PENG’S OTHER ROLES

 https://youtu.be/MZzleh-jxgk?si=lmJozhWX3YAxI-y0

“ 8 energies, etc.” Peng, Lu, Ji, An, Jou, Kao Cai, Lie! 

Most videos on YouTube show lots of “Peng”( sounds like pung, I won’t include Mandarin tone marks). It is shown as a defensive movement without explaining that it is also the central component in the offensive aspect or “one-inch punch.”  

To further complicate matters, Peng is often not explained defensively as one sees “Masters” bouncing “disciples” backward.  For the most part, the arms of the “disciples” are tense and rigid as the teacher pushes them back, being done with a stiffened and tense arm.  Or, the arm of the student or even the teacher bends excessively in the defensive posture, and one sees It seems to me that an explanation of the implications of Peng is warranted here:

Implications of correct “Peng”:

·         Its integrity demands that the arm neither bend nor become tense.

·         At the most basic level, learning Peng starts with the arm in one hand and push hands.

·         Essentially, a primary implication is that the student keeps the form of their movement as they either yield or generate an offensive movement.

·         Collapsing the arm means the form of movement or its “shape” is being altered.

·         Tensing the arm means the form of movement or its “shape” is being altered.

·         We do not want the opponent to reach our body by collapsing the elbow, so the arm has to be “firm” but not tense.

·         When we use “Peng” as a “push” or “one-inch punch,” we maintain our form, but the arm is not tense as well.

·         Collapsing the arm results in using external or arm strength; we feel tremendous pressure to use the muscular force of the arm.

·         As we sit back or yield defensively, our force is less than our opponent's, but we must maintain our form or shape.

·         An analogy from the Tai Chi writings: “Peng is like the water that supports a boat.”  The water yields to the force of the boat, yet it supports its weight and shape, yet it does not lose its own overall shape or form.

·         Tensing the arm during cooperative push hands results in our partner feeling tremendous pressure to use muscular force.

·         Implication here is that tension or collapse is that a player does not have “internal discipline” of movement, and therefore, no “internal energy” is generated to either fend off an attack or push.  

·         In the same token, there is an implication that a player does not have “internal discipline” of movement, and therefore, no “internal energy” can be generated to “push” or “punch.”

·         Another implication of faulty peng is that the player is not able to “ting” jin or “listen” to what the opponent is doing (we refer primarily here to a rudimentary sense of touch that is lost when either collapsing or rigidizing the arm, “ting” jin at higher levels is beyond the scope of our discussion).

·         Implications for faulty peng can often be traced to such deficiencies (among others) as not sitting back correctly.

·         Sitting back correctly demands that a crease appear in the trousers at waist level.

·         Sitting back correctly demands that the player not remain perpendicular to the ground; the “crease” is achieved when there is a slight lean forward of the upper torso even while sitting back.  This slight lean forward also acts as a counterbalance to the backward momentum that is generated when pulling with the rear foot.

·         We have only touched on some implications here, but overall, the deficiencies we mentioned can always be traced back to problems with the Classical Tai Chi form playing.

·         Maintaining “form” or “shape” during push hands is directly relevant to maintaining “form” or “shape” during solo practice…after all, why do you think they call it the FORM?

Martial Intent

 

Most people are now learning Tai Chi for reasons other than martial arts applications. So the question is, how much should we emphasize the martial arts aspects of Tai Chi? 

Certainly, Tai Chi Form movements make more sense and are easier to remember if they are corroborated with the martial art origin of the movements. It is why there are these sequences of movements, as well as the body's positioning and timing.

Besides this aspect, there is a more subtle but powerful reason why the martial arts aspect of Tai Chi is essential. I shall discuss that below:

Tai Chi Form should be practiced with “Yi” (martial art intention). “Yi” is not something complex and elaborate. It is single-minded and somewhat intuitive, wanting to deliver internal power externally through hands, arms, and feet, whatever the movement is. 

If the hand moves forward, the Yi goes to the palm and fingers. If the hand moves laterally in a blocking movement, then the Yi moves to the leading edge on the side of the hand, etc.

