Enough Pain to Quit

 

                                                     

Square Form

an instruction video

 

Welcome!

 

Subject: 

 Why the Square Form Practice is the Ultimate Shield Against Knee Pain (Chondromalacia Patellae, which is what I suffered and was diagnosed with after doing “other tai chi” for only 1 1/2 years, in, ahem, 19_ _.)

Hi everyone,

Ever wonder why Classical Tai Chi Square Form is so meticulous, distinct, and block-like? It isn't just an educational blueprint—it is a highly scientific shield for your joints, specifically designed to prevent chondromalacia of the patella (runner's knee).

Chondromalacia of the patella, as a Sports Medicine M.D. told me, is caused by the kneecap tracking out of alignment, grinding against the cartilage, softening it, and creating pain. Pain enough to want to quit all Tai Chi. This usually happens due to two errors: knee buckling (inward twisting) and over-extension.

Quite honestly, Master Stephen Hwa is the only teacher out of 5 over the “other tai chi” first 25 years to now in the second 23 to give empathy and explicit attention to how, why, and what my stance is doing. Sadly informative, but he visited me and visited the “other”.  In a conversation, he confirmed what I had painfully learned. No one corrected beginners when it was obvious their derrières were sticking out all over the place. A setup for knee injury!

Here is exactly how the Square Form fixes this:

No Simultaneous Twisting and Loading:

In the Square Form, we never turn the hips while transitioning weight across a bent knee. Weight shifts and rotations are strictly separated. The knee stays safely locked in its "hinge" plane.

Flawless Tracking:

Because every step has a clear beginning, middle, and end, we can consciously verify that the kneecap's center is pointing precisely toward the toes. This balanced tracking stops cartilage wear dead in its tracks.

Offloading Joint Pressure to the Core:

By cultivating internal discipline and using quarter-body mechanics, we learn to move from our core and hips rather than relying on our knees as brakes or levers.

Let's keep paying close attention to the stillness, that “pause” between  transitions this week. It is exactly where your knees are being protected and rebuilt!

Happy training,

Jim

Better with Fingers

INDEX FINGER TOUCHES WALL AS YOU WALK

Is Classical Tai Chi walking the best example of a starting point for neuromuscular re-education?

Classical Tai Chi walking is an excellent foundational example for neuromuscular re-education. It directly trains the central nervous system to abandon habitual, momentum-driven movements in favor of deliberate, hip-driven weight shifts that connect the limbs to the core abdominal and back muscles.

Core Neuromuscular Principles in Classical Tai Chi

• Core-Driven Movement: Instead of using the leg muscles to push the body forward—which can cause tension and spinal misalignment—the technique uses the abdominal and lower back muscles to pull the body forward as the legs step gently.
• Weight Independence: It teaches the central nervous system to keep the body weight settled on the back leg until the front foot is flat on the ground. Only then is the weight smoothly transferred.
• Proprioception and Balance: By moving extremely slowly, you train your brain to continuously monitor your body's position in space. This improves single-leg stability and spatial awareness.
• Muscle tension and Joint Health: This pulling mechanism stops muscles and joints from jamming together. It promotes myofascial decompression, making it highly effective for relieving nerve pain (such as sciatica) caused by poor daily walking habits.

Is it the Best Starting Point?

It is one of the most effective examples, but whether it is the "best" depends on your baseline mobility.

• The Pros: The style emphasizes the torso's internal principles rather than the limbs alone. This ensures that the entire kinetic chain—from the feet up to the spine—is engaged.
• The Caveats: Yes, the training relies on internal discipline, but some beginners and those recovering from injury may find it challenging.

Practitioner Perspectives

Practitioners note that this method involves delaying weight transfer until the foot is fully grounded and using the core to pull the body forward. This approach has been shown to relieve chronic issues such as sciatica by opening tissue, much like a bowstring is drawn.

Anyone recovering from injury may find classical tai chi walking challenging. For these individuals, a simpler, slightly higher-stance approach with a finger on a wall for support is recommended.

