Classical Tai Chi Blog

You can "uncover" the treasure but you should not "expect" it

2012-01-29T11:36:00.000-05:00

Sooner or later, new students to Classical Tai Chi may reveal their expectations about the learning path. Sooner or later, long time students in Classical Tai Chi who expect that they are on the right learning path may "become careless, neglecting some of the fundamentals in the form playing". This as Master Hwa describes in Forum 10, October 2004 is called "advancement followed by periods of stagnation, and even a turn for the worse." Whether beginner or advanced, our expectations will most often be the deciding factor in whether we are happy or sad over our study.

There are interpretations of the I Ching that point out the danger inherent in expectations which are too grandiose. The Tao te Ching advises us not to "fight" over issues that do not meet our expectations. This even applies to our own gumption in maintaining our practice; practicing when we don't feel like practicing for instance. There is no point in "beating ourselves up" because we expected that not only would the Tai Chi be easy, but that it would be correspondingly easy to get up in the morning and even practice. Various writers have described expectations to be a kind of prison. The many styles of what Master Hwa calls "ethereal Tai Chi" seem to encourage unrealistic expectations. Medical investigators compare Tai Chi with conventional aerobic exercise and qualitative analyses explore patient experience, belief systems and expectations. Participants in various studies are asked what their expectations are.

Psychologists who do Tai Chi warn against making mountains out of molehills, creating psychological barriers for ourselves in learning Tai Chi, which inevitably have to do with expectations. I notice that students who merely think they are going to be pushed back hard during push hands (not that we ever push anyone hard), react prematurely by exhibiting extreme muscle tension, this is because of expectation. A new student said "I expected more people in this class, aren't there going to be more".

People who begin or who have only been involved for a year or so question why they are not teaching or what criteria it takes to be a Master. In other words, they are expecting to receive the "treasure" for their work in Tai Chi. Notice I say "expecting" not "uncovering", there is a difference which as we have established as "expectations" in both attitude about standards of achievement in Tai Chi , even down to finer and finer distinctions. Master Hwa has said: " I am always amazed at the extenal martial arts schools that they can have such fine distinction between different color belts and different color strips on each belt".

I have happily discovered (uncovered) that there is both a tempo and a rhythm to Classical Tai Chi. It was only with my venture into "Internal", note the emphasis on "Internal" Discipline that I stopped demanding of both myself and my teachers that there be signposts for my progress. I also find that true understanding of internal means I can have classes of mixed levels because there are truly no tests of achievement when it comes to developing internal energy. I realize I do not have to "expect" The Treasure; I feel like I can breathe freely. I can enjoy allowing the Treasure to be Uncovered. Will this attitude allow consistent progress without having to compete with myself or others? The answer has been yes, but not through "pie in the sky" but through the little things.

The "little things": A student can reveal their expectations that the Tai Chi lacks quality if the classroom is not filled to the brim and in the process fail to see that the Tai Chi has made them feel better. A student can constantly complain that they lose balance when doing basic walking; "I expected Tai Chi was supposed to improve my balance" and miss the fact that they have gained strength, flexibility and body awareness. In any event, an expectation is making them unaware of what they do achieve and keeping them aware of what they "think" they should achieve. An expectation keeps them from making coherent reasoning in situations like this. Reason being, if one does not know or refuses to acknowledge where they are unbalanced, how can one expect to "improve" anything. As for me, I am happy as a teacher to work little by little toward never have any expectations and in that way, I will uncover the fact that I no longer get disappointed.

Be impatient with Classical Tai Chi but don't throw out the baby with the bath water.

2012-01-23T10:08:00.001-05:00

Enter the New Year by first recognizing then taming your dragons of impatience, frustration and boredom. How do you tame them? Realize that you can't fight them but you can learn to live with them with some equanimity by simply remaining aware from whence they come.

Speaking of impatience, one wonders how many students are so impatient that some will only read my email notice for 10 seconds and not the blog. Who wants to even admit they are impatient, right? I have met many students who talk about the Tai Chi as an art that has to prove itself to them. It has to prove its efficacy and its fighting ability over other martial arts.I don't attempt to talk about the efficacy of Tai Chi over other martial arts here but I do attempt to analyze why students may feel this way.

The most common scenario is a student who in various ways expresses their displeasure over the "slowness of the learning curve" whether for health or martial purposes. They express their impatience at their "slow" rate of "progress" in gaining experience or new skills in Tai Chi. Most simply leave the training early on rather than verbally expressing their displeasure. It is interesting that each student who expresses this seems to feel that they are the only student in the world who experiences this. Additionally, they state they alone are "impatient", they never mention "I guess I am not unique but I'm really like all the other students who have such impatience". If they did admit that they were not alone I think they would realize that they have literally fallen prey to boredom, impatience and frustration, which are states of mind universal to all humans and not Classical Tai Chi per se.

In falling prey, they blame the Tai Chi for their impatience but in truth they are not aware of the source of those maladies. The source is something that every bored, impatient and frustrated student possesses and that is a nervous system. They figuratively throw up their hands or slap their sides and disavow the Tai Chi . In that moment how can they see what they experience as "impatience, frustration, slowness, boredom" is really proof that they need the benefits of Tai Chi even more. The more impatience over slowness of the learning curve, the more you need the benefits of the Classical Tai Chi. I wonder if they know that the true meaning of "learning curve" is really to present a graphical representation of a common sense principle. In the case of Classical Tai Chi the principle being that the more one does something, the better one gets at it. The common sense of it dictates that the more one works to curb their impatience, frustration, boredom, the better one gets at it.

My own teacher Stephen Hwa addressed this common sense principle and even provides a methodology for achieving it just recently, to a student who expressed his impatience at the slowness of the learning curve when it comes to martial application.

There is no mystery to be good at martial art application.This is discussed in my book and video.

One needs to go through three steps:

1.Develop internal energy or power through Form practice, so that onecan deliver the power at any angle and position.

2.Practice the form such that the ability of delivery becomesinstinctive, no need to think.

3.Practice push hand and sparing to develop sensitivity and finesse.

Some students visit me in Florida and express their impatience but also show me they are not close tomaster step 1. They are able to use internal at several moves but notall angles. From their description of your sparring experiences, (Tai Chi vs. Wing Chun, etc.) they still need to think when they move. No wonder they were always one stepbehind, and being controlled by the opponent.

Step3 needs a partner to practice. There is no short cut to that.

I understand this a little better now in light of this analysis. Those many students also do not see that we all swim in a literal culture of impatience. The dubious virtues of multi-tasking, and hurry, hurry, hurry are extolled to say nothing of our being unaware of how much we even compete with the very machines we design to "make our lives better". When we do the Tai Chi we bring a desire for Tai Chi to get into the batter's box and knock one out of the park. What's it worth, how good is it, how fast can I get it, why can't I "get it" now? Then even though we are "swimming in a culture of impatience", it does not mean we are aware that we do so. So what we are working with is like a house with a poor foundation for living that we don't know has crumbling brick. What kind of an environment do we have here for success in Tai Chi? If the environment is shoddy to begin with, why would we add to such impatience with more impatience of our own? Then there is the inherent difficulties one faces in remembering "how to do things" in Tai Chi. What else to do but throw in the towel?

I cannot help but think here of the many students who do not even make it past basic walking practice, much less get on the path to martial expertise. The common refrain I hear is when I see students wobbling and even losing their balance. The refrain goes like: "I thought Tai Chi was supposed to improve your balance". To which I say, "what it does is point out to you where you are unbalanced, the improvement is up to you". That's Classical Tai Chi, it shows you where your work is cut out for you, doing the work is up to you. Don't throw out the baby with the bath water.

Why talk about your illness in a Tai Chi Forum?

2012-01-19T09:08:00.000-05:00

I don't want to get into why folks think that Tai Chi is a panacea, that is a big, big area, so lets not go there. It happens from time to time however that I read Tai Chi forums or any forum and see students/people revealing intimate details about their medical history...I think they feel that they are safe in doing this. I have a suspicion, it may be they feel they are safe under HIPAA and that no one can use their information in a harmful way.

Overall, I think there is still quite a bit of misunderstanding about HIPAA, what it does and does not do. I can provide a definition of the acronym however: HIPAA is the Health Insurance Portability and Accountability Act of 1996, Public Law 104-191. One of the things it provides for is a privacy rule and individuals who believe the privacy rule is not being upheld can file a complaint with the Department of Health and Human Services Office for Civil Rights. According to the Wall Street Journal however, the OCR has a long backlog and ignores most complaints Wall Street Journal Examines HIPAA Loopholes . It does not mean that one's complaint will be ignored but it does sound like a bit of a "crapshoot". I will readily admit I am one of those who understand very little about it....that admission may be my best ally, I hope it is yours.

I think some people believe they have a plethora of rights under HIPAA and that belief is coupled with an unawareness of how they may exercise the rights that they do have...key word here ""believe". My free advice is worth exactly what you pay for it, so I'll simply ask a couple questions: Even if this were a perfect world, which it is not, don't you agree we owe it to ourselves to protect our own health privacy? How can we disclose intimate details about our medical history in public forums on the web and expect that the information will be private and confidential?

The Learning Path of Classical Tai Chi in the Year of the Dragon

2012-01-18T10:21:00.000-05:00

Master Stephen Hwa as a celebrant of Chinese New Year giving crisp dollar bills in a red envelope to the mouth of his Lion friend.

Link to Master Stephen Hwa demonstrating "Round" and "Square" Form for the IBPS Miami, Fl

Link to video of Lion Dance at 4:45 you can get a glimpse of Stephen and Eva Hwa
Ahh...Sunny Florida

This Chinese New Year gives us all hope for a better year in 2012 and it begins this Monday the 23^rd. It is the 2^nd new moon after the Winter Solstice of December 22, 2011. The Chinese year 4710 begins on Monday with the new moon, and in Master Stephen Hwa's hometown in Wuxi, Jiangsu Province it is considered the beginning of Spring.

The dragon is the major symbol of good luck. In this context, we can expect great things in 2012 for since 1996 we have been through the longest unfavorable period in the 60-year cycle of Chinese astronomy. The dragon marks an end to the destructive period and the beginning of better things to come.

The tradition begins before New Year's Eve by cleaning out your physical, spiritual and emotional closets. Attempt forgiveness, let go of grudges and genuinely wish peace and well-being for all.
Celebrants give crisp dollar bills to friends, family and associates in red envelopes, expressing prosperity, joy and happiness. At midnight on New Year's Eve, windows are opened to bring good luck and a fresh start. Fireworks close the night to frighten away evil spirits and bad luck.
Fitting in perfectly for the ultimate goals of Classical Tai Chi, everything associated with the New Year is meant to reflect good fortune and positive affirmations, encouraging a healthy lifestyle.
Greet people who bring you joy with a spontaneous smile and habitually offer them positive intentions. Implement a schedule that allows for exercise, good food, meaningful work and time for yourself. Sticking with a routine will help you make it through the winter.
The Chinese New Year celebration typically ends on the full moon with a colorful dragon parade in the street. The dragon is a sign of passion and self confidence. Dragons are brave, honest and dependable.
Dragons frequently help others but rarely ask for help. Many dragons prefer to be alone, and can be misinterpreted as arrogant or conceited.
Practice understanding because, like many of us, dragons can have a quick temper and suffer signs of stress. Symptoms can be headaches, depression and high blood pressure. Dragons can calm the mind and tone the body by practicing Classical Tai Chi

The Chinese New Year greeting "gung hay fat choy" is more than just a wish or desire, or a hope or belief. It presupposes that you already have the means for which congratulations are due.

Do not touch your body when performing "Tight Compact Form"

2012-01-08T06:39:00.000-05:00

Video of Linear Compact Form followed by (Circular) Tight Compact Form

Seasons Greetings

I have been working more and more on the Tight Compact Round Form, not because I "want to" but because it has become a kind of physical necessity and a natural extention of the Compact Linear Round Form. I feel myself fully grown into doing tight compact form, like shedding my skin or being able to stretch further. I feel it as a natural progression and demand of the process. When I do the tight compact form, I do not have to struggle to maintain the integrity of the form; or in other words be concerned if everything is being done correctly. I can concentrate on maintaining internal discipline and not worry about doing the form wrong.

Recently I asked Master Stephen Hwa about something he said in an article as well as a problem I experienced in doing tight compact form. The problem is where I still touch my own body in light of how tight the space becomes when moving arms near one's own body. On the article he wrote I said: "You said this following statement in an article that Eva wrote some time ago".

He said: "For the advanced T' ai Chi practitioner, the form itself becomes less expansive externally (so-called "small circle" or "compact form"), and more angular. As such, Yi takes on increasing importance in playing the form. There is less movement and more Yi. Also, to have smaller external movements and yet reach to all angles in the form requires greater internal movement, more stretching at the Yin- Yang junctions, and more internal energy flow. This is the next level in T' ai Chi."

I told Master Hwa I was intrigued by the statement "to have smaller external movements and yet reach to all angles in the form requires greater internal movement, more stretch at the yin-yang junctions and more internal energy flow".

I said to him, I think I understand this statement on a visceral level as I try first a compact form movement then alternate with a tight compact form movement. On the concept of reaching to all angles in the form, the Yi starts to play an even more important role. I surmise it might be any movement where I
want to attack the opponent on a particular angle that compact form could not reach but tight compact could.

I'm thinking largely of course where the opponent is already in contact with you and as an example, you want to palm strike to acute angle of their body with fajing ; I see tight compact being of real importance in such close quarters. With such close proximity, it would seem only such angles provide viable attack venues do they not?

I said I have another question although it is by way of observation rather than conjecture: I notice when I do brush knee push during the tight compact form, I have such a hard time not touching myself because things are so tight in there. For example when compact brings brush knee hand across body then down to groin before turning over the knee, tight compact brings the brush knee hand tight into chest area and very close to the other arm, it is extremely difficult not to touch myself with it so tight?

Master Hwa wrote back with :Jim: Your question " tight compact brings brush knee hand tight into chest area and very close to other arm, it is extremely difficult not to touch myself with it so tight? I see that the problem is the move"brush knee hand tight into chest area ". He continued "In tight
compact form, that move is different from compact form. I think I explain that in the Disc 4, that move is more circular, that is the elbow stretch more forward with the hand comeback to the body."

I responded to Master Hwa with: " I have to say I looked at the Disc 4 numerous times and see that more circular move and more forward elbow stretch. However, in regard to touching oneself when doing the compact form, I have to say as being taller I have to take a little longer step size when doing compact. Also, I find I have to still take a little longer step size when doing tight compact. There is no way I can do form and maintain good balance when I try to take same size as you for instance. So I am thinking perhaps the question of touching oneself still has one's size as an exacerbating factor."

I continued with: "So many different body types are doing this, I am surprised the question I raise has not come up before now. Not just with tight compact, for as far as I know I am only one doing tight compact. But I am surprised no one says, in spite of their best efforts they find themselves touching their body even during compact and more linear movements. Some people's arms are extremely long, one wonders how does one deal with this without compromising the form."

He responded with the suggestion that perhaps this might indeed be a good question to ask the group of Tai Chi players in the Classical Tai Chi Yahoo Email Group. I did just that and received a couple of responses.

I have some good news to report on how things have improved here, thanks to encouragement from Master Hwa, a few great students and the wonders of technology. I hope what I discovered will help everyone else as well. Originally my wrists were bent at almost a 90 degree angle which is similar as well to what another student says he experienced, in order to avoid hitting the arm. I think the expression is that the hand and wrist are "seated". Note the difference in this "seated" position of hand and wrist from other positions of hand and wrist in the form. I think hand should be seated but I do not think it is correct in this to have such an angle that the wrists lock and Qi is blocked.

I also experimented with NOT having the hand pointing up, seated, and/or locked but with the hand pointed down as it passes close to the chest and other arm. In other words, I fold the wrist down much like single whip in order to try getting it past the arm and close to the chest. In both cases I still end up touching my shirt. I'm not sure if even a skin tight, as my wife calls it "tight as a doll's shirt" would keep me from touching something, it just seems too tight in there. In both I will admit however if I took it at a literal snail's pace, watching my hand and fingers I can do it without touching but this is uber slow. It is very "obvious" and hardly "formless" when one has to go to that much trouble.

Then some good news: I watched Disc 4 and the Compact (Tight) Form sequence, that I provide here with Master Hwa's permission, once again in slow motion. I find in watching Master Hwa's arms and upper arm elbow, that I was bringing the elbow of the upper arm too close to my body. In a sequence of moves where every inch of space becomes important, the potential to create more space is important. See the Form sequence to see what I am referring to as he does the brush knee sequence . I now find that I have more room in which to avoid hitting the "seated" hand as it passes by and touching my body. I don't have to "lock" the wrist. In order to see this as I describe it, I used the KMPlayer and put the video at 50% of speed to view things in slo mo. I see that the elbow of his upper arm is actually at a significant distance from his chest on the side. A rough estimate of distance, no pun intended would be one hands length if you touch your heel of palm your own chest side and extend the fingers, the angle and distance is more than I could observe when the DVD was in regular speed.

I find now that I can do the move without watching my hand and am able to speed it up a little more without touching myself. I look forward to more practice with the arm and elbow at that increased angle and distance from the chest. The elbow is still pointed down on the upper arm and as the palm strike proceeds forward, I can then bring the elbow in toward my center of body in a circular fashion instead of linear as in the Compact.

Well, one thing about tight compact form is that I did feel it as a "natural progression" (p. 74 Uncovering the Treasure , Stephen C.P. Hwa, or as I call the book : "UTT". My jury is still out on how "easy" it is because I have to work for consistency in keeping that elbow the same distance from the chest. To other people who do Classical Tai Chi particularly if you are a tall person; we have this commonality of long limbs, legs, arms, torso, hands as well when we talk about it.

