Liked on YouTube: step back and punch

step back and punch
One cannot do the Form much less the application unless the weight transfer to the right foot consists of a proper step back that lands on the heel first. Concurrently, this proper stepping is not developed unless the student trains in the Classical Tai Chi basic walking. This is dependent on one's skill with basic walking, not the ability to punch and kick. The stepping back and punch in the video link can only be accomplished with absolutely firm footing. Get good at Classical Tai Chi basic walking forward and back before thinking about something like this as an application. In both photo and video link, one can see from this initial position of Master Hwa's foot that the intent is to land on the heel first and not on the toe or even the ball of the foot. There are many reasons to do this, for application and health purposes. For improving balance the training is a panacea. For application, the training of landing on the heel first puts the move into one portion, not two. One does not land on the ball of the foot then heel making it two moves and not one. Internal Exercise for Power and Vitality course https://ift.tt/3kDHye4... Small Circle Tai Chi Form course part I https://ift.tt/3kDHye4... For more info https://ift.tt/36WwzHk Classical Small Frame (Circle) Tai Chi Form has many dimensions. These Youtube videos try to show some facets of it:
via YouTube https://www.youtube.com/watch?v=_Rm41J6QBGI

Classical Tai Chi an art of peace

 

Mr. and Ms. Sifu, a beautiful picture with beautiful people: Here is my wish for today, next year, and years to come: Let us do our "Chuan" as a beacon and as an art of peace in an unsettled world where there are acts and potential acts of violence at every turn. It is true as Master Hwa says that although the old masters went out of their way to test the art by asking for fights. there are still "rules" to be followed in our art. "... and the rules form and follow a logical structure with calculated scientific reasoning behind it...". How fortunate, that in Master Hwa we have had a top-notch scientist to guide us along the road to reason. To quote an ARTICLE by Tim Chan: "We live in a different world today. We are more restrained and much less inclined, for various reasons, to using the same approach as these masters. That said, we should be looking for a less violent and more structured approach to understanding the art. And I find we can achieve this objective by expounding Chinese wisdom through Western science such as relying on the discipline of physiology and mechanics."

Liked on YouTube: How does one get from "Form" to "sparring" then to "self defense"

How does one get from "Form" to "sparring" then to "self defense"
There is no mystery to be good at martial art application. This is discussed in the book, "Uncovering the Treasure" by Stephen Hwa at Amazon and video available at Youtube and classicaltaichi.com. You need to go through three steps: 1. Develop internal energy or power through Form practice, so that one can deliver the power at any angle and position. 2. Practice the form such that the ability of delivery becomes instinctive, no need to think. 3. Practice push hand and sparring to develop sensitivity and finesse. One needs to at least master step 1 as a reasonable start. One needs to aspire to make and use internal discipline in all moves and all angles. One must also aspire to not need to think when you move in doing the form and doing an internal movement. Multiply that by a factor of 10 when it comes to sparring and/or combat. If you have to think even before moving in the form it is no wonder one will always be one step behind, and being controlled by the opponent. Step 3 needs a partner to practice. There is no short cut to that. The traditional method of teaching and the current method of teaching which Master Stephen Hwa is using. https://ift.tt/2OfwbtJ For more info https://ift.tt/36WwzHk
via YouTube https://www.youtube.com/watch?v=ez2AgXMr-1Q

Fajin is not from a "coiled spring" in Classical Tai Chi

To quote an ARTICLE by Tim Chan:  "We live in a different world today. We are more restrained and much less inclined, for various reasons, to using the same approach as these masters.  That said, we should be looking for a less violent and more structured approach to understanding the art. And I find we can achieve this objective by expounding Chinese wisdom through Western science such as relying on the discipline of physiology and mechanics."

Tim Chan continues: "Let’s consider a spring coil that is compressed tightly as depicted in the diagram below. An inward force from the wall equally balances the inward force from the compression. This creates inertia within the coil. When the spring is released, acceleration creates a net outward ‘explosive’ force. This is shown in the diagram where the coil springs forward.
There are quite a few  Youtube videos on the subject of Fajin, Fajing, Fa-Jing, etc. Like the Tai Chi itself, the word "internal" is spoken of in those demonstrations. Usually what we see is the solid rooting of feet in order to generate power from the legs and push or punch something. I did this for years in both Yang Style and Wu's Style Tai Chi "large frame" forms. On the contrary, the Compact Form of Classical Tai Chi as passed on from Wu Chien Chuan to Young Wabu to Stephen Hwa and his students uses the compression and decompression of the torso to generate Fa Jing power.  

