THE PROPER METHOD IN A NUTSHELL

The five important principles of BaGwaChang

• calm and sink the breathing
• extend & recoil like a spring when striking
• realize the extreme soft, hard & amounts in-between
• move your body naturally
• harmonize your chi and your strength

The 3 requirements for the internal boxer

• the external boxer requires motion, but the internal boxer first requires tranquillity
• smashing an enemy requires strength, but the internal boxer first requires softness
• fighting requires speed, but the internal boxer first requires slowness

Dragon foot is an exercise by Chen Sung Fu. It is designed to develop the inside and outside foot sweep (low circle kicks)---improving balance and leg strength.

1. From a natural stance, transfer your body weight onto the right leg and lift your left leg up to the rear at a 45 degree angle. Point the foot down.
2. Perform a left foot sweep with the foot contiguous to the ground. End with your left foot pointing up by your right 45 degree angle.
3. Turn your left foot downwards, while bringing it to the right rear 45.
4. Perform an inside foot sweep to your front and end with your toes pointing up to your left, front forty-five. Repeat this ten times; then switch the legs.

When your balance betters, swing the arms to the direction of the kick first; then follow with the foot. After repeating this several times, switch to the other leg. Don't bob. Make sure the supporting foot stays flat for bracing. Keep your knees bent. (This virgin affair should be driven and pumped smoothly, with rhythm.)

Winding palms is another Fu Style drill and is designed to instill the concept of the circle. This develops hip flexibility, strength and arm coordination. Practice this routine slowly and naturally while breathing peacefully from the tan tien.

1. From a horse stance, bend your body to the left as you bring the left hand high. Slide the right palm along the left arm and rotate the body to the right.
2. Continue circling the body, the right arm extended and left palm below navel.
3. Proceed circling the upper body to the rear forty-five angle with palms up.
4. Circle to your rear.
5. One circle is complete. But continue rotating right with your right palm up.
6. You are now at your right; continue circling right with the palm twisted up.
7. Transfer your weight onto the right. Lift on the left toes as you twist to the rear. Simultaneously slide the back of the right palm along your lower back.
8. In a figure eight pattern, reverse the circle with the right palm twisted up and make one complete rotation.
9. At your right side, change the hands and repeat the mirror movements: slide the left palm up your right and circle left. Keep the body bent with no stops.

Gow choy is an exercise designed to condition the palms of your hands. Since the hands are the primary weapon of BaGwa, this drill is essential. Proper fading for surety and utilization of the body's center line is also emphasized---much like the basic TaiChi push hands routine. The blocks used are the rising and pressing blocks, although to simplify this exercise, the pressing block has been deleted.

1. From the Quiet Standing Posture, the attacker steps in with the right foot and the defender steps back with his left. Position the hands into the basic cover.
2. The attacker fades in, performing a right inside bottom fist strike, coming straight down, aiming for the head. The left hand covers (or performs a low pressing block, simultaneous with the bottom fist strike, to block a toe kick to the groin). The defender fades back and twists his body to the right, simultaneously deflecting the strike with the left palm. Note: the left palm lines up with the body's center line, your fingers point to the left and up at forty-five degrees. Cover with your right hand.
3. The attacker/defender role is now reversed, and should continue alternating smoothly. Proceed slowly, using little power when striking. Gradually increase the speed and power over several weeks to several months of staunch practice.

Variations:
from a right stance, circle the left hand to the inside of the body, performing a left bottom fist, then a right rising block with the lead hand. Also perform the mirror image of these drills (from a left stance). You may use the back of an open hand to strike with or the heel of the palm. Another option consists of walking the circle and performing an action (hitting with the lead hand) with each step. Or, circle walk with your left side facing into the circle. Toe in with your left foot and simultaneously perform the left rising block while fading back your upper body (as the attacker delivers a left lead bottom fist strike). Lunge in (chain step forward) with the right leg, and deliver a right bottom fist, circling the strike from the outside. Toe out with the left foot, execute an outside change, and continue circling. Alternate the attacker/defender role. But most importantly, take note that practising gow choy diligently twice a week for a year, will transform your hands into lethal weapons: smashing and breaking bones effortlessly during battle (and easily splitting concrete slabs to show off in demonstrations).

A common fallacy exists concerning conditioning of one's body in the internal martial arts. Many TaiChi instructors, for example, preach their flock about the evils of weight training and conditioning exercises. It is true that heavy physical strain should be avoided---especially for beginners. The reason for this is that internal practice involves relaxing muscles thus releasing stress. This soothing sharpens the entire nervous system. However, this does not mean to not exercise.

Three star blocking's primary function is to condition the forearms, so that one can effectively execute a block. Although this exercise appears simple to perform, it's considerably more advanced than gow choy. There are many movements carried out simultaneously. Also, its numerous variations are almost endless. We will examine several of these. Three star blocking may be practiced either with the hands clenched in a fist or with the hands open. The following three star blocking sets will emphasize using the latter except for blocking kicks. Note: these blocks are executed from a lean-away horse stance, most of your body weight is on the left leg. The right knee points towards your left knee, and the right thigh protects your groin area. Always keep your cover hand to the vertical opposite of the hand executing a block. For instance, cover low when you are blocking high, and cover high when you are blocking low along your middle---called the center line.

1. From the attention stance (quiet standing posture), step to your left with the left foot. Perform a right low palm block action, making light contact with the inside edge of the forearms, above the wrist and in line with the thumbs.
2. Perform a right high hooking block. Contact is with the back of the forearm.
3. Render a right low hook block. Contact is with outside edge of the forearm.
4. Transfer most of your body weight onto the right leg, into a right lean-away horse stance. Follow with a left low palm block action---mirror image of 1.
5. Perform a left high hooking block.
6. Perform a left low hooking block---for beginners, touch lightly during contact.
7. Transfer your weight onto the left leg and again repeat instructions 1 to 3.