My next conundrum is being able to shrink my step size and still stay balanced. When I started Linear Compact Form Master Hwa urged me to slightly increase my step size because of my tallness, I was losing some balance. Like I said, Tight Compact has a smaller step size p. 74 and a larger step size would create slowness and obviousness...however what we are after is instantaneousness and effortlessness. Then, "From Form to Formlessness".

Thanks for the encouragement one and all.

The "Tai Chi Classics" have some glaring mistakes

2011-10-07T06:36:00.000-04:00

Video excerpted from "Tao of Martial Applications DVD series Volume III"

Recently a question arose in the Yahoo Email Group of Classical Tai Chi regarding the statement: "Every movement in Tai Chi Form has to have 2 complementary sides of the body, a moving part Yang and a stationary part Yin. When the yin-yang junction is located in the torso of the body, it is an internal move. When it is outside of the torso, it is an external move." This statement has we have said before was the most important statement made by Wu Chien Chuan to his student Young Wabu. You can find this statement on p. 2 of the book "Uncovering the Treasure" by Stephen Hwa Ph.D. and it is available at Amazon.

The statement was challenged by someone who asked: "Can someone please explain to me how this conforms to the classics of "when moving, there is no place that does not move". "When still, there is no place that is not still". He continued by saying "The statement about 2 complementary sides, moving Yang and stationary Yin sounds like a broken posture as how a force can pass through the body, if it is not working together as a unit, moving as one".

Master Stephen Hwa has written the following response on October 6, 2011 to the question and challenge, the video above provides an illustration of his major points about holding the body still while executing a movement that sweeps the leg of the opponent. The video very graphically shows how the movement only works if the nonmoving side of the body is held very still. Further information about the "Sweeping Movement" is contained in the topic "The Concept of Yin (nonmoving) and Yang (moving)" on pp. 50 - 51, "Uncovering the Treasure" by Stephen Hwa, Ph.D.

Tai Chi Classics

These Classics started became known in the 1930-40s when book about Tai Chi started to be published in China. These writings reported in those books are a collection of short works attributed to different authors from Chang San-Feng to anonymous authors. Even though their authorship cannot be verified, they are considered to be the holy writ on Tai Chi. They do contain some insights and principles of Tai Chi; but also some glaring mistakes.

How is that possible that both good and bad could contained in one work. My suspicion is that there is more than one person involved in the writing as we see now. One of my ancestors in the fifteen century wrote a collection of short poems. We have the original hand written manuscript which we published three years ago. During research, we discovered that these poems have published six times over the years. Many of the published poems are identical to the manuscript; but some have altered – the later version has more alteration than the earlier version. Apparently, these publishers exercised their poetic license trying to add what they thought a better wording. This kind of alteration is very common in old writings in China and also in the west, such as the bible. The church has devoted inordinate effort to select an acceptable version of the bible.

Two major mistakes in the Classics are: "when one part moves everything moves" and "The jin should be generated from the legs". The later was discussed in Forum 11.

During our last work shop in Buffalo, I warned everyone that you would be challenged by "when one part moves everything moves" when you talk about Classical Tai Chi in public Tai Chi gathering. So you better be prepared. First of all, any martial art move depends upon rooting, there will be a nonmoving part of the body attached to the ground to provide the rooting. Only external martial art which uses push off to generate momentum to attack can qualify "everything moves". In addition, some of these rooted moves, the requirement of nonmoving is very dramatic. During one of the Jou Tsung Hwa Birthday Celebration Gathering ( David Brown was there), I demonstrate this point by asking audience to do a leg sweeping move by standing on one foot and sweep the other leg and move their body with it just slightly. I heard many "ouch" sound from the audience. Then they do the same move while keeping the side of the body above the standing foot still. There was no pain in the knee and delivered a much more powerful sweep.

I think you all need to keep this demonstration in your pocket. Because, you will need it in the future.

Stephen Hwa, Ph.D.

One Yin, One Yang

2011-10-03T05:07:00.002-04:00

My own teacher of Classical Tai Chi would probably shrug his shoulders at my revelations here; no big deal, because he knows this already. But at the heart of it, I guess I will always talk as a "westerner" and seemingly be amazed by things, (as his wife Eva has said to me in so many words, we should rue the day when we stop learning) no matter how much Tai Chi I learn.

The Wu Style but more comprehensively Classical Tai Chi talks about "ting jin" and the sensitivity that enables it. Undoubtedly at its finest it picks up even the most subtle sensations of an opponent's movement. Then, I feel there is our ''ting jin", our sensitivity when it comes to our own bodies and our minds. Some would call this self-awareness, self-sensing, somatics, etc. It has become quite well accepted that calming the mind through Meditation can have good effects on one’s body. What has not been well documented, much less accepted is the flip side on how calming the body can have good effects on the mind.

In his book “Uncovering the Treasure”, p. 31, Stephen Hwa makes the case that mind and body have a relationship which proceeds from the initial difficulty of learning and total engagement of body-mind. One is struggling to learn in the beginner’s stage, one has to think about everything they do, one has to memorize the movements. The training then makes a progression toward disengagement of body and mind. One has memorized the movements, one no longer has to think of what comes next or how to do things . So this clearly differs from what the meditative traditions state when they say body and mind are inseparable and stay as “one” during Meditation itself. In one sense Tai Chi is similar to meditation with a starting point of “oneness” of body-mind but in Tai Chi the end result is what might be called disengagement of body-mind.

The result of this disengagement is that the mind, no longer having the difficult tasks to do, can simply monitor sensations of stretching and energy circulation in the body itself. This is where the term “sensation” is joined with the idea of enjoyment; but the idea of sensitivity to sensations along with feedback from sensations is an overall prevailing theme. In Uncovering the Treasure, Dr. Hwa talks about the word "sensation" about 20 times, it is indeed quite important. More than any other style of Tai Chi I studied, Classical Tai Chi teaches one to pick up on these sensations, the subtle signals of the whole body throughout the body, systematically and perseveringly.

In reflecting on this however, it occurs to me there is not only the enjoyment of the sensations of internal energy, there is also dissatisfaction with other sensations in the body. I talk to students about this on occasion both in my studio and Internet Forums. Student's say during the playing of the form and then even afterward they notice areas of their body that are tight, achy, etc. One would call these the negative sensations.

Certainly mind and body are disengaged at advanced levels and one is playing the Tai Chi subconsciously, yet the mind is “still minding the store” by monitoring both enjoyment or satisfaction and dissatisfaction. As some exampIes: I never used to give that much attention to my back, now I know of more areas where it is tight;I notice a plethora of areas in the body where things feel tight, tense, itchy, painful, etc. Then the sensations seem to go beyond the tactile to sight, hearing, smell, etc. Even when I am through practicing, almost as though the mind is still working on a subconscious level, I even have things like increased awareness of hunger, I feel hungrier, sounds seem clearer, lights seem brighter, etc.

There is no doubt in my mind there is a greater diversity of signals on the negative things as well as the positive things; but are the "negatives" really negative, aren't they all just sensations after all? . Haven't we just interrupted the flow of internal energy where mind and body were disengaged; now we find ourselves naming things? I enjoy the sensations of internal energy, immensely. I still sit on the couch, even after 8 years and I do what is called quarter body movement, I do this seemingly without thinking; my wife nudges me, "stop that, it is embarassing".

In understanding what happens when one begins to master the Tai chi however, the one disengages and becomes two; body disengages from mind. When body and mind are thusly disengaged of course we are doing Tai Chi; but what do we "hear" in regard to sensations? We hear of sensations some of which we assign as negative, one is dissatisfied; then there is what we assign as positive or satisfied. Is it not all "sensation" ; whether negative or positive, is there ever only one side to the coin?

When I started Tai Chi in the 70's, we all were kind of trapped in Western hemisphere thinking. Nowdays, parts of Tai Chi which used to be difficult to explain have become easier to explain but which of course many do not believe; mind and body are one, but in Tai Chi they disengage. Nowdays, Buddhist monks come to the West and scientists study them, so the differentiation between East and West is slowly disappearing. In the 70's Rene Descarte's "turf deal" with the church (Cartesian Dualism) was dominating our understanding (we have a mind linked to a soul, which is also independent of our body). That illusion has faded with our study of the meditative “mind controls body” disciplines but what about “body controls mind” disciplines such as Tai Chi.

I taught Tai Chi to Therapists at the Veterans Hospital in Buffalo in the 70's. At that time we were getting the first wave of returning vets from Vietnam; some of those armed service personnel had very serious trauma. They could not begin to relax; some lived in terror and they did not feel safe. What my Tai Chi students only partially realized at the time but what we now seem to know is those vets had sensations of combat imprinted in their bodies too. Scientists tell us now that mind and memory are imprinted on the whole body; their trauma is stored in their whole bodies.

I tend to think our minds note every bit of information that is stored in our bodies, that we are big memory banks. It is truly great to revel in the enjoyment of the "sensations" of internal energy as Master Hwa says. In some ways however, this is a mixed blessing because as I say, we seemingly also get more to complain about with increased sensitivity to all sensations. Take heart that it is a gradual process however, I have experienced it thusly but certainly more intensely with Classical Tai Chi with its emphasis on Internal Discipline.

Why are sensations so intense with Classical Tai Chi? I have done several other styles of Tai Chi and in none of them did I find such intensity. I think this is largely attributable to what is referred to as “one yin, one yang”. As passed on from Wu Chien Chuan to Young Wabu it was the most important instruction he gave: “Every movement in Tai Chi Form has to have 2 complementary sides of the body, a moving part yang and a stationary part yin. When the yin-yang junction is outside the body,the movement is external, when it is inside the body, it is an internal movement”. The profundity of this statement never ceases to amaze me, for the more I can keep still , the deeper I can make that stillness, the movement itself becomes deeper, more intense. This is referred to as "one yin, one yang". With one yin one yang we attain greater and greater levels of intense sensation internally. We refer to intense sensation in the core of the body; the long neglected torso where the internal organs are stored. To reiterate, that is greatly dependent on how much stillness I can achieve which is then coupled with movement This is in sharp contrast to the commonly held notion that we get greater sensation simply from increased movement or being totally Yang.

Iron Island...Needles of Steel

2011-09-15T15:51:00.001-04:00

The church, then funeral home, now "haunted" Iron Island Museum, Buffalo, NY featured on "Ghost Hunters"

Not really an article about Classical Tai Chi,nevertheless it is dedicated to a Classical Tai Chi student John C. and all those folks that suffer from "back ails". John indirectly had asked me about acupuncture and so I felt it only appropriate to tell him of my experience. Here is my defining and I hope the reader will find somewhat humorous moment in acupuncture to the tune of an old Forbes Magazine article called: "The New Old Medicine" by William Flanagan. In it I reminisce about Dr. James Gong (who helped me alot) "Ghost Hunters", Car batteries, Chinese herbal soup and more...

It was a frozen rope cold day in mid January 1987, Buffalo, NY. I thought it was going to hurt but it did not bother me one bit. The bespectacled and kindly face of Dr. James Gong hovered above me as he inserted needles into my lower back around the area of the sacrum that had been bothering me. Other needles were slipped into my arms, shoulders and, strangely, my upper lip.

I remained very relaxed and it seemed to increase. My back and shoulders began to feel a warm sensation like bath water when he hooked the needles to alligator clips. My muscles in back, shoulders, arms began to twich. Oh yes, and the alligator clips were electrodes which were attached to what only could look like mini car batteries. When attached, the devices had a very slight humming noise. "What on earth had made me come here to do this"?...to the Lovejoy Street, Buffalo, NY office of Dr. James Gong, in mid frozen January in Buffalo's Iron Island District.

Then I remembered-how painful my lower back and neck were. Several trips to a Tonawanda Street G.P. , a physical therapist, a chiropractor had failed to produce much relief.

I decided to take another tact and try acupuncture. A Tai Chi student of mine recommended Dr. Gong. I took my car to Lovejoy Street passing four pizza parlors, a Cafe, numerous bars, grocery stores, a drug store , a bank, and other personal businesses. I passed a formerly popular Methodist Church at 998 Lovejoy, which on that day was a funeral home. The funeral parlor long ago donated it to the Iron Island Preservation Society and it is now a museum called "Iron Island Museum". The museum was even featured on the Sci-Fi Channel series Ghost Hunters. The TAPS people believe that ghosts of an older man and woman are part of the Iron Island Museum. Reaching Gong's first floor office in a semi brick home built in 1900, I entered the front door.

Dr. Gong spoke English, but not often. Most of my questions to him were greeted with a friendly chuckle, but I managed to let him know where my back and neck hurt. He hustled me into a room, which was half filled with other men, all in their shorts and with needles sticking out of their backs. He had me lie down on a cot, and went to work. In the next room, I learned, that several women were also getting a treatment. I thought back on what my student had told me and the Forbe's article he had given me. The article had featured that piece "The New Old Medicine" by William G. Flanagan and how much Gong had helped him. Flanagan spoke in glowing terms about Gong after he visited him at his Mott Street, NY City office. He had spoken of Dr. Gong even treating the NY Giants professional football team with acupuncture. He mentioned how Gong had even been flown overseas by wealthy clients in order to treat them.

As I lay there a while, becoming oblivious to the needles and the muscle spasms and the electric current shooting through my arm, I drifted into a dream-like state and of all things fantasized about doing Tai Chi in the old Central Railroad Terminal which was close by. "Really" I asked myself, " while hooked up to a car battery"? I recalll now that not only was the Iron Island Museum featured on Ghost Hunters...it was featured along with the Buffalo Central Railroad Terminal when they were in Buffalo. I remembered in writing this, that the museum is allegedly haunted and that nowdays I could actually now spend the night in the "haunted" museum, maybe even still hooked up to the "car battery"?

There was an incredibly delicious smell coming from what appeared to be the kitchen, "Was that soup he was making?' "This guy treats rich people, and he makes his own soup?" Then I could smell what smelled like ..."Wait, is someone smoking marijuana?" How did I know that...why else...I worked for U.S. Customs at the time. No, I've heard of this, here he comes holding what appears to be a lit cigar. That's moxa and yes he is holding it over the needles on one of the gents on the other table. What a fantasy trip this is, I feel like I've stepped out of time and place.

I had been to another acupuncturist before this. I feel it safe to say not every acupuncturist offers such fantasy trips, soup and beyond along with the price of treatment, of course. Acupuncturists today are as likely to be found on Lovejoy Street in Buffalo as in Chinatown's all over the world, and they are as likely to be Caucasian as Asian. There are probably 10's of thousands of acupuncturists in the country today. A trip through the phone book...excuse me Google will show M.D.'s, DDS, who know acupuncture techniques. Why so? Easy, it is in big demand, but I'll bet only a few of them can give good reasoning why the thing works.

Very gradually I began to rouse from my half sleep reverie and smelled something else. It smelled like the soup was burning. Oh no, I wanted to try some, it smelled wonderful. Then the smell became stronger and I realized it was coming from my room. I managed to lift my head even though the effort was staggering, I was so relaxed, my head felt like it weighed a ton. As I looked to my left I could see smoke coming from one of the throw rugs on the floor. I noticed that his heat lamp had fallen and started to scorch the rug...wait, now there is a small flame.

I started calling, "Dr. Gong, Dr. Gong", I thought I was barely whispering but he began to enter the room. "It's OK", he said, you can all go back to sleep. He went over and stamped out the fire. During this time period, I began to fantasize once again. All I could think of was that I was in my underwear. "What if the fire spread, what if we all had to get up while needles were in our bodies and still attached to electrodes, what if we all had to run out into the frozen snow, into the street, staring at oncoming fire trucks while attached to car batteries with our backs and shoulders twitching like a bunch of demented frogs?"

He came over to me, detached the electrodes and began to remove the needles. With each couple of needles, he began a deep massage with some type of pleasant smelling ointment. That feels really good, this guy really knows his stuff. He gently said, "come on, get dressed, the soup is ready".

Addressing the need for perseverance in Classical Tai Chi

2011-09-07T13:15:00.000-04:00

Last night I watched 2 of my more concientous and persevering students take to the learning of Square Form like "Ducks to Water". What a rewarding experience. I offer this quote:

"Teachers are sort of faced with a thankless task, because no matter how good they are, unless they find a way to personally rationalize the rewards of their effort, nobody else is really going to do it for them en masse." Julius Erving

In a recent conversation with my teacher Master Stephen Hwa, he stated that the problem of student perseverance needed to be addressed. What follows is my humble attempt, mostly based on my personal experience and insight to address the problem. Unfortunately, I do not have any easy solutions, but what I do offer is some analysis and insight into what constitutes the problem. I organize the analysis around what I feel is a persistent symptom of the lack of perseverance which is as follows:

That is the rationalizations over training or not training that students engage in on what often seems like a constant basis to this teacher. I have a feeling that if students can recognize their own urge to rationalize their lack of practice, absence from class, etc., then they can at least head off some of the impulse they have to not persevere in the discipline. On the other hand a rewarding facet of Classical Tai Chi training is that it is indeed subject to such rationalizations. One can learn to deepen their practice and since Tai Chi is indeed a meditation in motion a student can learn to recognize them just as they would in any other meditation practice. Rationalizations, emotions, thoughts, fantasies, quasi-logic, insights will all come to the surface during consistent and deep practice of the Classical Tai Chi and it is part of the mediation process for the student to not only recognize them but to detach themselves.

Classical Tai chi essentially is a self-discipline, of both body and mind. Its practice is not intended only for the days when one feels good, inspired, awake, enthusiastic, or energetic. Classical Tai Chi is meant to be practiced through everything that life offers up. Consistent daily practice is the only way to progress through Tai Chi's many stages of personal development. Whether one is financially burdened, responsibility laden, busy, sick, worried, sad, injured, tired, or even indifferent, the discipline calls us into that present moment to face life’s constant changes.

