Progressive Practice Strategy

Masters Wu Chien Chuan and Wabu Young in the picture. My own teacher states that Young Wabu was dominated by Wu Chien Chuan when they met  and "compared"  skills.   Young Wabu was no doubt very skilled at Tai Chi. However, if we say that Wu Chien Chuan passed on all or even  part of his skill (note I did not say his curriculum) it also raises the “how to gain skill” question? 

There is a fairly extensive curriculum in Classical Tai Chi but it also matters what method(s) are used to study.  Whether DVD or “online” Classical Tai Chi @ Teachable.com it also matters how the curriculum is studied. In the picture, Master Hwa is demonstrating how to do a posture to me. How did I learn to do the posture on my own and gain skill in it? 

 I first “Blocked”, then “Serialed”, then “Randomed” my practice of that posture. 

Blocked Practice

Blocked practice involves practicing a Tai Chi posture (single motor skill) repeatedly before moving on to another skill.  I had to isolate that posture on the DVD and  nowadays online,not doing any other movements.  In the lexicon of blocked practice it requires: 

• Constant practice
• Fixed practice
• Drills
• Repetition (often described as "repetition without repetition" in contrast to random practice)
• Low contextual interference practice

Serial Practice

Serial practice involves practicing a set of motor skills in a specific, repeating, and predictable order. 

Random Practice

Random practice involves practicing multiple skills in a mixed, unpredictable order, creating high contextual interference. 

These practice schedules are often discussed along with what is called  “Contextual Interference Continuum” ( C I C), with blocked practice at the low end of interference and random practice at the high end. 

Comparison of Practice Types in Classical Tai Chi

Blocked Practice

Serial Practice

Random Practice

Blocked Practice

Repeat one posture/form multiple times before switching

Serial Practice

Fixed order of multiple forms (e.g., 108 Form sequence)

Random Practice

Forms/postures practiced in unpredictable order

Cognitive Load

Low for Blocked

Moderate for Serial

High for Random

Skill Acquisition Speed

Fast for Blocked

Moderate for Serial

Slow for Random

Retention & Transfer

Poor for Blocked

Good for Serial

Excellent for Random

Contextual Interference

Low for Blocked

Medium for Serial

High for Random

Best For

Beginners learning new postures   Blocked

Intermediate learners refining flow      Serial

Advanced learners improving adaptability    Random

Example in Classical Tai Chi

Practicing "Preparation Form” 10 times straight.  Blocked

Repeating the first 5 moves of the 108 Square Form and/or Round Form in order.  Serial

Randomly selecting and performing any of the 108 forms without pattern. Random

ASIAN MARTIAL ARTS & CLASSICAL TAI CHI

Tao of Martial Applications

The Journal of Asian Martial Arts (JAMA) was a quarterly magazine published by Via Media Publishing Company that covered various aspects of Asian martial arts and also included material from other parts of the world. The magazine had its headquarters in Santa Fe. It ceased publication in 2012, ending with a final book entitled "Asian Martial Arts”.

Before the streamlined Classical Tai Chi Teachable courses, Master Stephen Hwa, with assistance from Jim Roach, Tom Kostusiak, and Ike Schultz, made a series of DVDs. One of the DVDs was called "The Tao of Martial Applications. Attached is a DVD review from the now-defunct Journal of Asian Martial Arts.