There is nothing wrong with weight training. However, one should maintain good posture and perform motions correctly. Increased repetition using light weights gently stretches and strengthens muscles. Shortening or skipping rest periods will give one aerobic gains. This is what is known as super setting. Exercising certain muscles helps protect joints such as knees, elbows, shoulders and spine (lower & upper back). Before beginning anything, though, it is advisable to first consult a credible physiotherapist for coaching in the proper methods of weight training.

This is a variation

1. From a left lean-away horse stance, toes pointing left at a 45řangle (with most of the weight on the left leg) perform a right low palm block action.
2. Perform a right high hooking block.
3. Perform a right low hooking block, blocking a right toe kick: your partner, in a circular action, draws his right leg in beside his left and then continues to deliver the right toe kick along the body's center line into the groin. You may want to wear a protective cup if you are a beginner. If the block isn't effective, the thigh will jam (stop) or deflect the kick.
4. Transfer the body weight onto your right leg, and on the third block neutralize your partner's left toe kick.
5. Repeat 1 to 4 but change the kicking role: now you execute the two toe kicks.

Note: when you block the toe kick, you may use a low palm block and then a scoop with the same hand; or a pressing block. Do not be afraid of using force behind your blocks. You must effectively move or stop the technique from being fully fulfilled. Therefore you must firm the flesh or forever fade---or maybe flee.

Reverse three star blocking

1. From the Quiet Standing Posture, step into a left, lean-away horse stance with your left foot (to your left) while you arc and slide the back of the right forearm up and over, forty-five degrees.
2. Perform a right low hooking block.
3. With the right hand, arc upwards to your left in a half circle, and perform a palm block type of motion (arm rubbing as in 1, but contact is made with the inside edge of the hand and forearm).
4. Repeat the procedure from a right lean-away horse stance, executing the blocks with your left arm. Perform these drills smoothly, not choppy.

Note: in 1, contact is made at the back of the hand which slides up along the forearm. In 3, contact is made with the inside knife-edge of the hand or ridge-hand. There are many variations to these latter three star blocking drills. For example, while executing a right low palm block action, proceed with a right high hooking block, and finally perform a right high palm block type of motion, sliding along the inside edge of the hand and forearm. Another valuable variation is when you begin with a right high hooking block, and then follow with a right low hooking block, and end with a right high sliding type of palm block action.

Three star blocking and circle walking

1. With the left side facing in towards your partner while you are circle walking, perform the basic three star blocking arm movements.
2. To execute an inside change, toe in with the right foot and simultaneously deliver the third block with the left arm. When you begin to pivot, execute the first block with the right hand (low palm block).
3. To execute an outside change, walk with the left side facing in. Toe out with the left foot as you complete the third (right) block. Simultaneously with the toe-out, bring your right arm up into a high guard position (the back of the forearm is above the head, palm facing upwards, and the biceps rest at your right ear). Simultaneously tuck the left arm behind on your lower back (the left forearm is parallel with the floor). When you have completed the outside change, immediately cover high with the left hand and perform the right low palm block type of motion. Always use spotting when executing an outside change and never break the rhythm or flow of the exercise while you are making a directional change. It should be fulfilled precisely, smoothly and gracefully, then with speed and finally with brutal potency (explosive energy).

Three star blocking with two partners
Station yourself in a horse stance between your cohorts with your feet pointing right. Execute the blocks. As you begin to pivot, perform two very high hooking blocks, so that the arms are crossed over your head. When you have completed the pivot, perform the blocks with your feet pointing to the left. Continue alternating. Try using two low blocks: two high; or alternate, one high and one low.

Three star blocking without a partner
What if the student does not have a partner? Well, this problem is easily solved. Find a small tree with a three to six inch diameter. Wrap adhesive cloth tape around the trunk where you will be making contact. Coat Vaseline-R over the tape. Now you are ready to three star block. The adhesive tape and Vaseline will protect your hands and arms from being scraped by the bark of the tree. Using a Wing Chun wooden dummy (instead of a human dummy) is another option.

Because I have seen an insane fixation on weight training in certain types of students over the years, I am here once again with further discussion. Weight training is not martial arts training. One develops muscle, the other develops a skill. Ask yourself, which would you rather do? Thinking is limited with weight training, and when you stop, the muscles shrivel. Skill doesn't fade as quickly. Once martial skill is ingrained into the mind, it will be there for a long time. And, with a little training once in a while, you can still make gains in this art. For martial artists, some supplementary weight training is beneficial, but again, not necessary. It is better to work on specific muscles needed with basic martial movement. For example, for faster gains in the upper cut, use a twenty pound bar and mimic this motion. Proper pushups help develop the straight punch and necessary joints---a few on the knuckles strengthens your wrists and hardens the knuckles. Repeating kicks slowly with ankle weights hastens improvement in your kicks.

"The soft will defeat the hard, the very hard will defeat the very soft, but the very hard cannot be maintained and the internal artist will defeat all." ---Lao Tzu

Blocking drills will provide new ideas and insight thus helping the practitioner improve his blocking skills. Coordination and timing are vitally essential. One must possess knowledge to fully understand the practicable applications: from a natural stance, the attacker delivers two high straight punches, then two low ones. The defender uses only palm blocks in conjunction with head and body fades for the defence. When you use a palm block, guide the punch away in such a manner that the attacker's side is open or exposed, so that you may counter with a strike. When you are executing the palm block, your counter may be performed at the same time. This is called slipping the punch---blocking and punching simultaneously. The skilled artist will use many such slips and rolls or deflections with simultaneous rebuttals to take advantage of economy of time. Eventually you will be able to counter without using blocks. This is the shrewdest stage of securable skill. The correct responses are engrained in your subconscious mind, and all needless hesitation is eliminated. This is one of the main misunderstood mysteries of true skill of a martial art master's manifested might.

