Have "martial intent (Yi)" when practicing

 

 

 

Martial Intent "Yi" in Classical Tai Chi is martial intent for all of the Forms.  I recommend practicing individual postures and inserting "intent" into one posture at a time.  I do not recommend trying to put intent on the entire form before you have practiced each posture individually.  Essentially, you are relearning each posture the same way you learned to memorize the form, one posture at a time. The only difference is the insertion of martial intent.  Remember if the side of the hand is leading that is where the intent is, if the palm of the hand is leading, that is where the intent is and so on for each part of the body that leads. Also make sure that intent is done with internal discipline but that the intent is purely mental.

 

Not all "Tai Chi" is Tai Chi.  In my classes and discussions I hear comments that "Internal Discipline is LIKE belly dancing, so I will dust off my belly dancing dvd", "Internal Discipline is LIKE isometrics or IS Isometric exercise", "Tai Chi is LIKE Yoga, like upright Yoga", etc., etc. 

These are all wrong because the art is not an "analog" and therefore is not subject to "analogy".  This is due to the concept of "Yi", the martial intent of movement. Read on gentle reader to see what my teacher Master Stephen Hwa says to Lori N. when she calls it dance and subjects it incorrectly to being an "analog" and therefore analogous to dance. 

From Forum 6, October 2003, Lori N. writes:
"I just completed my first lesson -- the walk. Very tricky but also very fun. “

“This is going to be exactly what I have looked for so long. I have always loved to dance but never enjoyed performing for people. This dance of Taiji will be that dance I have been needing for so many years!"

MASTER HWA’S RESPONSE:
 

"I am glad you have made a good start. It is important that you feel fun and challenged while you doing it. Your comments about Tai Chi as a kind of dancing is what prompted me to write about the topic Yi  click here for article on – the martial art intent. I remember my teacher became unhappy when someone referred to Tai Chi as an exercise. Again, the “intent” is lost when it was called as an exercise. "

 Most people are now learning Tai Chi, probably for reasons other than for serious martial art applications. So the question is, how much should we emphasize the martial art aspects of Tai Chi? Certainly, Tai Chi Form movements make more sense and are easier toremember if they are corroborated with the martial art origin of the movements - whythere are these sequences of movements, and what the positioning of the body and timing ofthe movements mean. 

Besides this aspect, there is a more subtle but powerful reason why the martial art 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 somethingcomplex and elaborate. It is single-minded and somewhat intuitive, with the desire to deliver the internal power externally through hands, arms, and feet, whatever the movement is. If the hand is moving forward, then the Yi goes to the palm and fingers; if the hand is moving laterally in a blocking movement, then the Yi goes to the leading edge on the side of the hand; etc. 

Once the practitioner masters the “Yi”, it is no longer a conscious effort anymore. It becomes subconscious and comes naturally whenever the practitioner moves. 

At this stage, when you play the Form, you have both the internal energy and Qi (nerve signal - a simple-minded definition) 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 continues to circulate in your torso until you need it for anapplication. 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, and enables the student to move with the enemy in mind. So, both 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 and moving at a slow speed. The “Yi” in Tai Chi is therefore purely mental.

For some students, “Yi” is relatively easy to develop. It is almost natural to them. For some students, it is pretty challenging to be consistent – other intentions creep in subconsciously from time to time. Students who have studied dance or are interested in dance face such problems. Usually, the fingers become very warm after playing the Form even in cold weather. 

One of my students here, 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 with a cold finger improved. Extraneous motions, or nerve signals, along the path of Qi, such as the 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 body's Qi take over. This is a good 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 on the legs and feet. The reason is that during form playing, the lower limbs have definite functions to perform, and their energyand Qi are already integrated with that of the torso. During Form playing, the upper limb’s function is entirely abstract and mental, and is easily distracted.

"YI" (martial intent)   a link to an article

Put a “lid” on uncontrolled movement

 

 A Bumblebee cannot light or leave it

A video

Some folks, and some Tai Chi aficionados, say the precision of the Classical Tai Chi Square Form is more Robotic than their own Tai Chi. Actually, "more is better" because the differentiation of localized impulses (recognize your random and/or uncontrolled movement) in the body while doing Square Form is easiest to make when the stimulus (that square form provides) is smallest. 

In my take on the Tai Chi Classics, if I hoist a 50 lb. barbell over my head, I won't feel any "differentiation" if a bumblebee lands on the barbell. If I am holding a piece of ribbon, I would feel the "difference" if the bee landed on the ribbon. The same thing happens when I hear, see, smell, etc.  If someone with a blaring stereo in their car pulls up next to me, I can notice a change in the music's stimulation only when they lower the volume; the change is really significant. This is a physiological law, and it also applies when the stimulus is minimal to start; only then can we detect small changes.

