Page 1 JIANG STYLE BAGUA ZHANG THROUGH SHA

Transcription

JIANG STYLE BAGUA ZHANG
THROUGH SHA GUOZHENG TO LUO JINHUA
A TRANSLATION FROM THE CHINESE
BY
ANDREA FALK
Video and translation contents
VCD time
Translation page
Introduction
Performance of eight changes
Essentials of baguazhang
Breakdown of techniques
First change
Second change
Third change
Fourth change
Fifth change
Sixth change
Seventh change
Eighth change
All eight changes in slow motion
All eight changes ‘for older players’
Information on the VCD
01:14
04:54
07:32
1
27:00
30:04
31:55
37:53
40:56
43:24
45:26
47:56
49:26
55:27
9
11
12
15
17
19
21
23
2
24
Information on lineage for those involved in the Jiang style book, video, photos, and translation:
Dong Haichuan (c.1813 – 1882) Cheng Tinghua (1848-1900) Zhang Zhankui (1859-1940) Jiang Rongqiao (1891-1974)
Sha Guozheng (1904-1993) Huan Dahai (1920? - ) Luo Jinhua / Cai Yuhua (1949- )
Andrea Falk (1954- )
www.thewushucentre.ca
translation copyright © 2005 Andrea Mary Falk
INTRODUCTION
Visual and Notes
Baguazhang is a type of martial art that uses circular walking. Its
theoretical foundation is based on the ancient Chinese theory of
changes with the addition of martial techniques. Baguazhang was
originally taught in Beijing. The history of baguazhang stretches
over two hundred years and it is loved by many martial artists
and baguazhang players.
I became the apprentice of the famous martial master Sha
Guoyong forty-three years ago, and trained by his side for
sixteen continuous years. Master Sha Guozheng was the coach of
the Yunnan provincial wushu association. Sha Guozheng’s
nickname in the martial world was “the huge warehouse.” He
understood all sorts of martial arts – southern shaolin, northern
styles, kicking styles, punching styles – and he also understood
the essence of martial arts. Master Sha Guozheng was
exceptional at baguazhang. He learned from the famous martial
artists Wang Zhezheng, Zhai Shuzhen, and at the age of fortyone became the apprentice of Jiang Rongqiao.
What I am showing you today is the eight palms routine as
developed by Master Jiang Rongqiao. Jiang Rongqiao developed
this routine in his later years. The postures are natural and
poised, smooth and extended, without actions that contract the
chest and upper back area. They emphasize an unimpeded chest
and solid abdomen. Everyone can do these changes – men and
women, old and young. And for older players, it does not put
pressure on the heart or impede the [ability of the] lungs to
breathe. This particular characteristic is unique to this routine.
This Jiang style baguazhang has the characteristic of being
natural, smooth, and expansive. Middle aged and older people
who do not want to train true skill or power can pracise it in a
relaxed way. If you can’t do the lower stances, you may do them
a little higher. As I explained earlier, for the lower actions,
younger players may drop right down low, as their legs and back
are flexible and strong. Older people may do these actions like a
dodge – a little higher. All other movements are expansive. Do
the hands [like this], show the change of yin and yang. I should
explain this spiraling power. The moves are quite comfortable.
The abdomen must be solid. The chest area should be natural and
relaxed. Many people who train qigong – why do they have
trouble settling the qi down? Because they don’t understand this
principle. If you spread the upper back and but don’t close in the
chest, if the chest is comfortable and relaxed, then you just
release and [the qi] will naturally settle down.
Brief introduction to
baguazhang
01:14 Stands facing
camera.
[
]
[
[
[
]
]
]
Cut.
Shows options for low
stances.
Cut to black screen.
1
2
Jiang style Baguazhang by Luo Jinhua
Visual and Notes
04:54 Baguazhang
demonstration
Shows all eight changes.
07:32 Essentials of
baguazhang
Stands facing camera.
‘Smooth and upright’
‘Tuck in’
‘Settle down’
09:00 Orchid palm shape.
‘Unimpeded and solid’
The essentials of baguazhang – the positions and actions, and the
martial aspects of the kicks, footwork, hand techniques. Firstly
you must let the neck be smooth and uplifted. Smooth means to
allow it to be in its natural position. A smooth neck means that
the neck is quite naturally held erect. I’ll give an example – the
idea of this agile, empty, pressing up power is like a snake rising
up. It has a type of vigilance, lifting up, causing your whole body
to stretch open in a comfortable way. The head presses up. The
head presses up as if it is holding up a bowl of water. Or, as if a
rope is pulling the hair up. It is basically like this, the jaw pulled
in slightly.
The second essential is to tuck in the buttocks and anal sphincter.
Don’t let the buttocks stick out. If they stick out, then the qi of
the internal styles won’t connect and won’t be able to settle
down. So, your buttocks must be tucked in a little. The anal
sphincter should be lifted a bit. Pull in the buttocks and the anal
sphincter.
Release the shoulders and settle the elbows. The shoulders
should release tension and settle down. The elbows should drop
downwards. Set the wrist down. The wrist should settle
downwards.