Now try the drill using only hooking blocks. When you are executing a hooking block with a simultaneous countering blow, such as a straight punch down the middle line or inside of the opponent, you are using economy of movement as well as economy of time. Always use an upper or lower body fade with a block.

Eventually you may

• use any stance
• have the attacker change the sequence of the strikes
• vary the speed
• add counters
• use any type of block
• utilize shifting and circle walking

When you are delivering a block against a powerful offensive technique such as a front thrust kick or lunge punch, step away at a forty-five degree angle from the attacker's line of attack; or slip to his side. Keep your eyes focused to the middle of the upper chest of your training partner, so that you have peripheral vision, knowing what his hands and legs are doing at the same time. Looking into your opponent's eyes is a common mistake. Later, try changing the strikes and add leg maneuvers. Always use natural circular body movements, and of course, logic! A skilled martial artist must be polished in the basics, completely coordinated and maintain absolute relaxation. Being relaxed increases reaction time, so he or she will be able to instantly and perhaps vigorously explode while focusing these strong techniques effectually. This is called fajing or explosion.

"The skilled man may master only one technique, but that one technique can be executed in over one hundred ways and utilized correctly from one hundred circumstances; and required to connect only once!" ---Sikung Patrick Gallagher

Rolling drills
Outwit your enemy by utilizing your mental and physical faculties swiftly. Don't think---react! Use your senses. Decisively administer the deed to annihilate the danger. Don't let your guard down nor bestow mercy---you may end as a sorrowful mess. The following drills will help the student grasp on how to slip, roll, absorb, deflect and redirect the attacker's blows. Practice them with your partner.

Drill number 1

1. The defender stands in a natural stance. The attacker is directly behind him.
2. With the right hand, the attacker delivers a palm strike or a punch to the defender's back, behind his right shoulder. As soon as the defender feels the contact, he rolls or turns the upper right side of his body to the left, letting the punch push him. The blow harmlessly glances or deflects off the target.
3. With the left hand, the attacker strikes the defender's back behind the left shoulder. The defender rolls to his right.
4. The attacker strikes the right lower back with his right hand, and the defender rolls it off, turning his body (from the waist) to the left.
5. With the left hand, the attacker strikes the left lower back, and the defender rolls his body right. Note: don't lift your shoulders, keep them in their sockets.

Never anticipate the strike. React only to the stimulus. Afterward, when you feel comfortable with this drill, change the sequence of the attacking strikes, and then add counters in conjunction with the rolls. These counters should be executed simultaneously with the roll: the defender redirects the attacker's power back to its source as a devastating blow. The following counters are for attacks to the right side of your back. Once you have grasped these defences, you may practice the mirror image of these counters and then alternate the role. Note: when you are "playing the drill," do not anticipate the oncoming action---and time yourself.

1. While you are rolling, counter either with a right eye spear or a left palm strike to the groin. You may also rebut with both---delivered at the same time.
2. Liberate a left elbow endeavour into the kisser by swinging the arm horizon-tally to your rear---or deliver a left swing bottom fist if there is too much distance for the elbow strike to make contact. You are getting to the outside of the attacker and angling away at a forty-five degree angle, so that you are in a strong position. (Step with the right foot to your left.)
3. Fire a left rear heel stomp kick to the attacker's left instep, then present a right rear foot sweep or a rear heel snap kick to the groin thus ringing the bells.
4. Pivot the left foot out and perform a sweeping block (a left low hooking block and a right high palm block) to your left rear. Take a step with the right foot around the front of your left leg into a strong stance, positioned to your attacker's left side. Immediately perform a left upper cut or rising palm heel strike to the jaw. Cover with the right hand. As you perform the sweeping block, the right hand may also be converted to a raking eye spear with the palm facing up. (Always partner train carefully and slowly to avoid unnecessary injury. Stay relaxed, don't panic. Most slow techniques will not kill you.)

Drill number 2
The attacker performs the same strikes as in the first drill, but from the front. For example, strike the defender's right shoulder with your left hand. The defender rolls it off by turning his body to his right rear. A constructive counter: perforate either with a left hook, an upper cut or a straight palm strike to the jaw. Another effective counter is to strike your partner's groin with the back of the left palm and simultaneously perform a right high hooking block---or use a palm strike then grab. Finish him off by grabbing the wrist with the right blocking hand, pulling the hand down and following through with a left palm strike to the attacker's left elbow (dislocating it). If the attacker strikes the lower right side, tuck your lower body as you roll to the right and perform a left low foot sweep to his left leg. Follow through with a left backhand slap to his groin, and then strike his jaw with the back of your left wrist by driving the left arm straight up.

Drill number 3
The attacker steps in with his left foot and attacks with a left straight punch. The defender steps forward into a right stance and performs a left high hooking block. He then grabs the attacker's left wrist with the blocking hand and executes a right pulping palm blow, smashing, thus segregating the opponent's left elbow.

Drill number 4
The onslaught is a dynamited left front kick. As a consequence (from a left stance), the defender rolls to his left and hooks his left palm over and under the opponent's ankle of the kicking leg, trapping it. The defender follows through with a right palm strike to the opponent's left knee (pulping the knee). The defender may then deliver a right front stomp kick to the attacker's supporting leg---that which is maintaining most of his body weight, hence, crushing the other kneecap.

Drill number 5
From a right stance, the defender performs a right high palm block against an attacker's left lead straight punch. The attacker then hooks his blocking hand over and under the punch, grabbing at the wrist, and synchronously toeing out with the left foot. The defender spins around to his left in a tight circle, so thereby breaking the opponent's elbow. For the spin, the defender may also use a mother horse stance, stepping back and behind with the left leg. Note: the mirror image of these rolling drills should also be practiced. Though, it is important to practice with your good side first (that is your strong side---the right arm and right foot if you are right-handed and vice versa if you are left-handed). This way, it will be much easier to defend yourself, and will mature these necessary skills swiftly.

