This is Small Circle not Large

Rashid Oso asked an interesting question:  What about practicing Tai Chi at a very slow speed? Many Tai Chi practitioners nowadays (on YouTube) tend to move quite slowly, even in a very deliberate, drawn-out manner. Can one maintain the same feeling of relaxation and internal energy at that slow speed? For me, practicing Tai Chi at a normal speed is the most natural and comfortable. It's the pace that just feels right.

Rashid Oso et al. at Slower speeds: One can certainly attempt to slow the speed down to a "snail's pace" as an experiment; no one will scold you. However, 99% of "other" Tai Chi may appear to move slowly, but consider the mechanics of what they are doing and the size of their "frame" and "circles."  Also, to quote Master Stephen Hwa "...Jim Roach, they don't do INTERNAL..."! For instance, if someone is making a sizeable circling movement of their arm, doesn't that naturally extend the time because of the circle size? We do "small frame" and "small circle"; making a smaller circle takes less time than a large circle. As an experiment, you stand, feet parallel, and reach toward the wall, stretch till you first engage your core, then stop. Hold the stretch, count to 5, and then continue the stretch. In other words, you slowed your playing speed, but the internal force level did not change. You stopped the internal movement midway and found it remained energized. So, you also have this time to experiment while doing the form. You found that even playing slowly still gives you more time to sense and experiment with the details of the internal move. If you go slower and slower beyond a certain point, the circulation of the internal energy becomes a problem, not the initiation. There is a factor of diminishing returns, which you will sense, and you will find that it is becoming an intermittent circulation. That is a sign that you are playing it too slowly. People say, "Oh, play it at 20, 30, 40 minutes, etc." However, intermittent circulation will occur once you approach the 20-minute mark in these small circle-round forms. Remember, you are making small circles, and that has its own physics, which you try to defy at a "snail's pace."

Cross Lateral in Tai Chi

https://youtube.com/shorts/ZYUy5af_B_k?si=vbfNHFrnAjtslOK6

 Classical Tai Chi is loaded with “cross lateral movement”. AKA left brain cooperates with right brain. Example: One hand pushes, other hand deflects, etc. Try patting your head and rubbing your belly. Try patting your belly and rubbing your head. That difficulty is the neurological answer to the following question: The young woman said “Mr. Roach, why does Tai Chi have to be so hard?” 

This analogy is based on “ cross-lateral movement,” which requires the left and right brain to work together. As babies, we learn these skills instinctually. As we age, unless we continue to train physical movements across a wide range of motion and complexity, the neural pathways in the brain that were once strong to do this begin to atrophy. Good example is the shuffling steps as well as balance troubles of many seniorsLink to example of cross lateral

Classical Tai Chi Walking Exercise

Classical Tai Chi Walking Exercise 

We have a mixed-ability Classical Tai Chi group, so newer members must avail themselves of study materials and online lessons. This is so that they can improve their standard and master at least the basic walking of Classical Tai Chi in their own time. Walking is quite helpful because you can do it even during other activities. Any questions can also be asked anonymously in the Classical Tai Chi group.

Here is the link to join our group: https://fb.me/g/p_KyoSC3pbm4Dsv36u/812ndvso

PENG’S OTHER ROLES

 https://youtu.be/MZzleh-jxgk?si=lmJozhWX3YAxI-y0

“ 8 energies, etc.” Peng, Lu, Ji, An, Jou, Kao Cai, Lie! 

Most videos on YouTube show lots of “Peng”( sounds like pung, I won’t include Mandarin tone marks). It is shown as a defensive movement without explaining that it is also the central component in the offensive aspect or “one-inch punch.”  

To further complicate matters, Peng is often not 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 back, being done with a stiffened and tense arm.  Or, the arm of the student or even the teacher bends excessively 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 nor become tense.

·         At the most basic level, learning Peng starts with the arm in one hand and 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 using external or arm strength; we feel tremendous pressure to use the muscular force of the arm.

