Coming Soon - HeStyle Taijiquan Manual

Great....another How To book on Taichi! Not quite. This book started as a guide for my students and evolved into something much bigger. It covers the history and theory of this type of Taijiquan but also, at the suggestion of the He Family, has the Form in detailed photos and description (not my original intention). 

Why is this book relevant? That's a bit hard to answer in such a short space but I'd say ask any Taichi practitioner you know about what styles of Taichi are out there and most will say five (then add there are other offshoots and a gazilion branches). But, in China (this is quoting Chen Xiaoxing the Headmaster of the Chenjiagou Taijiquan school), they say there are six recognized styles: Chen, Yang, Wu, Wu/Hao, Sun and HE. This is a huge step forward for Taijiquan and Martial Arts in general. As covered in the post on the origins of Taijiquan, no one will ever agree on where this art came from. The two main opinions are that: 1, Chen Wanting created Taichi in Chenjiagou and that the others came from students of this method. 2, Zhang Sanfeng created Taijiquan and it was passed down to Wang Zhongyue. He taught Chen Wanting (who combined it with his maternal lineage's Martial Arts to create Chen Style) and Jiang Fa who kept to the original teachings, they now known as Zhaobao Taijiquan. He Style Taijiquan is a branch of Zhaobao (but we start our lineage from He-Style's creator, leaving the Zhang Sanfeng/Chen Wanting debate for a time when it can be academically proven either way). The fact that Chen Family is saying He Style is a major method of Taichi means the ties are strengthening in Taijiquan circles. 

With that in mind, this manual is very important. Look around the Internet and you will see a lot of speculation as to what is He Style and what are its methods. This manual is the first ever time that the history and theory has been covered in the English language in this much detail (or any detail, for that matter). This simple book is a huge leap forward for the bridges that bring practitioners of Taijiquan closer together. 

The He-Style Taijiquan Manual will be released through Satalyte Publishing in very early 2015 (originally set for late 2014, the book's release has been moved back to include important photos that will be taken at the end of December 2014).

TALKING WITH - AUTHOR - GED MAYBURY

"For me, writing is about chopping up the millions of experiences I've had, and gluing thousands of them back together into a unique and bizarre beast."
This was the response from Ged Maybury, Steampunk Author and Cosplayer, when I asked him if he would like to participate in an interview. Over the last year I've had some pretty great talks with Ged and am always impressed with his knowledge of Japan. His book, Into the Storm's Domain, is available now through Satalyte Publishing (www.satalyte.com.au) and your local book store.

1. Into the Storm's Domain is Book 1 of the Across the Stonewind Sky Series but I've heard it wasn't always. Where was this part of the story originally and what led to the moving around?

In 2008/2009 I wrote two entire books and was well into book-3 when I looked back and realised that book-1 just wasn’t good enough. Book-3 was full of much better ideas! So I went back and stitched the original opening sequence onto the middle of book-3 (before it was even finished). That worked so much better as an opening book. There was far more action and adventure, and more importantly character development.
Then of course I was forced to look at all the body parts now lying around my operating room. Book-2 no longer made any sense, so it was designated ‘book-3’ and I set about grafting a new head and legs onto the remains of my original book-1. That is now Book II – “Into the Heart Of Varste” (coming out late-2014!).
I’ve never done such a dramatic re-write. Doctor Frankenstein would’ve been proud of me!


2. To give readers an idea of each character or if your series is ever made into a movie or tv show, who would be your dream cast?

Well first of all I’d love to see it as an anime. Studio Gonzo, of course. (But I’d have to make my main characters a lot younger! Isn’t everyone a teenager in anime?)
Otherwise I’d want to hand it over to the team that did the Sherlock Holmes movies: Racy action and epic special effects. Everything huge and mindboggling! Dream actors? My lead characters are Rodney Hoverrim (played by Jude Law with muttonchops!), and Romarny Skijypzee (played by Noomi Rapace).  Oh – there are too many! I’ll stop there.


3. You have quite a lot of experience as a writer. How has your Path evolved over the years from children's books to now, on regards to finding inspiration and the individual journey of each book?

