3. Hand Strums the Lute 手揮琵琶 Shǒu huī pípá

The  pípá or the Lute as a stringed instrument is held in a vertical manner in front of the body.  You can see the position of the hands in this video.  Liu Fang plays the PiPa
In Classical Tai Chi "strumming the lute" can be applied to the opponents arm (which presumably is  the "lute" or "pipa").  Noticing the foot position of Master Hwa's feet however shows him sitting back with the front foot pointing up.  From that position he can kick, stomp, step on the opponents foot, step behind the opponents foot, etc. His front foot is free to move, with no weight on it, it can be fluid.


With one hand facing down and one hand facing up, the equal and opposite force can be applied to an opponents arm, the opponents arm can be grasped between the opposite palms, the opponents arm can be encircled.  From that position his arm can be jammed back into him, it can be pulled down, pushed down,  one can attack the opponents neck with the fingers of the front palm, etc.


The word Shǒu means hand, the word huī can mean "wielding", "waving" or even "wiping away".  The character 揮 has one part that means hand and the other means chariots and an army division (but the chariot character is significant for its other part that involves rolling, revolving or crushing)  .  


I think the full implication of the character can be interpreted for Tai Chi purposes as wielding (holding) the opponents arm.  However, the act of wielding here is not limited to traditional thought of how to hold something, except for the fact that the hands have to act in an equal and opposite manner. One could hold something for instance by encircling it with one's arms in that position, etc. 


In the round form, Master Hwa states that the right hand dips down in a quarter body movement which he refers to as a "block".  From that quarter body movement it works into a combination of internal movements.  Whether square form or round form however, it is really noted as starting from its "sitback" position.

• There are complex foot movements used to transition to this posture and I often see beginners forgetting to pay attention to the demands of the legs and feet.
• When you turn the left foot to the right, it is quite common to forget to turn it 90 degrees, I sometimes see students only turning 75 degrees or even less, that failure will affect the upcoming posture adversely.
• Learn to shift the weight to the left leg smoothly using internal discipline from the core.
• The pulling down of the right elbow should eventually be internal.
• When you make a chopping motion to the right, keep it at head level.
• When you lift the right hip and draw the right heel up, do not stand up by flexing the left knee and rising.
• Don't pull back your right arm and hand when you rotate 90 degrees to the right.
• Check to make sure your feet are parallel.
• There is important timing to be aware of as you bring left arm and right foot on a shift to the right...the left hand arrives at the right wrist as the right foot extends onto the heel...both have made a slight shift to the right in mid air.
• Be aware that there is also implication for the transition move as a tremendous application in itself or even combination of applications...it is very dynamic in its own right.  As Master Hwa says, the right hand rising can be used to jab the underside of the opponents neck.  The left arm can be used to ji or press into an opponent as the left foot encircles the opponents leg, etc.

倾斜 Weight distribution in Classical Tai Chi

Tai Chi Walk

Michael wrote that he recently purchased Master Hwa's DVD series and has some questions about the Tai Chi Classics saying not to lean the body, the weight distribution of the body, the Tai Chi Classics, and Yin and Yang:

"As I watched the video more intently, I'm being drawn to the movement of the lower limbs from the hips down. Can I assume that master Hwa advocates the separation of yin-yang footing with 100% weight on one leg and the other 0% in all postures (except the end of the single whip)? While I understand the significance of the weight shifting from one stance to another - I'm interested to know the weight distribution of the brush knee step at the end. Is it 100% in the front leg, and the back leg is insubstantial? I'm studying the classics by zhang sang Feng, and the classics mentioned that one should not lean on any side. I would interpret this as leaning forward, backward, or at the sides - but if there is 100% weight on one leg, I do assume that there is a leaning force involve? "

In Classical Tai Chi, my teacher, Master Stephen Hwa, explains the principles of movement (the how and why) in terms of Yin and Yang. He also explains the regulations in terms of "bodyweight distribution." When one moves, they do not let their weight "distribute" itself in an out-of-control manner. Carrying the weight in an out-of-control way is a grievous error and can have both health and martial consequences. This concept is explained in detail: DVD series, Yahoo Email Group, Classical Tai Chi Forum, Classical Tai Chi Website (Table of Contents for DVD). 