The finger is not a crutch.

Using a wall for support is an excellent way to modify Classical Tai Chi walking, especially when recovering from an injury or building foundational stability. Rather than a crutch, a single fingertip serves as a proprioceptive anchor—sending subtle feedback to your brain that helps your nervous system feel secure and maintain balance.

How to Practice with Wall Support

• Keep it High: Stand with your feet hip-width apart, keeping your knees slightly bent but higher (more upright) than in a classical low stance.
• Rule: Place only the pad of one finger against the wall. Do not lean your weight into the arm or press heavily.
• Prioritize Mechanics: With your stability anchor in place, you can safely focus on slow, deliberate weight transfers (shifting from empty to full feet).
• Heel-to-Toe: Step forward gently, placing the heel down first before rolling the foot flat.

Additional ways to use the index finger on the wall for walking 

In Classical Tai Chi, the index finger serves as a critical feedback tool to connect the upper and lower body. When walking along a wall, use the index finger to check alignment, transmit internal power to the extremities, and cultivate a continuous internal pathway.

Additional ways to utilize your index finger on the wall include:

• Serratus Anterior Activation: Serratus anterior activation targets the "boxer's muscle" to stabilize the scapula, improve overhead mobility, and prevent shoulder impingement. Press your index finger lightly into the wall while keeping your shoulder relaxed. Focus on separating your shoulder blades and rib cage, creating an opening in the back to establish a structural connection between your arm and your core.
• Testing Structural Integrity: Instead of pushing off the wall for momentum, press the index finger to verify that your force travels all the way down into your legs. If your elbow or shoulder is tense, the connection breaks. Use your finger to ensure your weight is properly sunk and guided by the waist.
• Finger-Wall Pivoting: With the index finger touching the wall, practice turning your waist. The finger provides a stationary focal point, forcing your internal energy to rotate naturally through the fascia and connective tissue, rather than muscling the turn.
• Sensing the Jing (Internal Energy): Lightly trace a line (horizontal or vertical) with the index finger to coordinate your step. This movement trains you to move the entire body as a single unit—with the movement originating from your core and expressed through your fingers, without independent arm movement.

Square Form Voices & Names

Classical Tai Chi Square Form

https://www.classicaltaichi.com/PDF/squareform.pdf

That is a link to names of Classical Tai Chi movements and includes what one student called “…a bemusing number of static written instructions…”.  

The instructions are for Square Form.  A student named Joe Milne compiled the names but realized a voice-over was difficult. So in my own best British voice (I’m kidding) I compiled a British voice-over for the moves, thus giving step by step instructions.

VOICE INSTRUCTIONS SQUARE FORM

 

The list and voice-over are quite lengthy but I hope this helps some albeit with such detail. Oh right,  Master Hwa kidded me and said “…I did not know you were British Jim…”!

“…….if you want to learn internal you have to start the very strict discipline in that square form…..”

Yes Sir! The words “very strict discipline” that define Square Form as a Stepping Stone of groundwork for internal work. Precise, “segmented movements” (to quote Master Hwa) and train the brain to decouple isolated body parts and deliberately sequence movements.

Even that word “precision” is eschewed by many.  Teaching the brain to separate movement from stillness (Yin/Yang)is not a consideration. Yes, “focusing tools” force intense, inward-directed attention.

A student asked: “Why would anyone eschew precision in the square form? The purpose of the square form is to learn the moves precisely so we don’t lose the essence when doing the round form. What would be the use of learning it any way but precisely?”

 

My answer: It really makes one wonder doesn't it? I completely agree with your perspective on that. A lengthy thought would be student’s culture and daily routines are too rushed, aggressive, and obsessed with immediate results.  A succinct thought might be “I ALREADY KNOW HOW TO WALK”. That was yelled to my student Jason during his 1st teaching class after becoming certified. Yelled as the student rushed out of the gymnasium.

