“Dancing and Drumming”
Feeling the “Rhythm” of Qigong,
Calligraphy, and Wu (Shamanism)
by Master Zhongxian Wu

3. Calligraphy as a Form of Qigong
A skilled calligrapher must adjust his or her posture into an upright stance in order to concentrate, purify the mind, listen to the body, and visualize each character before starting to write. As the calligrapher moves the brush, his or her energy penetrates into or even through the paper. This process is really no different from any other Qigong practice. There is a saying in Chinese calligraphy, “Yi Zai Bi Xian ” meaning “mind before the brush.” In other words, one should purify the mind and refine the Shen (spiritual energy) before writing. One of the great emperor calligraphers in the Tang Dynasty – Li Shi Ming – said that the essence of each character originates from the calligrapher’s Shen or ‘heart-mind.’ When the calligrapher writes, his or her Shen must be harmonized in order to give the character a good presence and shape. The heart is the bone and tendons of the character. If the calligrapher’s heart is not strong, then the character will be weak. Thus, just as in Qigong, the heart should combine with the Qi and the Qi should combine with the heart. Shen is the function of the heart, so the heart should be tranquil in order to refine the Shen. This is the basis of both practices. 4. Wu and its Function
The Chinese character Wu is commonly translated as ‘shaman’ – a somewhat incomplete interpretation. The practice of a Wu only distantly resembles that of the shamans, who today are mostly located in Siberia and travel in ‘alternative realities’ as part of their religion. Siberian shamans are very aggressive. In trance, but in full possession of their faculties, these shamans may climb the World Tree to reach the Heaven of the Ancestors or descend to an Underworld in search of lost or trapped souls. They undergo difficult and painful initiations, including ritual death and rebirth. In contrast, the Wu referred to by the Chinese character is much more a spirit-medium. Through natural ability, training, and ritual preparation, the Wu can summon the bright spirits. These spirits inhabit the Wu’s body and speak through the Wu.² The ancient Wu were different from the modern concept of Wu. Today’s Wu may channel transmissions from spirit bodies without being able to recall the communication. In ancient China, the Wu possessed Shen Ming (literally ‘Bright Spirit’): spiritual enlightenment and a deep understanding of the Universal Way. The Wu embodied Tian Ren He Yi, and through this ritual connection with Heaven, sustained both Yin and Yang – stillness and movement.³ The syllable Wu, written and intoned differently, also means dancing. It is no coincidence that dancing connects the Wu to the Universe and helps develop their Shen Ming. According to Xici, one of the Ten Wings of the Yijing,⁴ through dancing and drumming one can accomplish a full understanding of one’s own Shen and can also communicate with high-level beings. (The Yijing is also known as the I Ching or Book of Changes.) Dancing and drumming are methods to understand the Shen – this is illustrated on ancient pottery from more than four thousand years ago. Even the shamans of today use the ritual of dancing to facilitate universal connections, such as bringing rain to dry farmland. The ancient Wu were able to elevate their spirits to become one with all other spirits.
The Wu were omniscient and governed the country in addition to aiding others in transcending the physical plane. They were also able to function as doctors and taught disease prevention. Their keen observation of and close relationship with the universe even enabled them to avert natural disasters.

Chinese culture is based on the Wu, which predates both Daoist and Confucian culture. The ancient Chinese emperors were Wu, and through the ancient Chinese classics, we can understand the role of the Wu. Many classics are, in fact, named after great emperors or sages.

Classical Chinese Medicine (CCM) and Chinese shamanism are also widely considered to originate from the same source (Wu Yi Tong Yuan). Many ancient Chinese documents verify that doctors were indeed shamans.⁵ CCM, which merged with Daoism and Confucianism, is thoroughly based on Yijing science. The Tang Dynasty sage and medical king Sun Simiao stated that ‘nobody qualifies to be a master physician without knowledge of the Science of the Yijing.’⁶ Therefore, the Wu is the source of all classical Chinese traditionsFig.2

5. Chinese Characters and Wu
The story of the creation of Chinese characters is related to the Fu (The Chinese character Fu means symbol, omen, or in alignment with). It was said that Cangjie formed the Chinese characters after observing patterns of animal track combined with the trigrams. This legend also tells us that it was storming heavily and the spirits were weeping at the moment he created these characters – reminiscent of the Wu calling in the rains. In fact, the ancient Chinese characters have the same function as the Wu, who used the Fu to access the universal Qi and circulate various forms of energy.