When one takes a step forward in Classical Tai Chi, the weight stays 100% on the back foot until the front foot is flat on the ground 0%. The practitioner will then pull the body forward till the bodyweight of 100% is on the front foot, with the back foot becoming 0%. The body weight distribution is both dynamic, fluid, and continuous through all postures with no exception. The correct movement for weight distribution is illustrated in the Tai Chi Walk, as seen in the attached video link to Youtube.

An understanding of "leaning" in Classical Tai Chi should encompass the thought that one should take the Tai Chi Classics with the proverbial "grain of salt." The Classics are, as Master Hwa has said and are "attributed to various authors." Regardless of who wrote them, we did not hear of them until Wu Yu Xiang "finds them in a Salt Shop." The Classics, for one, do not specify what they mean by "lean." Did "do not lean" by the mystical Zhang Sanfeng mean do not lean at all, do not lean too much? 倾斜, is defined as "incline, tip, bias, slope, but I cannot find the word "lean" defined as "incline" in Chinese. Lean in Chinese is more like "thin" as in a lean piece of meat. happen to like "incline" better than the word "lean" used for Tai Chi terms and in pinyin one says "Qingxie." 

There is the term "incline" in the Wu Family Gold Book as elucidated by Grandmaster Wu Kung Cho. What he means is do not "incline" by breaking at the waist. You see a lot of "breaking at the waist" in some styles of Tai Chi; it is painful to watch. Master Hwa does use the term "lean." In his explanation, he makes it work in English where "incline" would not. He does not caution against it, as does Zhang Sanfeng; on the contrary, he tells us how and why we need to do it. You can read it in detail on page 56 of his treatise in "Uncovering the Treasure." I think there is a crucial point regarding not "breaking at the waist" when he says: "The head, the body, and the back leg form a straight line in the lean forward." One can readily see that breaking at the waist would break the straight line and any energy flow. 

To sum it up, while having some key insights, the Classics are often filled with "contrariness" and can be very cryptic. Therefore, I would not attribute deviation in basic principles of Classical Tai Chi to what are often contrary statements in the Tai Chi Classics, hence "take it with a grain of salt." No pun on the "Salt Shop" of the Classics discovery intended. 

提手上勢 Tí shǒu shàng shì 2. Raise Hands

“Raise Hands” is a form that is done while standing on one leg while raising both arms. The script tells us a little more if we look at the character 提 or Tí.  A dictionary definition of Tí says it is a verb which means “carry in the hand (with the arm down). I think the implication here is one of raising something that has some weight.  The first part of the character  for Tí is a verb for “hand” but the second character 手shǒu is a noun. 上shàng is defined as “go upwards” and with 勢shì is “go upward with strength or skill”.

The idea that we are raising our hands up as though they are weighted is important here.  In fact the whole series of characters suggests that something of weight should be raised with power.  It is also very interesting that the instructions for square form of this posture first state the importance of moving the arms while keeping the body still.  The Yin-Yang junction is once again at the waist with the moving part  (Yang) being the upper torso and the stationary part (Yin) being below the waist. 

Along the same lines, I think everyone would agree that picking up anything such thing as a weighted object with the hands would cause the other portions of the body to move.  In our form practice we of course are not lifting an object, we are just lifting our arms with the hands open and empty. Nevertheless we are still instructed here to lift as though lifting something of weight.  How is this possible if there is nothing in the hands?

For this we have to look to the “Round Form” and the internal discipline, our internal physical movement involving the core of the body.

·          Of course we must tuck in the tailbone

·          Have our elbows down

·          Stand with body aligned

·          Use “Yi” to lift the arms

·          The movement uses “internal discipline” from the waist to lift the arms, keeping the knees bent and do not stand up.

·          The feeling of lifting something that is weighted is what comes into play here.  If one were to lift anything, such as a kitchen chair, one’s child, etc., the core muscles would naturally “engage” .  We say “lift using your legs” and “put your back into it” when describing the sensation of lifting something.  It is somewhat the same admonition here as applies to the feeling one needs in using the internal discipline to lift the arms and hands upward.  The vast majority of people would never think to engage the core muscles when lifting an arm with nothing in the hand in an upward fashion. In fact, Master Hwa describes the whole process as a “dynamic” one wherein the internal physical discipline treats the arms as simply appendages that must be taught to move in coordination and direction of the torso.

