Practicing Tai Chi in nature: Being like a teabag in the ocean

On holiday in the southwest of England for a week I managed to find some time each morning to practice Tai Chi in a lovely old wooded area.

So often we have to practice Tai Chi in our front rooms, back gardens or patios because of time pressures. Or maybe we only get to practice at a class in a village hall, gym or community centre. Either way, our surroundings are often far from natural.

Being able to practice Tai Chi in an environment where there were no other people, no human sounds and no interruptions was a blessing. It was possible to really sink into the environment for once, and not just my legs!

It’s a process one of my teachers calls “being a teabag in the ocean”. If you want to take in the good stuff from the natural world around you then you need to adopt the attitude of being like a teabag in the ocean – i.e. let nature move through you as well as around you, so that you don’t feel like something separate to it. Absorb it, soak it in. I’d say most people practice Tai Chi as if they are a teabag that’s sealed inside a plastic bag then dropped in the ocean. They can be doing great Tai Chi, but they are perfectly contained within themselves and not interacting with the environment. Often there’s not much environment to interact with, as mentioned previously, but if you get the chance to practice Tai Chi out in the woods, you should take it and take the opportunity to get out of that plastic bag.

Before you practice the form, stand for a few moments and try to let the barriers between you and your surroundings break down. Your mind should be focused on the moment and on your breathing, after all, that is as much a part of nature as anything else. Stand like that for a while before doing the form and just experience it, don’t think about experiencing it.

Then as you go through the movements of the form, you’ll start to feel like you are moving with the natural patterns around you. Don’t worry if your form takes on a subtly different quality than normal. It’s all part of the process.

I find that I don’t have as much free time for this in my normal life as I do when I’m on holiday, but I’m going to try and make an effort to get out to a secluded place now and again and practice my Tai Chi out there because the effort is well worth it.

How to make use of your dexterous and non-dexterous hands in Tai Chi

Except for that tiny minority of ambidextrous people, most human beings have a dexterous hand and a non-dexterous hand. We use our dexterous hand for things that require precision, like writing and the non-dexterous hand for holding and framing. I’m sure we’ve all tried to write with our non-dexterous hand before and found it almost impossible, but here’s another thing to try…

Put your non-dexterous hand behind your back and try to write as normal with your dexterous hand. You’ll find it’s hard because you use your non-dexterous hand more than you think, in this case, to steady the paper you’re writing on and stop it moving. Both hands are actually involved in writing, but both have different jobs. If you wanted to get all “Tai Chi” about it we could call it a Yin and Yang split between the hands, which work together as a whole, and talk about the sword hand, but layering a bit more philosophy on the concept is probably not necessary, I prefer the phrases dexterous and non-dexterous hands.

Large-Scale Postures Boxing Set by Huang Hanxun 1959

It’s the same in martial arts. I’m sure we’re all used to doing a technique quite competently on one side, then swapping it to the other side and feeling like a complete beginner. For this reason I’m quite against the idea that we should be able to do everything equally on both sides. Learning to do a technique on your non-dexterous side will be arduous, time-consuming and you’ll never be able to do it with the same flair, so why invest all that time in a pointless campaign?

If you look at the Tai Chi form (I’m thinking of Yang style, here since it’s the one I’m most familiar with) then you’ll see that some techniques are done equally on both side (brush knee, for example) but some techniques are only done on one side (all the grasp bird’s tails, for example go to the right, while all the single whips end to the left). I believe this is because the creators of these movements were well aware of the difference between our dexterous and non-dexterous hands.

In stand up arts of punching you see the same thing – people generally poke a jab with their non-dexterous hand to set up the big overhand from the dexterous side. I find if I put my dexterous side forward (southpaw) it results in a jab I can hit harder with but a cross that is less accurate.

But how do you choose which techniques to do on one side and which to do equally? The answer is simply to feel what works. And for this you’re going to need to do a lot of practice on another human, not solo form.

For example, in jiujitsu I have developed this one-sided approach through countless hours of practice. It’s most noticeable in my guard passing, but it also applies to my guard playing, although I’m not sure the idea extends to the legs – they both seem equally non-dexterous when compared to our arm! But in guard passing I notice that I naturally do some passes to my left and different passing to my right. For example, I knee cut with my right knee on both sides of the opponent’s body, so if I’m going left, I lead with my right knee and if I’m going to the right I also lead with my right knee – this naturally leads to two different techniques being used.