This palm shape in baguazhang is called ‘orchid palm.’ It looks
like an orchid after it has opened. When you place your palm in
this shape, the tiger’s mouth is stretched open, the index finger is
stretched, and the five fingers are separated. Except for the index
finger, the other fingers [and thumb] should close in towards the
middle a little after they are stretched open. This makes the palm
concave. In baguazhang we say ‘make the palm concave and
place the humerus.’ The humerus is your upper arm. This way
the palm sucks in, and after much training your hand will gain a
certain hardness. Also, this type of palm shape looks like a
horse’s hoof. It can hit out very strongly.
Then, the chest should be unimpeded. The chest area should be
wide and free. An unimpeded chest and a solid abdomen. The
abdominal area is hard and solid. The chest area relaxes and
settles down, so for developing internal qi, the organs can settle
down along with the qi. You can sink down into the lower
abdominal area.
ESSENTIALS
Visual and Notes
This is the position of baguazhang.
Next I’ll show the footwork for circle-walking. You must not lift
up too high. This is called ‘lift level and land hooked in.’
‘Hooked in’ means that the outer foot should hook-in slightly
when it lands. Towards the outside is called ‘hook-out’ and
towards the inside is called ‘hook-in.’
When you step forward, you should try as much as possible to
not lift the rear foot. You should lift it slightly, and level with the
ground. When you step forward – when you take a step – you
add a ‘step and a half’ of force, pushing off with then bringing in
the rear foot. This is the basic principle of how to circle-walk.
The most important part of training martial arts is to train the
skilled techniques and power. The masters of old emphasized to
a great extent the training of skilled techniques and power. Your
body position and actions, your postures, your handwork,
legwork, bodywork, eye-work, all must be done to their full
extent and to perfection.
Force is an important component. How do you train and develop
force? Next I will discuss force. If you are doing your palm
changes, then you should do them according to these
requirements, then settle the qi down before starting to circlewalk. You walk, which is moving, which makes [circle-walking]
a sort of moving qigong. Press the tongue lightly to the palate
and keep your head straight.
Of course, there are many different types of footwork. In
baguazhang, there are some special types of footwork that are
used for fighting. For example, there is one that is called ‘passing
steps.’ In recent years this stepping is rarely seen among those
training baguazhang outside. I’ll show you the fighting action of
the old baguazhang masters. For example, if an opponent comes
at you, you hook to the rear, then as the opponent withdraws a
step you attack. If you can’t catch him then you use this type of
footwork.
So, martial arts footwork, baguazhang footwork, isn’t just
walking around in circles. There are many steps that enter in to
attack.
You must practise the all the bodywork and footwork so that you
can do them properly. When practising, sometimes you have the
urge to add a bit of force to your practice, to work on your
bodywork to get it right. Baguazhang shouldn’t be done rigidly,
just walking around and doing it ‘right.’
10:28 Takes the position
for circle-walking.
Shows walking footwork.
Shows rear foot
movement.
11:16
Stands up, then takes the
circle-walking posture.
Walks a circle, then stops.
‘passing steps’
3
4
Visual and Notes
Drops down.
13:44
‘butt’
‘lift’
‘increase’
‘wrap’
‘spiral’
‘transverse’
The palm techniuqes are always transforming. Some places you
should really use your waist, you really have to do it properly.
The skilled techniques and power – you have to use force. If you
don’t use force then it isn’t a martial art.
If an opponent comes at my upper body – a sabre, spear, staff,
sword, fist, or leg comes at me – I must drop and dodge, the rise
and do a throw. So martial arts emphasize attack and defense,
dodging – forces.
Next I will discuss force – some important types of force in
baguazhang.
The first is ‘butt.’ Pressing the head up is also a butting force.
When the hand reaches out it also has a butting force. The
knees, the knee joints, also have a butting forward force. They
can also do a butting force upward. Ca! That is how to butt.
‘Lift.’ Lift is a force that goes upward.
‘Increase’ is to double your force. I’ll give an example. If you are
using your left hand to attack your opponent, if your right hand is
not giving an assisting force then this hand [the left] cannot get
any power. This doubling force is to use force in both directions.
Once you open out you double the force. This is ‘increase.’
Training baguazhang’s ‘wrapping power is also a method of
training power. For some actions you need to go past your body.
You use a twisting power, and wrap upwards. Just like a circular
knife. You rub, threading upwards. It isn’t done just blandly like
this. If you do it like this then you won’t develop any skill. Do it
like this. Hua!
Press up, lift, increase, spiraling power.
Spiraling power is also very important. Any turning, twisting,
rotating action is spiraling. Wrap, turn over.
When training, the requirement is to be expansive and poised.
But some places there are short and small actions that are
relatively tight. For example, if an opponent grabs my wrist, he
grabs my right wrist with his left hand, you do this. You must
turn over your wrist, so that you can snap back out with a
reactive force.
Baguazhang puts great emphasis on mechanics.
Another force is transverse force. When you hit to both sides this
is called transverse force.