ꜱᴛᴇᴘʜᴇɴ ʜᴡᴀ (ʙ. 1933)ʙᴇɢᴀɴ ᴛᴀɪᴊɪ ꜱᴛᴜᴅɪᴇꜱ ᴜɴᴅᴇʀ ʏᴏᴜɴɢ ᴡᴀʙᴜ (1904-2005), ᴀ ꜱᴛᴜᴅᴇɴᴛ ᴏꜰ ʟᴇɢᴇɴᴅᴀʀʏ ᴍᴀꜱᴛᴇʀ ᴡᴜ ᴊɪᴀɴqᴜᴀɴ(1880-1942). ꜰᴏʀ ᴍᴀɴʏ ʏᴇᴀʀꜱ,ᴛʜɪꜱ ᴡᴜ ꜱᴛʏʟᴇ ʜᴀᴅ ʙᴇᴇɴ ᴛʜᴇ ꜱᴇᴄᴏɴᴅ ᴍᴏꜱᴛ ᴘᴏᴘᴜʟᴀʀ ᴛᴀɪᴊɪ ꜱᴛʏʟᴇ, ꜰᴏʟʟᴏᴡɪɴɢ ᴛʜᴇ ʏᴀɴɢ ꜱᴛʏʟᴇ. ᴠᴏʟᴜᴍᴇꜱ ɪ ᴀɴᴅ ɪɪ ɪɴ ᴅʀ. ʜᴡᴀ'ꜱ ᴅᴠᴅ ꜱᴇʀɪᴇꜱ ᴘʀᴏᴠɪᴅᴇ ᴀ ɢᴏᴏᴅ ᴏᴠᴇʀᴠɪᴇᴡ ᴏꜰ ᴛʜᴇ ᴡᴜ ꜱᴛʏʟᴇ ᴀɴᴅ ɪɴꜱᴛʀᴜᴄᴛɪᴏɴ ɪɴ ᴛʜᴇ ᴄʟᴀꜱꜱɪᴄᴀʟ ʟᴏɴɢ ꜰᴏʀᴍ. ᴠᴏʟᴜᴍᴇ ɪɪɪ, ᴛʜᴇ ᴛᴀᴏ ᴏꜰ ᴍᴀʀᴛɪᴀʟ ᴀʀᴛꜱ ᴀᴘᴘʟɪᴄᴀᴛɪᴏɴꜱ, ɪꜱ ᴏʀɢᴀɴɪᴢᴇᴅ ɪɴᴛᴏ ꜰᴏᴜʀ ꜱᴇᴄᴛɪᴏɴꜱ: 1)ɪɴᴛʀᴏᴅᴜᴄᴛɪᴏɴ, 2) ꜰᴀ Jɪɴɢ (ꜰᴏʀᴄᴇ ʀᴇʟᴇᴀꜱɪɴɢ) ᴍᴏᴠᴇꜱ ᴀɴᴅ ᴛʜɪʀᴛᴇᴇɴ ᴘᴏꜱᴛᴜʀᴇꜱ, 3) ᴘᴜꜱʜ ʜᴀɴᴅꜱ, ᴀɴᴅ 4)ɢʀᴏᴜᴘ ᴅɪꜱᴄᴜꜱꜱɪᴏɴ.

ᴅʀ. ʜᴡᴀ,ᴀꜱꜱɪꜱᴛᴇᴅ ʙʏ ᴛʜʀᴇᴇ ꜱᴛᴜᴅᴇɴᴛꜱ, ʟᴇᴄᴛᴜʀᴇꜱ ᴀɴᴅ ᴅᴇᴍᴏɴꜱᴛʀᴀᴛᴇꜱ. ɪᴛ ɪꜱ ꜱᴀɪᴅ ᴛʜᴀᴛ ᴛʜᴇ ᴄᴏʀᴇ ᴏꜰ ᴛᴀɪᴊɪ ɪꜱ ꜰᴏᴜɴᴅ ɪɴ ᴛʜᴇ "ᴛʜɪʀᴛᴇᴇɴ ᴘᴏꜱᴛᴜʀᴇꜱ," ᴏʀ ʙᴀꜱɪᴄ ꜱᴋɪʟʟꜱ: ᴡᴀʀᴅ ᴏꜰꜰ, ᴘᴜʟʟ ʙᴀᴄᴋ, ᴘʀᴇꜱꜱ, ᴘᴜꜱʜ, ᴘᴜʟʟ ᴅᴏᴡɴ, ꜱᴘʟɪᴛ, ᴇʟʙᴏᴡ, ᴀɴᴅ ꜱʜᴏᴜʟᴅᴇʀ, ᴀᴅᴠᴀɴᴄᴇ, ʀᴇᴛʀᴇᴀᴛ, ɢᴜᴀʀᴅ ʟᴇꜰᴛ, ᴀɴᴅ ʀɪɢʜᴛ, ᴄᴇɴᴛʀᴀʟ ᴇqᴜɪʟɪʙʀɪᴜᴍ. ʀᴀᴛʜᴇʀ ᴛʜᴀɴ ꜱʜᴏᴡɪɴɢ ᴀᴘᴘʟɪᴄᴀᴛɪᴏɴꜱ ꜰᴏʀ ᴇᴀᴄʜ ꜱᴋɪʟʟ. ᴅʀ. ʜᴡᴀ ꜰᴏᴄᴜꜱᴇꜱ ᴏɴ ᴛʜᴇ ᴛʜᴇᴏʀʏ ᴛʜᴀᴛ ᴍᴀᴋᴇꜱ ᴛʜᴇ ᴀᴘᴘʟɪᴄᴀᴛɪᴏɴꜱ ᴡᴏʀᴋ. 