So, the answer is to feel, and don’t try to force yourself to do techniques that feel awkward because they are on the “wrong side” – look to see if there is something else you can do in that situation that fits better.

Why BJJ should really be considered a weapons-based art

Picture Grog, the caveman. He’s sitting around the fire with his tribe, wearing animal skins and singing the songs of his ancestors, while his kids run around the back of the cave and paint bison on the walls. Compared to the sabre tooth tigers with their man-splitting canines and the huge giant sloths with their throat-cutting claws that roam freely the valley below, Grog hiding in this cave, doesn’t look like much. But in a mere 10,000 years Grog is going to become the dominant species on this planet. In fact, he probably already is.

Homo sapiens special power is that we’re a tool-making and tool-using creature. Our opposable thumbs gave us fine motor control to skillfully manipulate objects, and our brains have the super power of being able to picture what an object is going to look like before it exists in reality. These two factors, combined with our other abilities, like language and social bonds, put us on track to dominate the earth thousands of years ago. From humble beginnings, like making spears and flint knives, our tool use has grown exponentially into the today’s miracles of engineering like cars, planes, and penis-shaped space rockets. And don’t forget, in the past we’ve managed to build huge, complex structures with what would be considered only basic tools by today’s standards.

When it comes to combat, it’s no different. Our ancestors didn’t charge into battle barehanded as well as bare-chested. Well, maybe some of them did, but they’re not around anymore. We devised a whole range of deadly tools to effectively chop, sever and dismember our opponents, while wearing skillfully-made armor designed to protect our vital organs as best it could. In today’s more peaceful society our preference is for safe, unarmed martial arts, which we use to de-stress ourselves with after work. But these toothless tigers belie the long and bloody history of deadly weapons use amongst humans. And in terms of effectiveness between armed and unarmed, it’s not even a contest: even a professional boxer has very little chance against an unskilled man wielding a sharp knife.

Modern interpretation of a Viking warrior: Photo by Fernando Cortu00e9s on Pexels.com

I remember having an interesting conversation with my martial arts mentor and teacher, Damon Smith, about what kept him interested in a martial arts over such a long period of time. He said that, for him, a marital art needed to contain weapons or he loses interest. While they might not be practical in the modern age, adding weapons to a martial art increases its difficulty level as well as its effectiveness hugely, providing a new physical and cognitive challenge in the process. And by ‘adding weapons’ I mean actually learning to fight with them, not just performing a solo form.

Of course, there is a long history of weapons usage in martial arts. In fact, many modern martial arts started off as weapons systems before transitioning into purely bare-hand arts in modern times. Weapons are found in almost all ‘traditional’ Chinese martial arts and consist of things like spears, nunchucks, swords, throwing darts and wooden staffs. European martial arts use quarterstaff, sword and buckler, amongst other things. The gladiators in the Colosseum in ancient Rome use swords, shields, tridents and nets.

But there’s one marital art that most people would consider a purely bare-hand grappling art, which I think should be more accurately categorised as a weapons system, and that’s Brazilian Jiujitsu, (or BJJ for short).

While most systems of Japanese Jujitsu train with traditional weapons you rarely see them shown in BJJ beyond basic defences to a few random knife or gun attacks, and we certainly don’t train to use things like swords or spears in defence or offense. However there is one weapon that we use all the time – the gi.

BJJ in a gi: Photo by Timothy Eberly on Unsplash

Jiujitsu was an import to Brazil from Japan, and adopted and taught by the famous Gracie family in Brazil in the early 20th century. It was originally practiced in the kimono, or “gi” as we call it today , and that is still how the majority of clubs train around the world, although the “no gi” or ‘spats and shorts’ version has been proving more popular in recent years.

The gi is a thick, and durable uniform that can stand up to tugging and wrenching without falling apart. It’s tied at the middle with a belt, which changes colour as you progress through the grades. For adults it goes from white to blue to purple to brown and finally black. There are belts after black, but most normal people don’t reach these.

Choking with the gi from back control in BJJ:Photo by Samuel Castro on Unsplash

The gi doesn’t look like it, but it is actually a weapon. Chokes can be performed in BJJ with almost any part of your body. The famous triangle choke, for instance, uses the legs to shut off the bloody supply to the head, causing unconsciousness, unless the person taps first. However, when you’re wearing the gi the number of chokes available increases massively. Chokes using the collar can be performed from almost any angle. You can also wrap the lapels of your gi, or their gi around the neck to create a choke.

