Saturday, March 24, 2018

The Art of Motivation


Over the years, I have been part of many martial arts schools and various projects involving different skills. I've encountered amazing people with talent, skills and ideas that far surpass my own. Yet, I've watched countless dojos fill and empty as motivation is merely a flickering candle in most hearts.

There is nothing more common and more certain to keep an individual from their goal than incompletion. 

We all speak of the importance of motivation and that can lead to the emphasis of positive thinking or even hard work, but this will all prove to be a temporary encouragement as "obstacles" materialize often in the forms of inconvenience and discomfort. The key to motivation in all circumstances is hope, but how do we attain hope amid increasingly dark times, betrayal and financial concerns?

Sure it will help to turn off the TV, ignore negative people and thoughts and completely isolate yourself in order to attain your objects. This is how many monks in the past have chosen to live their lives in order to reach some form of "enlightenment." Still this is only an illusion of strength because once you return from the mountain, you are thrown back into the fire of reality, which pulls no punches. And separation in itself can be a form of apathy, leading directly to spiritual atrophy.

If you must abandon the obstacles and chores of your life, you will not improve your life because the obstacles are life itself. 

The answer is not as difficult or strenuous as you might imagine. A person without hope is already dead and hope will supply all the needed motivation. The key to hope is something we all had as a child and slowly were trained to forget through the "reality" forced upon us. It's mentioned in the classroom, but ultimately not rewarded academically. It's only offered in the courses that do not promise a career of financial stability (probably deliberately). It's in our art, music, wood shop and even PE courses.

In short, hope can be directly accessed through creativity. 

In my training, creativity is what's kept me from feeling like my training is stale over the last 35 years. Sure I have to train every movement 10,000 times, but must I always train them in the same location, in the same fashion or with the same mindset?

In my mind as I child I visualized sparring with Batman and the movements and weapons I would need to overcome. It lead me to understanding how to throw knives and use gymnastic skills that inspired new curiosities: how could I actually deal with 12 opponents with knives? Of course the odds are against any one in such an encounter, but isn't that more motivating than worrying about combat with a single foe? Doesn't that lead me to training even harder?

I've researched techniques against dozens of styles, created characters to represent movements and training ideas as in my novel, "Master Trey's Flawless Outlaws." It doesn't matter how unrealistic it may seem, for at one time it seemed that learning Chinese was just a fantasy to me. Yet, the completion of my cooky ideas lead to a feeling of achievement. If I can throw a knife and do a back flip, why can't I learn Chinese?

Now my Chinese in many areas has far surpassed my English. This then leads me to wonder what else can I do with my time. Could I make an album? Could I put my show on Netflix? Could I create a new Disney land?

Naturally your ideas will continue to grow with your creative accomplishments and the best part is, there is no such thing as failure. I've had many ideas that didn't pan out, but they only lead to other inspiring ideas, meeting other creative individuals and ultimately bringing me joy.

I have influenced my training with goals that will not get stale: kicking a thousand leaves off of trees, practicing my circle on rooftops or trying to understand a technique in the form of a song. The possibilities of every exercise of every day are endless. How could you not be excited by all that you can do with your life?

Unfortunately, we are trained to not be inspired and even inspirational. Had I listened to any of the words around me (i.e. Fighting with Batman that's like kid stuff, You can't learn Chinese, It's too hard to write a book) I would have lost my creativity, followed by my hope and then motivation.

Sadly, people just want you to agree with smaller and even negative ideas so that they won't feel wrong for giving up on their own dreams. That's not being "realistic" that's being uninspired.

God tells us to have the mind of a child and I understand now more than ever as I see those around me continue to age. I'm not smarter, more talented or even more diligent than many of my friends and martial arts brothers. I'm simply excited by new ideas and inspired to bring them into fruition. Don't let people convince you to "grow up" at least not as it relates to crazy ideas.

The crazy ideas are the only real ideas, everything else is just a compromise. 


Tuesday, March 13, 2018

Life or Debate?

Firstly, excuse my absence. If you've followed me in my readings, online videos, films, workshops or translations, you know that I tend to take on dozens of projects at once. It helps me develop my art from multiple perspectives as well as gives me the needed skills to spread my art through multiple platforms. As I put one project to a close, it consumes my time, forcing me to let up on certain activities momentarily. The advantage of these "inconvenient" delays is that when it's time for me to share, there is an abundance.

On a personal note, I've just completed the Whip and Lash online training bagua program that has been met with great success. Though, many say you can't learn from an online program, the current training group and myself have done everything in our power to prove them wrong. It has, even in the early stages, exceeded my expectations. If you are interested please contact me via email at warriorfox@gmail.com.

I've also just completed my screenplay that is currently being marketed, began writing the sequel to Master Trey's Flawless Outlaws, started teaching at orphanages and rehabilitation centers and am currently working on my largest project which will allow me to...No. I won't ruin the surprise. 

Ok now to the point. One of the main reasons I keep myself busy is not only for development, but in order to keep myself from becoming distracted. I love people with a passion and have had great support from friends, still, my life and world is created by everyone I encounter. Something as simple as an online debate can take away the needed hours to train or create something new. After all, how can you think of your next objective when you are busy trying to prove your point in a forum? And how much joy can you have in the middle of an argument?

A debate, in my opinion, can be one of the most useless forms of communication: two people who have decided to have a discussion, never changing their mind no matter how valid the point of the other party. Why have the discussion at all? Communication should change the minds of all parties involved or it is truly a waste of time.

What is the most effective style? It saddens me that this is still a topic discussed in the martial arts world as it indicates we have yet to mature enough to see the bigger picture. Is a shotgun more effective than a handgun? Naturally it depends on the circumstances and who's wielding the weapons. On a bus a handgun is much easier to carry, faster and lighter, while a shotgun is harder to conceal, but arguably much more effective at close range. But the more important question is, who do you plan on shooting?

Are you a police officer? A soldier? An outlaw? Will your lifestyle eventually lead you to a day that you will be head to head with a master of another style? If not, this conversation and debate serves you very little benefit. All of the people using their art are well aware of its capabilities while debaters spend more time developing their skill of debate. It's not hard to find out if what you do works. There are many outlets and occupations you can find and prove its effectiveness within minutes. But even if you fail, it is not your art that has failed, but you.

Losing and failure are such positive aspects of our life. It's sad that we tend to shame it in our society, placing blame on those around us. "Yes I did eat Lord, for the woman you gave me made me eat." But a man who lets the fear of embarrassment stop his own development will achieve virtually nothing.

In addition we've also been conditioned to make a mockery of effort. We laugh at figure skaters who fall or the kid who lands on his head trying to do a flip. I'm not saying laughter in itself is bad, especially if you can laugh at your mistakes or have made similar mistakes. Yet, if you never had the courage to try a flip for yourself, you don't even have the courage to fail. And if you have tested yourself, why be bothered by those who attack your ideas because of their own unfulfilled ideas.

I'm talking about the man sitting on his couch, believing he has a right to speak on all things. You may have the freedom of speech, but you should really let the experienced individuals guide you into understanding. My four year old loves to try to teach me about life. It's cute and he has a strong opinion about it. But, of course, he's generally wrong.