There is also discussion in books and articles about the use of a "reaction force". Said reaction force uses the legs to transmit power from the ground as a solid base. Some of these same documents have even attempted to show the "physics" of Fa Jing. One sees this in many demonstrations where a Master pushes against the outstretched arms of his disciple and sends them flying..." Fa Jing".

There is an excellent video and explanation of Fajin by Master Stephen Hwa at   Besides the fact that Master Stephen Hwa demonstrates with Tom Kostusiak that Fa Jing can be done with a less than "solid base" to use his terminology. His technique reflects a fa jing that can move in both a 2 dimensional and 3-dimensional fashion as he demonstrates. He had a slight upward force which then lifted Tom and then drove him back. I do not recall ever seeing this lifting and driving of the opponent in Boxing where one sees knockouts most of the time.  Which brings up the next point of how Classical Tai Chi might design a scientific "diagram" that illustrates this. It seems that what his diagrams demonstrate is at best a fa jing of longer duration. They do not demonstrate a burst such as he did with Tom. In his scheme, one has to be pushed in order to effect a rebound by using the ground aka the spring is compressed before it can fa jing. 

How one might design such a spring to reflect the internal energy of Classical Tai Chi is beyond my drafting capabilities at this point.  Such a spring would have to reflect itself in more than 2 dimensions. It would have to reflect how internal energy is generated from inside the spring itself.  It would have to show that it is not entirely dependent on a "solid base".  It would have to show however that a "solid base" is necessary to fulfill Newton's law of action and reaction since there is still a brace needed at times. 

Further: We, of course, have the inevitable referral to the "Tai Chi Classics" as the final authority of what the old Masters required. It is interesting to note however that those same old Masters had to rely on fighting in order to prove their arts.  Many, to this day,  still feel that fighting is the only way to prove the effectiveness.  Yet how does this hold up in today's world?  For one thing, most of today's "combat" in Tai Chi is done under controlled conditions.  Safety equipment, gloves, footpads, rings, antibiotics, timers for "rounds" and more are required. If that same "combat" is not adhering to "tucking", being "upright", etc. how is it showing the "effectiveness"?  In my humble opinion, it looks more like flailing with no glimpse of a tuck to be had. If the old masters had no technology to prove or refine the art, what does it say if it is not being refined or proven in this era of overwhelming technology?

Liked on YouTube: 3 dimensional push hands

3 dimensional push hands
Jim R: Good streamlined lessons available online: classical-tai-chi.teachable.com. In the martial applications of when the opponent comes high and comes low at you, there is a correlation to the practice of Tai Chi Form movements. Accordingly, there is a correlation to Push Hands training. As one does with “coming high/coming low” there is also a correlation to whether one uses a 2 dimensional or a 3-dimensional response. In a 3 dimensional attack or defense, one has to “lean back” sufficiently when pushed and when attacked also train to keep the other hand up and protecting the face. Remember that in going high and going low whether in Form, Application, or Push Hands there is the all-important connection to the core to initiate ALL movements of the arms. The “cloud hands internal discipline as seen from the back” video is a good example of core movement with arms moving up and down along the “Y” axis.
via YouTube https://www.youtube.com/watch?v=Az-KDi8NN3I

Liked on YouTube: Classical Wu Tai Chi - Internal discipline by Classical Tai Chi's Master Stephen Hwa

Classical Wu Tai Chi - Internal discipline by Classical Tai Chi's Master Stephen Hwa
Please see https://ift.tt/1JtLXfG Master Stephen Hwa teaches how to use internal discipline in use of lower extremeties. Applicable to Tai Chi Form, Martial purposes, everyday walking. For further details see: https://ift.tt/1JtLXfG In Chinese: https://ift.tt/1Kyh2cJ
via YouTube https://www.youtube.com/watch?v=AfjFIXyZ5TQ

Liked on YouTube: Cloud Hands "internal discipline" as seen from back view

Cloud Hands "internal discipline" as seen from back view
A good majority of Round Form internal movements of postures are "open and close", "open and close" with the body opening fully before the other half body closes. Round Form Cloud Hands "open and close" on the horizontal or "x" axis is less emphasized. Here instead the emphasis is on an "up and down" vertical or "Y" axis. It is an up and down stretch and energy flow along the vertical axis of the back. One can see the movement going up and down along either side of the back as split by the spinal column. On Master Hwa's back one can see the wrinkle of his shirt showing the stretch but an enlarged view does accurately show the muscle movement going up and down.
via YouTube https://www.youtube.com/watch?v=qgmyq3mqewU

 

Video Link  How to Learn Internal Discipline of Small Circle Tai Chi

You feel you only want a class and can't learn from videos? You can see my back as I stand and watch these students struggling to learn even with a giant mirror. I told Master Hwa today that we both are the "poster children" for video learning and ultimate success. I address the benefits of video learning in this narrative: Here S. Hwa is showing "Yin/Yang pairing", what moves and what does not move in the Square Form of "Cloud Hands". I decided to watch the student's sometimes futile attempt to exactly follow Master Stephen Hwa at the Buffalo State College Workshop in 2011. All of these students have some experience with learning, some 1 year and some have 8 years experience. I should add that before becoming one of the very first "closed-door", and "disciple students" I learned from a video of Wu's Style that I bought in Black Belt Magazine, 1980. Going to Toronto after that once a week to study and Eddie Wu told me I was the first he ever encountered that learned from video and "...it was very good, very smooth...".