The ancient Wu (shamans) used the Fu to treat those who were ill or to connect with universal energies. Fig.2 is a Fu from my Wu lineage. I made it to purify energy in my Qigong practice. The Fu are said to have originated from Fuxi, the first legendary emperor in ancient China, when he made the Bagua or trigrams. These trigrams are considered the earliest Fu of the shamanic school. The Fu resemble characters from the ancient oracle bones style or ‘running style’ calligraphy. Fu, in fact, may be regarded as a type of Qigong – they are one way to connect with universal energies and open the body in order to collect and transform the Qi. They may be used in practice to help others and in the practice of Fengshui. In traditional Qigong practice, a master uses the Fu to transmit the energies of the universe and of the lineage to his or her students.

6. The Rhythm of Calligraphy, Qigong, and Wu
Qigong, calligraphy and Wu have a deep relationship with the Qi. By following the processes prescribed by each of these modalities, practitioners can use Qi as a medicine to heal or to harmonize Fengshui or energy because they are essentially three aspects of the same face. The vivid vibrations of Qi form the rhythm of calligraphy, Qigong, and Wu. Let’s take a look at the Chinese character “Yao ” (medicine) as an example to get a feel for this rhythm.

Fig.3 Three different calligraphy styles depict the same character, “Yao”

The character Yao (Fig.3) is composed of two parts: a radical, meaning grass or herb, and the character for music. In addition to carrying the meaning of medicine or cure, this character can stand for music itself, happiness, or enjoyment. Ancient sages spoke of music as an analogy for universal energy. Harmony is derived from the resonance of sacred sounds. Harmony is also the connection and response of different entities. The Yijing illustrates this idea with the image of a mother bird’s song and the response of her babies. In other words, the energy created by resonating in harmony with the universe is the original medicine.

Dancing and music are forms of vibration, as is shaking. When practicing Qigong, we always begin with shaking in order to open the pores, connect with the Shen and Qi fields, and communicate with the Universe. We also use different sounds or mantras to open the meridians and all the cells of the body to connect with the universal energies and harmonize with the universal Qi. This process in Qigong is no different from the Wu rituals of dancing and drumming – through the vibrations and special frequencies, they connect with the universal Qi, their own spirits, and high-level beings.

Calligraphy also may be considered a special form of dancing – dancing with the brush. A skilled calligrapher will change his or her rhythm to penetrate personal energy or Qi into the characters. The characters resemble the ‘tracks’ or footprints of dancing. In good calligraphy, we can see a Qi rhythm, much like a musical rhythm. It is as if we were looking at the very picture of sound, and when we read the characters, we can feel the energy flowing.

7. Conclusion
In conclusion, these three distinct modalities have the same function from a Qi perspective. This is reflected by the Chinese idiom Yi Qu Tong Gong: “different sounds have the same function or result.” Just as three different pieces of music can instill the same harmonious feeling, these three disciplines can harmonize our energies with those of the universe.

Acknowledgements

Joanne Wu, Deirdre Orceyre, and Pamela Causgrove provided editorial assistance for this article.

¹ See Zhongxian Wu, “Seeking the Roots of classical Qigong: Exploring the Original Meaning of the Pure Yang Mudra.” Empty
Vessel, Winter, 2003.26
² Stephen Karcher, Ta Chuan(New York: St. Martin’s Press, 2000, p40
³ Li Zehou, Jimao Wu Shuo (Beijing: Zhongguo Dianying Chubanshe, 1999, p68)
⁴ There are ten commentaries to the Yijing. It is commonly believed that Confucius wrote them to assist modern people in
understanding the terse and cryptic language of the original text. Today these are included with the Yijing and are referred to as
the ‘Ten Wings’ because they assist our minds in understanding deeper meanings and thus help us achieve greater heights.
⁵ Chen Lai, Gudai Zongjiao Yu Lunli—Lujia Shixiang de Geyuan (Beijing: Sanlian Shudian, 1996, p35).
⁶ Zhang Jiebing, “Yi yi yi”, in Leijing Fuyi (Ming Dynasty; reprinted in Xian: Shaanxi Kexue Jishu Chubanshe, 1996, p350