Just because he is wrong doesn't mean that he is unintelligent. Just as a man who has studied martial arts for four years may be wrong, but he isn't stupid. He's speaking from his personal beliefs, experience and more than likely popular media. The problem is an adult with 4 years experience will argue with an adult of 40 years experience as if they are on the same level. This is the issue with forums and social media. Because even the man with 40 years of experience is nothing compared to the thousands of years of martial arts development. What could any of us truly know?

If you are lucky, you will be around for roughly 80 years on this planet. The only thing you will ever truly know is what you experience and everything else is faith. Does your faith lead you to inspire, help and encourage? Then your faith is good. Does your faith lead you to say hurtful things, harm people or demoralize? Then your faith is bad.

But isn't even better to live a life that will answer most of your questions? Don't keep debating how difficult it is to write a book, just go write it. Don't keep wondering how difficult life is in other countries, travel there. Take your art with you. Use your limited time to explore what has been made and what can still be done. You don't have to travel far cause even right down the street (you often avoid) awaits people, problems and purpose.

Not all of your experiences will be pleasant if you take risks, or they wouldn't be risks. But only when you are living life "hands-on" will you be able to finally stop wondering. Stop debating. You will be given the peace that comes along with your achievements. Your achievements will change how you see the world and how the world sees you. Then, speak to those who would want to hear from you.

Finally, smile at the four year old lovingly, remembering that you were once a four year old as well. Life is such a beautiful thing if you are living it, but it will remain a fantasy for those distracted by disagreement.


Thursday, October 19, 2017

Warfox Bagua Online Training Program (Advantages to Learning Online)




(View Clips at Link Below)
https://www.youtube.com/watch?v=nZSlgBvgPeI&t=2s



This online tutorial teaches 12 techniques through 24 videos, showing hundreds of variations of practice and application. Join at anytime and take your own pace as you learn to master each movement with by watching and sending your own videos to me. I didn't used to believe in online training, but from seeing the results of these online students, I realize there are many advantages to online training that you can't do in person with an instructor:

1. You can see a movement performed again and again with high quality footage from different angles until you comprehend it.

2. You can practice in private, not worrying about how you look to other students.

3. You will never be late for class or feel guilty for forgetting a movement.

4. You choose your own training room, assuring the comfort that you want.

5. You can keep the videos for a lifetime. Even when you get busy, the instructor is always available.

JOIN NOW  send an email to warriorfox@gmail.com


Wednesday, September 27, 2017

Online Bagua Training Program #warfoxbagua



Welcome to the new online training program where I will teach the seemingly complex movements of Bagua in a simple format that everyone can enjoy for health, self-defense and more. This first video is titled Step to Power and focuses on the basic footwork for Bagua, leading into applications.

This hour long free gift is the beginning and ground work of the premium online bagua program called, "Whip and Lash", featuring 24 15-minute videos over the course of 6 months. The program begins on Oct. 1st and all videos will be downloadable via youtube. To register, send an email to warriorfox@gmail.com

https://www.youtube.com/watch?v=hZENrDi5lUI

Monday, January 16, 2017

Gao Bagua Files: Wind Section


As we get deeper into the movements it becomes important to discuss planning. There are roughly 2,500 movements in our system and each one must be practiced a minimum of 10,000 times before you reach an initial understanding. This sounds like an impossible task, but in actuality time can be manipulated to our advantage if we learn how to plan outside of time. This requires a keen understanding of the rhythm and pauses within your own daily schedule.

The good news is you actually only need one move to be effective in most self-defense situations. Of course, an internal movement when practiced a thousand times, descends into a deeper level of intuition and quickly becomes 10 movements. Through further research, you find that a single movement is an infinite number of techniques and by learning to change the shape of your body, range and angle of the attack, you can paint a beautiful picture with only one color. In fact, for students who want to really have a deep understanding of Bagua, but don't feel they have the needed commitment, I recommend they spend their days researching the different planes of one technique over the years. They will gain far more than a man who gets a new technique every day but doesn't go any deeper than the instruction of their teacher.

For myself, I teach in programs and tailor-fit exercises, giving students one completed style or section that compliments their personality, habits and thought-process so that they can immediately benefit from their strengths while covering their weaknesses as they become a specialist in a particular art form. If they are diligent, the seed of knowledge can birth into a fruitful harvest more bountiful than what any instructor could ever offer. In a sense, every art will become customized to the individual because the art alone is not life. It needs a practitioner before it can take shape and a practitioner needs an art before he can take aim.

As for lineage holders, we don't practice merely for our own personal progress, but for the development and preservation of the art itself. Therefore I must research each movement hundreds of thousands of times, which of course is a lifestyle of exploration and adventure. For those that are in the same boat as myself or perhaps managing more tasks in a day than they can handle, I will give my two cents on how to train while juggling a full-time job, babies and other endeavors.

Some people train for 6 hours a day, and that is great if you have that much time in your hands. There are advantages, but because martial arts is life, their are also disadvantages because you will have less time to experience actual life-related activities. Changing diapers can teach you a kung fu of humility and even finger dexterity that you would never grasp in an isolated temple. Every house hold chore or work task contains a kung fu secret and only through the combination of training while taking on your daily responsibilities will you be able to pursue the empowered version of self. If you never learn this balance, you may quit your art once you come down from your vacation of training on the mountain.

Myself, I only get about two and a half hours a day of training with my current schedule because I steal an extra hour on my lunch break (don't tell) when I can or I wake up an hour earlier and split my workout when I need. However, I've had schedules when I've only had one hour to train and to my surprise, I was able to make significant progress.

The trick is overlapping of seasons. Let's say that currently I'm in sword season. This means that every day I will train the sword for 30 minutes for the next year. Within that 30 minutes I will only practice a single technique with the sword, which will give me at least a 1000 repetitions. After that I will train something with more movements like Ba Da Gang (circle walking) for the next 30 minutes. Within Ba Da Gang there are 12 movements and that season will last as long as 6 months. Then for the next half hour I will practice one of the 64 palm movements, which will last for a week. Finally, the last movement will be freestyle practice, which is all free movement, but will be directly influenced by the practice of the season.

1 sword movement: 3O minutes = 1000 reps (one year)
12 Ba Da Gang Movements 30 minutes =  7-10 reps each (6 months)
8 palm movements 30 minutes = 10-15 reps each (one month)
Freestyle = 30 minutes (daily change)

It helps me to give a title to the season, using key words so I can track my yearly progress. I would call this, "Free Sword within 64 Projections of the BaDaGang"

The freestyle movement is always themed around footwork and then a random concept or weapon. Maybe I will practice with palm strikes, shoulder strikes, knee strikes or chop sticks. This is what keeps everything fresh and helps me tie the techniques of the season together. My sword form has around 150 movements, which means I can do each movement twice throughout the year if I choose. Yet, that would be a bit too robotic. It's better sometimes to practice combinations, fakes and evades with the techniques to give me a sense of reality with the training and it gives me more reps. Also every day falls under a different theme. Sunday is kicking, Monday sparring, Tuesday stealth or throwing weapons.