Attempting a collar choke while rolling in BJJ: Photo by Samuel Castro on Unsplash

Soft weapons, like the rope dart in Chinese martial arts, have long been respected in martial circles for their efficiency and the gi is no different. In the hands of a skilled exponent of the art, the gi becomes simply another weapon with which to attack. While some people might consider that ‘cheating’ and no use for ‘the street’, there are plenty of others who point out that most people wear clothes when they go outside their house (and usually in their houses too), so these skills are transferable to real life situations.

There are plenty of videos online showing how gi chokes can be done even on somebody wearing a t-shirt:

I’ve stuck with Jiuitsu for 11 years now myself. and I think a large part of the attraction is the gi and the huge number of possibilities it offers. And while I favour a basic collar and sleeve grip when playing guard myself, there are whole systems of BJJ guard playing dedicated to intricate lapel grips, popularised by famous practitioners like Keenan Cornelius, the most famous of which is his Worm Guard:

The gi offers the same level of cognitive challenge that using a weapon does in other martial arts. And while Brazilian JiuJitsu takes the use of the gi to new levels, I think the same could be said about other grappling arts that make use of clothing, like judo and Mongolgian wrestling. Modern judo has become all about the grip fighting, for instance, and a good grip on the opponent’s clothing can give you a real advantage in arts like Mongolian wrestling.

There are downsides to fighting with the gi of course. Firstly, the damage to your fingers is real, especially as you get older. Too much gripping of the gi really takes it out of your fingers, especially once your grip gets twisted and your opponent is trying hard to break it.

The gi game tends to be a little bit slower-paced as well, since just having one grip somewhere on somebody can stop an attack completely. But while some people find that frustrating, to me it’s just another problem to solve, and more brain-tingling fun to keep training the mind as hard as the body.

The joy of Manchu Wrestling

In the last episode of the Heretics podcast we talked about Chinese wrestling – Shuai Jiao – but Damon also mentioned Manchu wrestling quite a bit. He described it, but you can’t get a proper idea of how it works without seeing it done, so let’s look a little closer.

Manchu wrestling is a unique form of puppetry popular in certain parts of China where the participant wears a life-sized puppet of two wrestlers in a costume that turns ther legs and arms into both the puppet’s legs. Various wrestling maneuvers are then performed. The skill is to make it look like the two puppets are really wrestling and pulling off moves on each other.

To a western martial artist interested in only “learning how to defend myself” this might all look a bit silly, but if you watch this documentary you’ll see that there’s quite a lot to it:

There are so many things here worthy of note.

  • Firstly, the connection between puppetry and Chinese martial art is ripe for research – I’m thinking of the other famous puppet show that martial artists are known for – Lion and Dragon dancing. These cultural and religious practices are still done by martial arts groups at demonstrations and festivals.
Photo by Quang Nguyen Vinh on Pexels.com
  • Everybody in the Manchu wrestling documentary calls it “wrestling” even though it’s a solo drill. They don’t call it a dance or puppetry. To them this is “wrestling”, but we’d never call it that in Britain, for example – I find that pretty interesting.
  • It’s a damn good work out. If you’ve ever done any BJJ floor drills where you walk around on your hands and feet you’ll know that it’s instantly exhausting. Manchu wrestling will get you fit! If you don’t believe me then have a go at some of these drills before you tell me I’m wrong:
  • Manchu wrestling actually looks pretty dangerous – you can easily break a wrist with the high-speed spinning they’re doing, especially if the stick you hold in the shoe breaks.
  • Mental health benefits: a part of the documentary is focused on the mental health benefits of Manchu wrestling, especially looking at its life-changing benefits for rural Chinese women whose lives seem to be reduced to raising children and farming. I found this interesting in light of how much mental health benefits are talked about in BJJ culture – “BJJ saved my life” is a commonly used phrase amongst gym rats. Perhaps there is something inherently therapeutic about any style of wrestling movements and the human body?

Wrestle with your hips, wrestle with your body

Saeed Esmaeli is my favourite wrestler, so I thought I’d share a couple of clips of him. I love the fact that he’s currently working out of a church with his classes, as you can see in his Instagram clips:

I like the way he’s emphasising using the whole body in his movements, not isolated leg and arms, much as we are encouraged to do in internal martial arts. “Wrestle with your hips, wrestle with your body”.