As Master Stephen Hwa says in his latest video on learning "internal discipline":

"Some people are hesitant to learn from a video, they prefer to go to the class and stand behind the teacher to learn the movements. But, that is actually the most inefficient way of learning. You are watching the teacher and at the same time, you are trying to move. "

"In addition, you are only seeing large movements and neglecting the minor ones, especially the footwork angles and positions. The footwork is the most important and it is the foundation of movement. In my videos and why here we always label the directions N, S, E W so you can see the angles of the movements correctly. You know also that sometimes you have to turn your head to see the teacher or sometimes you cannot see them because your back is in front of them. I have always included "back view" videos which you follow just as though you are standing behind the teacher. The front and side view is extremely important. In fact, my own teacher Young Wabu thought that way in every class. In his classes he wanted us to just sit there for a time and watch him play the form. "

" I also want to say, just watching this kind of visual learning "saved" me, as I filmed him doing the form. I say it saved me because he lived in Hong Kong and only visited Rochester, NY from time to time. Later on in my business travels, I was away from Rochester and I did not have much chance to see him."

"All during that time, I could practice however because the visual learning enabled me to remember his movements and his words. As far as learning and targeting specific form movements, the video actually is the most efficient way of learning. Here you can go back and forth reviewing the steps again and again. With my Youtube videos, and my https://classical-tai-chi.teachable.com/

course the videos can change the "streaming speed" as low as half speed and you can download the "teachable" videos to your own storage or USB drive. Really what is really important about class and group learning is when you want to do a "push hands" inspired exercise. You know learning the form is very much a private affair, one is constantly negotiating with themself. This is especially true when you are a little bit advanced so you should be aware as well that "Teachable" does provide methods to communicate with the teacher that is quite streamlined."

Liked on YouTube: Tight compact form left side

Tight compact form left side
Tight Compact Form either right or left side best demonstrates how the "Jin" is generated by the waist since it has no reliance on generating power from the legs. My own teacher Stephen Hwa says : "I know that one of the classical writings about tai chi mentioned that: The jin should be rooted in the feet, generated from the legs, controlled by the waist, and manifested through the fingers. From my own sense of fa jin, I want to change the above to the following: The jin should be generated from the waist, controlled by the legs, rooted in the feet, manifested through the fingers. Let me elaborate on this. I have discussed and demonstrated the generating of jin (a surge of power) from the waist many times before, especially in the Overview video so I will not repeat here. Now, when you generating the jin, it surges to the hand and the fingers for delivery. At the same time, an equal and opposite force will send from the waist down through the pelvis to the leg and finally absorbed by the ground through the foot. During that instant, the buttock and leg will naturally be energized to transmit the force to the feet and firming the lower body structure to support the fa jin. You can actually sense that during Form playing. Using the external leg power to simulate forward and lateral fa jin is ineffective. Leg power is strongest in the direction of uplifting from the knee. That is why sprinters use the crouch start on starter blocks rather than start from an upright position. To use leg power at an upright position, to effect a push forward move, the move will have a low acceleration from rest in contrast to fa jin from the waist which can be made to have a sudden burst motion. Using the leg power really can not be called fa jin" Internal Exercise for Power and Vitality course https://ift.tt/3kDHye4... Small Circle Tai Chi Form course part I https://ift.tt/3kDHye4... For more info https://ift.tt/36WwzHk Classical Small Frame (Circle) Tai Chi Form has many dimensions. These Youtube videos try to show some facets of it:
via YouTube https://www.youtube.com/watch?v=T1PPcNtCC1g