The mind will always provide opportunities to rationalize not engaging in practice. In other words, one must persevere to practice in spite of lack of motivation. Master Hwa has always stressed the importance of consistency and perseverance. Through his decades of experience, he knows as do I that the Tai Chi is not only a tool to face difficulties in life, but also a way to create the capacity and potential for growth. In tough times, when it becomes actually easier for one to hone the ability to make rationalizations/excuses, a steady practice can make a huge difference. I advise students to come to class, take off their shoes, begin their practice, and see where this leads. This teaches not only discipline, but detachment. Detachment, equanimity, grace under pressure...all rewarding things that can come from perseverance in spite of adversity.

Self-discipline, like many other qualities, must be cultivated. Progress in learning the Tai Chi forms is accomplished through sustained effort. There are no shortcuts. The truest essence of Tai Chi is not in any outward physical manifestations, but rather in the deeper, more subtle and profound physical and mental internal changes. These are gained only through meeting the challenges that a daily practice reveals. Except that I see many, many students over the years who tell me they rationalize such challenges as mountainous, when actually they become molehills if one can persevere with practice. After all one of the eventual goals of learning Tai Chi are: Using internal movement to direct external motion.

I even have conscientous and devoted students still studying who tell me they cannot wait till they retire from their jobs so they can devote time to learning Tai Chi. On the other hand people have come and gone who have said: "but, I cannot come to class, I have (insert responsibility)". "But, I did not study, I have... so what's the point of coming to class", "but I came to Tai Chi and expected this and I did not get it, so why should I come to class", "but the teacher is too meticulous, I just want to do it", etc., etc. So then they end up quitting entirely in spite of their protestations that they "will continue study on their own".

It is not learned in a vacuum, you need almost constant input from a teacher, preferably in person. Beginning students not only need steady input from a teacher but they need nurturing (yes, much like growing anything from plants to children) over the first 3 years and some cases perhaps 5 years. Now if you truthfully are so disciplined that you feel you can study on your own, there is no reason why you cannot come to class if there is one near you. My weekly trips to Toronto to learn , encompassed hundreds of miles per week for study and in the face of the adversity and responsibility, some of which I still have.

I understand completely and I empathize, please do not say that I do not. Before I retired, I raised children, cared for a spouse, cared for 3 dogs, other family, worked for U.S. Customs before and after 9/11, taught Tai Chi at 3, sometimes 4 different locations , traveled to Toronto for lessons, ran a studio in Buffalo, NY. I did these in conjunction with each other and I had my own practice. As the saying goes, I needed my practice even more, sometimes very much more to "consolidate the input" from all these other stressors. So, I do understand, and that in contradiction to people who say or imply that I don't. I do not contradict them however as to the veracity of their responsibilities.

However, had I waited to have such time as I do now before I began or continued with Tai Chi would waiting for a "but" that will never come. As some have said: "it is like being a person waiting for the ocean to calm before going to take a bath in it".

Don't get me wrong here. I am not the proverbial man with a stick who "whacks" someone if they do not come to class or study. Nor am I the confessor that will tell you to "go and sin no more" for not coming to class or practicing. I once had a clinical psychologist in class who after his initial interest wore off seemed to have a different excuse (he jokingly called it "rationaizations") each week for why he did not do this, or do that. Finally, I told him: "I tell everyone this and that is that the emotion of guilt is no help whatsoever in learning this". I'm pretty sure most folks who come and go whether long time or short get to the guilt stage. It has been said that one reaches the guilt stage when they run out of excuses/"rationalizations". Or as the psychologist would say "rationalizations for not coming or practicing". Some run through the rationalizations faster than others. Here's a "confession": I stuck with it sometimes because I got tired of feeling guilty. I told myself, "if you feel that bad for not doing it, then you must really need it". Believe me, I do understand but I'm not going to feel guilty with you. I learned to recognize my rationalizations and detach myself from them, but that only comes with continuing the Tai Chi.

It does give you a "look inside" yourself, doesn't it? I have a suspicion over these many years of seeing a "revolving door" of students, that people do not like what they see sometimes, don't want to see anything deeper and find it easier to rationalize, feel guilty then...

Acquisition of Skill in Tai Chi

2011-08-28T08:41:00.000-04:00

Short Video Master Stephen Hwa Intensive Workshop at Buffalo State College, July 9, 10, 2011

Well, our vacation was "Irened" out as the state DEC called us and said that our reservation in the Adirondacks was cancelled...the campgrounds will be closed. Rick Matz tells me not to worry because being retired from the U.S. Customs Service, means I am always on vacation. So, while on "permanent" vacation I write....

This is only conjecture and opinion on my part because I have no hard statistics to back it up but I am trying to make another point here:

My own teacher states that Young Wabu was dominated by Wu Chien Chuan when they met and "compared" skills. See this link to Young Wabu autobiography. You should also take a look at this link because it is part of what I say here. 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) I wonder how much the next generation got? Mathematics are at play here so I seriously doubt if he passed on "all" of his skill. My guess is a smaller percentage of skill acquisition for the next generation. Young studied personally with Wu at Young's house and this training went on for several years. Young later worked at honing the skills he gained by continuing to practice and teach his own students. I would guess however, that in all humility he would tell you that he did not have "all" Wu's skills. I'm sure Stephen Hwa in all humility would tell you he did not gain all of Young Wabu's skills. I feel the same...

So then we have several generations later and I would guess the skill level is another fraction of what the generation after WCC attained. To complicate things further and as do I and other teachers of Classical Tai Chi experience, we will always see those students who are only give us a 1 - 3 year attention span and who do not apply themselves at home. If they are not staying longer one asks were they even capable of going longer than a one year maybe 3 year attention span? How much can we even pass on to them (of our own limited skills acquisition).

I saw much in the way of Tai Chi "dance" performed at World Tai Chi Day for about 5 years. I saw these "dances" done by what are presumably long time practitioners, but it is not Tai Chi. One student I talk to called it "Geriatric Tai Chi", I continued with "Paint by Numbers Geriatric Tai Chi". It is obvious where the "skills" went there...never there to begin with. I have also had my own share of 1-3 week, 1-3 month and 1-3 year attention span students, how much of even the curriculum can I pass on to them, to say nothing of skill? Yet, scores of books, DVD's purport to pass on Tai Chi curriculum...but in 'easy' lessons? If it is "easy", how is it rigorous enough to gain any skill, even if we forfeit the question of limited attention span?

Students leave after weeks, months and years, seemingly one might say in that "1 -3 range". I never hear from them again. I have a feeling they believe they can do it on their own. I have never believed that. I also seriously doubt that their "skill" level is increasing on their own and that they just fool themselves. In over 30 years of teaching I have only met one person named Tom Kostusiak who "came back" after studying with me for many years and stopping lessons. Tom is a very humble guy and will be the first to tell you that he even lost skills when he stayed away from lessons. He was very grateful when I personally introduced him to Master Stephen Hwa, get the DVD set and resume study. Even with the DVD, Tom will tell you that he wishes he could attend lots more lessons but his work schedule and being out of town prevents it.

The DVD series is really good, it is very rigorous but it cannot perform a critique of a student. My teacher knows this and has gone out of his way and at his own expense to make himself available all around the country. I can only hope to emulate my teacher and so I have offered to do that as well when I travel. We recently held an intensive workshop that was taught by Master Stephen Hwa and folks came from as far away as France. I also made myself available before hours and held additional intensive workshops for those that could make it. I did this in my own studio and the beautiful Japanese Gardens near Buffalo State College and the workshop.

I tell students to make doubly sure they take even a seemingly "simple" correction to heart, even if it is just one correction...it will make a big difference in the long run. In light of that, I don't like to give additional corrections if I see that a student has not applied themselves to the first one. Here's an example: Classical Tai Chi requires that a foot be solidly planted before shifting weight to it, all students have problems with this one...and also tend to give short shrift to it. I see students who study for the "1 -3" who still have the problem after I give a correction...even after a year or two. In that regard, I gave a brief stepping and weighting correction to Dr. Mark Thomasson, DDS some time ago. Mark is the fellow in the video who is asking the question. I was very happy to see that he took it to heart. To top it off, his ability to learn push hands increased from buckling down to just that one correction. Note I did not give Mark "more curriculum", I gave him a correction, he took it to heart and his skill level increased.

Even in light of the DVD's and such workshops, how much skill can students hope to acquire, particularly if they do not apply themselves like Mark did? Classical Tai Chi does not have a huge curriculum, you will not see such things as weapons, 30 kinds of push hands training, Tai Chi Fan, etc. I studied with other teachers before who had big curriculums but I also saw that students skill levels were not "big". An overwhelming curriculum is certainly no guarantee that students will gain more than a fraction of their teacher's skill...how could it be? I also saw that each and every student was not being taught by the Master personally, in some cases the teacher was not there to even teach the class. How can one gain skill from the teacher if the teacher is not there? Yet, I get statements from students who say they (in so many words) doubt the efficacy of DVD's as a teaching tool.

Given the problems associated with getting personal attention from a high caliber teacher, what else is there available? My teacher feels that DVD's and particularly with new technology offer good opportunity for students to constantly watch and replay what he does. I agree when he says that it is like having a teacher for private lessons, much like Young experienced when Wu came to the house. In addition, he provides an incredible amount of rationale for what he teaches. I met no one before him who would deign to do that. I doubt if Young Wabu asked Wu, "Could you show that to me 20 times, Master Wu?" One could not get any teacher to repeat a move 20, 30 times, could they? Even so and in addition to being able to play the DVD dozens of times, my teacher Stephen Hwa still offers practitioners the opportunity to make DVD's of their form and submit it for critique. Why don't more people do this? Perhaps it is that "attention span phenomenon" that is at play? My teacher laughs when I say: "Even with the DVD, someone still has to get up off the couch and put it in the tray".

So I say to myself: Chances are we won't be up to our chins in skilled "easy" Tai Chi practitioners. One has to ask, will we be up to our chins in skilled Classical Tai Chi practitioners, which always asks that study be more rigorous? My point? The "math" works against you as it is, if you don't apply yourself and ask for critique, (even in email, Facebook, Blog, Yahoo email group, etc. ) particularly if your teacher is "out of town", think how problems associated with skill acquisition will increase...one might say it is inevitable.

Breathing Qigong and Tai Chi

2011-08-07T12:21:00.002-04:00

Round Form viewable at 2:20 of this video

The Tai Chi Classics say : “If the ch’I is dispersed, then it is not stored and is easy to scatter. Let the ch’I penetrate the spine and the inhalation and exhalation be smooth and unimpeded throughout the entire body”.

I tell all students who wish to attend classes to view my website. I require that they learn “2 silk reeling exercises and basic walking” as it is outlined here on my website. I should add that I ask all interested students to learn 2 silk reeling exercises and basic walking before being admitted to class. I explain the reasoning why students should study rather than merely “viewing the videos". I believe you can see the rationale and reasoning why we want serious students:

It is the entrance examination and a student must pass it for admission to class.
It is useful for determining how serious a student is about study.
It is useful for the student to determine if they are capable of doing the study.
It is useful for the student to see if they like it.

It is useful because only a limited number of students can be taught due to a very small studio space. Now I have to change the subject, make a change of course, get back to the title of this blog and discuss the insertion of breathing qigong into the Tai Chi form:

I do this because it is a perennial question.
I do this because of student's concern with breathing in Tai Chi
I do this because there is a prevalent thesis that one must always breathe in and out in conjunction with each and every movement while doing Tai Chi .
I find that students reach conclusions from viewing the videos that we were breathing incorrectly.
I also list numerous book references below where there is a lot of emphasis on insinuating some form of breathing qigong into the learning of Tai Chi.

In “A Last Interview with Fu Zhong Wen”, 1994 in Tai Chi Magazine, he said natural breathing is used during practice. “When we talk about qi (ch’i) it is not the breath that we breathe, it is the internal qi that is being moved. The breath is not concentrated on during the form,( he said) the breath is just natural. If you concentrate on the qi (as breath), you can’t concentrate on the movements. You have to concentrate on your energy (internal) .”

Fu Zhong Wen is obvious on what his position on breathing is. In light of these types of arguments and their prevalence, it is my feeling that the debate about breathing will rage on forever. It will go on in both a “my style vs. your style” format and in an "I'm right and you are wrong" format as well. We can begin the discussion in Uncovering the Treasure, Stephen Hwa, p. 98: “One should not try to incorporate breathing qigong into Tai Chi…after all Classical Tai Chi itself is a much better motion induced qigong than breathing qigong”.

Here is the reasoning why breathing qigong is not a one size fits all discipline. If you will please take a look at the Compact (Round Form) video above:
You can readily see the complexity and various planes on which the motion occurs.
How one could view this and then develop a thesis about incorrect breathing is perplexing.
I put it to the reader: Ask yourself at what point would one decide where they should breathe in or out?
How would insinuating some form of breathing qigong not interrupt the internal energy?
There is also the concern that all beginners should drop their previous learning (not an empty request).
Why is this?
Unless the study is going to be limited in its curriculum there is going to be a lot on their mind right from the very start.
Why then would one want to add concern with how to breathe to an already busy mind?

In the Compact form above, Master Hwa is probably going at an “10 minute to do 108” pace which is somewhat rapid. It is particularly rapid compared to practitioners who take say “40 minutes to do 108” and also state that they insinuate various breathing qigongs into their form. In order for me to insert the breathing that students suggest to me, one would undoubtedly hyperventilate. I speak of course of attempting to insert qigong breathing techniques into even the 10 minute round form that Master Hwa is doing. One can only painfully visualize how one might blackout at that pace with those artificlal breathing standards. One can only imagine what might happen at a 4 minute or 3 minute pace that the “tight” Compact Form calls for and using such breathing demands.

By the way what is the point in trying to improve your breathing by forcibly taking a longer inhale and exhale in Tai Chi as some teachers recommend? If you want to breathe deeper, refrain from slouching and simply straighten the torso by allowing your head to stretch up at the neck…you will breathe deeper once you do that. Besides, it is the classical way to learn Tai Chi, one stretches the head up as though it was suspended from above, chin tucked in as well. In forcibly trying to extend the breath or insinuating the breathing qigong into Tai Chi, the flow of internal energy will undoubtedly be disturbed. Why would one want to do this when by breathing naturally in Tai Chi there is so much to enjoy with the flow of qi in an otherwise relaxed body?

References:

The Inner Structure of Tai Chi: Mastering the Classic Forms of Tai Chi Chi Kung By Mantak Chia,p. 199

Physical activity instruction of older adults By C. Jessie Jones, Debra J. Rose, p. 236

The complete book of Tai Chi Chuan: ... By Wong Kiew Kit, p. 76

Stay Young With Tai Chi: By Ellae Elinwood p. 61

Handbook of T'Ai Chi Ch'Uan Exercises By Fuxing Zhang, p. 17

T'ai Chi for Seniors, Sifu Philip Bonifonte, p. 51

The true cause of "double weighting"

2011-07-17T11:15:00.000-04:00

The Tai Chi Classics say: “Anyone who has spent years of practice and still cannot neutralize, and is always controlled by his opponent,has not apprehended the fault of double-weightedness. To avoid this fault one must distinguish yin from yang.”

A student recently stated: “You are standing double-weighted”. This is not the first time that a student has said this to me and their observations were incorrect. This bears out the statement by my teacher Master Stephen Hwa: “sometimes the appearance of reality is actually an illusion”.He continues by saying “My students in class often told me that they thought I was moving certain way and try to do the same. Later they found out that their observation was not correct. That was the reason I incorporated different views in my video so you could see my moves at different angles to lessen the chance of wrong impression. Using a fresh eye to review the lesson video could also uncover any misinterpretation of my movements. The other thing to remember is “you perceive that you are moving a certain way, but in fact, you are not moving that way.”

In meeting this student,I watched his Tai Chi form and his standing still. At one point, the student asked me to correct his stance, he then took the opportunity to “correct” mine. I observed from several different angles that he would stand and move with a step size of three foot lengths and more, (this is typically a large frame stance). In addition, I observed that he used a pushing motion to shift his weight and in the “sitback” posture would not work to obtain a “crease” in the front of the trousers at the pelvic area. He actually would sitback in a perfectly perpendicular stance, typical of large frame tai chi.

Typically, I will stand in either a Compact or Tight-compact form with the step size ranging from one and a half foot lengths to two and a half foot lengths. The photo above illustrates this step size. From a view that is looking down at the feet ( the only angle from where the practitioner was looking) it may appear that the feet are double weighted, particularly to a beginner. This however is one of the very important advantages of the Classical Tai Chi footwork. It is indeed hard to determine where the practitioner’s weight is, that is also a very important strategic advantage. From these compact positions I can lift either foot in a split second, a great advantage for speed and fluidity.

In thinking about this article, I decided to research the term “double weighted” in numerous books which I list below. After sifting through all of them, one thing began to stand out and that was their ignorance of their own limitations. In every case the author makes a claim that a student can become aware of their own weight distribution and work to correct double weighting. The common thread in all theses is that “double-weighting” occurs at a moment in time when the weight is equal on two sides of the body.

They ascertain what they think double weighting looks like but what they fail to ascertain however is the root cause of the double weighting. The root cause of double weighting is the “pushing from the back foot” in going forward and “push from the front foot” in going backward in a large frame that the vast majority of practitioner’s engage in while moving. The root cause I speak of is a direct result of this pushing because both feet are literally glued/frozen to the ground until the act of pushing is completed. A foot that is stuck to the ground, cannot be picked up and moved…hence the stance is double weighted.

