduction to Core Patterns Tips for Practice

35 36 47

Level 3: Intermediate Level Introduction to the Intermediate Level Tips for Practice

49 50 70

Level 4: Advanced Level & Weapons Introduction to theAdvanced Level Tips for Practice

73 74 145

Glossary of Chinese Characters for Ba Gua Zhang

148

Glossary for Nei Jia & Ba Gua Zhang

159

Recommended Reading For Students

175

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What is Ba Gua Zhang? Ba Gua Zhang is one of the Nei Jia Chuan (ita) or internal boxing arts. In Chinese wu shu, (ita) these include: • Tai Ji Quan (Great Ultimate Boxing) • Xing Yi Quan (Form-Intention Boxing) • Ba Gua Zhang (Eight Diagram Palm) • Tong Bei Quan (White Ape Boxing) • Liu He Ba Fa (Six Harmonies Eight Methods) These five arts have in common certain principles that have come to be called “internal.” This is in part due to the fact that they all stress correct body alignment, the development of “whole body power” and the unity of mind and body in every action. The other primary reason these arts are considered to be internal is due to their role as a type of internal alchemy that transforms Qi1 into Jing (Essence). Because Jing in turn promotes the Qi and Shen (Spirit; Spiritual Energy or Force)), this transformative process serves to promote health and prolong life.

Characteristics of Ba Gua Zhang

Ba Gua Zhang or Eight Diagram Palm is a method of boxing that is characterized by footwork, evasive movement and constant change. The actions of the whole body are coordinated with the rotation of the waist and the walking action of the legs. This, combined with relaxation and connection of mind and body, produces an explosive, coordinated power that comes from the unified action of the entire body and is not dependent on the relative strength of the external musculature. Ba Gua’s unique feature is its use of curved steps and its practice of walking around a circle to train the mind and body and develop whole body power. The importance of circle walking is stressed in The Thirty-Six Songs, the oral instructions for correct training handed down through the generations: This palm is quite different from others, It is skillful to walk forward and raise the foot. (Song 12) and Curve the step and straighten the foot to extend forward. Walk like pushing a millstone. (Song 3) Although there are various theories about the origins of Ba Gua Zhang, Dong Hai Chuan is considered by most people to be the founder of Ba Gua. It is not known for certain what martial arts Dong studied in his youth, but there is evidence that he combined martial arts with Taoist meditation practices which involved keeping the mind empty while walking in a circle. Dong was often quoted as saying, “training in 1

Qi has no simple definition. For now, it can be understood as “energy” or “vital force.” Qi also refers to breathing and respiration as well as to mists, fog, air and vapor –things that are perceptible. but intangible. In Chinese medicine Qi is the basis for the body’s activity, but the activity itself is also Qi. Proper or correct Qi maintains and renews the measured orderly changes that comprise normal bodily processes. In the martial arts, Qi has an intimate relationship with the power and movement generated through the muscles and bones in coordination with the breath.

martial arts is not as good as walking the circle.”2 Hence circle walking is considered one of the key exercises in Ba Gua, because it aids in evasion and counterattack and enables one to literally turn the opponent’s corner in combat. In addition, circle walking calms the mind and trains both the spirit and internal energy. The forms and techniques of Ba Gua are manifestations of the principles of whole body coordination or “internal connection.” These internal connections are predicated on using circular and spiral forces to overcome straight line and arced attacks and to concentrate and suddenly release the body’s full power in combat. Further, in both training and combat there is an emphasis on internal stillness while the body is in motion, constantly changing and transforming, able to create infinite techniques seamlessly linked together. That is why it is said that the basic skills of stepping and turning can create “1,000 changes and 10,000 transformations.”

Transformation & Change

This idea of transformation can expressed in many ways. Yin and Yang are concepts commonly used in any discussion of Ba Gua Zhang. In part this arises from the connection of Ba Gua and the Yi Jing (Book of Changes). Combat can be a changing, unpredictable situation. Therefore Ba Gua emphasizes continuous movement, countering and re-countering, and dynamic states of change and transformation. These ideas are often described by using the juxtaposition of opposites: “stillness within motion”; “stand like a nail and move like the wind”; and “firmness and gentleness in mutual assistance.” Another image used by Ba Gua practitioners is that one should “walk like a dragon, turn like a monkey and change like an eagle,” varying the shape, spirit and dynamics of one’s movements. Francois Jullien’s description of the dragon motif in Chinese culture is a beautiful metaphor for this idea of constant change and could easily serve as description of Ba Gua Zhang in action: The body of the dragon concentrates energy in its sinuous curves, and coils and uncoils to move along more quickly. It is a symbol with all the potential with which form can be charged, a potential that never ceases to be actualized. The dragon now lurks in watery depths, now streaks aloft to the highest heavens, and its very gait is a continuous undulation. It presents an image of energy constantly recharged through oscillation from one pole to the other.3 Ba Gua is referred to as the eight Diagram “Palm,” but it does not focus on the palm alone. In fact, every part of the body, fist, palm, elbow, shoulder, head, hip, knee and foot are trained to move and strike freely and continuously. Ba Gua is said to be characterized by “ambushing hands and hidden kicks.” Within the forms and movements are sixty-four hands, seventy-two secret kicks, as well as na fa (ita) (seizing methods), and shuai fa (ita) (throwing methods).

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Pa Kua Chang Journal, The Origins Of Pa Kua Chang. High View Publications: Vol 3, No. 4 May/ June 1993. pp. 25-9. 3 The Propensity of Things: Toward a History of Efficacy in China, Francois Julien. New York: Zone Books, 1999. p151.

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Ba Gua & Military Strategy

Ba Gua Zhang has been likened to guerilla warfare because its chosen tactic is to evade and counterattack, or to escape and let the opponent fall into emptiness. Ba Gua specializes in using footwork to move out of the line of the attack and then counterattacking against the opponent’s weak point rather than confronting him directly. To illustrate this idea, many Ba Gua practitioners are fond of quoting ancient classics on military strategy and Ma Ze Dong’s famous sixteen character poem explaining his tactics of guerilla warfare: When the enemy advances, we retreat! When the enemy halts, we harass! When the enemy seeks to avoid battle, we attack! When the enemy retreats, we pursue! These ideas are also present in many of the oral instructions that are considered critical to understanding and correct training in Ba Gua:

Ba Gua Zhang as a Physical Discipline and Spiritual Path

Although Ba Gua Zhang is a martial art, for many practitioners its most important facet is it ability to promote health and deeper engagement with the world. In this sense Ba Gua Zhang provides a template for integrating body, mind and spirit. The foundation of spiritual health is physical and mental health. Ba Gua emphasis on creating internal harmony and balance self-cultivation of mind and body and adapting to change help one to more easily negotiate life and interactions with others. Ba Gua’s martial tactic of changing with the changing circumstances, or as some people say: “going with the flow,” helps us to understand and adapt to the natural world, and it manifestations within us. The seasons, weather, the harmony of majesty of nature with its cycles of growth flourishing, decay and renewal affect us and move through us. Understanding change also helps us understand how to have a healthy relationship to ourselves and with others, so that we can adapt to different situations and cultures. B a Gua Zhang provides practitioners with an embodied spirituality and philosophy bases on ancient principles that have withstood the test of time and help us as human beings to be in tune with ourselves and the world around us. Regular practice of Ba Gua Zhang develops a singular mindfulness that improves one’ health and approach to living. From a Daoist perspective Ba Gua reconnects us to the “original mind,” an inner knowing or inner wisdom that is outside of analytical thinking mechanisms.

Styles of Ba Gua Zhang

When Dong Hai-Chuan began to teach Ba Gua during the Qing dynasty, many accomplished martial arts practitioners studied from him, including Cheng Ting-Hua, Song Yong-Xiang, Liu De-Kuan, Liang Chen Pu, Yin Fu, Ma Wei-Qi, and Fan Zhi-Yong. It is thought that Dong taught each student somewhat differently according to their natural physical attributes and previous martial arts training, and that later each modified the principles they learned to suit their individual temperaments and abilities. For example, Cheng Ting Hua was already quite accomplished at wrestling and throwing techniques before studying with Dong. Hence, the “Dragon-Claw” palm is the basic palm shape of Cheng Style Ba Gua perhaps because the rounded, stretched shape of the hand makes it more useful for grabbing and pulling opponents off balance in order to throw them. Yin Fu was a thinner man and had studied Lohan Shaolin. Yin 6

Style Ba Gua emphasizes sidestepping and using a piercing palm to attack the opponent’s vulnerable points. Liang Chen Pu studied not only with Dong but also with Cheng and Yin, so Liang Style Ba Gus combines elements of the both Yin Style and Cheng Style. The Styles of Ba Gua Zhang that exist today are listed below. They are generally named after their founders. They all share the same underlying principles: • Yin Style: Yin Fu ( ) • Cheng Style: Cheng Tinghua ( ) • Liang Style: Liang Zhe Pu (!) • Gao Style: Gao Yi Sheng (#) • Beijing Gao Style Ba Gua: Gao Wen Chang () and Gao Zi Ying ( ) • Jiang Style: Jiang Rong Qiao ( ) • Shi Style: Shi Ji Dong () • Song Style: Song Chan Grong 

& Song Yong Xiang () • Fan Family Style: Fan Zhi Yong () • Liu Style: Liu Bao Zhen () • Ma Style: Ma Wei Qi (") • Ma Gui Style: Ma Gui () • Gong Bao Tian Style: Gong Bao Tan ( ) • Sun Style: Sun Lu Tang () • Fu Style: Fu Zhen Song (
 ) • Yin Yang Style ( or Tian Style): Tian Hui () Teachers often study more than one style of Ba Gua during their lifetime. For example, although I have primarily studied with teachers in the Liang Zhen Pu Lineage I have also studied: Beijing Gao Style Ba Gua Zhang (A mix of Liang Style and Yin Style with other elements added), Gao Style Ba Gua Zhang, Wu Jun Shan’s Ba Gua (with Fu Shu Yun) and Jiang Style Ba Gua Zhang.

