"Ting Jin" during Sparring

 Ting Jin during sparring

 

 Instead of pushing back at the opponent's attack, the best known defensive strategy of Tai Chi is to follow and stick to the opponents' move, neutralize or drain off its power and then counterattack. In order to be able to follow and stick to the opponent, one has to be relaxed, sensitive and quick on the feet, matching the opponents move with ease and anticipation. That is one reason that the Compact Form optimizes body posture to achieve lightness and nimbleness through parallel feet, compact movements, and avoidance of
"double heavy".
 

Tai Chi applications emphasize stickiness or adherence to the opponent. This is useful only because this complements the fajin move perfectly. The characteristics of Fajin are:
 

• Delivery of Fajin is most effective when already
in contact with the opponent such as sticking to
the opponent.
 

• Delivery of fajin is most effective when the
hand in contact with the opponent is sufficiently
relaxed to allow "listening" or "ting jin"- the
objective of sticking to the opponent.
 

• Fajin has the ability to go from relaxation to
full power instantly. 

 

When one sticks to the opponent and detects a weakness in opponent's move, one can suddenly counter attack with fajin without telegraphing the intent. If the capability of fajin is not available, even when one detects weakness in the opponent, one will not be able to take full advantage of those fleeting opportunities.

The 分开腿 Fēnkāi tuǐ "Parting Leg"

 分开腿 Fēnkāi tuǐ "Parting Leg" 分开腿 Fēnkāi tuǐ "Parting Leg"

Posture 34, 36 - Parting Leg movements R & L, as Master Hwa says, "...begin the kicking section of both Round and Square Forms..." As Jim Roach says: The kick at this part of the movement becomes a front kick and is something someone would use on you even when sparring. Sparring tends to end quickly when one is kicked in the groin, even cautiously. ...there is the intent of projecting power from the core flowing down the relaxed leg all the way to the toe as if the leg is a whip..." In this part of the movement, the Arms cross at the wrists as the hands form hollow fists, the left palm facing down and the right palm facing up allowing you to STICK to somones arms as they grab your arms. In the crossed position your forearms can clasp an opponent's arms as you fold yours at the elbow. One might say your arms act in a scissor-like movement folding at the elbow. ■ Even though the kick is not a full power kick (more of a kicking motion), there is the intent of projecting power from the core flowing down the relaxed leg all the way to the toe as if the leg is a whip. The toe is slightly stretched forward and the stretch is maintained during the sweep ■ Right upper body opens 45 degrees to the right ■ Right upper body closes to the left 45 degrees as the right palm rotates clockwise to face left ■ Upper body continues to turn left 45 degrees as the right knee lowers to allow the right hand to pass under the left hand ■ Arms cross at the wrists as the hands form hollow fists, the left palm facing down and the right palm facing up ■ Right heel lifts off the ground ■ Right foot moves forward and then kicks ■ Right leg swipes to the right 90 degrees as both arms unfold to the sides and move to a low position

Placing the Yin/Yang junction correctly

 Neuromuscular control, placing the Yin/Yang junction correctly a more in-depth look.

Place Yin/Yang Junction correctly 

 Real neuromuscular control, understanding junction”, “disjunction” and the “hinge” analogy. “One thing that even some long-time students don't get is how and where to place the "junction of Yin and Yang". One needs to see their own "dis-junction”. 

Diving "deeper" into understanding, a Yin/Yang Junction is more than "...at the waist...".  As he raises either arm, Master Hwa places the "junction" of the arm (which is the elbow) at the same height...each and every time. The elbow "junction" moves with the straight arm so that the elbow junction is at the exact location next to his waist, Then he can bend the arm. 

In other words, he raises the entire arm with no bend so that the elbow (junction of yin and yang) is at the same spot concerning his waist, each time. If a student does not do this and instead bends the arm with no fixed point for the elbow concerning the waist it is a “dis-junction” As he is raising it thus negating a definite location of a Yin Yang junction. 

It's as if someone wanted to use a "hinge" (the elbow) on a door frame but instead of putting it in the most optimum spot would slide the hinge up and down the door frame and then attempt to use "bend" it as it was sliding rather than fixing "fastening" it down first to use "bend" it.”

Classical Wu Style Tai Chi "Quarter Body Folding Movement"

  

 

Classical Tai Chi Workshop from July 2011, Buffalo, NY. Master Stephen Hwa of Classical Tai 

Chi (Wu Tai Chi, Wu Style Tai Chi Taiji). Master Hwa discusses Silk Reeling "Quarter Body 

Folding Movement".

 

Excerpted and some editing from "Uncovering the Treasure, Classical Tai Chi's Path to Health & Energy" by Stephen Hwa:

Please go to this link: Classical Wu Style Tai Chi "Quarter Body Folding Movement"

https://youtu.be/R2fCRDt6ObA

Master Stephen Hwa teaching it and you can see student and friend Al Judd. RIP dear Al.

 

A nice obituary in the Buffalo News: https://buffalonews.com/.../article_2de29a4e-bd69-11ed...

Al Judd was a Classical Tai Chi student of mine and in one photo is with Master Stephen Hwa and Sifu Tom Kostusiak. Another photo is with direct instruction from Master Stephen Hwa and Tom Kostusiak in the background. RIP Al, it was always good to have you as a student. I did not know you had a Black Belt in Judo and thank you once again for enabling our access to teach at St.Marks.

The folding move involves only one side of the body; but in this case, it is not the entire side (including the legs which are shown in the photo above) (including the legs which are shown in the photo above) which would be known as "hand follows foot, elbow follows knee", so please do not confuse this with that movement

This is just the upper quadrant of the body moving/folding as a unit. It is a QUARTER-BODY move. In the case shown in the video, the right side of the body is folding or unfolding by keeping the left side of the body stationary. The stationary part provides support, and some of the power for the move but the lower 2 quadrants (legs) provide grounding. The Right side of the body is yang, and the left side of the body is yin. The Yin-Yang junction is at the spine. One can visualize that the spine is a hinge, so each side of the torso, down through the buttocks is like a door that folds or unfolds using that hinge. If the leg was involved in the movement, it would be a HALF-BODY move.

Even though only a quarter of the body is moving it is still an important example of how to make a move but still keep a portion (in this case 3/4 of the body). It is also of importance as an example of how to make a move but keep a significant portion of the body alignment intact. Whether half-body or quarter-body, whether the leg moves with it or not it can only be achieved when the turning power comes from the waist and the entire back's muscles.

If this is done correctly and tailor-made, one will achieve a continuous energy flow in the body. It is a "neigong" exercise. It is tailor-made to be a "silk reeling exercise" which might be defined as a continuous symmetrical simple internal movement or movements. By doing this, one will be able to learn gradually how to move with internal discipline and enjoy the sensation of internal energy circulation. This exercise emphasizes the stimulation of muscles, tendons, and blood flow along the spine and the back. Those who practice this regularly experience a sense of rejuvenation and improved well-being. If one has spare moments during the day, particularly if the exercise can be carried out in a casual and relaxed mood, there will be more chances for the subconscious to play a part. The ultimate objective is to learn internal movements like this in more or less a piecemeal fashion and then integrate them into the Form play.

DISCOVERY OF FOOTWORK TRAINING AID

LINK TO AID

"Lift Legs training using lower Quarter Body movement this way is very good. Jim, it should really help beginners on the footwork", Classical Tai Chi Master Stephen Hwa.

Jim Roach said: My Youtube Studio link of a video. This is my student, now a teacher, Sifu Jason Bulger doing a variation. I "discovered" it in my experimentation with lower body movement. Also "discovered" one needs to do this to 8 angles, N, NE, NW, S, SE, SW, E, W, not just front. That type of practice coincides with Classical Tai Chi Form instruction, wherein the first piece of business is teaching students to step and move in one of the 8 directions.

* Turning feet to various angles coincides with foot placement in the "Form

* Turning feet to various angles coincides with the numerous foot positions in the "kicking section".

*As you get comfortable with this, I recommend just very lightly touching (we had a tree) a surface, or wall with just the tip of a finger, even closing the eyes. A mirror is best in the beginning.

*Lightly touching with a finger is not a crutch but it is enough to help you maintain good body structure while you do this.

*This is Jason's first try, so he is bending his head too much; otherwise, the internal movement seems very good.