Note that when you are practicing BaGwa, relax and sustain lower level breathing. When you can maintain this---even during intense partner training routines you have accomplished a major hurdle and can then concentrate on focusing. Begin focusing on the index finger of your lead hand when circle walking. Later, begin to focus on the midchest area of your partner/opponent to maintain peripheral vision of his upper and lower body. Finally learn to focus your hell fire.

We will now examine a number of simple yet appropriate defensive solutions for the basic strikes. Please incorporate them in both your solo and partner training. Consider these bits as models for your self-defence drills. Study them carefully.

These are a few solutions for the high hook punch
Counter with a high hooking block and a palm heel strike simultaneously, to the inside of your foe thus fracturing the facial features.

The attacker delivers a right lead hook from a left stance. Perform a right rising block as you chain step back, changing your stance so that your right foot is forward and in a right stance. Immediately implant a right front thrust kick into your opponent's danglings, thereby embedding emasculation.

Note: this rising block uses the arm. With the palm facing into the body and angled up at forty-five degrees, the back of the hand and arm makes the contact. As soon as the contact is made, roll the blocking arm so that the palm faces outwards from the body as the arm lifts up. This blocking action absorbs energy and easily deflects the strike upwards thus neutralizes it. From this point on, all references of rising blocks used are of this type.

From a left stance and defending from a right lead hook, slide step back and deliver a left rising block. Follow up with a right reverse front kick to gelatinize the genitals or fragment the knee cap.

From a right stance (defending against a right lead hook), take a step with your left foot to the left rear forty-five degree angle and perform a right rising block. Follow through with a right elbow strike, driving down, splintering the opponent's ribs. (Note: always keep your chin down to protect your throat.)

The attack is a left lead hook. The defence is a right shoulder roll from a right stance. Make certain your head is tucked behind your shoulder while performing the roll. The counter should be performed almost simultaneously: circle the right palm down to the inside during the roll (and drop your weight). Strike the groin with a right palm strike, then grab it. Now, lift your right elbow straight up, pulling and tearing the groin. Also, as you are lifting (your right hand and forearm point straight down), smash the opponent's jaw with the rising elbow (roll, strike the groin, rip the groin, then smash the jaw). Follow through by shifting back, then drive a right rear stomp kick, crushing your foe's left instep.

Perform the same roll as in the latter scenario but simultaneously liberate a right hook punch shattering the jaw, so that you are also blocking the attacker's hooking whacker with your right forearm (that is, of your striking arm).

These are a few solutions for the low hook punch
Counter with a low hooking block and a palm heel thumper to the face. Defending from a right lead hook and countering from a left stance, perform a left low palm block while you step back and around with your right foot into a mother horse stance. If this block is not executed properly, the roll to your right will deflect this blow. Unwind from the mother horse stance, so a body spin is executed, establishing you behind your opponent. When you are spinning, cover high with the right hand and tuck your left arm behind on your back. Maintain body contact with the opponent to feel and manipulate his actions and distancing. Step in with the left foot towards your antagonist by toeing in and delivering a double palm strike: one high behind the heart and one low at his kidney, simultaneously. Step away with your left foot and then execute a right rear heel snap kick, squashing your opponent's groin (recoil the heel hastily, spring-like, as in a toe snap kick).

The situation is the same as in the latter scenario, but the defender uses a left low hooking block and rolls in, delivering a right elbow strike coming across the opponent's face to break his nose or fracture the jaw.

From the cover position, drop the elbow down (blocking with the forearm) slightly while lowering your body. Raise your body up and with the blocking arm drive upwards with an upper cut hammering under your opponent's jaw, snapping his head back and thus breaking his neck or inflicting a whiplash injury. (Continue the beating until movement ceases and gasping dissipates.)

Defence for the uppercut
As the hook, an uppercut can only be used from an inclose to a midrange situation. The uppercut (and hook) can generate tremendous power that can smash and break bones, butcherly. To the competent combatant though, the uppercut is naturally nullified (defending from a hook is much more demanding). Usually an elemental palm or hooking block and/or roll, tuck or fade ends the threat. Also, simply restationing the body would likely suffice, although a slip is recommended. When an uppercut advances in high, employ an upper body fade or snapback fading back and then immediately fading in with a counter for the destruction.

With a low uppercut striking into the body, you may block, roll and counter simultaneously. The cousin to the uppercut is the rising backfist blow which is effective only when targeting the jaw or nose. This strike spawns much less potency than the uppercut, but it is a long-range technique. Defence for this soaring backfist strike is straightforward. The basic blocks are most convincing.

Defence for the bottom fist
This blow may be discharged at different angles. The bottom fist can be easily blocked with a conventional ascending block. Using a palm or hooking block along with a fade is also extremely effective. The bottom fist is considered the most powerful upper body strike the body can deliver: do not foul its defence.

Defence for the straight punch
One of the most difficult strikes to defend against is the lead straight punch and jab, especially when it is executed from a skilled opponent. It is better to keep out of hitting range for its defence. Utilizing the palm block or hooking block in conjunction with a head fade to the side, or an upper body snapback to the rear or side may work adequately; but slips are the most effective---especially from a skilled scrapper. One must continuously bob, weave and keep moving to evade this technique. Constant change of speed and breaking your rhythm (fainting) will make you a difficult (moving) target to hit and unpredictable for your foe. There are many effective counters for the straight punch. From a left lead punch, you may step back to your rear, forty-five degree angle, and perform a lead high hooking block along with either a toe or circle kick to the jingles. Another option is to turn the hooking block into a block-and-grab technique, and then follow through with a palm strike with your other hand, to smash, break or dislocate the elbow (providing much pain for the enemy). Note that this is called a take-over.