As precise and robotic as they appear, the movements of the square form are actually small in their own right, articulating at the joints as they do.  This stimulates the student's senses with their "smallness" and increases sensitivity to movement, which can translate into better movement in the Round Form.  In other words, Classical Tai Chi Square Form is not stimulating the whole body as much as ”run of the mill” Tai Chi is wont to. The Square Form thereby “puts a lid” on localized impulses that result from unbridled, and, for beginners, most often random, movement, manifesting as changes in their movements. 

With square form, one can observe the effect the movement had on the sides of the body, neck, shoulders, pelvis, and more. One also has the opportunity to make corrections and improve overall body structure.  Observing those changes will lead to decreased muscle tension in the body; this is called the delineation of Yin and Yang, which moves and what does not move at any given time.  

The effect on the brain is a reorganization of the motor cortex and tuning of the nervous system. If you take a moment to analyze the body at the start and after the square form, you can feel that certain portions feel weightless; one has achieved relaxation.  Again, differentiation, or "delineation," works best with a small stimulus. Now we begin to see that the saying "... when one part moves... the whole body moves..." in the Classics is merely an observation of incorrect, unhinged movement, NOT an instruction on how one should move.  After all, an infant will move an arm, and the whole body will move. Human beings naturally get additional neural synapses as they mature. One reaches for the coffee creamer and hopefully, their entire body does not lurch out of the chair.

Classical Tai Chi in The Google Age

 

 Learning Internal Discipline 

A video

 

How to Learn Internal Discipline 

 A video

In the Google age of instant information and rapid, conspicuous consumption, Classical Tai Chi, with its “Internal Discipline”, draws attention to the value of becoming genuinely competent by assimilating internal movement and concepts rather than rushing through the learning process. Many practitioners note that mastering tai chi requires more than just watching videos.

 

The deeper aspects of Classical Tai Chi—such as internal energy, mindful movement, and the integration of mind and body—are developed over years of consistent practice and can often be learned through digital instruction, which can provide corrections and explanations that in-person instruction cannot.

 

This slow, deliberate approach aligns with Classical Tai Chi’s roots in Taoist philosophy, which encourages self-reflection and patience. Although apps and online tutorials are available, the important caveat is that practice itself is not easily mastered through quick, superficial learning.

 

Many students new to the art believe that the true essence of tai chi lies in its outward form. Classical Tai Chi is rooted in cultivating internal discipline, a process that takes time to mature. The world is used to immediate results; Classical Tai Chi stands as a reminder that meaningful progress often comes from patience, presence, and sustained effort.

 

A practice like Classical Tai Chi is indeed wise, as it emphasizes deep understanding over superficial learning. Hwa, a student of Grand Master Young Wabu, who was a direct disciple of the legendary Wu Chien Chuan, teaches a form rooted in the principles of Internal Discipline, which involves using internal movements and internal power to direct and empower external movements.

 

This approach is considered essential for achieving the actual health benefits and martial arts applications of Tai Chi. Many practitioners find that the depth of Master Hwa’s instruction, which includes detailed explanations of the torso’s role in movement and the integration of internal energy, is rare and highly valuable. Students have good reports about the comprehensive nature of his online video courses:

 

https://classical-tai-chi.teachable.com/ 

 

and the book, Uncovering the Treasure, 

 

https://www.amazon.com/Uncovering-Treasure-Classical-Internal-Energy/dp/1449917895/ref=sr_1_1

 

The reports are that the book and online course provide a complete and systematic methodology that eliminates guesswork and offers a clear path to mastery.

 

The focus on internal discipline, such as the "Torso Method," helps practitioners connect their movements to their core, leading to a more holistic and effective practice. The Torso Method is a very complex approach. Given the complexity and depth of this approach, taking time to learn and internalize these principles is crucial for long-term progress and genuine understanding.

 

Uncovering the Treasure: Classical Tai Chi's Path to Internal Energy & Health

This foundational book by Dr. Stephen Hwa distills decades of research into a coherent and practical guide. It introduces the "Torso Method"—the core concept that internal movement must lead external form. Readers praise its clarity, especially when compared to the vague or mystical language commonly found in other Tai Chi literature.

 

The book doesn’t just describe movements; it explains why they work, making it ideal for analytical minds and long-time practitioners disillusioned with incomplete teachings.

