With regard to writing, it is easy to see, in the endless interplay of yin and yang, the emergence of new and highly pleasurable fields of expression, particularly in context of a syntactic language such as English. The body engages as a unified web of energies. One’s body and limbs become the site of a fully integrated dynamic of movement and stillness, ever ready to shift in response to the situation as it unfolds. Thus fighting efficacy is less dependent on speed and muscular strength than on fluid, coordinated internal change. The guarding hand may move to strike, the striking hand to protect, seamlessly and effortlessly because the yin element of receptivity is contained within the yang element of initiation and action, and vice versa. One’s yin hand may transform instantaneously into one’s yang hand.
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Tom bisio kung fu full#
In Ba Gua Zhang the polar forces of yin and yang interact harmoniously to produce full body power. Instead, by maintaining the integrity of my structure, I facilitate the conditions for his self-defeat.**
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In short, I do not try to defeat my opponent. The practitioner trained in this form thus has no formula for what she or he will do in a given situation – the situation creates opportunities to draw the opponent into an unsustainable position. If a dispositive move happens, it often comes quite unexpectedly out of the build-up of circumstances. Rather it is the interplay of your and your opponent’s movements that creates the “space” for the lock or throw to occur. One does not maneuver an opponent in order to execute, say, a joint lock, or a throw. One does not seek to strike a particular blow, though that blow may happen. There are no “goals,” only cyclical potentiation of movement, actualization and resorption. The first and most (retroactively) shocking realization, taught by the continuous chain-linking movements of the form itself, is that there is nothing in the practice that supports the idea of a beginning or an end. What are the implications of a vast and coherent text made by numberless authors? And what of the individual who enters this stream? What if she or he has, for much of their lifetime, identified as a radical and a writer – someone acculturated and accustomed to organizing their thought patterns and “philosophy” around the intellectual demands of political analysis and written language? How does a Daoist practice, assimilated incrementally into the body, affect one’s understanding of the linguistic and political dynamics at work in the world? To what new fields of “action” does it grant access? What changes take place in the narrative of one’s own and other’s political actions? Put in more starkly rhetorical terms, how does it shift one’s sense of agency and critique of power? It is a collaborative work, organized around a discernable, coherent, and deeply integrative form.* You can only write your part of it, and no matter how skilled you become, the majority of the text has been and will be authored by others, alive, dead, and yet to be born. It extends behind and ahead of you over many generations and a wide topography. To practice the Chinese martial art Ba Gua Zhang is to become both an author and reader of an endlessly unscrolling text.
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Writing, Politics and the Internal Art of Ba Gua Zhang: