Cloud Hands
It has been said in so many words that Jazz is the epitome of variations on a theme. I believe that good Tai Chi can encompass such spontaneous embellishment or variation of a preexisting theme as well. Note in the video link above what a beautiful combination of movements goes into Cloud Hands. Also an epitome of good ways to practice by practicing one move over and over. That first walking step is a thoughtful addition which mobilizes the internal because of that initial stretch where you see "ah ha" expressions on smiling faces. That first motion made by Master Hwa is a quarter body movement that connects the arm to the core. His motion of pulling something with both hands is what he actually does gently to arms of students so they can feel a connection from arm to the core. The great thing about this is that the more you initially stretch forward, the more you feel the stretch pulling backward.
Aging is associated with a progressive reduction in neuromuscular control, but it can be headed off. "A healthy nervous system is prized in China", Stephen Hwa Ph.D. Try an easy movement to test yourself: Raise your whole arm out to the side...easy? Now raise to the side and stop, note where your elbow is, hold it completely still and raise just the forearm...harder? Master Stephen Hwa: "Explanation is that you have to tune your neuromuscular control (using principles of Classical Tai Chi) so that you move one but not move the other".
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"Classical Tai Chi's Square and Round Forms are critical to learning Internal Discipline. Square form is taught first because it is easier for a student to realize if they are making an error due to the specific robotic nature of the move. Comparing several general characteristics between the Square Form and the Round Form: Every movement in the Square Form has a clear starting point and
ending point. The movement between these two points is usually in a straight line and done very crisply and resolutely. Directional changes are usually carried out at these two points. These characteristics are completely opposite to the Round Form, which should have a continuous movement with no apparent starting point or ending point. The hand movements are mostly rounded with few straight-line movements. Therefore, directional changes do not appear at a point rather it is incorporated into the movement itself as a smooth curvature. The movement in the Round Form instead of
crisp and resolute should be deliberate and thoughtful. People are often surprised at the directly opposite requirement between the Square Form and the Round Form. Actually, this is not unique, just think about how you learned the art of calligraphy. You first learned how to write in print form. Then, you learned the cursive form. The differences between these two writing forms are very much analogous to the
differences between the two Taiji Forms.
The Square Form also avoids the use of upper quarter body movements and other
advanced internal movements present in the Round Form. These advanced internal movements will only be taught in the Round Form. As a result, some of the movements in the Square Form are different from the Round Form. In the Round Form, one does not touch oneself, however, there is no such restriction in the Square Form. Since the Square Form is for beginners there is no internal Chi flowing in
the body.
In the above discussions, I have emphasized the differences between the Square Form and the Round Form. Actually, there is more sameness than differences. The lower body movements are identical except at certain places that the pivoting on the toe is different between these two forms. The starting point and the ending point of every movement in the Square Form provide definition to the curved movement in the Round Form since the curved movement has to pass through these two points.
Therefore, the Square Form is a template for the Round Form.
One of the most important missions of the Square Form is to learn how to keep the nonmoving part of the body (yin) still. It is the nonmoving part of the body that defines the junction between moving and nonmoving (yin and yang junction.) Any movement of the yin part alters the junction and thereby changes the character of the movement. To achieve the stillness is almost as difficult as making the correct movement. Both requires intense tuning of the neuro-passage way and neuro-muscular control.
The “full stop” between Tai Chi moves is important in preparing the next move by gathering the energy for the coming move. That is why the moves in the Square Form are resolute and abrupt. Many students are impatient about the “full stop.” which results in tentative and weak moves. The Round Form, generates energy or power continuously and smoothly which shows in the movements of a seasoned practitioner"
Master Stephen Hwa
Stephen Hwa, p. 50 Uncovering the Treasure " To be able to keep part of the body still, by itself, is also important training to eliminate unwanted habitual motions (some disciplines call the unwanted habitual motions "Parasitic movement") "Sometimes it is more difficult to train students NOT to move than HOW to move" For example is Yin/Yang pairing of the quarter body: "Burst of energy" or "Fajing" impact force of a strike or punch then equals the amount moved in the desired direction by 1/2 of the "pair" minus the force generated by not moving the muscle of the other 1/2.