This means on Tuesday I would train the sword while training my throwing knife skills, usually in a combination. It can get pretty tricky as the seasons and days mix and match, but that's what keeps it from getting stale. I also use other training tools like playing cards and dice to add randomness and unpredictability to my concepts. The sword training remains the foundation of the year while every day, month and 6 months other parts continue to change and overlap, preparing me for the next season. After ten year,s everything is covered and I can take it deeper depending on results.


Wind Section- The Wind Section is also called the Way of the Elbow, representing 33-40 of the 64 palms. No one can see where the wind comes from or where it goes, we only know when it has arrived. The elbow in Bagua is used for striking, locking, parrying, trapping and evading. It circles like a wheel and is guided by the continuous footwork, making it unpredictable on offense and a moving shield on defense. By learning to use the elbow to cover every part of the body, the practitioner becomes much like a shelled animal and the limbs are free to retaliate. The key to using the elbow effectively is understanding its influence within, behind and around the limbs. The opponent may feel he is overwhelmed by palm strikes, locks or slicing techniques, when in actuality he is dealing with the hidden elbow.


Dun- Dun is the Squatting Elbow and the 33rd movement of the 64 palms. It begins very much like the Dun, which is the third movement of the Heaven Section. By generating a small forward moving circle within the hips, the lead hand extends into a spearhand that lifts the oncoming attack as it is deflected upward. Just as the attack is deflected, the rear hand assists the lead hand by grabbing and sinking the weight straight downward to yank the opponent of balance. As he is off balanced, the practitioner takes a small kou bu (inward pivot step) propelling the body into a spin that launches a turning elbow into the opponent before he can retreat.



a. The spearhand is actually just a safety mechanism so that the delivery of the elbow can be assured. However, once you have a good kou bu, you can time any attack and roll off of it to deliver a powerful spinning elbow much faster without the spearhand. The key is to aim the kou bu so that the body spins in a straight line toward the desired direction. It is not a spinning move but a rolling move, which means it is a counter attack...it can be used to intercept a movement, but the risk is much higher. Let your opponent just barely miss with a hand technique so that his ribs will be exposed for rib crunching satisfaction.

b. The kou bu can be aimed to measure where you want to attack your opponent. If the practitioner places it to the right of the opponent, he will bury into his ribs, on the other side he will turn towards the opponent's back. The kou bu be can be done while retreating to create a snake like coiling attack that springs towards the opponent as he chases you. The step can be extended so long that it moves clear passed the opponent as he comes in for an attack. Timed correctly, the opponent won't be able to see where you have vanished to and by the time he is aware, he should already be paralyzed.

c. Remember that all elbow strikes can be adjusted to perform other strikes depending on the range and speed of the oncoming attack. A spinning elbow can be transitioned to a spinning shoulder if the opponent is faster than anticipated. If the opponent steps backwards then the spinning elbow can be a spinning palm or back kick.



Pan- Pan is called the Disc Elbow or Territory Elbow and is the 34th movement of the 64 palms. It refers to capturing the oncoming movement as it approaches between the two elbows while the hands shield the face, much like a boxing stance. As the punch extends, help it hyper extend by squeezing the elbows together, using the muscles in the back as the weight sinks slightly. Once the elbow has been snapped, extend the posture into a long stance (from weight in the back cat-like stance) launching an elbow attack into the ribs. As the opponent stumbles step in an angle (t-step) while bringing the outside hand across the opponent's jaw with a hammer fist and then using the stepping momentum to slam him on his neck.



a. Because this movement begins like a boxing stance, it can be done against any strike. It's especially useful for hyper extending the elbow for someone with an effective jab. It's hard to time, but if you mind your footwork, you aren't in danger of getting popped. With both hands up, you are in a very protected position.

b. After the arm has been snapped, it's crucial not to release the broken arm until the opponent has been completely disposed of. An injured animal is the most dangerous. Use the moment of pain to place you in a better position to finish, but do not believe that a broken elbow is the end of the fight for every person. With the adrenaline running, the opponent may not even know it's broken until he goes home.

c. The first movement is a cat-like stance with the hips sunken into the kua and then a long stance carries the elbow into the opponent from a great distance. This stance transition is an excellent coiling attack for all types of hand strikes. By keeping the weight low while moving from a back stance to a long stance, the practitioner generates a force stronger than a tackle, but it has pinpoint accuracy and adjustable range. It is also a great way to use paired weapons (moon daggers, double sticks, etc.). Curl back just as the attack misses and spring forth with a counter too fast and too long to escape.


Zhui- Zhui is the Crashing or Crushing Elbow and is the 35th movement of the 64 palms. Zhui begins by sinking downward and backward into a deep stance to evade an oncoming attack while the elbow smashes into the attack from atop. As the opponent attempts to retract his damaged limb, the practitioner chases it back, striking the unguarded point. Then the following hand lifts the guard out of the way, rising and pressing the opponent off balance with a single palm towards his center of balance.


a. The easiest and safest version of this movement is smashing atop the attack. It's important to remember that the entire body smashes on the attack, guiding the elbow and the elbow does not reach down for the attack on it's own. When the whole body sinks, there is more power and the practitioner doesn't lower his guard, keeping him safe from an additional surprise attack. If the elbow reaches for the target, the practitioner could be baited into taking a shot.

b. This movement works fine on the hands, but is exceptional against low kicking attacks. Drop the weight while smashing onto the leg with the elbow and use the rear hand to grasp the back of the leg so the opponent can not retract it. Then while suddenly rising and moving forward, the opponent is certain to have a hard landing. Aim for the edge of a table or street curb in a real jam.

c. This movement is like gravy on mashed potatoes when done with a saber. Evade an attack while coming down on it with the blade and then spring forward, launching the tip into the opponent. Gravy and mashed potatoes baby.


Ding- Ding is the Summit Elbow and the 36th movement of the 64 palms. Ding begins by turning sideways like a horse stance to deflect the incoming attack with the lead forearm, elbow or shoulder. This is done by making a circular motion that defects and draws the attack near. As the attack is deflected the lead hand does a circular grab while stepping forward, using the rear hand to either snap the arm from underneath or launch an attack from underneath the arm to the face or throat. When the opponent is stunned, take another step inside the opponent's defense launching the elbow into the ribs. Finally a last step is taken to launch the rear hand into an elbow strike from above and then a short half step is used to elbow the throat, finishing of the opponent.



a. This technique includes 4 strikes, three of which, are elbow strikes. This can not be done without fluid footwork. Each step uses a small bai bu (outward pivot step) to launch the attacks quickly and efficiently. If your have heavy feet, you can not control the range to use the elbow effectively and will only lead yourself into a bad situation.

b. All of the elbow attacks are also blocks. Do not think in mere terms of trying to strike the head or the body, but it terms of using the angle to cut off different trajectories. The elbow uses space management to either strike or cut off the opponent's possibilities. With fluid footwork, using a three part combination with elbows may present itself as strike-strike-strike, block-strike-strike, block-strike-block, etc. The opponent's offense will choose the practitioner's defense.

c. Although traditionally all of these steps are preceded with a bai bu (outside pivot step), they can also be reversed by using kou bu (inside pivot step). This will change the elbows from being straight forward attacks to becoming spinning attacks. However, they are not spins, but rather straight forward attacks that come from the other side of the body.