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History of Liang Zhen Pu Ba Gua Liang Zhen Pu, whose personal name was Chao Ting, was born in 1863 in Chi County of Hebei Province. Liang Zhen Pu began his training with Dong Hai Chuan at the age of fourteen (1877). Dong was a talented teacher and Liang was a dedicated, hard working student, so Liang made quick progress in Ba Gua. He was Dong’s youngest student and purportedly well liked by the other disciples. Since Dong died in 1882, Liang Zhen Pu only studied with him for about five years. Liang was nineteen at the time of Dong’s death. Therefore, most Ba Gua practitioners surmise that he studied and practiced with Dong’s disciples, particularly Yin Fu, Cheng Ting Hua, Liu Feng Chun and Shih Chi Tung. Liang later returned to Chi County and set up the Te Sheng protection service. After the advent of the Chinese Republic in 1911, Liang began to teach martial arts at fourteen middle schools in Chi County. He also taught Ba Gua at the request of the Lu Ping County athletics department. Later he opened up the Kuei Ying protection service. He spread Ba Gua throughout Chi County during his lifetime. Liang Zhen Pu died in 1932 at the age of 69. Of Liang’s disciples, perhaps the best known in Beijing was Guo Gu Min, whose personal name was Te Lin. Guo was accepted as a disciple of Liang when he was twenty years old (1907). Guo GU Min remained a bachelor his entire life and was renowned for his superlative skills in Ba Gua. Guo also studied with Liu De Kuan a famous practitioner of Xing Yi and Ba Gua. Guo’s knowledge of the Ba Gua forms and weapons was deep. Based on this knowledge he reputedly authored the 36 songs and 48 sayings that are now studied by most Ba Gua practitioners. Guo lived in Beijing and Shantung Province, and taught many students. He died in 1968. Some of Guo’s disciples include Wang Shi Tong and Gao Zi Ying, both of whom taught many students in Beijing. Gao Zi Ying had many disciples including Gao Ji Wu and Wang Zi Ping and was friends with many notable boxers including Li Zi Ming. Wang Shi Tong joined Li Zi Ming’s Ba Gua association during the cultural revolution and one of his more well known disciples was Wong Tong who later also became a disciple of Li Zi Ming. Li Zi Ming was born in Chi County, Hebei in 1900. He began to study with Liang Zhen Pu at the age of eighteen. He studied with Liang from 1918 until Liang’s death in 1932. Liang visited Tianjin in 1926 and Liang Zhen Pu introduced him to Ching Yuen, one of Yin Fu’s top students. Li stayed and trained with Ching Yuen. Li also trained with Guo Ge Min as they were school brothers together under Liang Zhen Pu. Over the past several decades, Li Zi Ming and his disciples have spread Ba Gua to over 30 cities in China and many foreign countries including Singapore, Norway, the United States and Australia. Some of Li Zi Ming’s more well known disciples are Vince Black, Zhao Da Yuan, Zhang Hua Sen, Ma Chuan Xu, Wang Tong and Di Guo Yong. After Li Zi Ming's death in 1993, Vince Black and Tom Bisio traveled to China several times to study with Zhang Hua Sen, a senior disciple of Li Zi Ming and former Beijing Opera performer. Zhang had also studied Tai Ji Quan with Wu style practitioner Wu Tu Nan. Additionally, Tom Bisio and Vince Black had the opportunity to research Guo 8

Gu Min's contribution to the Ba Gua Zhang of Liang Zhen Pu through one of his few remaining students, Wang Shi Tong. In more recent years Tom Bisio and other instructors at New York Internal Arts have had the opportunity to work with Gao Ji Wu and his school brothers who teach Beijing Gao Family Ba Gua Zhang, an off-shoot of Liang Zhen Pu Ba Gua. Gao Ji Wu’s grandfather, Gao Wen Cheng, was a disciple of Yin Fu, one of the oldest disciples of Dong Hai Chuan and founder of Yin style Ba Gua. He also became a disciple of Liu De Kuan who purportedly created the 64 Linear Forms (64 Hands). Liu De Kuan and Liang Zhen Pu both taught Guo Gu Min. Although this style does not bear Liu De Kuan’s name, it is clear that Liu De Kuan was an important contributor. Gao Ji Wu’s father, Gao Zi Ying, studied with both Gao Wen Chang and Guo Ge Min. Gao Ji Wu in turn learned from Gao Zi Ying and today teaches Beijing Gao Family Ba Gua in Beijing. Another influential teacher for students and instructors of New York Internal Arts and Internal Arts International is Zhao Da Yuan, a disciple of the great Li Zi Ming. Zhao Da Yuan is famous for his Qin Na skills and for his work training body guards and special forces operatives. Instructors from NYC recently trained with Zhao Da Yuan in Beijing.

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About the Chief Instructor: Tom Bisio

Tom Bisio began his study of the martial arts and Oriental medicine studying karate at age 14. A Black Belt in Isshin Kempo at 17, he continued his study of the martial arts while completing a BA in East Asian studies at Columbia University. During this period, Tom studied the Filipino martial arts of Pekiti-Tirsia Kali under Leo T. Gaje and Old-Style Doce Pares Eskrima under the late Filemon "Momoy" Canete. He competed in full-contact tournaments in New York's Chinatown and tied for first place as Co-Champion in the Senior Instructor Division at the 1st National Arnis Championships in Cebu, Philippines, in 1979. In 1984 Tom began to study Chinese medicine, Xing Yi Quan, Ba Gua Zhang and Tai Ji Quan with Vince Black. Mr. Black is the founder of the North American Tang Shou Tao Association (NATSTA), a national organization whose goal is to promote and research traditional Chinese martial arts and Chinese medicine. Tom also studied Kajukenbo with Vince Black and had the opportunity to train directly under the art’s founder, Adriano Emperado. As a representative, and later as President of the NATSTA, Tom took numerous trips to China and South East Asia where he studied both medicine and martial arts with many different masters including: Zhao Da Yuan, Zhang Hua Sen, Wang Shi Tong (Liang Zhen Pu Ba Gua Zhang); Gao Ji Wu (Beijing Gao Gamily Ba Gua); Li Gui Chang and Song Zi Yong (Xing Yi); Wong Shu Sheng, Ge Guo Liang, Liu Shu Hang and Li Xue Yi (Gao Yi Sheng Ba Gua Zhang). Tom also studied Xing Yi and Ba Gua with Liao Wan Fu (Tian Jin) and Fu Shu Yen (Taiwan). Tom has taught martial arts since 1978. During that time he apprenticed with Chinese herbalists and experts in acupuncture, Qi Gong, Chinese massage and bonesetting. He went on to become a licensed practitioner of traditional Chinese medicine. In 1992 Tom Founded New York Internal Arts (NYIA). At that time classes were held in lower Manhattan. During the day, the space functioned as a clinic specializing in the treatment of trauma and sports injuries. In the evenings and weekends, classes in traditional Chinese medicine, qi gong, and internal martial arts were held late into the evening. Since that time NYIA has evolved into a collective of martial arts instructors in the TriState area and abroad who teach and research the arts of Ba Gua Zhang and Xing Yi Quan. Many of these instructors are also practitioners of traditional Chinese medicine. We partner with Zheng Gu Tui Na, whose instructors keep the most effective traditional Chinese medical practices alive and vibrant in the modern world. This collective has expanded abroad to Europe and Canada and is now called Internal Arts International (IAI) www.internalartsinternational.com. In recent years, Tom and the Instructors of IAI have pursued training in Liang Zhen Pu Ba Gua with Master Gao Ji Wu and Master Zhao Da Yuan. Tom is also a Xing Yi Quan disciple of the late Master Li Gui Chang. He continues to study Li Gui Chang’s Xing Yi with his senior school brother Song Zhi Yong. Song Zhi Yong and Gao Ji Wu are senior advisors to Internal Arts International. For 25 years, Tom headed a busy clinic specializing in trauma and sports injuries. There he oversaw and trained other acupuncturists and a constant stream of students from 10

various acupuncture schools in the Tri-State area who came to observe and assist in the treatments. He has been a guest lecturer at the Tri-State College of Acupuncture and the Seattle Institute of Oriental Medicine, as well the Graduate Program of Oriental Medicine at Touro College. In 1990 Tom and his associate Frank Butler created Zheng Gu Tui Na, a system of orthopedic medicine, which they have taught all in the USA, Canada, Scandanavia and Europe. Tom is the author of several books, including: • A Tooth from the Tiger's Mouth: How to Treat Your Injuries with Powerful Healing Secrets of the Great Chinese Warriors (Simon & Schuster, October, 2004) • The Essentials of Ba Gua Zhang, co-written with Gao Ji Wu (Trip Tych Enterprises, LLC, February, 2007) • Zheng Gu Tui Na, a textbook on Chinese medical massage, co-written with Frank Butler (Zheng Gu Tui Na, LLC, July, 2007) • TheAttacking Hands of Ba Gua Zhang, co-written with Gao Ji Wu (Trip Tych Enterprises, LLC, February, 2010) • Beyond the Battleground: Classic Strategies from the Yijing and Baguazhang for Managing Crisis Situations (North Atlantic Books 2016) (Formerly published as Strategy & Change: An Examination of Military Strategy, The I-Ching and Ba Gua) • Nei Gong the Authentic Classic: A Translation of the Nei Gong Zhen Chuan (Outskirts Press 2011) • Ba Gua Circle Walking Nei Gong: The Meridian Opening Palms of Ba Gua Zhang (Outskirts Press 2012) • The Ba Gua Nei Gong Series: Vols 1-6 • Decoding The Dao: Nine Lessons In Daoist Meditation (Outskirts Press 2013) • Xing Yi Quan Tu Na Si Ba: The Four Breathing Forms of Master Li Gui Chang, by Song Zhi Yong and Tom Bisio (Outskirts Press 2014) • Practical Qin Na Part 1: Explanation of the Qin Na Nine Heaven Secret Text, by Zhao Da Yuan , Edited by Tom Bisio and translated by Tom Bisio and Huang Guo Qi (Outskirts Presss 2015) • Practical Qin Na Part 2: Foundational Training, Techniques and Methods, by Zhao Da Yuan , Edited by Tom Bisio and translated by Tom Bisio and Huang Guo Qi (Outskirts Presss 2016)

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Student Guidelines Class Conduct Classes at New York Internal Arts are conducted in a relaxed atmosphere without rigid rules or rituals. Questions are encouraged - it is important that everyone understand what they are doing and why they are doing it. This often means seeing the big picture; where the techniques and training exercises practiced at one level fit into the whole process of development. Because of the informality of the classes it is important that the training be focused and that the learning time of others be respected. This means no side conversations during class time. If it is absolutely necessary that you converse with someone in the class, take it outside into the hall so that you will not disturb the other members of the class. For the same reason, telephone conversations should be conducted before or after class unless there is an emergency. This also prevents the instructor having to repeat corrections or instructions several times. Try to arrive on time. When you arrive late, someone must stop what they are doing to buzz you in to the building. This takes away from their training particularly when the class is performing Qi Gong, Standing or Ding Shi (fixed posture circle walking). Please be respectful of the process of learning and of the teachers. There is often no One right way to do a technique. Differences in height, weight, and temperament produce variations in the way movements are performed. In some cases, different instructors or assistant instructors do things differently. Therefore, arguing about the way a technique is performed, or accusations that a particular instructor is incorrect in the way that they perform a movement or technique wastes valuable time and accomplishes nothing. In class, work on the technique being presented. If you have a question, ask an instructor. Listen to the answer. You will miss a chance to make valuable observations if you immediately dismiss the other person as wrong. If two instructors do something differently, and you are not sure who is right, ask them in a polite way and they will be happy to resolve the dilemma. You may find that they are both right - the nature of the internal arts is that if people are learning correctly, they will not all look the same, or move in exactly the same way.