If the attacker strikes out with a lead punch from a left stance and you are in a right stance, perform a right palm block. As you are blocking, hook your hand around and then grab the opponent's wrist with your blocking hand. Apply pressure against the opponent's arm at the elbow with your right forearm, braced against your body. Spin around anti-clockwise in a tight circle. In this simple maneuver, you may easily control the opponent and break the elbow thus rendering it ineffective as a weapon. Another defence is to perform a high palm block while spinning around via a mother horse stance and with your opposite arm execute either an elbow strike, a swing bottom fist strike swinging across, or a swing bottom fist or open palm hammering down on top of the opponent's head, crushing disks or fracturing vertebrae in the neck thereby ending the assail.

Defence for the front kick
When an assailant unleashes a front kick, you may jam the leg with your lead thigh or your lead hip (and roll) before the kick is fully extended. To effectively jam the kick and break a bone in your opponent's ousted leg, (such as the shin) you must first close the gap quickly: come into closer confines with your competitor. Always cover, because he is still capable of cuffing you, but his balance will be offset. Slipping the kick and/or trapping it---to break by dislocating the knee---is another option, although fading away at a forty-five degree angle while shelling a sturdy smashing block is the choice apology against a good boot.

Drill number 1
A typical front kick offensive is as follows: both the attacker and defender are in left circle walking stances. The villain violently propels forth a right front (thrust) kick, targeting the defender's groin or stomach region. The defender steps straightaway to his right rear, at a forty-five degree angle with his right foot, and lands into a right lean-away horse stance.

The defender may then perform one of the following options:

• A left low palm block, countering with a left foot sweep to the kicking leg as it is landing down. As you perform the foot sweep you may also counter with a left heel strike to the face, as the attacker is falling towards you.
• A left low hooking block and then shoot the boots: counter to the inside with a left lead front (heel thrust) kick to the groin (thus squashing the bells).
• After performing a left low palm block, continue circling the left arm as you are transferring the weight back to the left leg (swaying), slinging a left swing bottom fist (also called a hammer fist) or palm to the mouth (removing teeth).

Drill number 2
As in drill Number 1, but the defender maintains his stance.

1. Eject a left snap kick to jell the bells or, the defender rolls to his left deflecting the kick while the left hand circles over and around the kick, scooping it. At the same time crush the knee with a right palm heel strike.
2. The defender tucks back his lower body while smashing the shin of the kicking leg with a left pressing block, or drives down his left elbow splintering the opponent's shin as a lumberjack splits wood with his axe.
3. Perform a left low palm block while you roll to your right. Continue the roll and spin around by stepping back with the right leg into a mother horse stance while lowering the body height down by bending your knees. Finish the spin by executing a right elbow blow into the opponent's ribs while covering high with your left. A variation to this action is to keep the weight up while you spin, and then hammer a right elbow clout crushing the cranium, and consequentially causing a concussion. Cover low (and keep it out from your body).

Defence for the back kick
The step in (also called the skip in) back kick and the spinning back kick are the most powerful lower body techniques. The defence for the back kick is similar to those for the front kicks. There are many retaliatory reprisals which may be employed, depending on the circumstances. Two fine rebuttals are:

• Firing a toe or front kick to the poker while blocking and/or deflecting the opponent's boot, consequently, incepting dissolution (pulverizing the pelvis).
• Rocketing a rear stomp kick to the opponent's supporting leg, targeting the knee or instep thereby collapsing his supports---you slip the kick and blast out.

Defence for the circle and round-house kick
Defending against these types of kicks is simple. Hooking blocks using the forearm with a simultaneous palm strike to the knee of the kicking leg are a dependable defence for the high circle or round-house kick. Another alternative for the high angular kick is to deflect it over your brain: begin with a high hooking block, but as soon as contact is made, angle your forearm forty-five degrees, towards your skull. The circular kick will slide along your forearm and deflect over your scalp. For the low circle kick, drop the appropriate elbow down from the cover pose to block with your elbow or forearm. Low kicks to the shin, knee or groin may be jammed, that is diverted/stopped with your thigh, or foot swept.

One of the common afflictions many BaGwa students (and instructors) suffer from is the inability to discern the meaning of the word slow. Slow simply means to move at your slowest pace smoothly. This takes effort, but is a necessary training method in the internal martial arts. Half-speed is simply that. Full speed means maximum effort in explosion, speed and force in power techniques. Slow practice does not mean steadily speeding up! You will only reveal mental weakness. Keep it slow so that your mind can absorb the patterns properly, not sloppy technique. Develop patience and concentration! Lastly, increase the speed.

Defence for a grab
If you are grabbed from behind with your arms snared, one option is to drive down with a rear heel stomp kick to squash the opponent's instep, or ram the back of your head into the assailant's snout, and then drop your weight and spin your body tightly to loosen his grip. It is difficult for your opponent to maintain his grip when suddenly the opponent is also supporting your entire body weight. Angle away while spinning, and immediately bring up your cover---sticking to him. If you can sense being grabbed, strike with your buttocks by bending forward away from your foe, or perform a spin: drop, coil and spin; or rise, expand and spin.

When you are grabbed from behind with your arms over the opponent's arms, you may either:

• Reach over the back of the opponent's head, grab the hair from the back of his scalp, and then pull upwards against the grain, tearing and ripping the hair out of the head---like a frenzied old farmer plucking feathers from a slain turkey.
• Spin tightly, and execute an elbow impression into the skull or ribs.

When an attacker grabs your wrist, twist your hand against (towards) his thumb. The thumb is his grip's weakest part. Another option is as follows: from a right stance and with the right hand, the attacker grabs the defender's right wrist.