Heng- Heng is the Measuring Elbow and the 37th movement of the 64 palms. Heng begins by dropping the weight and sinking the hands into a spearhand position, which is actually serves as  an elbow snap. After the arm has been snapped, the practitioner takes a step while circling the weight vertically, dropping a back fist atop the opponent's face or secondary attack. Whether the opponent is struck by the attack or blocks it, the center weight of the practitioner is generated into the hands by taking a half step that launches the opponent off-balance with dual fists.



a. While using the spearhand, both hands make a shape like that of a crocodile as they glide passed each other. The hands are mirror opposites as one slides upward and the other downward. The practitioner's elbows must be tightly aligned behind the center and the shoulder pressed downward. This way, the sliding of the two hands is done by slight turning in the waist. Every spearhand in Bagua is also an arm snap. The angle of the snap can be changed instantly, depending on the oncoming attack.

b. Sinking the weight, does not mean lowering the body. It means that the ligaments within the hips have been stretched and now the practitioner can lower his body mass within itself. Doing this creates space within space so that there is freedom of movement where there is no room for movement. In order to attain this flexibility, one must practice a consistent form of posture training i.e. standing training, San Ti Shi or Circle Walking.

c. The movements in this combination are spearhand, back fist, double fist. Yet the movements are not as important as the directions. The directions are down, up, forward. In a fight, there isn't time to decide which strike to use at what time, but mastery of the directions will give you all the opportunity needed to launch your attacks. In Bagua, we always set up the opponent by moving one direction, suddenly another and finally the unexpected direction.


Cuo- Cuo is the Misread Elbow and the 38th movement of the 64 palms. This movement begins with a spearhand to misdirect the oncoming attack while the practitioner takes a step forward and uses a single palm to snap the joint or strike the face. The body then coils back placing weight on the back leg as the practitioner then extends a deep stance single palm to the same area. This repeated motion can be done to snap the joint in to separate places: the elbow then shoulder. It can also be used to indicate two strikes to the same area such as a lumber jack chopping a tree. But the movement is designed for baiting  the opponent into a second strike so that it can be countered easily.



a. The Misread Elbow is actually a safeguard. What to do in case you misread the attack. If the first arm lock is successful, the movement is completed. However, if the opponent is able to slip his hand out of the practitioner's grasp, this technique can ensure an even more powerful counter as they have placed themselves in a position to wind up the body from the inside. This coiling spearhand can be down by twisting the hips while sitting on the back leg, which creates a spring in the waist. By relaxing the tension, an attack can be launched that is at least two times more explosive than the original attack.

b. By keeping the shoulders pressed down and the body tight, the spearhand and palm roll easily off of the hips as if one solid motion. It is a shield that rolls around the body and pries open the defenses of the opponent. By utilizing the kou bai bu footwork, this peeling open the opponent can occur from multiple angles making it quiet difficult to defend against. It's important to sink the shoulders into the hips so that as the pivoting steps occur, so does the coiling and uncoiling within the frame. This creates a geometric advantage against opponents who still move in simple patterns.

c. By drilling this movement with a partner in a circular sequence, the practitioner will be able to feel the coiling sensation in the hips that allows for immediate, powerful counters. The drill is easy to do as both practitioners have the same leg forward to start. Then while one student attacks the the single palm to the mid or upper section, the other student counters with a coiling spear hand and releases into a single palm with the other hand. This movement can be repeated in succession and after thousands of reps, footwork from front to back, side to side and circle walking can be practiced. This is a highly valuable, but often overlooked drill for Bagua practitioners.



Die- Die is the Folding Elbow and the 39th movement of the 64 palms. Die begins by capturing the oncoming attack while yanking the opponent into an eye jab. If the opponent parries the finger jab, both hands are twisted into a sinking circle while stepping forward, locking the opponent's arm into a cross trap. You literally fold your arms as if folding clothes and the opponent becomes folded within your structure. After he is off-balanced, a final shove forward with the hips into a long stance sends the opponent flying backward.



a. This movement is a quick and easy trap to pull off on fast fighters. The key is as the first hand is grasped, the second hand goes straight toward the opponent's eyes. This takes all of the attention off of the hand that has already been grasped. As he blocks the counter, all of his weight is neutralized by twisting the hips and sending him downward. The leg can sweep from the opposing side to make the takedown even easier.

b. The key component of this takedown and all take downs in Bagua is control over your center. The center can be thought of as the lower middle part of the body. The center can be shifted from one way to the other or twisted and expanded to created various effects while grabbing an opponent. While yanking around an opponent, you should be using your center to send him one direction or the other. The hands and feet are merely an extension of the center.

c. This circular trapping motion can be practiced with a stick if you don't have an opponent. Hold a short stick (less than arms length) and twist it downward while sinking the weight and stepping forward. Repeating this motions will synchronize the body so that the pressure of the lock tightens and becomes not only a takedown, but an arm snap.


Zhuan- Zhuan is the Drilling Elbow and the 40th movement of the 64 palms. Zhuan begins by bringing the weight forward (long stance) to meet with the oncoming attack with an outward to inward circling parry. Once the attack has met with the parry, the practitioner launches his weight and lifts the opponent's arm in the air exposing the ribs. Simultaneously, a kou bu (inside pivot step) is taken to launch a spinning elbow into the exposed weakness.



a. When yanking someone towards yourself, it is most important to maintain a superior structure. If you are lower than your opponent as he crashes into you, he will be knocked off balance regardless of the used technique. However, if you are not sunk in your stance while pulling someone toward yourself,  you could be helping him complete his own take down.

b. CAUTION! If you grab someone's wrist who is an experienced fighter, they will automatically try to strike you with the other hand to get free. It is a natural instinct and it's really fast. Yet, this is a great way to bait an attack towards yourself and occupy both hands. As the lead hand grabs, prepare to block the oncoming counter with the elbow. By sinking your weight you will find yourself an a great position to drill into the opponent with anything technique of choice.

c. This movement is traditionally taught with long deep stances, but as long as the legs are tight, you can generate the needed force. Experiment with different heights and distances to assure the success of delivery. This turning elbow will always be an important tool in the toolbox. Yanking your opponent into the attack, doubles the damage. If he is coming in too fast, use the shoulder instead.








Thursday, November 3, 2016

Gao Bagua Files: Thunder Section

It's crucial to remember that all of the elements of Bagua not only represent techniques, but they also teach us to stay within the parameters of the fighting strategy. After all, in a real fight, there is no time to select a technique, especially with a style like Bagua that involves literally thousands of different movements and hundreds of strategies. Yet, the movements themselves serve the same purpose as weight lifting for a football player or climber. You don't lift weights to use the exact same motion as you do when performing a bicep curl, yet by doing bicep curls repetitiously, the body changes shape and is able to perform at a higher level. By repeating the movements of each section in Bagua, the body changes shape and gains the understanding of power generation in both the muscles and ligaments so that when it's time to fight, it is able to perform at a higher level of combat.