·          However, this is not simply movements of the arms from the shoulders…on the contrary

·          The core muscles of the abdomen very low beneath the navel and are used to start the movement up, then the job is “traded off” to the muscles of the upper back to complete the lift.  We only describe the “lifting” portion of the movement here, not the folding portion of the arm at the elbow.

·          Do not push out the rear end when doing this and keep it under you.  This is an important part of keeping one portion of the body still while another part moves.  This may also be tested while practicing with the back close to the wall.  You will feel the rear touch the wall if it is being pushed backward.

·          The movement can be practiced by itself, uncoupled from other postures as both a silk reeling and qigong exercise.

·          Part of the martial intent of the movement has Peng (ward off or even punch).  Your “Yi” should encompass that as well.  The rising portion could be used to deflect an opponents strike in a wardoff motion.  As the opponents strike is deflected, the foot could be used to kick to the lower leg.  The muscles of the torso do the work of lifting and positioning the leg, and planting the foot or kicking the opponent.

Note: The list of possible applications is not limited by any means.

Posture 1: The Preparation Posture

Tàijí qǐ shì 1) The Preparation Form is traditionally thought of as Taijiquan’s “beginning” form, since it is done while standing  on two legs while raising your arms to the front and up.  It is a move that is familiar to students of all styles of Taijiquan.  As such it seems to generate little challenge to students once they feel they have learned the external portion.The characters for Tàijí qǐ shì or “The Preparation Form” are figurative and therefore do little to describe how to do the movement.

The character for qǐ is  起

It implies a “beginning” and it does so by the portion of the character that looks like an individual in movement but the other portion is representative of “oneself”.  The individual is in movement but oneself is the entity that initiates the movement, it does not come from outside oneself but is an inner physical movement.  It is indicative of an external physical movement that is directed by internal movement.

B

     Practitioners in this day and age are impatient, and the movement gets bypassed in the zeal to learn other things. I think in part this is due to a misunderstanding of how to do the movement correctly and subsequently not to enjoy its practice.  As with any of the postures in Classical Tai Chi, one needs to first follow the instructions on internal discipline.  In this case, there is a moving (Yang) part of the body which is the upper torso, and a stationary part (Yin) which is the lower portion below the waist. The Yin-Yang junction is at the waist.  We won’t dwell on the instructions here except to emphasize a couple important points that one should prepare before execution.   

              This is after all called the “Preparation Form”.

• ·         Ensure that the tailbone is tucked in from the very start.
• ·         Ensure that elbows are rotated to point downward.
• ·         Stand with the body aligned.
• ·         Use “Yi” intent to not only lift the arms but to stabilize the feet downward.
• ·         When using “internal discipline” from the waist to lift the arms, keep the knees bent and do not stand up.
• ·         Try practicing the movement by itself, uncoupled from other postures, practice it as a “silk reeling” exercise.  
•         You may also wish to practice it as a “Qigong” but go much slower and sync it to the breath.

•          Do not push out the rear end while doing it but keep the rear end under you, just moving from the waist, this is part of keeping the body and feet stable. To test whether you are pushing out the rear, try practicing with your back close to a wall.  You will feel the rear touch the wall behind you if it is being pushed backward.

·         Part of the martial intent of the movement has Peng (ward off or even punch) and another portion of the movement has An (push downward).  Your “Yi” should encompass that as well.  The rising portion (with the fingers drooped and wrist bent) could be used to generate a burst of power strike with the back of wrists (Peng) to the soft tissue of the neck under the jaw.  The raised hands can be used to deflect an opponent's strike.  The downward motion could be used to deflect an opponent's strike with An or push down using the palms.  The list of applications is not all-inclusive. 

Tools for training basic walking in Classical Tai Chi

I must tell you of  additional training tools I discovered while working with my students on basic walking:

 The knee flexes and their body goes up and down with some students during walking practice. Now if they were to face the mirror when they walk, they could see their head rise and fall.  They could put a piece of tape on the mirror at top of their head, then see if their head is going over it. My student Tom K.  tells me he has a piece of string stretched out at the level of his shoulder in his "clean" attic in order to feel bobbing up and down. 