*Use abdominal and back muscles to lift

Master Hwa's instructions as well: "The leg lifting is accomplished by using abdominal and back muscles to lift either side of the pelvis, which in turn lifts the leg. In this case with Jason, either leg is completely relaxed since the lifting is done by internal power and not the leg muscles. The moving part is the leg and its associated abdominal and back muscles while the other parts of the body remain stationary to provide support and grounding. The Yin-yang junction may be visualized in either the right or left side of the abdomen and back region depending on which leg is lifted. One could classify this as a lower-quarter body movement. All lower body movements are from the core. This is just one example of it. Practicing with an imaginary mental picture that the legs do not end at the hip joints, but rather there is a leg extension into the core of the body has helped some students learn how to initiate lower body movements from the core."Lift Legs using lower Quarter Body movement

That was paraphrased and an excerpt from Page 5., "Internal Discipline of Tai Chi": Uncovering The Treasure: Classical Tai Chi's Path to Internal Energy & Health Paperback – May 12, 2010

by Stephen Hwa (Author)

THE "SECRETS" OF TAI CHI...(there are no secrets)

Let's not continue to conflate "Fajin" (a delivery of power) only with the "one-inch punch" that Tom Kostusiak is so gracefully partaking of. That Fajin "punch" which time-wise is of SHORT DURATION! As you see in the photos which also show Tom being Fajin yanked aka "longer duration" and Punch "short duration" of force. 

How do we do either or both? If there is a "secret" to success it is to be found by us in our discernment or in failure a non-discernment of small differences in sensation that we feel.  This also involves our subsequent ability or inability to both note and choose options and movement efficiency.

 In a workshop, Master Stephen Hwa said "...the amount of Fajin you can deliver is proportional to how compact you can make the delivery..."  From that I discovered  it is an established principle that the smallest difference in sensation we can discern is proportional to the magnitude of the more prominent sensation. The more prominent "larger sensation" for all of us is the much larger section of the body that is away from the much smaller area that we wish to move.

There are no secrets to Tai Chi, if you want to develop a "one-inch punch" in a hurry go home and do slow quarter body movement as a punch for 2 hours a day for a hundred days. The thing is there are slim and none people willing to do that...the "secret" is in sheer persistence for a "short duration" of time. Or you can spread it over years as a "long duration" of developing power via Tai Chi Form practice, complete with health benefits with the same persistence.

Another aspect is the idea of how the "short" seems to be contained in the "long". The "long" seems to trace a seemingly infinite number of points from which the short-burst "fajin" can emerge instantly. Points, stops, pauses, straight lines, tangents, back to points from which force can be delivered from any angle. Do your Square Form it’s loaded with “points”! 

The idea is not only to strive in short burst power from one point, but to cultivate the long which creates many more possibilities for the short. The converse is not true, the long cannot come from the short. This seems to be related to the idea that we do not show the application but the intent "Yi" when we practice "Form".  

If the application were more pronounced in the form we do, it would probably have many short-burst movements and it probably would not be good for our health due to the jarring that would occur. It seems that only in the intermediate stages of practice does one begin to realize this point more fully and really "feel" the potential for short burst anywhere, making it meaningless to strike a heavy bag, or break boards repeatedly with internal "short" to cultivate it.

Being "unprepared" for Classical Tai Chi

 This is a very thoughtful letter from Tai Chi Master Stephen Hwa to his certified teachers. In the letter, he refers to teaching "Small Circle Tai Chi" to "unprepared" students who stayed with the learning. I for one, was very "prepared" as I had studied "large circle" Tai Chi "Square Form" with a number of teachers including the Wu Family. This is not to say I did not have my own share of problems, hubris over my previous learning being one of them. One of my students, was also very prepared with those same credentials when he started Classical Tai Chi.

I see after these many years that there are even Certified Teachers who have apparently given up teaching. The chances seem good they have given up all their studies. This is one of the sad reasons I started the Classical Tai Chi of California Facebook group, to renew "loyalties". Ironically, I also see certified teachers who have left the Dynasty of Wu's Tai Chi, It makes me think perhaps "loyalty" is an Art in and of itself. "Semper Fidelis" as an Art! Well Tai Chi is a "Martial Art" after all, albeit with an "Identity Crisis" as Master Hwa addresses here:

They should take some time to view Master Hwa's Teachable course Also, seeing the truth that Internal Discipline is an ideal vehicle to teach Square Form is a great gift. For those who came "prepared" the "Square Form" is a perfect vehicle for understanding the value of teaching Internal Discipline first. Seeing the truth of all of this is indeed a gift. Those that have left have missed their "Gift"!

ᴛᴇᴀᴄʜɪɴɢ ꜱᴍᴀʟʟ ᴄɪʀᴄʟᴇ ᴛᴀɪ ᴄʜɪ ᴀɴᴅ ʙᴀᴛᴛʟɪɴɢ ITS ɪᴅᴇɴᴛɪᴛʏ ᴄʀɪꜱɪꜱ by Stephen Hwa.

ʜɪꜱᴛᴏʀɪᴄᴀʟʟʏ, ꜱᴍᴀʟʟ ᴄɪʀᴄʟᴇ ᴛᴀɪ ᴄʜɪ ᴡᴀꜱ ᴏɴʟʏ ᴛᴀᴜɢʜᴛ ᴛᴏ ᴠᴇʀʏ ꜱᴇʟᴇᴄᴛɪᴠᴇ ꜱᴛᴜᴅᴇɴᴛꜱ ᴡʜᴏ ʜᴀᴅ ꜱʜᴏᴡɴ ᴘʀᴏᴍɪꜱᴇ ɪɴ ᴛʜᴇɪʀ ʟᴀʀɢᴇ ᴄɪʀᴄʟᴇ ᴛᴀɪ ᴄʜɪ ᴛʀᴀɪɴɪɴɢ ᴏʀ ᴛᴏ ᴀ ᴡᴇʟʟ-ᴇꜱᴛᴀʙʟɪꜱʜᴇᴅ ᴍᴀʀᴛɪᴀʟ ᴀʀᴛɪꜱᴛ ʟɪᴋᴇ ᴍʏ ᴛᴇᴀᴄʜᴇʀ, ʏᴏᴜɴɢ ᴡᴀʙᴜ. ᴡʜᴇɴ ᴡᴇ ᴀʀᴇ ᴛᴇᴀᴄʜɪɴɢ ᴛʜɪꜱ ᴛᴏ ᴜɴᴘʀᴇᴘᴀʀᴇᴅ ꜱᴛᴜᴅᴇɴᴛꜱ, ɪᴛ ɪꜱ ꜱᴏᴍᴇᴡʜᴀᴛ ᴏꜰ ᴀ ᴍɪꜱᴍᴀᴛᴄʜ.

ᴡʜᴇɴ ɪ ꜰɪʀꜱᴛ ꜱᴛᴀʀᴛᴇᴅ ᴛᴇᴀᴄʜɪɴɢ, ɪ ꜱᴛᴀʀᴛᴇᴅ ᴛʜᴀᴛ ᴡᴀʏ ᴀɴᴅ ᴡᴀᴛᴄʜᴇᴅ ᴍʏ ꜱᴛᴜᴅᴇɴᴛꜱ ꜱᴛʀᴜɢɢʟɪɴɢ ᴡɪᴛʜ ᴊᴜꜱᴛ ᴛʜᴏꜱᴇ ꜰᴇᴡ ʙᴇɢɪɴɴɪɴɢ ꜰᴏʀᴍ ᴍᴏᴠᴇᴍᴇɴᴛꜱ. ɪ ʜᴀᴠᴇ ᴛᴏ ᴄʀᴇᴅɪᴛ ᴀ ꜰᴇᴡ ᴏꜰ ᴛʜᴏꜱᴇ ꜱᴛᴜᴅᴇɴᴛꜱ ꜰᴏʀ ꜱᴛɪᴄᴋɪɴɢ ɪᴛ ᴏᴜᴛ ᴀɴᴅ ᴏᴠᴇʀᴄᴏᴍɪɴɢ ᴛʜᴇ ᴘʀᴏʙʟᴇᴍꜱ. ɪ ʀᴇᴍᴇᴍʙᴇʀ ᴍʏ ᴏᴡɴ ᴛᴇᴀᴄʜᴇʀ, ʏᴏᴜɴɢ ᴡᴀʙᴜ, ᴀʟꜱᴏ ᴛᴀᴜɢʜᴛ ᴛʜᴀᴛ ᴡᴀʏ. ʜɪꜱ ꜱᴛᴜᴅᴇɴᴛ ᴅʀᴏᴘᴏᴜᴛ ʀᴀᴛᴇ ᴡᴀꜱ ᴠᴇʀʏ ʜɪɢʜ.

