Thank you.

1. I breathe in through the nose and out through the mouth, generally. In Jiulong Baguazhang, we do not try to match the breath to the movement because, with multiple opponents, one cannot be so artificial. We try to breathe naturally, as the body requires according to the exertion and action. 2. Song, or release/relaxation, implies the appropriate amount of muscular contraction required to maintain the shape/posture you want. This is not loosey-goosey, amoeba-like limpness, but rather a goldilocks, al dente, just right amount and intensity of contraction in the muscles. Tension, as a word, can be used to indicate merely muscular contraction or too much contraction; it is often unclear. We cannot move without muscular contraction, so we always need some tesion, but never too much contraction. 3. Jiulong Baguazhang teaches students to focus on several different linear walking drills before circle walking is ever touched. This produces higher footwork skill. The fundamental stepping pattern we use is the Strolling Immortal Step, or rolling step, rather than the Sliding Mud Step. After developing good linear walking skills, I recommend students spend a lot of time circle walking with twin postures before adding too many turns. Then add simple turns with lots of perfection practice. The fancy turns are generally just made up out of combos of the simple turns, anyways, so to skip the simple stuff means the fancy stuff will never become functional. Best, Dr. Yancy Orchard

Sorry for the very slow reply! Give Mike Leach a shout at [email protected] and he can tell you about the bed and breakfast training programs offered there. Many students make significant progress by coming for lessons a few times per year and practicing at home in the intervening time. Best, Dr. Yancy Orchard

I have had a brief introduction to Systema in the form of a couple of workshops and a few privates years ago. There are several similarities between the two arts, but also a lot of differences.

More relaxed than hard. Sort of a spring-steel kind of feeling. Subtle guiding of attacks off-line will feel very soft, while the strikes come out of no-where and can be very hard then disappear.

My pleasure!

Dear Aaydin Lee (SavageInsight), I like your questions. One of the basic strategies we use in Jiulong Baguazhang is "Get off the line; Take the spine." Our footwork principles are designed to move us freely, in all terrains, away from threats and into opportune targets. So, the first part, "Get off the line" reminds us to move so the foe cannot strike or engage effectively. This comes from footwork, first, and bodywork, second, and handwork, third. The walking around poles helps us train to avoid, reorient, escape, and engage on our terms. The second part, "Take the spine," gives you a hint as to how the techniques work. From the first touch with the foe, we are disrupting his balance. This precedes any strike or throw or lock or break. This is part of "An Jin" or pushing power and is very important for controlling the opponents around you. Every touch we make with an opponent makes him stumble or lean slightly, enough so that his nervous system is too busy trying to re-balance to effectively strike you. Often, this requires only a light touch, in just the right direction, to really upset an attacker's plan. So these methods work very well on very fit, very intent, and multiple opponents. They must be applied without thought and without hesitation. Best regards, Dr. Yancy Orchard

Dear Dr. Yancy O. ; I had almost forgotten about this question -I thank you for having the gumption to answer it regardless of time :) And thank you for your compliment - answers are only important with the question. I think I start to understand. The body is connected - its in how we use our feet, and our body and hands follow in a sense. Its the key of where to begin understanding the movements. This will take a lot of practice. I'm fortunate enough to be studying Western Longsword for a key reason - much more than handling the sword, the key seems to be footwork against an extremely aggressive and tactical opponent - but these people move their feet so quickly and geometrically (triangle step) maintaining any control over distance is extremely challenging. If you understand Chinese (particularly the original dialect this may have been written), may I ask if you know what nuances the words "take" and "spine" might have? I found out recently Chinese often has remarkable layers of meaning - clues in the characters chosen. I ask because when you talk about touch, I've learned that as with sword guards, stances (postures from start to finish of a move) close and open specific avenues of attack, force and power and are tied to the person's biomechanics, their balance. I hope there may be something more here. And while I'm verbose, please, do not mistake me for a mind that believes I know or understand - I hear people say they think I have a child's mind and curiosity - I'll remember what you told me, but I'll never stop exploring even what I've done so many times before. Time/Ideas are a river, and never the same. Thanks, and be well