1. The defender firmly places his left hand over the opponent's gripping hand, so that the opponent cannot easily release his grasp.
2. The defender circles the right hand up, performing a right high hooking block, and then brings the right hand over, grabbing around the opponent's right wrist (the opponent is still clutching).
3. Shove down savagely, exploding, snapping your foe's wrist.

Defence for an in-close grappling situation
The attacker and defender are both in right stances. The defender is cornered and there is no escape. Subtly, hook your right foot (toeing-in) snugly around the attacker's right foot. With your right knee, push down on the attacker's leg, just under his knee. Exert pressure, forcing the attacker down: you are exerting pressure against his right knee, and may easily break it. Keep your cover hands up!

I wish to mention the importance of finding a good teacher. Check out a variety of schools. A style is not as important as its skilled instructor. Observe both a beginner's and senior's class. Are the beginners overworked or overwhelmed with complication? Determine if what you see is practical. Be analytical. Does it consist of stupidity, heavy physical demands? Is the emphasis on forms rather than a good variety of training methods? Is it expensive? Observe a senior's class. Are they stable, coordinated and powerful, or are they like charging robots. Are their movements fluid with a good understanding of soft and hard? Do they have good defensive skills in their partner training and sparring? Are they rooted, or foolishly jumping and hopping about, perhaps tripping over their own feet. Finally, does the school have a lot of injuries? A superior school shouldn't have many if any.

More on circle walking
The classical exercises lay the groundwork for proper BaGwa practice. The very core of BaGwa is evasiveness, employing circular movement. Thus, the elemental yet critical operation is walking in a small imaginary circle called circle walking or walking the circle. This exercise develops stability and instills the concept of continuous circularity or natural flow---which is the key to comprehend and cultivate the connectivity and interactions of the polarities, yin & yang.

When stepping forward, as in normal walking, place the heel down first. As the body weight is transferring to that leg, the foot rolls forward until it is flat on the surface, supporting your entire body bulk. The other leg is then free to move, to duplicate the procedure. When striding to the rear, place your toe down first and roll the foot toward your heel, as you transfer your burden. Take note that circle walking rearwards is rarely employed---two, three steps at most. It is primarily practiced as an exercise to improve stability and balance. Nevertheless, this method is most common in martial art systems and is both natural and practical.

Another circle walking procedure is known as both the Wudang step or ripple step. This type of circle walking is done mainly as an exercise to strengthen the lower back and massage the internal organs. Though it is not a practical method of combat walking. However, it does have some applications. For instance, sometimes if the practitioner has to cover more ground while fooling the opponent, then such a step may be acceptable. Another application would be to execute an upper body fade while taking a step. Yet another would be to change such a step into a low foot sweep or knee lock or trap. Again, take note that this method is inferior in general self-defense situations, and must be regarded as such. The following is its procedure: begin with thrusting the leg out, much like a soft low toe kick, then either landing lightly onto the toe or keeping the foot up slightly without yet a commitment because the weight is kept back. It concludes with a contiguous slide forward. This method still follows the rule of heal-to-toe but cannot be used when walking backwards. Note that using smaller steps means quicker maneuverability, whereas larger steps are slower and require commitment.

Unfortunately, in most modern Eight Trigram Palm systems, the reverse transfer of mass is often now emphasized. There are two major rationalities for this: when one is walking forward while descending downhill, it is more natural to place your toe or ball of the foot down first, for better feel and grasp or stability, like a bather cautiously dipping his toe into the water before proceeding to procure the plunge. The other major reason, the toe to heel (reverse method) is used, perhaps because in China, farmers working outdoors in muddy rice paddies, favoured leading with the toe, gliding the foot close to the surface, and then feeling with the toe before actually committing their load. This slip-step method is still a common habit and has become traditional. Therefore, in Mainland China (past and present) many so-called BaGwa martial artists deem contentment with this inferior circle walking method. It looks good too for Wushu performances. Maybe this dysfunctional manner of muddy walking has become psychologically preferred by peasants, sheep and the inept belligerent genre, but it is certainly not superior for the true martial man. For instance, while landing forward after the deliverance of a kick, it is more natural to land on the heel. Slamming the ball of your foot down hard hurts; but with the heel it does not. Many martial art forms, including a few Eight Trigram Palm patterns, actually have heel stomp kicks which are drilled by driving the heel down onto the floor or striking a wooden dummy. If you are still in doubt, try it! For the novice or classical man rehearsing only a solo romp, either the heel-to-toe or ripple step is acceptable.

The fundamentally most pivotal element in circle walking is that your feet have to be strongly planted---like the roots of a tree---for maximum stability and to generate maximum power. Proper basing, precise positioning of the feet, and proper body angle for alignment with your opponent(s) should be fundamental. The legs must be as solid as tree stumps, and kept bent, because power for evasiveness and striking begins with the feet, generated from the legs, directed by the hips, and focused with the arms and hands---transmitting power like a whip! Without stability, the proper flow of essential power is drastically diminished.

At first, the beginner will find much of BaGwa to be unnatural, but one must relearn correct body mechanics; through proper training, what seems unnatural will become natural, then intrinsic. When you begin to circle walk, proceed at a very slow pace. Not until one becomes comfortable striding correctly, should one accelerate. Eventually the student will be capable to circle walk full speed, administrating any directional change, spin, and/or action. When walking back-wards, place your toe down first. To breed balance and your senses, circle walk with your eyes shut or in the dark. To form a firm footing wear ankle weights.

