"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.