Wrestling arises spontaneously in every culture all over the world. Saeed’s branch has its roots in Iran. The story of how he comes to use a church is explained in this article from the Bristol 24/7. “THE UNLIKELY BOND BETWEEN AN IRANIAN WRESTLER AND A BRISTOL VICAR”

“Rather than striking, Pahlevani wrestling teaches students the art of grace under pressure, a great metaphor for dealing with the pressure that life can throw at us and one that reverend James Wilson can get on board with.

St Gregory the Great on Filton Road in Horfield officially opened its heavy oak doors to Wrestle for Humanity, a unique community Olympic wresting club and mental heath intervention service run by coach Saeed Esmaeli, whose mission is to make wrestling accessible and to help people feel good and perform well both on and off the mat.

Having experienced war, revolution and poverty, Iranian-born Saeed has overcome racism, bullying and grief and understands adversity. He brings a message of hope in his ‘infused psychology’ one-on-ones and in every community wrestling class.”

Bristol 24/7

As for the connection between martial arts and dance? Check it out!

Scandinavian gymnastics and Qigong

Mark Singleton wrote a book, Yoga Body: The Origins of Modern Posture Practice, in which he questions the ancient roots of Yoga. Is it really old, ancient, or even Indian? You can read his article summarising his argument here.

“What did it mean that many of the poses I was teaching were identical to those developed by a Scandinavian gymnastics teacher less than a century ago? This gymnast had not been to India and had never received any teaching in asana. And yet his system, with its five-count format, its abdominal “locks,” and its dynamic jumps in and out of those oh-so-familiar postures, looked uncannily like the vinyasa yoga system I knew so well.” –

Mark Singleton, Yoga Body: The Origins of Modern Posture Practice

I really love discovering these odd curiosities of 19th and early 20th century European gymnastic or martial arts that look incredibly like what we practice in the Asian martial arts styles, Qigong or Yoga. The link between 19th century French Savate (kickboxing) and the Japanese version of Karate is another fascinating connection that I’ve looked at before.

Recently I watched another video about 19th century Swedish Free Gymnastics:

Swedish Free Gymnastics has long since declined, but was pretty popular in the 19th century. There are some great archive pictures and video of the movements in that video above, and they look incredibly like what we know in China as Qigong – the idea of slow, smooth, elegant movement with force balanced around the body. In fact, some of the positions look exactly like Qigong movements I’ve been taught and practiced myself.

“The Swedish system of gymnastics is distinguished from other methods in the fact that a special apparatus is not absolutely needed for its exercises. If any argument were necessary to prove the hygienic and intellectual benefits of physical exercise, in these days of varied athletics, a scrutiny of the handbook now under notice would excite due enthusiasm. The whole range of gymnastic performance, from the simplest to the most complex exercises, is herein put before the reader with explicit directions for practice, and with a gratifying abundance of illustrations. The fact that the English language has hitherto had no comprehensive manual on the Swedish system is the occasion of the publication ; the official service of Baron Posse confirms his fitness for the authorship of this book of rules; while in mechanical arrangement nothing seems to have been omitted that would induce fondness for gymnastic practice.”

Posse, Nils. The Swedish system of educational gymnastics. B

As the video says, the similarities have lead some people to wonder if Tai Chi Chuan (Taijiquan) was actually the inspiration for these movements. There was, after all, a political connection between China and colonialist Europe powers in the 19th century, that culminating in the Opium Wars.

The author of the video sensibly disagrees with the connection to Tai Chi Chuan, and so do I. For a start, I think these movements from Sweden are likely older than Tai Chi Chuan, The general assumption amongst people is that Tai Chi Chuan must be really, really old, yet there’s no evidence of its existence before Yang LuChan arrived in Beijing in the 1860s.

But leaving the Tai Chi Chuan question aside, the movements of Swedish Free Gymnastics look more like Qigong than Tai Chi Chuan anyway, but there are records of Chinese health movements (“tao yin”) stretching back thousands of years in China, so I don’t think we can claim a European origin for Qigong. Some sets like the Muscle tendon change set are really famous.