How to Learn

It should be possible for someone who trains hard to learn the bulk of the forms and training procedures and understand the process of how to develop the skills of internal boxing training in 4-5 years. Some students may have extensive background in the martial arts or even the internal martial arts. Training methods may contradict what you have learned before. This may particularly be true at the basic levels. You do not have to give up what you know, just put it aside during class time, and be willing to try something a new way. Learning is much easier with an open, uncluttered mind.

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The internal arts are best learned through cooperative effort rather than competition. Any technique, lock, throw, etc. can be countered; particularly in class when we are often practicing a static pre-set response. This is especially true at the basic levels, because often only part of a technique or attack and defense sequence is being practiced. Counters are always anticipated, but you will not be able to learn if you and your partner over-resist each other. Over-resisting can lead to injury. The "see, it doesn't work" attitude is a major stumbling block to learning, for both you and your partner. Because you cannot make something work in the moment does not mean it will not work in the right circumstance, or when your level of skill is higher. Your partner cannot get the feel of the technique if you fight him/her every step of the way. The famous Ba Gua Instructor Li Zi Ming said that progress in understanding Ba Gua could only be made by diligent training with your peers. If possible, get together with other students to review in between classes. It is possible that a student may have more experience in the martial arts than some of the instructors, or possess superior fighting ability. This does not mean that the instructor has nothing to teach you. All the true teachers I have met were able to learn from anyone. I have also trained with legendary "street fighters" who couldn't teach to save their lives. If you can only respect and learn from individuals you are afraid of or who can beat you up, then you are in the wrong school. If someone is really too advanced for a particular level, they may be bumped up to the next level of training. Pay attention to what you are learning. The class is comprised of different people working on assorted exercises or techniques. There is no one order of learning. Knowing more forms and techniques does not necessarily mean someone is more advanced. How much you know is much less important than how well you internalize the movements. Instructors are often waiting to see changes in the internal body motion before teaching more material.

Keep A Notebook

Keeping a notebook is an important aid to learning. Keep a notebook and after class write down various techniques you learned or corrections you received with the date. This is an invaluable way to remember things. Ba Gua is a dynamic art that adapts to the circumstances of the moment, so applications or corrections that happen one day may not be repeated the next class. If one keeps a notebook, it will help you remember techniques and corrections and make it easier for you to practice at home. Don’t forget to review your notebook on a regular basis, to remind yourself or your discoveries. IMPORTANT: From time to time, you may receive handouts, such as a list of exercises, or the names of movements in a given form. These handouts are invaluable aids in learning and remembering. Recopy them into your notebook, put them in a ring-binder or type them into your computer so that you do not lose them. Learn the names of the movements. In the Chinese martial arts, poetic names are given to movements to elucidate a feeling or quality that is integral to that movement. These names will not only help you to understand the movements better, but also serve as shorthand mnemonics for remembering them.

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Practice at Home

Internal martial arts require quiet, solo practice time in which to observe breathing, posture, and alignment; this mainly happens when you practice alone. Class time is to receive corrections, to learn new techniques, forms and training methods, and to get time working with a partner. It is important for each person to practice everyday on their own in order to progress. Again, class time is limited so we must make the most of it.

Other Considerations If you have a physical problem that prevents you from performing movements correctly, let the instructor know and we will work around it or seek to improve the condition, through adjunctive training or even Chinese medical treatments. Disagreements between students or between students and instructors need to be resolved before or after class. We appreciate hearing about what bothers you face to face, rather than hearing about it through a third party. We do have guests who come to observe the class. If the instructor is busy and they enter, please greet them, be hospitable and offer them a seat to observe the class. There are no trial classes so they must observe and talk to an instructor about taking the class. Please clean up your mess, bottles, food, etc.. Keep the bathroom and school clean as we are often guests in the training space and no one else should have to clean up after us.

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General Advice For Training in the Chinese Martial Arts Training in the Chinese martial arts, especially the nei jia quan or internal boxing schools requires diligence and some willingness to understand the rudiments of Chinese thought and language. This does not mean you have to speak Chinese or study Daoism. It does mean that you should acquaint yourself with the basic terminology and concepts of the martial arts and to some degree Chinese medicine. One way to do this is to simply keep a notebook. When terms are mentioned in class write them down. There is a glossary in the back of this training manual to help with terminology, but you may also want to write down the teacher’s explanations when he or she answers questions in class. Each movement has a name, often poetic. Do not dismiss the names as being unimportant. In the Chinese martial arts poetic names are used because they describe the essence of a movement in a succinct and memorable way. The names are images that help to create body patterns. For example to understand “the dragon reveals its claws,” one must understand how the Chinese think about the dragon and what it symbolizes in order to understand the specific intention, purpose and performance the action described by that name. Keep a notebook. Often as you receive corrections and advice, or begin to figure out things on your own, you have realizations that are important. If forgotten they must be rediscovered. By keeping a notebook it is easier to keep track of a correction that helped you progress and your own process of This is particularly important when you miss a day between classes and/or training sessions. Find people to practice with outside of class. Some of the interactive skills require a partner to practice with. Find someone with whom you can practice with some regularity outside of class or between seminars. Also two minds are better than one in researching applications and in correcting one’s movements. Be patient. The beginning levels require a lot of practice and time. Often this is based on having faith in the training process as observable results are sometimes slow to reveal themselves. Plateaus are inevitable and everyone experiences them. Ba Gua can be painful. The twisting spiraling motions literally wring out the fascia, muscles and joints re-aligning them. As one part of the body re-aligns and loosens up it will cause other areas of the body to have to change and accommodate. The body does not like change and will protest. Do not give up the minute something hurts. Try to ascertain what is causing the pain. If a movement feels wrong or harmful, it may be that you have a prior injury or medical condition that makes that movement not right for you, or you may be doing something incorrectly. The internal boxing arts are 50% for health and 50% for self-defense. On a very basic level, this dynamic is evident in the breathing and body alignment practices that form the foundation of the internal martial arts. These practices are said to aid health by improving basic body functions and increased resistance to disease. The same foundational exercises are also used to develop increased efficiency in the underlying 16

mechanics of self-defense movements. The importance of both aspects of the internal martial arts cannot be emphasized enough. Practitioners who focus on one aspect to the expense of the other often fail to achieve their goals, and are disappointed with the results of their training. Don’t be afraid to practice the self-defense skills. Practicing self-defense skills, maintaining efficiency and calm in the face of an attack, prepares us for other outside forces that can so easily affect us, whether they be, irritating noises a stressful work place, or an abusive boss. In some sense, practicing with a partner is like standard resistance training to develop strength. The difference being that rather than merely strengthening muscles, self-defense training forges a strong body, mind and spirit. Through correct self-defense training, the innate resilience of the human organism can be exponentially increased conveying enormous health benefits that are rarely produced by meditation and health exercises alone. Embrace the health promoting aspects of training in the internal martial arts. Practicing only the self-defense aspects of the internal arts can damage health, ultimately weakening the ability to defend oneself. Ironically, this is a self-defeating equation. The hard training that many martial artists endure in order to perfect combat skills can take a serious toll on one’s health and vitality, if not balanced properly with common sense and methods that protect and nurture the health of the body.

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The Ba Gua Zhang Curriculum The complete Ba Gua curriculum is extensive, encompassing many different movements, exercises, techniques, Nei Gong methods, forms, and various weapons. Generally Ba Gua can be divided into four levels. These are not fixed or written in stone, but are rather general guidelines for training and learning. The heart of the Ba Gua Zhang system, the aspects which develop the self defense ability and health promoting effect, are found in the foundational material. The foundational level of training consists primarily of Nei Gong (inner exercise) training. Nei Gong training opens up and correctly aligns and harmonizes the body’s energetic systems as well as the joints, muscles and fascia. Nei Gong training also develops the coordination of body, mind and spirit that critical to correctly learning and performing internal martial arts. Without this foundation the techniques and other methods are like a house or a building built on a weak foundation.

Level 1: Foundational Level The Foundational level consists of six distinct Nei Gong Methods: 1. Zhan Zhuang: Standing Meditation (Stake Standing) 2. Yin Yang Patting and Dao Yin Exercises 3. Qi Cultivation Exercises 4. 12 Advanced Standing Postures 5. Ji Ben Gong: Foundational Exercises 6. Foundational Partner Exercises 7. Crane Stepping & Mud Stepping 8. Ding Shi Ba Gua (Circle Walking Nei Gong) If the foundational material is fully understood and inculcated into one’s everyday body actions and movements then it is much easier to learn and employ the eight palm changes and the advanced movements and applications. One important aspect of this level of training are the foundational partner exercises which help to develop the fundamentals of power generation, striking, parrying, seizing and locking.

Level 2: Core Patterns and Movements

The three pillars that rest upon the foundation and hold up the rest of the edifice (keeping the analogy of a house or building) are the Tian Gan (Heavenly Stem) Nei Gong, and the single and double palm changes. All the other changes and movements emanate from the Tian Gan Nei Gong and these fundamental palm changes. Therefore even the great masters spend most of their time practicing the Circle Walking Nei Gong (Ding Shi), the Tian Gan, and the Single and Double Palm changes. These 3 Pillars, the Old Eight Palms (Lao Ba Zhang), and the various exercises and linear movements associated with the eight palms form the second level of training. The Eight Basic Single Movements, one associated with each of the Eight Lao Ba Zhang changes, are also of critical importance at this level.

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Level 3: Intermediate Forms and Applications

The third level expands upon the eight palms by showing numerous variations and applications (the 64 Hands and 72 Techniques). The 64 Hands (64 Forms), attributed to the great boxer Liu De Kuan, are characteristic of the Liang system and have three levels of performance, which must be carefully developed. However the focus at this level is on smoothly linking techniques and movements into continuous unbroken sequences, all the while turning walking and changing. This is developed through extensive practice of Ba Gua Lian Huan, the chain-linking form.

