THE PROPER METHOD IN A NUTSHELL

Okay, so you are a complete beginner and don't know your right foot from your left. In fact, you are overwhelmed and confused; you don't know how to begin. But you want to learn BaGwa! Well, don't despair, this short article will set you well on your way with the basics of basics. We will be examining rooting or footwork, maneuverability and blocking, along with related exercises. We will go over some strikes, and put everything together in a few BaGwa combinations. This informative piece is the first of two parts. The second part will deal with common BaGwa training procedures for those who understand the following preliminaries.

Please realize that proficiency with the following material is a must in the proper study of the internal martial arts. This is the preparation. Without this groundwork, the student will miss out and never reach any real skill level. With these basics it is also possible to reach a high level of self-defence skill, without ever learning any forms. But, some short routines will certainly enhance the student's abilities, and with the addition of good partner training, in time, the student will reach his or her highest plateau! Then push a little harder, with diligent practice, learning advanced patterns and opening your gates of heavenly palaces, you too, then, will become great!

Follow the instructions carefully. There are no pictures here, only step by step instruction. Also, I hope this article will help those who do not have access to a good kwoon (Chinese name for martial arts training area; club) in their area. You may practice anywhere, but let me offer some suggestions before we begin.

If you are practicing a form, you will need sufficient room. However, you may always practice sections of the form when space is insufficient. For most training little space is actually needed. The height of the ceiling is not important either. If you have to keep your knees bent so that you do not bump your head---this is actually beneficial in your training. A dirty basement corner may be cleaned---and perhaps an old mirror can be placed on a chair for corrections. You don't need a lot of light either, but stay away from fluorescents, because they are hard on the eyes which may give you a headache. A garage or the underground parcade in your apartment building is good---your bedroom or living room, perhaps a quiet sidewalk, a spot under a bridge, etc. What is important is to wear loose, warm clothing and flat shoes or sneakers such as cheap cotton tennis shoes. If you have the will to train and the physical capability, then it is possible. Most partner training also requires little space, though sometimes a larger area is nessesary if you are training with multiple partners. Now let's begin with stances.

Stances
Note that stances, for stability and rooting, are the primary fundamental in any martial art, and especially so in BaGwaChang. Study and practice these stances before moving on.

The natural stance is the foundational stance from which all other stances are derived. The feet are shoulders' width apart, the knees are slightly bent, and the toes point straight ahead. You are now positioned perfectly square with an opponent. From this foot posture, it is easy to get into other stances such as the basic tension stance: turn the feet inward at 45 degree angles, the knees almost touching, with the groin area slightly tucked back (also called the inner tension stance).

The fighting stance and the power stance are the foot postures used most often in Chinese fighting systems. In BaGwa, they are used as much as the circle walking stance. To position yourself into a fighting stance, station yourself in a natural stance. Now reposition yourself so that you are facing forty-five degrees away from the opponent. For example, if one is facing north, station yourself to either the northwest or northeast, but maintain your cover position to the north. The weight is distributed equally on both legs, and you should be able to draw an imaginary line from your rear heel to the front toe and continuing toward your opponent. This stance offers matchless stability to your front, rear, left and right sides; and maneuverability is easy. With the left leg forward, it is called a left fighting stance, and with the right leg forward, it is called a right fighting stance.

The circle walking stance is the key stance in BaGwaChang. First get into a fighting stance. Then turn your feet another forty-five degrees away from your opponent. Your rear heel lines up with the lead foot's toe toward your foe: the center of the circle. A variation of this stance is to reverse the feet: now the rear toe lines up with the heel's edge of your lead foot. Cover along your center line. (This is referred to as a circle walking stance with the lead leg forward.)

The tension stance: begin from a fighting stance. Turn your feet inwards (forty-five degree angles). Example: from a left fighting stance, pivot your feet inwards with the knees almost touching, groin area slightly tucked back. Cover to your front (north); the chest faces northeast. Hence, the left foot is forward, thus called a left tension stance. (This is similar to a toe-in position.)

The cat stance is similar to the fighting pose. The feet are shoulders' width apart, and the weight is on the rear leg. The lead toe touches down, and the groin is tucked in. The thigh shields the groin area. The rear heel aligns with the front toe.