Liked on YouTube: Square Form Wu Style Tai Chi with Stephanie

Square Form Wu Style Tai Chi with Stephanie
Since Wu Style Tai Chi a small circle, the beginner students learn the "square form" first. It offers the student a strong foundation and understanding of the round or flow form. The square form is a step-by-step method so the student can understand the concept of grounding below the waist to the earth yet lifting up the spinal column through the neck towards the heavens. All the movement is first generated from the tan-tien (2 fingers beneath the navel) which is the subtle power source of energy movement or CHI. It's intensely mindful and gifts the students with a new awareness not just on the physical plane but also on the spiritual path of well being, healing and radiant health. Everyone can learn tai chi when they embrace my PSAT methodology on this journey... Patience, Surrender (ego,) Attitude and Trust. And as Luke ChiWalker says, "May the CHI be with you." Check out my wellness blog... momscosmicdiner.blogspot.com
via YouTube https://www.youtube.com/watch?v=M_zvIZwkmlM

"Preparation" for internal (the devil is in the details)

"Preparation Form"  a video link:

(click on the picture to enlarge)

Note how much time is devoted to the beginning of the video and it shows the import of posture 1. Master Hwa said "Very True" when I posted the following at Teachable: 1. The preparation Form 太極起式 (Tai Chi is a mind/body discipline one studies to also know when they do something wrong as well as right AS it is being done) Jim Roach to Master Hwa: "It seems a bit of an oxymoron to see so many people in the world admire the slow-flowing movements of Tai Chi yet still attempt to hurry up to relax. It makes one grateful you hold a place in your heart for aficionados. The time you spend on "talking" about first things first is just what the Doctor orders. My student Barry is a longtime martial artist who teaches defensive tactics to Probation Officers. Barry came to your 2011 workshop at the College. He later wrote to me how impressed he is with just the very first posture, the beginning posture..."Preparation Form". In so many words, he described his "play" of the form as hinging on how well he was able to do just that one. He said if that one movement has the correct Yin and Yang right from the beginning then the rest of the form will go well...if not then the rest will not be so good."

Master Hwa: "Very True"

How to correct yourself with or without a teacher

Correct yourself video 

For a good look at first "round form" then "square form" with lots of explanation please click on the link above "Correct yourself video".  Then for great instruction which includes intensive "Square Form"  teaching please go to the link "Teachable" for you" right below:

"Teachable" for you

It is true that Tai Chi teachers have faced increased sizes of classes ever since Wu Chien Chuan started teaching groups of people on the mainland of China.  Before this one might say students who received private instruction were the norm but also very fortunate.  When Wu moved to Hong Kong because of war, however,  he once again had a private and hard-working student in Young Wabu. Stephen Hwa reports Yang Wabu told him "the teaching went on night and day". This was done at Young's home in Hong Kong where Wu was an honored guest.  This is a far cry from having to learn in a very large class where a student was subject to minimal observation and correction.

It goes without saying that difficulty comes with teaching large groups. This is not an unusual occurrence in the history of the world, and certainly, the old Masters of Tai Chi were not the only ones that ever faced the problem. What some might call big problems due to group size really are simply problems intrinsic to teaching any group.  I recall my own teacher saying this to me when I expressed my own concerns on the matter.  Additionally, he told me that any teacher makes this choice to teach and thus it becomes "the life that one has chosen".  In other words, those Masters made their own decision to teach large groups and deal with the attendant problems.

It was and has never been simply a matter of calling out the movements of the form to expect a student to respond appropriately.  Nor has it ever been a simple matter to tweak the form and have those same expectations. One cannot even expect students to follow along with others in the class in the same time frame. A teacher wishing to make corrections has to quite often deal with the incorrect direction that the student's body is facing.

Even in this day and age, one can indeed understand the need for a form where such problems can be addressed.  To this day we have the representation of this form in what the Wu family now calls its "108 movement standard form". I learned the "standard form" (square form) in the very early 1980s and I learned it by videotape.  I subsequently traveled to the Academy in Toronto weekly for years to show what I had learned and was told by the Master himself "your form is very smooth, I am impressed".  He also stated that I was the first person he encountered that had learned the form from the video and that he had hundreds of people worldwide that had purchased the video.  It was almost immediate after this that he stated I should start coming on Friday evenings to the advanced student classes.  The later disciple classes I attended elicited the comment from Wu "the door to these classes is closed"

Here I was in group classes once again albeit at the disciple level and one would think the form correction would be more comprehensive.  I received  "personal" correction from the Master via a  "video" of my form and at certain spots, I heard that I was doing something wrong.  Quite honestly,I thought he was upset and later in the tape one can hear the camera operator giggling almost gleefully over his statements at my "mistakes".   Although, to his credit, I hear the same operator saying "well he has improved".  Was the "improvement" the result of the classroom "pauses", "adjustments", the "codification" and "explicit stating of movement"? Hardly! It was a result of my own hard work, on my own with no input over years until the "video". What is one to make of this? Am I to thank the 108 standard forms or my teacher?  