As I observed in the student’s own stance in performing the Tai Chi form and stance in push hands, the root cause comes from a large frame stance. The act of pushing is also a built in facet of large frame stances, in other words, large frame has to push in order to move…it cannot use the feet to pull. The pull in those stances is ineffectual simply because the larger size of the stance inhibits the act of pulling. To compound the ignorance, practitioner’s of large frame insist that they are doing an “internal” art when what they are really doing is external. It takes no internal movement of the core to push with the back leg, if that were true then the everyday act of walking would intrinsically be an internal martial art. Walking defined by one author as the act of controlled falling because of all the momentum one has to generate in order to keep thrusting one leg in front of another. This done not only to move but to stay erect while moving.

On the contrary, one can make the act of everyday walking into an internal art by adapting the Classical Tai Chi walk with its important characteristics of 1.) Using a “pull” walking motion, 2.) Keeping the body center of gravity under control, not allowing it to fall forward as defined as normal walking (we must eschew the act of controlled “falling”), 3.) Body weight stays back until foot (whether in front or back) is flat on the ground, then one pulls…one does not land the foot either on the heel or toe.

I find it interesting that some really good information on double weighting came from my teacher’s own book: “Uncovering the Treasure” by Stephen Hwa. The information comes from subjects in the book however that large frame practitioner’s would never associate with double weighting…namely the subject of “pushing”. PP., 48, 103 and 122 will find the use of the word “pushing” associated with double weightedness.

P. 122: If you wish to stick to an opponent, you cannot push with the back or front foot and expect to be fluid enough to follow their movement. The act of pushing will always lead to double weight.

P. 103: One can certainly generate (jin or even fa jin) force from a pushing leg in a large frame, but it still leads inevitably to a double weight situation.

P. 48: Back foot pushing as front foot lands on heel is a major contributor to slps and falls and in that situation the stance is double weighted.

Actually, if one wishes to "push" an opponent, it is best done with the front foot off the ground so that the pushing force goes directly into the opponent not to the ground to be double weighted. As my teacher says, "pushing is always strongest in the upward direction, look at what track and field sprinters do before starting...they crouch".

My references include:

Arthur Orawski in : Tai Chi a personal learning experience, pg. 1165, 1996

Ray Pawlett in The Tai Chi Handbook, pg. 83

Lawrence Galante in Tai Chi, The Supreme Ultimate, pg. 83

Additional “double weighted” references:

Black Belt Magazine October 1987 article by Wei Lun Huang

The Essential Movements of Tai Chi”, p. 24, John Kotsias

The Tai Chi Book, p. 36 Robert Chuckrow

Additional references:

Complete Tai Chi, p. 87 Alfred Huang

Hwa yu tai chi, p. 80, Glenn Newth

Gateway to the Miraculous, p.115 by Wolfe Lowenthal

Sunrise Tai Chi, p. 6, Ramel Rones

Having sufficient light and heat to find "Treasure" in Classical Tai Chi

2011-06-20T11:49:00.000-04:00

Plutarch said: "The mind is not a vessel to be filled, but a fire to be ignighted".

"Education is not the filling of a pail, but the lighting of a fire". William Butler Yeats

Regarding finding treasure, I can only relate in my own fashion what my teacher has told me:

The lighting of an educational "fire" for light and heat to gain "treasure" can be fraught with problems : There can be many causes of this. Admittedly students like the wood are "green", and it will be harder to get it to 'catch'. If not enough starting material such as paper or in the case of Classical Tai Chi things like "silk reeling","basic walking" is used, it won't generate enough heat to get the fire going. Putting pieces of wood that are too large such as forging ahead too far too fast,, in the form on one's own, soon smothers the fire and it will die. If the fire is arranged so that air cannot get up through the wood,or one has built a "spaghetti like learning structure" as I outline below it will likely sputter and die.

My teacher has said: "Silk reeling exercise is encouraged for not so advanced students so that they can experience some internal energy flow rather quickly. For advanced students who can play the form with ever move using internal discipline, silk reeling exercise is no longer necessary, since the entire Form practice is a complex silk reeling exercise with internal flow continuing without stop from beginning to the end."

As I see it: The problem with learning too much of the form before "silk reeling" is like putting too much wood on a fire that has not really been burning for very long.

There was a student back in 2005 that purchased the DVD, Vol. 2 and did not purchase Vol. 1, Overview. He stated at the time that he felt he should get input from every possible source rather than confining himself to one commitment. He would continually say things that made it crystal clear he did not understand the overall structure, rationale and goals of Classical Tai Chi. My teacher addressed that in an email to him because he said he did not feel it was necessary to view the "Overview DVD Vol. 1":

Master hwa said: "I think if you have studied vol 1 Overview, it will be much clear,to you the overall structure, rational and goal of learning Classical Tai Chi. Vol 2 Form Instruction is teaching details. It will take a while learning individual trees before you can see the forest."

The only thing this student seemed to accomplish was to be "lost". He seemed to want to clutter himself with too much information as fast as possible. The problem with "clutter" is that one cannot see the forest for the trees as my teacher says...the way is not clear. In the early stages of learning one needs direct pathways to find stuff...I refer to the establishment of "neural pathways" in the brain.

Why burden oneself, complicate things with "neural paths" that resemble nothing better than a giant plate of noodles, with no starting point or end? The same holds true for starting on Vol. 2 DVD before viewing Vol. 1 Overview. That would be like buying a map that resembled a plate of noodles.

It also occurs to me that folks don't much like my telling them how to get their learning organized, to get the "neural paths" in order. Cetainly, my aim is not to force anyone to do things right, it can be frustrating to students if viewed that way. However, I've seen too many students that aim too high or burden themselves with all the wrong concerns. Remember, the ignition of a fire cannot be rushed, it takes proper structure time and patience....and there is a distinct rationale to reaching that goal.

"Back to Basics"

2011-06-15T06:49:00.000-04:00

Young Wabu and Master Wu Chien Chuan

"When you have something that works well, why complicate it?"

The study of Kata cuts across all martial arts and Classical Tai Chi is no exception. In Tai Chi of course, the term Form is most often used instead of Kata. Prof. Geoff Lane of the Danzan Ryu JuJitsu system has written an article entitled "Back to Basics" which can be found here: Back to Basics.

In the article Lane pays tribute to Grandmaster Young Wabu's devotion and adherence to fundamental principles. I include the excerpt here:

"Another martial artist I was very fortunate to meet with a similar quality was Linyi Maslin's father: Master Wabu Young, a Tai Chi master. He studied in Hong Kong under Master Wu Chien Chuan in the 30's after he came to Hong Kong from Shanghai to escape the Japanese. He spent his whole life perfecting one kata. Doing it square, round, regular and mirror image, fast and slow, large and small...the basics...doing the same Tai Chi form for 70 years. He passed away in 2004 (correction: note that Grand Master Young Wabu passed away on April 18, 2005 at the age of 101 in Rochester, NY), dying a "typical Zen Master's death (but that's another story), exuding power and grace to the end. The basics served him well. When you have something that works well, why complicate it?"

Professor Geoff Lane teaches jujitsu at the Nibukikan in Chico, California. Grand Master Young Wabu's daughter Lin-Yi Maslin also teaches Wu Style Tai Chi at the Nibukikan.

Learning "stages" and "curve" in Classical Tai Chi

2011-06-09T18:05:00.000-04:00

My student Barry knows the travails of “forget” when it comes to his training in external martial arts. He has trained many years in a form of Karate to the level of a high ranking Black Belt. He is also a defensive training officer for the Government. Barry made good progress these past 2 years with the form and one can see he can go through much of it without thinking of what comes next.

Note: This is really what comprises the 1^st stage of learning Classical Tai Chi, wherein one can do the form in all the right directions.

What is really next for 2^nd stage is correct hand position, then 3^rd is timing and finally 4^th is integration of internal discipline. Barry feels chagrined about some things I mention but what I see is somewhat normal for the stage of learning he is at. In some respect that is that he holds his arms very close and tight (like a compact form with no internal discipline). That seems to create tension and compression of arms, one can see scrunching at the shoulders, tensing the neck. It appears he does not stretch at the shoulder, for that matter he keeps the wrong angles of arms for postures.

Barry’s learning, scrunching, tension is not very different from other students who are at the same stage. However, they all, including Barry are more advanced than they think. Specifically, they do have internal discipline in the major movements, I can see core moving and engaging with the arms. My own teacher, Master Stephen Hwa touches on this “learning curve” in an email that I include here. So I thought about this some more and read pages 72 and 73 of “Uncovering the Treasure” (link to the book on this page). This is where the discussion gets into whether arm leads core or vice versa. I must say I got some inspiration for teaching him from this.

Note: In some regard, I find that this is a situation where he truly needs to learn how to use his arms, which is clear to see falls into the realm of the 2^nd stage…learning correct hand position.

Now I spend a little more time with him doing repetitions of movements and pay particular attention to whether he is stretching at shoulder and keeping elbow down and not “chicken wing” the elbow out to the side. This seems to alleviate the scrunching and tightening at neck and shoulders. I am also doing this with my other students who started at the same time as Barry. By encouraging him to stretch from shoulder, one can see the proper angles and hand positions improving as well.

After I sent an email to my own teacher on this subject, I recalled his narrative about his student Ernie and how his concentration on relaxing shoulder actually did not work because he was thinking about it too much. I include this link to the Tai Chi Forums (just click) and you just search for Forum 14, do a search for the word “shoulder”.

Although Barry is not really ready for push hands, I thought the "solo" of that movement might be of some use. I see now that doing that solo push hands movement where one can stretch at the shoulder appeals to him. He seems to take to it naturally because of his Karate background . My telling him to stretch did not make much impression, however having him do the one person part solo of push hands seems somewhat intuitive for him.

He does not show scrunching when he does that. So now time will tell if he makes that "transfer" to stretch shoulder lightly, keep elbow down to the rest of the form.

Email from Master Stephen Hwa: Jim: I am teaching a group of not young people here (he is enjoying the wonderful climate in Florida after many years living in snow country). I do not expect them to really learn the whole form. So I started them on some of the silk reeling exercise including the "moving arm up while engaging the core". It is a hit to everyone. They love it. I know this is an upside down approach. But, if they enjoy it and getting somethng out of it. Why not? With our methodology of teaching this move, we do not need to follow the old tradition which teaches this only after ten years of tai chi training!

Now a day one needs to keep student's interest otherwise they leave. Learning this kind of internal movement seems really appreciated by even the beginners.

"FORGET the deeply ingrained external martial arts, in order to switch..."

2011-06-07T12:58:00.000-04:00

Someone arrived in the studio and I said "How can I help you?" "I saw your web page and I see that you teach Tai Chi". "You studied other martial arts?" I asked. "I studied Wu Style for some time, I stopped, but I want to start again." I asked her to demonstrate some of the Tai Chi that she knew and she refused. "I don't remember it very well" she said.

"Do you realize you will have to unlearn all you have learned and start over again?" I asked. "No," She said.

"Let me relate what my teacher Master Stephen Hwa says about his teacher's experience with the founder of Wu Style Tai Chi." I said. Biography of Grand Master Young Wabu

"Now, you understand the point?" "Yes," she said. "You want me to empty my head of old knowledge and old habits so I will be open to new learning."

"Exactly," I said

Later, she told me that she had to quit after the 3rd lesson. "Why?" I asked. "When I did Wu Style, my teacher did not do it like you are teaching it."

"By the way, did you forget what you agreed to?" I said.

"No." She said.

"That is why you quit, you just cannot forget." I said.

3. Hand Strums the Lute 手揮琵琶 Shǒu huī pípá

2011-06-04T19:19:00.000-04:00

The pípá or the Lute as a stringed instrument is held in a vertical manner in front of the body. You can see the position of the hands in this video. Liu Fang plays the PiPa
In Classical Tai Chi "strumming the lute" can be applied to the opponents arm (which presumably is the "lute" or "pipa"). Noticing the foot position of Master Hwa's feet however shows him sitting back with the front foot pointing up. From that position he can kick, stomp, step on the opponents foot, step behind the opponents foot, etc. His front foot is free to move, with no weight on it, it can be fluid.

With one hand facing down and one hand facing up, the equal and opposite force can be applied to an opponents arm, the opponents arm can be grasped between the opposite palms, the opponents arm can be encircled. From that position his arm can be jammed back into him, it can be pulled down, pushed down, one can attack the opponents neck with the fingers of the front palm, etc.

The word Shǒu means hand, the word huī can mean "wielding", "waving" or even "wiping away". The character 揮 has one part that means hand and the other means chariots and an army division (but the chariot character is significant for its other part that involves rolling, revolving or crushing) .

I think the full implication of the character can be interpreted for Tai Chi purposes as wielding (holding) the opponents arm. However, the act of wielding here is not limited to traditional thought of how to hold something, except for the fact that the hands have to act in an equal and opposite manner. One could hold something for instance by encircling it with one's arms in that position, etc.

In the round form, Master Hwa states that the right hand dips down in a quarter body movement which he refers to as a "block". From that quarter body movement it works into a combination of internal movements. Whether square form or round form however, it is really noted as starting from its "sitback" position.

There are complex foot movements used to transition to this posture and I often see beginners forgetting to pay attention to the demands of the legs and feet.
When you turn the left foot to the right, it is quite common to forget to turn it 90 degrees, I sometimes see students only turning 75 degrees or even less, that failure will affect the upcoming posture adversely.
Learn to shift the weight to the left leg smoothly using internal discipline from the core.
The pulling down of the right elbow should eventually be internal.
When you make a chopping motion to the right, keep it at head level.
When you lift the right hip and draw the right heel up, do not stand up by flexing the left knee and rising.
Don't pull back your right arm and hand when you rotate 90 degrees to the right.
Check to make sure your feet are parallel.
There is important timing to be aware of as you bring left arm and right foot on a shift to the right...the left hand arrives at the right wrist as the right foot extends onto the heel...both have made a slight shift to the right in mid air.
Be aware that there is also implication for the transition move as a tremendous application in itself or even combination of applications...it is very dynamic in its own right. As Master Hwa says, the right hand rising can be used to jab the underside of the opponents neck. The left arm can be used to ji or press into an opponent as the left foot encircles the opponents leg, etc.

倾斜 Weight distribution in Classical Tai Chi

2011-05-23T15:03:00.000-04:00

Tai Chi Walk

Michael wrote that he recently purchased Master Hwa's DVD series and has some questions about "leaning", weight distribution, Tai Chi Classics, and Yin and Yang:

"As i watched the video more intently, i'm being drawn to the movement of the lower limbs ie. from the hips down. Can i assume that master hwa advocates the separation of ying-yang footing i.e. 100% weight on one leg and the other 0%, in all postures (except the end of single whip)? Whilst i understand the weight shifting from one posture to another - i'm interested to know the weight distribution e.g. brush knee twist step at the end. Is it 100% in the front leg and the back leg is insubstantial? i'm studying the classics by zhang sang feng and it was mentioned that one should not lean on any sides. i would intepret this as leaning forward, backward, or at the sides - but if there is 100% weight on one leg, i do assume that there is a leaning force involve? "

In Classical Tai Chi my teacher Master Stephen Hwa explains the principles of movement (the how and why) in terms of Yin and Yang. This is explained in detail in the: DVD series, Yahoo Email Group, Classical Tai Chi Forum, Classical Tai Chi Website (Table of Contents for DVD). He also explains the principles in terms of "body weight distribution". When one moves they do not let their weight "distribute" itself in an out of control manner. This is a grievous error and can have both health and martial consequences.

This is illustrated in the Tai Chi Walk as seen in the attached video link to Youtube. When one takes a step forward in Classical Tai Chi the weight stays 100% on the back foot until the front foot is flat on the ground 0%. The practitioner will then pull the body forward till the body weight 100% is on the front foot with the back foot becoming 0%. The body weight distribution is both dynamic, fluid and continuous through all postures with no exception.

An understanding of "leaning" in Classical Tai Chi should encompass the thought that one should take the Tai Chi Classics with the proverbial "grain of salt". The Classics are as Master Hwa has said and are "attributed to various authors". Regardless of who wrote them, we did not hear of them until Wu Yu Xiang "found them in a Salt Shop". The Classics for one do not specify what they mean by "lean". Did the mystical Zhang Sanfeng mean don't lean at all, don't lean too much, etc? Then there is definition: 倾斜 is better defined as "incline, tip, bias, slope, etc. I'm not fluent in Chinese but even I cannot find "lean" defined as "incline" in Chinese. Lean in Chinese is more like "thin" as in a lean piece of meat. I like "incline" better than "lean" for Tai Chi terms etc. and in pinyin one says "Qingxie".

There is usage of the term "incline" in the Wu Family Gold Book as elucidated by Grandmaster Wu Kung Cho. What he means is do not "incline" by breaking at the waist. You see a lot of "breaking at the waist" in some styles of Tai Chi, it is painful to watch. Master Hwa does use the term "lean". In his explanation, he makes it work in English where "incline" would not. He does not caution against it as does Zhang Sanfeng, on the contrary he tells us how and why we need to do it. It is discussed in detail on page 56 of his treatise in the book "Uncovering the Treasure". I think there is a key point there in regard to not "breaking at the waist" when he says: "The head, the body and the back leg form a straight line in the lean forward". With that in mind one can readily see that breaking at the waist would break the straight line and any energy flow.

To sum it up, I think that the Classics while having some key insights are often filled with "contrariness" and can be very cryptic. I would therefore not attribute deviation in basic principles of Classical Tai Chi to what are often contrary statement in the Tai Chi Classics...hence "take it with a grain of salt".