ESSENTIALS
Visual and Notes
Do not fully extend your arms or legs. This maintains an
elasticity, called ‘springing force.’ This [action] also uses
springing force. After you bend, just before you reach the end,
then go, this [action] is also spring.
So, once everyone has mastered the mechanics of the skills and
postures of baguazhang, once every single position can be done
to its fullest extent – how do you do the horse stance properly –
how do you do the bow stance properly – this helps you
extraordinarly.
Empty and solid, action and stillness are very clearly
distinguished. When you do this action, pull in, the waist pulls
back and shrinks, dodge – the monkey takes the fruit and pulls on
the branch – then rise up, dodging, and – Shua! Drop down.
When doing baguazhang, the back is the axis. The back is just
like the axle of a car’s wheel, turned upright. The back is the
axis, it is upright and straight. The hands are like the wheels.
When your back is upright and straight, your weight can be
controlled.
Baguazhang has ‘four centres [xin, centre or heart].’
Your heart is relaxed [shu xin]. This means the action of your
brain, your thoughts.
The axis [zhou xin] is very important. It means that the body is
like a vertical axle that supports your body in all its actions to all
directions.
The weight [zhong xin] means that your body, no matter where it
is, no matter how your centre of gravity shifts around, it is
always under control.
When moving around in baguazhang, you should stand solidly
like a mountain, and step like water. When you walk, the feet
should be as light and quick as water flowing. They should move
like flowing water, very light and quick. But once you stop, your
stance should be as solid as a mountain. That is extremely stable.
So, when you stop you must be as stable as a great mountain.
There are three levels of skill in training this baguazhang, similar
to other styles of baguazhang. The first level is ‘stationary
stances.’ This means that you stand in the correct posture for
every single action, every movement, every stance. For example,
purple swallow shakes its wings, you hook-step out and do an
outward transverse strike with the hands, using a wrapping,
extending, drawing, pushing power. [Or another example] the
movement close the door and push the moon. This is stationary
stances.
‘spring’
16:02 Cut. Stands facing
camera.
Empty and solid, action
and stillness.
Cut. Stands facing
camera.
relaxed mind
axis
centre of gravity
18:00 Cut. Stands facing
camera.
Stationary stances.
5
6
Visual and Notes
Combining stances.
Changing stances.
19:15
‘push’
‘level carry’
‘high carry’
‘inward drill’
‘cover, hold, draw’
‘open out’
‘dodge step’
The second level is ‘combining stances.’ This means that you
don’t do the actions so plainly. Once you know the movements
well, you do them as you walk, just continuing on, one after the
other. This is changing stances, you don’t need to stop in each.
You need to stop when you are first learning the actions, you do
each action to its proper and full extent. When you know the
movements well then you may do them as you go. This is
changing stances.
The three levels of skill are stationary stances, combining
stances, and changing stances.
When training baguazhang, there are different methods of circlewalking. There is ‘pushing’ as you walk. This is ‘level carry.’
This is ‘high carry,’ also called embracing palms. This is ‘inward
drill,’ [used in] the eighth palm. There are many ways to circlewalk. Other ways are like this –
There is also an elbow cover walking technique, used while
moving. You cover and close the chest, lift the knee and close in
the chest, then drop. This is walking while doing techniques.
This is cover, hold, and draw. Cover, hold, and draw. After you
draw back then [you can do other] hand techniques.
This is also changing stances.
Another method done while walking is a palm opening, called
lion rolls the ball. This is a fundamental action in shaolin and
xingyi styles, to train force. It develops the force and power of
the whole body, the coordination of the body. If you train martial
arts then you have to train this. You drill up here, then turn over
and drop – drill – turn. Just like this.
When training changing stances, if you want to do the pushing
walk, then change to an inward bend, then attack, the opponent
dodges so you move in – a fist or leg comes and you dodge – you
dodge with a dodging step. This is called a dodging step. You
step out of the way.
Baguazhang’s stepping – you step like water. It must be light and
agile, you shouldn’t do it just always in a straightforward way,
you won’t develop any skill that way. There is a lot of different
footwork in baguazhang. Like the dodging step. If the opponent
comes at you really fiercely, if he uses, for example, baji style, or
some style like that, that come in with very strong elbow strikes,
you can’t go up against that, but you can step aside and do some
other movement. You just get out of the way.
ESSENTIALS
Visual and Notes
Baguazhang emphasizes changing – that means changing your
place, using your footwork to move. If an attack comes to this
place then you leave it. You are no longer in the place where you
were attacked. [Baguazhang] stresses this point.
Once you’ve dodged out of the way, there is a space here, so the
opponent will come again. Then you can go, advance, and attack.
[Baguazhang] emphasizes changing and going. This is changing
stances.
Each type of force can be combined together. You can use your
hands and feet at the same time, then go. The footwork can go
forward, backward – advance, retreat, quickstep, withdraw.
Quickstep is like this, on the toes.
Withdraw is to step back and draw the other foot back.
Dodge, jump, dodge, crossover.
This is the footwork of martial arts. Every style has a great
variety of footwork. Footwork is very important.