Just as a seasoned boxer amid combat, who no longer thinks about throwing a hook or a jab, he is merely reacting to openings and the needed technique arises at the appropriate time. Using the same analogy, it's most important to stay with the parameters of your art when delivering or taking a blow, the same way a boxer must remember to keep his hands up after being hit. It is the mark of a undeveloped fighter to abandoned what he's learned once he's in trouble. Not only does taking a blow while maintaining your stance teach you where your openings are, it also teaches you to rely on the physics of your system. You will eventually need to stop doing Bagua movements and become Bagua itself. in order to move fluently.

It's also important to remember that each of the eight sections of Bagua has a counter section that compliments the other's strategy. Heaven is the opposite of Earth, Fire is the opposite Water, Wind is the opposite of Lake and Mountain the opposite of Thunder. A Mountain is enormous and silent, whereas Thunder is loud and invisible. The Lake is contained and deep, whereas Wind can't be held in any container. Understanding the nature of each section allows you to pair the opposite movements with each other to find hidden components within the transitions of the techniques. In short, research  movements from opposite sections simultaneously for a deeper understanding of flow, problem-solving and combat strategy.


Thunder Section: The Thunder Section is called the "Way of the Body" as it emphasizes using the body in its entirety for offensive and defensive purposes instead of focusing on any particular limb as in the Way of Striking(Heaven Section) , the Way of the Hands (Water Section) and so on. Energy is channeled into the desired areas by changing the shape of the body through coiling, expanding, closing, opening, sinking, rising, twisting and untwisting. The range of every movement can be adjusted, making it possible to strike in fashions both obvious and invisible. In time, the practitioner will no longer have to think about punching, kicking, elbowing or any particular technique. Whatever part of the body that touches the opponent will go bang.

Tui- Tui is the Pushing Palm and the 25th of the 64 palms. It begins by absorbing the oncoming attack through raising the front leg and bringing in both hands and knee to the center. After the energy of the attack has been redirected to the ground, the practitioner extends the body into a long stance, thrusting dual fists into the opponent's nose, then quickly whipping the hands outwardly, planting the fore knuckles into the opponent's temple, jaw, eyes or throat. As the opponent stumbles back, a small t-step in an angle is taken to whip the rear hand into a circular grasping motion to prevent the opponent from falling or retreating. A slight downward yanking pressure occurs as the rear foot pulls to the front, angling toward the opponent's side. Then he is forced in the opposite direction of the yank with dual outward curving palms.


a. The first movement of Tui, is excellent for forcing back an opponent who is shooting in, much like a sprawl for a wrestler. However because of the positioning of the technique, if the opponent continues to drive forward, allow him in by rolling around his spine while capturing the neck. Use the split in the legs to scissor him and hold him in a choke from the rear or side. I'm not a fan of grappling in real combat scenarios, yet one should never avoid going to the ground if it's the next best move.

b. With dexterous footwork, Tui is probably one of the best ways to explode through or redirect energy back into the target . Sink the weight into the foot through the hips and fire into the opponent, much like a football player tackling a target. However the key to making this movement work effectively is where you plant your foot as the attacker comes toward you. Be sure to respond to the presented range and step exactly where you need to in order to absorb the energy. If your step is too short, you will topple over. If your step is too big, you will give the opponent too much time to recover. Imitate the size of your opponent's step with your own, which leads to another important strategy referred to as "Ghost Stepping."

c. The last portion of this movement: the t-step to the side with the whipping circle grab, stands alone as an excellent tool. Be sure to practice this movement as well as the rest of the components of this technique separately to obtain extra skills that may prove more useful than the main point of the movement itself. Also practice each component of each technique utilizing different footwork, i.e. a retreating step, crouching step, spinning step or even for ground fighting.

Tuo- Tuo is the Supporting Palm and the 26th of the 64 palms. Tuo begins by making the hips fade back out of range of the attack while sinking the weight in a deep posture as the wrist guides the oncoming punch or kick toward the ground. As the practitioner drops the weight down, the hips circle forward slightly, snapping the wrist upward from underneath the attack, pressing the opponent's limb both upward and backward. In one motion,  the practitioner takes a large step forward to send the opponent flying back with a single palm or takedown.



a. The magic of this movement as with many movements is in the wrist. By learning to control the wrist with the hips, you are able to keep a strong frame of defense while the hands force openings in the opponent's guard. Be sure to keep the elbow inward along the center line so that the elbow will block or deflect the attack if the opponent is faster than you can perceive.

b. This movement works well against hand attacks, but you must have a keen understanding of how the body rises and sinks without compromising your own guard. Still, this movement is an excellent way to send a kicker onto his neck. But if it's a round kick, be sure to use footwork to adjust the foot and body to a position to absorb the impact without cracking a rib. Either trap his leg before it extends at the thigh or just above the knee; or step to the place where he is over extended and capture the leg as the power is mostly exhausted.

c. This movement done with the elbows instead of the wrists is a thing of beauty. Sink the weight atop the target and crush it with the elbow or use the elbow in circular fashion to wrap the attack, allowing you to capture the threat and use an inside elbow to counter as you send him away. This movement can also be done with the shoulder, but only with students of more masterful footwork and sensitivity. Otherwise it's just a fancy way to take a punch to the eye.


Dai- Dai is the Taking Palm and the 27th of the 64 palms. The body extends into a long stance to greet the oncoming attack at its root with both hands. After the attack is stopped, the hands circle while yanking on the back of the elbow and bicep, pulling the opponent into the practitioner's grasp, facing the wrong direction. The arm locks around the neck as the practitioner drops his weight to the floor while pivoting in a circle, which slams the opponent on his head or upper back.



a.In the form, this movement is followed up by a turning strike to the ribs and then and a follow up stepping strike to finish. However, this movement is added in the case the opponent slips his head out of the choke slam. Still, you will find that this follow up counter is very useful for a number of movements as it uses the turning spin as a coil and can deliver damage in the form as a ducking counter followed by a turning attack or back strike.

b. Dai also works great by replacing the choke slam with an elbow strike to the back or side of the neck. Just pull the opponent in with the first part of the movement, and turn with the hips to launch a powerful attack to the blind spot before he can orient himself. Depending on the angle of the initial yank, the elbow can be horizontal or come down vertically.

c. The grabbing circle of Dai is designed to grab the opponent's opposite hand, but it works well on both sides, making it a great counter for multiple possibilities. The stepping grab works well for deflecting a one-two combinations even more effectively than against a single attack. Just step in with the hands extended and the elbows tight to parry or deflect the first movement. As the second movement comes, step back while grasping that arm underneath the elbow and put the opponent into the machine. Truth is that most people in the street are coming with a one-two so it's best to have every movement ready for the possibility.


Ling- Ling is the Leading Palm and the 28th of the 64 palms. While evading toward the side, the lead or rear hand makes a small circle parry with the forearm that transitions into a grasp around the wrist of the oncoming attack. Three quick steps are taken  around the opponent towards the rear while dragging his hand across his body. As the third step hits the ground, the hips yank the opponent in the opposite direction with a horizontal motion while using an explosive half step to strike the center line with a dual palm.


a. This running step can be done with any one number of steps: 1, 3 or 5. 3 steps is ideal for a short burst, but a single step is a great way to trap the opponent's second attack against itself. Just be sure the steps continue to surround the attacker, so that it makes an attack from the rear hand an impossibility. If you allow too much space for your opponent to move, this will become a fancy way of getting punched in the eye.

b. By making the last step of the short burst a kou bu (inward pivot step), you can immediately change direction and confuse the opponent as you come behind him from the opposite direction. This is extremely effective if the pivot step is used at the exact time that the attacker is launching another attack. Use the pivot to dodge and then strike the newly made opening.

c. Ling is excellent if the hand grab is replaced with roping or scarf traps. Hold the rope in both hands and parry the attack while using the bursting step to drag the opponent in a circle.