提手上勢 Tí shǒu shàng shì 2. Raise Hands

2011-05-03T05:45:00.000-04:00

“Raise Hands” is a form that is done while standing on one leg while raising both arms. The script tells us a little more if we look at the character 提 or Tí. A dictionary definition of Tí says it is a verb which means “carry in the hand (with the arm down). I think the implication here is one of raising something that has some weight. The first part of the character for Tí is a verb for “hand” but the second character 手shǒu is a noun. 上shàng is defined as “go upwards” and with 勢shì is “go upward with strength or skill”.

The idea that we are raising our hands up as though they are weighted is important here. In fact the whole series of characters suggests that something of weight should be raised with power. It is also very interesting that the instructions for square form of this posture first state the importance of moving the arms while keeping the body still. The Yin-Yang junction is once again at the waist with the moving part (Yang) being the upper torso and the stationary part (Yin) being below the waist.

Along the same lines, I think everyone would agree that picking up anything such thing as a weighted object with the hands would cause the other portions of the body to move. In our form practice we of course are not lifting an object, we are just lifting our arms with the hands open and empty. Nevertheless we are still instructed here to lift as though lifting something of weight. How is this possible if there is nothing in the hands?

For this we have to look to the “Round Form” and the internal discipline, our internal physical movement involving the core of the body.

· Of course we must tuck in the tailbone

· Have our elbows down

· Stand with body aligned

· Use “Yi” to lift the arms

· The movement uses “internal discipline” from the waist to lift the arms, keeping the knees bent and do not stand up.

· The feeling of lifting something that is weighted is what comes into play here. If one were to lift anything, such as a kitchen chair, one’s child, etc., the core muscles would naturally “engage” . We say “lift using your legs” and “put your back into it” when describing the sensation of lifting something. It is somewhat the same admonition here as applies to the feeling one needs in using the internal discipline to lift the arms and hands upward. The vast majority of people would never think to engage the core muscles when lifting an arm with nothing in the hand in an upward fashion. In fact, Master Hwa describes the whole process as a “dynamic” one wherein the internal physical discipline treats the arms as simply appendages that must be taught to move in coordination and direction of the torso.

· However, this is not simply movements of the arms from the shoulders…on the contrary

· The core muscles of the abdomen very low beneath the navel and are used to start the movement up, then the job is “traded off” to the muscles of the upper back to complete the lift. We only describe the “lifting” portion of the movement here, not the folding portion of the arm at the elbow.

· Do not push out the rear end when doing this and keep it under you. This is an important part of keeping one portion of the body still while another part moves. This may also be tested while practicing with the back close to the wall. You will feel the rear touch the wall if it is being pushed backward.

· The movement can be practiced by itself, uncoupled from other postures as both a silk reeling and qigong exercise.

· Part of the martial intent of the movement has Peng (ward off or even punch). Your “Yi” should encompass that as well. The rising portion could be used to deflect an opponents strike in a wardoff motion. As the opponents strike is deflected, the foot could be used to kick to the lower leg. The muscles of the torso do the work of lifting and positioning the leg, and planting the foot or kicking the opponent.

Note: The list of possible applications is not limited by any means.

Posture 1: The Preparation Posture

2011-04-21T06:00:00.001-04:00

Tàijí qǐ shì 1) The Preparation Form is traditionally thought of as Taijiquan’s “beginning” form, since it is done while standing on two legs while raising your arms to the front and up. It is a move that is familiar to students of all styles of Taijiquan. As such it seems to generate little challenge to students once they feel they have learned the external portion.The characters for Tàijí qǐ shì or “The Preparation Form” are figurative and therefore do little to describe how to do the movement.

The character for qǐ is 起

It implies a “beginning” and it does so by the portion of the character that looks like an individual in movement but the other portion is representative of “oneself”. The individual is in movement but oneself is the entity that initiates the movement, it does not come from outside oneself but is an inner physical movement. It is indicative of external physical movement that is directed by internal movement.

Be Because practitioners in this time are impatient, the movement gets bypassed in the zeal to learn other things. I think in part this is due to a misunderstanding of how to do the movement correctly and subsequently not to enjoy its practice. As with any of the postures in Classical Tai Chi one needs to first follow the instructions on internal discipline. In this case, there is a moving (Yang) part of the body which is the upper torso and a stationary part (Yin) which is the lower portion below the waist. The Yin-Yang junction is at the waist. We won’t dwell on the instructions here except to emphasize a couple important points that one should prepare before execution. This is after all called the “Preparation Form”.

· Insure that the tailbone is tucked in from the very start.
· Insure that elbows are rotated to point downward.
· Stand with body aligned.
· Use “Yi” intent to not only lift the arms but to stabilize the feet downward.
· When using “internal discipline” from the waist to lift the arms, keep the knees bent and do not stand up.
· Try practicing the movement by itself, uncoupled from other postures, practice it as a “silk reeling” exercise. You may also wish to practice it as a “Qigong” but go much slower and sync it to the breath.

· Do not push out the rear end while doing it but keep the rear end under you, just moving from the waist, this is part of keeping the body and feet stable. To test whether you are pushing out the rear, try practicing with your back close to a wall. You will feel the rear touch the wall behind you if it is being pushed backward.

· Part of the martial intent of the movement has Peng (ward off or even punch) and another portion of the movement has An (push downward). Your “Yi” should encompass that as well. The rising portion (with the fingers drooped and wrist bent) could be used to generate a burst of power strike with back of wrists (Peng) to the soft tissue of the neck under the jaw. The raised hands can be used to deflect an opponents strike. The downward motion could be used to deflect an opponents strike with An or push down using the palms. The list of applications is not all inclusive.

Tools for training basic walking in Classical Tai Chi

2011-04-04T14:58:00.001-04:00

I must tell you of additional training tools I discovered while working with my students on basic walking:

The knee flexes and their body goes up and down with some students during walking practice. Now if they were to face the mirror when they walk, they could see their head rise and fall. They could put a piece of tape on the mirror at top of their head, then see if their head is going over it. My student Tom K. tells me he has a piece of string stretched out at the level of his shoulder in his "clean" attic in order to feel bobbing up and down.

In working with this for some time with my students, I discover some additional ways to train. For one, if one just touches onto a wall VERY LIGHTLY you may be able to feel the hand move up and down if the knees are flexing. We use the wall in my studio to do this and walk the entire floor lightly touching the wall. With a light enough touch, the hand provides an extra tactile sense to feel the movement of knee up and down.

Then I thought, well this is also having ancillary effect of training the hand to sense movement. Training the tactile sense of the hand in this way provides good training for "ting jin". Ting Jin as my teacher Master Stephen Hwa has said, provides you with the sensory capability in your hands to "listen" to the opponents power "surge and ebb" of movement. It has to be a very light touch however, if you bob up and down, you can feel the hand slide up and down the wall. Also, it trains the elbow not to flex, you need to hold the arm still and not do an extraneous movement where the forearm "telescopes" with the upper arm. I train myself this way with the wall at home and feeling the sensations in tips of fingers or even touching wall with back of hand or even arm, or one could even touch wall lightly with side of body. Very enjoyable developing this sense, very enjoyable.

Saving Face and the Scientific Method in Classical Tai Chi

2011-03-21T09:37:00.000-04:00

"Tao of Martial Applications" DISCUSSION:

Mark Thomasson DDS recently sent a very insightful article on the concept of "Face" to me. Mark is a student of Master Stephen Hwa and has studied Classical Tai Chi for several years now. In his article Mark writes: "I think this consumer driven "show me", "how many lessons will it take?" is consistent with popular consumer culture. This attitude of proof before pay weakens the classical teacher/student relationship...it changes it...creating distance and a barrier of skepticism to receiving instruction" He quotes Herbert Spencer: "There is a principle which is a bar against all information, which is proof against all arguments and which cannot fail to keep a man in everlasting ignorance - that principle is contempt prior to investigation."

I find Mark's article to be spot on in light of the power that material culture holds over us all. In my opinion, "consumer driven" or "material culture" weakens teacher/student relationships by creating a barrier of skepticism because by its very nature it allows very little in the way of expression. You see, the relationship between teacher and student in Tai Chi is a two way street , it has to increase the scope of expression for coherent learning but it also has to allow both parties to show mutual respect or "save face" ( mianzi )in the process.

I have found some students who went far beyond mere skepticism even when they received free lessons. Their attitudes were nothing less than arrogant, completely insulting and their whole aim seemed to be a humiliation of the teacher. On the other hand I have experienced teachers myself, who felt that even the most politely worded questions were humiliating. This I'm pretty sure has quite a basis in the concept of "saving face". What a paradoxical situation where Tai Chi is so fluid, seemingly "laid back" and yet we find both teachers and students being as unyielding as steel.

Students may haphazardly come to rudimentary understanding over years in spite of this. However, I do not think they will come to understand the greatest principle of "internal discipline" I say internal discipline is the greatest principle because Tai Chi is based on an internal physical discipline. This physical internal discipline is so little known and misunderstood that most Tai Chi nowdays exists because it is based on having a certain internal mental demeanor. Fortunately, there are teachers whose whole purpose is to teach Classical Tai Chi as an art based on solid footing of principles. More fortunate is the teaching of Classical Tai Chi with the primary principle of Internal Discipline being in the forefront. This is an emphasis on internal discipline with scientific understanding, rather than keeping a student strung along on a diet of "technique and application" using external movement.

Classical Tai Chi is fortunate to have Master Stephen Hwa as an enlightened teacher who holds no "bars against information". His students have learned as well not to hold "contempt prior to investigation". As a student of his, I feel quite fortunate to have a teacher that bases his teaching on a comprehensive scientific approach to learning. The learning of internal discipline gives the student ample opportunity to follow the scientific method. Students are encouraged to research things themselves, make observations, test/experiment and analyze their results. In the case of Internal Discipline students have "feedback" and tactile sensations of the body to confirm their study. Above all, students are encouraged to ask questions but also learn enough scientific discipline to ask questions based on their prior research and study.

It is quite obvious in the attached video that there are no barriers of skepticism. Yet, there is an obvious level of respect between Master Hwa and his students. Students in this discussion are being encouraged to ask questions but also guided by Master Hwa in how to do so intelligently and succinctly. In addition, we have ample representation here of allowing all parties to "save face" in an atmosphere of mutual learning. It would appear that traditional concerns over respecting one's teacher are not violated in an atmosphere where scientific discipline is maintained. Based on our experience and research however, it will be predicated on having a teacher that is well versed in both Classical Tai Chi and the Scientific Method.

Classical Tai Chi uses internal discipline for walking and kicking

2011-03-01T13:31:00.001-05:00

Please take a moment and view this Youtube video which was shot at a seminar that Master Hwa did for World Tai Chi Day in Rochester, NY: Internal Discipline in Walking and Kicking

Question: “I truly don't understand this. How can this lead to a quick kicking thrust that can be executed reflexively?”

I studied other styles as well as Wu’s Style for a long time before beginning Classical Tai Chi. Certainly in this as well as other styles the “ mind-body relation starts from intense struggle and engagement in the beginner’s stage” as my teacher says. Then the learning “proceeds to total disengagement”. The mind can enjoy things in the practice almost as if the practice is being done by someone else, not a “cruise control” but more like independent observation. For martial purposes a kick can be done quickly and reflexively because the movement has become subconscious.

As to the mechanics of the movement and how it is done:

The psoas will become engaged, as will the gluteal and femoral muscles but the origin of the movement should come from the transversus abdominis and rectus.. the long abdominal muscles...at first you must exaggerate the contraction of the lateral and oblique muscles of the abdomen and squeeze the gluteals,relax the leg and the foot... A low kick is a quick sudden, unexpected (for its martial art application) thrust from the abdomen and back through the pelvis and the leg. That means that from the side the leg is kicking, the pelvis thrusts downward from the tilt which transmits power through the leg.

Question: “I have never been told to do that, and matter of fact, the instruction for the small frame is in direct opposition to what you're advocating, a release of the abdominals, using breath so as to allow the load bearing to penetrate through the musculature and rest inside the qua.”

First of all, this is not weightlifting, and so the breath should be natural. You have to take into account the framework from which you say you are executing your kick as. You say “small frame”, when in actuality there is considerable difference in the size between Wu Style Small Frame and Classical Tai Chi Compact frame. I did the Wu Style Small frame for many years and to do what you say (which is true for that frame)I was taught to primarily use the contracted muscles of the leg to lift and walk or kick. In other words, the leg had to move like a “telescope” with the individual segments, calf/thigh, etc. contracting and extending or even swinging from the hip as Master Hwa shows. Not much different from everyday walking and kicking is using the same muscles.

With the individual segments of the leg contracting and expanding, the energy does not flow uninterrupted. In fact the flow of energy is interrupted at the joints themselves. What Master Hwa shows is the leg completely relaxed, no bending at the joints and when the power is delivered from the abdominal and back, it goes straight through…no interruption. Of course, and unlike the small frame you speak of, the kicks in Classical Tai Chi go no higher than the opponents knee. If you want it to go higher then you pull the opponent down toward the rising foot using “yank” (Tsai). This goes to the heart of the old Tai Chi saying: “Do not kick unless you can kick with 3 legs”. This means, your one leg supports you while you are in contact with the opponent who is standing on his 2 legs.

Classical Tai Chi uses a "compact" and "tight compact" form

2011-02-24T14:32:00.000-05:00

If one searches the Web they will undoubtedly find many styles of Tai Chi that state they are "small" or even "compact". It becomes apparent that there is no universally accepted definition among all parties of what these frame sizes mean. One styles "compact" looks like medium or even large to someone else. One can even see well known masters doing forms or even push hands in what can only be called a Compact Form by anyone viewing it. There are many videos of older masters in the Wu Style that show them in a compact stance while doing push hands. The same videos show them uprooting students to the point of the students falling down. Seemingly, the master is using some hidden strength...an "internal" strength. To put this issue to a temporary rest, I will quote my teacher who states: "To attain that type of capacity requires many years of training beyond proficiency in forms training".

Now is it not quite poor reasoning and really just conjecture to think that any style or even any individual does only one frame or size of Tai Chi? The questions still arise however, then we may even see the same masters doing a larger frame form. Thus raising further questions: Did this master, did that master, learn compact form 1st, now they are showing us their large frame? Did they learn large frame first and do they really know compact? Can we assume from these photos or videos that Classical Tai Chi is not the only Tai Chi that does Compact Form? Putting aside the definiton of compact for a minute, let us examine what it means to be "compact" in Classical Tai Chi.

I quote largely from "Uncovering the Treasure" by Master Stephen Hwa: "Wu chien Chuan did not start Young (Young Wabu) on Large Frame probably because Young was an accomplished external martial artist with a well developed external structure and lower body foundation already".

Such difference in appearance also signifies how the Tai Chi movement is done
Large steps/low stance requires use of leg muscles to push the body in all dimensions
Compact form primarily uses core muscles to pull the body forward and upward
Internal discipline, internal movements cannot be taught to students in large frame
Large frame uses large swings of arms at shoulder, outstretch (telescoping) arms

Is it not now clear what defines compact form in Classical Tai Chi is the use of "internal discipline" or "internal energy" as explained once again in the Classical Tai Chi "turning move" videos attached here? Please see "turning move" video 1 and 2 on that page. What is not conducive to "internal discipline" or "internal energy" is also explained.

Now I have a couple of questions in light of our clearly defined manner in how a compact form can be performed: Why do these famous masters demonstrate compact form on places like Youtube? Specifically, If a compact form can only really be performed correctly by using "internal discipline" and core muscles, shouldn't this be announced and taught to the world unequivocally and ubiquitously by all the famous masters? How does not announcing this knowledge and making it obvious, contribute to promulgating and most of all saving the art of Tai Chi?

What is a Yin-Yang Junction and why so important for Tai Chi?

2011-02-22T14:57:00.001-05:00

I read many emails in various Tai Chi Forums on a regular basis. I am quite shocked to see that there are many Tai Chi afficionados who not only do not know what internal discipline is but they do not know what a Yin-Yang junction is. My teacher Stephen Hwa states what it is in his book "Uncovering the Treasure": "The most important instruction on Internal Discipline passed down from Wu Chien Chuan to my teacher Young Wabu is that": "Every movement in Tai Chi Form has to have two complementary parts of the body, a moving part (called Yang) and a stationary part (called Yin). When the yin-yang junction is located in the torso of the body, it is an internal move. When it is outside the torso, it is an external move".

I include Youtube links to 2 videos below that were excerpted from a seminar at Rochester World Tai Chi Day. In the videos, Master Hwa explains it all by demonstrating and then teaching a group of students. He uses what is called a "Turning" move with internal discipline to demonstrate.

What is a Yin-Yang Junction?

How to find Yin-Yang Junction, how to do turning, what is internal energy?

Normally, one would expect that it would only be people not trained in Classical Tai Chi who would turn at the hip and carry the torso with it, while the legs have a twisting motion. However, he recognizes several people who participated in a last years seminar in which he demonstrated this very thing. In fact, I was filming the seminar and I recognized them as well. In one case, the practitioner is turning his hips so much the legs are not only twisting...they are dancing, with the feet moving all over the place. You can see this almost immediately, it is so obvious.

You also do not want to move the arms and shoulders as you do this and it can be checked by standing in front of a mirror. Also, there is a tactile feedback sensation from abdomen and back...but there should be no sensation of feedback from shoulder and arm. You can read more about this on page 4 and 5 of "Uncovering the Treasure" available at Amazon.

Master Seminar July 2011

2011-02-16T16:24:00.000-05:00

It is my pleasure to make an early announcement that a plan to have a seminar on Classical Tai Chi by Master Stephen Hwa is being formed. At this point, Master Hwa is in agreement with me that it will take place on the weekend of July 9 and 10, 2011. It will be in Buffalo, NY.

