The art of BaGwaChang is pronounced ba-gwa-chang or ba-gua-zhung in Chinese, depending on Northern or Southern Chinese pronunciation, respectively. In English, it is spelled Pa Kua Chang, Bagua Zhang or BaGwaChang etc. Having originated in Northern China, we will spell it in English as its Northern pronunciation. Bagwa means eight trigram, chang means palm. It is one of the three traditional internal martial art styles from Mainland China. Rooted and intertwined with the teachings of Taoism, it is in fact the only orthodox style which is deeply representative of Taoism itself.

Taoism consists of the I Ching (Book of Changes), the Tao Te Ching (Book of Tao), and the writings of Confucius. Taoist philosophy begins with the Creation Theory from the I Ching: ...From nothing came one, then one produced two. Two produced four, four produced eight. Eight produced sixty-four, which then created myriad things of life and non-life....

BaGwaChang is meant to be a physical manifestation of the trigram properties; a martial art style emphasizing the applications of the open hand. Though for hitting, the fist and feet are also used---in fact, the whole body is used. This art can tune itself with any situation, but cultivating this skill requires commitment.

Most BaGwa techniques originated from other Northern Chinese systems. But its main contribution was its circularity and evasive footwork. Employing the strategy of change, it is a circular style utilizing body turning and twisting movements. The footwork, coupled with the logical body mechanics and ingrained patterns, allows the martial artist to set up and execute techniques while rapidly changing movement, direction and alignment. Thus, the trigram artist learns to be cunning and adaptable. As a bonus, body energy is reserved via the decreased amount of the muscle power needed to defeat opponents.

The purpose of the solo exercises are to condition the beginner in maintaining alignment and focus while in motion. Forms help develop to use the power of whole body behind every movement. They also convey principles. Progression to partner training exercises familiarizes the student with physical contact, putting theses principles to work. The energy cultivated is flexible, resilient and elastic.

Some schools, though few, also include a two-man form, usually based on the eight palms of their unique pre-Heaven solo form. Included is weapons training. The oversized straight sword, broadsword and spear are used to develop potency in both stamina and strength; the staff for coordination; and the chuang yun (poison pen), knives, darts and lu jiao dao (dear hook sword) for actual combat.

THE FOUNDER
The founder of this art was Tung Hai Chuan, born in 1813, Hebei Province, China. Having first mastered the Eighteen Lohan Shaolin style at an early age, his thirst and fanaticism drove him to seek new knowledge. He left his village of Chu Chia Wu and travelled to Omei Mountain. Upon arrival, he became a member of the Absolute Truth sect of Taoism. He was fascinated with these monks, because they practiced a method of circle walking while reciting mantras and executing body actions associated with the trigrams. Noteworthily, these motions lacked direct martial functionality. The intent for rehearsing these movements was for meditative enlightenment only. Tung stayed on and learned this art mainly from the two monks, Ku Chi Tzu and Shang Tao Yuan. He then combined these circle walking mechanics with the open hand movements he had mastered in his youth. Thus he created an entirely new style based on fighting with mobility. He first named it Shuan Chang (Turning Palm), though later he began to correlate it with BaGwa theory and changed the name to BaGwaChang. Thus the art of Eight Trigram Palm was born.

Tung then moved to Beijing and began teaching his new art. He quickly gained both fame and reverence. His early teachings were limited to martial art basics, fused with BaGwa theory and function. Once the student had some grounding in the basics, he would teach the pre-Heaven meditative movements, the footwork (circle walking, the inside / outside directional changes, the spin-in / spin-out), and applications. Of course, the emphasis throughout this teaching was basics and partner training. Later, two palm changes were infused while walking the circle. These were the single and double change palms. The single change palm is an elaborated inside directional change---a type of ward-off, while the double change palm is based on the outside change and two attackers.

It is said that Tung also created a third change palm which was to be included with the original two. But as time went by, Tung completed the eight changes, all based upon the pre-Heaven movements. Thus, practiced while walking in a circle, these changes became one of BaGwa's main exercise methods. Eventually, by adding an opening and closing set of movements, the first solo form was created. From this form, movements were later adjusted by some of his students to create two new forms, one soft and one hard. Thus, the BaGwa Yin/Yang forms were created. Tung later honed these movements further with Yin Fu, Cheng Ting Hua and others, helping create other unique solo forms based entirely on the attributes of each of the eight trigrams. This included the pre-Heaven movements and qualities for each trigram. Tung's main expertise was to exploit his students' strengths and correct their weaknesses.

The forms were to become known as Yin Fu's, Mother Palms and Cheng Ting Hua's, Old Palms. Both of these forms were practised around a circle. However, Cheng continued to work on the Old Palms form and added the representing trigram direction for each of the change palms with linkages. Importantly though, these two forms encompassed Tung's principles and basic movements; and these two forms alone, encompassed his BaGwa theory and techniques of fighting.

It is, however, unclear how much influence Tung's senior students had in the development of these forms, because the majority of Tung's pupils were already skilled martial artists. For instance, Yin Fu, his longest and most skilled student, was a specialist of Lohan Chuan, a Northern external style; Cheng Ting Hua was a master of Shway Zow (Chinese wrestling). After Tung's death, many of his students took his forms and theories and combined them with their original arts, creating some very different interpretations of the BaGwa art---though it has long been thought that the two top schools were that of Yin Fu and Cheng Ting Hua.

Thus, the two major classical BaGwa solo exercises, the ones which were used a guides in developing new forms, where Yin Fu's, Mother Palms, and Cheng Ting Hua's, Old Palms. These were the standards. This is why such masters as Sun Lu Tang and Fu Chen Sung, students of Cheng, practised and taught the Old Palms form. However, since Yin Fu was Tung's longest and most skilled student, Yin's basic form was at a much higher level (or more difficult to learn and master). Nevertheless, the Old Palms form though simpler, incorporates effective combat techniques. Yin Fu emphasized punching and kicking etc., in his training and teaching, whereas Cheng Ting Hua emphasized close range contact utilizing Shway Zow (Chinese wrestling) and Chin Na (Chinese joint locking techniques). However, both of these masters' basic BaGwa was essentially the same.

Two of Cheng's senior students became giants of their BaGwa art. These where, of course, Sun Lu Tang and Fu Chen Sung. Whereas Sun was more of a traditionalist, Fu was more of an innovator. Both were colleagues and good friends. Their friendship spilled over into the fourth BaGwa generation through their children. Sun's daughter, Sun Jian Yun, remained a strong friend and ally of Fu Chen Sung's oldest son, Fu Wing Fai. Sadly, Wing Fai passed away in 1994. The fifth BaGwa generation of self-proclaimed successors remains tightly fraternized, even though most of the original BaGwa craft has blemished over time.

ABOUT FORMS
After Tung's death, most of his students flurried in creating their own unique expressions of the art. Everyone became a BaGwa master! This is why today, there are so many forms. The most notable example of this trend was the creation of solo forms representing the post-Heaven BaGwa Diagram. In other words, forms expanded to sixty-four sets of movements instead of the standard eight. Thus a shift from a highly functional art gradually developed into a complex system of forms. Yin Fu was thought to be the first to create such a form. This trend continues today, and consequently many present-day so-called masters teach only forms, and mix their BaGwa teaching with forms from other styles. There is nothing wrong with an abundance of form training if one's basics and exercises aren't disregarded; and a few of these post-Heaven forms are actually quite good. Out of the many, four stand out: Yin's, Sun's, Fu's and the BaGwa Swimming Body Dragon Palm (the creator is unknown to the author).

The one thing in common the second, third and even fourth generations had were their instruction of gung fu basics, including linear non-BaGwa forms, BaGwa basics, partner training and the Old Palms or Mother Palms form. Once the practitioner became skilled, the master would teach his or her unique post-Heaven form. These forms were usually meant to be the pinnacle of the masters' interpretation of their BaGwa. Sun Lu Tang was no exception to this method, but what made his style stand out was the he was a perfectionist in embodying pure Taoist logic manifested with the pre-Heaven movements. His sixty-four was a "step-up" from the Old Palms form. Sun took these eight palm movements and combined them to correlate precisely with his interpretation of the post-Heaven BaGwa Diagram (I Ching), directions and all. The benefits of practicing this form are two-fold: to get the practitioner in flux yet rooted for any circumstance; to develop the BaGwa body, supple and yielding yet sturdy and swift. Thus one's overall well-being and skill improves. These were Sun's main forms, however, he taught other BaGwa forms as well, usually variants of other masters BaGwa. His repertoire also included simple gung fu forms taught to develop necessary basics for beginners. This is also how many masters, including both Yin Fu and Fu Chen Sung taught, though their emphasis varied on certain aspects of the art.