Level 4: Advanced & Weapons

The fourth level encompasses the advanced Nei Gong methods such as Marrow Washing Nei Gong and Daoist Alchemical meditation, as well as the advanced forms and weapon forms. These forms round out one’s ability and help one develop Ba Gua’s subtle body skills. Each weapon - sword, saber, staff, spear, seven star stick (whip stick), rooster knife, mandarin duck knife, hook-sickle swords, and wind wheel swords develops and emphasizes different body mechanics and power dynamics (Shen Fa). The advanced forms also stress different body dynamics such as smoothly flowing, stepping and striking: the Cloud Swimming Dragon Body, or the ability to fluidly change the intention and spirit of the movements, as in The Pre-Heaven Eight Animal Form. Marrow Washing Nei Gong and Daoist Alchemical meditation further refine the spirit and the vital energy. These levels are not fixed in stone, nor is learning completely sequential. In the Chinese internal arts, learning is circular and recursive. The path to mastery is a constant revisiting, and reexamining of the beginning levels, each time informed by more and more “advanced” principles and methods. Through this recursion, one comes to realize that all the myriad movements and methods lie within the most simple and fundamental actions. This is an on-going process that can continue throughout one’s life.

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LEVEL 1 Foundational Level

Introduction to Level 1: Foundational Level Skill in Chinese Internal Arts relies on the development of a strong foundation of body skills. For this reason, the beginning levels take time and require diligent, repetitive practice, particularly in the standing postures and footwork practice. The legs are the body’s foundation and provide the root for power. The Patting Nei Gong opens and clears blockages in the tissues and the energy channels (meridians), while the Dao Yin exercises regulate the Qi Dynamic. The Qi Cultivation Exercises work in concert with the basic stake standing exercises (standing meditation). Together, Basic Standing (Zhan Zhuang) and Qi Cultivation connect one with the subtle internal body movements. Understanding and feeling these subtle movements is critical to one’s internal development and to learning more advanced skills. The Ji Ben Gong Exercises are employed as a warm up for Ding Shi (Circle Walking Nei Gong) and more advanced practices These “warm up exercises” serve two important functions. They open up the joints and loosen tight areas. This prepares the body for more rigorous exercise while removing restrictions to the natural power dynamic of the body. These exercises also develop basic body alignments and attributes that are specific to Ba Gua. Coordination is difficult at first, akin to patting your head and rubbing your stomach at the same time. This is because the two sides of the body need to be able to perform different but connected actions. At this level, one also engages with basic skills like footwork and simple partner exercises like the seven-star drills, leg trapping drills and the basic parries which develop rudimentary fighting tactics, principles of body positioning and an understanding of lines of power. The fixed posture circle walking (Ding Shi) with the mud-wading step (tang ni bu) is perhaps the single most important skill in Ba Gua Zhang. It might be argued that Ba Gua begins and ends with Ding Shi. The Ding Shi positions, and the changes between them, provide effective basic self-defense techniques and are, at the same time the highest level of self-defense skill – leading the opponent into emptiness. The Ding Shi practice is also the key Qi Gong/Nei Gong skill in Ba Gua Zhang. Regular practice of Ding Shi, Crane Stepping and tang ni bu strengthens and tones the entire body and creates a spiral of qi/breath that ascends up the spine and then descends to store below the navel in the Dantian. Each posture also specifically opens a different meridian or group of meridians thereby activating and stimulating the body’s energy system on a profound level. Ding Shi is the key Yang Sheng (“life nourishing”) practice of Ba Gua Zhang.

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Ba Gua Yin-Yang Patting Nei Gong Ba Gua Yin Yang Pai Da Nei Gong  
 1. Pat the Head 2. Pat the Dantian 3. Pat Up the Centerline ard Chest 4. Pat the Yin side of the Arm: chest to hand 5. Pat the Yang side of the Arm: hand to shoulder 6. Pat the Yang side of the Arm: shoulder to hand 7. Pat the Yin side of the Arm: hand to chest 8. Pat down the Side of Torso to Dantian 9. Pat the Dantian 10. Pat the Belt Channel 2-3x 11. Pat the outer (yang) side of the Legs: from the hips to the feet 12. Pat the inner (yin) side of Legs: from feet to groin 13. Pat around the genitals. 14. Pat Dantian 15. Pat the Belt Channel 2-3x 16. Pat down the buttocks and back of legs to the Achilles Tendon 17. Pat up the deep inside of the legs to the Dantian 18. Pat the Dantian 19. One hand over the other rub Dantian 36 times clockwise and 36 times counterclockwise

Ba Gua Leading-Guiding Life Nourishing Nei Gong Ba Gua Dao Yin Yang Sheng Nei Gong  
 1. Kidney Breathing for 3-9 breaths 2. Click the teeth 36 times 3. Circle the tongue 9 times; gather saliva and swallow in three parts 4. Warm Hands; massage sides of nose 9 times 5. Press the LI 20 (Ying Xiang) acu-points 9 times 6. Use the fingertips to massage around the eyes 9 times 7. Rub palms and use Lao Gong (P 8) point to warm eyes 8. Wash the face with the palms 9 times 9. “Comb” the hair 9 times 10. Massage the GB 20 (Feng Chi) acu-points 9 times 11. “Beat The Sky Drum” 18 times 12. Press Du 15 and Du 16 (Feng Fu) 9 times 13. Grasp up and down the nape of the neck several times 14. Massage the ears 15. Rub up an down in front of and behind the ear 9 times 16. Massage Du 14 (Da Zhui) 17. Hold GB 21 (Jian Jing) 18. Stroke down the front of your throat 9 times 19. Dredge the chest with interlaced fingers and pull them outward 20. Rub the right side and left sides of the chest 9 times 23

21. Stroke the arm meridians 9 times 22. Massage the left and right ribs 9 times 23. Massage Ren 12 (Zhong Wan) with two fingers 9 times 24. Stroke up from the lower ribs up to the chest and then down to Dantian 9 times 25. Massage Dantian in a circle 36 times clockwise and then 36 times counterclockwise 26. Massage the sacrum and the tailbone 9 times 27. Warm Palms and stroke upward from the sacrum to the kidneys 18 times. Hold the kidneys and let the heat of the palms penetrate into them. 28. Rub the knees with the palms, circling outward 9 times and inward 9 times. 29. With the palm center (Lao Gong), massage the KID 1 (Yong Quan) acu-point on sole of each foot 81 times 30. Perform Kidney Breathing 3 times. 31. Stand and massage leg meridians 9 times 32. Relax and breathe into Dantian

Standing Meditation Zhan Zhuang  1.Wu Ji Posture 2. Embrace Posture 3. Ball Floating Posture

Qi Cultivation Exercises Duan Lian Qi Gong 
 1. Rising and Sinking (vertical) 2. Pushing and Pulling (horizontal) 3. Circling Horizontally (right and left circling) 4. Circling Vertically (forward and back circling) 5. Rotating the Sphere (rolling the ball) 6. Opening and Closing (hooking and filing)

Ba Gua Zhang Twelve Standing Postures Ba Gua Zhang Shi Er Zhan Zhuang  1. Posture 1: San Ti Shi 4 . The Old Monk Offers the Alms Bowl Lao Seng Tuo Bo . 2. Posture 2: Hooking Step: Kou Bu 
Hide Flower Under Leaf Ye Di Cang Hua  3. Posture 3: Swing Step: Bai Bu 
Green Dragon Turns Its Head Qing Long Hui Shou   4. Posture 4: Hawk Step: Ying Bu 
Hawk Overturns Its Body Yao Zi Fan Shen 

4

This is the Ba Gua Zhang equivalent of Xing Yi Quan’s “Three Body Posture” (San Ti Shi) .

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5. Posture 5: Sitting Step: Zuo Bu  Black Dragon Searches the Sea Hei Long Tan Hai   6. Posture 6: Resting Step: Xie Bu  Yin Yang Coiling Dragon Yin Yang Pan Long 

7. Posture 7: Balance Step: Ping Heng Bu  Wing Spreading Flying Palm Zhan Chi Fei Zhang  8. Posture 8: Single Standing Step: Du Li Bu  White Ape Offers Peach Bai Yuan Xian Tao 
 9. Posture 9: Crouching (Falling) Step: Pu Bu  Dragon Crouches on Ground Shen Pu Di Long  

10. Posture 10: Bow Step: Gong Bu
 Embrace the Moon to the Breast Huai Zhong Bao Yue  11. Posture 11: Horse Step: Ma Bu  Three Plates Fall to the Ground San Pan Luo Di   12. Posture 12: Empty Step: Xu Bu  Qi Lin Spits Out the Book Qi Lin Tu Shu 

Linking the 12 Postures 1. From the natural stance: Step right foot out and pierce outward with the right hand to form a right Old Monk Offers Alms Bowl Posture (San Ti Shi). 2. The right foot half-steps forward and then the left foot steps to Kou Bu (Hook Step) and form Hide Flower Under Leaf. 3. Step left foot out in Bai Bu (Swing Step) as the arms turn and press outward to form Green Dragon Turns Its Head. 4. Step forward with a right Kou Bu (Hook Step), push the right hand forward and turn back 180 degrees as the left hand spirals overhead lift and hang the left leg inward to form the Hawk Posture: Hawk Overturns its Body. 5. The arms pull downward and the left leg extends. Pause. This transitional position can also be held as a standing posture. Then set the left heel on the floor and bend to form the Sitting Step: Black Dragon Searches the Sea as you stretch yourright hand along the left leg and left hand rises behind you in a hook shape. 6. Rise with arms extended, keeping weight on right leg with the left heel resting on floor. Twist leftward to form the Resting Step: Yin Yang Coiling Dragon.