For instance, say your opponent is 90 kg. His fist comes with a
force of 300 lbs. You can’t take that. If you don’t have the
dodging step of martial arts, but just know how to walk around in
circles, then you’re done for. But if you can step aside, then
when he comes at you strongly – I just get out of the way.
The footwork is very light, like water, like flowing water. But
when you land you are very stable. You need to do it properly.
Your body and waist lead the movement. You need to train your
waist well. If you just use your hands they will go out emptily.
They won’t be effective against anything. You won’t have time
to react. You must dodge with your body, get it out of the way.
You move your chest back, drawing the rest in. This is a basic
body technique of martial arts, a basic requirement of body
technique.
So, you should pay much attention to this.
Martial arts, baguazhang, use a lot of grappling hand techniques.
There are also a lot of throwing techniques. For hand techniques,
palms are more used than fists. For leg techniques, there are lot
of different leg techniques. There are also throwing techniques,
for example, a back throw, called black dragon overthrows the
river. You take your opponent, grab, back-step into him, and
throw. This actions are all there. You can get a feel for them
when you practise.
22:00 Strolls for a
moment.
‘quickstep’
‘withdraw’
‘dodge’
Stands facing camera.
7
8
Visual and Notes
24:10 Stands facing
camera.
‘action and stillness’
‘hard and soft’
So, the three levels of skill are stationary stances, combining
stances, and changing stances. When you do changing stances
you don’t have to do the completed hand techniques, you can go
to here then change to something else. You can get out of the
way, then attack, then withdraw.
You can gradually get a feel for this when you practise. When
you are training you can’t expect to get everything at once, get
the whole essence of martial arts, you can get a feel for things as
you practise. You shouldn’t always do things in a set place. Thre
is not rule that you have to do it like this. Martial arts have been
developed, becoming more enriched from generation to
generation.
[Martial arts] have similarities – they are inherently similar. You
just have to see if you are able to make your practise more rich,
to get a feel for the the inherent similarity. I mean, when the
actions look disimilar, or when a different styles look disimilar. I
hope that when you practise that you pay attention to – you know
you have to pay attention to the hand techniques – but the eye
techniques – to look, regard. The hands, eyes, body, the waist
and arms, dodging, jumping, footwork. There are five types of
techniques: hands, eyes, body, legs, and feet. This is most
fundamental to martial arts. When you practise you must also
pay attention to the eight requirements. The five techniques of
martial arts: hand work, eye work, body work, leg work, and
footwork. The eight requirements are what everyone knows: hard
and soft, fast and slow, empty and solid, action and stillness must
be clearly distinguished.
Action: when you move, the movement must be done fully.
Stillness: you must stop cleanly.
In martial arts training the hard power is used very little, only
about 10 to 30 percent. Soft power is used more. When training,
every action, every technique uses body work. Use your body,
waist, hands, and arms. You shouldn’t just always hold the same
position. Then you can only move in this way. This way then
your martial arts will be limited. I’d like to point out to you to be
aware of this.
Now I will explain the basic concepts of the techniques: how to
use them and practise them.
THE FIRST CHANGE
27:00
THE FIRST CHANGE
Lean on a horse to ask the way
Hide a flower under a leaf
Swan leaves the flock
Violet swallow tosses its wings
Close the door and push the moon
Visual and Notes
The first change.
Preparation. Lean on a horse to ask the way – hide a
flower under a leaf – swan leaves the flock. Circle-walk.
When you circle-walk, do as much as you want, it
doesn’t matter. Ok, walk. Walk lightly and quickly. Ok,
the first change. Violet swallow tosses its wings – close
the door and push the moon – hide a flower under a leaf
– swan leaves the flock.
Lean on a horse to ask the way. Turn your lower back,
rotate your upper back. There is a stretching out power
and a rotating power, putting power into the hands. Then
turn around to the rear right, drawing across. At this time
this empty space is taken by the right hand that is
underneath. It twists outwardly – this is called wrapping
power. The upper hand twists inwardly – this is called
turning power. Stretch out. Stretch out and roll, drawing
back. Put the arm slightly on an angle, don’t put it flatly
horizontal. If it is flat then you are empty here if an
opponent should come at you. Keep it angled, and draw
the elbow across. The lower arm does a wrapping power
in the gap. In baguazhang every part is moving, every
part of your body moves.
Breakdown of techniques
The first change
Shows the first change while
saying the names.
27:46
Lean on a horse to ask the way
9
10
Visual and Notes
Violet swallow tosses its
wings
Close the door and push
the moon
– swan leaves the flock.
Then thread up. This hand follows a diagonal line as it threads
up. Go up. If it follows a horizontal line then if the opponent
resists you, pushes you, you won’t be able to move. This is called
transferrring power. Rise. Then turn over. Settle down.
Violet swallow tosses its wings. As you circle-walk, change the
palm position. The first palm change is called single change. The
hand presses out slightly and draws towards the rear. The waist is
like an axle, the head presses up, the neck is upright, and the qi
settles down. Hook-step out towards the outside, drawing the
opponent’s fist away. Your body placement also changes. The
opponent comes like this, and you’ve already changed places,
getting out of the way so you can attack.
