Taekwondo at “Snails Pace”

The Square Form 

a video link

 I had a really interesting Taekwondo class some years ago that got me thinking deeply about movement and how our bodies work, and I just had to share it.The teacher asked me to teach the “Poomsae” (Form).

So, I tried something more than a a little unconventional. I asked the students to do a specific form, Poomsae(a kata), at a super slow pace – like, half their usual speed. The class ranged from 8 to 13 years old. It was mind blowing for the class and seemed to stimye them. 

I was inspired by Wu’s Style Tai Chi (I was studying with Eddie Wu in Toronto at the same time as Kim’s Taekwondo). Wu’s is a large frame and certainly slow, but Classical Tai Chi is slow AND all about truly feeling every little movement of your body. 

Needless to say but I was up for discipleship and Wu said “I didn’t care before but now you are teaching so stop the Taekwondo”. This sounds similar to Wu’s great grandfather Wu Chien Chuan asking Master Hwas teacher to give up doing all his many external arts to learn.

You'd think slowing down would make things easier, right? Nope! It was actually way, way harder than they expected. Their usual smooth, powerful movements turned into this really challenging mental and physical exercise to keep control at that snail's pace.

It reminded me of something Master Stephen Hwa once said: "Sometimes it is more difficult teaching students how not to move than how to move." That really nails it – it shows how much our mind and body are connected in martial arts, especially in Tai Chi, and how crucial mental focus is for physical actions.

The main problem was breaking their ingrained habits of moving quickly. We all develop these "efficiency shortcuts" in our bodies – super-fast, almost automatic movements that save effort. Our bodies are naturally wired to be efficient, so over time, we build these deep muscle memory patterns that let us move fast and powerfully without much thought.

But here's the catch: this efficiency can actually make us *less* sensitive to the tiny muscle engagements and internal workings that truly define mastery. When you move fast, it's easy to miss subtle details – like micro-shifts in muscle tension and body alignment.

So, the goal became to intentionally re-teach their bodies to regain that lost sensitivity. This is exactly where the Classical Tai Chi "Square Form" shines. It's like this brilliant "anti-habit" method. It forces you to move incredibly slowly, with distinct, complete pauses at the beginning and end of each tiny segment of movement.

This meticulous approach makes you acutely aware of every transition, every moment of stillness, and every time you start a new movement. Even though it might look a bit "mechanical" from the outside, it's designed specifically to counter our natural tendency to keep flowing. It literally re-sensitizes you to the intricate mechanics of your own body.

Beyond just slowing down, the main point of Square Form is to help students truly feel and understand the principles of Yin and Yang within their physical selves. It helps you consciously keep one part of your body still and rooted while another part initiates and performs a movement. This builds a deeply integrated system of body control, rather than fragmented, jerky movements.

Often, those extra little wiggles in our arms and legs come from relying too much on quick, local muscle signals instead of a harmonized internal system. While some Tai Chi forms might have a bit more external flair, the whole point of *true* internal practice goes beyond just how it looks.

The ultimate aim is to allow your internal energy to flow freely throughout your core and limbs. In genuine internal motion, where the main Yin/Yang balance is centered in your torso, you minimize unnecessary movement in your big joints, letting internal energy circulate smoothly. On the flip side, if you're using quick, external muscle commands, it tends to create energy blocks at key spots like your shoulders, elbows, hips, and knees, messing up your natural energy pathways.

To sum it up, the Classical Tai Chi Square Form is a really powerful and insightful way to develop incredible internal control, sharpen your body awareness, and get a much clearer sense of your body's energetic architecture. It's a transformative process of undoing old habits to reconnect with the basic principles of movement and your body's inherent energy flow.

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.”
• 
  
• 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. 
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• 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.
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• After much practice of each posture outlined above, do random practice (mixing postures unpredictably) to deepen adaptability and subconscious mastery of Yi. 
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• Monitoring physical feedback—warm hands/fingers indicate proper Qi flow; cold fingers suggest extraneous nerve activity or poor Yi.