ʟɪᴋᴇᴡɪꜱᴇ, ʏᴏᴜ ᴡɪʟʟ ɴᴏᴛ ꜰɪɴᴅ ᴍᴀɴʏ ᴅᴇᴛᴀɪʟꜱ ɪɴ ᴛʜᴇ ᴘᴜꜱʜ ʜᴀɴᴅꜱ ꜱᴇᴄᴛɪᴏɴ ᴅᴇꜱᴄʀɪʙɪɴɢ ᴍᴏᴠᴇᴍᴇɴᴛꜱ ɪɴ ᴅᴇᴛᴀɪʟ. ꜱɪɴɢʟᴇ-ʜᴀɴᴅᴇᴅ ᴀɴᴅ ᴛᴡᴏ-ʜᴀɴᴅᴇᴅ ᴘᴜꜱʜ ʜᴀɴᴅ ᴘʀᴀᴄᴛɪᴄᴇ ᴀʀᴇ ᴅᴇᴍᴏɴꜱᴛʀᴀᴛᴇᴅ, ʙᴜᴛ ᴛʜᴇꜱᴇ ᴛᴏᴏ ᴀʀᴇ ᴘʀᴇꜱᴇɴᴛᴇᴅ ᴍᴀɪɴʟʏ ᴛᴏ ɪʟʟᴜꜱᴛʀᴀᴛᴇ ʜᴏᴡ ᴛᴀɪᴊɪ ᴘʀɪɴᴄɪᴘʟᴇꜱ ᴡᴏʀᴋ. ᴅʀ. ʜᴡᴀ ꜱᴛᴀᴛᴇꜱ ɪɴ ᴛʜᴇ ɪɴᴛʀᴏᴅᴜᴄᴛɪᴏɴ ᴛʜᴀᴛ ᴛʜᴇ ᴘᴜʀᴘᴏꜱᴇ ᴏꜰ ᴛʜɪꜱ ᴅᴠᴅ ɪꜱ ᴛᴏ ꜱʜᴏᴡ ᴛʜᴇ ʀᴇʟᴀᴛɪᴏɴꜱʜɪᴘ ʙᴇᴛᴡᴇᴇɴ ᴛʜᴇ ᴛʀᴀᴅɪᴛɪᴏɴᴀʟ ʀᴏᴜᴛɪɴᴇ ᴘʀᴀᴄᴛɪᴄᴇ ᴀɴᴅ ᴍᴀʀᴛɪᴀʟ ᴀᴘᴘʟɪᴄᴀᴛɪᴏɴꜱ. ʜᴏᴡ ᴅᴏᴇꜱ ᴘʀᴀᴄᴛɪᴄɪɴɢ ᴛʜᴇ 108-ᴍᴏᴠᴇᴍᴇɴᴛ ʟᴏɴɢ ꜰᴏʀᴍ ɪɴꜰʟᴜᴇɴᴄᴇ ᴏɴᴇ'ꜱ ᴀʙɪʟɪᴛʏ ᴛᴏ ᴘᴇʀꜰᴏʀᴍ ᴀᴘᴘʟɪᴄᴀᴛɪᴏɴꜱ? 