ᴏᴠᴇʀ ᴛʜᴇ ʏᴇᴀʀꜱ ɪ ʙᴇɢᴀɴ ᴛᴏ ᴇxᴛʀᴀᴄᴛ ꜰʀᴏᴍ ᴛʜᴇ ꜰᴏʀᴍ ɪᴛꜱ ɪɴᴛᴇʀɴᴀʟ ᴅɪꜱᴄɪᴘʟɪɴᴇ- ᴛʜᴇ ꜰᴜɴᴅᴀᴍᴇɴᴛᴀʟ ɪɴᴛᴇʀɴᴀʟ ᴍᴏᴠᴇᴍᴇɴᴛꜱ ᴀɴᴅ ᴛᴀᴜɢʜᴛ ᴛʜᴀᴛ ᴛᴏ ᴍʏ ꜱᴛᴜᴅᴇɴᴛꜱ. ᴛʜɪꜱ ɪꜱ ʀᴇꜰʟᴇᴄᴛᴇᴅ ɪɴ ᴛʜᴇ 2002 ᴘᴜʙʟɪꜱʜᴇᴅ ᴅᴠᴅ ꜱᴇʀɪᴇꜱ. ᴡʜᴇɴ ɪ ᴍᴏᴠᴇᴅ ᴛᴏ ꜰʟᴏʀɪᴅᴀ, ɪ ꜱᴛᴀʀᴛ ᴛᴏ ᴛᴇᴀᴄʜ ᴀ ꜱᴇᴛ ᴏꜰ ɪɴᴛᴇʀɴᴀʟ ᴍᴏᴠᴇᴍᴇɴᴛꜱ ᴛᴏ ᴀɴʏ ɴᴇᴡᴄᴏᴍᴇʀꜱ ᴜɴᴛɪʟ ᴛʜᴇʏ ʙᴇᴄᴀᴍᴇ ɢᴏᴏᴅ ᴡɪᴛʜ ᴛʜᴇꜱᴇ ᴀɴᴅ ᴛʜᴇɴ ꜱᴛᴀʀᴛᴇᴅ ᴛʜᴇᴍ ᴏɴ ᴛʜᴇ ꜰᴏʀᴍ ᴍᴏᴠᴇᴍᴇɴᴛꜱ. ɪ ꜰᴏᴜɴᴅ ᴛʜɪꜱ ᴡᴀʏ ᴏꜰ ᴛᴇᴀᴄʜɪɴɢ ʜᴀꜱ ʙᴇᴇɴ ᴍᴜᴄʜ ᴍᴏʀᴇ ꜱᴜᴄᴄᴇꜱꜱꜰᴜʟ ᴛʜᴀɴ ᴛʜᴇ ᴏʟᴅ ᴡᴀʏ. ᴛʜɪꜱ ꜱᴇᴛ ᴏꜰ ɪɴᴛᴇʀɴᴀʟ ᴍᴏᴠᴇᴍᴇɴᴛꜱ ɪꜱ ɴᴏᴡ ᴘᴜʙʟɪꜱʜᴇᴅ ɪɴ ᴍʏ ᴛᴇᴀᴄʜᴀʙʟᴇ ᴏɴʟɪɴᴇ ᴄᴏᴜʀꜱᴇ:

“ɪɴᴛᴇʀɴᴀʟ-ᴇxᴇʀᴄɪꜱᴇ-ꜰᴏʀ-ᴘᴏᴡᴇʀ-ᴀɴᴅ-ᴠɪᴛᴀʟɪᴛʏ”

ʜᴛᴛᴘꜱ://ᴄʟᴀꜱꜱɪᴄᴀʟ-ᴛᴀɪ-ᴄʜɪ.ᴛᴇᴀᴄʜᴀʙʟᴇ.ᴄᴏᴍ/ᴘ/ɪɴᴛᴇʀɴᴀʟ-ᴇxᴇʀᴄɪꜱᴇ-ꜰᴏʀ-ᴘᴏᴡᴇʀ-ᴀɴᴅ-ᴠɪᴛᴀʟɪᴛʏ

ᴛʜᴇ ᴠᴀʟᴜᴇ ᴏꜰ ᴛʜɪꜱ ᴄᴏᴜʀꜱᴇ ɪꜱ:

ꜰᴏʀ ꜱᴇɴɪᴏʀ ᴄɪᴛɪᴢᴇɴꜱ: ᴛʜɪꜱ ᴄᴏᴜʀꜱᴇ ʜᴀꜱ ᴘʀᴏᴠᴇɴ ɪᴛꜱ ᴠᴀʟᴜᴇ. ᴏɴᴇ ᴏꜰ ᴍʏ ɪɴꜱᴛʀᴜᴄᴛᴏʀꜱ, ɪɴ ʟᴇꜱꜱ ᴛʜᴀɴ ᴀ ʏᴇᴀʀ, ʙᴜɪʟᴛ ᴜᴘ ʜᴇʀ ꜱᴇɴɪᴏʀ ᴄɪᴛɪᴢᴇɴ ᴄʟɪᴇɴᴛᴇʟᴇ ᴛᴏ ᴄʟᴏꜱᴇ ᴛᴏ ʜᴜɴᴅʀᴇᴅ ᴘᴇᴏᴘʟᴇ ᴡɪᴛʜ ᴀ ᴠᴇʀʏ ʟᴏʏᴀʟ ꜰᴏʟʟᴏᴡɪɴɢ. ᴛʜᴇ ʜᴇᴀʟᴛʜ ʙᴇɴᴇꜰɪᴛꜱ ᴏꜰ ᴛʜᴇꜱᴇ ᴍᴏᴠᴇᴍᴇɴᴛꜱ ᴀʀᴇ ᴠᴇʀʏ ᴍᴜᴄʜ ᴀᴘᴘʀᴇᴄɪᴀᴛᴇᴅ.

ꜰᴏʀ ᴛʀᴀɪɴɪɴɢ ᴀᴛʜʟᴇᴛᴇꜱ: ɪ ᴀᴍ ᴛʜɪɴᴋɪɴɢ ᴀʙᴏᴜᴛ ᴍᴏᴠɪɴɢ ɪɴ ᴛʜɪꜱ ᴅɪʀᴇᴄᴛɪᴏɴ. ᴛʜɪꜱ ᴡɪʟʟ ʙᴇ ᴛʜᴇ ᴘʀɪᴍᴀʀʏ ᴄᴏᴜʀꜱᴇ ꜰᴏʀ ᴛʜᴀᴛ ᴘᴜʀᴘᴏꜱᴇ ᴡɪᴛʜ ꜱᴏᴍᴇ ᴍᴏᴅɪꜰɪᴄᴀᴛɪᴏɴ ᴀɴᴅ ᴀᴅᴅɪᴛɪᴏɴꜱ ᴅᴇᴘᴇɴᴅɪɴɢ ᴏɴ ᴡʜᴀᴛ ꜱᴘᴏʀᴛ ɪᴛ ɪꜱ.

ʙᴀᴛᴛʟɪɴɢ ɪᴅᴇɴᴛɪᴛʏ ᴄʀɪꜱɪꜱ ɪɴ ᴛᴀɪ ᴄʜɪ:

ꜰᴇᴇᴅʙᴀᴄᴋ ꜰʀᴏᴍ ᴍʏ ᴄᴇʀᴛɪꜰɪᴇᴅ ɪɴꜱᴛʀᴜᴄᴛᴏʀꜱ ɪꜱ ᴛʜᴀᴛ ꜱᴏᴍᴇ ᴏꜰ ᴛʜᴇɪʀ ɪɴᴄᴏᴍɪɴɢ ꜱᴛᴜᴅᴇɴᴛꜱ ᴅᴏ ɴᴏᴛ ʟɪᴋᴇ ᴛᴀɪ ᴄʜɪ ʙᴇɪɴɢ ᴀ ᴍᴀʀᴛɪᴀʟ ᴀʀᴛ ᴡʜɪʟᴇ ꜱᴏᴍᴇ ᴘʀᴇꜰᴇʀ ᴛʜᴀᴛ ɪᴛ ᴡᴀꜱ. ᴛʜɪꜱ ᴄᴏᴜʀꜱᴇ ᴅᴇᴀʟꜱ ᴡɪᴛʜ ᴛʜᴇ ꜰᴜɴᴅᴀᴍᴇɴᴛᴀʟ ᴀꜱᴘᴇᴄᴛꜱ ᴏꜰ ᴍᴏᴠᴇᴍᴇɴᴛꜱ.

