The true cause of "double weighting"

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 heavy. To avoid this fault one must distinguish yin from yang". 

In meeting a 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 “sit-back” posture would not work to obtain a “crease” in the front of the trousers at the pelvic area.  He actually would sit back 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 these 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 practitioners 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, the 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.) Bodyweight 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 practitioners 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
he 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 

Get a Toe Up? Uh-uh!

 I'm writing this from our new home in Acton, California, but here is Master Hwa teaching my students at a Kenmore, NY H.S. circa 2005. Notice that Master Hwa's foot has its TOE POINTING DOWN with no bend or "crimp" in toes as he lifts the leg, USING THE CORE NOT JUST THE LEG MUSCLES.  Notice the 2 ladies watching it, getting it correct, and one of the men seems befuddled. 

This relaxes the foot and greatly enhances the core's ability to lift the leg.  If the toe points "bend, crimp" UP, chances are you are tightening the foot muscles, crimping the core's ability to lift. That induces the body into using "external", not "internal movement".  

Think of the concept this way:  Make as tight a fist as you "white knuckle"  can and try to move your arm, now with fist "white knuckle" tight, try moving the arm using internal discipline. Difficult, right?

The same "crimping" of energy that impedes core movement occurs when you tighten the foot.  The same holds true for kicking as for walking: the more you relax the toe, the more the heel can extend to kick with the heel

 In Classical Tai Chi, relaxing the toes while lifting the leg is a fundamental part of "internal discipline," in which movements are driven by the core rather than by external muscle tension. 

Core Principles for Relaxed Leg Lifting

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• Source of the Lift: In this style, you do not use the thigh muscles (quadriceps) to pull the leg up. Instead, the pelvis,
• abdominal and back are engaged to "lift" the leg from the center.
• Lower Leg Relaxation: When the lift originates from the core, the lower leg should hang vertically and naturally from the knee. This "hanging" state automatically keeps the foot and toes completely limp and relaxed.
• Preventing "Toe Tension": Curling or stiffening the toes during a lift often indicates that you are using "external leg power," which stops the flow of energy at the hip.
• Stepping "Empty": When stepping forward or backward, the foot is placed on the ground without shifting weight until it is flat. Keeping the toes relaxed during this "empty" phase ensures the body remains balanced on the supporting leg. 

Practice Tip

Are you able to relax? 

Can you lift either leg while focusing your conscious mind on your core at your waist? This is “internal”! If your toes "scrunch" or lift upward toward your shin, it's a sign of tension in the lower back or quadriceps. That is “external”! Focus on "sinking" the weight into the standing heel and letting the moving foot feel like a heavy, relaxed weight hanging from your core. 

Tangents (aka for direction & points of attack) are important in Square Form

Classical Tai Chi Square Form Tangent Video Link

I am reposting this because I came across a very bad Youtube representation of Classical Tai Chi Square Form. Whether “well meaning” or not, it  is a clueless attempt to “slow mo” the Classical Tai Chi Square Form. Square form requires crisp, resolute, precision in its structure and emphasizes distinct segmented movement rather than a 2 hour, 40 minute slow “flowy” misrepresentation. 

In the Classical Tai Chi Square form, tangents refer to the points where the movement’s straight lines or angles intersect with the curved paths of the form. These tangential points mark changes in direction, where the practitioner transitions from one movement to another.

According to Master Stephen HWA, in his YouTube video on TAI CHI SQUARE & ROUND FORM, these tangents are crucial in understanding the Classical Tai Chi Square form. He emphasizes that the end of each straight line or angle is not just a physical endpoint but a point where the movement’s trajectory intersects with the curved path, creating a subtle yet significant shift in direction.

In Classical Tai Chi Square Form, tangents refer to specific movements where the practitioner’s body parts (arms, legs, or torso) intersect or touch each other, creating a dynamic, attacking-oriented pattern. These tangents serve as a means to generate power, redirect energy, and execute effective attacks.