ᴅʀ. ʜᴡᴀ ʙᴇʟɪᴇᴠᴇꜱ ᴛʜᴀᴛ ʀᴇɢᴜʟᴀʀ ᴅᴀɪʟʏ ᴘʀᴀᴄᴛɪᴄᴇ ᴛᴇᴀᴄʜᴇꜱ ᴛʜᴇ ʙᴏᴅʏ ʜᴏᴡ ᴛᴏ ᴍᴏᴠᴇ ᴘʀᴏᴘᴇʀʟʏ. ᴘʀᴀᴄᴛɪᴛɪᴏɴᴇʀꜱ ᴇᴠᴇɴᴛᴜᴀʟʟʏ ᴄᴀɴ ɴᴀᴛᴜʀᴀʟʟʏ ᴀɴᴅ ꜱᴘᴏɴᴛᴀɴᴇᴏᴜꜱʟʏ ᴍᴀɴɪꜰᴇꜱᴛ ᴍᴀʀᴛɪᴀʟ ꜱᴋɪʟʟꜱ. ɪɴᴛᴇrnᴀʟ (ᴄᴏᴍʙɪɴᴇᴅ ᴘꜱʏᴄʜᴏ-ᴘʜʏꜱɪᴏʟᴏɢɪᴄᴀʟ) ᴅɪꜱᴄɪᴘʟɪɴᴇ ɪꜱ ᴘʀᴇꜱᴇɴᴛᴇᴅ ᴀꜱ ᴛʜᴇ ᴋᴇʏ ᴛᴏ ꜱᴏʟᴏ ꜰᴏʀᴍ ᴘʀᴀᴄᴛɪᴄᴇ ᴀꜱ ᴡᴇʟʟ ᴀꜱ ꜰᴏʀ ᴘʀᴀᴄᴛɪᴄᴀʟ ᴀᴘᴘʟɪᴄᴀᴛɪᴏɴ. For ᴛʜɪꜱ. ᴅʀ. ʜᴡᴀ ᴇᴍᴘʜᴀꜱɪᴢᴇꜱ ᴛʜᴇ ᴛᴀɪᴊɪ ᴘʀɪɴᴄɪᴘʟᴇꜱ ᴏꜰ ʀᴇʟᴀxᴀᴛɪᴏɴ ᴀɴᴅ ᴡʜᴏʟᴇ ʙᴏᴅʏ ᴍᴏᴠᴇᴍᴇɴᴛ. ʜᴇ ꜱᴀʏꜱ ɴᴏᴛ ᴛᴏ ʀᴇꜱɪꜱᴛ ᴀɴ ᴏᴘᴘᴏɴᴇɴᴛ ɪɴ ᴘᴜꜱʜ ʜᴀɴᴅꜱ ᴘʀᴀᴄᴛɪᴄᴇ ꜱᴏ ʏᴏᴜ ᴄᴀɴ ꜰʟᴏᴡ ɪɴᴛᴏ ᴀ ᴄᴏᴜɴᴛᴇʀ-ᴀᴛᴛᴀᴄᴋ. 