There has been no change, except in scale. I still write the way I did from the very beginning – from instinct, without a perfect plan, and with nothing more than a ‘pirate’s map’ with the vaguest of clues sketched upon it; just a hint of where, and how, it will end.
Without that – well: let’s just say I have a few unfinished books in my computer.
As to characters: well I have to let my crew come aboard whenever and however they want, and with whatever they have to offer. It requires a willingness to trust them. After all, they’re lurching out of the swamps of my unconscious, sometimes with extra bits of the map in hand. I cannot deny them life! And when I do let them in – remarkable things happen!
And sometimes this thing called Story just demands that something has to happen. A twist. I can’t argue with it! (Well, I try, but it always wins.) It means that I never control my books. They control me.
However these day I make a lot more notes. I try and map out more of their past, or how they are going to pull my plans about in the future. I create machines and creatures that might come later. For example I’ve got extensive notes for a huge adventure they all have much later in the series, but I still do not know every detail. I won’t until I start writing scene one.


4. Do you have a ritual, a routine, for writing?

Nope. I’m terrible. No discipline at all. It’s totally random. The only pattern is that when I’m full of ideas I write like there’s no tomorrow. i.e. – I write with a passion when I can see the way forward.
But when I’m stuck, I’ll keep going back to it, again and again, sometimes leaving it for months, forever seeking the way through the maze, or a way to rewrite the maze itself. Call me pig-headed.


5. There is a music video of Storm's Domain. How did that come about?

The idea developed during 2010. I had created the ‘theme song’ years earlier and so I set about finding a composer, then a vocalist – just by word-of-mouth.  The song went public that December at a Steampunk meet-up. It went well, but I wanted a bigger better way to promote my epic.
At that stage I still did not have a publisher for the book, but on a leap of faith I raised money via Pozible and began contacting film-makers and Steampunks in Brisbane. None of us had ever done anything as complex.  It was shot in September 2011, and belatedly released in March 2012 because the VFX took so long!
Oh, and I’m claiming a world first here: It is the world's first custom-written theme song to a book. I did search the internet at the time, and found no other reference to such a concept.
(Curiously and by chance, our Director of Photography (DoP) was awarded the Australian Student Cinematographer of the Year Award 2011 for her previous work. I got the best!)


6. You've explained to me in the past the connection between Japanese movies/anime and steampunk. Can you tell the readers a little about that?

My first encounter with Steampunk was not via western literature (I hardly ever read books), it was via anime. “Laputa” by Hayao Miyazaki, to be exact. It caught my interest, but it was not until I came across the word ‘steampunk’ that I realized what that particular style was, and quickly fell in love with it.


7. For the Martial Artists out there, what weapons and methods of combat do you have in your books and how do you go about creating these while keeping the authenticity you have?

My world is very European, but in keeping with one of the realities of Victorian England, I’ve included a character from ‘Japan’ – Goro Karakuri – who travels to the ’west’ and, among other things, becomes a martial arts instructor at a secret finishing school for young ladies. Thus my principal female Romarny Skijypzee is well-trained in a number of martial arts before my story begins.
As to weapons and combat – well I keep it rather fuzzy and let my readers fill in the choreography. My fight scenes are often chaotic, between wildly mismatched combatants. (And of course my main character is always wearing ‘plot-armour’!) If any weapons do appear they’re usually western weapons common at the time, plus a few science-fiction weapons.

8. Considering you have certain training/fighting sequences done so well, did you yourself swing a sword or take any lessons to get the feel?

I’ve handled and fired a few guns in my time, but as far as martial arts go – I’ve only ever taken a little instruction in Tai-Chi. (Therefore there is at least *one* convincing scene!!)
To write a fight scene, I try to imagine myself in the fight myself and how things might swing; the forces and the physics; the pain and panic; the misses and hits. I’ve been in a few scrappy schoolyard fights so at least that stuff is familiar! But also – a big fight scene is generally shown from Rodney’s point of view, so a lot goes on that he simply doesn’t see. He’s always too busy!
If readers want perfectly researched fight scenes, they’d better go elsewhere. My story is a light-hearted steampunk adventure with a touch of romance, not a martial arts classic!

TALKING WITH - MARTIAL ARTS - IAN MCNALLY

Ian McNally is not only a very talented Martial Artist and writer but also a dear friend. My Kung Fu Brother, in fact. He has recently moved back to USA and has started teaching Magui Baguazhang and I thought he would be a great place to start off the Talking With posts for Martial Artists.