Neuromuscular Re-education

 

Walking is “Premier” 

(”Classical Tai Chi Walking Exercise”, a Master Stephen Hwa video)

In Classical Tai Chi (specifically the Small Frame/Small Circle Wu Style), "Internal Discipline" serves as a bridge to connect with the long-neglected nervous system of the torso. 

Most people operate using a "top-down" approach, relying entirely on the motor cortex to move external extremities, such as the arms and shoulders. Because we rarely isolate or consciously control the deep, intrinsic muscles of our abdomen, back, and spine, the neural pathways to these regions remain largely dormant or "neglected". 

Classical Tai Chi methodology awakens this part of the central nervous system through a highly structured neuromuscular re-education process. 

1. Intense Inward Focus and Neuromuscular Control 

To initiate a true internal movement, a beginner cannot rely on habit. They must focus their mind intensely inward to find and activate hidden muscle groups. For example, instead of pushing a hand forward using the shoulder and arm (an external movement), Classical Tai Chi dictates that the arm and shoulder remain relaxed and completely stationary relative to each other. The entire upper quarter of the body is instead pushed forward by pressing the abdominal muscles back and engaging the deep back muscles. This demanding neuromuscular coordination forces the brain to build entirely new neural pathways to the torso.

2. The Yin-Yang Junction Exercise

According to Stephen Hwa, every true internal movement relies on a physical counterpart of opposite nature: a moving part (Yang) working against a stationary part (Yin) that provides the structural support. 

• The Torso as the Anchor: The biological junction where Yin and Yang meet is always located within the torso (the waist or the upper-quarter body).
• Neural Feedback Loop: By keeping one part of the torso completely still while another micro-moves, the practitioner registers an intense, localized sensation of stretching and energy circulation. This precise mechanical tension sends a clear, powerful stream of sensory feedback up the spinal canal to the brain, mapping out areas of the body that were previously "numb" to our awareness. 

3. Micro-Movements of the Spine and Vertebrae

In many standard Tai Chi practices, the torso moves as one rigid block. Master Hwa's training teaches isolated movements along individual vertebrae, such as "folding" the spine, in which one side of the spine folds inward while the other remains anchored. Operating at this level of physical detail requires and develops an incredibly fine-tuned degree of motor-nerve control over the axial skeleton and paraspinal muscles.

4. Shifting from a "Pushing" to a "Pulling" Walking Model 

The nervous system of the lower torso is heavily impacted by how we walk. Standard walking relies on "pushing" our body mass forward, which often jams the lower joints, tightens the fascia, and irritates nerves (like the sciatic nerve).

• Classical Tai Chi Walk forces the body to stay straight and step out without shifting weight forward yet.
• Once the foot touches the ground, the practitioner uses the deep core and abdominal muscles to pull the pelvis and body weight forward.
• This pulling action decompresses the spine, opens up dense tissue, and relieves chronic nerve compression in the lower back and torso.

5. Transitioning to Subconscious Mastery

It takes time, but "bottom-up" practice becomes habitual. You had to slow down your mental concentration to reach complete reliance on the subconscious. At this stage, the practitioner no longer has to "think" about moving from their core; the nervous system automatically commands the torso to initiate every movement, leaving the mind entirely clear to enjoy the fluid sensation of internal energy.

Classical Wu Style Tai Chi "Walk"

                                               Classical Wu Style Tai Chi "Walk"

Video of "Walking"

Notice that Master Stephen Hwa's front foot is tilted up high as he "sits back".  Holding onto a post or wall, etc. is a good way to insure that as well as the following technical points,  in addition to practicing the walking exercise shown in this Youtube video:  

WALKING 

1.) That you are NOT looking at the ground, this is mentioned in the accompanying video link
2.) That you are NOT so concerned about balance that you neglect these technical aspects
3.) That you do NOT lean back when "sitting back" , this is mentioned in the accompanying video.
4.) That you do NOT point the toes of your feet out at an angle when moving forward or back.
5.) That you do NOT push but pull with the leg going forward and backward
6.) That you do NOT push with leg but contract the abdomen in vigorously as you pull with either leg
7.) That you do NOT use a "waving" motion of the body as you contract and move, it is one piece