Enter the small frame, compact "Square" sometimes called the "Joint" form as taught to Young Wabu by Wu Chien Chuan.  This is anathema to those folks who do larger frame styles be it Wu, Yang or Chen, etc.  I am constantly amazed they don't seem to notice the very small size of the steps and ponder over what the mechanics have to be for that size.  Let's go further and say "pondering" to the point where one realizes the body movement has to also be small and hence come from "inside"  also called "internal from the core". With this in mind, how does one "self-correct"?  I will say with no reservation and with much admiration that self-correction can be found in the "Square Form" as taught by Wu Chien Chuan to Young Wabu to Stephen Hwa and then to me, a very fortunate student.  It has all the "pauses" in its movement that enable any student to find time to correct themselves.  It is referred to as "robotic" by the large frame stylists and I would say, "the more robotic the better" for it is in those movements that one finds ultimate capability for correction.

The Yin and Yang of Classical Tai Chi

Yin and Yang video

I have rarely seen this move done correctly in large frame Tai Chi. If you have more questions? Please go to classical-tai-chi.teachable.com and take the "Health and Strength with Tai Chi" course for $27. To elucidate further: I would say that one can certainly see how the body is twisted in this picture with the back foot at a right angle and body turned to the front. This occurs when you do not follow Wu's edict of 6 harmonies "hand follows foot, elbow follows knee, shoulder follows hip", Ironically the Tai Chi Classics is frequently touted by large frame practitioners and "harmonies" is outlined in the "Holy Writ" of Tai Chi Classics. Actually, I have rarely seen the edict followed correctly in a large frame. The catch is that those are "external harmonies" applicable to large frame and use just the extremities in the reference. A small frame follows the external harmonies but they originate from the core and not the extremities. One has the thought that the core is like a centralized drive train that controls the wheels and not the wheels controlling the drive train.

Learning how to focus your muscle movements within your torso can help in stimulating your blood flow and lymphatic flow. It begins to teach you how to maintain the “springtime of your life”. Student comments echo their questions and difficulties but they need to understand our bodies are stubborn in lifetime habits of using muscles externally but now they are recruiting "new" uses of those same muscles. One needs to understand until those muscles in the process of becoming useful for internal movement, often temporarily turn out to deter the intended purpose of the movement. To resolve this during training, Classical Tai Chi with eminently rational logic has to develop skill in the traditional concepts of yin-yang and it's the delineation of movement and stillness to instill principles of inner balance of muscles in the body.

Liked on YouTube: Yin and Yang of Classical Tai chi

Yin and Yang of Classical Tai chi
Learning how to focus your muscle movements within your torso can help in stimulating your blood flow and lymphatic flow. It begins to teach you how to maintain the “springtime of your life”. Student comments echo their questions and difficulties but they need to understand our bodies are stubborn in lifetime habits of using muscles externally but now they are recruiting "new" uses of those same muscles. One needs to understand until those muscles in the process of becoming useful for internal movement, often temporarily turn out to deter the intended purpose of the movement. To resolve this during training, Classical Tai Chi with eminently rational logic has to develop skill in the traditional concepts of yin-yang and it's the delineation of movement and stillness to instill principles of inner balance of muscles in the body.
via YouTube https://www.youtube.com/watch?v=gZCPDzJsqMk

Training for Fajin

Video link: Classical Tai Chi walking exercise and Internal Discipline in Tai Chi Walk

A civil conversation about training for Fajin I had with Louis Swaim, a former editor at North Atlantic Books and author of The Essence and Applications of Taijiquan:

Louis: "I think I understand what you are proposing; however, I still find the emphasis surprising. I should say that although we talk about the legs generating Jin, it is true that the waist, arms, and hands also do something. They cannot be limp and may even provide a substantial amount of energy. One of the ways in which I teach as I try to translate my understanding of the classics in everyday terms is to say that we should always generate power with the biggest and strongest muscles available and let smaller muscled do supporting work. According to at least some definitions, the muscles controlling the thighs and pelvis are the strongest. They certainly have more range of motion than the muscles controlling the lumbar spine. I would say that the waist can add power to the legs, but not the other way around. I would say that the legs are the heavy springs and the waist has the medium springs. Once the heavy springs have stored the maximum energy they can, they can share some with the medium springs without loss of collective power; however, if you try to maximize the storage in the medium springs before the heavy ones, you will steal energy from them and limit them."

Jim R: "The compact and tight compact Forms use “pulling” with both front and back. The step size is quite small in a compact Form very small in tight compact…much smaller than even what Wu Gong Yi showed in the Gold Book. That pulling is accomplished by the “engagement” of contracting (abdominal, back, buttock) core muscles with the legs. The style does not eschew pushing with the legs, it uses it with discretion. For instance, it can use pushing once the opponent’s balance is offset, then a pushing movement, even with a larger step, can be added opportunely.