*Please contact me directly as we need to make sure of logistics and numbers. At this time, you may contact me at My Email Address. Be sure to put "Seminar" in the subject line.

You may also email me with any questions on location, lodging, and further announcements will only be made through email if you are not a current student.

Master Hwa has never charged for any seminar, one can only hope to aspire to such generosity.

It looks like a "go" for a big location with lots of space.

That gives good parking, air conditioning, electronics for video taping the seminar, lighting and WiFi for a possible skype session worldwide.

*If you are not currently a student of Master Hwa,you will need to purchase the DVD series at Classical Tai Chi Website . Then you will need to contact us for the details of location, times for the seminar, etc.

It is a one time purchase which entitles you to as much help as you can tolerate for the rest of your life;>).

*When you email us, please provide info. of your current status as a student if you are interested in attending. If you are not currently a student, please provide proof of DVD purchase in the email.

What is Neigong 内功 or "Physical Internal Discipline"

2011-02-12T07:13:00.001-05:00

Not the best in translation from Simplified Chinese to Pinyin to English, (but at least refers to the physical) yields:
内功 [nèi ɡōnɡ] Pinyin
"exercises to benefit the internal organs, internal energy or power, internal capabilities"

I am never happier as a teacher than when I hear people both within and outside the Tai Chi community ask what "Internal Discipline" is. Although it is still perplexing that Tai Chi afficionados do not know what it is. After all Tai Chi has been known for a long time as an "Internal" martial art. A typical question from even long time Tai Chi practitioners is "what is internal discipline".

Perhaps a literal definition would be appropriate to start things off. I do not like what Merriam-Webster had to say. I find that the "Free Dictionary" has this among several other definitions which I do like and find appropriate to Tai Chi: Discipline is : "training or conditions imposed for the improvement of physical powers, self-control, etc".

Note the use of the word "physical" which is particularly encouraging because most definitions only dwell on "mental". This, sadly to say is also the proclivity of most Tai Chi practitioners that I have heard over the years. I hear over and over and in many formats that Tai Chi not only cultivates but depends on a particular "mental" state. For the most part this is roughly defined as being one of relaxation, serenity, placidity, free of tension, "be cool", etc. Most, then expand this further to (as my teacher says) "an unspoken belief that as long as one has the right mental state, almost any Tai Chi movement is a Tai Chi movement" p. ii, "Uncovering the Treasure". This, he seems to feel is the direct cause for "infinite varieties of Tai Chi that have sprouted everywhere". Having heard and seen what he is speaking about I must say the use of the word "sprouted" is certainly not lost on this writer.

In light of the phenomenon that I describe I find that in going a little further I not only have to define "internal discipline" to people but I have to show it/demonstrate it. For in the explanations, I have found no justice. I inevitably end up showing it to both beginners and afficionados as I try to explain what I am doing. What is even more surprising to me is that even though "internal discipline" translates to the word or term called "Neigong". Long time practitioners do not understand the physical. That term has been in the Tai Chi lexicon for quite some time yet even the online martial art encyclopedia definitions still lapse into such things as: "Neigong, also spelled Nei Kung, neigung, or nae gong, is any of a set of breathing and spiritual practice disciplines associated with Taoist religion and Chinese martial arts".

I have a feeling my teacher realized the difficulties associated with explaining what it is and instead opted to explain HOW IT DOES: (From the Classical Tai Chi website)"The central element of the practice dictates how a movement should be made from the internal core of the body—the abdomen and the back—not from the external parts of the body, such as arms and shoulders".

AND WHAT IT DOES: "Internal Discipline enables you to initiate movements from the internal core of the body (the abdomen and back) rather than from the external parts of the body (the limbs), and cultivates and mobilizes your internal energy for health benefits and martial arts applications".

Slow work produces fine goods

2011-02-08T12:03:00.000-05:00

In his book "Uncovering the Treasure", Master Stephen Hwa states on page 105:

"It is amazing that Masters of the past could have such insight that slow and seemingly soft movements could be an ideal tool to train a person to deliver exceptional power." Speaking of Classical Tai Chi and not Tai Chi that relies on external movement of the limbs which constitutes 99% of what is practiced today, he continues by saying: "What they discovered was that the slow movements with internal discipline trained a person in every little detail of fajin moves. After a person repeated the moves a thousand times, it becomes part of him and is available to use any moment he wishes at any power or speed".

Some very rare video has appeared on the Internet of the legendary golf professional, Ben Hogan. Video after video and with accompanying audio one hears him advocating and demonstrating slow motion golf swings and in this video at a certain point we even hear him mentioning the words "Tai Chi". In his book "Slow Practice Will Get You There Faster", Ernest Dras, states that Ben Hogan practiced slow motion drills thousands of times in front of mirrors and advocated it to beginning golfers. It is said that Sugar Ray Leonard who had incredible speed, utilized slow motion training to maintain perfect form. I'm reasonably sure as well that a search will reveal many other top athletes who utilize slowness in their training drills. The purpose being to make their movements perfect.

In his book "Long strokes in a Short Season", the swimming coach Art Aungst talks of his own studies in Tai Chi. He states: "Tai Chi incorporates slow speed patterning of perfect movement through 360 degrees of body rotation, stressing balance and core body movement. My teacher demands that each basic movement be perfected before moving on to the next one. My understanding of the thought behind it is that the neural pathways are "grooved" so that in a true performance situation, there is no conscious thought to interfere with the speed of perfect movement." He even quotes from the Tai Chi Treatise: "The outer academies use clumsy external strength, so that the beginning and end are broken, the opponent thus has a chance to attack...from the beginning to end, Tai Chi is continuous, without interruptions, like an endless circle". This statement about "neural pathways are grooved" is also used by Eric J. Horst in his book about mountain climbing called "Maximum Climbing".

The concept of "neural grooving" is to be found in book after book from the psychology of learning to many anatomical texts. I suppose if one had to use an analogy to describe what happens it might be one of a giant steel ball resting on top of a sand dune. Each time we give it a slight push it rolls down and creates a groove, moving ever slowly because of its size. Then we keep repeating the process from the top of the dune, gently starting it to roll, over and over and over again. Because it has formed an initial groove, it will subsequently be easier to continue rolling it. The key concept however, it to do it as Master Hwa has stated, Ben Hogan advocates and probably many athletic coaches urge: Do it thousands of times, do it slowly, do not stop practicing... for the least amounts of "grooving" will produce small and weak tracks, doing it slowly and frequently will make big, strong neural paths and give us a fine product.

"Great understanding is broad and unhurried..." Chuang Tzu

2011-02-06T07:55:00.000-05:00

"Great understanding is broad and unhurried; little understanding is cramped and busy." - Chuang Tzu

For most adults, the Internal Discipline in the learning of Classical Tai Chi does not come naturally. However, the natural question for beginners is "what is there to expect/look forward to/reward during the actual practice of internal discipline...not some future time?"

This blog evolved out of a discussion over the previous Blog on "Sitback". A student apparently realized that there would be no quick fix to learning Classical Tai Chi but also had a kind of insight: "To move a mountain one begins by carrying away small stones". From a certain perspective, this appears to be true. From another perspective, most cannot carry one "stone" at a time without their concentration breaking and subsequently ruminating how many other 'stones" are left to carry. That seems to be the domain of the beginner and in some cases the "perpetual" beginner in Classical Tai Chi.

This discussion really does seem to fall into the hands of Chuang Tzu and I'm sure he would love getting his hands on it indeed. It is all tied up with perspective, perception, insight, conscious attention, the subconscious, etc. So, in regard to "rewards", I can only relate from my own experiences as a beginner, or at least what I remember and what I seem to see in the beginners that I teach, however.

Experience/reward early on in Classical Tai Chi is a plurality rather than singular events
It requires concentration/patience yet one is rewarded with deeper concentration/patience
One has no insight in the beginning yet one's insight begins to appear, we see things more clearly
For example, I had no concentration when beginning, yet I clearly began to see how much my mind wandered
I clearly began to see that I wanted to practice more in order to stop my mind from wandering
I experienced moments of clarity and "stillness" (particularly in basic walking practice) with no breaks in concentration
Yet, a beginner's hold on these things is tenuous "little understanding...cramped and busy"
Yet, it is the beginner's job not to do things half heartedly
Half a mind will find it very difficult to attain conscious control over a long dormant nervous system in the core of the body
Yet, there are rewards even for beginners but their hold is very tenuous, very easy to throw up one's hands
Basic walking (really the square form) with its "pauses" gives the beginner direct experience of physical "stillness"

One's "understanding", hopefully evolves into being "broad and unhurried", one becomes a proficient practitioner and no longer has to rely on the conscious mind to play the form. The "looking forward to/what to expect" voice becomes quieter and quieter as well. I quote my teacher, Hwa Laoshi from his website at Classical Tai Chi:

"It is the movement with the Internal Discipline that plays an important role in influencing the mental state of the practitioner. In order to perform the internal movements, the beginner must focus intensely inward trying to communicate with the long neglected nervous system in the torso. When the student becomes a proficient practitioner, playing the form becomes subconscious without the need to think. The mind is clear, except for the enjoyable sensation of internal energy flowing and stretching at the yin and yang junction. It is important to learn the Tai Chi form rigorously, so this sensation can circulate continuously in the body without break."

Happy Year of the Hare ... make sure this year to do sitback correctly

2011-02-03T15:23:00.000-05:00

See "Sitback" Video above: Whether Form or Push Hands, how well we "sitback" is the Acid test of how good any of our postures will be. If we have back pain, try checking how well you sitback during form practice. There needs to be a "tuck" under of the buttocks to coincide with contraction of abdominal muscles to pull back...

Tom is tall as well and needs to sitback with a crease appearing in the front as Master Hwa articulates. These types of problems can be traced to incorrect form practice, push hands shows up these errors. Hence, the statement from Master Hwa: "if we do push hands before having internal discipline (basic contraction of abdomen to mobilize body during sitback, forward lean, walking practice) it is putting the cart before the horse". Sometimes people think they got it but push hands will show things with a glare. Tom is not sitting back and has to use arm strength, that goes hand in hand with nervous tension, it makes the arm rigid, rigidizing the whole body in the process. Muscle Tension as I explain below is not the bugaboo people make it out to be in Tai Chi, but we should eschew nervous tension that inhibits body movement.

Sitting our posterior into any chair, couch,etc., is a perfect analogy for sitback in Tai Chi. Try it and observe what happens to angle of back, you get that crease he talks about. Just watch that you do not stick the rear end out, tuck it under to sit. Keep this anology in mind during form. This is basic sitback, there are variations of sitback. Also, all need abdominal contraction and proper "tuck under" to mobilize forward and back movements.

As my teacher has said, ‎"TENSION is abhorred" in Tai Chi. I hear people all the time say they take Tai Chi to "relax" because they have so much TENSION. However, we want muscle tension in Tai Chi for it is none other than "JIN" in all of its forms. Substitute the word "ENERGIZED" for TENSION and then work to eliminate nervous tension. This is all about posture, core alignment, nerve impulses and cultivating that muscle tension...ENERGIZING. Substitute ENERGIZED for TENSION and understand the sameness but don't think to eliminate muscle tension, instead think that it is an integral and dynamic part of the engine that drives JIN.

My student Tom Kostusiak says: "When I first started doing Classical Tai Chi with Sifu Roach several years ago, I experienced back pain while playing the form. Sifu pointed out that I was not sitting back and tucking in properly during this time as well. As I progressed with correcting my posture my back pain subsided. Upon further investigation, it became clear that incorrect posture was the cause of the pain problem (for me) as I was not properly aligned to perform the moves. So while I agree that being able to consciously relax the muscles is important, posture plays a significant role in making sure that our core is properly aligned in order to perform the movements themselves."

As for me, I broke my hip in 2000 because of a roller blading accident...yes, roller blading. My lower back was in agony for a couple years, all that after doing Wu's Style many years, it did not help I started Classical Tai Chi in 2003...voila'...That lower back pain is gone now, no Ibuprofen for me either. My upper back pain from years at a computer, disappeared after I started this, about a year. I have no knee pain but I used to when I did styles where back foot was splayed out. So much knee pain I could not squat, that is gone. It is possible to do this and cause ache because of overdoing it. However, it is also certainly possible as Tom has said to do things incorrectly and create pain. That is why it is critical to check, check and recheck everything you do in Classical Tai Chi...after all, everyone is a distance student.

If anyone had reason to gloss over things it would be me more than 99.9% of the Tai Chi community. Why? Because, I have 35 years experience in Tai Chi, 30 in Wu Style alone, and a fat head when I started this. Speaking for myself, I learned to put the ego on the back shelf to learn this the right way. How did I do that, not easy but I learned to know "Treasure" when I see it.

If you cannot read the fonts...here's help

2011-02-01T08:37:00.000-05:00

Readability

Get the free version, they plan on charging in the future. We refer you here to a NY Times Technology article that gives the lowdown and the highroad both. It is easy to install and it sits in the bookmark bar at the top of your browser. Visit a page that may be full of hard to read "stuff" and then click on readability. It will clean up the text and transpose into a readable format, complete with black and white fonts.

Here's the link, just in case mine does not work:

http://www.nytimes.com/2011/02/01/technology/01read.html?_r=1&hpw

You need to curb your impatience

2011-01-26T06:39:00.000-05:00

I teach a lot of beginners, so many so one might say there is a revolving door. From my observations I would say that people are not as patient as they were when I first started, nowdays they want faster results. I have people pay me money and then never come back to finish their monthly lesson, this is a good example of impatience. In over 35 years of seeing the revolving door turn, not one person has ever said, "I'm quitting simply because you are a lousy teacher". On the other hand and as I have said before, I have learned from my teacher not to compromise on what is taught.

I follow one of the learning paths outlined by Master Hwa in the Classical Tai Chi Forums. Infrequently, I start with teaching the square form first. In one case, I started with the square form because a student could not curtail the extraneous movement of his hands. He studied a Kung Fu style and I could not even stop for moments and explain things. He would burst into movements from his "Katas" while I was trying to talk to him. That is impatience.

My first teacher at Taoist Tai Chi in 1976 was a Clinical Psychologist who frequently told me he was looking for another line of work because he had no patience anymore. In my opinion however, often his comments on beginners were pretty mean spirited. "I'm not going to teach that guy Jim, but you can", "Well you did a good job, at least now he's walking like a human being", etc. On the other hand, he was very knowledgeable about the Tai Chi and quite articulate in teaching it, he just had no patience for teaching. When I first started with him he wore a T Shirt that said "Patience?", "Patience my ass, I want to kill something". It was a graphic of 2 buzzards talking to one another in a tree while they gazed on some grazing animals. Out of 7 students that started, I ended up being the only one left in his class. There was a lot of impatience then, but I think there is more today because I see the revolving door first hand.

How impatient? I once had a student that handed me $200 in cash and never came back a 2nd day. When I called her she said keep it, "I liked what you do, I just cannot do it". There are so few students at my studio, that the tuition money literally goes from my hands to the owners for monthly rent. One might say this a labor of love, yet I love the art dearly and get back much when I do get students that can stick it out through the initial learning phase. Teaching this, articulating it gives me an understanding that is incredibly rich and deep.

On the other hand, like Wu Gongyi was reputed to have said to his students and in so many words: If you guys don't know how to do walking in Tai Chi, how are you going to fight. Not that Classical Tai Chi leans the "fighting" way of the Wu's Style in general. It just points out that the learning proceeds from a very basic premise. If you do not establish that, there is nothing to build on...it takes patience. There are numerous benefits to be had even in the bare bones beginnings if one can curb impatience.

If you are joining Facebook for Classical Tai Chi...at least get the book beforehand

2011-01-25T05:45:00.001-05:00

I get requests to join the Classical Tai Chi Facebook group and nowdays I ask this: Speaking as a teacher, does everyone here have Master Stephen Hwa's book "Uncovering the Treasure"? Still speaking as a teacher, the conversation here, sparse as it is, ok let's say my monologue makes little sense without a guidebook of the "territory" As Master Hwa said once to a student, "one needs a map of where and what the forest is, so that the individual trees do not obscure the view". A guidebook can also be useful to encourage people to speak up once in a while as well. I realize, some folks may feel a bit shy but there is never anything wrong with asking a question now and then.

Rick Matz said: Yes, I have the book and keep it handy in my computer bag along with copies of the DVDs so they are at hand. I review all of the material regulary and there is always something new in there for me to find.

John Calvert said: I too travel with the book Rick. I fear I may need to purchase a fresh copy as my existing one is a little worse for wear now! I have backed up my DVDs (to protect them & keep them intact) by digitally copying them to my hard drive. By having them in digital format I can pause, 'rewind', jump, replay and slow down whatever lesson I'm studying without concern or worry about damaging my DVDs. I have also figured out how to get them onto my iPod which is handy since I travel a lot. Sometimes I just watch lessons when traveling in the hopes that the information is absorbed into my sub-conscious to enhance my training & practice later on. By the way I am not a technological geek - I was shown how to do all this by youngsters! :)

Starting the Tai Chi journey and stumbling...

2011-01-24T21:01:00.000-05:00

Jason said: "Hi.I'm just starting my tai chi journey & stumbled upon this post (see post on "Diamonds vs. Rocks"). I definitely want to learn traditional tai chi- not the watered-down Westernized version. Although I'm new to tai chi, I innately feel something is missing from
Westernized tai chi, but unsure what to do about it.