ʜᴇ ᴅɪꜱᴛɪɴɢᴜɪꜱʜᴇꜱ ʙᴇᴛᴡᴇᴇɴ ᴄᴏᴏᴘᴇʀᴀᴛɪᴠᴇ ᴀɴᴅ ᴄᴏᴍᴘᴇᴛɪᴛɪᴠᴇ ᴘᴜꜱʜ ʜᴀɴᴅꜱ, ꜱᴀʏɪɴɢ ᴛʜᴀᴛ ʙᴇɪɴɢ ᴄᴏᴏᴘᴇʀᴀᴛɪᴠᴇ ɪɴ ᴛʜᴇ ᴘʀᴀᴄᴛɪᴄᴇ ʜᴇʟᴘꜱ ᴏɴᴇ ʟᴇᴀʀɴ ᴛᴏ ᴇᴍʙᴏᴅʏ ᴛʜᴇ ᴛᴀɪᴊɪ ᴘʀɪɴᴄɪᴘʟᴇꜱ. ᴅᴏɪɴɢ ᴄᴏᴍᴘᴇᴛɪᴛɪᴠᴇ ᴘᴜꜱʜ ʜᴀɴᴅꜱ ᴛᴏᴏ ᴇᴀʀʟʏ ᴜꜱᴜᴀʟʟʏ ʀᴇꜱᴜʟᴛꜱ ɪɴ ᴜꜱɪɴɢ ᴛᴏᴏ ᴍᴜᴄʜ ꜰᴏʀᴄᴇ. ᴛʜᴇ ʟᴀꜱᴛ ꜱᴇᴄᴛɪᴏɴ ᴏɴ ᴛʜᴇ ᴅᴠᴅ ɪꜱ ᴀ ɢʀᴏᴜᴘ ᴅɪꜱᴄᴜꜱꜱɪᴏɴ ʙᴇᴛᴡᴇᴇɴ ᴅʀ. ʜᴡᴀ ᴀɴᴅ ʜɪꜱ ᴛʜʀᴇᴇ ꜱᴛᴜᴅᴇɴᴛꜱ. 

ᴛʜᴇʏ ᴅɪꜱᴄᴜꜱꜱ ꜱᴏᴍᴇ ᴏꜰ ᴛʜᴇ ʟᴏɴɢ ᴅᴇʙᴀᴛᴇᴅ ᴛᴏᴘɪᴄꜱ ᴀᴍᴏɴɢ ᴛᴀɪᴊɪ ᴇɴᴛʜᴜꜱɪᴀꜱᴛꜱ, ɪɴᴄᴜᴅɪɴɢ ʟᴇᴀɴɪɴɢ ᴠᴇʀꜱᴜꜱ ᴋᴇᴇᴘɪɴɢ ᴛʜᴇ ʙᴏᴅʏ ᴘᴇʀᴘᴇɴᴅɪᴄᴜʟᴀʀ ᴛᴏ ᴛʜᴇ ɢʀᴏᴜɴᴅ, ᴘʀᴏᴘᴇʀ ꜰᴏᴏᴛ ᴘᴏꜱɪᴛɪᴏɴꜱ (ᴘᴀʀᴀʟʟᴇʟ ᴏʀ ᴡɪᴛʜ ᴛʜᴇ ʙᴀᴄᴋ ꜰᴏᴏᴛ turned ᴏᴜᴛᴡᴀʀᴅ), ᴀɴᴅ ʜᴏᴡ ᴍᴜᴄʜ ᴡᴇɪɢʜᴛ ꜱʜᴏᴜʟᴅ ʙᴇ ᴘʟᴀᴄᴇᴅ ᴏɴ ᴇᴀᴄʜ ꜰᴏᴏᴛ. ᴅʀ. ʜᴡᴀ ʟᴏᴏᴋꜱ ᴅᴇᴇᴘʟʏ ɪɴᴛᴏ ᴛʜᴇ ᴡᴜ ꜱᴛʏʟᴇ ʀᴏᴜᴛɪɴᴇ ʜᴇ ʟᴇᴀʀɴᴇᴅ ꜰʀᴏᴍ ʏᴏᴜɴɢ ᴡᴀʙᴜ ᴀɴᴅ ʙᴇʟɪᴇᴠᴇꜱ ɪᴛ ᴡᴀꜱ ᴅᴇꜱɪɢɴᴇᴅ ᴛᴏ ɢɪᴠᴇ ᴘʀᴀᴄᴛɪᴛɪᴏɴᴇʀꜱ ᴛʜᴇ ᴀɴꜱᴡᴇʀꜱ ᴛᴏ ꜱᴜᴄʜ qᴜᴇꜱᴛɪᴏɴꜱ. ᴛʜɪꜱ ꜱɪᴍᴘʟᴇ ᴅᴠᴅ ᴇɴᴄᴏᴜʀᴀɢᴇꜱ ᴜꜱ ᴛᴏ ᴘʀᴀᴄᴛɪᴄᴇ ᴀɴᴅ ᴋᴇᴇᴘ ᴛᴀɪᴊɪ ᴘʀɪɴᴄɪᴘʟᴇꜱ ɪɴ ᴍɪɴᴅ.