As far as elaborating on the reasoning for “rooted in the feet, generated by the waist, controlled by the legs and manifested through the fingers” as you have talked about in the Classics.iThis statement may be applicable to certain Large Frame moves which use the leg to generate the pushing force. But, it is not applicable in the Compact Form which generates power from the torso, and is important to remember not only the difference in a frame size that I speak of here. It is important to remember how equal and opposite force will be sent from the waist down through the pelvis to the leg, finally absorbed by the ground through the foot. During that instant, the buttock and leg will naturally energize to transmit the force to the feet, thus firming the lower body structure to support the fa jin."

Liked on YouTube: Internal Discipline from beginning form

Internal Discipline from beginning form
Silk Reeling Exercise and Offline Exercise One might define silk reeling exercises as a continuous symmetrical simple internal movement or movements. When it is done correctly, one will achieve a continuous energy flow in the body. It is a "neigong" exercise. The I 08 move long Form in the hand of an advanced practitioner is a giant, complex silk reeling exercise with internal energy circulating continuously from beginning to the end of the Form. However, for less advanced students, it is best to start with a few simple moves converting to a continuous symmetrical exercise to practice. With that, one will be able to learn gradually how to move with internal discipline and enjoy the sensation of internal energy circulation. Many movements in the Long Form can be extracted and converted into silk reeling exercise. For beginning students, we often start them on the Body Turning move and an exercise alternately raising right and left arm from hanging down position to the waist high position and then lower them to complete the cycle. The Turning Move is the easiest to teach and to be appreciated. The raising arm silk reeling exercise looks extremely simple, but is a challenge to achieve as an internal move.
via YouTube https://www.youtube.com/watch?v=revEBzDGSrk

Small moves necessary but not sufficient in "Small Frame" Tai Chi

 Small Frame v. Large Video

 

At Master Hwa's 75th, 2007, 2 years after becoming the first certified teacher of Classical Tai Chi

Wu's Style Discipleship ceremony, circa the 1980s

Ambulocetus said about the video: "It's the same for all martial arts; Jujutsu, karate, aikido... Start with big moves and gradually make them smaller."

Classical Tai Chi of Buffalo said: @Ambulocetus "Thanks for the opinion, but it is considerably more complex than that and I think you miss the point here. Big moves of the arms and legs can indeed be made smaller in Karate, Aikido, Jiu-Jitsu but this story has more chapters. BTW Master Stephen Hwa taught Classical Tai Chi for years at a Karate studio in Rochester, NY and one of my students is a Jiu-Jitsu "Professor", owns an Aikido, Jiu-Jitsu Dojo and learned the Wu's Style Mid- Frame from me. I taught the Wu's Style Mid- Frame (learned from Wu Kwong Yu, Eddie in Toronto) to the owner of a local Karate Studio who first saw me doing the Wu's Style Sword Form. Eddie Wu never once mentioned "make them smaller" to me about the movements and I was a disciple. The Karate teacher, may he rest in peace, was featured in Black Belt Magazine for the sheer number of martial arts that he practiced, but I don't recall him mentioning "gradually making his martial art movements smaller". Master Hwa's own teacher's daughter has a black belt in Jiu-Jitsu and teaches the Classical Tai Chi at the Jiu-Jitsu Dojo in Chico, California. Nevertheless, to continue, the bigness of limb movement being made into the smallness of limb movement is a necessary thing but not a sufficient condition when it comes to the presence of the "internal discipline" he speaks of seeing at 1:40 where sophisticated movement originates in the core.

Patience can be learned particularly in order to "fight"

Patience can be learned when learning to fight  a video link:

From a student and Master Hwa responds: "I have become impatient with the slowness of the learning curve regarding Classical Tai Chi for this reason alone: the forms playing does not seem to be leading to the martial application, and there does not seem to be any partners out this way who know Classical Tai that I can practice. So, I am enrolling in a Win Stun class (Jim R. said, I think you mean Wing Chun) through a park district close to where I live.

"By the way, how long does it take to be a Tai Chi fighter? Have you had a sparring experience?

Hope all is well with you and your family."

Jim R. said: Needless to say, there was more to this narrative and J.D. complains that the Wing Chun Sifu severely throttled him. Master Hwa responded thusly:

Hi J. D. There is no mystery to be good at martial art application. This is discussed in my book and video.

You need to go through three steps:

1. Develop internal energy or power through Form practice, so that one can deliver the power at any angle and position.

2. Practice the form such that the ability of delivery becomes instinctive, no need to think.

3. Practice push hand and sparing to develop sensitivity and finesse.

As I recall when you visited me in Florida, you were not close to master step 1. You were able to use internal discipline at several moves but not all angles. From your description of your sparing experience, you still need to think when you move. No wonder you were always one step behind, and being controlled by the opponent.

