The body is an embodiment of the universe, the head the Heaven, the body Man and legs the Earth. The dances follow 6 unions, 3 inner unions in (精, 气, 神) and 3 in outer unions in (根, 干, 枝). The incantations will also include details about the 5 Colours, 5 Elements, the Earthly Branches (Di Zhi), 28 Mansions and the Trigrams. The above follows the course of all the Nine Stars of the Big Dipper, the invocation of the Nine Star Gods. The following are the incantation (巫词) of 八卦舞 for the Nine Star Gods: The Spells (咒语) guide the different hand gestures, and Incantations (巫词) guide the path and rhythm of the dance. In the Nine Stars Ritual, all the Seven Stars of the Big Dipper inclusive of two auxillary stars are 左辅 and 右弼, known as 游魂 (Wandering Soul) and 归魂 (Returning Soul) are utilized. The dancer is an embodiment of the dynamic Chi, with every breathing, elevation and fall, rhythm and tempo, strength and weakness, the duality is emphasized.
The laws of the Ba Gua Dance is based on Yin Yang, two nature of the Cosmos, and its interchangeability. 八 卦舞 (Ba Gua Dance) is an interpretive ritual of the Ba Gua through directions of its trigrams and itself clocks The Big Dipper with movement of the Elemental Flow of Trigram in the 洛書 (Luo Shu) Magic Square configuration template. We will emphasize on the 八卦舞 (Ba Gua Dance) aspect. There are many variations of the 禹步 (Dances of Yu) and the most popular are known as 踩八卦 (Stepping on Ba Gua, and the dance variety is known as 八卦舞) and 踏七星 (Stepping on the 7 stars of Big Dipper). From here, we will also see the similarity to the Sigil of Saturn that has the same movement that activates the Seal of Solomon to bind spirits. In this article, we are interested in powerful binding nature of the dance utilized in many powerful Taoist rituals like 雷法 (Thunder Magic). 禹步 (Dance of Yu origins as that of the dances performed by Ta Yu to control the flood) are one of the most important ritualistic dances engaged by mediums and shamans for a variety of situations ranging from controlling of weather to the subduing of demons. Since the mythological Xia Dynasty (which many theorists have speculated a Middle Eastern origin) that predated Chinese Shang Dynasty, the word 舞 (Wu, Dance) is viewed in the same context as that of 巫 (Wu, Sorcery) on the oracle carvings, notwithstanding the fact that both having similar phonetics. The Dances of Yu ( 禹步) and the Sigil of Saturn Here's an excellent article discussing the Taoist shamanic roots of this incredible art: I have wanted to check these 2 out for sometime, if anyone has these and would like to comment? It is well known that i am part of DGS (i am a very very small part lol) and that i appreciate all bagua styles (that abide by the 36 and 48 songs) and i have an open mind towards all bagua thought. Gmp, which style of baguazhang do you have experience with? and some in my neck of the woods have ongoing dialogue with black taoist even.Įdit> plum pub gets mentioned on ttb from time to time and they do have a nice selection of material in a wide range of styles not just with the bagua, but this is the bagua thread, so
we have had meet ups and even -in state fierce rival kung fu schools -that butted heads on everything else found the exchanging of bagua related materials very friendly. and offline, in the 'real' world in my neck of the woods we have exchanged many thoughts and experiences with maybe every single open source bagua school with nothing but mutual benefit. Idk, it could, but here on ttb bagua threads have never gone the way so many tai chi threads have gone, certainly no bagua thread has ever appeared to be a mo pai type thread. Here's a nice article from the BlackTaoist site and that quote in the last paragraph, to me is 'statesmanlike'.
Anyone who thinks that MoPai is a tad contentious has yet to discover the inter-school fractiousness around commercial Bagua.
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