JOURNAL OF ASIAN MARTIAL ARTS 0 ᴠᴏʟᴜᴍᴇ 17 

Large v Small

 

Large Frame Tai Chi

Tai Chi Large/Small 

Dr. Hwa,

I purchased your videos several years ago, and while I do the Yang, large movements, traditional form, I am more interested in the mechanics and concepts.

Then I purchased your book, Uncovering the Treasure, and liked it so much that I bought copies for the other students in our class.

This weekend, I discovered your exercise series on YouTube and want to thank you. It answers many questions about the basic internal movements underlying the external movements. Your videos help me substantiate these movements with students who need more encouragement.

Thank you - MM"

Dear MM, Please bear with me as I write this after viewing your letter once again. 

There is a saying in China, 内传小架,外传大

架, which translates to "small frame reserved for family insiders; large frame for everyone else". This reflects a traditional distinction between the small frame (small circle) and large frame forms, where the small frame is considered an internal discipline passed down within families, while the large frame is taught more broadly to the public.

You said: “It answers many questions about the basic internal movements underlying the external movements.”

I think you are on the right track but it is important to remember differences as well as what one assumes is “…underlying the external movements…”!  I say “assumes” and Master Hwa once advised people

The mechanics of  Small Frame Classical Tai Chi are fundamentally based on internal discipline, where all movements originate from the torso and core muscles, rather than from the limbs. This principle is central to the style, which emphasizes small, compact movements and the generation of internal energy through precise neuromuscular control. 

The small frame is not merely about reducing movement size but involves a distinct internal approach, such as "folding the body at the spine" and maintaining a deep tuck of the rear end to generate power and balance.These mechanics are designed to be practiced with a small step size, allowing for the integration of the torso's energy into the limbs.

While the core principles of internal movement and torso-centric power are applicable to all Tai Chi, the specific mechanics of the Small Frame, including its emphasis on minimal step size, fluid transitions between postures, and the integration of internal energy through exercises like silk reeling, are most effectively realized within the small frame context. 

The style's unique teaching methodology, developed by Hwa using his engineering background, is specifically tailored to break down these advanced movements, which are considered preparatory for the deeper internal discipline of the Small Frame. Therefore, while the foundational concepts of internal energy and body alignment can inform other styles, the specific mechanics of Stephen Hwa's Small Frame Classical Tai Chi are inherently tied to its small frame structure and cannot be directly or fully replicated in a large frame practice.

Droop & Slinky (Sink)

 

Droop & Sink Vertically

Video Link

A student some time ago asked me via email: "How does the second generation of Wu's family change the posture from the original upright posture of Yang's Tai Chi to a straight lean?"  Perhaps one answer is to ask why ask this question before you practice instead of practicing and finding the answer for yourself?  I was thinking about what you said on "lean" in the forward posture.  As we know very well, there is indeed much commentary as you say along with youtube video. I decided to look up exact definitions of English "lean". Then I said why not look up what Chinese translation of "lean is" and so...I find it ironic that other Tai Chi has so much commentary from allegedly reading the Tai Chi Classics and interpretation of Chang San Feng's edict to not "lean". Yet the simplified Chinese translation is 靠 or kào which in English is translated as "Lean" using a striking force with shoulder or body. The irony is "lean" is one of the 8 postures that Tai Chi is noted for. Also, the very same postures that they tout as needing to be done in the "perpendicular".