The forward power stance is similar to the fighting stance but a little wider and longer. The weight is more forward with sixty percent on the front leg. Your powerline, or where you can project a punch or boot with maximum power while possessing utmost stability, is directly to your front and rear. The back stance is basically a power stance with the mass reversed, much like a large cat stance or what is known as a bow stance.

The horse stance is a larger natural stance: the feet are apart one-half to twice your shoulders' width with the knees bent outwards. In a lean-away horse stance the body angles away at a forty-five degree angle from your opponent---that is when his powerline aligns toward you---with sixty to eighty percent of your body weight supported on the rear leg. Do not confuse this with the back stance. Now from a horse stance move either leg sideways, around the back of your supporting leg. Place this foot down on the toe and point the foot sideways at ninety degrees from the supporting leg---line up with your opponent. When you unwind by pivoting, you should end in a perfect horse stance facing in to the opposite direction, thus facing behind. This procedure of unwinding from a mother horse stance into the horse stance is somewhat similar to an inside and outside change.

Three methods of shifting exist in the martial arts: the slide step, skip step and change step or lunge when change stepping forward. The change step is also called the chain step in some styles of self-defence. Flying, jumping or hopping ridiculously about is nothing short of martial art stupitity, therefore impractical.

Slide step: from a right fighting stance, step forward with the right leg onto the heel. Transfer your body mass onto the right leg and then slide or glide (not drag) the left foot up into its former position. This is the procedure for slide stepping forward. This shift may cover a distance from six inches to a few feet. To attain speed and distance, one must maintain lower level breathing and explode by pushing off with the rear leg. When slide stepping to the rear, push off from the front (right) leg and place the rear toe down first. When shifting to your right from a right fighting stance, place the right toe down first; shifting left: land on your left heel first---this procedure is reversed when in a left stance.

Skip stepping: from a right fighting stance, push off with the rear (left) leg then bring it alongside/against the right foot. Transfer your mass onto the left leg and step forward with the right leg. Reverse this procedure when shifting rearward.

Change stepping: from a right fighting stance, pivot either with the right foot, so that the toe points straight ahead, or pivot the foot as you are pushing off with the rear leg. Brush the left leg against the right leg, as you are bringing your left forward into a left fighting stance. When you shift to the rear, push off with the right leg, pivot the left foot, brush the legs and land in a left stance. Do not mistake shifting with directional changes, although they are both part of footwork.

Directional changes are procedures in which the crafty practitioner changes the direction of his or her circle walking. These are also used to reposition the angle of the body in relation to your opponent's. Directional changes are the basis for advanced intricate footwork---one of the chief qualities that make this fighting art functionally superior to linear systems. These changes have four purposes:

• to place oneself off the opponent's power line---or line of attack.


• to evade or redirect a strong attack.


• to position oneself strongly---in order to execute a technique.


• to confuse the opponent.

The inside change, simply put, is a change of direction of one hundred and eighty degrees in which the body cuts to the inside of the circle. Your eyes never lose contact of your opponent. The basic inside change is as follows: walk with your left side facing to the inside of the circle, stop with your right foot forward with the toe pointing to the center of the circle. This is called a toe-in. Pivot to the left on the balls of your feet so that now your right side is facing into the circle. While pivoting, keep your knees together and use the thighs to protect your groin. Temporarily, you are in a tension stance. When the change has been completed, step off with the lead (left) foot, then take three short quick steps. While you are pivoting, never lower your cover hands; reposition the hands as you are turning. An inside change variation: toe in with your right, so that you are positioned in a tension stance. With your left foot, step off in the opposite direction thus eliminating the pivot. This rational variant is useful when it is rendered rapidly but smoothly. Inside directional changing in this manner is one way of cutting the corner.

The outside change is a directional change of one hundred and eighty degrees and is done by cutting to the outside of the circle. This rotation should be executed only for a specific purpose, because you are exposing your back to your opponent, momentarily losing sight of him. One must immediately recover by refocusing the eyes to the point where the eye contact was broken. This is called spotting. Also, when making the outside change, the practitioner should perform a high lead hooking block, once the body has almost swung around. Maintain the BaGwa cover position while you are pivoting your body.

