Steel Tiger
Senior Master
I have recently been closely examining one of my forms and have now taken to reading some translations I have of bagua concepts. I thought I might share a few with you all to give you an idea of where we bagua people are coming from and to see what you think of the concepts.
These are the first two lines of something called the "Total Song of Baguazhang". It paints a pretty good picture of the constant movement and change essential to the art.
This is one verse of something called "Baguazhang Fighter's Secret Song". This speaks of coordination and mystery of intent. Again I think it gives a good idea of essential bagua.
What do you think? Does it raise any questions? Does it resonate with any of the concepts you use for yourself?
Baguazhang, walking is first, withdraw and immediately release, go and immediately return, change and vary insubstantial and substantial in the stepping. Walk like the wind, stand as if nailed, the changes of techniques for arcing, swaying, boring and turning are clear.
These are the first two lines of something called the "Total Song of Baguazhang". It paints a pretty good picture of the constant movement and change essential to the art.
The palms are applied with the coordination of the Nine Palaces Stepping. Left and right turning the body, the variations are refined. Emitting hands either following or against (ie reversing) according to the body's movement. Falling stepping, open and close, four extremities are capable. When the legs kick, the opponent does not see the legs. When the palms attack, the opponent does not know my intention. When I turn my body, the postures are not defined. Four doors and eight legs, their variation have no limit
This is one verse of something called "Baguazhang Fighter's Secret Song". This speaks of coordination and mystery of intent. Again I think it gives a good idea of essential bagua.
What do you think? Does it raise any questions? Does it resonate with any of the concepts you use for yourself?