ᴘᴀʏʙᴀᴄᴋ ᴛᴏ ʟᴇᴀʀɴɪɴɢ: ꜰᴏʀᴍ ᴍᴏᴠᴇᴍᴇɴᴛꜱ ᴀʀᴇ ᴄᴏᴍᴘʟᴇx ɪɴ ɪᴛꜱ ᴄʜᴏʀᴇᴏɢʀᴀᴘʜʏ. ʙᴇɢɪɴɴɪɴɢ ꜱᴛᴜᴅᴇɴᴛꜱ ꜱᴜꜰꜰᴇʀ ꜰʀᴜꜱᴛʀᴀᴛɪᴏɴ ᴡɪᴛʜ ᴛʜɪꜱ ᴄᴏᴍᴘʟᴇxɪᴛʏ. ɪɴᴛᴇʀɴᴀʟ ᴍᴏᴠᴇꜱ ᴀʀᴇ ᴠᴇʀʏ ʀᴇᴡᴀʀᴅɪɴɢ ᴍᴇɴᴛᴀʟʟʏ. ɪ ᴏꜰᴛᴇɴ ꜱᴇᴇ ᴀ ꜱᴛᴜᴅᴇɴᴛ ᴇʟᴀᴛᴇᴅ ꜰᴏʀ Qᴜɪᴛᴇ ꜰᴇᴡ ᴅᴀʏꜱ ᴡʜᴇɴ ᴅɪꜱᴄᴏᴠᴇʀɪɴɢ ʜᴇ ᴏʀ ꜱʜᴇ ᴄᴀɴ ᴅᴏ ᴏɴᴇ ɪɴᴛᴇʀɴᴀʟ ᴍᴏᴠᴇ. ᴛʜɪꜱ ɢᴏᴇꜱ ꜰᴏʀ ꜱᴇɴɪᴏʀ ᴄɪᴛɪᴢᴇɴꜱ ᴏʀ ʏᴏᴜɴɢ ᴘᴇᴏᴘʟᴇ. ᴀʟꜱᴏ, ʟᴀʀɢᴇ ᴘᴏʀᴛɪᴏɴ ᴏꜰ ꜱᴛᴜᴅᴇɴᴛꜱ, ɴᴏᴡᴀᴅᴀʏꜱ, ᴅᴏ ɴᴏᴛ ꜱᴛᴀʏ ʟᴏɴɢ ᴡɪᴛʜ ᴛʜᴇ ᴄʟᴀꜱꜱ. ᴡɪᴛʜ ᴛʜɪꜱ ᴄᴏᴜʀꜱᴇ, ᴇᴠᴇɴ ɪꜰ ᴛʜᴇ ꜱᴛᴜᴅᴇɴᴛ ᴊᴜꜱᴛ ʟᴇᴀʀɴꜱ ᴏɴᴇ ɪɴᴛᴇʀɴᴀʟ ᴍᴏᴠᴇ, ʜᴇ/ꜱʜᴇ ᴡɪʟʟ ʙᴇɴᴇꜰɪᴛ ɢʀᴇᴀᴛʟʏ.

ʙᴇɪɴɢ ᴘʀᴇᴘᴀʀᴇᴅ ꜰᴏʀ ᴛʜᴇ ɴᴇxᴛ ᴅɪꜰꜰɪᴄᴜʟᴛ ꜱᴛᴇᴘ: ᴡʜᴇɴ ꜱᴏᴍᴇᴏɴᴇ ʙᴇᴄᴏᴍᴇꜱ ᴘʀᴏꜰɪᴄɪᴇɴᴛ ɪɴ ᴛʜɪꜱ ᴄᴏᴜʀꜱᴇ, ʜᴇ ᴏʀ ꜱʜᴇ ᴡɪʟʟ ᴀʟʀᴇᴀᴅʏ ᴅᴇᴠᴇʟᴏᴘ ᴀɴ ᴀᴘᴘʀᴇᴄɪᴀᴛɪᴏɴ ᴀɴᴅ ʀᴇꜱᴘᴇᴄᴛ ꜰᴏʀ ᴛᴀɪ ᴄʜɪ. ɢᴏɪɴɢ ᴛᴏ ᴛʜᴇ ɴᴇxᴛ ꜱᴛᴇᴘ ᴏꜰ ʟᴇᴀʀɴɪɴɢ ᴛʜᴇ ᴅᴇᴍᴀɴᴅɪɴɢ ꜱᴍᴀʟʟ ᴄɪʀᴄʟᴇ ᴛᴀɪ ᴄʜɪ ꜰᴏʀᴍ ᴡɪʟʟ ʙᴇ ᴍᴜᴄʜ ᴍᴏʀᴇ ꜱᴜᴄᴄᴇꜱꜱꜰᴜʟ.

ʟᴇᴀʀɴɪɴɢ ᴛʜᴇ ꜱᴍᴀʟʟ ᴄɪʀᴄʟᴇ ᴛᴀɪ ᴄʜɪ ꜰᴏʀᴍ:

ᴍʏ ʟᴀᴛᴇꜱᴛ ᴏɴʟɪɴᴇ ᴄᴏᴜʀꜱᴇ ᴏꜰ “ᴄʟᴀꜱꜱɪᴄᴀʟ ᴛᴀɪ ᴄʜɪ ꜱᴍᴀʟʟ ᴄɪʀᴄʟᴇ ꜰᴏʀᴍ ɪɴꜱᴛʀᴜᴄᴛɪᴏɴ”( ʜᴛᴛᴘꜱ://ᴄʟᴀꜱꜱɪᴄᴀʟ-ᴛᴀɪ-ᴄʜɪ.ᴛᴇᴀᴄʜᴀʙʟᴇ.ᴄᴏᴍ/ᴘ/ᴄʟᴀꜱꜱɪᴄᴀʟ-ᴛᴀɪ-ᴄʜɪ-ꜱᴍᴀʟʟ-ᴄɪʀᴄʟᴇ-ꜰᴏʀᴍ-ɪɴꜱᴛʀᴜᴄᴛɪᴏɴ-ꜰᴏʀᴍꜱ-1-32) ɪꜱ ᴅɪꜰꜰᴇʀᴇɴᴛ ꜰʀᴏᴍ ᴍʏ ᴇᴀʀʟɪᴇʀ ᴅᴠᴅ ɪɴ ᴛʜᴀᴛ ᴛʜᴇ ɪɴꜱᴛʀᴜᴄᴛɪᴏɴ ᴄᴏɴᴄᴇɴᴛʀᴀᴛᴇꜱ ᴏɴ ꜱQᴜᴀʀᴇ ꜰᴏʀᴍ. ʙᴜᴛ, ʙᴇᴄᴀᴜꜱᴇ ᴛʜᴇ ꜱᴛᴜᴅᴇɴᴛꜱ ᴀʀᴇ ᴀʟʀᴇᴀᴅʏ ꜱᴛᴇᴇᴘᴇᴅ ɪɴ ɪɴᴛᴇʀɴᴀʟ ᴅɪꜱᴄɪᴘʟɪɴᴇ, ᴇᴀᴄʜ ᴏꜰ ᴛʜᴇ ꜱQᴜᴀʀᴇ ꜰᴏʀᴍ ᴍᴏᴠᴇꜱ ɪɴᴄᴏʀᴘᴏʀᴀᴛᴇꜱ ꜰᴜʟʟʏ ᴛʜᴇ ɪɴᴛᴇʀɴᴀʟ ᴀꜱᴘᴇᴄᴛ ᴏꜰ ᴛʜᴀᴛ ᴍᴏᴠᴇ ɪɴ ᴄᴏɴᴛʀᴀꜱᴛ ᴛᴏ ᴘʀᴇᴠɪᴏᴜꜱ ꜱQᴜᴀʀᴇ ꜰᴏʀᴍ ᴡʜᴇʀᴇ Qᴜᴀʀᴛᴇʀ ʙᴏᴅʏ ɪɴᴛᴇʀɴᴀʟ ᴍᴏᴠᴇꜱ ᴀʀᴇ ᴍᴏꜱᴛʟʏ ᴀᴠᴏɪᴅᴇᴅ. ᴛʜᴇʀᴇꜰᴏʀᴇ, ᴛʀᴀɴꜱɪᴛɪᴏɴ ᴛᴏ ʀᴏᴜɴᴅ ꜰᴏʀᴍ ꜰʀᴏᴍ ᴛʜɪꜱ ɴᴇᴡ ꜱQᴜᴀʀᴇ ꜰᴏʀᴍ ɪꜱ ᴍᴜᴄʜ ᴇᴀꜱɪᴇʀ ᴡɪᴛʜᴏᴜᴛ ᴛʜᴇ ɴᴇᴇᴅ ᴛᴏ ʀᴇʟᴇᴀʀɴ ᴛʜᴇ ᴍᴏᴠᴇꜱ.