The basic outside change is as follows, with a variant following: circle walk with your left side facing in. Toe out with your left foot. Pivot around in a tension stance and refocus to the spot were you last made eye contact. As you spin, keep the cover hands up, but lower your left arm while raising the right arm---performing a right high hooking block to the front, then step off with your lead (right) leg, then take three short quick steps. Now try this outside change variation: start from a left stance from the following examples. After your basic pivot, step away with the left leg (to the rear 45 degree angle).

Blocking
The four fundamental hand blocks used in BaGwa are the palm and hooking blocks; pressing and rising blocks. Also, the shoulder, forearm, elbow, hip and leg can be used for blocking, crowding, and jamming purposes. It is stressed that blocks should be used as a secondary reply to an incoming clout and must always be used in conjunction with the primary defensive response: a step or shift, fade and/or roll or both when both are used in combination with each other, as in a deflection. Blocks are used mainly to stick, guide, deflect and/or trap; and sometimes are used to stop by smashing a strike away from its intended target zone.

Right high palm block
The right hand glides up to the right side of your head. The arm is arced outwards and upwards at the right front of your head, forty-five to sixty-five degrees. The knuckles are in line with your nose. Use the elbow as the axis.

• With your palm push across to the left side of your head.


• Lower your palm by arcing the hand back to the basic cover position.

Make sure that you practice the blocks with fades from a variety of stances.

Right low palm block

• The right hand glides outwards to the front of the body, angling down forty-five to sixty-five degrees out from the body.


• Push left with the right hand to your body's left side, using the palm.


• Circle the hand back for shielding, in your cover guard position.

Right high hooking block

• From your cover position, "arc" the right hand to the left side of your head. The arm is angled out forty-five to sixty-five degrees.


• With the palm facing out and using the outside knife edge of the hand, glide or hook your hand to the right side of your head. This block performs the opposite action to the palm block. The back of the hand may also be used to first make contact with the strike, then twist the palm out, so that the knife hand continues the blocking action. This is a way of dispersing incoming force.


• Reposition your hand back to a protective cover hand pose.

Right low hooking block

• From your cover position, circle the right hand to the lower left side of the body. The arm is angled down and out, forty to sixty-five degrees.


• With the palm heel of the hand, strike or push the threatening limb away to the right side of your body.


• Arc the right hand back to your cover position.

Right pressing block

• From the cover position, "arc" your right hand down, using the heel of the palm to press or smash down a low punch. When you are blocking a kick, aim for the antagonist's instep, shin or knee. These are the weakest parts of the leg.


• Return your hand to the protective ready (guard) position.

Right lifting block
This block is not often used in BaGwa. Raise your palm up. The fingers point toward your opponent, lifting the punch upwards and out of hitting range. This is the opposite action of the pressing block. Lower the hand into your cover.

The second type of lifting block is called the rising block. It is much more commonly used in Eight Trigram Palm forms and basics, and is defined below.

Right rising block

• From your cover pose turn the right hand so that your palm faces towards you.


• Bring your right arm up, parallel with the terrain, positioned as if you are holding a medicine ball pressed against your chest.


• As soon as your hand or forearm makes contact with the strike, turn the hand and forearm so that now the palm of the blocking hand is facing outwards as the arm is still lifting. This action will help deflect the strike, and the lifting of the arm will bring the strike up over your head. It is important to bring the right arm well up to effectually neutralize the potential blow. If you don't, you will be (dumb) struck in the head. Lower the arm into the cardinal cover post.

Circle blocking is the continuous circular motion of a high and low palm block performed simultaneously, and alternating with two hooking blocks, high and low---calibrated and performed harmoniously, with the elbows as pivoting points.

Circle block
Perform a left low, and a right high palm block simultaneously. Circle the left hand up, sliding along the right forearm, and perform a left high hooking block; simultaneously circle the right hand down, with the palm sliding over the left biceps, performing a right low hooking block. Continue circling the hands, repeating the described movements for practice.

Sweep blocking is the continuous circular motion of a high hooking block and a low palm block performed simultaneously, then vice versa. Sweeping blocks may seem quite similar to the circle block when performed because of their comparable continuous circular motion. Don't confuse them in your personal training.

Sweep block

• Sweep across with a right high palm block and a left low hooking block.


• Drop the right, at the same time raise your left, brushing the palms together. Render a left high palm block, a right low hooking block, sweeping across. Drop the left hand and at the same time raise the right hand, brushing the palms of your hands together.