Step 3 needs a partner to practice. There is no short cut to that.

I hope I have answered your questions.

Jim R: Years ago, I taught students Taekwondo at Kim's Dojang in Buffalo. It was somewhat horrifying to see a Taekwando student I was teaching go through the front window of Kim's Dojang when he missed the heavy bag with a flying sidekick. I use the fictitious name "Cato" for that poor guy with tongue in cheek. Cato was the Pink Panther's "sparring nemesis", always destroying furniture in the home for Peter Seller's character. I had warned the student to be very careful after I noticed him excessively hopping around in the lineup of students waiting to kick. The heavy bag was always hung too close to the front window in the Dojang. The student's lead foot did not hit the bag on target and the weight of the bag redirected him through the window and onto the sidewalk outside. He only had a minor scratch on his ankle but the large window was totaled. An elderly couple exiting the drugstore almost was almost hit by the flying glass to say nothing of the student. What an incredible amount of momentum can be generated by a flying body. I am thankful for internal with heels on the ground as a wonderful progression from external. One certainly cannot do a one-inch punch with even a 1/4 inch of play in the heel and floor. It is important to have power but equally important to not have "loss"

Finesse is the watchword in the video and something the "Win Stun" guy and Kato flying through the window guy are too impatient for (patience can be learned). Notice Hwa Laoshi's statement that this is a good intro. to sparring. In either of his pulling OR following, he is Yielding to Jason's force. This is directed particularly to the "Overview Videos emphasis that "Fajin" is useful only when you detect an opening in an opponent's movement, such as taking advantage of his body's momentum or deficiency in his rooting and striking without any forewarning. It is not a move with brutal force but with finesse and sensitivity. That is the reason why (JD, Kato, and many impatient others may never "get it") training a Tai Chi fighter is much more difficult than training an external martial arts fighter."

Paraphrase and excerpted from Page 93:  Uncovering The Treasure: Classical Tai Chi's Path to Internal Energy & Health Paperback – May 12, 2010

by Stephen Hwa (Author)

 URLhttps://www.amazon.com/Uncovering-Treasure-Classical-Internal-Energy/dp/1449917895/ref=sr_1_1?dchild=1&keywords=uncovering+the+treasure&qid=1593450066&sr=8-1 

Liked on YouTube: 2020 09 09 13h59m28s Classical Tai Chi Forum 16 tai chi walking mp4

2020 09 09 13h59m28s Classical Tai Chi Forum 16 tai chi walking mp4
The last move involves primarily the use of the power of the core (described as contracting abdominal muscle inward) together with the pull of the lead foot to move the body. This is the crucial step for converting the walking motion into an entirely internal movement. Notice Geri Shea's abdominal motion it is very clear to see as she "contracts" in order to pull forward and back.
via YouTube https://www.youtube.com/watch?v=V2LmfniUX-M

Liked on YouTube: Minds of Our Own clip1

Minds of Our Own clip1
i think that the quarter body movement of an arm is so subtle that it's difficult because people don't think that way. People don't think that their arm could move without moving in isolation, They don't think that their arms should go forward without actually moving their arm itself. So if you see something like that, people will think that they're moving their arm and they absolutely have to be moving their arm. It's just such a one-minded way of looking at things. They're not open to the fact that you can move your arm forward without actually moving your arm at an elbow or a shoulder junction point. It's like the previous experience colors what you are you're viewing and closes your perception
via YouTube https://www.youtube.com/watch?v=DlrnXYOBLAE

When one does external, they are not necessarily doing internal

Link: When one does external movement, they are not necessarily doing an internal movement.

This is even though you fool yourself into thinking that you are doing internal. Can I get you to think that you can move your arm without moving your arm? Well, you can if you can think outside the box with me for 4 minutes of video. Some things are just too subtle, however. Examples are live classes and even videos where one can repeat even a dozen times. The video however may well be the best "illusion" breaker. You really need to stop thinking in terms that "flashy" means better..."flashy" should be defined as illusionary. It's been hard as a teacher for me to realize Classical Tai Chi movements are just too darn subtle for many folks that can't think outside the box of their previous Tai Chi, Karate, etc. learning. Finally, this video is an illusion buster and hopefully will change everyone's mind about learning from video vs. live classes. Anyhow, who wants to take a live class in these current times?