The next move, the waist leads the action. The waist leads a
returning action, with a turning power. Close the door and push
the moon. Then hook-step out a little and step forward with a
hook-in step.
Hide a flower under a leaf, swan leaves the flock, thread
upwards. Settle the shoulders, drop the elbows, set the wrists,
press the head up, straighten the neck. Watch again.
Black screen, to name list
of second change.
THE SECOND CHANGE
30:04
THE SECOND CHANGE
$'
&
#
Fierce tiger escapes from the cage
Golden pheasant shakes its wings
Move a flower to graft a tree
Pick a helmet from behind the head
Embrace the moon in your bosom
The second change.
Violet swallow tosses its wings – close the door and
push the moon – fierce tiger escapes from the cage –
golden pheasant shakes its wings – move a flower to
graft a tree – pick a helmet from behind the head –
embrace the moon in your bosom – hide a flower under
a leaf – swan leaves the flock.
For the second palm change, violet swallow tosses its
wings, is the same [as the first palm change]. Close the
door and push the moon – thread upwards. Put force into
the radial side of your arm, the thumb side, when you
thread up. Use a threading power up, past the body.
Stick to your opponent’s hand to displace it outwards.
Thread – push.
Then do a drop stance. Drop down to dodge,
immediately drop down and pulling the hands open.
Then get back up, use a twisting power, settle the qi.
Then take a step forward and thread out. Thread out to
an angle upwards and coil around. Place the back of the
rear hand behind the waist. Then thread it out into
embrace the moon in your bosom – this has a rolling in
power, an embracing power.
Then another hide a flower under a leaf, swan leaves the
flock.
11
%!"!
The second change
Shows second change while saying
the names.
30:44
Violet swallow tosses its wings –
close the door and push the moon
– fierce tiger escapes from the
cage
Move a flower to graft a tree –
pick a helmet from behind the head
Hide a flower under a leaf – swan
leaves the flock.
12
31:55
THE THIRD CHANGE
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Sparrow hawk pierces the sky
White snake coils its body
Beautiful girl presents a book
Mount Tai bears down its weight
Black bear rolls over
Yellow eagle clutches the throat [two]
Ape sits in its cave [reversed order]
Ape picks fruit [reversed order]
Unicorn tells a story
Flying swallow skims over the water
Visual and Notes
9232
The third change
Shows third change while saying the
names.
The third change.
push the moon – sparrow hawk pierces the sky – white
snake coils its body. Stick the back of your hand to the
waist as you go. Hook-step in. Embrace the moon in
your bosom. Reach out – beautiful girl presents a
book. Mount Tai bears down its weight. This is a long,
reversed eight character stance. Black bear rolls over –
extend the waist. Shake the waist and brace out. Yellow
eagle clutches the throat – one – a short hooking
sweep with the leg – two – ok – turn around.
THE THIRD CHANGE
13
Visual and Notes
Ape sits in its cave – ape picks fruit – unicorn tells a story –
flying swallow skims over the water – drop down. Get up.
Embrace the moon in your bosom – hide a flower under a leaf –
swan leaves the flock.
Next, how to train and apply the third palm change. Ok, circlewalk.
Violet swallow tosses its wings, close the door and push the
moon. Step forward into sparrow hawk pierces the sky. Here you
can imagine as if an opponent is punching towards you. You
brush down, press down, and then drill up. You can also think of
it as an elbow cover, tucking the elbow in to keep the opponent’s
fist away. This position prepares you for the following white
snake coils its body. For white snake coils its body, rotate the
arm, rotate the right arm, rotate it inwards as you go up. Rotate
the left arm and stab it through to adhere behind the waist. Step
the left foot into a back-cross step. If you can’t step far, at least
step behind. At the same time, do [this]. Hook-in the right foot
into embrace the moon in your bosom. When you do embrace the
moon in your bosom, use a transverse power as you turn around.
Next stretch out the palm into beautiful girl presents a book.
Hook-in step, do a hook-in step with the right foot. Next is
Mount Tai bears down its weight. Bring the left arm over the
head, keeping it adhered to the top of the head, using the wrist to
hook, cover and press down. You cover the opponent then do a
horizontal strike. This is a long reverse character eight stance.
The following black bear rolls over is a waist extention. Step
forward and externally rotate both palms, adhere them to the
waist then brace down. Use the waist to spiral and drop, shaking
your waist and bracing out. Press the head up to assist the
bracing down power of the hands. Use the elasticity of the arms,
brace out, sit into a horse stance. Black bear rolls over.
The next move is yellow eagle clutches the throat. This takes its
meaning from the old eagle that clutches an animal by the throat.
First flick the wrist without changing the stance stance. The high
flick in Chinese martial arts is used when the opponent comes
with a high strike, to snap it up. Flick. When the leading hand
flicks, the rear hand presses down. This gives a doubling force to
give the action power. If your rear hand is relaxed, then when
you go, this hand doesn’t have any power. Press it down.