Key Characteristics:

• Pausing at end points: Tangents in the  Square Form involve pausing at the end of each movement to ensure proper posture and preparation for the next action. This pause allows for a brief moment of “attack readiness.”

This concept is reflected in the 108-posture Classical Tai Chi Square form, where the practitioner must integrate these tangential points to maintain the form’s fluidity and harmony. The instructional videos by Classical Tai Chi offer guidance on mastering this intricate aspect of the form.

Every movement in the Square Form has a clear starting and ending point. The movement between these two points is usually in a straight line and done very crisply and resolutely. Directional changes are typically carried out at these two points. These characteristics are opposite to the Round Form, which should have a continuous movement with no apparent starting or ending point. The hand movements are mostly rounded with few straight-line movements. Therefore, directional changes do not appear at an end. Instead, it is incorporated into the movement as a smooth curvature. Also, the movement in the Round Form, instead of being crisp and resolute, should be deliberate and thoughtful. 

People are often surprised at the direct opposite requirement between the Square and Round Form. This is not unique; just think about how you learned the art of calligraphy or, for many “old timers,” how to handwrite. You first learned how to write in print form. Then, you realize the cursive form. These two writing forms are analogous to the differences between the two Taiji Forms.

By acknowledging and incorporating these tangents, practitioners can refine their technique, enhance their understanding of the form, and cultivate a deeper connection with the art of Classical Tai Chi.

Yi & Internal Dialogue

Martial Intent Video a link

There is “internal discipline” and “martial intent” which are both very important as you can see in our video link.  Then there is “internal dialogue” which we discuss here.

“Internal Dialogue” is like an inner radio station of thoughts in your mind!

A constantly playing, sometimes static-filled station you cannot easily turn off. A constant playing station that interferes with, sometimes obliterating, the  mindfulness needed for Classical Tai Chi. 

The facets of mindfulness: In other words, through constant practice of classical tai chi, the benefit comes from a positive feedback loop that continues to build and expand the more one practices. Also, the quieter the mind becomes in practice, the more mindful and like a meditation your tai chi becomes.  

A greater communication needs to develop between the bodily systems because one’s mind chatter or internal dialogue interferes with the transmissions mentioned above. Just like a noisy radio; one must tune out the discordant frequencies until that one clear station comes in. 

Quieting the mind in practice comes only with practice, and this is important because the more we move in this direction, the faster and more widespread positive changes will occur. 

It is mainly the martial intent that causes the changes in the mind and consequently in the physical. Herein lies a primary reason (often not given by teachers) for practicing a form many times. This is the essence of practice! 

Martial Intent 

“Yi”

Quiets Internal Dialogue 

• “Internal Dialogue is like an inner radio station of thoughts in your mind”

In Classical Tai Chi, it is the martial intent (Yi) that serves as a focused mental anchor, quieting internal dialogue and distractions, allowing for deeper embodiment of movement and internal power. Rather than being a passive thought, martial intent is a single-minded, intuitive focus on the self-defense application of each movement—such as deflecting an incoming strike or controlling an opponent’s limb. 

This practical mental direction replaces abstract or wandering thoughts, aligning the mind with the body’s mechanics. 

As noted in Uncovering the Treasure and Classical Tai Chi Blog, martial intent is not complex or elaborate—it is a direct, subconscious trigger that activates the correct body method at the onset of a movement. 

For deeper study, Master Hwa details these methodologies in his book Uncovering the Treasure: Classical Tai Chi's Path to Internal Energy & Health and his video lessons 

https://classical-tai-chi.teachable.com/

When practiced consistently, it becomes automatic, and as Master Stephen Hwa says:

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

Integrate “Yi” a primer

“Intent” video primer

 

Step-by-step instructions I follow to integrate Martial Intent (Yi) into my practice. I never was taught or began to do this till 2003. All practice back to 1976 was Yang and Wu Styles Large Frame and there never was an inkling of the term “Martial Intent” (Yi) from teachers.