Liked on YouTube: Benefit of Video

Benefit of Video
Some things are just too subtle. Examples are live classes and even video where one can repeat a dozen times. The video however may well be the best "illusion" breaker. You really need to stop thinking in terms that "flashy" means better..."flashy" should be defined as illusionary.
via YouTube https://www.youtube.com/watch?v=6pafzt4L91A

Liked on YouTube: Cǎi 採 Pull, yank, jerk, pluck an opponent off balance.

Cǎi 採 Pull, yank, jerk, pluck an opponent off balance.
Pull, yank, jerk, pluck an opponent off balance when the opponent has attempted to pull you. Interesting that the character 採 has 3 ideograms for hand, wood or plant, and grasp...hence the use of terms like a pull or pluck for flowers or plants. Master Hwa talks here about "root" as well. Notice how the student Tom Kostusiak attempts to pull the teacher off balance but brings his own arms so close to his body....almost touching himself. This compromises his "root" as Master Hwa states and makes Tom prey to being approached from a "corner" and pulled off balance. There is an initial yielding or "giving in" as Master Hwa says but no struggling. This is also a good example of staying close to the opponent or "sticking".
via YouTube https://www.youtube.com/watch?v=NO-ayUZnIhQ

Liked on YouTube: Rationale for not pushing from leg

Rationale for not pushing from leg
So much Tai Chi is done by pushing the body forward and backward using the leg strength. The energy from any push ends at the junction of the joint and surrounding tissue. In this case, it ends at the hip joint which is the largest joint in the body. This has the same effect, sometimes deleterious effect as a hard snapping punch has on the shoulder, and other joints in the arm.
via YouTube https://www.youtube.com/watch?v=ELASrmijpuc

Left-Hand Round Form (mirror of right hand)

Link to video of “left hand” round form 

The Left-Hand Form

"The movements in the I08 Long Form are mostly non-symmetrical in regard to the right and left side of the body. We generally call the normal Form the "right-hand Form". It is purely a name-not necessarily meaning that the right side of the body is more emphasized. Because of the nonsymmetrical nature of the  Form, It results in unbalanced development of the body when one practices this way day in and day out.

When one can play the right-hand Form with ease, it is time to teach oneself to play the mirror image of the Form, so-called "left-hand Form". It is a very beneficial exercise. One can gain considerable insight into ones' Form playing. Students who have gone through this exercise have reported that they sense the weakness on the left-hand Form initially indicating that they have already built up robustness on the right side. Eventually, when one plays the Form, one should alternate between right and left Form to ensure balanced development."

Paraphrase and excerpted from Page100:  Uncovering The Treasure: Classical Tai Chi's Path to Internal Energy & Health Paperback – May 12, 2010

by Stephen Hwa (Author)

 URLhttps://www.amazon.com/Uncovering-Treasure-Classical-Internal-Energy/dp/1449917895/ref=sr_1_1?dchild=1&keywords=uncovering+the+treasure&qid=1593450066&sr=8-1 

Liked on YouTube: internal quarter body marcy mp4

internal quarter body marcy mp4
The Concept of Yin (nonmovlng) and Yang (moving) "Most untrained people make moves instinctively, not aware how different segments of their body perform different functions in a joint effort to achieve the mission. One of the objectives of Classical Tai Chi is to teach how to identify and then perfect this capability. Square Form is the first step to teach beginners to be familiar with the concept and practice of segmentation. When one part of the body moves (yang), the rest of the body is completely still (yin). As discussed before, to achieve internal movements, the yin and yang must be paired to form a junction at the right place in the torso. If there is any movement in the yin, the junction will be altered and result in an entirely different kind of move." "Uncovering the Treasure", Stephen Hwa, p. 50
via YouTube https://www.youtube.com/watch?v=XkO_O86ddco

Quarter body move difficult with no Yin/Yang separation

 Link to video:  

Quarter body move "hard" with no Yin/Yang separation

There is harmony to be found in the quest to foster "internal strength" (neijin) in the body.  One has to first understand the yin-yang principles that underpin "internal strength" and become proficient with them. Neijin manifests in the muscles and skeleton of the human body but depends more on the harmonious motion of the numerous segments of the body than the size of muscles. The "harmony" comes from an internal (musculoskeletal) ability balance.  This balancing in this video, for instance, comes with the segmentation and subsequent alignment along the spinal column.  In this instance, however, it is located primarily in the upper quadrant or "quarter body".  The sensation of movement although directed by the mind in the upper quadrant does reach as far down as the gluteus maximus.  The "harmonious" movement consists of one part of the body moving while the other part is still.  This is called the delineation of Yin and Yang, stillness and movement.  The better the delineation,  the better the "energy channel" for the cultivation of inner strength.  The better the "energy channel" the better the growth of Qi.  Qi then is dependent on this "ideal" for motion, specifically, that which works in conjunction with the principles of Yin and Yang.