In working with this for some time with my students, I discover some additional ways to train. For one, if one just touches onto a wall VERY LIGHTLY you may be able to feel the hand move up and down if the knees are flexing. We use the wall in my studio to do this and walk the entire floor lightly touching the wall. With a light enough touch, the hand provides an extra tactile sense to feel the movement of knee up and down.

Then I thought, well this is also having ancillary effect of training the hand to sense movement. Training the tactile sense of the hand in this way provides good training for "ting jin". Ting Jin as my teacher Master Stephen Hwa has said,  provides you with the sensory capability in your hands to "listen" to the opponents power "surge and ebb" of movement. It has to be a very light touch however, if you bob up and down, you can feel the hand slide up and down the wall. Also, it trains the elbow not to flex, you need to hold the arm still and not do an extraneous movement where the forearm "telescopes" with the upper arm.  I train myself this way with the wall at home and feeling the sensations in tips of fingers or even touching wall with back of hand or even arm, or one could even touch wall lightly with side of body.  Very enjoyable developing this sense, very enjoyable.

Saving Face and the Scientific Method in Classical Tai Chi

"Tao of Martial Applications" DISCUSSION:

Mark Thomasson DDS recently sent a very insightful article on the concept of "Face" to me.  Mark is a student of Master Stephen Hwa and has studied Classical Tai Chi for several years now.  In his article Mark writes: "I think this consumer driven "show me", "how many lessons will it take?" is consistent with popular consumer culture.  This attitude of proof before pay weakens the classical teacher/student relationship...it changes it...creating distance and a barrier of skepticism to receiving instruction" He quotes Herbert Spencer: "There is a principle which is a bar against all information, which is proof against all arguments and which cannot fail to keep a man in everlasting ignorance - that principle is contempt prior to investigation."

I find Mark's article to be spot on in light of the power that material culture holds over us all.  In my opinion, "consumer driven" or "material culture" weakens teacher/student relationships  by creating a barrier of skepticism  because by its very nature it  allows very little in the way of expression.  You see, the relationship between teacher and student in Tai Chi is a two way street ,  it has to increase the scope of expression for coherent learning but it also has to allow both parties to show mutual respect or "save face" ( mianzi )in the process.

I have found some students who went far beyond mere skepticism even when they received free lessons.  Their attitudes were nothing less than arrogant, completely insulting and their whole aim seemed to be a humiliation of the teacher.  On the other hand I have experienced teachers myself, who felt that even the most politely worded questions were humiliating.  This I'm pretty sure has quite a basis in the concept of "saving face". What a paradoxical situation where Tai Chi is so fluid, seemingly "laid back" and yet we find both teachers and students being as unyielding as steel.

Students may haphazardly come to rudimentary understanding over years in spite of this.  However,   I do not think they will come to understand the greatest principle of "internal discipline"  I  say internal discipline is the greatest principle  because Tai Chi is based on an internal physical discipline. This physical internal discipline is so little known and misunderstood that most Tai Chi nowdays exists because it is based on having a certain internal mental demeanor.  Fortunately, there are teachers whose whole purpose is to teach Classical Tai Chi as an art based on solid footing of principles.  More fortunate is the teaching of Classical Tai Chi with  the primary principle of Internal Discipline being in the forefront.  This is an emphasis on internal discipline with scientific understanding, rather than keeping a student strung along on a diet of "technique and application" using external movement.

Classical Tai Chi is fortunate to have Master Stephen Hwa as an enlightened teacher who holds no "bars against information".   His students have learned as well not to hold "contempt prior to investigation".  As a student of his, I feel quite fortunate to have a teacher that bases his teaching on a comprehensive scientific approach to learning. The learning of internal discipline gives the student ample opportunity to follow the scientific method. Students are encouraged to research things themselves, make observations, test/experiment and analyze their results.  In the case of Internal Discipline students have "feedback" and tactile sensations of the body to confirm their study.  Above all, students are encouraged to ask questions but also learn enough scientific discipline to ask questions based on their prior research and study.

 It is quite obvious in the attached video that there are no barriers of skepticism.  Yet, there is an obvious level of respect between Master Hwa and his students. Students in this discussion are being encouraged to ask questions but also guided by Master Hwa in how to do so intelligently and succinctly. In addition, we have ample representation here of  allowing all parties to "save face" in an atmosphere of mutual learning.  It would appear that traditional concerns over respecting one's teacher are not violated in an atmosphere where scientific discipline is maintained.  Based on our experience and research however, it will be predicated on having a teacher that is well versed in both Classical Tai Chi and the Scientific Method. 