• Beginning each practice and setting a clear intention: “This is a martial art.”
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• Practicing one posture at a time, mentally directing Yi (Martial Intent) to the leading body part—e.g., the palm, fingertips, or the edge of the hand—depending on the movement. Remembering Master Stephen Hwa's words: “martial intent is a tool for developing Qi”.
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• Remembering, I want no localized impulses (e.g., flicks, flourishes, or tension in hands/fingers) that disrupt the flow of internal energy. 
• 
  
• Moving by using IInternal Discipline so that all motion originates from the abdomen and back, not the limbs. 
• 
  
• Repeating each posture multiple times (blocked practice) before linking it into sequences, reinforcing correct Yi with repetition. 
• 
  
• Ultimately, but gradually integrating Yi into the entire form, maintaining consistent mental focus throughout. 
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• Using pauses at directional changes( in Square Form) to check alignment, relaxation, and intent. 
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• Visualizing an opponent during each movement to reinforce the martial application behind the posture.
• 
  
• After much practice of each posture outlined above, do random practice (mixing postures unpredictably) to deepen adaptability and subconscious mastery of Yi. 
• 
  
• Monitoring physical feedback—warm hands/fingers indicate proper Qi flow; cold fingers suggest extraneous nerve activity or poor Yi. 

Not a Proficient Practitioner?

 Classical Tai Chi Walk

CONTINUATION OF DIALOGUE: Some time ago Stephen Hwa, PhD who is the Master Instructor of Classical Tai Chi started a discussion in the Classical Tai Chi email "group" on "learning paths" which can benefit those students who do not wish to be "proficient" practitioners of the entire art. There has been very little activity in that group for some time, hence the desire to continue the dialogue in other venues such as Facebook, Blog and email to my students, some of whom have studied with him in workshops. 

The central idea is to tailor the teachings to a large and varied population, thus attaining a substantial student body and maintaining a viable school. In my visits to Florida and my correspondence with him I have witnessed his experimentation with this concept of "tailoring". I have also organized and participated in workshops in which he reiterated these different scopes of teaching.

 On the whole I see that he has extracted certain parts of the art which are suitable for certain segments of population, such as the elderly. Along with this is his extraction and iteration of how teachers can attain a different approach to initiate students into the art both keeping their interest high from the beginning and continuing right through the course. In gathering my thoughts on this I keep coming up against the thought that Classical Tai Chi has a very good methodology for dealing with one specific need and problem of the elderly that does not entail them becoming "proficient practitioners". This is so unlike many Tai Chi programs which seem somewhat "run of the mill". In their desire to "help" all of them they still take the course that students including such population as the elderly need to take the "scope" of how a "proficient practitioner" would proceed in their learning. To continue with this dialog I have outlined one "approach" to a very specific problem and segment of population.

CLASSICAL TAI CHI AND FALLS PREVENTION IN OLDER PEOPLE.

BACKGROUND:

There is hardly a lack of research programs and data that has been gathered which attempt to show that what can only be called "generic Tai Chi" can amend what are many characteristics in older adults that place them at increased risk of falling, including poor balance, loss of strength, limited flexibility, and fear of falling. On the other hand I have not seen any studies which have directly examined the influence of the internal discipline of a Classical Tai Chi “walking” or lower body practice on falls in this population.

PROBLEMS:

There have been randomized controlled trials utilizing generic Tai Chi or Tai Chi-inspired exercise which were published between 1996 and July, 2007. The studies varied considerably on study settings, participant characteristics, sample size, type of Tai Chi intervention, length of intervention and quality of the study design. Of the six studies that used generic Tai Chi forms, three purport to show significant improvement in fall-related outcomes. One study using generic Tai Chi-inspired exercise also purported to have a significant fall-related outcome. In each of those studies however some type or variation of a Tai Chi standard “form” or series of controlled movements which teach “postures” was used. My experiences as well as those of my own teacher Stephen Hwa, PhD speak to the difficulty of teaching “postures” where it is somewhat of a cliché’ when one consistently hears statements on the order of: “I can’t remember, do I raise the left hand or right hand, turn left or turn right, etc when I do this” AND similar statements. This is the bane of students who start a program that emphasizes the rote memorization of Tai Chi forms and/or separate practices of auxiliary “exercises”.