ᴛʜᴇ ꜱᴍᴀʟʟ ᴄɪʀᴄʟᴇ ꜰᴏʀᴍ ɪꜱ ᴅᴇꜱɪɢɴᴇᴅ ᴛᴏ ᴘᴀᴄᴋ ɪɴᴛᴇʀɴᴀʟ ᴇɴᴇʀɢʏ ᴀɴᴅ Qɪ ꜰʟᴏᴡ ᴅᴇɴꜱᴇʟʏ ᴛᴏ ᴀᴄʜɪᴇᴠᴇ ᴛʜᴇ ɢᴏᴀʟ ᴏꜰ ʜᴀᴠᴇ ᴄᴏɴᴛɪɴᴜᴏᴜꜱ ᴀɴᴅ ᴠᴀʀɪᴇᴅ ᴇɴᴇʀɢʏ ᴀɴᴅ Qɪ ꜰʟᴏᴡ ɪɴ ᴛʜᴇ ʙᴏᴅʏ ᴀꜱ ᴏɴᴇ ᴘʟᴀʏꜱ ᴛʜᴇ ꜰᴏʀᴍ. ᴛʜɪꜱ ɪꜱ ᴀ ɴᴏᴛᴀʙʟᴇ ᴀᴄʜɪᴇᴠᴇᴍᴇɴᴛ ɪɴ ɪᴛꜱ ᴅᴇꜱɪɢɴ ᴀɴᴅ ᴄᴀɴɴᴏᴛ ʙᴇ ʀᴇᴘʟɪᴄᴀᴛᴇᴅ ᴏʀ ʀᴇᴘʟᴀᴄᴇᴅ ʙʏ ᴀɴʏ ᴏᴛʜᴇʀ ᴍᴏᴠᴇᴍᴇɴᴛ ᴅᴇꜱɪɢɴꜱ ꜱᴜᴄʜ ᴀꜱ ᴅᴀɴᴄᴇ ᴇᴛᴄ. ꜰᴏʀ ᴇxᴀᴍᴘʟᴇ, ᴅᴀɴᴄᴇ ᴍᴏᴠᴇᴍᴇɴᴛꜱ ᴏꜰᴛᴇɴ ᴅᴇᴍᴀɴᴅ ꜰʟᴏᴜʀɪꜱʜɪɴɢ ᴍᴏᴠᴇ ᴏꜰ ᴛʜᴇ ʜᴀɴᴅꜱ, ᴏʀ ᴏᴛʜᴇʀ ʟᴏᴄᴀʟɪᴢᴇᴅ ᴍᴏᴠᴇᴍᴇɴᴛ ᴏꜰ ᴛʜᴇ ꜰᴏʀᴇᴀʀᴍ, ᴏʀ ᴀɴʏ ᴍᴏᴠᴇᴍᴇɴᴛ ꜰᴏʀ ꜱʜᴏᴡɪɴɢ ᴏꜰꜰ. ᴛʜɪꜱ ᴡɪʟʟ ᴘʀᴇᴠᴇɴᴛ ɪɴᴛᴇʀɴᴀʟ ᴇɴᴇʀɢʏ ᴀɴᴅ Qɪ ʀᴇᴀᴄʜɪɴɢ ᴛʜᴇꜱᴇ ᴇxᴛᴇʀɴᴀʟ ᴘᴀʀᴛꜱ ᴏꜰ ᴛʜᴇ ʙᴏᴅʏ.

ᴡᴇ ʜᴀᴠᴇ ᴛᴀʟᴋᴇᴅ ᴏꜰ ᴍᴀɴʏ ᴀꜱᴘᴇᴄᴛꜱ ᴏꜰ ᴛʜɪꜱ ꜰᴏʀᴍ ᴀʟʀᴇᴀᴅʏ. ʜᴇʀᴇ ɪ ᴊᴜꜱᴛ ᴡᴀɴᴛ ᴛᴏ ᴇᴍᴘʜᴀꜱɪᴢᴇ ᴏɴᴇ ᴛʜɪɴɢ; ᴛʜᴇ “ᴍᴀʀᴛɪᴀʟ ᴀʀᴛ ɪɴᴛᴇɴᴛ” ᴅᴜʀɪɴɢ ᴘʟᴀʏɪɴɢ ᴛʜᴇ ꜰᴏʀᴍ. ɪᴛ ɪꜱ ᴛʜɪꜱ ɪɴᴛᴇɴᴛ ɪɴ ᴛʜᴇ ᴍᴏᴠᴇᴍᴇɴᴛ ᴘʟᴜꜱ ɪɴᴛᴇʀɴᴀʟ ᴅɪꜱᴄɪᴘʟɪɴᴇ ᴛʜᴀᴛ ʜᴇʟᴘꜱ ᴛᴏ ᴅʀᴀᴡ ᴏᴜᴛ ᴏɴᴇ’ꜱ ɪɴᴛᴇʀɴᴀʟ ᴇɴᴇʀɢʏ ᴀɴᴅ Qɪ ᴀɴᴅ ᴅɪʀᴇᴄᴛ ᴛʜᴇᴍ ᴛᴏᴡᴀʀᴅ ᴛʜᴇ ᴘʀᴏᴘᴇʀ ᴄʜᴀɴɴᴇʟ. ɪɴ ᴀɴʏ ᴄᴀꜱᴇ, ᴏɴᴇ ɴᴇᴇᴅꜱ ᴘʀᴏᴘᴇʀ ɪɴᴛᴇɴᴛ ɪɴ ᴛʜᴇ ᴍᴏᴠᴇᴍᴇɴᴛ ᴛᴏ ᴀᴄʜɪᴇᴠᴇ ᴛʜᴀᴛ ɢᴏᴀʟ. ꜱᴏ, ᴡᴇ ᴍᴀʏ ᴄᴏɴꜱɪᴅᴇʀ “ᴍᴀʀᴛɪᴀʟ ᴀʀᴛ ɪɴᴛᴇɴᴛ” ɪꜱ ᴊᴜꜱᴛ ᴀɴ ᴇꜰꜰᴇᴄᴛɪᴠᴇ ᴛᴏᴏʟ ᴛᴏ ᴀᴄʜɪᴇᴠᴇ ᴛʜᴀᴛ ɢᴏᴀʟ.

Real neuromuscular control is "prized"!

 

Pathological reasons aside I ask myself as a teacher why it is so hard for students to develop internal discipline? Facing the facts, "Aging" is one reason. Speaking for myself I'm not the oldest in the Classical Tai Chi of California group, I'm in the forefront, yet I can do the following instructions and I'd like you to try. 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 front...easy? Now, again, raise to the front and stop, note with vision, exactly where your elbow is in relation to your body, hold it completely still, and raise just the forearm. Now, again, but this time close your eyes, raise your arm to the front, and stop, Now you are depending on "sensation", and "neuromuscular control" note exactly where your elbow is in relation to your body, hold it completely still and raise just the forearm...harder?

Now, again, close your eyes, raise your arm to the front, and this time, keep your shoulder down, stretch your arm till you feel a stretch in your back, hold that stretch, stop, Now raise just the forearm, don't move anything else, keep the stretch in your back. Now you are really depending on "sensation", and "neuromuscular control" and on the road to developing "internal discipline" if you follow the path in Classical Tai Chi.

Legendary Master Wu Chien Chuan demonstrated how to protect spine and back.

Legendary Master Wu Chien Chuan demonstrated how to protect the spine and back.  Youtube link

Grandmaster Wu Chien Chuan is doing a forward, push forward, leaning move. The picture with the red curved line, and the subsequent video, with a directional red arrow, shows a common posture that many Tai Chi practitioners use nowadays. This type of structure occurs when many practitioners attempt a “ forward push forward lean “ posture. 

Please, notice his body has a bend in the region of the Lumbar spine and hip joint area. So any stress or weight coming down will concentrate on that bent area. It is called a “stress concentration area”, There is such “stress concentration, especially if a student with such structure is doing sparring exercise and applying a force to the opponent or an opponent is applying a force to him. This additional force will all concentrate in the stress concentration area in that bend. So a wrong move like this could easily squeeze the disc from his Lumbar area and alter its position. 

Grandmaster Wu, his body structure is a straight line in this posture. He was actually stretching his body from his neck down to the Achilles heel of the back foot. That body is stretched, and the spine is also stretched so the force is coming down from his body. The force is transmitted down through the spine, through the leg to the heel, and absorbed by the ground.

This book is an introduction to a vast topic

 A very well-written review by an unknown author on Amazon: "I have had an interest in Tai Chi for years. I came across Stephen Hwa's material online a little over 2 months ago and I felt it was a bit different than what I had read about Tai Chi. I bought his introductory and martial arts application DVD and then received this book then purchased his forms DVD set.