• Repeat. Note that the BaGwaChang apprentice may also perform the sweeping block that begins with a right high hooking block and a left low palm block.

The spin-out is a BaGwa term which means to spin your body around in a tight three hundred and sixty degree circle while angling away at a 45 degree angle from your opponent. In a double spin-out, the practitioner spins around twice while angling away at a forty-five degree angle while also covering distance. This is an evasive manoeuvre. Spinning in means that you are cutting in, spiralling and thus moving towards your opponent---usually into his side or back to evade and/or execute a technique.

The basic spin-out: circle walk with your left side facing the opponent. Toe in with your right foot and simultaneously perform a left low hooking block and a right high palm block. As you pivot and perform the blocks (as an inside change), step back and over (not only to the rear, but also over more to your rear forty-five degree corner) with the left leg into a mother horse stance. Unwind (like an outside change), and perform a left high hooking block to your front while tucking the right arm on your lower back area. Step off with the right leg as you perform a circle block. You may also toe out for the spin.

Note that the spin-out is a body spin mainly used for deflection purposes. It covers ground or distance. Using blocks may not always be necessary but is advisable, especially for those individuals who have been training only for a brief duration. A fade and/or roll may suffice for the skilled student though your cover hand(s) should be in place when appropriate.

Circle Walking
Basic circle walking skills are (almost entirely) unique with BaGwa. They are the next progression from stance training (including shifting), thus absolutely fundamental and necessary.

Begin with walking a circle at a comfortable speed referred to as your natural speed. This circle should be the size of your eight steps for one revolution. If the steps are longer, usually a result of increased speed, the circle becomes larger. With increased speed the feet also come closer together. In other words, if you walk slowly, each step is a circle walking stance. If you walk very fast, your circle walking stances disappear because your legs are almost brushing together.

Keep your cover hands up, pointed to the centre of the circle. This imaginary line is known as your main power line. When you circle walk with a partner, of course, you and your partner's main power lines will constantly be changing.

When walking the circle, don't lift your feet too high, but don't drag them either. Walk heal-to-toe. When taking a step rearwards (or walking rearwards which is rarely done), the toe is placed down first. The common exercise when walking forwards is to pull your toes up, placing your heel down first. As you transfer your body weight forward, you roll from heel-to-toe. At the same time your rear foot rolls from heel-to-toe as well. If you are just taking one step to get into a stance, the rear foot keeps flat because you are not going anywhere. But, you may have to pivot on the ball of the rear foot for proper stance positioning if your intended stance is other than a circle walking stance. When performing an inside or outside directional change, reposition your cover hands as you are pivoting. And never drop your hands, even when you have the urge to pick or scratch yourself!

Besides changing directions with the inside and outside changes, you may also toe in or toe out with either foot and walk in a small circle with four steps. This will create a smaller circle from the primary circle, leading you back to your original direction. With two steps, using the basic toe-in or toe-out as the first step, then a longer second step with the other foot, will change your direction (walking a 1/2 circle). Practice them, but experiment with their variations to lead you where you want to go. Your primary reason for moving is to not get hit. Your best zone of safety zones is to be out of range, or long range. Striking is impossible from this distance but with by toeing in, cutting in the circle or shifting in etc., contact is possible. It is also ideal to be stiking close to the outside, that is, either to his left or right side. Being positioned at his rear is even more ideal---don't waste opportunity, take advantage quickly!

Once you gain a degree of comfort in circle walking, change the speeds. Practice ultra slow walking (smoothly) and bursts of full speed walking. This is much more difficult. Always relax your mind, body and breathing. Breathe naturally and let it sink. Your mind will then become sharp and focused, your muscles will react instantaneously and your chi will circulate efficiently.

Cover hands positioning
The lead arm is stretched out to the center of the circle, with the elbow slightly bent. The fingers are separated and positioned vertically (pointing up) from the ground. The eyes are focused on the leading index finger. The thumb is arced ninety degrees from your index finger (horizontally), and is called the Tiger's Mouth. The other arm arcs to the front of your body, as if you are holding a large beach ball to your chest. The elbow is slightly lower than the hand, and the fingers are separated as with the lead hand. The palm faces down horizontal with the ground. The fingers point to the elbow of the lead arm at a fist's distance. The upper body angles in at forty-five degrees to the center of the circle.