I'm writing this from Acton, California but here is Master Hwa teaching my students at a Kenmore, NY H.S. circa 2005. Notice that Master Hwa's foot has its TOE POINTING DOWN with no bend or "crimp" in toes as he lifts the leg USING THE CORE NOT JUST THE LEG MUSCLES.  Notice the 2 ladies watching it and getting it correct, and one of the men seems befuddled. 

 

This acts to relax the foot and contributes greatly to the ability of the core to lift the leg.  If the toe points "bends, crimps" up, then chances are you are tightening the muscles of the foot and thus crimping the ability of the core to lift. That induces the body into using "external" not "internal movement.  Think of the concept this way:  Make as tight a fist as you "white knuckle"  can and try to move your arm, the same "crimping" of energy and thus impedes core movement occurs when you tighten the foot.  The same holds true for kicking as walking, the more you relax the toe, the more the heel can extend. 

Transcript of video from 6:00:

Master Hwa:  I am very surprised at the response to the Youtube videos I have of "walking".  Most people seem to respond to them.  So the walking does strike a chord when people see it. Also, a lot of sites link to the walking. They really can see the value of it.  It really is such a foundation for the Tai Chi. It provides so many benefits.

Notice the following in the "forward fa jin" photo which really is the "forward" posture in "walking":

That you do NOT have a curve in your back when forward
That you are NOT vertical but tilting forward when forward
That you do NOT have the front knee extending past the toe
That you do NOT have a lax, bent back leg but you DO have a straight back leg with
That you do NOT have the back heel up in the air but you DO have it firmly on the ground

More methods for training the basic walk of Classical Tai Chi

Video of Classical Tai Chi Walking by Master Stephen Hwa

I am very grateful to my teacher for the work he did in making this video.  Over the years of practice and training students I have discovered a few other methods and observations that can be used for the training. In Classical Tai Chi the basic walk is done with the knees slightly bent and remaining so. When practicing the first lesson of Classical Tai Chi Walk one should first look to stretching the neck up.  Students should also check that they are not watching the ground to see if their feet are correct.  Check the position of the feet  in one of the exercise methods we outline below wherein the student will stand in one spot. The position of the legs can also be checked in this “one spot” method, thus making sure that the thighs line up when the student sits back, or the knee does not go over the front toe when the student leans to the front.  As the student progresses they should find they are automatically stretching the head up and looking forward as well.  This is an important part of the “lean” forward posture where unless checked a student will watch their feet. When one “sits” back, the body should be vertical and perpendicular to the floor

As training progresses, the student will keep the body weight back when they are dropping the foot.  It is a sign of a perpetual beginner to have the body weight lurch when the foot takes a step. The foot pushes down until it is completely flat on the ground then used either to pull the body forward or back.  Until the foot plants firmly the body does not move and hence the body moves in a pulling from one weight shift to another.  One wants to learn to recognize,then end, any kind of rocking action with either lead foot as the weight shifts.  I show this “rocking” in my class by students pulling me  by the arm AS my  lead foot is being planted, then pull me  AFTER my lead foot plants.  This also holds for stepping backward and plant the foot by actually touching the heel to the floor first.  Eliminate the rocking action that occurs with stepping onto the ball of the foot. I will also have them do the same comparative movement.  They readily see the instability of rocking the foot as one is shifting the weight vs. “planting” the foot.