This book is an introduction to a vast topic. It is given in a concise yet casual, easy-to-read style. It is not meant to teach the entire Tai Chi form but the principles that the form is based on. "Classical Tai Chi" is the form transmitted to Stephen Hwa from his teacher Young Wabu from his teacher, the very famous Wu Chien Chuan, son of Yang Luchan, the founder of Wu style Tai Chi. This form uses "small circle" or "small frame" movements which rely on more use of "internal discipline" versus most other forms.

Internal discipline in my humble understanding is the use of "core" muscles in the abdomen and back to add remarkable power to the already maximally optimized mechanics of Tai Chi moves. The small movements actually allow the core muscles to kick in and increase the power of the moves. Conversely, large frame movements are great for strengthening the limb muscles but may dissociate their movements from the core. The core movements elicit an unusual sensation of flow through the torso and in the body which feels like stretching and tingling like an energy flow.

Based on my current understanding it would take years of practice to learn to fully harness the internal discipline, yet I have noticed even a beginner like myself can benefit from the appreciation of proper mechanics as taught in Classical Tai Chi and the first awareness of the use of our torso muscles in coordination with the limbs. I believe both beginners and advanced students of Tai Chi will benefit from the mystique-free insights in this book. However, I feel that experiential confirmation of benefits may elude those who do not continue to explore the art and science. This knowledge is applicable to daily life and is free of dogmatic rules and so should be enjoyable to those who like to understand what they are learning."

Peace

IMPORTANCE OF MARTIAL ARTS INTENT TO INTERNAL ENERGY AND QI FLOW

IMPORTANCE OF MARTIAL ARTS INTENT TO INTERNAL ENERGY AND QI FLOW VIDEO 

太极拳 ( Taijiquan / Tàijíquán ) is composed of these characters: 太 (tai), 极 (ji), 拳 (quan) and translates to English as "Tai Chi". The "Chi" in the Han pinyin is pronounced "gee" and is not the same as (气 the "vital energy" QI FLOW that Master Hwa talks about here). The difference in pronunciation between "ji" and "Qi" is the position of the tongue on the palate. One might say that in the West "Tai Chi" is pronounced incorrectly and is not "chee" like Cheese but is more like "gee".

When one learns "Tai Chi", that learning must be good for the purposes of health and martial art. So there is much to be learned about practicing Tai Chi with Martial Intent or 意 "Yi"

"Importance of Playing Tai Chi Form With Martial Arts Intent to Internal Energy & Qi Flow"

I find it fascinating that Classical Tai Chi (Taijiquan) was once so highly regarded as not only the most capable but also the most polished martial art of its time. The royal families of China were undoubtedly protected by individuals who were extremely proficient in the art. When the sun set on the need for personal martial skills the door opened so that the general populace could be taught.

One does not hear the use of the word "Quan" along with Tai Chi in most classes today, however, I always heard it used in my study of Wu's Style at Wu's Academy in Toronto, Canada. A statement might be: "It is time to do our chuan" (Wade Giles) which would precede the group playing the form as a whole. I wonder if the term is still used because I see a store full of so-called "competitive" and "shortened" versions being touted.

However, with the teaching of the world as it were, the degradation and demise of the art thus began. What we have nowadays as a supposed "legacy" is in the majority of cases merely a shallow and insipid caricature. I am not impressed whatsoever by even the most "athletic" performances as competition routines, to say nothing of so-called "new age" Tai Chi.

Importance of the "Back Foot"

Importance of the "Back Foot" 

 

A Review of Tai Chi walking 

 

Body Forward Lean (import of back foot during push hands)
 

Along with several other requirements a proper forward lean posture requires the back foot to be firmly on the ground. Let's emphasize the import of "Tai Chi Walk" in order to do good "Push Hands": 

 

When one demonstrates Tai Chi Form to students, their attention will always be attracted to the upper body movements first and neglect the "foot work". The back foot's heel is to be firmly on the ground and creates problems when it is not. The head, the body and the back leg form a straight line in the lean forward. Under this structure, you will feel a strong stretch from the top of the head down to the Achilles' tendon and heel of the back foot. The stretch of the back foot counter balances the leaning forward ability of the body, thus allowing one to lean forward even more. 

 

While doing Tai Chi walk, the upper body is kept relaxed with two hands hanging limp on the side of the body. This is the first lesson on how to keep clear a differential between the energized and the relaxed parts of the body working side by side. Even in such simple case, many students have trouble
keeping the upper body relaxed in the beginning. This exercise teaches the proper body posture, feet positions, body weight distribution, and unique walking dynamics. In addition, it is a very effective exercise, tuning every aspect of the lower body including the lower back.

 

The three main characteristics of this
exercise are:
I. using core power for leg movements, such as
lifting and stretching the leg
2. keeping the body's center of gravity under
control, not allowing the body to fall forward as
in the common walking motion
3. pulling the body forward or backward not pushing
by the leg.

 

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. A longtime student, Bill, describes the sensation of this move as if the body is being sucked forward or backward. This is the crucial step for converting the walking motion into an entirely internal movement.
 

Normally, during walking, one uses the back foot to push when walking forward and the front foot to push when walking backward. The pushing motion by the leg muscle is entirely external and it also engages both feet stuck to the ground until the body completes its move. In other words, it is a double weighted move. In the case of pulling forward instead of pushing forward, the back foot has no responsibility for pushing. It is free to be lifted and moved thereby improving the mobility of the
person.

 

 The same is true for the backward walk. This is one of the advantages from a martial arts application viewpoint. Certainly during applications, there are situations favoring "push" or situations favoring "pull". For example, when an opponent is coming at you, you want to adhere (stick) to him and sit back to neutralize the incoming force. You certainly do not want to add to his incoming force by pushing your body back with the front foot. Instead, you want to use the back foot and core to control the pull back and at the same time plant the front foot's heel on the ground to absorb some of the incoming force by pulling on the body. "Push" is a natural move and It is further developed and strengthened in the Large Frame Form. On the other hand, "pull" with the core is a learned technique for almost everyone I know and is only developed in the Compact Frame Form.

 

 

Sticking to the opponent in "Fa Jing"

Sticking to the opponent in "Fa Jing"

If one wants to get better at Tai Chi, it requires sensitivity to opponents' movement, the ability to ting jin, stick to the opponent, and intelligence under pressure. I see no reason why any of that cannot be maintained into old age. Even Western Boxing's clinch (before it became the disgraceful stalling tactic it is now) could be said to have once relied on some semblance of sensitivity. Even with that, the bout between Mike Tyson and Larry Holmes went to grappling and trapping range 10 times in the first three minutes...once every 18 seconds. This means "practicing push hands and sparring to develop sensitivity and finesse" with a variety of opponents.

How can anyone expect to develop sticking from just practicing the form?   I see no place where Master Hwa promises a "flowering" of self defense ability. Additionally, no one ever promised folks "Pie in the Sky" in Classical Tai Chi and on the contrary the limitations of what we do have been spelled out even more than I got at Wu's Tai Chi Academy.  Learning to stick to opponent in close quarters   This step requires a willing and trusted partner and ones own willing participation. How to learn to spar with Tai Chi, particularly  if one can find an other style martial art partner , particularly one who is physically stronger then they will find the guy will just ram down your centerline and smash you out of the way. . Then you have  to stick with his smashing, not run away.

 

As one gets older, they are no longer going to be the fastest or strongest so they have to rely on feeling out the opponent.  If one can't beat with speed then you  have to stick.  This does not mean you are not going to get hit.  In his fight with a Hard Style opponent, Wu Gong Yi was limited by rules not to stick, if he could, then I think things would be much different and perhaps not "called a draw". 

 

It is indicative of modern-day Tai Chi where mistakes are made,  if no one is there to correct, it ends up being good exercise but it is definitely not Tai Chi. Classical Tai Chi has to be good for both health AND martial purposes. The martial teaches one to "stick" by first touching then following the opponent's movements. In many Internet pictures of “Tai Chi” practitioners are not being corrected when arm , legs go in wrong directions (which muddles your senses and one can infer they are training to follow only themselves, not an opponent) is indicative of modern Tai Chi.  A good example of sticking shown in the video of Master Hwa is that in certain instances Tai Chi trains one to vigorously follow the opponent.

JAMA ON CLASSICAL TAI CHI

Tao of Martial Applications

The Journal of Asian Martial Arts (JAMA) was a quarterly magazine published by Via Media Publishing Company that covered various aspects of martial arts from Asia  but also included material from other parts of the world. The magazine had its headquarters in Santa Fe  It ceased publication in 2012, ending with a final book entitled "Asian Martial Arts".

Before the streamlined Teachable courses, Master Stephen Hwa with assistance from Jim Roach, Tom Kostusiak and Ike Schultz made a series of DVD. One of the DVD was called "The Tao of Martial Applications". Attached is a DVD review by the now defunct Journal of Asian Martial Arts.