Once the practitioner masters the “Yi,” it is no longer a conscious effort. It becomes subconscious and comes naturally whenever the practitioner makes a move. At this stage, when you play the Form, you have both the Internal energy and Qi (nerve signal - a simple-minded definition) are circulating in the torso of your body. 

With the “Yi” as a catalyst, the Qi can flow to your hands and fingers while the internal energy circulates in your torso until you need it for an application. Then, the internal energy will follow the Qi to the arms, hands, and fingers for delivery.

External martial arts such as Karate also practice a solo form called Kata. Kata allows the practitioner to study movements at full power and speed, allowing the student to move with the enemy in mind. So, Tai Chi form and Kata are practiced with “Yi.” But Kata is practiced with a tensed-up arm moving with power and speed, while Tai Chi is practiced with a relaxed arm moving slowly. 

The “Yi” in Tai Chi is therefore purely mental. For some students, “Yi” is fairly easy to develop. It is almost natural to them. For some students, it is pretty challenging to be consistent – other intentions creep in subconsciously occasionally. Students who have studied dancing or are interested in dancing have such problems. The fingers become warm after playing the Form, even in cold weather. 

One of my students who had already achieved good internal movements complained about cold fingers. Upon close examination, she frequently had small flourishes in her hands and fingers. After reducing that flourish, her problem of cold finger improved. 

Extraneous motions, or nerve signals, along the path of Qi, such as shoulder, elbow, and arms, have the same effect of disrupting the flow of Qi between the body and the fingers. People who use their hands intensively, such as dancers, typists, and piano players, could have such problems. They need to keep localized nerve activity dormant and let the Qi from the body take over. 

This is an excellent reason to learn the square form from which the practitioner will get used to movements with steady arms and hands without localized impulses.

The focus here is on the arms and hands, not the legs and feet. The reason is that during form playing, the lower limbs have definite functions to perform and its energyand Qi are already integrated with that of the torso. During form playing, the upper body's function is abstract, mental, and easily distracted.

Work from "outside-in", not "inside-out"!

https://youtube.com/@ClassicalTaiChi?si=cqfnfYNU5WAHncHs 

A GREAT LINK TO ALL OF MASTER HWA'S VIDEOS

 

"WHAT DOES IT FEEL LIKE, NOT WHAT ITS NAME IS!"

 (It is important to remember that we work from the "outside-in," not from the "inside-out," to learn Classical Tai Chi. I spent 20 years learning large Frame Wu's Style from the Great-grandson of the Wu's style founder in the 80s and '90s. I struggled with "quarter body movement" when I started Classical Tai Chi in 2003. Then I took Master Hwa's advice and WATCHED the videos 3 to 5 times each before attempting anything. I just watched and did not move. It is now 20 years after the initial 20 years, and as Ms. Eva Hwa (Koepsell) said, "...Jim, you got it...") 

 Anatomical terminology is a form of scientific terminology used by health professionals, anatomists, and zoologists. Over the years, I have heard terms like “Scapula, transversus abdominis, internal oblique muscle, etc.” used by students up to and including Master Stephen Hwas Teachable course. Hearing students use anatomical terms when learning Classical Tai Chi can be frustrating. However, for our purposes, it is unnecessary to get too anatomically technical here, as understanding these elements in the body requires not medical but experiential knowledge. 

 As I said, my student, and now "Sifu "Jason Bulger, invited me to demonstrate classical tai chi to his anatomy teacher. Jason is now an Occupational Therapist! I taught the Professor to turn at the waist, not the hips, a rudimentary upper-quarter body move, and not mention any anatomical terminology. 

 You may refer to almost any anatomical text on the subject. While it is certainly helpful to see the differences, it is more critical that we FEEL the natural design of the body and act based on what we feel. This is why Master Stephen Hwa has over 60 YouTube videos on HOW TO SEE IT TO DO IT, subsequently FEEL WHAT YOU SEE IN THE VIDEO, and not how to use its correct anatomical terminology to learn.