Classical Tai Chi uses internal discipline for walking and kicking

Please take a moment and view this Youtube video which was shot at a seminar that Master Hwa did for World Tai Chi Day in Rochester, NY:  Internal Discipline in Walking and Kicking

Question: “I truly don't understand this. How can this lead to a quick kicking thrust that can be executed reflexively?”

I studied other styles as well as Wu’s Style for a long time before beginning Classical Tai Chi.  Certainly in this as well as other styles the “ mind-body relation starts from intense struggle and engagement in the beginner’s stage” as my teacher says.  Then the learning “proceeds to total disengagement”.  The mind can enjoy things in the practice almost as if the practice is being done by someone else, not a “cruise control” but more like independent observation.  For martial purposes a kick can be done quickly and reflexively because the movement has become subconscious. 

As to the mechanics of the movement and how it is done:

The psoas will become engaged, as will the gluteal and femoral muscles but the origin of the movement should come from the transversus abdominis and rectus.. the long abdominal muscles...at first you must exaggerate the contraction of the lateral and oblique muscles of the abdomen and squeeze the gluteals,relax the leg and the foot... A low kick is a quick sudden, unexpected (for its martial art application) thrust from the abdomen and back through the pelvis and the leg. That means that from the side the leg is kicking, the pelvis thrusts downward from the tilt which transmits power through the leg.

Question: “I have never been told to do that, and matter of fact, the instruction for the small frame is in direct opposition to what you're advocating, a release of the abdominals, using breath so as to allow the load bearing to penetrate through the musculature and rest inside the qua.”

First of all, this is not weightlifting, and so the breath should be natural. You have to take into account the framework from which you say you are executing your kick as.  You say “small frame”, when in actuality there is considerable difference in the size between Wu Style Small Frame and Classical Tai Chi Compact frame.  I did the Wu Style Small frame for many years and to do what you say (which is true for that frame)I was taught to primarily use the contracted muscles of the leg to lift and walk or kick.  In other words, the leg had to move like a “telescope” with the individual segments, calf/thigh, etc. contracting and extending or even swinging from the hip as Master Hwa shows.  Not much different from everyday walking and kicking is using the same muscles.

With the individual segments of the leg contracting and expanding, the energy does not flow uninterrupted.  In fact the flow of energy is interrupted at the joints themselves.  What Master Hwa shows is the leg completely relaxed, no bending at the joints and when the power is delivered from the abdominal and back, it goes straight through…no interruption.  Of course, and unlike the small frame you speak of, the kicks in Classical Tai Chi go no higher than the opponents knee.  If you want it to go higher then you pull the opponent down toward the rising foot using “yank” (Tsai).  This goes to the heart of the old Tai Chi saying: “Do not kick unless you can kick with 3 legs”.  This means,  your  one leg supports you while you are in contact with the opponent who is standing on his 2 legs.

Classical Tai Chi uses a "compact" and "tight compact" form

If one searches the Web they will undoubtedly find many styles of Tai Chi that state they are "small" or even "compact".  It becomes apparent that there is no universally accepted definition among all parties of what these frame sizes mean.  One styles "compact" looks like medium or even large to someone else.  One can even see well known masters doing forms or even push hands in what can only be called a Compact Form by anyone viewing it. There are many videos of older masters in the Wu Style that show them in a compact stance while doing push hands.  The same videos show them uprooting students to the point of the students falling down.  Seemingly, the master is using some hidden strength...an "internal" strength. To put this issue to a temporary rest, I will quote my teacher who states: "To attain that type of capacity requires many years of training beyond proficiency in forms training".

 Now is it not quite poor reasoning  and really just conjecture to think that any style  or even any individual does only one frame or size of Tai Chi?  The questions still arise however, then we may even see the same masters doing a larger frame form.  Thus raising  further questions:  Did this master, did that master,  learn compact form 1st, now they are showing us their large frame?  Did they learn large frame first and do they really know compact?  Can we assume from these photos or videos that Classical Tai Chi is not the only Tai Chi that does Compact Form?  Putting aside the definiton of compact for a minute, let us examine what it means to be "compact" in Classical Tai Chi.