Can you give me some guidance? Since I'm new to this, I don't fully
understand this post. Also, I can't afford classes, so I'm learning what I can
from DVDs and online sources. Are there any DVDs or online sources you
recommend?" Thanks! -Jason

Hello Jason

I do not think that you stumbled when you found the post, on the contrary I think you came to the right place. I will also let a student tell you themselves. I do concur with what John says about the amount of work involved. If you will sit down and completely read the website called Classical Tai Chi and all of the pages at the website, in one sitting with not letting yourself get distracted, you will have a good idea of what John means about work. This is Classical Tai Chi it is not "watered down, westernized tai chi", once you do the work to "get it", it is like owning a large amount of diamonds...a real treasure.

John said: “Firstly I would invest in the 'Volume I - Tai Chi Overview' DVD. Money well spent. This will whet anyone's appetite... or put them off completely after seeing the
amount of work involved!

If money is tight I see the whole DVD set and book as being a good investment as they provide a lifetimes worth of classes for a one-off payment. This coupled with Jim’s Blog,
the Facebook group and the Yahoo group provide support and advice. The biggest
thing to realize (in my opinion) is that Classical Tai Chi is a serious
commitment rather than a hobby - it is certainly not a fad. Hope this helps.”

'Volume I - Tai Chi Overview' DVD

DVD set

Book

Facebook group

There are rocks and when given sufficient light, then there are diamonds

2011-01-22T07:17:00.001-05:00

Mr. Roach...I read the blog regularly but I'm sorry to say that I do not know how to send comments into it....Computer know how I don't have so I hope you don't mind this e-mail into your school...I have watched Mr. Hwa's introductory dvd 3 times. After spending the last 10 years doing Chen, Yang- Zhen Duo, and Chen Man- Ching styles I am forced to conclude that some Tai Chi is not Tai Chi. I claim no expertise in any of it but I am an excellent student...I practice constantly and enjoy it. What Mr. Hwa is doing on the DVD is like nothing I've ever seen.....not because it's compact since CMC style is such....but because of the subleties in movement. To really learn what he's doing would take a major commitment...as you are well aware. It just seems to me that somebody dropped the ball.somewhere along the line. All these medical studies about Tai Chi have got to be BS...since there rocks and there are diamonds......I know the stuff works since i have experience but what I'm seeing in Classical T.C. is so much different than what most of what passes for tai chi........Please don't feel that you have to respond to this...it's a rambling comment but I had to make it..I'm glad I have become aware of your blog and Stephen Hwa but I am a bit pissed off. I spent a long time trying to figure out how to relax.........CMC style does that for me.....but now I see this Thank you four your time and your eye opening blog........Respectfully, Dennis, New Jersey

Hi Dennis,

I appreciate this letter very much and since you state that there was an intent to send it to the Blog I have published it here. I think it has the “right stuff” to comprise a good article or certainly a mini-discussion about what you say.

I suspect for some time now that there are people such as yourself who have this experience of doing some mainstream Tai Chi and finding that it comes up wanting. I should reiterate as well that I was one of them. I use the term “horseless carriage” regarding my automobiles, because I still feel after many years that I was taken on buggy rides for decades by the Tai Chi that I encountered in my many, many travels to Canada. My questions were frequently dismissed, criticized or even laughed at. My teachers and fellow students were always right up front with their sometimes very personal criticism of me, so I feel I can do no less here. Why should I be diplomatic here? They never were...

Give it all the commitment you can. What I got in terms of skill, I got from my own personal commitment, development, hard work, analyzing and thinking things through, not from any of my teachers and certainly not from my fellow students for they were no help whatsoever. I got it from much time and effort in my backyard or my very small living room. I got it from much time and effort in running a studio where I found that teaching others gave me incredible amounts back in the way of learning. Once in a great while, one finds diamonds in the rough, I have a few diamond like and great students who really appreciate this.

Do I think that Taoist, Yang Cheng Fu and Wu Style are lacking? Indeed, I do and teachers/practitioners can make it reek even more. I have published much in this Blog on what I find deficient in those styles…because as what happened to you, I stumbled across Hwa Laoshi’s website.

All my so called skill and rationales about what I learned went right out the window for I had learned “external” Tai Chi and it comes up short next to "internal" Tai Chi. Tai Chi desperately needs saving and with what Young Wabu and Stephen Hwa have done, both Yang and Wu Style at least have a chance of living. You are right, all the so called "studies" of medical benefits are indeed what you say, because the Tai Chi they are measuring is "external", not internal.

I cannot be truly criticized for what I say, for unlike the 99% I have experienced both Classical Tai Chi and their Tai Chi as well. I do occasionally hear from people who "think" they are doing internal and will not listen to reason. Simply because one moves from the hip or even the core or engages the core or hip does not necessarily make what they do "internal". One might say, they have found necessary conditions for internal but not necessarily sufficient ones.

On other occasions, I find that I am not engaged in polite discussion but will hear taunts. One is resorting to a call to physical violence, when confronted by something that is as logical and has as much rationale as any scientific discipline? That sounds no better that the typical childlike discussions one frequently sees on Youtube or a schoolyard bully. I surmise that if one resorts to such mockery, both literally and figuratively they both figuratively and literally do not have a leg to stand on. For the many who laugh, mock, make jokes, criticize and generally spout nonsense about Classical Tai Chi, quite frankly, they have no idea of what they are talking about.

Why is this? Because they have not done Classical Tai Chi, so how can it be criticized, by even the top most Masters? An opinion about this is just that…an opinion, albeit an educated one. I often find that typically in what is largely a self serving discussion for their style, there is much drivel in the various Forums, email groups and so called discussions of Stephen Hwa’s Youtube videos. It reminds me of children attempting to discuss geopolitics or the national debt on the Internet.

I hope my own teacher is not upset but I put much of my personal feelings into this because your letter touched me. So Dennis, my heart goes out to you and I completely understand and appreciate what you say. I strongly urge you to get the DVD series if you have not already done so, for as I say, it is indeed in one’s own personal commitment that they will find fulfillment. There are indeed “rocks and there are diamonds” but needless to say, I have found Classical Tai Chi and my teacher Hwa Laoshi to be treasure. Treasure is more...is it not?

Classical Tai Chi is ours…but only through repetition

2011-01-20T15:36:00.000-05:00

FAJIN (Peng jin or "1 inch punch")

On occasion, one of my students, Barry will demonstrate portions of his Katas. Barry is a high level black belt in a Karate system in addition to studying Classical Tai Chi with me. The techniques that he demonstrates are very powerful, whether using hand or foot and there is an audible “snap” when he blocks, punches or kicks. On the other hand, lots of people who look at Tai Chi will most often say that it does not resemble a martial art, so how could it be? So it would seem, the very powerful punching and kicking of such external martial arts as Karate, Kung Fu, or even some external Tai Chi appears to be the correct way to gain martial expertise.

On pp. 104 of "Uncovering the Treasure..." by Master Stephen Hwa, he says: "I remembered my teachers (lessons) very well allowing me to work and improve my form by myself. When I had achieved the level where internal energy circulated during form practice and form practice was completely subconscious, I discovered that I could do fajin without consciously knowing I was doing fajin". He goes on to say: "The full speed and power punch and kick of the Kata or Form of external martial arts, on the surface seems a logical way to train. But in fact it has deficiencies. When a full speed punch or kick reaches its end point, the momentum of the movement has to be absorbed by the shoulder or hip joint to stop the movement. This could cause hyperextension of the tendon in that joint. Since I am teaching Tai Chi in a Karate school, I hear stories about young and promising black belts who need to have their shoulder or hip repaired".

So we see, there are drawbacks to training with full velocity and strength. There is a start to a high velocity punch, kick, block, etc., and there is a "jarring" end. Each and every movement is also dependent on the momentum force. Momentum force of course is dependent on the mass of an object multiplied by its velocity. In addition, the external stylist does not have to be big if he can gain sufficient speed. So there we have the “start” of a high powered movement, what about the “end”, and what of those drawbacks we mentioned?

Well, that all out, obviously high speed punch or kick has to stop, particularly if it does not hit something. What it stops on is the weakest link in the chain which as Master Hwa said may be a shoulder, a hip, a knee . So at the very least we can say it is doing the individual joints little good to absorb that impact, above all it is not healthy. However, the external stylist will say, but wait, I “pull my punch, kick, etc.” so I am not hurt. It stands to reason that the end result of this is a smaller amount of power being furnished, does it not? In essence one is training by “pulling their punches”, not really delivering full power strikes to train with.

In the video, my student Tom K. remarked that he felt the Tai Chi fajin of Master Hwa penetrated into his stomach. Well, from my vantage point next to him it not only penetrated but it most certainly seemed to knock him back before he had a chance to back away. Master Hwa articulated this and reiterated this assertion as well. There was no momentum (Master Hwa did not draw back to gain velocity for his mass), that delivered this punch, the hand was almost in contact with Tom to begin with. So the question, is, if Classical Tai Chi does not practice with full power, how does it attain such power with fajin? I don't think I am oversimplying things by saying that is indeed a "burst" of power BUT It uses the process of slow, detailed “repetition” in Tai Chi form, silk reeling, and isolated practice of individual movments, to gain the skill. The punch or the movement to punch as it were is repeated, repeated and repeated literally thousands of times.

Do not forget that Classical Tai Chi was the martial art of choice for the palace guards of the Chinese Imperial Family. They obviously not only liked but put it to practical use on occasion. Those top notch martial artists, the Yang’s, the Wu’s saw deeply into the art and learned that slowness, softness, coupled with detailed, meticulous repetition was the perfect way to train. A fajin punch could be done with internal discipline, carefully paying attention to the detail as it were (the devil is the details) and also done over and over and over again with no chance of injuring a joint or wiring the skill of “pull punch” ability into their system.

We will be speaking more on the subject of “repetition” in blogs that will follow this one. If one thing can be said of this process to expertise that I describe, it has to be that those early masters were consistent in their approach. Think of repeating a fajin punch literally thousands and thousands of times SOFTLY and SLOWLY, never bursting a powerful strike, that is the epitome of consistency.

I leave you with this saying from the I Ching, Hexagram 29, The Abysmal (Water):

“...in teaching others, everything depends on consistency, for it is only through repetition that the student makes the material his own” , pp. 114, The I Ching or Book of Changes by Richard Wilhelm, Cary F. Baynes, Publisher: Princeton University Press; 3rd edition (October 1, 1967)

The role of transition between postures in Classical Taiji

2011-01-18T09:51:00.000-05:00

RAISE HANDS POSTURE

There has been some call by students to discuss the role of the various postures that repeat themselves as well as the role of “intention” in Classical Tai Chi. We can certainly do this but to start things off I think no discussion of intention and repetition would be complete without a discussion of transition.

As a martial art and in its place as an art, Classical Tai Chi is a medium that is ever changing, a mobile medium as it were. The transitions between the many postures flow on and on and with sufficient skill on the part of the practitioner are performed with such continuity that there is no gap to be found in the “stream” of internal motion.

For the practitioner of “external” Tai Chi which is the modus operandi of large frame Tai Chi and for which there is no apparent shortage, there is no call to convert what they do to internal movment. Transition between postures can proceed without concern from the obvious external movements. For the practitioner of Classical Tai Chi the task is to first learn the footwork contained in the first eight lessons, up to the first cloud hand movement. The movements of the upper body then require MINIMIZATION OF EXTRANEOUS EXTERNAL MOVEMENTS, FOR ONLY THEN CAN INTERNAL MOVEMENT FLUORISH.

In the beginning of round form study the student will really only be learning the very obvious internal movements, extrapolated in most cases from the offline silk reeling practice. It is in the learning of subtle internal movements however where one sees the play of the transitions. For the subtle internal movements have to be threaded together to form continuous movement but they also include transitional movements in the form.

The importance of understanding this cannot be overemphasized for the key to offensive and defensive techniques is to be found in being able to perform a seamless transition. Yielding/defending, attacking/counterattacking all need to come from many diverse angles, come from varied tempos, fluid transitions and being able to rapidly change between yielding and counterattack are an imperative to the Tai Chi practitioner.

In the practice of the Classical Tai Chi form, each form is meticulously balanced as to tempo as well as structure and direction. The student should understand that form requires this but the space between the forms (transition) also requires this meticulous balance. A clock will show us a basic synchronization that the second hand and minute hand can arrive together. However the Tai Chi form/transitions need a more advanced synchronization for as we have said there is a multitude of subtle internal movements that are tied into transitions…many of which may each be moving with a different tempo.

"Raise Hands Posture" is a good example to show not only "transition" but timing or "tempo" as well. For in the movements of the right arm, left arm and left foot, we see a classic example of the varied elements leaving at the respective times/space/directions but still arriving at the same time at their "destination".

Much like the Algebra word problems many loved to hate, we could have several movements (“trains”) all leaving from different locations, different distances, using different speeds but all needing to arrive at their destinations at the same time. In Classical Tai Chi we call this timing and the best word to describe its requirements is exquisite. For its need to approach perfection is to be found both in the form but also in the spaces between the forms…their transitions and their subtle constituents the internal movements.

A variation on "silk reeling" in Classical Tai Chi

2011-01-12T09:11:00.000-05:00

A variation on "silk reeling", folding the body at the spine... like opening and closing a door.

See the video here:

If you can stand with your 2 feet parallel and one foot in front with toe up, shoulder width apart and turn your upper body without moving the feet or the hips you can try to do this silk reeling variation. I explain later why this is a variation. This, like all moves in Classical Tai Chi is carried out by using the power of the abdomen and back. The importance of this move is to be found in the action along the strip of the spine. In this regard, the shoulder blade should not move. If just the shoulder blade is moving then the part along the spinal strip is not moving correctly. So, the movement will be concentrated along the spine. One side does move but irrevocably, you will feel some stretching on the other side of the spine...note the feedback from that in this instance.

Visualize opening up and closing a door which operates based on not only the action of the door but also needs the stability of the frame. Most people will find this move difficult to feel any sort of movement at that area of the back and along either side of the spine. For beginners, as with all movements of this sort, the difficulty lies in the mental discipline in which one’s attention has to be concentrated not only in the core region but to the specific area along the spine. Any attention on the shoulder blade or shoulder and the move will be partially initiated from those areas and not the spine. Done correctly and there will be no sensation of movement from the shoulder, shoulder blade or arm.

If we were to divide the body into quarters, the stable 2 legs and stable side of torso(that does not move) would comprise ¾ of the process. It provides support, power for the move and grounding. Since it is not moving it is Yin. The Yin-Yang junction is at the spine. The other ¼ is moving as a unit , arm, shoulder, back and portion of the abdomen, the hip or pelvis is stable on that side. That portion that is moving is Yang. One can also visualize that the spine is a very large hinge, with the “quadrant” or ¼ on either side (depending on whether one is moving r. or l.) like a door which can fold/unfold.

As to why this a variation: This is not the same as the classic “hand follows the foot, elbow follows the knee, shoulder follows the hip” that is described in the Tai Chi Classics. That deserves its own special place as a “folding” movement since it also involves the lower body.

With this variation as well, one might also visualize opening and closing a book since it actually has a “spine”. In this case, one would hold half the book steady including the cover, then visualize opening/closing the book repeatedly at the exact center of pages, including the other cover. Only half the book would be opened, the other half would remain steady and not moving. Of course we are talking of using just the top ½ of the torso and not the legs. As we have said, “hand follows foot, elbow follows knee…” has its own place in the lexicon of Classical Tai Chi.

Time to do our Quan Jia

2011-01-10T15:13:00.000-05:00

I recently had 2 elderly people express so much interest in taking Classical Taiji that they were willing to pay double to take a class. This was up until I asked if they had seen a video of what we do and I directed them to “Tao of Martial Applications” and other videos at Parea10. I’m reasonably sure they decided not to start based on what they saw of a student being hit with a one inch punch.

I can hear the conversation now: “Why do you want to go to this, I don’t want to fight?” or, “this is not Tai Chi, these people are fighting with one another”, etc., etc. Needless to say, they did not turn up for the Tuesday class, nor did I get “double the tuition”. I assume that they had heard Tai Chi was loaded with health benefits and also based on that “introductory Tai Chi” class they had taken before, they were ready to wade right in. I do not like to fight as well but that never stopped anyone from mugging me. So, don’t fight, run away at top speed from muggers but just remember that Tai Chi is a martial art and the health benefits are inextricably linked with the martial aspect.

What does this mean “linked with the martial aspect”? Quite frankly, there is just one, I repeat, just one method to get health benefits: One has to practice with meticulous attention to all of the details, “the fine print” of Taiji’s martial aspect. One has to practice in this manner and only in this manner in order to reap the most from its treasure trove of health benefits. I like to think of it another way: An imbalance will result If I do not balance my health concerns based on martial details, thus providing the ideal template for practice.

There is nuance upon nuance in doing Classical Taiji and such layers of nuance are found in all the nook and crannies of the body. Why so much nuance? Well, for one thing, we want the internal energy to circulate continuously throughout the body during the entirety of our Quan Jia, our Taiji form. If the practitioner does not train to continuously circulate the energy and instead has disconnections of movement, what happens to them when they are pushing hands, sparring, etc.? Won't the opponent be able to find a "seam" a gap in our energy to attack? If we learn to continuously circulate the energy, will we not be able to counterattack in a split second?

Practice as though you were surrounded by opponents, pay attention to all those martial details of movement, all the nuance. Seemingly meaningless details no matter how small that are often overlooked can cause problems later. What a good practice it is to take care of the small things, since it will lessen the risks of surprise from health or opponent. It will be gratifying to get a nice surprise from our practice as we find insight after insight or see our health improve. Leave the pratfalls (trouble that befalls us) and realize that they are preventable by remembering that the “devil is in the details” (when we pay attention to the details beforehand, we do not reap a “devil of a time” later).

It is time to do our Quan Jia like we mean it, not just an “oh, now I got to do my exercises…”

Classical Tai Chi...Self Defense of the self

2011-01-05T09:31:00.001-05:00

Oscar and Augie ("O" man and "A" man)

The "terriers like the classical tai chi buffalo"

What do we mean when we say: "Self defense of the self"?