·         As we sit back or yield defensively, our force is less than our opponent's, but we must maintain our form or shape.

·         An analogy 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 its weight and shape, 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.

·         Implication here is that tension or collapse is that a player does not have “internal discipline” of movement, and therefore, no “internal energy” is 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).

·         Implications 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; 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 counterbalance 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?

Martial Intent

 

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

Certainly, Tai Chi Form movements make more sense and are easier to remember if they are corroborated with the martial art origin of the movements. It is why there are these sequences of movements, as well as the body's positioning and timing.

Besides this aspect, there is a more subtle but powerful reason why the martial arts aspect of Tai Chi is essential. I shall discuss that below:

Tai Chi Form should be practiced with “Yi” (martial art intention). “Yi” is not something complex and elaborate. It is single-minded and somewhat intuitive, wanting to deliver internal power externally through hands, arms, and feet, whatever the movement is. 

If the hand moves forward, the Yi goes to the palm and fingers. If the hand moves laterally in a blocking movement, then the Yi moves to the leading edge on the side of the hand, etc.

Once the practitioner masters the “Yi,” it is no longer a conscious effort. It becomes subconscious and comes naturally whenever the practitioner makes a move. At this stage, when you play the Form, you have both the Internal energy and Qi (nerve signal - a simple-minded definition) are circulating in the torso of your body. 

With the “Yi” as a catalyst, the Qi can flow to your hands and fingers while the internal energy circulates in your torso until you need it for an application. Then, the internal energy will follow the Qi to the arms, hands, and fingers for delivery.

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

The “Yi” in Tai Chi is therefore purely mental. For some students, “Yi” is fairly easy to develop. It is almost natural to them. For some students, it is pretty challenging to be consistent – other intentions creep in subconsciously occasionally. Students who have studied dancing or are interested in dancing have such problems. The fingers become warm after playing the Form, even in cold weather. 

One of my students who had already achieved good internal movements complained about cold fingers. Upon close examination, she frequently had small flourishes in her hands and fingers. After reducing that flourish, her problem of cold finger improved. 

Extraneous motions, or nerve signals, along the path of Qi, such as shoulder, elbow, and arms, have the same effect of disrupting the flow of Qi between the body and the fingers. People who use their hands intensively, such as dancers, typists, and piano players, could have such problems. They need to keep localized nerve activity dormant and let the Qi from the body take over. 

This is an excellent reason to learn the square form from which the practitioner will get used to movements with steady arms and hands without localized impulses.

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

Work from "outside-in", not "inside-out"!

https://youtube.com/@ClassicalTaiChi?si=cqfnfYNU5WAHncHs 

A GREAT LINK TO ALL OF MASTER HWA'S VIDEOS

 

"WHAT DOES IT FEEL LIKE, NOT WHAT ITS NAME IS!"

 (It is important to remember that we work from the "outside-in," not from the "inside-out," to learn Classical Tai Chi. I spent 20 years learning large Frame Wu's Style from the Great-grandson of the Wu's style founder in the 80s and '90s. I struggled with "quarter body movement" when I started Classical Tai Chi in 2003. Then I took Master Hwa's advice and WATCHED the videos 3 to 5 times each before attempting anything. I just watched and did not move. It is now 20 years after the initial 20 years, and as Ms. Eva Hwa (Koepsell) said, "...Jim, you got it...") 

 Anatomical terminology is a form of scientific terminology used by health professionals, anatomists, and zoologists. Over the years, I have heard terms like “Scapula, transversus abdominis, internal oblique muscle, etc.” used by students up to and including Master Stephen Hwas Teachable course. Hearing students use anatomical terms when learning Classical Tai Chi can be frustrating. However, for our purposes, it is unnecessary to get too anatomically technical here, as understanding these elements in the body requires not medical but experiential knowledge. 

 As I said, my student, and now "Sifu "Jason Bulger, invited me to demonstrate classical tai chi to his anatomy teacher. Jason is now an Occupational Therapist! I taught the Professor to turn at the waist, not the hips, a rudimentary upper-quarter body move, and not mention any anatomical terminology. 