33:35 Stands up, starts
explaining moves.
Violet swallow – close the
door – sparrow hawk
pierces the sky
White snake coils its body
Embrace the moon in your
bosom
Beautiful girl presents a
book – Mount Tai bears
down its weight
Black bear rolls over
Yellow eagle clutches the
throat
14
Visual and Notes
Second yellow eagle
clutches the throat
Ape picks fruit
Ape sits in its cave
Unicorn tells a story
Flying swallow skims over
the water – embrace the
moon in your bosom –
hide a flower under a leaf
Next comes the grip to the throat. Take a slight forward step with
the left foot, hooked-in. This is a hook-in short sweep leg
technique. The throat grab is like this. The lower hand dodges
and hides, then goes out.
Hook-step in, then, when you turn around, change the palm to a
sword-finger palm and stab backwards. This is like an ape. Very
light. Stab back, then cover with the elbow, press down with the
elbow. Close in the chest and drop back. Use body technique.
When you hand withdraws, its like your opponent is attacking, so
if you don’t use body technique then he’ll get you. Use your
body and waist. When your body drops back and shrinks, have
the waist lead the action. You slide off. The opponent’s fist can’t
reach you. Hua! Hua! Attack. Shua!
Then drop down. Flying swallow skims over the water. Get up.
Embrace the moon in your bosom, hide a flower under a leaf.
When you do hide a flower under a leaf, don’t close it too
tightly. Leave a space between the chest and the back of the
hand, with a wrapping power. There is a turning over power in
the left hand and arm, and an external rotational power in the
right arm. This is called wrapping power. There should be a
space between them, with a solid abdomen and an unimpeded
chest. Older players may put the hand just in front of the waist,
so that they don’t put pressure on the lungs and impede
breathing.
Then do swan leaves the flock.
of fourth change.
THE FOURTH CHANGE
37:53
THE FOURTH CHANGE
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The Sichuan road crosses the clouds
Black dragon coils its body
Scoop up an enemy on horseback
Pull up your cloak while walking along
Push the mountain into the sea
Bat lands on the ground
Flying swallow skims the water
Visual and Notes
The fourth change.
push the moon. Drop down to golden pheasant shakes
its wings – move a flower to graft a tree. Step forward
to pick a helmet from behind the head – the Sichuan
road crosses the clouds. Than another golden pheasant
shakes its wings – move a flower to graft a tree. Step
forward to black dragon coils its body – scoop up an
enemy on horseback. Pull up your cloak while walking
along – push the mountain into the sea. Ok – bat lands
on the ground – flying swallow skims the water –
embrace the moon in your bosom.
4/0
#/
The fourth change
Shows fourth change while saying
the names.
15
16
Visual and Notes
38:54 Starts to explain
each move.
Violet swallow – close the
door – golden pheasant –
move a flower
Pick a helmet from behind
the head – Sichuan road–
golden pheasant – move a
flower to graft a tree
Black dragon coils its
body – scoop up an enemy
on horseback
Pull up your cloak while
walking along
Push the mountain into
the sea
Bat lands on the ground –
flying swallow skims the
water – embrace the moon
in your bosom.
Monkey steals a peach
Now [I’ll explain] the fourth change. Violet swallow tosses its
wings – close the door and push the moon – golden pheasant
shakes its wings – move a flower to graft a tree. Your stance
must be very solid. Use a twisting power, settle your shoulders,
drop your elbows. Imagine an opponent – you dodge behind his
body so that your leg is behind him. Move your arm transversely
to throw him down sideways. You must have this sort of force.
Settle the wrist of the rear hand. Straighten your neck.
Then thread the palm at an angle – pick a helmet from behind the
head. Hook-step out and turn around – the Sichuan road crosses
the clouds. Then drop down again into golden pheasant shakes
its wings. Move a flower to graft a tree.
Step forward into black dragon coils its body. Relax your waist
and turn. Stab your right hand behind. Ok, [do a] wrapping
power. Press the palm down and flat. This is the Sichuan road
crosses the clouds.
The next move is pull up your cloak while walking along.
Suddenly flip over. Imagine an opponent when you are here – the
opponent punches you, or comes with a sword or sabre. He
attacks your upper body. You dodge out of the way and brace out
with a springy power, then hook-step in with a rolling power.
Advance into push the mountain into the sea.
Ok, the following move is bat lands on the ground. Then easiily
connect it to flying swallow skims the water, dropping into a drop
stance. Embrace the moon in your bosom.
Then monkey steals a peach. When you do hide a flower under a
leaf, the lower hand has the palm up. When you do monkey steals
a peach, both palms face down, then turn them over.
of fifth change.
THE FIFTH CHANGE
40:56
THE FIFTH CHANGE
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Monkey steals a peach
Monkey offers fruit
Great roc spreads its wings
Block with a cross
Take a chance to pull up your cloak
Sweep down a thousandfold army
Sweep down a thousandfold army
Sparrow hawk wheels over
Golden pheasant fights
17
Visual and Notes
The fifth palm change.