Hi Jim: "We just have to continually plug at it. To change the preconceived thinking of such a large portion of the tai chi practitioner is a herculean effort!"

It's interesting that I once compared the “sit back” of postures to the action of a “Slinky”.  I reiterated this to students and they thought it a mere humorous analogy. It is important to remember there are no static postures in Classical Tai Chi.  What the skeptics fail to reckon is the pelvis will both lengthen and contract continuously with correct sit back. There are numerous videos that demonstrate the movement of a Slinky and it is a perfect analog for continuous extension/contraction.

 Of great help in using the core is relaxing the waist. The nitty gritty of Classical Tai Chi lies in the control how, when and where the core turns and the body shifts.

 In the Tai Chi Classics: "The source of command for all movements lies in the waist". This really implies waist relaxation but the question is how?  For this we must learn to allow to droop and vertically sink the rear of the body, namely the buttocks. The picture of the derriere not protruding. To droop the buttocks is to allow the buttocks to sink vertically so that they do not protrude.

As you sit back, lengthen the tailbone toward the floor, which helps "open the back" and release tension in the lumbar region. This creates a neutral pelvis position—neither overly tucked nor arched.

Most of the students I have taught in Classical Tai Chi come to the discipline holding the hips in a position where the buttocks are in an anterior tilt.  What is an "anterior" tilt? When I ask them to stand with their back to a wall, they readily see that the small of the back is usually an accentuated curve, an anterior tilt.  It is, of course, unintentional that the hips are positioned in this manner. With this, the waist is very tight and difficult to turn freely. 

It was finally with my own personal study of Classical Tai Chi that I found how essential it was for the hips to be tilted forward, which is called "tucking" the pelvis or a "posterior" tilt.  In the world of Tai Chi "stances", or "frames" (the size of things), Classical Tai Chi is incredibly compact but is the poster child for the cliché that good things come in small packages. The tailbone is stretched down in a process in which the spine is stretched both downward and upward if the rules about "stretching the head" are followed correctly.  When I have my students stand with their backs to a wall, they readily see and perhaps for the first time, that the small of the back can be straightened. Taking one hand and sliding behind, the student said they could not move the fingers between the back and the wall. The video link shows Master Stephen Hwa doing exactly what I describe. 

Classical Tai Chi is not an "Analog"

Tai Chi is Tai Chi PLUS " xyz  "is a common thread these days, yet there's Yang, Wu, Wu's, Chen, etc., etc., then there is  

the advertising claim that

tai chi alone is capable of bodybuilding. Scammers use misleading ads, often featuring AI-generated or heavily photoshopped images of muscular individuals, to promote apps or programs that typically require traditional weight training for a "bodybuilding" physique

 

In my classes and discussions I also hear comments that "Internal Discipline is LIKE belly dancing, so I will dust off my belly dancing dvd", "Internal Discipline is LIKE isometrics or IS Isometric exercise", "Tai Chi is LIKE Yoga, like upright Yoga", etc., etc. "Why put stupid music to a marshal art , I love wu style but it's no good music is a distraction for the real thing , and please add the application s to all the form ,I do wu style but there's 119 moves to this ,""Please put the application in ie yes the fighting part the real bit"

These are all wrong because the art is not an "analog" and therefore is not subject to "analogy".  This is due to the concept of "Yi", the martial intent of movement. Read on to see what my teacher Master Stephen Hwa says to Lori N. when she calls it dance and subjects it incorrectly to being an "analog" and therefore analogous to dance. 