 You may refer to almost any anatomical text on the subject. While it is certainly helpful to see the differences, it is more critical that we FEEL the natural design of the body and act based on what we feel. This is why Master Stephen Hwa has over 60 YouTube videos on HOW TO SEE IT TO DO IT, subsequently FEEL WHAT YOU SEE IN THE VIDEO, and not how to use its correct anatomical terminology to learn.

Internal Force is not Momentum Force

 ɪ ᴅɪᴅ ɴᴏᴛ ᴘᴏꜱᴛ ᴛʜɪꜱ ᴛᴏ ᴛᴏᴜᴛ ᴛᴀᴇ ᴋᴡᴏɴ ᴅᴏ, ɪ ᴘᴏꜱᴛᴇᴅ ɪᴛ ᴛᴏ ᴅᴇᴍᴏɴꜱᴛʀᴀᴛᴇ ᴛʜᴇ ᴅɪꜰꜰᴇʀᴇɴᴄᴇ ʙᴇᴛᴡᴇᴇɴ "ᴍᴏᴍᴇɴᴛᴜᴍ ꜰᴏʀᴄᴇ" ᴀɴᴅ "ɪɴᴛᴇʀɴᴀʟ ꜰᴏʀᴄᴇ" ɪɴ ᴄʟᴀꜱꜱɪᴄᴀʟ ᴛᴀɪ ᴄʜɪ

Tom Kostusiak and Jim Roach taught Classical Tai Chi to a 4th-grade class, and one of the children wrote: “They taught us Tai Chi, but Mr. Roach said it was good cause we won't fly kick out the window like 1 kid did for him”

Let me explain what I said about why Tai Chi does not do "...fly kicks...": It is also a "...fly kick..." lesson on the pros and cons of Momentum Force. You might also understand how difficult it was subconsciously for Grandmaster Young to give up "external" to learn Tai Chi. A young boy in my 1984 Tae Kwon-Do class once attempted a flying side kick at a heavy bag, missed the bag, and went through the plate glass window at "Scrubs", what was then a Tae Kwon-Do school– "Kwan"

I explained to the children in the 4th-grade class that I once belonged to a Tae Kwon-Do school. It was under the instruction of Grand Master C.S. Kim, and It was located in the 1980s on Niagara Falls Blvd in Tonawanda, NY. It is now a "Scrubs and Beyond" store.

I was a "Red Belt" about to be promoted to Black Belt. I also did Wu's Style Tai Chi in Toronto. When I became a "disciple" of Grandmaster Wu, he said, "...I did not care then, but now you are a teacher, so I care that you do that..." so I gave up Tae Kwon Do. However, I had great difficulty physically giving it up when I sparred in Wu's Style of Tai Chi. Grandmaster Eddie Wu would come out of his office and chide me, saying, "...that's not Tai Chi..." if I mistakenly did a high kick. I gave it up before receiving my Black Belt, and C.S. Kim was unhappy. Chuck Gorino, who owns Gorino Tae Kwon Do in Buffalo, was my classmate then.

I was teaching a line of kids how to do a flying side kick. The Heavy Bag was close to the big plate glass window in the "Scrubs" store. I told one of the kids to "take it easy" because you have to take a running start, then "...fly kick...".

He missed the bag with his foot and crashed through the window onto the sidewalk. Several people were exiting the Drugstore next door, frightened, and lurched back into the parking lot. An unperturbed Grandmaster Kim came out of his office at the noise and said, "Mr. Roach, you clean that up!" The boy only had a small scratch on his foot.

A Classical Tai Chi lesson on the pros and cons of Momentum Force" from Uncovering the Treasure by Stephen Hwa:

"Most other martial arts emphasize offensive movements

and utilize considerable momentum force.

When one is on the ball of his foot, it is easier to push

off, rush the opponent, and build momentum in the

movement. When one depends on momentum in his

strike force, he doesn't have to connect well

with the ground. After all, a flying heavy object in the

air could knock a person down. However, for delivering internal force, "fajin," a solid connection to

the ground is very important."