PROPOSALS:

Despite the evidence which purports demonstrating the beneficial influence of Tai Chi practice on known risk factors for falling in older adults, evidence indicating an actual impact on falls-related outcomes is equivocal. One wonders if a large-scale study that emphasized the specific parameters of “internal discipline” in Classical Tai Chi walking an emphasis on lower body training might be more meaningful. Might this type of study be able to be more consistent as an intervention? Might this type of study be more clinically meaningful in clarifying the role of Classical Tai Chi “walking” training rather than the larger scale of the entire art of Tai Chi as an effective falls prevention program. A Classical Tai Chi “walking” training program is already in play for the training of any practitioner who wishes to become proficient in the art. On the other hand, not everyone wants to become proficient in the art. Above all, might this type of study be organized into a viable research program and collection of data which does indeed show that Classical Tai Chi above all others can amend the characteristics connected with "falling" that I have outlined?

METHODOLOGY: Whether aware of it or not, each human being is faced with a dilemma in the form of what has been called “controlled falling” each and every time we take a step. In other words the center of gravity is NOT under control and we delude ourselves if we think it is. This is not to say we haven’t learned very well how to keep each leg (NOTE THE EXTENSIVE USE OF AN EXTREMITY THE 'LEG") moving fast enough to catch ourselves thus translating such momentum into “walking”. Is it any wonder then that we are subject to falling as we grow older, losing strength in the legs, losing feeling in the feet, losing coordination, etc. ? What has happened to the role of the rest of the body in this dilemma, "rest of the body" being the core or torso? In essence we are relying on the very mechanisms that were faulty to begin with to carry us through an old age that may also be fraught with disease. It is my contention in agreement with my own teacher that not every student who starts Tai Chi wishes to become proficient in the art. On the other hand, the Classical Tai Chi walking training has many facets, some are in the form of exercise, this also tunes the nervous system in the lower body as well as strengthening it and the walking training teaches the student how to maintain the correct body posture. Additional elements of the walking training teach the student how to integrate the principles of Tai Chi walking into everyday life. The essence of “walking” training is to teach the student to use “internal discipline” to direct the movements of the torso to move the legs.

The fact that we see many elderly as well as even younger people whose movements are really concentrated in the legs and feet (as well as arms, shoulders, etc.) and less on the core of the body is an indictment of already being on the road to deteriorating health. The torso is not being used, one sees people both young and old walking with unsteady steps.

EXAMPLE 1. One example of a “walking” training exercise might consist of having the student stand with feet parallel and visualize that the pelvis is a very real extension of either leg. With this visualization in mind the student raises either the right or left hip by using the abdomen and back to lift either right or left side of the pelvis, and this in turn lifts the leg. The student moves the foot forward and stretches the pelvis down until the foot is fully planted. This is how the leg movement is “internally driven” with upper body remaining still. and once planted the foot “pulls” the body forward.

Thus a comprehensive Classical Tai Chi walking program for falls prevention composed of numerous “internal discipline” where for example training exercises such as “Example 1” can be implemented

It is my sincere hope that those health professionals in the community as well as those who are proficient practitioners would also contribute to this dialogue on the efficacy of this Classical Tai Chi "walking" training. For example, what might the role of an Occupational Therapist, Physical Therapist, public health practitioner, senior service provider, clinician be who wants to address "falling" among the elderly in the community? Could an Occupational Therapist, a Physical Therapist, etc. be trained sufficiently themselves to implement the "walking" as a viable program or could they collaborate with a Classical Tai Chi instructor in such a program? Could there be such a collaboration as an implementation of a study or studies which do examine the influence of a Classical Tai Chi walking practice on falls in such a population as outlined in "Proposals"?

Jim Roach,

Sifu, Classical Tai Chi of California 

“Flowery Hands & Fidgety Feet”

https://classical-tai-chi.teachable.com/

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.
• A 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.