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.