Zhan- Zhan is the Staining Palm and the 29th of the 64 palms. Zhan meets the oncoming attack with a spearhand while using a horizontal circle in the hips, stepping forward to swing the rear hand into a palm strike that meets with either the attacking arm breaking the limb, or meeting with the jaw, neck or temple. After the palm strike lands, the same striking hand circles underneath the elbow of the opponent's extended hand. While clutching the elbow, a hidden palm buries into the sternum. As the attacker is knocked back, the hand that just landed clutches onto the same extended hand while the practitioner extends into a long stance and releases a finishing reverse knife hand blow to the throat, nose or eyes.



a. Zhan is called the Staining Palm because the initial spearhand does not stop the oncoming attack, but absorbs or invites it in, slightly rolling it around its desired target. This assures the correct range for the countering palm, beit to the head or limb. A spearhand that merely deflects this oncoming attack will void the follow up attacks.

b. Zhan works as an excellent counter to an upper body grapple attempt around the neck. As the opponent reaches forward, use the spearhand on the inside of one approaching hand as the following palm pushes in the same direction on the opposite elbow. By holding a low stance the opponent will be thrown over the lead leg.

c. The last part of Zhan, which is the long stance extending attack can be done separately from the beginning motions. With good timing, the practitioner can actually take a body blow to better grasp the opponent's striking hand as he fades back. This makes it much easier to snap the arm at close quarters, ensuring the hand has reached full extension. It's important to remember that when the range of the opponent changes, so does the limb that comes in contact with the attack. A break normally done with the palm will become a break done with the elbows or shoulders at closer range.

Lian- Lian is the Continuous Palm and the 30th of the 64 palms. This movement begins with a rising spearhand - on the lead hand - that meets the oncoming attack and immediately descends for a central grab atop the wrist or forearm. While grabbing, use three bursting steps forward as the hands continue in a circular motion. The first hand grabs atop the wrist, the second grabs the inside of the bicep trapping the arm and finally as the last step is reached, the first hand is released and extends horizontally forcing the elbow into the throat and slamming the opponent to the side.



a. This technique is not for beginning students as it requires great speed and control of both foot and hand work. Also spacing becomes the greatest issue while accelerating toward the opponent so the timing of this counter attack must be precise. However, variations of the technique can be done to make the technique easier to execute i.e. change the triple-burst step to a single step or stationary step and let the opponent's rushing energy trap himself.

b. This movement is traditionally taught so that the practioner uses three movements while the opponent is still in the middle of one. With practice and understanding of footwork it can be done effectively because it is actually only one motion in three parts. However, when faced with an opponent of equal skill it is important to realize the nature of these circular techniques: it's a moving shield. Much like the chain punch for the wing chun practitioner, this series of circle grabs can deflect numerous oncoming attacks. In fact, many masters prefer to use these three techniques against three oncoming attacks from a speedy attacker.

c.The first two movements of this technique is a trap. When the first movement is pulled down followed quickly by the rear hand, there is no room for the attacker to free his second hand. Using the horizontal takedown is the traditional method of this technique, however, once the opponent's arms have been pinned to his body, it's open season for whatever ever technique you've been itching to use.


Sui- Sui is the Following Palm and the 31st of the 64 palms. First the hips sink backward as the arm directs the strike just out of the way of the mid section. As the energy of the attack has been absorbed, the practitioner uses a half step while raising the opponent's attacking hand with the elbow to create a passage way to the ribs. The forward momentum of the opponent in addition to the half step of the practitioner will create additional force as the back of the hand and rear palm simultaneously smash into the rib cage. Once the opponent has been knocked back, the practitioner takes another step into a long stance while yanking on the opponent with one hand and burying another palm strike into the heart.



a. The initial part of this technique is one of the most handy tools in the Bagua tool box. Using good footwork and sinking motion while guiding the opponent's hand towards the area he intends to strike is one of the most cunning forms of deception. When done properly, it should feel like hitting a loose sheet, that fades away just before you can contact it. This spacing control is crucial because you give the attacker a sense of success that disappears at the last minute. Follow the attack as it retracts and you return his power to him 3 fold.

b. The second part of this attack consists of the rear hand reinforcing the back of the lead hand as it strikes the target. This is very "crouching tiger hidden dragon" and looks epic when you knock someone down. However, the power is not in the two handed strike, but the bowl that is created throughout the back, shoulders and lower back as the two hands meet. This attack can slide into someone's guard quite easily so be sure to practice it with all forms of footwork to access it easily. It should feel like your stomach is inflating your arms and the hands guide that power into a single point on the opponent's body.

c. The sinking weight motion of the following palm can be repeated with good footwork, much like the waves of the ocean. If you miss, keep your weight in the back and you can repeat while stepping forward and gain even more power on the second attack. Just be sure that you are dropping your center line atop his center line to stay a step ahead. If you are using the limbs of the body on any of the attacks of the Thunder Section without the connection to the core, you might as well be doing exotic slap boxing. Everything is connected, everything is twisting and untwising, everything is both central and circular. 


Nian- Nian is the Sticky Palm and the 32nd of the 64 palms. Nian first draws back one one leg, much like a bow and arrow to guide the opponent's attack first down and then immediately upward as you step forward. A three-step bursting step follows, launching the hands toward the face of the opponent: first striking the nose with an inverted spearhand, then striking the eyes with a searching palm and finally striking the heart with a single palm that lands the practitioner in a deep stance. 

a. Nian, as most of Bagua movements, is a move that is reserved for life or death situations. First you, break the nose, then blind the eyes before striking the heart. Do not use this technique in any superficial form of combat or you will go to jail. There, you will have plenty of opportunities to practice footwork to avoid shanks,skanks and pranks, but there are more rewarding paths to work your kung fu.

b. My master Wu Guo Zheng often reminded me that every movement of Bagua is supposed to be done with a blade in the hands. Whether you prefer deer antlers or as I call them Moon Daggers, or any other bladed item, this movement is pretty much unstoppable, unless the opponent has incredible footwork or a shield. 

c. The bursting step forward can also change direction mid step. It takes a bit more practice, but it is well worth it as you can move to any angle or even backward to utilize unpredictable and at times automatic takedowns. If you haven't gotten the bursting step down by now, you need to go back and get it. 