1. Why Bagua? What was it about Baguazhang that appealed to you?

Well, I first heard about Baguazhang when I was studying Hung Ga Kuen while in college. After I moved to Japan, I found there was no Hung Ga schools there. I was looking into other Traditional Chinese Martial Arts in the area and finally came across The Magui Baguazhang Promotional Center. I went to the beginner class there and I met Li Baohua Laoshi. His skills were real, his teaching was traditional, and after I'd finished circle walking for an hour and a half I had so much energy. I was hooked from that day on.

2. Can you describe the importance of Circle Walking?

Circle Walking is the main practice and foundational training of Magui Baguazhang (and baguazhang in general). It is what makes the body rooted and balanced. Circle walking enhances qi and blood flow as it unites the tendons and bones, making them strong. It is what develops a strong structure, foundation and internal power. Circle Walking is the roots from which grows the tree that is Magui Baguazhang.

3. What is the class structure? As far as warm ups etc.

My teacher doesn't believe much in warming up. He follows the old proverb "Qi follows Yi (mind/intention)." He explained to us that tigers don't stretch before they hunt. The circle waling is the warm up.
In my classes, especially with beginners, I will do some basic Qigong warm ups before they learn how to circle walk. But after that, I try to make the circle the warm up in itself.
From there, we train Dragon Shape circle walking (which is the first you learn and the foundation for all the others). After that we move onto any other postures we are learning, then go into whatever palm changes are being studied. Most of the class involves going over and practicing a given palm change.
The end of class usually sees Bears Shape walking, which focuses on balance and helps to work out any lingering issues from practice and re-balance the body. Finally, We run through some more Qigong as a cool down.
That is the basic structure of a given class, which can be changed if we are going to be going through form practice, pair practice, etc.

4. What is the "Magui" in the name reference to and how does it differ from other methods of Baguazhang?

Ma Gui is the name of the grand master who learned Baguazhang from Dong Haichuan. It is his lineage of Baguazhang that I practice.
In terms of differences between lineages, I feel that Baguazhang is one of the most interesting Martial Arts. Dong Haichuan had hundreds, even thousands of student. He taught each of them individually, which means that there is very little in terms of standardization between lineages beyond Circle Walking and the Mother Palms (specifically the Single Palm Change).
Ma Gui was know for his strong, heavy body. He was well known for his Crab circle walking which made his ramming palm hard and fierce. These skills along with many others are passed down through his lineage of Baguazhang.

5. You've mentioned animals above. What animals are there within Magui Baguazhang ?

There are eight postures in Magui Baguazhang that we use to practice circle walking. Some are called "Shapes" others are "Postures" or "Forms."
They are as follows:
1. Dragon
2. Bear
3. Lion
4. Crab
5. Eagle
6. Single Hook
7. Reaching Toward Heaven and Earth
8. Yin Yang Fish

6. Do you use weapons in Magui Baguazhang ?

We do. The main weapons associated with Magui Baguazhang are the Bagua Broadsword, the Deer Horn Knives, The Seven Star Stick, and the Caligraphy Brush.

7. As someone with experience in Hung Ga, what differences have you discovered and what similarities? Beyond the immediate, noticeable differences.

The biggest difference is in the practice. In Bagua the weapons are associate directly with the empty hand movement (as most are), but that also means that in Magui Bagua when you walk the circle and practice the palm changes, you are practicing the weapons at the same time. There is less of an emphasis on learning a specific set of forms or movements that are associated only with the weapons.

8. And you write as well. Can you tell us a bit about your writing?

Yes, I am an aspiring fantasy fiction writer. I've always loved fantasy stories and things like magic have always intrigued me. I think that's part of what drew me to martial arts when I was young. To a young person, Qi sounds very similar to "Magic."
I write many different kinds of fantasy, urban to epic, etc, but one thing I try to do with every story is to look into the causes and justifications for violence. I find myself enjoying making any fight scenes feel authentic while also delving into the reasons the characters are engaging in combat in the first place.
I think the drive to understand combat and violence in a fantasy setting is also something that I've gained from a study of marital arts.

