Birthed from the Fire Gua or Trigram of the I-Ching, Rooster Shape Baguzhang is an animistic personification of fire. Explosive, quick, and always moving, the action of the Rooster is that of a flame's ability to leap to new and nearby sources of fuel. The Rooster hops and struts like the pops and snaps of a long string of firecrackers; each step and movement of the Rooster is sharp, fast, and powerful.  The Fire Gua or Trigram of the I-Ching is drawn as two unbroken yang lines, top and bottom, with a split ying line sandwiched between them, which denotes the idea that fire possesses qualities of circling and clinging, spiraling around and engulfing its fuel sources. Even while expanding outward, the fire's primary movement is upward (if only to generate power for the downward).  The Rooster is the same, utilizing rapid spiral stepping, launching kicks, knees, palm strikes, palm/backhand whips (mimicking a rooster's wings flapping), slicing elbows, and chopping strikes up a...

Chan Pan Ling's Yang Energy Dragon Shape Baguazhang is an intermediate-level school of martial Baguazhang that emphasizes the explosive, consuming, and constantly-moving qualities of fire while developing to coiling, raising, and aggressive nature inherent within the Dragon Shape as expressed by the Thunder Gua or Trigram of the I-Ching.  Violent and abrupt, the Dragon of this Baguazhang set enjoys sudden force expressions while evading, deflecting, and redirecting. The Dragon is strong and spring-like, like a steel whip. The Yang energy is sharp, disruptive, and punishing.  In my teachings of Daoist metaphysics, this set constitutes Fire over Thunder in the I-Ching, or Hexagram #21. It denotes a sense of being wronged and seeking justice. The Hexagram (six lines, the top, bottom, and third down lines are unbroken yang lines) illustrates a structured environment with a free energy flow from bottom to top. However, there is a disruption in that flow. This is seen as a divider b...

Cheng Yu Lung's Yin Energy Dragon Shape Baguazhang is an intermediate-level school of martial Baguazhang that emphasizes the dark, heavy, and sinking qualities of water while teaching a unique variant of the Dragon Shape as expressed through the Thunder Gua or Trigram. Rather than the explosive and athletic nature of the Dragon, who revels in open space, directing force upward, the dragon energy in this school of Baguazhang is that of a giant Sea Serpent.  No less violent or abrupt, but tending toward crushing and pulling downward. The Sea Serpent is thick and sinuous, rising up only to come crashing down. The Yin energy is not of the typical soft and yielding force but that of sinking, submerging, and purposely holding under.  In my teachings of Daoist metaphysics, this set constitutes Water over Thunder in the I-Ching, or Hexagram #3. It denotes difficulties and even mortal danger. The Hexagram (six lines, the top a line split, and the second an intact yang line) illustrates...

Every  long-term  practitioner of Baguazhang will eventually develop their own signature Baguazhang routine. Vimana Vajra Baguazhang is absolutely and, without question, mine.  Vimana Vajra Baguazhang is the crown jewel of my over thirty years of accumulated martial and esoteric knowledge, spit-polished with sweat and blood to a gleaming, brilliant finish. After thousands of hours walking the circle paired with spiraling line drills, holding a singular focus of just one energetic expression for hundreds of thousands of repetitions, with continuous refinement of qigong and internal alchemical practices, the school of Vimana Vajra Baguazhang was born as if hatched from a dragon's egg.  From the ground up, Vimana Vajra Baguazhang was built on a foundation of various Baguazhang methodologies; they are presented here in no particular order.  Sun Lu Tang Eight Animals Wang Shu Jin's Form and Eight Animals.  Cheng Hua Ting's Nine Palace.  Cheng Yu Lung's Yin ...

I must present some context and a disclaimer to frame this fascinating topic correctly. I first learned the Tall Monkey style (including the Stone Monkey and Lost Monkey styles) of Tai Shing Pek War from a student of Sifu Paulie Zink, my Sifu James Zimmerman, or as I affectionately called him, Mr. Z, in 1993 or 1994. I referred to it as Monkey Kung Fu or Shaolin Monkey Kung Fu; later, I learned that Tai Shing Pek War was its own system, a relatively recent creation, utilizing monkey-themed boxing.  Recently, a Sifu began online instruction in Tai Shing Pek War. I subscribed to his main course. I immediately recognized his high-level skill and power in the applications he demonstrated. After 30 years of practicing what I was most attracted to in the Tall Monkey style (Stone and Lost Monkey, too), I wanted to see what I had possibly forgotten. So far, I am incredibly pleased.  Certain vital elements of the Monkey styles I had previously learned exist that I was never taught or w...

"If you intend to waste time learning something other than Baguazhang, it should be Bung Bo Kuen. Anything else would be a complete waste of time."  My Sifu said that to me over twenty years ago. I didn't strictly follow his advice, as I studied several other systems of Kung Fu. Still, I heeded his wisdom and did a dedicated Bung Bo Kuen or Crushing Step Fist practice. Bung Bo Kuen is an exceptionally ferocious set worthy of its Praying Mantis association. I am grateful I did.  Crushing Step Fist is  the  foundational form for the Seven Star clan's Northern Praying Mantis Kung Fu style. It sets a formidable pace and tone, a catalog of fast, heavy-handed techniques arranged in a highly logical fashion, dictating the Seven Star clan's military science and fighting strategy. Crushing Step Fist subscribes to the theory that "the best defense is a strong offense."   The Praying Mantis is a consummate hunter, and Bung Bo Kuen reflects its nature. The system ut...