- The People's Park
- by Keoni Everington, December 10, 1999
Liu
Xiaoling mentioned to me during an interview that he and his martial
arts brothers practice in Renmin Gongyuan (The People's Park) daily from
6 am to 8 am. I knew a trip to Shanghai would not be complete without
at least one good glimpse
of Baguazhang in action. The problem was that it was so early in the morning
and Shanghai has such an enticing nightlife that it was a real challenge
to wake up early.
After several
failed attempts, I finally was able to rise early one Sunday morning
after a long night of Karaoke and Pijiu (beer). I had high expectations
for Sunday, as that is the day that the turnout is the largest and the
duration of practice the longest
of the week. The previous morning I had made it to Renmin Gongyuan but
it had been already too late in the morning, and my friend and I were
not sure where in the park to look. I ended up practicing on my own in
an area of heavy foot traffic and attracted the obligatory crowds of gawkers
and instant marital arts experts (just add foreigner).
Renmin Gongyuan
is no longer the immense park it once was as open space has been
taken for the construction of skyscrapers. However, it still has many
nooks and crannies where more hardcore martial artists hide. Renmin Gongyuan
at 6 am is typical of most public parks around China with large numbers
of older people practicing all sorts of calisthenics and
martial art. These primarily consist of Tai Ji and Qi Gong. Eclectic styles
of Qi Gong which involve odd techniques such as seizure-like shaking of
the body, flailing of limbs, and hugging of trees were the source of endless
entertainment for my Chinese friend and I. Some areas even have signs
to designate particular styles such as Chen and Yang styles of Tai Ji.
Baguazhang had no such sign, however.
After searching
almost every inch of Renmin Gongyuan, we were ready to give up
when I finally spotted Liu Xiaoling in a distant corner of the main field.
It turns out that they practice in one of the most secluded sections of
the park seemingly protected by some kind of force field. It is also one
of the few sections with a large flat surface. When I approached the practice
area I received a warm welcome by Liu Xiaoling and Yu Hua Long a master
of Xinyi Quan and Hua Quan who was the original contact person that had
introduced me to Master Liu.
Also on
the scene were Liu Xiaoling's two Baguazhang martial arts brothers,
a master of Monkey style, women practicing Wudang Fan, young men learning
Yang Style Tai Ji, a couple older men learning the Baguazhang 64 form,
and a boy practicing Shaolin. Liu and his colleagues were teaching all
of these styles. After a formal introduction with the various martial
artists, practice resumed and I followed the Yang stylist
as I already recognized it as the 24 set. Liu Xiaoling also performed
the set and we paled in comparison to his fluid movements and solid stances.
Next, the Wudang Fan stylists gave me a demonstration of their set which
was extremely complex and much longer than the Baguazhang Fan set I have
studied. The young boy performed Shaolin for everybody, and then it was
my turn.
I
always dread moments like this in which I am asked to perform Baguazhang
for masters since I know I have a long way to go. I performed Dingshi
Bazhang because I know it very well and I knew they would recognize it.
I have performed it many times before so I was quite calm when performing
it and I completed the set without incident. Master Liu's martial arts
brother Gao Tie Niao, which means Tall Iron Bird, said I was "OK" but
it was time for him to show me his stuff - Swimming Dragon Bagua.
Swimming
Dragon is an appropriate name for the form as Master Gao indeed
was constantly coiling and uncoiling with the fluid ease of a Dragon flying
through the clouds. His movements were extremely fast and powerful, while
changing direction so many times that he soon became of blur of palms
and feet. The form was quite long, yet when it was completed he was hardly
winded. A crowd had gathered and clapped with loud approval when he finished
his set. Next, some of his advanced students performed the famous 64 set,
also a very long and acrobatic set of Baguazhang.
I then became
bolder and brought out my newly made Yuan Yang Yue and Master Gao
approved of the design except that he said it should be sharper around
the edges. I performed the Yuan Yang Yue form for him and he recognized
it quite well but added some Shanghai variations to the form that were
even more visceral than the Beijing version. Many people in the Bagua
class playfully practiced techniques on each other and I could not help
but do the same with my friend. There was never a shortage of Gongfu masters
standing around to give us advice on moves and countermoves.
Before I
knew it, practice was over and the martial artists left, and it
was hardly past 8 am! Being a late riser, I was only just starting to
wake up and decided to continue practicing with my friend. Soon, we were
not alone. as passersby started watching the "Laowai." A teenage
boy from the countryside approached me offering to be my friend but soon
started to ask for money, I pretended to ignore him while keeping an eagle
eye on my things. As audience members started to accumulate, I decided
to call it a day. On my way out, I noticed a large group of people practicing
push hands and I thought, "Hmmm, perhaps some new push hand partners when
I come back to Shanghai."
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