9. Where can people learn more about your classes?

My classes are going to be starting soon, both group classes and private lessons. People can go to my website, though it is still under construction: wordpress.maguibaguanj.com
They can go to my Facebook page: www.facebook.com/maguibaguanj
I also am on twitter, though I'm new to that medium as well: @maguibaguanj
And if anyone has questions for me or would like to contact me about scheduling private lessons they can reach me as maguibaguanj@gmail.com

TALIKING WITH-WRITER- SATIMA FLAVELL

Satima Flavell is a stablemate of mine on Satalyte Publishing, her book the Dagger of Dresnia has recently been released to a wonderful reception. She recently had the great idea of us all letting our friends get to know each other and we "sat down" for a chat. Her book is available now through the Satalyte website (www.satalyte.com.au) or from your local book store.

1. Considering genealogy is a hobby of yours, how have your discoveries played a part of your trilogy? Any links in there to your family?

Not directly, but my interest in Medieval genealogy was part of the reason the story was set in a time and place that somewhat resembles the British Isles in the late twelfth century. That’s a period that has appealed to me ever since I was in grade one at school. Being in England, we started with the Romans, then the Saxons, then the Vikings and finally the Normans. When I got my genealogy that far back I was very excited, because they kept pretty good records in those days. That meant I was actually able to learn something about what my ancestors got up to! (Mostly it was suing each other and squabbling. There will be a bit of that in the second book, the Cloak of Challiver.)

2. Being a networking master, how important has that been to your success? You're in Perth, I'm in Japan, Satalyte is in Melbourne. Your fans are all over!

Heh heh – ‘Networking Master’! Love it! No, I’m just interested in probably far too many things – reading, writing, criticism, dancing, music, theatre (especially Shakespeare), astrology, genealogy and history generally – so it’s easy for me to develop a wide acquaintance. I do think networking is important if you’re going to sell books or anything else, but not the kind of networking that’s developed purely to build a market. If someone friends me and immediately tries to sell me something, I unfriend them at once. Networking, at heart, means being a good friend to everyone, not just people you see as possibly useful in some way. I love my friends and I love my characters, so of course I want to introduce them to each other!

3. How important was historical accuracy to you considering the amount of research you did?

Pretty important. I always keep in mind something Tim Powers said at a convention when I was first starting out: ‘Get your facts right, because there is sure to be someone on a desert island somewhere who just happens to be an expert and you can be sure that person will take pleasure in pointing out your errors!’

4. Although your reviews have been amazing, full of stars, how would you deal with negative criticism, especially when they have completely missed the mark on your story?

Well, if someone has missed the point, that’s their problem, not mine. And if someone just doesn’t like my book, that’s their problem, too, and it’s also their right to make their dislike public, if they wish! But if someone takes the time to write a thoughtful critique that might help me to do better next time, that’s all to the good.

5. For us martial artists, how many weapons are included in your story? Does each nation fight differently? Where did the inspiration/technique come from for them?

I did a bit of research on weaponry of the era, and stuck to the slash and stab style using swords and daggers that was prevalent at the time. Beverak and his knights would have been a bit astonished if they suddenly came up against a bunch of fighters with scimitars, for instance! I learnt a lot from re-enactment web sites and of course I did quite a bit of ‘secondary research’ – i.e. reading other writers such as Bernard Cornwell who are a lot more knowledgeable than I am. 

6. Have you ever swung a dagger like your characters, or shot a bow? How was the feeling?

My knowledge of martial arts is limited to a few tai chi classes, a couple of attempts with a bow (I couldn’t even draw the darned thing!) and a bit of fencing with foils when I was studying at NIDA as a girl. Alan Baxter let me have a play with a sword at a con once. It was heavy! But there have been women fighters throughout history, just like Brianne in Game of Thrones. There’s a story about a lady in my family tree – her name was Agnes, if remember rightly – who donned her father’s armour and rode out to meet a local man who thought he had a right to her father’s property, seeing as Agnes was the only child and there was no son to inherit. She beat him fair and square, in front of his squires, then removed her breast plate to show she was a woman. I’ll bet that fellow went home with his tail between his legs! My character Tammi owes a bit to Agnes.

Origin of Taijiquan/Taichi?