From Forum 6, October 2003, Lori N. writes:
"I just completed my first lesson -- the walk. Very tricky but also very fun. “

“This is going to be exactly what I have looked for so long. I have always loved to dance but never enjoyed performing for people. This dance of Taiji will be that dance I have been needing for so many years!"

MASTER HWA’S RESPONSE:
"I am glad you have made a good start. It is important that you feel fun and challenged while you doing it. Your comments about Tai Chi as a kind of dancing is what prompted me to write about the topic Yi  click here for article on – the martial art intent. I remember my teacher became unhappy when someone referred to Tai Chi as an exercise. Again, the “intent” is lost when it was called as an exercise. "

 Most people are now learning Tai Chi, probably for reasons other than for serious martial art applications. So the question is, how much should we emphasize the martial art aspects of Tai Chi? 

Certainly, Tai Chi Form movements make more sense and are easier to remember if they are corroborated with the martial art origin of the movements - why there are these sequences of movements, and what the positioning of the body and timing ofthe movements mean. 

Besides this aspect, there is a more subtle but powerful reason why the martial art aspect of Tai Chi is essential. I shall discuss that below:Tai Chi Form should be practiced with “Yi” (martial art intention). “Yi” is not something complex and elaborate. It is single-minded and somewhat intuitive, with the desire to deliver the internal power externally through hands, arms, and feet, whatever the movement is. If the hand is moving forward, then the Yi goes to the palm and fingers; if the hand is moving laterally in a blocking movement, then the Yi goes to the leading edge on the side of the hand; etc. 

Once the practitioner masters the “Yi”, it is no longer a conscious effort anymore. It becomes subconscious and comes naturally whenever the practitioner moves. 

At this stage, when you play the Form, you have both the internal energy and Qi (nerve signal - a simple-minded definition) circulating in the torso of your body. With the “Yi” as a catalyst, the Qi can flow to your hands and fingers while the internal energy continues to circulate in your torso until you need it for anapplication. Then the internal energy will follow the Qi to the arms, hands, and fingers for delivery.

External martial arts such as Karate also practice a solo form called Kata. Kata allows the practitioner to study movements at full power and speed, and enables the student to move with the enemy in mind. So, both Tai Chi form and Kata are practiced with “Yi”. But Kata is practiced with a tensed up arm moving with power and speed, while Tai Chi is practiced with a relaxed arm and moving at a slow speed. The “Yi” in Tai Chi is therefore purely mental.

For some students, “Yi” is relatively easy to develop. It is almost natural to them. For some students, it is pretty challenging to be consistent – other intentions creep in subconsciously from time to time. Students who have studied dance or are interested in dance face such problems. Usually, the fingers become very warm after playing the Form even in cold weather. 

One of my students here, who had already achieved good internal movements, complained about cold fingers. Upon close examination, she frequently had small flourishes in her hands and fingers. After reducing that flourish, her problem with a cold finger improved. Extraneous motions, or nerve signals, along the path of Qi, such as the shoulder, elbow, and arms, have the same effect of disrupting the flow of Qi between the body and the fingers. People who use their hands intensively, such as dancers, typists, and piano players, could have such problems. 

They need to keep localized nerve activity dormant and let the body's Qi take over. This is a good reason to learn the Classical Tai Chi Square Form, from which the practitioner will get used to movements with steady arms and hands without localized impulses. 

The focus here is on the arms and hands, not on the legs and feet. The reason is that during form playing, the lower limbs have definite functions to perform, and their energyand Qi are already integrated with that of the torso. During Form playing, the upper limb’s function is entirely abstract and mental, and is easily distracted."

 Jim Roach on Square Form: Some practitioners reject the Square Form because it challenges their existing habits or requires sustained effort to master. Rather than adapt, they may dismiss the form as impractical or overly rigid, attributing their difficulty to the method itself rather than their own learning curve. With its precision it is the insurance that subsequent generations will do the Form correctly!

"YI" (martial intent)