A variation of this cover is to cover both sides of your body: one hand covers to the center of the circle and the other directly out. The body faces directly in front, using peripheral vision to view both sides. This exercise equips one for multiple foe. Take note that when you practice with multiple partners, don't get into the habit of letting yourself get surrounded. You do not want to be in the center of the circle, rather, practice being in the outside of your circle of partners. Forget what you see in the movies! Watching martial art scenes in many movies is no different that watching a Wushu performance---it is for audience amusement only.

The other basic walking exercise is walking in a firm figure eight configuration, which is also executed in eight steps: two small circles, with four steps per circle. The fifth step is called a toe-out, from the first loop or a toe-in into the next loop, used to change direction, ergo entering into the second circle.

Whether you toe in or out for a directional change, or you are walking in this figure eight practice pattern, follow this method; and note that with each step, you should be in a solid stance. Note that the major directions will be used in this example.

• say you are in a left circle walking stance with your left foot forward and you are covering to the north, thus both feet point east
• to toe in with your right foot, take the next step not straight ahead but to the inside forty-five degree angle, northeast
• so, as you take the step with your right, brush your right leg against your left leg
• land down (from heal-to-toe), your left foot stayed were it was, pointing east, but your right foot now points north
• you end up with your knees together with your thighs protecting your groin area, you are now covering to the northwest, and note that your main powerline points northwest as well
• you have also stepped forward into the circle (north), as well as to the east, in fact, you have turned your body tightly
• to check your stance, pivot your left foot on the ball so that it points north
• look down at your feet, notice that you are in a perfect left circle walking stance to the west (but remember you are covering to the northwest---this is only to check to see if your toe-in was correct)

Both of these walking drills may be augmented by gripping small weights in the protective position or while arm hanging (walking with the arms out to the sides, horizontally and with the palms facing down---keeping the shoulders down as well). Always keep the shoulders slackened and chest sunken. Many of the old masters would practice circling a tree and with two trees for the figure eight drill.

After a few months of practice, students should pair up and circle around each other, constantly changing their confines and course. Continuous circle walking, incorporating fading, shifting, spinning and snapbacks, develops a sense of distancing which transforms basic circle walking into a more realistic exercise and one which reacts to stimuli. Since the attacker is steadily stirring, the defender must continuously reposition himself. He must realign his footing and powerlines to place himself into a stronger, safer station. Finally, two or more students begin sparring at a very slow speed called slow speed sparring. This stresses the students to think logically, and also embeds the exact responses in their subconscious minds. Slow sparring may be prearranged or free style. Many BaGwaChang systems also incorporate a two man fighting form, utilizing the eight palm changes. Unfortunately, to this day I have only seen two such sets worth learning. One is Chen Sung Fu's set, the other, from Adam . Through ceaseless conviction and repetition, the speed is eventually elevated, employing complete contact. Avoid inflicting injury by constraining from contact to vital parts of your body.

The 3 common mistakes in circle walking are:

1. having your side and back exposed by letting the opponent cut in (Closing the distance by diminishing the width of the circle via toeing in, during circle walking). The easiest way to neutralize the opponent from cutting in, is to cut out by slightly toeing out (increasing the width of the circle), shifting rearward or off to a forty-five degree angle, spinning out or attacking.
2. riding on the edges of your feet. The foot must be placed down flat, the heel first, and not tilted on one of the edges of your foot.
3. bobbing up and down. The martial artist must maintain the same body height when he is moving, unless he is executing a specific action requiring a change in his height. With this fault you are off balance and exposing a pattern. The skilled opponent may easily take advantage of this weakness. An exercise which trains the student to walk smoothly without bouncing is a type of arm hanging exercise: walk the circle or figure eight with your arms out, parallel with the ground. Your palms are facing up, and in each palm you hold a glass of water. If water spills or a glass falls, your balance is off. Through patience in practice and perseverance, the student eventually eliminates his bobbing problem and develops a high level of balance and coordination. Many of the old masters could perform this while circling full speed without spilling a drop.