Master Wu Chien-chuan really handed down a legacy of the Wu Style that is as good for health as well as martial arts. It stands higher, steps smaller, calms the mind, heals the body, protects the joints, and above all works from the “inside” out. Classical Taiji (the legacy of Wu Chien-chuan) is so compact that it has to work from the “internal” out…one might say, almost by default. Because there can be no large, external movements of the limbs with such a compact stance, the practitioner has to focus inward…there is no “frame” that would support external movement. If the internal was an engine, it would be a Porsche engine, but that Porsche engine would not work in a truck frame now would it?

Here we have the pre-eminent designation of Taiji as an “internal” martial art. If one can think of almost all other systems of exercise, whether Western or Eastern, they are based on external movements. The limbs and hence the outer layers of muscle and bone are required to perform all movements. The emphasis then being one of getting “fit” over getting healthy and maintaining that health. Most people I talk to or beginning students that I teach really think that fitness and health are one and the same. Whereas most of that “external” really is based on mechanical functioning. How does lifting kettle bells, pumping iron, flailing away at a heavy bag reach to the internal organs of the body? Of course, you say in the offing, one may get one’s cardiovascular system “fit”. However, what most fail to see is that one creates an oxygen deficit in striving for such “cardio” benefits. Depriving the body to make it "fit"?

I find it interesting that I can do several rounds of Classical Taiji round form after a night of little sleep and I will feel full of energy. Whereas, the 2 mile walk that I take with the dogs, makes me tired and sleepy. I should add that I have a Shepherd and a Terrier who both love to wake up early and play, hence the lack of sleep on occasion.

Classical Taiji serves 2 purposes, those being for martial and health. One might then say, that Classical Taiji serves as a martial art for self-defense against others, but also should not be forgotten to be practiced as self defense of the self…against illness. If one is not healthy, then saying it cannot really be used for martial purposes is the caveat. Like I say, most confuse fitness with health and only deceive themselves. The many may be deceived by displays of grandiose external martial arts, fitness and even Taiji that uses external motion, but the individual practitioner is only fooling themselves when it comes to health if it is not internal. “Internal” as being based on the cultivation of internal energy in the core of the body as all movement is derived from the use of internal discipline.

Classical Taiji: The art of internal motion that is powered by internal energy and directed by internal discipline. Good for self defense…self defense that includes the self and others.

What happened to Yang Shao Hou Taiji?

2010-12-29T06:12:00.000-05:00

Very interesting post! But my Taiwanese sources tell me, that Xiong Yanghe's Taijiquan has many origins, from some nephew of Yang Luchan (named Liu Zhongfang), from Yin Tianxi (in the Gan Fengzhi lineage) and finally also some Yang Jianhou. On Xiong's website from his students, their is nothing to be read on Yang Shaohou. Do you know anything more? After Chinese Newyear, I'll start in the Xiong system, after more then 20 yrs. of 37, 64 and 108 (all YCF linegae). Happy holidays! Hermann from Taiwan

By Anonymous on What happened to Yang Shao Hou Taiji? on 12/28/10

Thanks Hermann,

I don't believe I ever stated Xiong only had one "origin" for his Tai Chi. Actually, I was excerpting bits about him from an article submitted to me by Michael DeMarco of the Journal of Asian Martial Arts.

Actually, I think that Xiong’s origins of his lineage are still open to question. In Michael DeMarco’s contributions for instance we see that Liu Zhongfang is not listed as a Luchan nephew but a disciple of a Shaolin Master named Liu He. DeMarco’s report states that Xiong was learning Shaolin at age 12. As far as influence from Gan Fengzhi, DeMarco reports that this came from Yin Wanbang of Jiangnan Eight Harmonies Boxing. It is clear therefore that Xiong had quite a bit of exposure to Shaolin at an early age.

You may be interested in Chessman’s statements at Formosa Neijia that he “found a teacher of Xiong-shi system that teaches four hours a day, everyday for free…it’s hard to pass that up”.

An interview from China Wushu Magazine as translated by Key Sun and Leroy Clark, from the mid seventies was done with a Chang Yiu-Chun a student of Yang Shou-Hou. In the interview he states:

“ My teacher was Yeung (Yang) Shou-hu the grandson of the founder of the Yeung (Yang) style, Yeung Lu-sum. (Yang Lu-Ch'an). I was with Yeung from 1911 until his death in 1930”.

Finally: The interview lists the following as being disciples of Yang Shao Hou:

Wu Tunan (beijing), Ma Runzhi Tian Zhaolin (shanghai), You Zhixue , Dong Runfang, Liu Xizhe, Xiong Yanghe (Taiwan) , Li Shouqian (Taiwan), Miao Lian, Gu Lisheng , Cao Lianfang

Classical Tai Chi is minimalist

2010-12-27T12:31:00.001-05:00

简单

The above characters stand for simplicity and simplicity defines minimalism in Classical Tai Chi. For any style of Tai Chi to be done correctly it has to fulfill the Yin/Yang requirement. One part of the body is moving (Yang) while the stationary part of the body (Yin) supports the moving part and provides the majority of the power.

We do not always see this requirement being fulfilled in Tai Chi. More often than not what we see is a form of “externalism” where the entire body is moving with momentum. “Externalism” as in a jumping forward type of attack that is mostly seen in external martial arts. Where minimalism comes in is when the Yin/Yang requirement “minimizes” any movement of the body which normally would move with momentum.

As it is said in The Art of War: ”bait him with easy gains. Set out after he does, yet arrive before him.” The “sit back” posture is yielding and yielding gives him the “easy gain”. When the opponent commits his attack with momentum the Yin is the prime facet that allows you to give him an “empty” reception and “bait” him. So as you see, we can respond with internal power to the opponents momentum force because one part of us is connected to the ground. We are also powerful because of our “intent” and lack of tension in the muscles. Classical Tai Chi does not tense up muscles and becoming proficient at being still or Yin frees up muscles to simply relax.

Minimalism in movement eschews exhausting one’s energy. The internal discipline inherent in Classical Tai Chi keeps us moving but with a minimal range of motion. Turning at the waist rather than at the hips, lifting the legs using back and abdominal muscles rather than purely leg muscles, strictly using the core of the body to power all movements, etc., are typical minimalist concepts. Our power is enhanced because we do not waste our movement by using an extreme range of motion. Our power can be economized because of this allowing us to direct more energy onto the opponent when it calls for it (fa jin).

If I do not move by adhering to these minimalist concepts it is more difficult for my opponent to induce me to momentum or to upset my balance. I cannot be pulled or maneuvered by the opponent. My overall energy remains intact, I do not run out of breath nor do the muscles tire. With minimal movement I can remain calm which enhances my ability to sense (ting jin) my opponents movements. If I am not waving my arms, kicking my feet high, etc., my movements are minimalized to the core until I can lightning strike…the opponent cannot know my intentions. Giving no “telegraph” of what I am going to do, makes any counter of mine very surprising besides being loaded with additional power.

The minimalist credo: “If my opponent does not move, I do not move. If he moves, I arrive first.” – The Tai Chi Classics.

What happened to Yang Shao Hou Taiji?

2010-12-20T13:32:00.001-05:00

The question I asked some time ago and in the context of a series of articles on Yang Cheng Fu’s Taiji, was “What is Yang Shao Hou’s Taiji”? Just yesterday, I received a very nice letter and attachment from Michael DeMarco who is the publisher of the prestigious Journal of Asian Martial Arts:

“Hello Jim,

…Because of your professional involvement in taijiquan,

we are sending you this attached article gratis for your own reference. We welcome any article ideas you may wish us to consider for possible publication…”

Xiong Style Taiji in Taiwan: Historical Development

Author: Michael DeMarco — Date: Vol. 18 No. 3, 2009

Here we have Yang Taiji that is not heard of but is nevertheless is an evolution of Yang Shao Hou’s Taiji. Xiong Yanghe is listed as a disciple of Yang Shao Hou who emigrated to Taiwan. He was a published writer of Taiji and DeMarco’s article also includes Xiong’s writings, “disciples writings, Taiwanese websites, personal observations and photographic observations”.

What I found of particular interest is DeMarco’s use of English information that gives us a look into the socio-political background of the earliest Yang Taiji. Here we have a clearly shown link to Yang Shao Hou, the lesser known brother of Yang Cheng Fu. In my humble opinion, it is certainly a welcome respite from looking at all the little criticized and varied manifestations of Cheng Fu’s incredibly popular (just for health) art.

Xiong himself as well as his teacher’s in the Yang Family had much to contribute to Taiji, but little known is the influence that their time and circumstances had on their Taiji as well. This provides a better map of Taiji territory since that is what is really needed because we do not want to get stuck on half baked notions about the art, its founders or contributors. As a work in progress, or better yet a work in process, we eventually start to understand that our perspective is in continual flux but also hopefully in continual development.

Understandably the incredible amount of as DeMarco puts it: “…nearly incomprehensible violence from the downfall of the Qing Dynasty to the founding of the PRC…” was an overwhelming influence on early Yang Taiji. China was once referred to as “sick man of Asia” because of not only the social unrest but also the many foreign incursions. I believe DeMarco when he says that Taiji history in China is “…influenced by a sense of nationalism and (an overall ideal) of self-strengthening for the country itself…”. With these factors in mind we begin to see a glimpse of what Yang’s Taiji evolved from . Certainly Yang Lu Chan gave us an art that was used for fighting but what present day practitioners largely fail to comprehend is those fighting functions have a profound impact on the way they practice the art.

As we have said before, taking the art that Yang Cheng Fu practiced, removing the martial influence and watering it down even further to various ethereal offshoots does a practitioner little good. In many cases these diluted versions may be harmful to health. It appears from DeMarco’s article that he has captured the flavor of what Xiong taught as a fighting art that is also good for health benefits.

As Classical Taiji is being taught by Stephen Hwa and his disciples, it is also good for martial purposes, health and longevity. The vast majority of practitioners in the world today under Yang Style and the influence of Yang Cheng Fu’s “self-strengthening” are practicing Tai Chi that bears little to no resemblance to that of Yang Lu Chan. How can it, with no recognition of the principles provided by its martial origins?

The Tiger's Mouth revisited

2010-12-10T11:51:00.000-05:00

You can link to the Classical Tai Chi of Buffalo Facebook Page. I made a video in order to thank my teacher Hwa Laoshi for his analysis and articulation of the following rationale. It is very appreciated. This gives me a sense of wonder now as well at all the many arm rotations in the Classical Tai Chi form. In particular, the aspects of arm rotations that accompany the complexity and combinations of internal discipline. Wherein, I never had pause to reflect on this in the past, now more than mere explanation, his statement motivates further investigation.

We are speaking here of the photo of Wu Jianquan in the most recent blog preceding this one. The photo above which shows Hwa Laoshi gripping the arm of a student was taken at a workshop given on his birthday.

I quote my teacher, Hwa Laoshi: "There is another important reason to have an open grip. If Wu uses a tight grip on the white shirt arm. The white shirt person could simply rotate that arm. This rotation, due to the physics of leverage, is much more powerful than the power of the arm with the grip. This means Wu's grip will have to move and follow the rotation. Now the white shirt is controlling Wu's movements instead of Wu controlling the white shirt. With an open grip, Wu is not affected by the rotation of the arm and can keep his control on the white shirt"

The Tiger's Mouth

2010-12-10T06:56:00.000-05:00

Classical Tai Chi is based on Wu Style Taiji. It has a rather unique palm and in particular a unique thumb position. A student expressed puzzlement over this in comparison to what he experienced in Hung Gar Kung Fu. He states that students are told to keep the thumb close to the hand so it cannot be grabbed or broken. The thumb is open from the index finger in Wu Style and the space in between is called the Tiger's Mouth or Hu Kou 湖口.

http://michaelnicknichols.com/gallery/tiger/1 /

The very gentle grip is seen in the photo of Wu Jianquan.

The open thumb is seen on his left hand and you can see him gently gripping the opponents right wrist with a small tiger's mouth. This gentle grip allows for the maintenance of extreme sensitivity or "ting" jin, wherein there is no muscle contraction that would interfere with sensitivity to opponents movement. I'm sure that students can now intuit the advantages of this...

The NY Times says: "Kung Fu for philosophers"

2010-12-09T06:42:00.004-05:00

Photo by Jim Roach, taken at Knox Farm, 2006

Is it “Kung Fu for Philosophers” or is it really just:

The love of paradox in Taoist thought and Tai Chi

...is the title of a recent Blog that I wrote November 29, 2010, please see above link. In the blog I state that: “Long ago, Chuang Chou dreamed that he was a butterfly. He was elated as a butterfly--well pleased with himself, his aims satisfied, he knew nothing of Chou. But shortly he awoke and found himself to be Chou. He did not know whether as Chou he dreamed he was a butterfly, or whether he actually was a butterfly who now dreamed he was Chou.If a sleeper can dream so vividly that he is unable to ascertain that his experiences are actually unreal, how can he ever be certain that anything he experiences is real?”

Descartes stated "i think, therefore I am". He attempts to use logic to verify what he perceives he is sensing. Chuang-Tzu responds with a Taoist acceptance of the conundrum, and prefers not to value the dream as any less "real" than the waking state, and vice-versa. It suggests that all natural life and all experiences are in essence interchangeable. A butterfly's existence is just as valuable and meaningful as a human one, and a dream is just as valuable and meaningful as an experience one has while awake

See this NY Times article published today December 9, 2010 and titled: Kung Fu for Philosophers and you can find it at http://opinionator.blogs.nytimes.com/2010/12/08/kung-fu-for-philosophers

Written by: Peimin Ni, Ph.D.

…and it states: “The well-known question posed by Zhuangzi in the 4^th century B.C. — was he Zhuangzi who had dreamt of being a butterfly or was he a butterfly dreaming he was Zhuangzi? — which pre-dated virtual reality and “The Matrix” by a couple of thousand years, was as much a kung fu inspiration as it was an epistemological query. Instead of leading to a search for certainty, as Descartes’s dream did, Zhuangzi came to the realization that he had perceived “the transformation of things,” indicating that one should go along with this transformation rather than trying in vain to search for what is real.”

Curious;>) Is it a dream, merely serendipitous or am I just “perceiving the transformation of things” when I see that the Times article and mine are remarkably published in the same timeframe:>)) Nevertheless, I will not be “trying in vain to search for what is real”.

Implications of incorrect "peng" or "ward off"

2010-12-07T09:25:00.000-05:00

Implications of “Peng” or “bing” also called “Ward Off”

A graphic representation of the problems encountered:

The vast majority of videos on Youtube show Peng as a defensive movement with no explanation that it is also the central component in the offensive aspect or “one inch punch”. To further complicate matters, Peng is most often not even explained defensively as one sees “Masters” bouncing “disciples” backward. For the most part, the arms of the “disciples” are tense and rigid as the teacher pushes them backward. http://www.youtube.com/watch?v=XSnUDkCQ0WU being done with a stiffened and tense arm. Or, the arm of the student or even the teacher bends excessively at the elbow http://www.youtube.com/watch?v=yA8rLL-IE7g&feature=fvw in the defensive posture and one sees It seems to me that an explanation of the implications of Peng is warranted here:

Implications of correct “Peng”:

· Its integrity demands that the arm neither bend or become tense.

· At the most basic level, learning Peng starts with the arm in one hand push hands.

· Essentially, a primary implication is that the student keeps the form of their movement as they either yield or generate an offensive movement.

· Collapsing the arm means the form of movement or its “shape” is being altered.

· Tensing the arm means the form of movement or its “shape” is being altered.

· We do not want the opponent to reach our body by collapsing the elbow so the arm has to be “firm” but not tense.

· When we use “Peng” as a “push” or “one inch punch”, we maintain our form but the arm is not tense as well.

· Collapsing the arm results in the use of external or arm strength, we feel tremendous pressure to use muscular force of the arm.

· As we sit back or yield defensively our force is less than our opponent but we still have to maintain our form or shape.

· An analogy here comes from the Tai Chi writings: “Peng is like the water that supports a boat”. The water yields to the force of the boat, yet it supports the weight and shape of the boat but yet it does not lose its own overall shape or form.

· Tensing the arm during cooperative push hands results in our partner feeling tremendous pressure to use muscular force as well.

· Implication here is either tension or collapse is that a player does not have “internal discipline” of movement and therefore no “internal energy” is being generated to either fend off an attack or push.

· In the same token there is an implication that a player does not have “internal discipline” of movement and therefore no “internal energy” can be generated to “push” or “punch”.

· Another implication of faulty peng is that the player is not able to “ting” jin or “listen” to what the opponent is doing (we refer primarily here to a rudimentary sense of touch that is lost when either collapsing or rigidizing the arm, “ting” jin at higher levels is beyond the scope of our discussion).

· Implication for faulty peng can often be traced to such deficiencies (among others) as not sitting back correctly.

· Sitting back correctly demands that a crease appear in the trousers at waist level.

· Sitting back correctly demands that the player not remain perpendicular to the ground when sitting back, the “crease” is achieved when there is a slight lean forward of the upper torso even while sitting back. This slight lean forward also acts as a counter balance to the backward momentum that is generated when pulling with the rear foot.

· We have only touched on some implications here but overall, the deficiencies we mentioned can always be traced back to problems with the Classical Tai Chi form playing.

· Maintaining “form” or “shape” during push hands is directly relevant to maintaining “form” or “shape” during solo practice…after all, why do you think they call it the FORM?

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http://michaelnicknichols.com/gallery/tiger/1/The very gentle grip is seen in the photo of Wu Jianquan.

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