The post-Heaven form, commonly known as You Shen BaGwa or the Swimming Dragon Body Palm, was supposedly to have been developed in the Omei Mountain region. Master Liang Shou Yu of Vancouver, British Columbia writes: Its movements are light and swift. It is externally soft and internally hard. Movements are continuously changing directions, with no interruption. Its movements are like a swimming dragon.... This form too incorporates the pre-Heaven movements, but also incorporates some sound fighting tactics. Like Sun's form, it is not demanding on one's body; and the practice of these two forms is only slightly more demanding than the practice of a classical TaiChi Chuan form. It is interesting to note that Sun Lu Tang also taught this form. Another form Sun Lu Tang created was a lively, eight palm post-Heaven form performed around a circle. He also named this form, Swimming Dragon Palm. It should not be confused with the sixty-four palm, You Shen post-Heaven form.

Both Yin Fu's and Fu Chen Sung's post-Heaven forms are also rather unique. They contain admirable manoeuvres, however, some sequences may be strenuous on the knees and lower back. Fu's original post-Heaven form, Dragon Palm, is not as strenuous but it is with the newer variants, were movements have been altered for flash and exercise, is where caution and judgement should be used in its practice. (Yin Fu and Chen Sung Fu stressed good footwork for the spins. The modern wushu influenced variations entail silly spins on one foot!) Fu's Dragon Palm BaGwa is also better in its circular techniques and practical evasive applications (when compared with Yin's form). But if you like more bread 'n butter type kicking and upper body striking, then Yin's form would be more appealing as well as practical. Both Yin and Fu spent a lifetime strengthening their fingers for piercing. Thus these strikes are prevalent in their post-Heaven forms. When some of these piercing movements are changed to eye spears, punches or palm strikes (for the common sense practitioner), Fu's form becomes unparalleled. But take care in its study, and try to learn it as Fu Chen Sung initially taught it, not in one of its current bastardizations. Keep in mind that most post-Heaven solo forms are quite new. They where never taught by the great master Tung, thus are unimportant in mastering the true art of BaGwaChang. In the author's opinion, better results can be achieved with the study, practice and mastery of a variety of pre-Heaven forms or post-Heaven forms containing only eight palm changes. Fu's Yang Palm, Old Palms and Yin's Mother Palms and Water Palm are among the best.

It is said that Yin Fu fought like a tiger with swift and precise movements, knocking his opponents to the ground like a tiger pouncing on its prey. He used fast and powerful striking combinations, and many of his forms include many explosive movements---coupled with quick, evasive footwork. Yin's methods, by far, represent the purest and most praiseworthy BaGwaChang.

MODERN FOUNDATIONAL TRAINING
With the book and videos, I attempt to present the student with the necessary information needed to mature skill: stances, shifting, blocking, adhering, redirecting, striking; breathing, relaxation, explosion, drills, partner-work and common sense. Surely many students will disagree with some of the material contained in this primer, but keep in mind that this is the real thing, not some romanticized nonsense.

Take heed that many teachers today aren't skilled in the basics and don't know the relevance of good partner practice, thereby lacking the grasp of the art as a whole. Rooting problems and the lack of correct body and breath mechanics are now common. Logical partner training and fighting tactics lag much in modern teaching. The influence of Chinese "Wushu" certainly hasn't helped matters any. Three things I've noticed with BaGwa students over the years: lack of commitment, lack of common sense and the inability to drive themselves. Perhaps some students realize the necessity of the many hours entailed to gain proficiency and are scared away. Skill can not be gained like food bought from a fast food chain. Comprehension is built from foundational practice with correct, concentrated effort. This develops skill and this takes time. Consider also that sound training is healthy for the body, unlike its extreme opposite of external exertion. For the already skilled martial artist, whether a TaiChi practitioner, external stylist or even a kick boxer, it is the understanding of BaGwa principles and how they are implemented, by means of practice and partner training, which will benefit him or her the most. Not forms!

Nonetheless, BaGwa forms will enhance this understanding, once the martial artist has grasped these fundamentals. For the beginner, however, it is a another matter. Beginners must be trained from the ground up, and this takes years (three to five years or more). For a sturdy base, the training must be well-rounded in both internal and external principles. This will develop the student into a highly skilled practitioner with profound insight.

