Wuji (無極) Positions & Zhan Zhuang (站桩) Applications for Classical Wu Style Taijiquan

The Wuji Form and application of Zhan Zhuang will now be presented. 

Authored by J.B. Milne and Stephen Hwa, Ph.D.

Authored and edited with audio and video presentation by J.E. Roach

Breathing will be done naturally. 

Here is the audio of this written explanation:

Wuji explanation 

Here is the written explanation of Wuji

Zhan Zhuang for Taijiquan Practice. The Wuji Positions allows the practitioner to relax the mind, while, adjusting, aligning, and balancing the body to produce correct postures. Zhan Zhuang Training, on the other hand, strengthens the tendons and ligaments, aids in balancing, teaches the muscles to relax, and identifies weaknesses not noticed while practicing the Form. This is important in helping to identify the proper placement of the heel and weighting of the empty foot. 

The Square Form of Classical Taijiquan, brush knee movement (on both right and left sides) is being used to illustrate how Wuji and  Zhan Zhuang can be applied at those stopping points for each position. Applying these training methods in addition to form practice will help the student in developing strength and proper form. Wuji is defined as nothingness, the beginning before intention and movement. Wuji is discussed in many Taijiquan Books written by both practitioners and masters alike. These writers mainly address Wuji in the Preparation Posture and/or the Closing Posture of the Taiji Form. As such, most readers are left to believe Wuji is only accomplished at the beginning and ending of the Taiji Form. However, this is not so. Wuji is practiced during every posture, that is, every posture begins with Wuji, moves into Taiji, and returns to Wuji.

Zhan Zhuang (standing like a stake, standing like a tree) Training is a way to relax both the nervous and muscular systems simultaneously. This is accomplished by combining exertion and relaxation simultaneously. Breathing is done by inhaling and exhaling gently through the nose while keeping the mouth closed and relaxed. The chest, stomach, and hips are in a relaxed state. Zhan Zhuang helps with the identification of the energy flow in the different positions and trains to keep the localized nerve activity dormant (Forum 6); as well as, strengthening the yin side of the posture for strong rooting and building power (Forum 7). There is no set time limit in Zhan Zhuang Training; however, the seasoned practitioner has been known to hold the positions in excess of twenty minutes. Some have claimed to be able to hold the positions for hours. It is important to remember, that as the tension builds in different parts of the body, to tell yourself to relax. (RELAX, RELAX, RELAX) Start with short time frames and increase the holding time slowly.

Here is the movie:

Wuji movie  "Right side"

Wuji movie "Left side " 

Here is the audio mp3 of the instructions:

Wuji audio instructions "Right side"

Wuji audio instruction   "Left side"

Here are the written instructions for "right side" Wuji:

(Instructions for "left side" Wuji are to be found in "Wuji instruction left side" above)

1) Beginning of Brush Knee Push Step

The right foot is flat on the ground supporting the body weight completely with the right knee bent slightly.

The left leg is straight without any pressure on the knee or left heel, left toes are extended as high as they will go, giving a slight stretch to the back of the leg.

The tailbone is tucked in and the head is stretched up by the neck muscles.

The shoulders are relaxed and the elbows are pointing down.

The palms are facing each other at shoulder width, with the right fingers pointing to the front and the left fingers pointing up.

Notice that a straight line could be drawn between the crown of the head, passing through the ear and knee to the right foot.

2) Transition one

In transition one, the only change to the beginning position is the left arm is held across the body with the palm facing down.

3) Transition two

In transition two, the only change to transition one is the left toes are touching the ground. All the weight is still maintained on the right foot.

4) End of Brush Knee Push Step

In the end posture of Brush Knee Push Step, both feet are flat on the ground with the left leg supporting the body.

The right leg is straight with a stretch between the Achilles Heel and the back of the neck.

The right palm has rotated to face front, thumb in line with the nose, and the left palm has moved across the left thigh.

Notice that a straight line could be drawn between the crown of the head, passing through the ear and knee to the left foot, as well as, between the right ear, right shoulder, and right knee to the right foot.

The problem with overdoing it in Tai Chi

For beginning and advanced students, the task is to place and keep attention on the body's core.  I repeat the word several times to indicate the mental discipline necessary to do the job.  Attention, attention, attention, etc. Whether newbies or oldies, a student will still face the same task. Nevertheless, I have seen many give up, likely because of frustration with the process.  It is very daunting to keep attention on the body, and it is as though attention itself has a mind of its own, not to be pinned to any one thing. This "attention," however, is not of the "go for the burn" mind on cruise control variety.

Here is some of what Master Stephen Hwa has to say:  "For the beginner, the difficulty lies in the mental discipline in which all attention has to be concentrated on the core region."

This is primarily the case from my experience and what I hear and see from my students.  There are a few other problems I would like to mention:

A student states they are experiencing soreness in the abdominal area from practicing.  From what I can gather, this is from doing the silk reeling exercises.  I advise you not to go after repetitions as it is a contest to see how many you can do. The object is to simply feel the stretch and energy flow, key words, "simply feel", not to engage in trying to strengthen the core like a sit up or crunch.  The difference in the latter is one of building muscle for muscle sake, in the former it is to tune the nervous system so that it can move the extremeties from the core.

What happens when you do too many repetitions, an overload of silk reeling, for instance, is that you get a sore abdomen and a sore back.  Since muscles do not exist in a vacuum and operate under the laws of science, you can overload your nervous system. This is called spiking the nervous system. We get high spikes and then drop back to lows. We are getting a sharp rise and an equally sharp decline of the nerve signals. It is a logical question, then, as to what the setpoint might be with such continuous highs and lows. Is the setpoint geared for continuous relaxation, or is it geared for continuing stress?  Additionally,  as we said,  in classical tai chi, we look to maintain attention to the core.  If we lose our attention, whether by inattention or stress to the nervous system, completing the Tai Chi form brings us to attention once again.  Ideally, it is as though it is wired into the subconscious to facilitate this process.

When we practice Classical Tai Chi, we "tune-up" the nervous system.  The highs and the low signals are smoothed out so that the signals remain even and evenly flowing.  After all, the movements are even and evenly flowing, very rhythmical. The mind begins to relax more and more during form practice or silk reeling since the subconscious mind takes over the task of remembering what to do.  So, ease back on the number of repetitions and instead learn to enjoy the sensations of stretch, warmth, and tingling at the areas that move during silk reeling. This is developing a feel for what we are doing, but we are also engaging the nervous system, just as we would engage any muscles. Over the years of doing Tai Chi, my nervous system has responded to the practice best.  My muscles and metabolism have reacted, but the nervous system has learned and strengthened the most readily.

As I stated before, Classical Tai Chi is not a go for the "burn" as fast as you can system.  As a matter of fact, it is just the opposite, for the nervous system thrives when training is done at a low level of intensity.  Look at what happens with the Square Form, for instance, with its deliberate pauses between movements. This contrasts with our almost built-in desire for power and more power by sweating, exerting, and straining. The nervous system also thrives on variety and not overload.  Since we offer a variety of silk reeling exercises, the curriculum is ideal for providing such variety. In other words, there is plenty for you to use to tune up, say, doing 20 repetitions of 5 different silk reelings instead of 100.  Advanced students can learn to use the individual postures of the form as silk reeling, thus increasing the variety once again.  In "Uncovering the Treasure" by Stephen Hwa, Amazon, you can read more about tuning up the nervous system.  Enjoy your "tune-up".