 

 

Classical Tai Chi Practice Stands Out in the Google Age of Immediate Understanding

 

While YouTube tutorials and quick online guides offer convenience, they often miss the subtle, internal mechanics that define authentic Tai Chi. Master Hwa’s teaching fills this gap by:

• Demystification of internal energy through the biomechanics of Round Form
• Prioritizing precision over aesthetics through Square Form
• Building health and martial power through correct structure and movement
• Preserving a lineage from Wu Chien Chuan via Grand Master Young Wabu  

 

As students noted:

J. R., New York 

The longer I'm with Tai Chi, the more I'm impressed by a teacher's ability/desire to explain things to students rather than the variety of forms they teach. What Stephen Hwa teaches online and by book is the best explanation I've come across in 30 years of practicing and teaching Tai Chi, and I've told him that. I should add that it is now my 50th year of practicing and teaching. I have been with Master Hwa since 2003.  He has instituted an online "Teachable Course"  which is excellent.  It has the use of 2 cameras in many of the lessons which is a real plus.  https://classical-tai-chi.teachable.com/  The prices are really great in an era where in-person instruction often takes private lessons and many $$$.

 

T. M., Virginia

I am shocked that I can learn from your DVD so readily. I was apprehensive about learning from a DVD, since my previous lessons with a teacher in a class had not gone very smoothly. Your teaching is so thorough and orderly. DVD's capabilities of play in slow motion repetitively at will and from different angles are more suitable for learning than classroom learning.

 

T. C., Washington

The key element, for me, is the "Internal Discipline" which Dr. Hwa presents so clearly. In my experience of trying out different taijiquan styles and teachers, this information and guidance on "internal discipline" is scarce. If you study Wu style with him, you're very fortunate. I had no idea that a direct student of Wu Jianquan's was lived and taught here in the U.S. I first read about Young Wabu in an article that appeared  in "Qi" magazine.

Application Hand Strums the Lute 手揮琵琶

Hand Strums the Lute 手揮琵琶

Excerpt from: The Treatise on Tai Chi Chi Chuan
Attributed to Wang Tsung-yueh

"If the opponent raises up, I seem taller;
if he sinks down, then I seem lower;
advancing, he finds the distance seems incredibly long;
retreating, the distance seems exasperatingly short."

• This treatise is considered the most important document of all in The Tai Chi Classics. One caveat to keep in mind about the Classics is discretion in reading it:
• “…the classics are considered the holy writ of Tai Chi but they also hold some glaring errors…”  Master Stephen Hwa
• It provides practical explanations for the physics and mechanics of movements connecting the art to concepts of anatomy and physics.

This application is demonstrated by Master Stephen Hwa here: Hand Strums the Lute

This describes the dynamic internal energy for the application:
This "hand strums the lute" occurs in the Classical Tai Chi form a number of times (3) that precede and intersperse the repetitious movement “Parting Horses Mane”.

The internal discipline of the movement itself comes from the core with the arms being largely immobile.  The lifting of the opponent comes from what might be called a lifting movement of the core at the waist.  An analogy might be described as opening the lid of a trunk with all the energy at the hinge. The body "opens" from a low to a high position wherein the student is inclining slightly back. 

One sees this type of vertical core movement "opening" in the opening “preparation” movement, the first movement of the form albeit without inclining.

Master Hwa:  "In the Jou Tsung Hwa's gathering I picked a guy to come at me.  He came at me, I sat back and threw him. Everybody (laughter) and I picked a big guy, so he came at me. So you see, let me do it slowly like in the form. It is really this move that is before "parting". This is a movement to handle people who come over the top at you and you do this.

Student: (laughter) that was hard for me to either lower myself or fall over.

Master Hwa;  You notice when a bigger person comes at me, I do not raise my hands.  My hands are still down here, I just lean the body back. With my arms down here they are very strong, IF I RAISE THEM THEN I CANNOT 

 LIFT HIM.

Student: All I felt was the integrity of your form, I did not feel any pressure.

Master Hwa:  Right. When I did it at the Jou Tsung Hwa festival, a guy that I threw, said "you do it very smoothly".  You do not feel any kind of forced movement. Very natural, I think.  This is why we never lift our hand over our head in the form or otherwise. If someone comes over the top I do this.  This looks like the hand is over the head but it is not.

 Master Stephen Hwa, "It would help if you remembered that sometimes the appearance of reality is an illusion. My students in class often told me that they thought I was moving a certain way and tried to do the same. Later, they found out their observation was incorrect. That was why I incorporated different views in my video so you could see my moves from different angles to reduce the risk of a wrong impression. Using a fresh eye to review the lesson video could uncover any misinterpretation of my My students in class often told me that they thought I was moving a certain way and tried to do the same. Later, they found out their observation was incorrect. That was why I incorporated different views in my video so you could see my moves from different angles to reduce the risk of a wrong impression. Using a fresh eye to review the lesson video could uncover any misinterpretation of my movements.