Other Mistakes
Varying the speed is another mistake which is often made by beginners while walking the circle. Keep your speed constant. Many unknowledgeable practitioners will have a swift stride but then decelerate as their body weight transfers from their lead heel to the toe. Observing such a practitioner is like observing a chicken walking. Avoid this chicken walk. An old traditional exercise in Mainland China to cultivate correct circle walking, was to practice in a large basket filled with small stones (with approximately one inch diameters). If the thumping of the circle walking had a rhythmic uniformity to it, then the student's walking was correct. When the practitioner had crushed all the stones into puny pebbles and sand, through adherent practice, then truly he had mastered BaGwa walking. It is a must to walk smoothly yet with stability, and be supple in the movements. Practicing on ice develops balance and stability, and walking through snow develops strength.

Eventually the practitioner may vary the acceleration to emphasize actual combat. Forever keep your spine vertically aligned (straight). Do not slouch. It is incorrect to hunch forward or lean too far back; you will only cultivate a chronic back injury and not your skill level. Do not elevate your foot too excessively whilst taking a step. You might loose your balance and end up stomping your foot down unsurely, instead of placing the foot down properly (heel to toe). Don't try to walk a tightrope nor have the (inside) width of your circle walking stances too wide. Walking will be awkward and you'll lose maneuverability---loss of balance will occur, stability will diminish and your speed will decrease. Keep the knees bent, do not raise your shoulders and do not lower or drop your cover hands. It is imperative for the inexperienced martial artist to keep the hands properly positioned. The Western boxer knows this all too well. In the boxing ring, he who initially lets his defences down, usually procures pummelling and bamboozlement, thus losing the match. This is why boxers in training spend hours working out on a speedbag. The speedbag is elevated for one purpose: to hit the speedbag the boxer must keep his arms up but shoulders down so that they will tire faster---consequentially, exercising the shoulder muscles to develop endurance (lessening the risk of lowering his cover hands). Only then shoulder fatigue will diminish during a match. It is a frequent fallacy that working the speed bag is to capture coordination. This accordance is acquired almost instantaneously.

The last mistake sometimes made, is not transferring the body weight smoothly and evenly from one leg to the other. One must sensate the strain, shifting smoothly for steadiness. Once the practitioner has become proficient in walking, he may then change the rhythm or timing of his walk and actions to fake or psych-out by confusing his opponent. This is called fainting. Specifically, fainting is a tactic of slowing the pace and then surprising the opponent with explosive techniques (thus sucker punching him). The skilled defender may use all sorts of odd variations of appropriate action and footwork to fool and trick his opponent(s), evade a blow and seize opportunities of openings, taking advantage of weaknesses. These specific and timed oddities, created by unseemingly uncoordinated walking, will help in not only confusing the threat, but will help exterminate the riffraff---but first learn how to circuit stride/stalk correctly! It is the meat and potatoes of BaGwaChang.

Strikes
The BaGwa practitioner must possess these three primary basics: sturdy stances, swift circle walking skills/footwork, and focused fajing---explosion. He must hone his ability to reason in his choice of techniques while partner training; and to breathe easily from the tanden, even in intense training sessions (or, on the battlefield). The BaGwa practitioner must also have a good understanding of defensive and offensive, soft and hard, rising and dropping, rolling and deflecting, sticking and manipulating.

The following is a list of upper body strikes which are commonly used in BaGwa: the straight punch, upper cut, hook, bottom fist, knife hand, ridge hand, spear hand, eye spear, eagle beak (using the back of the wrist to strike with, similar to the way a rising backfist is used), head strike (using the forehead or the back of the head), shoulder strike, hip and elbow strikes. The strikes utilizing the hand are used with either the hand clenched in a fist or open.

This is a list of commonly used lower body strikes: the front kick (to the groin area), back kick (to the groin area), heel stomp kick (to the instep or knee), rear heel snap kick (to the chin or groin), toe snap kick (to the groin or throat), knee lift, Chinese circle kick, and hip strike for jamming and off-balancing. In most power kicks, the foot's heel is used to strike with because focused force on impact becomes more potent as the delivery area diminishes. A toe kick uses the front of the shoe to kick the side of the knee cap, groin or throat but with the circle kick the toe or instep is used.

BaGwa includes movements from the style Chin Na, utilizing its grappling and joint locking techniques, and Shway Zow, utilizing its wrestling and throwing type techniques. Both the upper and lower lists with these common strikes should be noted and practiced. But practitioners are individuals with unique characteristics. Thus, some techniques may not be one's forte. Kicks are usually performed no higher that the tanden (between the groin and navel). Though sometimes exceptions are made depending on the type of kick and circumstances.