ꜱᴛᴇᴘʜᴇɴ ʜᴡᴀ (ʙ. 1933)ʙᴇɢᴀɴ ᴛᴀɪᴊɪ ꜱᴛᴜᴅɪᴇꜱ ᴜɴᴅᴇʀ ʏᴏᴜɴɢ ᴡᴀʙᴜ (1904-2005), ᴀ ꜱᴛᴜᴅᴇɴᴛ ᴏꜰ ʟᴇɢᴇɴᴅᴀʀʏ ᴍᴀꜱᴛᴇʀ ᴡᴜ ᴊɪᴀɴQᴜᴀɴ(1880-1942). ꜰᴏʀ ᴍᴀɴʏ ʏᴇᴀʀꜱ,ᴛʜɪꜱ ᴡᴜ ꜱᴛʏʟᴇ ʜᴀᴅ ʙᴇᴇɴ ᴛʜᴇ ꜱᴇᴄᴏɴᴅ ᴍᴏꜱᴛ ᴘᴏᴘᴜʟᴀʀ ᴛᴀɪᴊɪ ꜱᴛʏʟᴇ, ꜰᴏʟʟᴏᴡɪɴɢ ᴛʜᴇ ʏᴀɴɢ ꜱᴛʏʟᴇ. ᴠᴏʟᴜᴍᴇꜱ ɪ ᴀɴᴅ ɪɪ ɪɴ ᴅʀ. ʜᴡᴀ'ꜱ ᴅᴠᴅ ꜱᴇʀɪᴇꜱ ᴘʀᴏᴠɪᴅᴇ ᴀ ɢᴏᴏᴅ ᴏᴠᴇʀᴠɪᴇᴡ ᴏꜰ ᴛʜᴇ ᴡᴜ ꜱᴛʏʟᴇ ᴀɴᴅ ɪɴꜱᴛʀᴜᴄᴛɪᴏɴ ɪɴ ᴛʜᴇ ᴄʟᴀꜱꜱɪᴄᴀʟ ʟᴏɴɢ ꜰᴏʀᴍ. ᴠᴏʟᴜᴍᴇ ɪɪɪ, ᴛʜᴇ ᴛᴀᴏ ᴏꜰ ᴍᴀʀᴛɪᴀʟ ᴀʀᴛꜱ ᴀᴘᴘʟɪᴄᴀᴛɪᴏɴꜱ, ɪꜱ ᴏʀɢᴀɴɪᴢᴇᴅ ɪɴᴛᴏ ꜰᴏᴜʀ ꜱᴇᴄᴛɪᴏɴꜱ: 1)ɪɴᴛʀᴏᴅᴜᴄᴛɪᴏɴ, 2) ꜰᴀ ]ɪɴɢ (ꜰᴏʀᴄᴇ ʀᴇʟᴇᴀꜱɪɴɢ) ᴍᴏᴠᴇꜱ ᴀɴᴅ ᴛʜɪʀᴛᴇᴇɴ ᴘᴏꜱᴛᴜʀᴇꜱ, 3) ᴘᴜꜱʜ ʜᴀɴᴅꜱ, ᴀɴᴅ 4)ɢʀᴏᴜᴘ ᴅɪꜱᴄᴜꜱꜱɪᴏɴ.

