Different concepts on rooting in Bagua

[C.J.Wang]

A while ago, I had a chat with my Bagua teacher about the idea of developing a solid root that seems to be prevalently found in all CMA systems. I then told him about some of the serious rooting skills that I have experienced from interacting with a couple of high-level masters who possess the ability to neutralize, redirect, and issue lots of power while remaining almost stationary -- with minute adjustments of the body, of course. My teacher, after finished hearing my side of the story, almost immediately made the following comment: "As far as Bagua is concerned, that way of fighting is certainly an option, but it shouldn't be the focus like in, for example, Taiji." Then I asked him how he'd deal with another IMA master with the aforementioned skills, he replied, "Rapid and continous changes!"

He then mentioned the concept about how, when your lower body is stationary (as in the case of solid rooitn), the freedom of motion is in the upper body and vice versa; therefore, in his opinion, Bagua is perhaps the only CMA style that emphasizes the "vice versa," or the opposite, wherein "the root is actually in your hands."

[everything]

I always thought the stationary root was a training stage/device. If you have dynamic root, if you took a snapshot, it may be similar to stationary root. If you put restrictions in place, things also get harder as you put more focus on certain areas and ignore others. No one fights just standing there stationary just like no one fights in slow motion.

[everything]

this guy has a great dynamic root and constant and rapid changes. and you can see his opponents are always off balance. if you take a slow-mo or snapshot, you can see his fajin is "rooted in the feet, controlled by the waist" etc.

[SPJ]

yes. both points are correct. strong rooting and rapid moving.

1. when you land your feet, you take root immediately or luo di sheng gen.

2. Wang Pei Sheng used a very good analogy. He practiced several lines of Ba Gua. He passed away a few years back.

the feet are like a horse.

the waist is like the cart wheel. meaning steering/changing for direction.

the hands are like swords.

it is true that wherever your hands/palms go, the rest of the body follows. the main focus is the hands/palms. however, we still need the feet to take us there fast. if we are fa jin and not in transition, and then rooting with feet is necessary.

[Ian]

My teacher, after finished hearing my side of the story, almost immediately made the following comment: "As far as Bagua is concerned, that way of fighting is certainly an option, but it shouldn't be the focus like in, for example, Taiji." Then I asked him how he'd deal with another IMA master with the aforementioned skills, he replied, "Rapid and continous changes!"

Sounds like a cool guy. Anyway I wouldn't say the focus of taiji should be to remain stationary. A) That's a great way to get cut, and B) why spend all that time practicing stepping (taiji jibengong) if you're just going to stand there?

He then mentioned the concept about how, when your lower body is stationary (as in the case of solid rooitn), the freedom of motion is in the upper body and vice versa; therefore, in his opinion, Bagua is perhaps the only CMA style that emphasizes the "vice versa," or the opposite, wherein "the root is actually in your hands."

IMO freedom of motion comes from moving the upper and lower at the same time. Can you clarify what he meant?

[bailewen]

On another thread I tricked Graham into demonstrating one of our primary rooting exercises from Baguataijiquan.

It points directly at how our concept of "root" is completely different from the mainstream.

Check it out: http://www.youtube.com/watch?v=rbGuO_6J ... r_embedded

Thanks for providing me with the video Graham.

[meeks]

He then mentioned the concept about how, when your lower body is stationary (as in the case of solid rooitn), the freedom of motion is in the upper body and vice versa; therefore, in his opinion, Bagua is perhaps the only CMA style that emphasizes the "vice versa," or the opposite, wherein "the root is actually in your hands."

shang mian dong xia mian bu dong; xia mian dong shang mian bu dong
upper moves lower does not move; lower moves upper does not move

[C.J.Wang]

He then mentioned the concept about how, when your lower body is stationary (as in the case of solid rooitn), the freedom of motion is in the upper body and vice versa; therefore, in his opinion, Bagua is perhaps the only CMA style that emphasizes the "vice versa," or the opposite, wherein "the root is actually in your hands."

shang mian dong xia mian bu dong; xia mian dong shang mian bu dong
upper moves lower does not move; lower moves upper does not move

Well-said and excellent job on the phonetic translation!

[ppscat]

shang mian dong xia mian bu dong; xia mian dong shang mian bu dong
upper moves lower does not move; lower moves upper does not move

Are you talking about tango?

[meeks]

lol... no. it was one of the principles of bagua I learned.

[C.J.Wang]

And it is a principle demonstrated in ballroom dancing such as Tango as well, in which you hold your upper body "frame" while allowing the lower body to be fluid and moving.

[ppscat]

And also, hold your lower boddy frame while allowing your upper body to twist until it triggers a forward or backward spin, step or kick.

[shawnsegler]

I like this guys moving root.

[GrahamB]

On another thread I tricked Graham into demonstrating one of our primary rooting exercises from Baguataijiquan.

It points directly at how our concept of "root" is completely different from the mainstream.

Check it out: http://www.youtube.com/watch?v=rbGuO_6J ... r_embedded

Thanks for providing me with the video Graham.

damn you puppet master!