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7. Rise up and step the right foot to Kou Bu (hook step) to turn back and form the Balance Step: Wing Spreading Flying Palm with weight on right leg and left leg extended out, right hand pointing back and left hand pointing forward. 8. Straighten the body and lift the left knee to form the Single Standing Step with White Ape Offers the Peach. 9. Step the left foot down in Kou Bu (hook step) as you turn back and the right leg extends out with the weight sitting on left leg to form Pouncing Step: Dragon Crouches on the Ground. 10. Shift weight forward to right leg to form the Bow Step: Embracing the Moon to the Breast. 11. Shift weight back to form the Horse Step: Three Plates Fall to the Ground. 12. Turn left and drill the right hand outward with the left foot empty to form the Empty Step: Qi Lin Spits Out The Book. Step out with the left foot and pierce outward with the left hand to form a left San Ti Shi: Old Monk Offers the Alms Bowl. Now repeat the sequence on the opposite side

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The 28 Ji Ben Gong Foundational (“Warm Up”) Exercises Ji Ben Gong 
1. Yin Yang Meridian Patting Method 2. Rotation Of Joints •

Gaze at the Heel

•

Cock Pecking Rice

•

Rotating the Hips Strengthens the Kidneys

•

Hula Hips

•

White Crane Rotates the Knees

•

White Crane Flexes the Knee

•

Rotating the Ankle

3. Inward Hanging Leg 4. Outward Hanging Leg 5. Spring Leg (Toe Kick) 6. Filing and Cutting Leg •

Basic

•

Lift and Cut

7. Forward Stomping Leg 8. Backward Stomp as Hands Push Forward 9. Pouncing Step 10. Standing Snake Body 11. Slapping & Flicking Hands •

Single

•

Double

12. Three-Way Slapping 13. Body Slapping High & Low 14. Rotating Arms in Opposite Directions 15. Windmill Arms 16. Grasp Empty Hands 17. Twisting Shoulders/Changing Palms (Lengthen Tendons/Pull Bones) •

Arms Only

•

Whole Body 27

18. Serving Teacup Exercises •

One Hand (Open; Cover ; Coil; Pierce)

•

One Hand (Chop; Coil; Swing Across; Open)

•

Tea Cup with Both Hands Moving in Opposite Directions – End in Pierce

19. Drawing Hand 20. Front & Back Piercing Hand 21, Upper Drawing Hand 22. Guiding Hand 23. Drilling and Pulling Hand 24. Piercing Palms 25. Picking Hand 26. Hiding Flower Under Leaf 27. Drill Upward & Millstone Posture 28. Shake & Vibrate Body

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Basic Footwork Exercises

1) Plum Blossom Stepping: Hourglass Stepping 2) Plum Blossom Stepping: Figure 8 Stepping 3) Kou Bu Bai Bu Linear Exercise 4) Basic Tang Ni Bu: The Slow Walk 5) Crane Stepping (He Xing Bu) 6) Phoenix Walk

Ba Gua Circle Walking Nei Gong (Ding Shi Nei Gong) 
 1. Downward Sinking Palm (Fierce Tiger Descends the Mountain) 2. Moon Embracing Palm 3. Mountain Pressing Palm (Double Bumping Palm) 4. White Ape Offering Fruit Palm 5. Heaven Upholding Palm 6. Ball Holding Palm (Lion Plays With Ball) 7. Spear Holding Palm 8. Heaven Pointing Earth Penetrating Palm (Heaven & Earth Palm) 9. Yin Yang Fish Palm (Yin Yang Palm) 10. Millstone Pushing Palm (Green Dragon Extends Claws)

Ding Shi Stepping Patterns 1. 2. 3. 4.

Basic Turn – Kou Bu to Inside Basic Turn – Kou Bu Outside Bai Bu Inside and Outside Three Step Turn

Foundational Exercises & Partner Drills I. Piercing Palm Exercises: Solo 1) Stationary • Palm Up • Vertical • Palm Down • Piercing/Shearing 2) Forward & Back (2 Step) 3) Forward & Back (3 Step) 4) Dodging 3 Step: Forward & Back 5) Side to Side 6) Plum Blossom Triangles

II. Piercing Palm Exercises: Partner 1) 2) 3) 4) 5)

One Step Forward and One Back Line Forward & Partner Retreats Dodging Forward & Back Side to Side (3 pierces) Flat Pierce – Advance and Shear

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III. Seven Star Drills

1. 3 Count Drills • Stationary • Spinning • With turn pierce with elbow and slap chest elbow strike 2. 6 Count Drills • Basic 4 • Basic 6 • Basic 6 – move on outside • Basic 6 move and spin on outside • Basic six move on each – trap legs • w/ shoulder stroke (and foot sweep) • w/ hip strike • triangle stepping hip strike • w/ foot switch and break arm • w/ millstone change from low to grab shoulder • w/ low palm strike counter w/ arm bar • w/ high attack, pivot and throw 3. Palm Slapping

IV. Leg Trapping Drills • • • •

Inside kou bu – outer reap - inside kou bu Inside kou bu – outside bai bu –inside kou bu Combine previous exercises Free-style leg trapping

V. Parry Drills

1. Basic • Straight Punches: Shearing Palm Up or Down • Hooks: Elbow lift or lift arm • Low Hooks: Cut Down • Uppercuts: Drill Upward 2. Parry and Pierce (sweeping parries) 3. Parry and Counter • Parry Straight Punch and Palm Strike to Face • Parry Hook and Palm Strike to Face • Parry Upper Cut and Upper Cut with Knuckle to CV 23 • Parry Low Hook & Chop Neck 4. Wedge vs. Grabs • High Wedge Inside (heaven uplifting) w/ Kick • High Wedge Outside (heaven uplifting) w/ Double Pierce • Low Wedge w/ Double upward Palm Strike (monkey offers fruit) 5. Ten-Count Parry Drill 1. Parry Straight Punch (shear) 2. Parry Straight Punch (shear) 3. Parry Hook (lift arm) 4. Parry Hook (lift arm) 5. Parry Uppercut (drill upward) 30

6. Parry Uppercut (drill upward) 7. Parry Low Hook(cut down) 8. Parry Low Hook (cut down) 9. Stop High Grab (high wedge) 10. Stop Tackle: (low wedge)

VI. Na Fa Seizing Exercises

1. Grabbing Wrist Exercises • Pull • Push 2. Break Grabs w/ Chin Na Entries • Cross grab – Golden Threads Wraps Wrist • Same Side Grab – Clouds Follow Coiling Dragon • Same Side Grab – White Horse Rolls Leg • Reverse Same Side Grab – Hide the Flower to attack elbow • Cross Grab- Turn into Arm Bar • Cross Grab – Dragon Waves Tail into Galloping Horse Looks Back (Outer Wrist Lock) • Double Wrist Grab – Turn to Hide Flower

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Foundational Level: Tips For Practice 1. Practice the Yin Yang Patting in the morning to open up the meridians and activate and concentrate the qi. The Dao Yin exercises are an important first step in Qi Cultivation. They can be done before patting or later in the day. 2. After Yin Yang Patting, practice the Standing Meditation postures (Zhan Zhuang) daily to develop relaxation, alignment, stamina power and root. Gradually increase the standing time in embrace Posture to 15-20 minutes. 3. After Zhan Zhuang, practice the Qi Cultivation Exercises. Alternatively try doing Qi Cultivation first and then experience a subtler version of the same movements spontaneously occurring inside the body as you hold the Zhan Zhuang Postures. 4. The Ji Ben Gong exercises are critical to the practice of the more advanced methods. Many of these movements and body dynamics appear again and again throughout Ba Gua training. They are also the basis of many of the martial techniques and so must be completely mastered. Use them as part of your daily warm up following the Dao Yin exercises and before practicing other skills. 5. Practice the footwork drills and Piercing Palm exercises as much as possible. 6. Ding Shi Ba Gua Zhang (fixed posture circle walking) is the key Nei Gong Practice which teaches proper circular stepping, and builds internal strength. Once you learn them, practice the walking postures on the circle at least 5 times a week. 7. One can also do Standing in the morning and Ding Shi later in the day. These two practices are the key foundational practices for more advanced training. 8. Add in practice of the 12 Standing Exercises. These are another type of Qi cultivation training that also develops the twisting spiraling power that is used in Ba Gua. They also develop strength and stability in the joints. 9. Practice Ding Shi around a post, a stake in the ground or a tree. As you walk you can spiral inwards narrowing the circle and spiral outwards widening it. When practicing with the post, keep your attention on it even when you are not facing it directly. 10. Try and get together outside of class to master the parry drills, foot trapping and the 7-Star Drills until they are reflexive. 11. If you do not have a partner then visualize the applications and partner work and perform the 7 Star Drills, na fa skills and parry drills in the air like shadow boxing. Some of these exercises, like piercing palms, Seven Star and leg trapping drills, can be practiced against a post. A very good morning practice session can consist of: • Dao Yin – 10 minutes • Standing and Qi Cultivation: 20-30 Minutes 32

• • •

Ji Ben Gong: 15-20 minutes 12 Standing Postures: 10 minutes Ding Shi: 20-30 minutes

Total: 1 hour and 15 minutes to 1 hour and 40 minutes

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34

LEVEL 2 Core Patterns & Movements

Introduction to Level 2: Core Patterns and Movements The key elements in Level 2 are the three pillars mentioned earlier: 1) The Tian Gan (Heavenly Stem) Exercises build on the basic warm-ups, but more specifically develop torsional winding or “silk reeling” power. These exercises wring out the spine, section by section and then develop integration of the spinal movement with the movement of the ribs, legs and waist. As the Du Channel runs through the spine, the Tian Gan exercises help to remove blockages which impede the upward and downward movement of the Qi. 2) The Single Palm Change is the basis of all the other changes and movements in Ba Gua. The Single Palm Change Zhan Zhuang (standing exercise) is essentially the opening movements of Lao Ba Zhang. It is also an excellent practice method to develop the power dynamics of the Single Palm Change. 3) The Double Palm Change is an extension of the Single Palm change which works with more complex internal spirals and circles. The Single and Double Palm Changes develop the coordination of the feet and hands while stepping, wrapping and turning smoothly. It is said by many practitioners that the Single and Double Palm Changes contain all other changes and can be expanded to perform infinite changes and transformations. This level also introduces some other key elements which continue the development of Body Skills (Shen Fa) and foundational martial skills: 4) The Basic Linear Movements teach basic self-defense principles, including lines of power, direct and indirect attacks, and bridging movements. Because each linear movement is an abbreviated expression of one of the basic eight circular palm changes (Lao Ba Zhang), they can be combined with the circular palms to produce a wide variety of defensive and counter-attacking tactics. 5) Lao Ba Zhang (Old Eight Palms) circular palm changes which develop variations of the foundational single and double changes. The Single and Double palm changes comprise the first two palms of Lao Ba Zhang. The other six combine single and double changes with different types of footwork and changes that emphasize the eight directions and six facings: front, back, up, down, turning leftward and turning rightward. These Eight Palm Changes are the heart of the Liang system of Ba Gua Zhang. 6) Elements of the Four Methods of Attack and Defense are also introduced at this level in order to develop foundations for the various aspects of the art of Ba Gua, which include striking (da fa) seizing and locking (na fa or qin na ), kicking (ti fa), and throwing (shuai fa). To this end methods of controlling, locking and striking with the elbow, basic kicking skills, falling skills (a pre-cursor to the practice of throwing) and various qin na locking, joint seizing methods are introduced in order to build a foundation for more advanced techniques. 36

Single Palm Change Zhan Zhuang • • •

Old Monk Hold Out the Alms Bowl Hide Flower Under Leaf Millstone Pushing Posture

Single and Double Palm Changes of Gao Ji Wu Single Palm Change  (Dan Huan Zhang) • Double Palm Change
 (Shuang Huan Zhan) •

Lao Ba Zhang (Old Eight Palms) 
 Opening 1. Old Monk Hold Out the Alms Bowl (Lao Seng Tuo Bo ) 2. Hide Flower Under Leaf (Yi Di Cang Hua   ) 3. Hawk Spirals up to Heaven (Yao Zi Zuan Tian $"#) 4. Millstone Pushing Posture (Tui Mo Zhang  )