Monkey steals a peach – white ape offers fruit. Great
roc spreads its wings. Walk – block with a cross. Take
a chance to pull the cloak – sweep down a
thousandfold army. One – do a hooking leg sweep.
Two – hook-out step. Three – sparrow hawk wheels
over – golden pheasant fights. Embrace the moon in
your bosom – hide a flower under a leaf – swan leaves
the flock.
.)*!)
The fifth change
Shows fifth change while saying the
names.
18
Visual and Notes
41:48 Cut.
Great roc spreads its
wings
Walks a full circle.
Block with a cross
Take a chance to pull up
your cloak
First sweep down a
thousandfold army.
Second sweep down.
Sparrow hawk wheels
over
Shows right and wrong
back placement.
Golden pheasant fights
Embrace the moon – hide
a flower – swan leaves the
flock
Ok, this is the beginning of the fifth palm change. When you
circle-walk for the fifth change you should be expansive, poised,
and open. Great roc spreads its wings should look like a huge
bird, like an eagle soaring in the sky. ‘Tiger sits and eagle
wheels’ – the eagle soars in circles in the sky, rising up very
easily.
Block with a cross. When you do block with a cross, the
forearms form a cross at the wrist. Imagine the opponent coming
at you, you hook to open out then come again to cover and open
out, and thread up and stab the palm in. Take a chance to pull up
your cloak.
Sweep down a thousandfold army is a hook sweep kick to knock
an opponent down towards the rear - you do a low hook sweep
kick to his leg. One – hook-step in. The next is a hook-out step.
Hook-out.
The next is sparrow hawk flies up to the sky – do an encircling
step, over 300 degrees around – then thread the palm. This hand
externally rotates and threads up above the body. When you
thread up you must stretch your back straight, or you won’t be
able to roll over. If your back is straight [like this] you won’t be
able to roll over, and can hurt yourself. You must pay attention to
this point. Thread – as soon as you’ve threaded up then turn
around. Then imagine your opponent has grabbed your wrists
with both hands. You flip over to release the grip. Pah! Shove
with both hands.
Follow on to embrace the moon in your bosom – hide a flower
under a leaf – swan leaves the flock.
of sixth change.
THE SIXTH CHANGE
43:24
THE SIXTH CHANGE
,#/
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Rhinoceros gazes at the moon
Heavenly king lifts up the pagoda
White snake spits its tongue
19
Visual and Notes
The sixth palm change – violet swallow tosses its
wings – rhinoceros gazes at the moon. Step forward,
heavenly king lifts up the pagoda. Roll over – white
snake spits its tongue.
Fierce tiger escapes from the cage – golden pheasant
shakes its wings – move a flower to graft a tree – pick
a helmet from behind the head – embrace the moon in
your bosom – hide a flower under a leaf. Swan leaves
the flock or lion holds a ball.
-)*)
The sixth change
Shows sixth change while saying the
names.
20
Visual and Notes
44:11 Circle-walks, then
starts to explain move by
move.
Violet swallow tosses its
wings – rhinoceros gazes
at the moon
Heavenly king lifts up the
pagoda
White snake spits its
tongue
Fierce tiger escapes from
the cage
Golden pheasant – move a
flower – pick a helmet –
embrace the moon – hide
a flower – swan leaves the
flock
Next [I’ll explain] the sixth change.
Violet swallow tosses its wings – rhinoceros gazes at the moon.
This action is higher than the action in the other changes. Close
the door and push the moon is low, but this move is an upper
block.
Next, lift up with the palm. Remember to externally rotate the
arm with a wrapping power. Then the left palm lifts up and
forward. Lift up. Imagine you when attack your opponent that he
blocks your hand up. You flip your hand over. Just flip the palm
and you are in. Then lift your knee to white snake spits its
tongue.
Then back-cross-step to the rear. You must encircle [your arm]
around this circle. Fierce tiger escapes from the cage.
Another golden pheasant shakes its wings – move a flower to
graft a tree – hook-out step pick a helmet from behind the head –
embrace the moon in your bosom – hide a flower under a leaf –
of seventh and eighth
changes.
THE SEVENTH CHANGE
45:26
THE SEVENTH CHANGE
&6!
&6!
&6!
&627
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Lion carries a ball
Lion rolls a ball
Lion pounces on a ball
Lion opens its mouth
Lion rolls over
21
THE EIGHTH CHANGE
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Celestial steed soars across the sky
Pull a bow astride a steed
Golden snake coils around a willow
Wild steed charges a manger
Golden snake coils around a willow
Wild steed charges a manger
Liu Hai plays with a toad
Great python rolls over
Black bear stretches out its paw
Closing move
Visual and Notes
834 3
3
The seventh and eighth changes
Circle walks then shows seventh
change while saying the names.
The seventh change. Lion rolls a ball – use your
waist to lead the action. Lion pounces on a ball – lion
opens its mouth. Step forward and thread – lion rolls
over. Back-cross-step into celestial steed soars
across the sky.
