fandomhigh | The Art of Peace; Thursday, Third Period [11/03].

More heart-laden notes had been sent and another one was posted on the door to the usual classroom to direct the students to the gymnasium again this week, which they would find laden with mats once more and their teacher smiling beatifically, contentedly at them.

"Hello again, ducklings ♥," Shunsui said, "and welcome back to the gymnasium ♥. My apologies for another foray into something a bit more straining and physical in our journey to peace, but there is another form of martial arts I would like to introduce you to this semester. I hope you're feeling limber and, if not, then you can use this time while I talk to stretch out a bit ♥."

With that, and an idle pace around the gym, Shunsui continued with the lesson proper.

"You see," he drawled, almost conversationally, "I was ruminating, while enjoying the songs of the birds outside my window, and thinking about our lesson in Aikido, about Qi....you know, the principle of energy flow and how important it is to peace of both body and mind ♥. There are so many things that work qi into their practices and philosophies, and one of them, which I will teach you about today, is the graceful art of Bāguàzhǎng ♥.

"One of the three main Chinese martial arts, Bāguàzhǎng literally translates into 'eight trigram palm,' in reference to the symbols in Taoist philosophy: Heaven, Lake, Fire, Thunder, Wind, Water, Mountain, and Earth. The creation of the art is attributed to Dong Haichuan, who combined already existing aspects of martial arts to the Taoist practice of 'turning the circle,' or circle walking ♥. The circle walking is an integral part of Bāguàzhǎng training. Allow me to demonstrate ♥."

And so Shunsui, drawing in a deep breath and taking a moment to seem to center himself, started to move differently than he already was, slowly at first, and then, suddenly, he started turning and moving as if dancing, as if in a believable battle with some invisible enemy, the flutter of his haori and robes only enhancing the gracefulness of the moves.

"Please note, ducklings," he said, his movements and his rhythms unbroken as he did so, "that I have not chosen one of you to assist me, nor have I roped a lovely assistant in from the impressive pool of other instructors here at this school, for this demonstration. Bāguàzhǎng is commonly practiced without a partner; if one chooses something to focus their moments on, many times there will be a post in the center of the circle. Many times, one may involve weapons..."

And so, of course, from the folds of his robes, Shunsui pulled out his two katana and continued to move in a way to incorporate the blades as well.

"But the focus is not on striking or attacking; it is on using the ability to 'flow' in and out of the way of objects. This is the source of the theory of being able to fight multiple attackers. Bāguàzhǎng's evasive nature is also shown by the practice of moving behind an attacker, so that the opponent cannot harm the practitioner. Smooth coiling and uncoiling actions, utilizing hand techniques, dynamic footwork, and throws are the focus of this art. Rapid-fire movements draw energy from the center of the abdomen. The circular stepping pattern also builds up centripetal force, allowing the practitioner to maneuver quickly around an opponent ♥. It is something that can be used in a moment of danger, and you can imagine just how moving it might be to watch two opposing Bāguàzhǎng practitioners working off each other ♥."

"So," Shunsui paused, long enough to tuck his swords away again and give the class a lazy smile, "allow me to lead you through learning some moves, and then I will let you all take a chance to practice on your own ♥. If you would like to partner up, please do, but remember, this is not a fight, but an evasion of a fight ♥. No weapons in partnered Bāguàzhǎng, either, please, although I do have practice swords if you'd like to extend your circles with their use ♥."

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Gracefully~

Shunsui's moves are as smooth as his drawling tone as he explains some of the finer points of Bāguàzhǎng's principles of movement and evasion, although even at his expert level, avoiding a fight with an imaginary foe can probably look just a little silly at times.

Bāguàzhǎng is typically practiced solo, but partnering up to work through and understand the moves together is definitely allowed. If you want, there are a few posts you can circle around, too, if that's more comfortable that just circling around thin air.

There are also wooden versions of the traditional deer horn knives or decorative Chinese scimitars (of which Shunsui is particularly familiar with, by the way, despite the fact that he seems to be working with katana today) available if you would like to give the weapon dancing a try, too. But please, no 'fights' while wielding weapons!

Anyone who's had the rare, rare opportunity to see Shunsui in action in a fight will easily be able to pick out how much of an influence this particular martial art has been on his style.

But, of course, he prefers it that very few people actually have seen that to its full capacity, and for more reasons than just his usual laziness.