1. Single Palm Change – Piercing Palm 



 Dan Huan Zhang (Chuan Zhang)

1. Millstone Pushing Palm (Tui Mo Zhang  ) 2. Shepard Boy Points the Way (Mu Zi Zhi Lu
"!) 3. Hawk Penetrates the Forest (Yao Zi Chuan Lin $" 4. Hide Flower Under Leaf (Yi Di Cang Hua   ) 5. Hawk Spirals up to Heaven (Yao Zi Zuan Tian $"#) 6. Millstone Pushing Palm (Tui Mo Zhang  )

2. Double Palm Change – Hand Covering Palm


( ) Shuang Huan Zhang (Gai Shou Zhang)

1. Millstone Pushing Palm (Tui Mo Zhang  ) 2. Shepard Boy Points the Way (Mu Zi Zhi Lu
"!) 3. Hawk Penetrates the Forest (Yao Zi Chuan Lin $" 4. Pick Off the Helmet from Behind the Head (Nao Hou Zhai Kui  ) 5. Horse Rings the Bell (Ma An Ling Sheng ) 6. Hawk Penetrates the Forest (Yao Zi Chuan Lin $" 37

7. Hide Flower Under Leaf (Yi Di Cang Hua ) ) 8. Hawk Spirals Up to Heaven (Yao Zi Zuan Tian .,-#)

9. Millstone Pushing Palm (Tui Mo Zhang $+) 3. Body Turning Palm (Hidden Hand Palm) +'+Hui Shen Zhang (Yan Shou Zhang) 1. Millstone Pushing Palm (Tui Mo Zhang $+) 2. Hidden Hand Sweeping Strike (Yan Shou Sao Zhang
'+) 3. Hide Flower Under Leaf (Yi Di Cang Hua ) ) 4. Hawk Spirals Up to Heaven (Yao Zi Zuan Tian .,-#) 5. Millstone Pushing Palm (Tui Mo Zhang $+)

4. Body Splitting Palm + Pi Shen Zhang 1. Millstone Pushing Palm (Tui Mo Zhang $+) 2. Tai Shan Presses Down the Head (Tai Shan Ya Ding "&) 3. Hawk Penetrates the Forest (Yao Zi Chuan Lin .,  4. Tai Shan Presses Down the Head (Tai Shan Ya Ding "&) 5. Hawk Penetrates the Forest (Yao Zi Chuan Lin ., 
6. Hide Flower Under Leaf (Yi Di Cang Hua ) ) 7. Hawk Spirals up to Heaven (Yao Zi Zuan Tian .,-#) 8. Millstone Pushing Palm (Tui Mo Zhang $+)

5. Opportunity Seizing Palm !+ Shun Shi Zhang 1. Millstone Pushing Palm (Tui Mo Zhang) 2. White Snake Coils Its Body (Bai She Chan Shen  ) 3. Hang the Golden Bell Upside Down (Dian Dao Jin Ling
) 4. Wave Body, Step & Pierce Downward (Yao Shen Chuan Xia ( %) 5. Double Spreading Arms (Shang Zhang Ge Bei
*) 6. Three Plates Fall to the Ground (San Pan Luo Di  ) 38

7. White Tiger Shakes Its Tail (Bai Hu Yao Wei )#) 8. Iron Plated Boot Kicks the Chest (Tie Xue Chuai Xiong
(5') 9. Walk a Circle in the Uplifting Heaven Palm (Zou Tuo Tian Zhang
1 -) 10. Slowly Change to the Millstone Pushing Palm (Tui Mo Zhang -)

6. Step Following Palm - Shun Bu Zhang 1. Millstone Pushing Palm (Tui Mo Zhang -) 2. Shepherd Boy Points the Way (Mu Zi Zhi Lu
0.) 3. Hawk Penetrates the Forest (Yao Zi Chuan Lin 40 4. Ten Ton Weight Falls to the Ground (Qian Jin Zhui Di  / ) 5. Rhinoceros Gazes at Moon (Xi Niu Wang Yue $",) 6. Hide Flower Under Leaf (Yi Di Cang Hua *  ) 7. Hawk Spirals Up to Heaven (Yao Zi Zuan Tian 402) 8. Millstone Pushing Palm (Tui Mo Zhang -)

7. Palm #7: Yielding Body Palm or Downward Dropping Palm (Slicing Palm) - (&-) Rou Shen Zhang (Xiao Zhang) 1. Millstone Pushing Palm (Tui Mo Zhang -) 2. White Snake Coils It Body (Bai She Chan Shen ) 3. Pierce The Palm Downwards (Chuan Zhang Wang Xia -!%) 4. Slice Left & Right (Zuo You Xiao Zhang
3+&-) 5. Hide Flower Under Leaf (Yi Di Cang Hua *  ) 6. Hawk Spirals up to Heaven (Yao Zi Zuan Tian 402) 7. Millstone Pushing Palm (Tui Mo Zhang -)

8. Flat Piercing Palm (Testing Palm) -
(-) Ping Chuan Zhang (Tan Zhang) 1. Millstone Pushing Palm (Tui Mo Zhang -) 2. Four Dragons Drawing Water (Si Long Dao Shui ) 3. Flat Piercing Palm (Ping Chuan Zhang -) 39

4. Horizontal (Upward) Chop to the Rear (Heng Kan Hou Mian
) 5. Hawk Penetrates the Forest (Yao Zi Chuan Lin -+  6. Hide Flower Under Leaf (Yi Di Cang Hua & ) 7. Hawk Spirals Up to Heaven (Yao Zi Zuan Tian -+,) 8. Millstone Pushing Palm (Tui Mo Zhang "))

Eight Linear Movements (Ba Shou) 1. Uplifting Palm

) Tiao Zhang

2. Yin Striking Palm  (') ) Liao (Yin) Da Zhang 3. Opening Palm ) (Kai Zhang) 4. Wind Wheel Chopping Palm ) Feng Lun Pi Zhang 5. Heaven & Earth Palm  ) Tian Di Zhang 6. Ten Ton Weight Falls to the Ground & Rhino Gazes at the Moon  (Qian Jin Zhui Di) $#( (Xi Niu Wang Yue) 7. Insert the Flowers Under the Armpit & Phoenix Enters the Nest %* () (Cha Hua Ye Zhou) .! (Dan FengTou Chao) 8. Face Slapping Palm: Vertical & Horizontal ) (Pai Mian Zhang)

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The 16 Tian Gan Exercises 1. Sword Hand 2. Diagonal Chop 3. Covering Hand Palm •

basic covering palm

•

covering palm with chicken head

4. Reverse Covering Palm 5. Drill and Pull •

cross body drill and pull

•

forward drill and pull

7. Piercing Palm 7. Hawk Penetrates the Forest 8. Tiger Plays with Ball (Rolling Upward) 9. Rolling Back-Fist •

3 count rolling back-fist

•

2 count rolling back-fist

•

continuous rolling back-fist

10. Bursting Fist 11. Shoulder Roll (2 Directions) 12. Cobra Out Of Basket 13. Drill & Chop 14. Spiral Upward & Press Downward 15. Moving The Mountain 16. Rocking Horse With Three Roots •

rocking horse with downward pressing

•

rocking horse with pushing

•

rocking horse with coiling and piercing

41

Miscellaneous Single Movement Exercises

1. Walk Forward & Scissor Kick - 3 Styles • lead poke and kick • rear poke and kick • pull and kick 2. Pulling Hand & Piercing Kick 3. Rolling Chopping Hand 4. Bumping & Pushing 5. Chopping Hand With Tiger Push 6. Chopping Hand With Two Palm Strikes 7. Walk Forward & Flicking Fist (and with backfist) 8. Dragon Body 9. Immortal Sifts The Rice 10. Walk Forward With Lion Holds The Ball 11. Paddle Wheel Arms & Millstone Sweep 12. Picking Hand With Step

Kicking: Developmental Exercises:

1. Crane Step 2. Phoenix Walk 3. Lift Leg, Scoop Step and Bai Bu Stepping

Stationary Kicking Drills 1. Straight Kick 2. Diagonal Kick 3. Inward Crescent 4. Outward Crescent 5. Inward Hanging Leg 6. Sweeping Kick 7. Pull and Knee 8. Upward Kick 9. Turn and Back Kick

Kicking Drills

1. Drill and Pull with Basic Ba Gua Kick 2. Drill and Pull with Wrist Wrap and Stomp Kick 3. Drill and Pull with Stomp Kick to Outward Cutting Kick 4. Two Hand Pull and Inward Hanging Leg 5. Drill and Pull and Upward Kick 6. Drill and Pull with Covering hand and Sweep 7. Double Pull with Upward Scraping Kick and Down Stomp Step 8. Swing Arms with Outward Crescent Kick 9. Pull and Knee Strike 10. Cover and Inward Knee Strike 11. Basic Ba Gua Kick; Inward Crescent Kick; Back Kick 12. Drill and Pull with Stomp Kick; Inward Slicing Kick; Spin and Spin with Downward Scraping Kick 13. Run Away Back Kick; Turn Cover Leg; Sweep; Spin and Outward Cutting Kick 42

14. Drill Grab and Cover and Sweep Kick Outward Cutting Kick w/ same leg 15. Figure Eight Stepping with Kicks and Knee

Six Basic Wrist Qin Na I. Opposite Side Grab 1. Departing Horse Looks Back (Zou Ma Hui Tou
 ) or Golden Rooster Nods Head 2. Golden Threads Entangles the Wrist (Jing Si Chan Wan
)
3. Uphold the Spear to Strike the Tiger (Tuo Gun Da Hu  ) II. Same Side Grab 1. Clouds Follow the Coiling Dragon 2. White Horse Rolls its Hoof 3. Hook and Hang Up the Jade Bottle

Wrist Qin Na Variations I. Principle of White Horse Rolls its Hoof or Immortal Child Points the Way (Xian Tong Zhi Lu ) 1. Wrist Grab Using Elbow (Xiang Zi Carries the Basket) 2. Lapel Grab 3. Shoulder Grab: Phoenix Ties Wings (Feng Huang Shu Chi ) 4. Elbow Grab 5. Throat Grab

II. Principle of Hook and Hang Jade Bottle 1. Breaking a Low Grab (same side) 2. Upper Arm Grab 3. Waist Grab

III. Principle of Overturn Heaven’s Seal (Fan Tian Yin
) 1. 2. 3. 4.

Forearm Against Either Arm Above Elbow (Reach under and turn Body) Chest (with Elbow control and twist) – Hang The Heavy Flag on the Post Head/Hair

