Monday, January 12, 2026

“Flowery Hands & Fidgety Feet”



Internal vs. External Energy


Stephen Hwa, a former scientist at Xerox Corporation, brought an analytical and systematic approach to the art, emphasizing Internal Discipline—the use of internal power and movement originating from the core rather than superficial muscular effort and its problems of “localized impulses”. 


Localized Impulses in Practice

In Classical Tai Chi, localized impulses refer to small, unconscious movements or nerve activations—especially in the hands, fingers, arms, and shoulders—that disrupt the flow of internal energy. These include flicks, flourishes, tension, or micro-movements not driven by the core.

  • Practicing "form" with no awareness of localized impulses and no internal discipline  leads to the saying: "flowery hands and embroidered ( fidgety) feet," which looks good but lacks any real substance or practical application.


Master Stephen Hwa emphasizes that during form practice, the upper limbs should move as an extension of the torso, not through isolated arm or hand actions. When a practitioner uses localized impulses, they break the continuity of internal energy transmission from the dantien (core) through the limbs.


Why Students Deny or Misunderstand Localized Impulses

Students do not know the “localized  impulses” term, are not aware of the concept  “extraneous movement” , hence often denying their localized impulses due to:

  • Lack of body awareness: Many practitioners are not yet sensitive to subtle neuromuscular activity in the extremities.
  • Mental distraction: The upper limbs' function is described as "entirely abstract and mental," making them prone to unconscious interference.
  • Misinterpretation of fluidity: It is essential that students not simply make graceful movements like hand waving and think their practice is correct. This is localized control, not core-driven control.
  • Denial due to habit: As one student with cold fingers was found to have a habitual hand-flourishing habit, correcting the issue required acknowledging the impulse first.

Master Hwa notes that it is often harder to train a student not to move than to move, underscoring the challenge of eliminating these impulses.


The Role of Martial Intent (Yi)

Central to overcoming denial of localized impulses is cultivating Yi (martial intent). Yi is not imagination or analogy—it is a focused, single-minded intention to deliver internal power through the limbs, as in martial application.


When Yi is correctly applied:

  • The mind directs energy to the point of action (e.g., palm, fingertips, edge of hand).
  • Movements become purposeful, not decorative.
  • The practitioner avoids extraneous motions because they interfere with power delivery.

As Master Hwa states, once Yi is mastered, it becomes subconscious and natural, eliminating the need for deliberate control—and with it, the tendency to insert unnecessary impulses.


Square Form as a Corrective Tool

The Square Form is a foundational training method in Classical Tai Chi designed to eliminate localized impulses. It features:

  • Straight-line movements with clear start and end points.
  • Pauses at directional changes, reinforcing awareness of what moves and what remains still.
  • template-like structure that makes deviations obvious.

By practicing Square Form, students learn precise segmental control, ensuring that only the intended part moves while others remain still. This trains the nervous system to suppress localized impulses and instead let movement originate from the core.


As one analogy goes: Square Form is like Kai Shu (block calligraphy)—structured and deliberate—while Round Form is like Cao Shu Cursive Script, fluid but built on that foundation.



Health and Energetic Consequences

Localized impulses are not just technical flaws—they have tangible effects:

  • Disruption of Qi flow, leading to symptoms such as cold fingers, as observed in one of Hwa's students.
  • Reduced martial effectiveness, since power cannot be fully transmitted through a limb with extraneous motion.
  • Compromised health benefits, as improper movement can strain joints or inhibit internal energy circulation.

Wednesday, January 7, 2026

Progressive Practice Strategy








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


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

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

Blocked Practice

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

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


Serial Practice

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


Random Practice

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

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

Comparison of Practice Types in Classical Tai Chi

Blocked Practice

Serial Practice

Random Practice



Blocked Practice

Repeat one posture/form multiple times before switching

Serial Practice

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

Random Practice

Forms/postures practiced in unpredictable order


Cognitive Load

Low for Blocked

Moderate for Serial

High for Random


Skill Acquisition Speed

Fast for Blocked

Moderate for Serial

Slow for Random


Retention & Transfer

Poor for Blocked

Good for Serial

Excellent for Random


Contextual Interference

Low for Blocked

Medium for Serial

High for Random


Best For

Beginners learning new postures   Blocked

Intermediate learners refining flow      Serial

Advanced learners improving adaptability    Random


Example in Classical Tai Chi

Practicing "Preparation Form” 10 times straight.  Blocked

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

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

Wednesday, December 31, 2025

ASIAN MARTIAL ARTS & CLASSICAL TAI CHI

Tao of Martial Applications





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


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


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


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


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


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


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


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


JOURNAL OF ASIAN MARTIAL ARTS 0 ᴠᴏʟᴜᴍᴇ 17 

Tuesday, December 23, 2025

Large v Small

 

What is Wu Style Tai Chi?



Large Frame Tai Chi

Tai Chi Large/Small 

Dr. Hwa,

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

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

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

Thank you - MM"


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

There is a saying in China, 内传小架,外传大

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


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


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


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

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

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

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





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