All reactions:

2Tom Kostusiak and Rashid Oso

Connect arm movements with Torso movements

 Connect arm to core

The key to learning this is to learn from the outside of the body to get to the inside. Master Hwa uses the expression "Outside/In." So, how do you learn to connect your arm movement to your core? My experience with "outside/in" involved going back over the internal discipline I knew 20 years ago so that I could teach it. Master Hwa's workshops at BSU were enlightening because they gave me a better handle on "outside/in."

Don't think you can narrow it down by doing/picturing an anatomical textbook or anatomical terms of the core in your mind. I frequently teach senior citizens; many need help moving from the core. They do not feel much sensation there.

Please don't try to force anything in your core; you will only use your arm. Let one arm hang down and notice the feeling of stretch in your shoulder. Keep feeling that stretch in the shoulder and extend your arm forward, as Master Hwa does in this video. Now notice the effect this has on your core and keep repeating, repeating. You won't get this from trying to move from the core.

Think "outside/in" and look for those sensations in the core, doing this any chance. Look to do it walking, sitting, even when you lie down. Establish "outside/in" feelings; once you have that, you can begin feeling in touch with the core. Only then do you start trying to move the arm from the core. For instance, you feel the sensation in the shoulder, perhaps the back and abdomen as the arm stretches out, so try to pull the arm back using only those muscles.

Glib

https://youtu.be/Prtux8S7ITw?si=wQMe4UE

I wonder why is there so much glibness in an advanced democracy?  I have met so many people who treat even something like this so simplistically! Is it simply your perception that turning from the hips is the way to do it? Watching the befuddled faces seems to echo that.  A simple experiment of turning above the pelvis and then below the pelvis, as shown, would test the veracity of whether one feels something or feels nothing.  

Isn't it also medical evidence that the pelvis/hips are significant joints in the body? Isn't it also a mechanical fact that “fulcrum” capability differs depending on distance factors? Accepting that evidence, isn't it logical reasoning that tells us the hips cannot turn by themselves but need to be powered by something else?  

Because your feet are so close together in this case,  the hips turn by first turning the waist, which then turns the hips....the reverse order cannot work.   In the case of taking a more extensive, sometimes much larger step size, isn't it then the pushing down of the feet generating power into the legs that turn the hips?  

Glib does indeed win superficially. If I had to guess, it is just more accessible for people to eschew logic and as well to be simplistic, aka glib in some explanation, and say, "The hips generate all movement".

Is it internal or not?

 

 

 IS IT INTERNAL OR NOT VIDEO LINK

 

 

 

My question to a Tai Chi instructor in 1977: "Can you show me an "internal" movement? He said: I'm doing it, but you can't see "internal movement."

How do you know you are doing "internal"? Well, you CAN see "internal" movement on Master Hwa since he does not wear one of those Tai Chi uniforms so big it makes a tentmaker envious. So, if you can see it on Master Hwa, but some teachers say you can't catch it on them, others, or yourself, how do you know? Why not ask why you can't see it instead of "believing" a teacher?   Then, ask what can I do to "get it"?


 In Classical Tai Chi, you know that you are doing "internal" by self-examination (seeing) where the movement originates in your body's torso. You know whether anyone is doing "internal" by examining (seeing) their movements. You can observe these things in your body, but as you progress, you can feel (tactile) whether the movement originates inside or outside the torso.


Master Wu Chien Chuan passed this on. Every move has to have yin and yang (not moving and moving) parts of the body, and those are either in the torso (internal), or they are not (external). The moving and not moving parts form a "junction" called a Yin/Yang pair. One part of the "pair" moves, and the other does not.


Much Tai Chi says it is "internal," but ask yourself the following question when you see it: Is the movement originating in the torso or an extremity outside the torso, such as arms, legs, etc.? You also have to reckon with the fact that any "extremity" is the furthest point or limit of something and that internal is situated on the inside.