Elbow And Shoulder Qin Na

1. Basic Arm Bar (Hide Flower Under Leaf) – Blunt Sickle Harvests Grain (Dun Lian Ge Gu) 2. Embrace Moon to the Breast (Hide Flower Under Leaf) 3. Under Elbow Wrench (Hide Flower Under Leaf) 4. Varus/ Valgus Elbow Wrenches (Sparrow Hawk Spirals and Millstone) 5. Single Palm Change (Sparrow Hawk Spirals and Millstone) 6. Bent Arm Lock (Covering Palm) 7. Making the Figure 10 (Covering Palm) 8. Climb Tree to Break the Branch: (Pan Gua Zhe Zhi ) - (Sparrow Hawk Spirals and Millstone) 43

1. Golden Threads Wraps the Wrist

2. White Horse Rolls Its Leg 3. Tying the Phoenix’s Wings (lapel grab) 4. Galloping Horse Looks Back (outer wrist lock) 5. Clouds Follow Coiling Dragon (drill and pi) 6. Step Back and Lead the Sheep (reverse outer wrist lock) 7. Golden Bracelets 8. Basic Arm Bar 9. Hammerlock 10. Embracing Yang/Gathering Yin (gooseneck) 11. Raise the Spear to Kill the Tiger 12. Embrace Pi Pa in Arms 13. Thousand Catty Finger 14. Finger Locks 15. Old Pine Leans Over (figure 4 lock) 16. Lapel Grabs

Lead; Seize and Pull Drills

1. Basic Pressing Shoulder 2. Pulling and Stepping with Arm Bar 3. Wrist Radius Head Qin Na with Stepping 4. Pulling an Stepping with Arm Bar and Poke

Eight Linking Qin Na: Eight Comprehensive Grasping-Seizing Form (



Ba Ba Zong Na) 1. Oriole Grabs the Throat (Huang Ying Qia Su %&) 2. Xiang Zi Carrying a Basket (Xiang Zi Kua Lan
#) 3. Overturn Heaven’s Stamp (Zheng Fan Tian Yin ! ) 4. White Horse Rolls Its Hoof (Bai Ma Gun Ti ) - also called Golden Rooster Nods Head (Jin Ji Dian Tou  ) 5. Golden Threads Entwine the Wrist (Jin Si Chan Wan
) 6. Embrace the Moon to the Breast (Huai Zhong Bao Yue "

)

7. Galloping Horse Looks Back (Zou Ma Hui Tou $) 8. Golden Cicada Sheds its Skin (Jin Chan Tuo Qiao ) or use Overlord Drives the Chariot (Ba Wang Jia Che  )

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Basic Elbows: Stationary 1. 2. 3. 4. 5. 6. 7. 8.

Upward Striking Elbow Backward Striking Elbow Lateral Striking Elbow Wing Spreading Elbow Inward Wrapping Elbow Upward Lifting Elbow Downward Dropping Elbow Body Embracing Winding Elbow

Ba Gua Zhang Eight Attacking Elbows 
Ba Gua Zhang Ba Gong Ji Zhou 1. Double Stretching Elbow 2. Chest Embracing & Pouncing Elbow 3. Turn the Body & Sit (Lower) the Elbow 4. Turn the Body & Cover with the Elbow 5. Walk Forward & Lift the Elbow 6. Turn the Body & Explode the Elbows Backward 7. Withdraw the Body & Pierce the Elbow 8. Queen Wang’s Thread Winding Elbow

Slap Away Millstone Exercises

1. Basic • from side • from above 2. With Foot Trap 3. Step in with Clothes Line 4. Step in with yin strike/shoulder strike 5. Step back w/ Rotary Throw

Spinning Exercises 1. Push to Chest & Spin 2. Push from Outside and Spin 3. Continuous Spinning

Winding/Entangling Hand Throws & Techniques 1. Piercing and Entangling

2. Outside Position on Neck: Neck and Elbow Rotary Throw 3. Inside Position on Neck: Bump and Backward Hip Throw 4. Low Position: Pierce Low, Grab Collar and Hip and Pivot to Throw 5. High Position: Pierce to Eyes, Turn and Lock Elbow with Forearms 6. Deep Entwine and Step Behind to Monkey Cleaning Teeth 7. Entangle and Outer Wrist Throw (add Figure Four Throw) 8. Entwine and Turn into Arm to Block and Break Shoulder 9. Entwine and Outer Wrist lock to Wrapping and Grab Throat 10. Entwine and Slap Face with Left and Pull Arm Attack Elbow step Across and Throw 45

Falling Skills 1. 2. 3. 4. 5. 6.

Rolling Front Rolling Back Side Break-Falls Back Break-Fall Rolling Sideways Front Breakfall

Seizing Hand Locks and Throws

1. Wrist Seizing Hand and Twist Wrist: left hand rotates pinky side upward 2. Elbow Seizing Hand: Forearm controls his elbow and step across throw 3. Shoulder Seizing Hand: Seize Armpit and left hand slips to hammerlock as block leg

Ba Gua Throwing 1. Rotary Throw 2. Leg Pickup Throws • Inside • Outside 3. Clothesline Throw • Outside: w/Hip Displacement Throw • Inside 4. Yin Yang Throws • Classic Yin Yang Palm Throw • Outside Yin Yang Palm Throw 5. Downward Pressing Palm Throw • Basic • Phoenix Throwing Wing 6. Monkey Cleaning Teeth 7. Single Palm Change Throws 8. Double Palm Change Throw (scoop legs) 9. Ten Ton Weight Falls to Ground • Straight • Side-Holding Upper arm • Cross Body

Circling Piercing Palm Exercises

1. Pierce Palm Up 2. Three Piercing Palms 3. Three Piercing Palms w/ Lotus Kick • catch leg and throw 4. Three Pierces; Pull partner across circle and walk • clothesline if resists 5. Three Pierces and enwrapping Arms as walk 6. Enwrapping Arms with turning and spinning

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Core Patterns and Movements: Tips For Practice 1. Continue to perform the warm-ups, followed by stake-standing and Ding Shi as much as possible. Add in the 12 Stake Standing Exercises. Follow them with a few minutes of the Qi Cultivation Exercises. If time is short, do less repetitions of each exercise so that you can spend time on the Tian Gan exercises. 2. The opening to Lao Ba Zhang can be done as a Qi Gong Exercise or more smoothly thinking about applications. Practice both ways and spend time perfecting the stances and positions of each of the three postures. Pause holding the Old Monk Holds Out the Alms Bowl Posture, the Hiding Flower Under Leaf Posture and the Millstone Posture. This can be a type of stake standing exercise. This will prepare you for the next level. 3. Crane Stepping is a key exercise for developing a light quick step. Additionally it is important in developing kicking skills, so it should be practiced until it is comfortable. Gao Ji Wu recommends 20-30 minutes at a time. When practicing crane form stepping, keep the body level – don’t bounce up and down. If necessary balance something on your head (a plastic cup) to make sure your stepping is level and smooth. 4. Practice Tian Gan as part of the warm-ups. The Tian Gan exercises are very important in developing winding power and torsion power. Because the Tian Gan exercises develop the ability to use the waist to generate torsional spiraling power and free the spine of restrictions to turning, twisting, extending and flexing. In this sense they can be said to “wring out” the spine. They also develop the so-called “silk reeling power,” used to off-balance, lock and strike the opponent If possible perform 10-20 repetitions of each, in the order they are listed, before practicing Ding Shi or Lao Ba Zhang. They are practiced in that order because each exercise builds on the exercises that preceded it. If time is limited, practice the ones that you have the most difficulty with. 5. The Single and Double Palm Changes are the key to Lao Ba Zhang (the Old Eight Palms) and more advanced techniques. Practice them until they are smooth and fluid. After Ding Shi practice the body is connected and stable – this is a good time to practice the Single and Double Palm Changes of Gao Ji Wu. These changes help develop winding and wrapping energy while changing and stepping. 6 Practice the Eight Linear Movements frequently in lines and stepping forward and back. Get comfortable with performing them with different types of steps. 7. Practice Lao Ba Zhang slowly and precisely, feeling the actions of coiling and drilling, embracing/wrapping and pressing/separating. 8. In practicing Lao Ba Zhang, pay attention to the turning of the waist. The actions of the arms come from the steps, the folding of the kua (inguinal area) and the turning of the waist. 9. Practice the Qin Na/Na Fa techniques as much as possible outside of class. If you have no one to practice with, visualize the techniques and perform them in the air. Always remember to use the idea of initiating movements from the body and not the 47

hand, as in Black Dragon Waves its Tail and Hiding Flower Under Leaf (ning-twist; guowrap) & Sparrow Hawk Drills Up to the Sky and Lone Goose Leaves the Flock (zuandrill; fan-overturn). If you are wrestling with your partner or using muscular strength, stop, relax and analyze what is wrong. Perfect as many Qin Na methods as you can. Imagine grabs and how you might neutralize them 10. Rolling and Falling is an important skill. Practice whenever you can. Make the rolls slow and smooth. 11. Keep in mind that ultimately Ba Gua is really just a set of principles that are learned through the basic training methods in the beginning level. These key principles and exercises provide a foundation that are built upon at the intermediate and advanced levels - these beginning levels are the key to mastery. 12. This level adds a lot of new material that builds on what came before. Slowly master all the techniques in order to build a base for more advanced forms and methods. 13. Keep practicing Ding Shi. Ding Shi is the beginning and the end of training. It is basic, but its practice also generates some of the most advanced techniques. 14. Lao Ba Zhang is at the heart of Ba Gua Zhang. By combining Ding Shi and Lao Ba Zhang infinite changes and applications can be created. 15. This level adds elbow strikes. The Eight Elbows form shows how Lao Ba Zhang movements can be used in close quarters by employing elbow strikes. 16. Kicking skills are an important part of Ba Gua Zhang. Every step is potentially a kick. Many of the advanced Linear Movements include kicks – so training the kicking drills along with the crane step will help the linear movements and vice-versa. 17. The Circling and Piercing Palm exercises develop the piercing palm and the ability to change and open and close lines of attack. Practice them frequently until they are reflexive. 18. A good strategy for training is to start with standing and progress sequentially through Tian Gan, Ding Shi and Lao Ba Zhang, followed by the Eight Attacking Elbows and the Eight Kicks. If you do this every day, even in a short session, they will become part of your natural movement. 19. Another important practice method is to mix the eight linear movements (Ba Zhang) with the Lao Ba Zhang palm changes. Explore how linear number one is really hidden within the first palm change. This is true for each linear movement and its respective palm change. 20. Do the warm-ups for kicking: Phoenix Walk; Lift Leg, Scoop Step and Bai Bu; Crane Form Stepping before practicing the kicks. These are the developmental exercises for kicking. Do the kicks easily and lightly, using the principles developed in the basic warm-ups, so that the hip opens and the leg muscles are loose and relaxed. 48