22
Visual and Notes
When you do celestial steed soars across the sky, extend the
upper arm with a wrapping power – an inward drill. The lower
hand has a turning power. Set the wrist, settle the shoulders, drop
the elbows. Then circle-walk.
46:27 Shows moves of
eighth change while
saying the names.
[He says pull up your
cloak while walking along
instead of wild steed
charges a manger]
Pull a bow astride a steed – use a doubling power. Pah! Golden
snake coils around a willow – use your waist to lead the action –
keep your waist lively. Hua! Pull up your cloak while walking
along – golden snake coils around a willow – another pull up
your cloak while walking along. Liu Hai plays with a toad – use
your waist. Great python rolls over – black bear stretches out its
paw – fierce tiger escapes from the cage.
Golden pheasant shakes its wings – move a flower to graft a tree.
Step forward to pick a helmet from behind the head – embrace
the moon in your bosom – hide a flower under a leaf – closing
move.
47:16 Explains the
seventh change. Circlewalks in lion carries a
ball posture.
Lion rolls a ball – lion
pounces on a ball – lion
opens its mouth – lion
rolls over
Celestial steed soars
across the sky
47:56 Explains the eighth
change. Circle-walks in
celestial steed soars
across the sky posture.
Pull a bow astride a steed
– golden snake coils
around a willow
Wild steed charges a
manger
Ok, next [I’ll explain] the seventh change. Lion carries a ball.
We circle-walk a full circle. Then stand properly.
Use your waist to take you to the outside – lion rolls a ball. One
– lion pounces on a ball is a double pounce – two. Lion opens its
mouth. Step forward and thread the palm then lion rolls over.
Take a back-cross step as you do this. Hook-step in and turn
around. Lion rolls over.
Step forward into celestial steed soars across the sky.
The eighth change starts from here. Ok, circle-walk.
Set the palm in – pull a bow astride a steed. [Use a] doubling
force. Release the lower back, take a back-cross step forward as
if dragging an opponent’s hand away.
Dodge and advance. You need to use body technique to drill in
under your opponent. Your opponent punches and you slap it
away and dodge. Pah!
THE EIGHTH CHANGE
23
Visual and Notes
Then do golden snake coils around a willow again and do a slice
up forward.
Ok, now use your waist to do Liu Hai plays with a toad. Stretch
the palm forward then roll over. Black bear stretches out its paw
– push.
Drop down – move a flower to graft a tree. Step forward – pick a
helmet from behind the head.
Embrace the moon in your bosom – hide a flower under a leaf –
Then do the closing move.
The Jiang style baguazhang is basically these moves. I hope that
I was able to give everyone an idea of how to train them. These
are some things that I have learned through practice. Thank you.
Second golden snake.
Second wild steed.
Liu Hai plays with a toad
– great python rolls over–
black bear stretches out
its paw – fierce tiger
escapes from the cage
Golden pheasant – move a
flower – pick a helmet –
embrace the moon – hide
a flower
Closing move
49:11 Stands facing
camera.
Slow motion action.
“Study with me”
Shows all eight changes in
slow motion.
49:34 First change
50:15 Second change
50:54 Third change
51:46 Fourth change
52:42 Fifth change
53:20 Sixth change
53:55 Seventh change
54:15 Eighth change
Next I will show mature and older people a slower, gentler way
to do the baguazhang changes to show how they can do the
changes.
55:27 Eight changes for
older people
Shows all eight changes in
higher stances, with
pauses.
24
About the VCD
Baguazhang: One of a series on Sha Guozheng’s xingyi and bagua.
ISRC CN-M23-03-333-02/V.G8
Video made in China
Run time 60:41
Translation made in Canada
Instructor Luo Jinhua: 7th duan rank in China, inside apprentice of Sha Guozheng, gold medalist
in All China Wushu Cup.
Production:
Director:
Producer:
Photography:
Editors:
Editing technicians:
Instructor:
Subtitles:
Li Yan
Sun Jianbin
Li Yue
Zhou Zheng
Liu Yan, Hua Jianping
Shen Na, Zhou Wu
Luo Jinhua
Shen Na
Back insert:
Baguazhang looks like a swimming dragon and moves like the flying wind. Its beautiful artistry,
unique health giving effects and fighting efficacy make it popular in the martial world. It changes
the weak into the strong, it avoids the strong attack and attacks the empty spaces. Its agility and
changebility ensure victory. Jiang style baguazhang is stable and solid, moves and turns lightly
and circularly, and tightly.
Jiang style baguazhang is poised and expansive, soft and slow, smooth and unimpeded, with
medium stances that are easy to learn and train. Every part of the body is effectively trained: the
inner and outer, the upper and lower, each joint, each muscle, tendon and meridian. No matter
whether male or female, old or young – it is suited to all and has a unique health giving effect. It
is one of the most widely spread styles in China and abroad. Jiang style baguazhang contains 36
palm techniques and 72 leg techniques. It supplies abundant fighting techniques to those who
study martial arts.

Page 1 JIANG STYLE BAGUA ZHANG THROUGH SHA

Transcription

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