One thing that will probably never be fully agreed upon is the origin of Taijiquan. As this Martial Art spread throughout the world and became more known for its heart benefits it only makes since that the lineage of the styles being learned became the accepted one. But it isn't the only one. The most commonly known (in the Western world) says Taijiquan was created in Chenjiagou (Chen Village for ease). The first non-family member to learn this art was Yang Luchan of Yang Shi/Style Taijiquan and from here Wu/Hao, Wu and Sun were created. Unfortunately, this isn't the full picture.
The Zhaoboa Taijquan (& legendary) idea is that Zhang Sanfeng created the method that would grow into Taijiquan on the Wudang Mountains. Wang Zhongyue further developed this type of Martial Art and taught two talented students. One, Chen Wanting, combined these lessons with his maternal lineage Martial Art (that of the Li Family) to create what would be called Chen Taijiquan. The other student of Wang Zhongyue, the senior of the two, was Jiang Fa. He kept to the original teachings, sharing the Art in his hometown. Over the generations this method would come to be named after the town where it was kept, Zhaobao.
An important teacher of Zhaobao, Chen Qingping, had previously learned his Chen Family arts before switching to Zhaobao. He taught He Zhaoyuan who would create He-Style Taijiquan (this story is told in Cloud Hands) but also influence the other styles that came "from" Chen. Yang Luchan, the creator of the most practiced style of Taichi in the world today, wrote in his book: "I learned Taijiquan from Chen Village but mastered it under Chen Qingping of Zhaobao".
Of course, this is a simplified version and I will add an extended version at some point but as this evolution is told in Cloud Hands.....better read the book to see where history and legend overlap. The main point I'm trying to make with this post is that what we "know" is not the full picture. In hopes of avoiding the same half truth that most know as the origin of Taijiquan, Cloud a Hands also has the non-Zhaobao origin story in it. I can't say "hey, what about Zhaobao?" if I did the same thing and ignore the other versions.

TOW Characters - Iron Wu

Iron Wu may be the "second main character" of the Mark of the Shaolin, but in fact he is the main character of the series as a whole, something that takes place from Book 2 - Swords of Wudang (to be released April 2015).
The descendant of one of history's most important Martial Artists (have to wait til Book 4 to find out who), Iron Wu has inherited his family's vast Internal Energy. This is blessed him with a near impenetrable body and the rare ability of the Qinggong Leaping Skill, a power that can see him jump in great bounds akin to flying seen in Kung Fu movies. Raised in the Wudang Temple, Wu has mastered the art of Taijiquan and possesses one of the greatest weapons from the Wudang Armory, the smoky bladed Yunjian Cloud Sword.
Taller and wider the most, Wu is a gentle giant often times seen as dimwitted by the tilt of his head and ever present smile, when in truth he possesses a genius level intellect and innate comprehension of the Tao, the Way, that governs his every action. His Shifu, his teacher, a man that raised Wu from the moment the baby's dying mother forced such a role upon him, Old T'sung, instructs Wu in the simple yet extremely powerful Still Water Meditation, perhaps the greatest of all Qigong Internal Exercises ever known to mankind, giving him the ability to halt an opponent, or even kill, with thought. It will serve him well as he attempts to become a member of the Swords of Wudang, the greatest warriors of the Taoist temple, and one day the Heir to the Wudang Sect.

TOW Characters - Shi/Chen Zhen Di

The man born Chen Shi Di was taken to the Shaolin Temple as a child by his father to escape the turmoil spreading through his family caused by the Scourge, a vicious Huquan Tiger Fist Fighter that happened to also be Zhen Di's elder brother, Chen Dao. His father's dear friend and fellow warrior from days of old, Shi Qing Lei, saw to young Zhen Di's development and secretly taught him the Martial Art that was his heritage.
The story of The Mark of the Shaolin sees Zhen Di at age twenty, about to enter the Hall of Wooden Men, the final test within the Shaolin Temple. He is prepared, he is skilled, but he is also suffering from the shadows of past events that have taken place leading up to this moment. (Have to read the book to see what.)
Skilled in Shaolinquan Martial Arts, especially pole fighting, and that of Huquan Tiger Fist of his family, Zhen Di is a powerful young warrior in the making. As all within his Order, he has been trained in Tieshan Iron Body Skills, Tiesaozhou Gong Iron Broom Skill (a sweep kick method where one develops legs of "iron") and Tiebi Gong Iron Forearm Skill. But Zhen Di's greatest strength lies in the love he has for his family and his righteousness of character, two things that will see him become one half of the greatest Martial Artists of his generation, the Tigers of Wulin.