LEVEL 3 Intermediate Level

Introduction to the Intermediate Level The Intermediate level continues to develop and integrate foundational work, while at the same time introducing a more complete expression of the Ba Gua movements and their employment in attack and defense. To this end, students learn variations of the Lao Ba Zhang and the 64 Hands. The 64 Hands are the straight line fighting sets of Ba Gua that are extensions of the basic palm changes and the eight basic linear movements. These 64 movements can be performed individually or in linked sets. They develop practical self-defense skills while integrating footwork with striking, kicking seizing and throwing. The 13 Elbows is an important form with variety of practical movements that are chained together in a linear sequence. It expands on the use of the elbow in striking controlling and locking. The 72 Techniques add another repertory of practical applications that also combine and integrate, kicking, striking, locking and throwing. These techniques are essentially sophisticated and practical applications of the Single and Double Palm Changes. They have considerable overlap with the 64 Hands allowing the two sets of techniques to be mixed freely in order to create a vast number of applications. Ba Gua Lian Huan, the Ba Gua linking or “chain linking form” develops the ability to combine linear and circular movements in a continuous unbroken sequence. Its employment of the Crane Step further develops kicking skills and their combination with hand skills. Ba Gua Lian Huan introduces the “dragon body” or “cloud swimming dragon” movements which are characteristic of Ba Gua Zhang. Pushing hands exercises similar to those found in Tai Ji quan are known as Rou Shou (Rolling Hands) in Ba Gua. The Rou Shou exercises develop higher level interactive skills that help in all facets of self defense and enhance the ability to sense the opponent’s intention. Ba Gua whipping hand exercises, which strengthen tendons and ligaments and help to develop powerful relaxed strikes, are also taught at this level. Although weapons are considered advanced training, the basics of the Chinese Saber and Ba Gua Yin-Yang Staff are often introduced at this level. The Yin-Yang Staff is particularly useful as it directly connects the hands and the waist together, so that they move as an integrated unit.

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Ba Gua Chain Linking Palm Ba Gua Lian Huan Zhang


 1st Palm: Single Changing Palm 1. Hook Step and Hide Elbow  Kou Bu Yan Zhou 2. Green Dragon Turns Head   Qing Long Hui Shou 3. Advancing Step Piercing Palm  Shang Bu Chuan Zhang 4. Turning Body Covering Palm  Hui Shen Gai Zhang 5. White Snake Spits Out Tongue  Bai She Tu She 6. Withered Tree Entwines Roots

  Ku Shu Pan Gen 7. Advancing Step Penetrate and Kick  Shang Bu Chuan Ti 8. Sparrow Hawk Drills Upward to Heaven  Yao Zi Zuan Tian Song of the Single Changing Palm The posture on one side is not a miracle, Training on both left and right sides is beneficial. Left form should be changed to right and vice versa Pull the body backward by retracting the steps for good opportunity.

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2nd Palm: Hand Covering Palm 1. Hook Step Covering Palm  Kou Bu Gai Zhang 2. Blue-Green Dragon Tests Its Claws  Qing Long Tan Zhua 3. Shaking Body Crouching Dragon   Yao Shen Pu Di Long 4. Red Phoenix Faces Sun  Dan Feng Chao Yang 5. Heavenly Emperor Holds up Pagoda  Tian Wang Tuo Ta 6. Black Dragon Waves Tail 
 Wu Long Bai Wei 7. Sparrow Hawk Drills Upward to Heaven  Yao Zi Zuan Tian 8. Turn Over the Body Rotate and Walk   Fan Shen Zhuan Zou Song of the Hand Covering Palm Two forms of covering palm go to pounce on the face. Move away the clouds to see the sun and walk freely. Left form should be changed to right and vice versa, Phoenix faces the sun and comes out upward.

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3rd Palm: Overturning Palm 1. Turning Body Leading Hand   Zhuan Shen Ling Shou 2. Hook Step and Backward Overturning Palm  Kou Bu Fan Bei Zhang 3. White Robe Cutting Grass
 Bai Pao Zha Cao 4. Cat Washes Face  Mao Xi Lian 5. Qi Lin Spits Out Letter   Qi Lin Tu Xin 6. Advancing Step Pouncing Palm  Shang Bu Pu Zhang 7. Black Dragon Waves Tail  Wu Long Bai Wei 8. Advancing Step Penetrate and Kick  Shang Bu Chuan Ti 9. Sparrow Hawk Drills Upward to Heaven  Yao Zi Zuan Tian Song of the Overturning Palm Overturning forms should bump together, Changes in the two hands can lead to firm and powerful strength. Left form should be changed to right and vice versa, Pull the body by the long hand without hurrying.

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4th Palm: Splitting Hand Palm 1. Go Forward to Uplift Yin (Uplift the Groin) Shun Bu Liao Yin 2. Turning Body Splitting Palm  Fan Shen Pi Zhang 3. Wind-Wheel Splitting Palm  Feng Lun Pi Zhang 4. Zhou Cang Carries The Saber   Zhou Cang Kang Dao 5. Liu Chuan Offers the Melon   Liu Chuan Jin Gua 6. Golden Silk Brushes Eyebrows  Jin Si Ma Mei 7. Black Dragon Waves Tail 
 Wu Long Bai Wei 8. Sparrow Hawk Drills Upward to Heaven  Yao Zi Zuan Tian Song of the Splitting Hand Palm Chop with the hand and walk freely. Tricky methods should be sought with both hands. Left form should be changed to right and vice versa, Don’t turn the head backward without kou bu.

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5th Palm: Posture Following Palm 1. Escape and Change the Shadow   Tuo Shen Hua Ying 2. White Snake Hides in the Grass
  Bai She Fu Cao 3. Sucking Step Testing Palm  Xi Bu Tan Zhang 4. Advancing Step Pushing Palm  Shang Bu Tui Zhan 5. Leopard Cat Climbs Tree  Li Mao Shang Shu 6. Step Down with Splitting Palm

 Luo Bu Pi Zhang 7. Raise Knee Turning Back Hammer  Ti Xi Fan Bei Chui 8. Black Dragon Waves Tail   Wu Long Bai Wei 9. Advancing Step Penetrate and Kick  Shang Bu Chuan Ti 10. Sparrow Hawk Drills Upward to Heaven " ! Yao Zi Zuan Tian Song of the Posture Following Palm The 5th form is to follow the posture and change the shadow. The hand follows the foot to stretch (open). Left form should be changed to right and vice versa, Dodge and move in different positions and win by changing steps.

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6th Palm: Step Following Palm 1. Thousand Ton Weight Falls to Ground  Qian Jin Zhui Di 2. Sun and Moon Move Together  Ri Yue Bing Xing 3. Golden Cicada Sheds Skin  Jin Chan Tuo Ke 4. Stroking Hand Plays with Pearls ! Lu Shou Xi Zhu 5. Great Roc Spreads Wings   Da Peng Zhan Chi 6. Body Shaking Alligator Form # Yao Shen Tuo Xing 7. Hook Step Ground Crouching Dragon  Kou Bu Pu Di Long 8. Black Dragon Waves Tail and Sparrow Hawk Drills Upward to Heaven (
 Wu Long Bai Wei and ("  Yao Zi Zuan Tian) Song of the Step Following Palm The 6th form is to follow the step with double pulling. Many changes in thousand ton weight falls to the ground. Left form should be changed to right and vice versa, Sun & moon go parallel for opening and closing.

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7th Palm: Downward Dropping Palm 1. Hook Step Dropping Palm


 Kou Bu Ta Zhang 2. Advancing Step Uplifting Palm  Shan Bu Tiao Zhang 3. Rotating to Slice Two Gates   Pian Xuan Liang Men 4. Wind-Wheel Splitting Palm  Feng Lun Pi Zhang 5. Golden Rooster Stands on One Leg  Jin Ji Du Li 6. Golden Rooster Pecks Rice  Jin Ji Shi Mi 7. Golden Rooster Shakes Tail  Jin Ji Dou Ling 8. Black Dragon Waves Tail   Wu Long Bai Wei 9. Advancing Step Penetrate and Kick  Shang Bu Chuan Ti 10. Sparrow Hawk Drills Upward to Heaven  Yao Zi Zuan Tian Song of the Downward Dropping Palm The 7th form is to drop downward for delicate changes, Thrust flower and strike the waist transversely. Left form should be changed to right and vice versa, Turn the body and step backward like a dragon.

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8th Palm: Horizontal Piercing Palm 1. Immortal Watches Chess Game   Xian Ren Guan Qi 2. Sweeping Ear with Single Hammer  Sao Er Dan Chui 3. Four Dragons Drawing Water   Si Long Qu Shui 4. Turn Body and Wave the Lotus 
Zhuan Shen Bai Lian 5. Hook Step Hiding Palm  Kou Bu Ye Zhang 6. Giant Python Turns Over Its Body   Da Mang Fan Shen 7. Turn Body and Ground Crouching Dragon  Zhuan Shen Pu Di Long 8. Advancing Step Piercing Palm  Shang Bu Chuan Zhang 9. Sparrow Hawk Drills Upward to Heaven  Yao Zi Zuan Tian Song of the Horizontal Piercing Palm The 8th form is to pierce horizontally toward the face, By changes in the two hands and walking steps. Left form should be changed to right and vice versa, Walk like the wind, stand like a nail.

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Straight Line Eight Diagram Sixty-Four Palms (64 Hands)  
Zhi Tang Ba Gua Liu Shi Si Zhang
"
8 First Line 1. Step Forward with the Uplifting Palm 0 jin bu tiao zhang 2. Lion Rolls the Ball  shi zi gun qiu 3. Entangling Hand Hidden Strike # chan shou ye zhuang 4. Crouching Tiger Leaps the Ravine '(, wo hu tiao jian 5. Punch Under the Elbow %  zhou di kan chui 6. Turn Over the Arm Splitting Strike & fan bi pi chui 7. Double Whip to Press the Elbow 14 % shuang bian ya zhou 8. Step Forward with the Cutting Elbow 0% jin bu jie zhou "8 Second Line 1. Green-Blue Dragon Extends its Claw 37 qing long tan zhua 2. Brush the Sleeve and Strike Continuously )/ mo xiu lian chui 3. Cloud Dragon Offers its Claw 27 yun long xian zhua 4. Move Away the Clouds to See the Sun 2* bo yun jian ri 5. Pat the Chest and Pounce with the Elbow 
 pai xiong pu zhou 6. Turn the Body and Butt with the Elbow .-5% zhuan shen ding zhou 7. Punch the Ear with Penetrating Strike +$! guan er chuan chui 8. Hungry Tiger Tears Open the Heart 6(
e hu ba xin

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