However, I wouldn’t discount the role of influence. The Europeans arriving in China in the 19th century in large numbers and with superior military force resulted in huge changes. As China began to experience defeat at the hands of the European powers, it turned it attention to modernising and adopting these new methods or warfare, economics and exercise. We talked a lot about this in our podcast episodes on the history of Tai Chi Chuan.

As China looked to the West new ideas of commerce, military methods and politics were considered for the first time. I wouldn’t be surprised if some element of the gymnastics of the time slipped in as well, as it did in India, with Yoga.

Park life

Friend of the Notebook, Byron Jacobs, who lives in Beijing, recently posted a video giving a glimpse into the martial arts culture found in Beijing parks. You can see people doing all sorts of martial practices, like calisthenics, chi kung, Tai Chi, sword and push hands.

Byron comments:

“Beijing’s public spaces and parks have been gathering places for people from all walks of life for generations. This includes martial artists, who would meet regularly at such places to practice as part of their general lifestyle. Throughout the many parks of the capital, you can find practitioners of various styles and standards getting together to train regularly. This is a glimpse of some of these special places. The first episode features the Temple of Heaven.”

Suspended from above. Bringing a sense of lightness to your Tai Chi.

One admonition from Yang Cheng Fu’s 10 important points, that has become something of a law in Tai Chi Chuan, is to ‘keep the head suspended, as if from above’. In the Tai Chi Classics it also states “Stand like a perfectly balanced scale and move like a turning wheel”, whilst also saying, “Don’t lean in any direction; suddenly appear, suddenly disappear.

These quotes have produced all sorts of controversies in the Yang style side of the Tai Chi universe. If you look at ChengFu’s student Cheng ManChing, who did so much to popularise Tai Chi in the West, you can see that he changed his form to truly embody this principle of suspending the head and standing like a perfectly balanced scale. In a forward posture, Cheng ManChing kept his head, neck and back vertical in relation to the ground at all times. He allowed no forward incline at all. To stay vertical he softened his back knee a bit, which removed the straight line from the heel to the head, producing a much softer posture than his teacher, Yang Cheng-Fu, exhibited.

Whereas, if you look at pictures of Yang Cheng-Fu in a similar forward posture you can clearly see that he holds his head in the same vertical alignment, but holds his back with a slight forward incline. He keeps his back leg straighter, forming a straight line from his back heel to his head, meaning that his posture is slightly harder than Cheng ManChings, and he exerts more of a forward pressure.

Both of these approaches can be seen as interpreting the advice to not “lean in any direction” differently. The situation becomes even more confusing when you look at the Wu style of Tai Chi Chuan, derived from the version of the form practiced by ChengFu’s peer Wu Jianquan. Wu holds an even more inclined position, which keeps the head vertical, but often seems to break the line at the hip, so that the back heel is no longer in a straight line all the way to the head. Being of Manchu heritage, Wu Jianquan had a shuai-jiao background. He was taught martial arts by his father who was a student of Yang LuChan and also a cavalry officer and imperial palace guard, as he was, so a change in his preference for grappling techniques could very well account for the changes in his version of the form.

I used to ponder these discrepancies a lot, but these days I have become more interested in the relation of the back (including the neck) to the hands and arms, regardless of its orientation in the vertical plane. When we lift and use our arms our tendency is to bend the top of our spine and drop the head forwards, a fact that can be proved each and every time you type on a laptop. The next time you’re sitting at a laptop observe what happens when you start to type. Notice that your head wants to move towards your focus of attention, the object you are interacting with.

Recently I was watching an excellent performance by a child doing Bak Sing Choy Li Fut, filmed in the 1960s. Young children doing martial arts can be great teachers because they effortlessly keep their posture as they move. It is only as we become adults that we seem to lose this ability.

Search for the video “Old Kung Fu Footage in Hong Kong in the 1960’s” on YouTube and you’ll see what I mean. Watch the good posture he keeps throughout – his back remains still in relation to the movement of his arms allowing his neck to stay extended and space and awareness to be present.

This is what I think is being asked for in Yang Cheng-Fu’s writings and the Tai Chi Classics, not mere fussing about how vertical a posture is. What is required is the freedom to move our arms, but to keep our back still, and maintain our head and neck relationship without falling into the trap of bending towards the object of our attention.