Perhaps the most unparalleled method of circle walk practice and also the most difficult, is walking ultra slow (absolute slow motion). This is called slow speed circle walking. To begin this exercise, drop your arms to your sides, and let them dangle without any tension in them. Bend your knees considerably and completely clear your mind. Descend your breathing into the tanden and let the mind, without conscious thought, move your body forward. There are three important words to keep in mind when you begin this exercise: sink, relax and slow. In the beginning, you will be spasmodic, erratic, with twitches in your movements. You will feel awkward. The more you relax, the smoother and easier this exercise becomes. After myriad months of practice, your mind will guide the chi into the legs and move your legs effortlessly; but your legs will be rooted like tree stumps. Eventually, you may elevate your arms into the cover position as you continue slow speed circle walking, and vary the drill by circle blocking continuously or while you are arm hanging---an exercise to develop the shoulders. Footwork, balance, rooting and coordination will improve immensely. But it is your chi and mind maturation which will be chiefly cultivated. In the cardinal circle stalking cortege, your hands are in a cover position: 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. See below! Traditionally, one complete circle is executed with eight exact paces (but not crucial).

A variation of this drill 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.

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. Both of these walking drills may be augmented by gripping small weights in the protective position or while arm hanging. 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 power-lines 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 one such set worth learning, Chen Sung Fu's set. 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 most common mistakes the beginner makes while circle walking are:

• 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.
• 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.
• 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 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.

The secret to obtain boxing skill can be revealed with only one word, practice.---Sun Lu Tang

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 Main-land 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.

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 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!

Cessation
Let us now go back and look at those finer details of unarmed martial skill to make you wiser---and not just another egotistical bruised-up clown. For some, true skill is perceived as secretive, unattainable; and masters are invincible. But the muddled facts are usually just overlooked common sense, and of course, the fact of years of wise training. The force of chi is another factor. Skill is like the gun barrel that directs the bullet to its target. So become a thinker and strategist.

Mental and physical toughness is possessed by few in our society. Many individuals may be physically powerful, and perhaps even manifest an elevated threshold for pain, but are usually mentally weak or stupid. Hence, numerous people with superior intelligence may lack bodily strength and perhaps intolerance to physical pain. Sadly, some souls lack both. The serious martial artist whether smart or stupid, strong or weak, must continuously improve himself on both fronts while developing suppleness and strength (or pliability and potency, yin and yang). Achievement of exceptional physical, cognitive and devout martial durability begins with ceaselessly seizing knowledge followed with laborious, correct training. To overcome punch shyness, frightened of being hit, partner train. Get involved in sparring and gauntlet training. Don't get depressed about your training, instead take a break or train harder. Don't go soft by breaking down while under pressure, feeling sorry for yourself, whimpering or weeping like a little crybaby. Listen, analyze and understand; question, discern and focus.

Developing defensive skills begins with a passionate desire to remain undamaged during an attack. Isn't this what martial arts is all about? You must learn and perfect the basics, and partner train, this is what makes you good. Procreate a prowess in your training. Motivate yourself and become a peerless professional. Don't settle for mediocrity when you are given the opportunity for more. Set your ego aside. Strive to become the best, not merely one of the best. Learn, then master your defensive routines. Will they work? How well? As for the perfectionist, he goes three steps further: he searches for that better defence, he finds the ability to add an effective counter without leaving an opening, and he perfects these defensive procedures to be used against many types of assaults and assailants. Never telegraph techniques (one common telegraphic problem I've seen in students over the years is shaking the hands or fists just before a technique is thrown). Be fanatical in your chosen craft. It will save you.

An effectual martial artist scorns himself if his techniques are sloppy. Go back to the basics if you find your arms flinging about like wet noodles. Then go on to blast and focus your techniques while partner training. Be precise in the application of the technique. For example: keep your elbows in and slide your arms in a straight line against the body when discharging a straight punch. Have your power line aligned correctly, and maintain the correct distancing. A good fighter should be just outside of hitting range, and be able to connect by just leaning in or subtly cutting the corner; or maintain an extremely close proximity to your foe if your strength is in close fighting. Adhering and sticking with your enemy is usually necessary for manipulating, controlling and off-balancing him; but more importantly, to not get struck. Always keep both knees bent for stability (and protection). If you get your leg kicked or trapped while it is locked, it will easily snap---like a dirty dry twig from a dead tree. It only takes around forty pounds of force to break the average man's knee. If your foe is suddenly missing one of his knee caps, he will be handicapped in resuming his or her attack. Note: do not hesitate. React at once to end danger because you will not have the time to think.

The skilled man must be specialized. To become superiorly proficient at technique and tactics, you have to train hard. But it is impossible to spend the time daily, to ripen all martial techniques; your body and mind can only cope with so much abuse and need time to recuperate and replenish. Furthermore, each person is an individual with many different strengths and limitations. Build, mental capabilities and ingrained behaviour are both strengths and weaknesses. A good trainer will work these two areas to correct deficiencies and exploit strengths. One must develop the basics and train to eliminate weaknesses. The bottom line is this: the martial artist must always train carefully, correctly and cleverly.

Developing power should be developed naturally and gradually through repetition. Building physical strength also protects your body from injuries during training and helps you realize and experience real power or yang. Ironically, accomplishing utmost hardness and power, usually leads to comprehension of suppleness or yin. Thus, energizing the mind and spirit (chi) with more extreme training, such as dynamic tension/relaxation, explosive linear/softer circular techniques leads to the utilization of hard and soft, and chi. Hence, you will be able to manipulate willfully, create power, and exploit voidness of power and reserve energy or stamina. One must therefore understand power. Correct technique, speed, strength, correct reaction and focussed explosion equates real power.

The skilled man's perception must be keen. His awareness and perception level should be elevated, so that his conscious concentration and comprehension is intensified, thus engraining correct patterns into the subconscious. Consequently, reaction to stimuli occurs instantaneous and exact. Proper training is the key to attain heightened realization and judgment! The following are areas of personal training for uncovering and cultivating this acuteness or sharpened sensitivity:

• reflex drills
• relaxation exercises/drills and sensitivity exercises/drills
• opening your mind by meditating---developing chi
• using your senses: eyes, ears, nose, touch etc. (and your inner eye)
• developing alertness and correct, rapid response via partner training

The topic of chi, in most martial art styles, is almost taboo, rarely understood, accepted or believed. Furthermore, many instructors of internal arts, with the concept of chi as their foundational base, are usually unknowledgeable. How unfortunate! As a consequence, enthusiastic students end up either shunning the existence of chi as esoteric hoopla, or go on to great lengths in trying understand it.

