I’d like to make some brief comments about looking at the active hand while going through the circular form. It is a little tricky, at least it has been for me, to keep my attention on the “living” hand during the many movements that take place during the form; even the actual walking of the circle with said focus can be a challenge, specifically in balance issues during the mud step. However, over time, that fades more and more (though it certainly hasn’t entirely faded for me), and magic starts to happen.

I liken it to finding your hands when you’re dreaming; it’s electrifying and causes an intense sensation of self awareness, and it also creates a vary tangible rlationship with the surrounding environment. Keeping the eyes on the active hand produces a lot of energy in the body, directs it to the hand in play, promotes a strong sense of “eagle vision”, and, ultimately, connects the mind with the movement on a wonderful level. As for mudstepping, which is another important issue, I will share some more of my feelings on that at a later time. Thank you for this opportunity to share.

Aaron W. J.

I, too, would like some details on why we look at the palm, as well as why we mudstep. Though I’m pretty comfortable with my understanding of these two “why’s”, it would be nice to have them elucidated. Thanks for all you do, Steven.

Aaron

History is fun because it begins with Dong Hai Chuan’s failure to describe Baguazhang’s lineage. Some believe he created the art, but, like a good marketer, let people create a larger story.

Also, it’s attributed to the I-Ching and philosophical origins, yet Dong may have been illiterate; the connections to the Bagua are pretend! Possibly. So, okay, more history coming up.

Eyes on the palm: very unique and powerful…lots to write on that one.

Mud stepping: you’re right…no one does it but the Great Erle Montaigue. It’s important and potent and you know why. So okay…more on that too.

Thanks for the ideas. Please consider writing some bits on this site too, Jason.

Nice start! I think some historical background could be an interesting addition. Or how about a discussion on why we look at the palm in bagua? Or write some more about the practice of mud stepping, because it doesn’t appear in most of the bagua videos viewed on the internet, and yet from doing it I think it provides a more intense experience of twisting and winding the spine and the body.

Peace out,
Jason