Wednesday, October 12, 2016

Gao Bagua Files: Mountain Section

Each of the eight sections of Bagua are named after elements that follow certain characteristics both for the purpose of documenting information and making it easier for practitioners of the future to comprehend. In a word Heaven is direct, Water flows, the Mountain is immovable, Thunder is startling, Wind is un-containable, Fire is consuming, Earth is deceptive and Lake is depth. Each of the 8 elements consist of 8 techniques, totaling to 64 concepts to deal with possible dangers, be they physical or health related. However these movements are just a framework of what the technique actually means: a physical riddle, designed to teach freedom of movement outside of these patterns. Yet to obtain freedom, without mastering restriction, is to obtain chaos without purpose or control. A baby with the strength of a man would only cause damage to itself and loved ones, especially when having a tantrum. The strength of baby is naturally restricted for reasons of safety and responsibility, as it is with Bagua learners who are still learning the patterns.


64 Palms---Mountain Section (17-24)


The Mountain Section is also called the "Way of Countering" for its numerous methods of diverting energy and placing the practitioner in the ideal range to land an attack in a neglected or forced opening. It also specializes in trapping and jamming motions, utilizing a a technique called, "Distant water is unable to quench nearby fire." The mountain is immovable, but this term can be deceptive as many of the techniques move rapidly, fluidly and dexterously to all angles around the opponent. Yet as the body moves, it is completely in one piece, rooted with the ground. Even when the practitioner is bumped between motions, it should be the opponent who stumbles. The part that is unmovable is referring to the core or swivel piece within the center, like the gear of a clock. Whatever pushes against it, immediately receives double the force. Practice of the Mountain section, establishes a clear sensation of this piece that automatically sends a response to the oncoming attack. It is a physical mathematical equation that meets the force with the needed answer to dissolve it.

*The Mountain Section is one step passed the Water Section because instead of only flowing within one's self, it allows you to steal the flow of your opponent. It is also key to understanding the following Thunder Section, which weaponizes every part of the body.


Chuan- Chuan is called the Piercing Palm and is the 17th of the 64 palms. It begins by first recoiling as the hand draws near the body to slow the momentum of the oncoming attack with a circular motion from either top or bottom. After the energy has been diverted, the opponent's arm is raised as the practitioner steps forward with a spearhand that traces under the lead hand. This hides the following grab. As the step is completed, a circling motion in the hips swings the hand into a circle to grab the opponents attacking arm behind the elbow. Like the hidden palm, a half step inserts the palm into the rib and as the opponent falls back, he is again grabbed with the attacking hand. A long stance finishes the opponent with either a back fast, forearm, shoulder, elbow or headbutt.



a. The first movement of Chuan is very adaptive to almost any oncoming or even retreating attack. By circling while stepping, the practitioner is able to use the movement to block, parry, guide, stick, evade, dodge or intercept any movement. Master this step, and you can easily stick to the opponent and capitalize on his weakness.

b. Chuan is the perfect counter when using hook weapons because of it's forward to backward mobility. Use the first movement to hook an attack (even with a long weapon) and as you step in, replace the grab with a hook around the arm or behind the neck to finish.

c. By changing the range of this motion from spearhand to elbowsstrikes, you find the versatility of this energy allows for a new doorway into completely new combat concepts. Using the same movements, keep the elbows close to the body as they become your new offense and defense. It appears almost as a cat cleaning its fur as you step from one trajectory to the other. Also notice the new defensive possibilities that occur when doing the movement backwards.

Ban- Ban is the "Moving Palm" and the 18th of the 64 palms. This movement begins by either escaping a grab or blocking a mid to low attack by dropping the elbow and entering a cross-step, much like the beginning of Kan (Chopping Palm). After the elbow frees the grasp or parries the attack, the rear hand grasps the opponent's hand. Then, the weight of the opponent is knocked back with a long stance toward his back whil twisting the hips to bring an elbow attack from above onto the opponents chest or throat. Next, step back and yank with both hands onto the nearest limb of the opponent to off balance him forward. This whiplash motion can do jarring damage to the internal bones and organs. The yank pulls him into an oncoming fist, elbow or shoulder to the midsection to finish him off.



a. Ban utilizes a countering forward circle motion that redirects the opponent's force straight toward the ground. This attack is ideal against opponents with longer limbs or a long range weapon to take advantage of their distance.

b. Ban is perfect for the saber as the circling motion uses the back of the blade to parry and then comes down atop the opponent with an unblockable counter.

c. The first part of Ban is a coil that avoids danger while gathering power. The following long step can be changed to a kou bu or bai bu (outward inward stepping) to surround the opponent instead of over power the opponent. Try different footwork options to fully understand this handy technique.


Jie- Jie is the Catching Palm and the 19th of the 64 palms. Jie begins by extending into a long stance while the hands make a circle forward to deflect the incoming attack (face or body level). As the attack is circled, the hands grab or catch the opponent before he can retract his attack,and then yanks them down into a deep cat-like posture. Once the opponent stumbles, the practitioner again extends into a long stance still holding the opponent's wrist, and then knocks him back with a palm to the mid section. Before the opponent is knocked out of range, the practitioner takes a full step while the striking hand lifts the opponent's already broken guard to deliver a second, more devastating palm to the mid section to finish.


a. The circling yank at the beginning of this movement is the signature of Jie. By catching him and throwing his guard toward the floor, you expose your opponent to many different attacks. However if the practitioner catches the head and uses the same yanking attack, this becomes a devastating throw. Caution: If the circle is done quickly, the throw becomes a neck snap.

b. The third part of Jie is a full stepping palm attack. By raising the opponent's guard, you clear a pathway to target the heart. An opponent with fast footwork, may move out of range automatically, which is why this movement begins with the catch. However, with good footwork practice, you can out run a fleeing opponent and the footwork can be repeated, making Jie a charging offensive attack. Continue to raise the opponents arm with your elbows, to create a shield for possible surprises and be sure not to exceed 2 or three times. If you haven't gotten him by the third attack, he's about to get you.

c. Jie is generally done by stepping forward then back or just stepping back when the attack comes in. The circling hand deflection is key to covering the preferred footwork. After a good deflection, try stepping toward the opponent's back with a turning or through step. This will combine the yank with centripetal force, which is great for throwing someone through a window.

 Lan- Lan is the Blocking or Barring Palm and is the 20th of the 64 palms. Lan first extends a forward block, much like a slightly slanting, horizontal spearhand that meets the oncoming attack. It is follow by a lower block of the same manner, but sinks the weight downward and inside the opponent's guard. After the movement has been parried and before the opponent is able to retract, the following hand slides inside the lead hand on the inside of the opponent's forearm. using the elbow, turn the waist and open the opponent's guard to the side. This gives you an open shot at an unprotected heart. Then fire double palms into the exposed area, utilizing the force of a half step.



a. This movement is excellent against both fast and powerful attackers. The key is learning to block an attack and sneak the elbow in with the hip. By mastering the elbow hip connection, you can easily sling your opponent to the left or right at will. For the best results, wait for a committed attack, as it makes it almost impossible to block the counter if the opponent's weight is on you.

b. Believe or not, attacking the heart is a friendly version of this attack. Learn to fire this movement to the throat, chin and eyes for more immediately paralyzing results.

c. This movement is taught with a small step forward, but it's great when you're in a standing grapple to use a small step backward. Convert the blocks from forearm range to elbow range and this movement can be used to guide the head of a charging opponent. Be sure to practice sinking your weight as you guide the head to make sure you aren't lifted in the air. Yet, it's best to use evasive stepping to avoid getting inside the opponent's completed circle. A circle whether it be a bagua strike or a grappler's squeeze, can be impossible to break out of because a circle in itself is perfect. Lan is a natural energy that discourages the completion of the opponent's circle, but if you fail to do so, get ready for a little nap.


Ting- Ting is the Stopping Palm and the 21st of the 64 palms. Ting begins by reaching forward into a long stance and retracting back quickly, yanking the opponent off balance. As he is yanked back, the practitioner accelerates forwarded, using energy from both the yank and explosive stepping to stand where the opponent was just standing. Trading places violently causes the opponent to be disoriented while the practitioner has a clear shot at the spine, back of the neck or anywhere else that floats your boat. Finish with a double palm to the back  and then use a through step while latching on to the opponent from the rear, pivot and slam him on his neck.



a. This move, initially is hard to master, but that's because it's teleportation. You can either emphasize the yank or the explosive step and the movement will be effective. If you have a good yank, it's easy enough to step behind him at the same time. If you have a good step, make him miss and step behind him, you won't need a yank. If you don't have a good yank or a good step, don't attempt this move. You will only get beat up and make us all look bad.

b. This movement is ideal when fighting with multiple opponents. Not only does it confuse the attacker, it also confuses the people standing around. Have a circle of friends attack you in succession as you keep using this movement. It will help you orientate yourself and see the results against different attackers, sizes and timings. You'll have to do this movement at least 1000 times, before it's even "pretty good."

c. Mastering this movement with dual knives is an assassin's wet dream. Replace the yanking and strikes with slashes to the wrist while stepping behind the opponent and finishing with stabs to the spine. The takedown then becomes a downward thrusting knife attack that crashes the opponent to the floor.

d. I know most Bagua practitioners don't utilize nunchucks, but I sure like to. The yank can be done with the chain of the nunchucks or you can use a circle parry to the inside as you bash the back of the knuckles or leg. With a good explosive step, you will be able to strike his temple or base of the head while he's still rubbing his throbbing hand.

Fan- Fan is the Turning Over Palm or Flipping Palm and is the 22nd of the 64 palms. The term fan in Chinese actually refers to flipping through pages just as a book. In terms of attack, you are flipping from the bottom to the top of the opponent. As the attack comes in, it is met with a spearhand that immediately slides into a downward grab. While the opponent's arm is still extended, a lower forearm strike attacks the center line in a downward motion. This can be a blow to the midsection or nuts, or it can also be an arm break. After the lower attack is completed, the grabbed hand is yanked and changes positions with the attacking hand in a circular motion. This generates the attacking hand into another strike to the jaw or throat. It should be over by now, but if it's not, circle the lead hand to grasp the elbow and then follow with a hidden palm and finish.



a. Because of the circle motion of Fan, it is much like the chain punch of Wing chun and many practitioners will emphasize its speed and probably miss out on the power. The true key to this movement as in all Bagua movement's is in the legs. Generate all the force from the legs, through the kua and into the arms to crush both the downstairs and upstairs successively. Slow your pony. If your opponent is broken, you don't need to be that fast.

b. The weapon applications are so awesome and should be obvious by now. Stab downstairs, stab upstairs, slice the back of the elbow and grab. Stab the ribs and finish at the throat.

c. Try not to think of things in terms of striking, grabbing, kicking or weapon strikes, but as energy. Then this movement easily becomes the counter to many grabs. As a fighter gets close, use the back of his neck to represent the incoming attack. Then whip your elbow or forearm from his rib cage to his throat, utilizing the same circling motion of Fan. This motion can also be used to counter the clutch and kneeing attacks of a muay thai fighter while creating enough room for your own attack.


Zou- Zou is the Walking Palm and the 23rd of the 64 palms. The Walking Palm begins by sinking the weight in the back while making a small circle in the hips to guide or redirect the opponent's attack slightly to the outside. The attack is then subtly moved out of the way while stepping and the following hand strikes the opening.



This palm strike is actually a style within itself in our lineage that emphasizes closing the gap. We teach it in a form of 25 different steps to teach practitioners to master the space between the fray. The 25 steps all emphasize nullifying the opponent's effective range while landing heavy attacks, breaks and takedowns. I will eventually write out a whole descriptive page on this style, but in the mean time you can get some details from my Martial Arts Novel, "Master Trey's Flawless Outlaws" available on amazon.

 https://www.amazon.com/Tales-Master-Treys-Flawless-Outlaws/dp/1532919727/ref=cm_cr_arp_d_product_top?ie=UTF8




















In the novel, the style is called the "25 Evasive Steps" practiced by Simon Sayz. I put a lot of combat details and all of the characters are based on styles in our lineage.


Zhuan- Zhuan is the Revolving Palm and the 24th of the 64 palms. The Revolving Palm begins by extending a slanting spearhand to the side to intercept the oncoming attack. As the attack is deflected, plant a kou bu or pivoting step to slide the attack off the practitioner's back while spinning and sticking to the retracting attack. As the opponent's attack return's it is accompanied by the force generated from the practitioner's spin in the form of a turning palm to the ribs. Once the opponent takes the initial jolt of the first attack, his guard is raised in the air by the lead hand as the rear hand extends through the target a second time to finish.



a.  A lot of people think of spinning attacks as dangerous and for good reason because of the dangers involved. However with good footwork and understanding of space, it shouldn't feel like you are spinning, but you are using the weapons in both the front and back of the body. Literally half of the weapons of Bagua are launched from the back so if you aren't turning, you are only doing half of Bagua. Still this takes a rather good understanding of kou bu so I will try to give some details:
When your weight is sunken, Kou and Bai Bu allow you to move fluently to either side, turning the foot outward or inward from the waist not the leg. When an attack comes in at the practitioner, it should be easy to absorb, move with, and stay with the attack as it retracts. With a low and balanced stance, it's easy enough to just ram into the opponent while his attack is still extended. The problem being, if your weight isn't centered properly, you will fall over instead of your opponent...and he will more than likely put it on youtube.

                   i. my suggestion is to practice in half turns at first to get comfortable with the idea of turning. It should feel like the opponent is pushing you into a turn, not a turn on its on might. As you turn, keep the legs tight together at the thigh, so that you can feel the different areas of your body bump into the target. First turn and strike with the back or butt, then with the shoulder, then with the elbow to forearm, to palm and so on. Never take your eyes off your opponent and never stop in mid motion.

b. The turning motion can lead you to the outside or inside of the opponent depending on which limb you counter. Your leg will determine where you land so if you don't aim it to the outside or inside with your step, you will crash into your opponent. If you step to the side, your attack can go through the opponent, which is ideal.

c. Once the turn is mastered, use the fake turn. You can begin a turn and suddenly change direction to make your opponent miss. Or you can just look over your shoulder to lure him into a powerful attack.




The Mountain Section is represented by Amanda in my novel, "Master Trey's Flawless Outlaws." Get the book on amazon to see the motions in action: https://www.amazon.com/Tales-Master-Treys-Flawless-Outlaws/dp/1532919727/ref=sr_1_1?ie=UTF8&qid=1476323500&sr=8-1&keywords=master+trey