Important points
Let us sum up the steps needed to reach a competent skill level. To begin with, you must have the desire; your heart must be in it. You have to make the time and you should train daily. Begin with learning and practicing stances. Develop quick yet smooth transitions from one stance to another. Practice shifting drills. Practice blocking, striking and fading. Put them all together. Make sure that you:

• keep your knees bent, back straight, cover hands up and shoulders down
• sink your breathing, relax your muscles and empty the mind
• stay relaxed, breathe naturally, so that you don't hyperventilate under pressure
• stay alert, focus and drive yourself---you must learn how to kick and punch
• develop extreme softness and hardness, and the necessary amounts in-between
• Develop speed and develop power. Know their differences. Many unskilled martial artists have only one type of technique. One with little power and with little speed, which shoots out unimpressively from their stiff, robotic frames. The emphasis of a speed technique is exactly that. It is in and out. Power is not emphasized, but speed and accuracy is. A power technique explodes out crisply and is not retracted as quickly. Furthermore, the muscles are tensed just before impact. A speed technique requires little commitment and the muscles stay relaxed. Both types of techniques, though, require control. Learn to expel your breath when hitting, especially with your power strikes---and learn to explode these techniques.

Practice combinations, a variety of techniques is best but use judgment in putting them together. For instance, use a block and fade with a strike or two yet do not forget maneuverability. Keep combinations short, 2 to 3 (sometimes 4) techniques with 1 to 2 (sometimes 3) steps (repositioning, a shift etc.) at most; and once again don't forget to partner train. You may find that your beautiful combinations are useless in the real world. When training, keep the back straight, chin down, chest depressed, cover hands up and eyes focused at your partner's upper chest. When practicing alone:

• practice techniques 40 times: 10 slow, 10 1/2 speed, 10 full speed and 10 slow.
• check yourself in a mirror and/or get yourself video taped once in a while, but don't fall in love with yourself.
• don't drop your cover hands to pick or scratch your face and bottom. You won't want to do this in a fight will you?
• don't waste time while training; train efficiently by making maximum gains in the little time you've set aside for training. An hour four to five times per week is plenty for most people. Perhaps train daily or every second or third day.
• form training should be done slow and 1/2 speed; sometimes with dynamic tension and sometimes 3/4 to full speed. Basics too, should be varied in practice.

Don't forget to do some strengthening and stretching exercises. Don't turn away a good opportunity for partner training. Don't compete with your partner, instead encourage each other. Practice and maintain the set training speeds. Slow repetition is key for the desired results. Partner stretch. During form training, sink the breathing to slow the mind, and by slowing down your movements. Develop smoothness and flow, focus and sharpness. Speed and power will surely ensue.

What is internal training?
Internal training involves slowing movements and the mind. At least fifty percent of internal training involves slow repetition of technique. This has a number of benefits. You will not injure yourself. You will find your oneness or center. You will begin to breathe naturally and be able to control it, thus sinking your breath below the navel and into the groin to develop chi. You will be able to relax to better absorb technique, to ingrain it into the subconscious. Your nervous system and mind will become honed, so that explosion of correct technique will be instantaneous and effortless. Thus muscles work efficiently. When speed is picked up during practice, nothing is forced. The mind controls the movement, and the hips direct it naturally. Nothing is forced with muscular strength, or it is done so minimally, with the occasional short focused burst. Internal styles consist of superior training methods in their principles, technique and routines. The chief characteristic of most Chinese internal styles is the emphasis on health and longevity. Taoist philosophy deep within the pages of the Tao Teh Ching is dominated with such quotes as, "Who can make the muddy water clear? Let it be still and it will gradually become clear. Bend and you will be whole. Keep empty and you will be renewed. The Tao is the hidden reservoir of all things."

Why practice forms?
Form practice is unnecessary to develop martial skill. However, it can be an invaluable exercise which encompasses the spirit of the style. Knowledge in the embodiment of principles and arrangement of technique may be passed on. Sections of forms may also imitate actual fighting thus ingraining functional pieces of procedure. Forms perfect technique and develop sharpness, fluidity and focus. Also, by practicing trigram palm solo forms, health is enhanced in three areas.

• Body: the muscles are gently stretched and strengthened. The bones and ligaments become stronger. Organ stimulation occurs and blood flows. Balance and coordination are improved with an overall vitality and vigour towards life.


• Mind: with practicing the movements, the mind becomes honed and emptied, so one focuses only on the overall coordination of the task. The circular movements are ingrained into the mind, embellishing a peaceful, Taoist logic.


• Spirit: low level breathing is maintained throughout practice. This hones the nervous system (and brain) for improved neurological flow. Organ function, blood flow, and the senses are ameliorated, thus cultivating chi.

By practicing internal forms, one's emotional health also greatly improves. Some trigram boxing forms are pure fighting forms. The Water Palm form is one such form. Some forms are designed to condition the body, developing the necessary muscles, power and basics, such as the Yang Palm form. Others, like the Swimming Dragon Palm form, develop swift circle walking skills and fluidity---it is soft and flowing containing many useful maneuvers. The Dragon Palm form develops evasiveness and striking from odd postions. The Dragon Palm two man set is meant as a pragmatic partner training exercise. The Old Palms and Mother Palms forms teach the principles. All of these forms are among the best. They are not Wushu (the acrobatic nonsense). They are the real thing.