One modern training method consists of mostly form training. Beginners start with some "hard" forms to develop basics. Then TaiChi is introduced and perhaps followed with some HsingYi. But both in-class and personal training combined with the study of applications are necessary, to build a solid foundation for the higher level BaGwa training. When the advanced training begins, circle walking executions, exercises and drills are learned. Then one or two forms, usually a pre-Heaven and a post-Heaven eight trigram solo form, follow.

At this stage of the game, many practitioners settle into their personal training with the three major internal styles only, along with some partner training and meditation. This is good enough. A good combination, in my opinion, would be a shorter Yang based TaiChi form such as Cheng Man Ching's 37 posture form, the Five Elements of HsingYi and the BaGwa Water Palm form. Later one may drop most of the non-BaGwa forms and learn a few new trigram patterns. Practicing "naturally" is a must; and one must never forget both the soft and the hard, the slow and the fast. This training keeps the body both strong and pliable. BaGwa form practice is especially healthy for the spine. But for Heaven's sake, include some basics and partner train, and specialize in a technique or two. This specialization may save you from a predicament one day.

Without a grounding in gung fu basics, the mere practice of solo forms should not be confused with effective self-defence training. If so, one is shortchanging oneself, though form training is certainly beneficial for one's health. These practitioners are often referred to as form players, hence, playing TaiChi or BaGwa.

OLD SCHOOL FOUNDATIONAL TRAINING
The older, classical method consists solely of BaGwa training methods. Again, it is always helpful that trigram palm beginners have had some experience with the basics and perhaps TaiChi before indulging in such an endeavour. However, since BaGwa contains all the principles of TaiChi, and basics will be covered, it doesn't really matter. It only matters if the instructor is willingly or unwillingly holding things back. This training begins with basics, exercises and simple linear forms. (Erroneously, these forms are often referred to as BaGwa linear forms.) Conditioning, breathing techniques and partner training ensues. The BaGwa circle concepts are emphasized and gradually the student progresses to circle walking and its exercises and drills. Next, the hand postures are introduced with their functions followed by the eight pre-Heaven movements combined with the eight palm changes. Although these hand poses may vary from style to style, the common hand and body poses are incorporated in the Old and Mother Palms forms.

Take note that the eight palm changes are about making circular operations with the palms, but the whole body is used behind these operations. They deal with angles, and are used as a training method to keep oneself in flux yet always rooted with correct alignment. They should be executed in different orders using both the right and left sides. Again, Master Sun Lu Tang strongly emphasized these moves in his two primary forms. The great masters, Yin Fu, Cheng Ting Hua, Chen Sung Fu and many others, conveyed that it is within these movements that the secrets lie. These movements are the backbone of the Old Palms solo form and Eight Trigram Palm itself, and can be found within the solo form in my book, The Sun Style of BaGwaChang.

By now the art of circle walking has been introduced. One walks in a straight line, a circle and in a figure-eight pattern etc. The student also practices with a partner, both circle walking while maintaining correct distances. The procedures of cutting-in / cutting-out, shifting-in / shifting-out and spinning-in / spinning-out, rising / dropping are also practiced with a partner, and later progressing to multiple partners. Basic partner training, utilizing an attacking/defending role, is introduced: one offensive (attacking) technique and one or two techniques for the defence/counter. This begins with stationary practice progressing to circle walking with your partner. The practice of combinations should be kept simple, even for someone skilled. Two or three movements with one or two steps are best. Finally, freestyle is introduced at a slow speed called slow speed sparring. As one's skill improves, the speed may be varied---especially in freestyle sparring. This drill may expand by adding another partner. Gauntlet training is also introduced, using multiple partners, specializing with only one attack and/or defense to a freestyle exercise.

One's training should never be neglected outside of school training: the honing of basics, specialization of a couple of basics, low level breathing, form training and exercises can be practiced solo. A mirror is helpful too. Basic strikes should be practiced for both offensive and defensive adventures. In-school training should include an abundance of partner training, including rolling and sensitivity drills for deflection and sticking purposes---redirection is only achieved with alignment. The stuff which becomes engrained into the mind is what you will use on the street. So do practice what is logical and effective, and then your classical training will be sound. This introduction has now hopefully given you a taste of BaGwa, the book and videos deal with some of the guts.