Students who do the basic walk for a while will not stand up when they lift the leg to take a step.  By “standing up”,  I mean that the weight bearing leg does not flex and straighten itself.  This type of flexion will result in the student bobbing up and down as they walk.  Or what might be called a kind of duck walking .  To do the walk correctly, the bend of the standing knee will not change as you lift the other leg,  whether moving forward or backward.  I have my students lightly touch a wall as they move, so lightly that the fingers gently slide as they walk.  I tell them that if they are aware enough, they will actually feel the hand move up and down if the “standing” leg is bobbing up and down as they walk.  Another technique I recommend is to put a piece of tape on a mirror at the level of one’s head as they stand with knees bent. Students   watch   the top of the head as one walks toward it.  Do not bob up and down and  keep looking forward while not watching the ground.  The top of the head should not rise above the tape as the student moves.

Another use for a wall, post, kitchen counter, etc.,   is to isolate the walking practice into a few basic walking steps.  The first advantage of this method is that one does not have to worry about their balance.   In the beginning,  students will inevitably be overly concerned with balance and not able to concentrate on the real movement itself.  With holding on to the wall or post, at least the balance problem takes care of itself so one can give full attention to the actual practice and training of movement.   In a first step, the full planting of the foot while holding the pole will make it less likely that the body lurches forward.  Additionally, the student can check their posture in either lean or sit back positions because they can take an extended pause with no concern for maintaining balance.  Is the rear end tucked in, is the neck stretched up, is there a continuous stretch from top of head to bottom of heel, etc.  ?  In this one position, one should just slowly deliberately shift the weight from front to back while pausing to do the self - check in each posture.

Another method one can use for these exercises is to do numerous continuous walking steps while sliding the hand along a wall.  This method  is slightly different from my teachers which as I iterated involves  holding  a support without moving the hand.  I teach students to practice different exercises while using both methods. The “holding” onto a support is very useful for lessons that involve the training of core movement to move the body.  Students doing this can do many repetitions where they can contract the lower abdomen or tan tien area to move the body either front  or back and shift the weight by pulling.  Eventually, one learns to feel the contractions of the abdomen engage the lower back, buttocks, legs and feet, etc.   I tell students who struggle with feeling the contractions engage with other muscle groups to simply “pull” with the legs. Or as Mike Fittipaldi who is also a teacher put it, to “pull with the knee”.  That is the way that I started out as I gradually began to learn not only to contract the abdominal muscles but also to learn where they contract, how it felt and how to engage the other parts of the body.

One other method I use for “core contraction” training is to have students simply sit in a straight back chair with one foot slightly in front of the other.  I then tell the student to contract the muscles of the lower abdomen while leaning the upper body slightly forward.  From the “lean” position, I then tell students to contact the lower abdomen while pulling the body back to a straight and perpendicular sitting position.  Like the “holding” onto a support while one stands, this sitting in a chair method can generate many, many repetitions to train such core contractions and body movement.  The student thinks and feels what sensations are happening and to look for such things as engagement with the feet to coincide with the pulling action. One can also gradually learn to detect engaged muscle groups such as the back, buttocks, etc. 

Another component or method for training the walking is to hold the support, take a couple of steps either forward or backward and pause at each juncture.  Of particular significance at each “pause” is to check head stretched up, and a stretch from top of head to bottom of heel.  However, an additional check is made on how well the rear end is “tucked” in with both the forward lean and sit back postures.  For the forward lean one still has to try and tuck in the buttocks.  For the sit back posture, one also has to tuck in the buttocks.  In the lean of course, one will not fully tuck under the buttocks as much as one can when sitting back.  I frequently point out to beginners how important the tuck is.  To illustrate this I have them move to touching a wall with the backs of their body.  With their legs straight and not bent at all they see they can run their hand through the curve in their lower back between the back and wall.  Then I have them bend the knees and tuck in the behind while feeling the same area of the lower back.  With their back to the walls I can also have them practice the “one step” method of shifting the body back and forth numerous times.  When they pull back, I urge them to see which part of the back will touch the wall first.  If the shoulders or even the head touches the wall first, the obvious correction is to tuck in the buttocks fully.  The lower back near the sacrum should be touching the wall with no other portion of the back in contact. These types of additional practices besides breaking down the various components of walking thus enable students to practice the most difficult portions of the walking.