Let us begin with examining a few basics: a left jab, a left high palm block and a right reverse punch. From a left fighting stance with your cover hands up, step forward with your left foot into a left power stance. As you roll your weight from heel-to-toe, twist the body slightly to your right and then like a whip, explode out with a left jab. Don't think of power, think speed. Retract it as fast as it went out (back to your cover). Now retract your left foot back into a left cat stance as you perform a left high palm block. Step forward again into a forward power stance. As your left foot is placed forward on the heel, retract your right fist to your floating ribs. Now, roll your weight forward, twist and explode out with a right reverse fist. Think of power; so do not retract this punch for a split second. Recoil into your cover as you slide step to your right forty-five degree angle for safety. When you punch, use a vertical fist straight down your center line, this is also your power line---with an upper cut, the fist begins from the hip. Time these movements properly. Once you are skilled, you will have developed sufficient power, so that most retractions become unnecessary---for speed's sake.

Let's look at a right reverse front kick: from a left fighting stance, pivot the left foot on its ball. Push off with your right leg, transferring the weight forward as you lift your right knee up (sliding your right leg against the left). Twist your body while extending your leg out---targeting the groin with your heel. Withdraw the kick and place it down on its heel so that you are now in a right forward stance. Or, if you are walking the circle, toe in with your left foot and perform the kick; you may also retract your right fist as you kick, when you land, punch!

These are examples of a few very simple basics. But by studying basics, you will become familiar with correct body mechanics, and then learn to put them together; that is, timing them so they become fluid combinations without wasted movements. Note, when facing north from a left fighting stance, that your chest faces to the northeast. When performing a right reverse punch, your chest faces NW.

Now let us analyze one more basic, the back kick. Begin from a right fighting stance. Turn your head to the rear for focusing while bringing your cover to the rear: left high, right low. Push off with your right foot, lifting the right knee up. Extend the kick out as you twist to your left; make sure the toes point down. Retract and land down in a stance facing the rear. Now, this is the procedure for the basic spinning back kick: from a left circle stance, toe out with your left foot. Twist slightly to turn your head and spot to the front. Blast the kick groin level. Retract it and land down, or retract it completely back into your original stance.

Try this one: perform a right spinning and as you land into a right horse stance, deliver a right swing (horizontal) bottom fist. The left covers. Or, retract the kick completely, back into a left circle walking stance, delivering a left swinging bottom fist.

Before we end Part One of BaGwa Basics, let me share with you what I believe are the most effective strikes. With the upper body, I find a lead jab to the nose or eye spear (to the eyes) most effective as a set-up technique. A back-hand slap and backfist are also good but have less range. A lead or reverse hook to the jaw and sometimes to the kidney is my choice for power hitting, though a good straight palm strike works well too when used in a defensive (combination) manoeuvre.

Another favourite of mine is the swing bottom fist (or palm). It may be used horizontally, dropping vertically and angling down at a forty-five degree angle. Since you lead with the elbow with this technique, swinging across, you can easily hit with the elbow instead. When using the fingers in an eye spear, the palm faces down with the fingers relaxed. But if you keep the fingers tight, and swing from the outside in, this technique works well when targeting the nose---and this has good range as in an eye spear. I should also mention that hooks are difficult to evade or stop; thus they are a must for your bag of tricks. A (horizontal) swing bottom fist, by the way, is the most powerful upper body strike.

For kicks, I really like the front-heal and back kicks, targeting the tanden/groin and knee levels. Whether it is a lead front or back kick, skipping in or spinning in, they are the most effective kicks. The most powerful kicks are both back kicks: the spinning back kick and skip-in back kick. I also find low front or rear stomp kicks good to the instep (and knee). (When targeting the knee with a front stomp kick, don't lift the knee to high, rather, swoop it.) The rear heal snap kick to the groin works well. This is one of my favorite BaGwa kicks. To a slightly lesser degree, circle kicks, inside and outside, used as knee locks and sweeps are effective when you get your timing down through partner training---effective at mid-range to in-close. The second half of this article will present more basics, combinations and other BaGwa useful drills. I hope you have enjoyed the usefullness of this piece. Take note, BaGwa is about making circles, but these circles must have a martial purpose!