But how do we train this? Here’s something simple you can try. Get a 4-pint carton of milk out of the fridge and swing it in a figure of 8 in front of you. Now do it again and notice how you head wants to be pulled forward. Resist the pull and feel the work done by the neck and back muscles to prevent it from happening. It shouldn’t feel like they’re straining, but they should feel active.

You can do the same thing with a heavy sword, of course, if you want to look more like a traditional martial artist, and less like a deranged milk man. And once you get a feeling for it you can try it without a heavy object, in which case it becomes more like a silk reeling exercise, or you can try and keep the same feeling when you do the Tai Chi form. In which case it doesn’t look like anything.

Obviously, when you are standing still, or sitting, in meditation you can achieve the same relationship of the torso, neck, head and arms but with even less use of muscle to maintain the position. Initially at least. If you try standing in a Zhan Zhuang posture with your arms extended for a few minutes you’ll start to feel your neck and shoulder muscles tighten. This is where you need to work on relaxing them, yet maintaining your posture. You need to let the weight of the upper body rest on the lower body, and flow down into the ground through the centre of the foot, or through the sitting bones if you are seated.

A human head is quite heavy, at around 5KG, which is a lot more than a typical bowling ball weighs. If the head moves forward of the hips too far then we have to start using a lot of muscle to hold it up. In a way, the neck being tense, or feeling tired, after we’ve been doing an activity is a warning sign that we’re not using our body to the best of our ability. If we can maintain the relaxed, neutral, position of the neck through movement, then the weight of the head is transfered down to the ground through our frame instead. Our breathing will be better, and we won’t lose that sense of lightness and ease that the kid in the Choy Li Fut video from the 1960s so effortlessly demonstrates.

Finally, his idea of keeping an open relationship between the head, neck, back and arms raises a few good questions when applied to martial arts. What springs first to my mind is, should you have your head in that position to fight? I’d say probably not – you want to tuck your chin in a bit more when you fight, for obvious reasons, but the real question is how you tuck your chin. The idea of the extended neck that you’re training by working on your posture can be transferred into the way you tuck your chin. Dropping the head towards the opponent has all the same disadvantages we’ve outlined above when applied to martial arts, and will inhibit the free movement of your arms, so critical to fluid punching, not to mention making you more hittable.

So, keep your head up, as people say to you when you’re looking down. Walk lightly, smile brightly!

Xing Yi Quan by Tian Jinglong

Here’s a nice video of a Xing Yi Quan linking form showing some really nice Xing Yi Quan body methods.

Xing Yi Quan master Tian Jinglong (田景龙) shows Advanced and retreat linked form(Ji Tui Lianhuan(进退连环拳). Tian Jinglong is disciple of Li Jinbo(李金波), youngest student of legendary Hebei province warrior “Iron Luohan” Zhang Changfa (张长发aka Zhang Xiangzhai张祥斋) . Lineage: Li Luoneng(李洛能)—Liu Qilan(刘奇兰)—Liu Dianchen(刘殿琛)—Zhang Changfa(张长发)—Li Jinbo(李金波)—Tian Jinglong(田景龙)

Kung Fu work out with David Rogers

Michael Rook posted about an online course in Hap Gar that’s starting in January, so I thought I’d check it out and had a go with one of the free videos as my morning workout. The teacher is David Rogers of Rising Crane, and the workout is a nice, not too heavy, way to start your day while learning some Kung Fu. Plus it’s free, so give it a go! I really enjoyed it. After a warm up you’ll work on the first 5 basic punches of Hop Gar and some stances.

Richard is a teacher of Tai Chi and Hap Gar Kung Fu through the Rising Crane. David only takes one or two student groups a year for online learning, and it’s a very interactive, personalised training session so a whole group can move through it together, getting feedback as they go.

Registration is open for the next 7 days at Rising Crane Kung Fu Virtual Academy. He also has a Rising Crane Tai Chi Virtual Academy course starting this year as well.

I haven’t done Hap Gar before, but I’ve done a lot of Choy Lee Fut, and to my eyes there appears to be very little difference between the two. Hap Gar looks like a version of Choy Lee Fut to me, even the same names are used for the moves, so it was great to experience a Kung Fu style I was already familiar with, but from a slightly different perspective. I also liked his thoughts on fighting strategy for these long range styles that he gives at the end, around the 35 minute mark, plus I liked his thoughts on MMA.

That is one mean looking crane. Photo by Pixabay on Pexels.com