ᴅʀ. ʜᴡᴀ,ᴀꜱꜱɪꜱᴛᴇᴅ ʙʏ ᴛʜʀᴇᴇ ꜱᴛᴜᴅᴇɴᴛꜱ, ʟᴇᴄᴛᴜʀᴇꜱ ᴀɴᴅ ᴅᴇᴍᴏɴꜱᴛʀᴀᴛᴇꜱ . ɪᴛ ɪꜱ ꜱᴀɪᴅ ᴛʜᴀᴛ ᴛʜᴇ ᴄᴏʀᴇ ᴏꜰ ᴛᴀɪᴊɪ ɪꜱ ꜰᴏᴜɴᴅ ɪɴ ᴛʜᴇ "ᴛʜɪʀᴛᴇᴇɴ ᴘᴏꜱᴛᴜʀᴇꜱ," ᴏʀ ʙᴀꜱɪᴄ ꜱᴋɪʟʟꜱ: ᴡᴀʀᴅ ᴏꜰꜰ, ᴘᴜʟʟ ʙᴀᴄᴋ, ᴘʀᴇꜱꜱ, ᴘᴜꜱʜ, ᴘᴜʟʟ ᴅᴏᴡɴ, ꜱᴘʟɪᴛ, ᴇʟʙᴏᴡ, ᴀɴᴅ ꜱʜᴏᴜʟᴅᴇʀ, ᴀᴅᴠᴀɴᴄᴇ, ʀᴇᴛʀᴇᴀᴛ, ɢᴜᴀʀᴅ ʟᴇꜰᴛ, ᴀɴᴅ ʀɪɢʜᴛ, ᴄᴇɴᴛʀᴀʟ ᴇQᴜɪʟɪʙʀɪᴜᴍ. ʀᴀᴛʜᴇʀ ᴛʜᴀɴ ꜱʜᴏᴡɪɴɢ ᴀᴘᴘʟɪᴄᴀᴛɪᴏɴꜱ ꜰᴏʀ ᴇᴀᴄʜ ꜱᴋɪʟʟ. ᴅʀ. ʜᴡᴀ ꜰᴏᴄᴜꜱᴇꜱ ᴏɴ ᴛʜᴇ ᴛʜᴇᴏʀʏ ᴛʜᴀᴛ ᴍᴀᴋᴇꜱ ᴛʜᴇ ᴀᴘᴘʟɪᴄᴀᴛɪᴏɴꜱ ᴡᴏʀᴋ. ʟɪᴋᴇᴡɪꜱᴇ, ʏᴏᴜ ᴡɪʟʟ ɴᴏᴛ ꜰɪɴᴅ ᴍᴀɴʏ ᴅᴇᴛᴀɪʟꜱ ɪɴ ᴛʜᴇ ᴘᴜꜱʜ ʜᴀɴᴅꜱ ꜱᴇᴄᴛɪᴏɴ ᴅᴇꜱᴄʀɪʙɪɴɢ ᴍᴏᴠᴇᴍᴇɴᴛꜱ ɪɴ ᴅᴇᴛᴀɪʟ. ꜱɪɴɢʟᴇ-ʜᴀɴᴅᴇᴅ ᴀɴᴅ ᴛᴡᴏ-ʜᴀɴᴅᴇᴅ ᴘᴜꜱʜ ʜᴀɴᴅ ᴘʀᴀᴄᴛɪᴄᴇ ᴀʀᴇ ᴅᴇᴍᴏɴꜱᴛʀᴀᴛᴇᴅ, ʙᴜᴛ ᴛʜᴇꜱᴇ ᴛᴏᴏ ᴀʀᴇ ᴘʀᴇꜱᴇɴᴛᴇᴅ ᴍᴀɪɴʟʏ ᴛᴏ ɪʟʟᴜꜱᴛʀᴀᴛᴇ ʜᴏᴡ ᴛᴀɪᴊɪ ᴘʀɪɴᴄɪᴘʟᴇꜱ ᴡᴏʀᴋ. ᴅʀ. ʜᴡᴀ ꜱᴛᴀᴛᴇꜱ ɪɴ ᴛʜᴇ ɪɴᴛʀᴏᴅᴜᴄᴛɪᴏɴ ᴛʜᴀᴛ ᴛʜᴇ ᴘᴜʀᴘᴏꜱᴇ ᴏꜰ ᴛʜɪꜱ ᴅᴠᴅ ɪꜱ ᴛᴏ ꜱʜᴏᴡ ᴛʜᴇ ʀᴇʟᴀᴛɪᴏɴꜱʜɪᴘ ʙᴇᴛᴡᴇᴇɴ ᴛʜᴇ ᴛʀᴀᴅɪᴛɪᴏɴᴀʟ ʀᴏᴜᴛɪɴᴇ ᴘʀᴀᴄᴛɪᴄᴇ ᴀɴᴅ ᴍᴀʀᴛɪᴀʟ ᴀᴘᴘʟɪᴄᴀᴛɪᴏɴꜱ. ʜᴏᴡ ᴅᴏᴇꜱ ᴘʀᴀᴄᴛɪᴄɪɴɢ ᴛʜᴇ 108-ᴍᴏᴠᴇᴍᴇɴᴛ ʟᴏɴɢ ꜰᴏʀᴍ ɪɴꜰʟᴜᴇɴᴄᴇ ᴏɴᴇ'ꜱ ᴀʙɪʟɪᴛʏ ᴛᴏ ᴘᴇʀꜰᴏʀᴍ ᴀᴘᴘʟɪᴄᴀᴛɪᴏɴꜱ? ᴅʀ. ʜᴡᴀ ʙᴇʟɪᴇᴠᴇꜱ ᴛʜᴀᴛ ʀᴇɢᴜʟᴀʀ ᴅᴀɪʟʏ ᴘʀᴀᴄᴛɪᴄᴇ ᴛᴇᴀᴄʜᴇꜱ ᴛʜᴇ ʙᴏᴅʏ ʜᴏᴡ ᴛᴏ ᴍᴏᴠᴇ ᴘʀᴏᴘᴇʀʟʏ. ᴘʀᴀᴄᴛɪᴛɪᴏɴᴇʀꜱ ᴇᴠᴇɴᴛᴜᴀʟʟʏ ᴄᴀɴ ɴᴀᴛᴜʀᴀʟʟʏ ᴀɴᴅ ꜱᴘᴏɴᴛᴀɴᴇᴏᴜꜱʟʏ ᴍᴀɴɪꜰᴇꜱᴛ ᴍᴀʀᴛɪᴀʟꜱᴋɪʟʟꜱ. ɪɴᴛᴇᴍᴀʟ (ᴄᴏᴍʙɪɴᴇᴅ ᴘꜱʏᴄʜᴏ-ᴘʜʏꜱɪᴏʟᴏɢɪᴄᴀʟ) ᴅɪꜱᴄɪᴘʟɪɴᴇ ɪꜱ ᴘʀᴇꜱᴇɴᴛᴇᴅ ᴀꜱ ᴛʜᴇ ᴋᴇʏ ᴛᴏ ꜱᴏʟᴏ ꜰᴏʀᴍ ᴘʀᴀᴄᴛɪᴄᴇ ᴀꜱ ᴡᴇʟʟ ᴀꜱ ꜰᴏʀ ᴘʀᴀᴄᴛɪᴄᴀʟ ᴀᴘᴘʟɪᴄᴀᴛɪᴏɴ. ᴇᴏʀ ᴛʜɪꜱ. ᴅʀ. ʜᴡᴀ ᴇᴍᴘʜᴀꜱɪᴢᴇꜱ ᴛʜᴇ ᴛᴀɪᴊɪ ᴘʀɪɴᴄɪᴘʟᴇꜱ ᴏꜰ ʀᴇʟᴀxᴀᴛɪᴏɴ ᴀɴᴅ ᴡʜᴏʟᴇ ʙᴏᴅʏ ᴍᴏᴠᴇᴍᴇɴᴛ. ʜᴇ ꜱᴀʏꜱ ɴᴏᴛ ᴛᴏ ʀᴇꜱɪꜱᴛ ᴀɴ ᴏᴘᴘᴏɴᴇɴᴛ ɪɴ ᴘᴜꜱʜ ʜᴀɴᴅꜱ ᴘʀᴀᴄᴛɪᴄᴇ ꜱᴏ ʏᴏᴜ ᴄᴀɴ ꜰʟᴏᴡ ɪɴᴛᴏ ᴀ ᴄᴏᴜɴᴛᴇʀ-ᴀᴛᴛᴀᴄᴋ. ʜᴇ ᴅɪꜱᴛɪɴɢᴜɪꜱʜᴇꜱ ʙᴇᴛᴡᴇᴇɴ ᴄᴏᴏᴘᴇʀᴀᴛɪᴠᴇ ᴀɴᴅ ᴄᴏᴍᴘᴇᴛɪᴛɪᴠᴇ ᴘᴜꜱʜ ʜᴀɴᴅꜱ, ꜱᴀʏɪɴɢ ᴛʜᴀᴛ ʙᴇɪɴɢ ᴄᴏᴏᴘᴇʀᴀᴛɪᴠᴇ ɪɴ ᴛʜᴇ ᴘʀᴀᴄᴛɪᴄᴇ ʜᴇʟᴘꜱ ᴏɴᴇ ʟᴇᴀʀɴ ᴛᴏ ᴇᴍʙᴏᴅʏ ᴛʜᴇ ᴛᴀɪᴊɪ ᴘʀɪɴᴄɪᴘʟᴇꜱ. ᴅᴏɪɴɢ ᴄᴏᴍᴘᴇᴛɪᴛɪᴠᴇ ᴘᴜꜱʜ ʜᴀɴᴅꜱ ᴛᴏᴏ ᴇᴀʀʟʏ ᴜꜱᴜᴀʟʟʏ ꜱɪᴍɪᴘʟʏ ʀᴇꜱᴜʟᴛꜱ ɪɴ ᴜꜱɪɴɢ ᴛᴏᴏ ᴍᴜᴄʜ ᴇxᴛᴇᴍᴀʟ ꜰᴏʀᴄᴇ. ᴛʜᴇ ʟᴀꜱᴛ ꜱᴇᴄᴛɪᴏɴ ᴏɴ ᴛʜᴇ ᴅᴠᴅ ɪꜱ ᴀ ɢʀᴏᴜᴘ ᴅɪꜱᴄᴜꜱꜱɪᴏɴ ʙᴇᴛᴡᴇᴇɴ ᴅʀ. ʜᴡᴀ ᴀɴᴅ ʜɪꜱ ᴛʜʀᴇᴇ ꜱᴛᴜᴅᴇɴᴛꜱ. ᴛʜᴇʏ ᴅɪꜱᴄᴜꜱꜱ ꜱᴏᴍᴇ ᴏꜰ ᴛʜᴇ ʟᴏɴɢ ᴅᴇʙᴀᴛᴇᴅ ᴛᴏᴘɪᴄꜱ ᴀᴍᴏɴɢ ᴛᴀɪᴊɪ ᴇɴᴛʜᴜꜱɪᴀꜱᴛꜱ, ɪɴᴄᴜᴅɪɴɢ ʟᴇᴀɴɪɴɢ ᴠᴇʀꜱᴜꜱ ᴋᴇᴇᴘɪɴɢ ᴛʜᴇ ʙᴏᴅʏ ᴘᴇʀᴘᴇɴᴅɪᴄᴜʟᴀʀ ᴛᴏ ᴛʜᴇ ɢʀᴏᴜɴᴅ, ᴘʀᴏᴘᴇʀ ꜰᴏᴏᴛ ᴘᴏꜱɪᴛɪᴏɴꜱ (ᴘᴀʀᴀʟʟᴇʟ ᴏʀ ᴡɪᴛʜ ᴛʜᴇ ʙᴀᴄᴋ ꜰᴏᴏᴛ ᴛᴜᴍᴇᴅ ᴏᴜᴛᴡᴀʀᴅ), ᴀɴᴅ ʜᴏᴡ ᴍᴜᴄʜ ᴡᴇɪɢʜᴛ ꜱʜᴏᴜʟᴅ ʙᴇ ᴘʟᴀᴄᴇᴅ ᴏɴ ᴇᴀᴄʜ ꜰᴏᴏᴛ. ᴅʀ. ʜᴡᴀ ʟᴏᴏᴋꜱ ᴅᴇᴇᴘʟʏ ɪɴᴛᴏ ᴛʜᴇ ᴡᴜ ꜱᴛʏʟᴇ ʀᴏᴜᴛɪɴᴇ ʜᴇ ʟᴇᴀʀɴᴇᴅ ꜰʀᴏᴍ ʏᴏᴜɴɢ ᴡᴀʙᴜ ᴀɴᴅ ʙᴇʟɪᴇᴠᴇꜱ ɪᴛ ᴡᴀꜱ ᴅᴇꜱɪɢɴᴇᴅ ᴛᴏ ɢɪᴠᴇ ᴘʀᴀᴄᴛɪᴛɪᴏɴᴇʀꜱ ᴛʜᴇ ᴀɴꜱᴡᴇʀꜱ ᴛᴏ ꜱᴜᴄʜ Qᴜᴇꜱᴛɪᴏɴꜱ. ᴛʜɪꜱ ꜱɪᴍᴘʟᴇ ᴅᴠᴅ ᴇɴᴄᴏᴜʀᴀɢᴇꜱ ᴜꜱ ᴛᴏ ᴘʀᴀᴄᴛɪᴄᴇ ᴀɴᴅ ᴋᴇᴇᴘ ᴛᴀɪᴊɪ ᴘʀɪɴᴄɪᴘʟᴇꜱ ɪɴ ᴍɪɴᴅ.

ᴊᴏᴜᴍᴀʟ ᴏꜰ ᴀꜱɪᴀɴ ᴍᴀʀᴛɪᴀʟ ᴀʀᴛꜱ 0 ᴠᴏʟᴜᴍᴇ 17 ɴᴜᴍʙᴇʀ 2 - 200815