I quote largely from "Uncovering the Treasure" by Master Stephen Hwa:  "Wu chien Chuan did not start Young (Young Wabu) on Large Frame probably because Young was an accomplished external martial artist with a well developed external structure and lower body foundation already".

• Such difference in appearance also signifies how the Tai Chi movement is done
• Large steps/low stance requires use of leg muscles to push the body in all dimensions
• Compact form primarily uses core muscles to pull the body forward and upward
• Internal discipline, internal movements cannot be taught to students in large frame
• Large frame uses large swings of arms at shoulder, outstretch (telescoping) arms

Is it not now clear what defines compact form in Classical Tai Chi is the use of "internal discipline" or "internal energy" as explained once again in the Classical Tai Chi "turning move" videos attached here?  Please see "turning move" video 1 and 2 on that page.  What is not conducive to "internal discipline" or "internal energy" is also explained.

Now I have a couple of questions in light of our clearly defined manner in how a compact form can be performed:  Why do these famous masters demonstrate compact form on places like Youtube?  Specifically,  If a compact form can only really be performed correctly by using "internal discipline" and core muscles, shouldn't this be announced and taught to the world unequivocally and ubiquitously by all the famous masters?  How does not announcing this knowledge and making it obvious, contribute to promulgating  and most of all saving the art of Tai Chi?

What is a Yin-Yang Junction and why so important for Tai Chi?

I read many emails in various Tai Chi Forums on a regular basis.  I am quite shocked to see that there are many Tai Chi afficionados who not only do not know what internal discipline is but they do not know what a Yin-Yang junction is.  My teacher Stephen Hwa states what it is in his book "Uncovering the Treasure":  "The most important instruction on Internal Discipline passed down from Wu Chien Chuan to my teacher Young Wabu is that":  "Every movement in Tai Chi Form has to have two complementary parts of the body, a moving part (called Yang) and a stationary part (called Yin).  When the yin-yang junction is located in the torso of the body, it is an internal move.  When it is outside the torso, it is an external move".

I include Youtube links to  2 videos below that were excerpted from a  seminar at Rochester World Tai Chi Day.  In the videos, Master Hwa explains it all by demonstrating and then teaching a group of students.  He uses what is called a "Turning" move with internal discipline to demonstrate.

What is a Yin-Yang Junction?

How to find Yin-Yang Junction, how to do turning, what is internal energy?

Normally, one would expect that it would only be people not trained in Classical Tai Chi who would turn at the hip and carry the torso with it, while the legs have a twisting motion.  However, he recognizes several people who participated in a last years seminar in which he demonstrated this very thing. In fact, I was filming the seminar and I recognized them as well.  In one case, the practitioner is turning his hips so much the legs are not only twisting...they are dancing, with the feet moving all over the place.  You can see this almost immediately, it is so obvious.

You also do not want to move the arms and shoulders as you do this and it can be checked by standing in front of a mirror.  Also, there is a tactile feedback sensation from abdomen and back...but there should be no sensation of feedback from shoulder and arm.  You can read more about this on page 4 and 5 of "Uncovering the Treasure" available at Amazon.

Master Seminar July 2011

It is my pleasure to make an early announcement  that a plan to have a seminar  on Classical Tai Chi by Master Stephen Hwa is being formed. At this point, Master Hwa is in agreement with me that it will take place on the weekend of July 9 and 10, 2011. It will be in Buffalo, NY.

*Please contact me directly as we need to make sure of logistics and numbers.  At this time, you may contact me at My Email Address.  Be sure to put "Seminar" in the subject line.

You may also email me with any questions on location, lodging, and further announcements will only be made through email if you are not a current student. 

Master Hwa has never charged for any seminar, one can only hope to aspire to such generosity.

It looks like a "go" for a big location with lots of space. 

That gives good parking, air conditioning, electronics for video taping the seminar, lighting and WiFi for a possible skype session worldwide.

*If you are not currently a student of Master Hwa,you will need to purchase the DVD series  at Classical Tai Chi Website .  Then you will need to contact us for the details of location, times for the seminar, etc. 

It is a one time purchase which entitles you to as much help as you can tolerate for the rest of your life;>). 

 

*When you email us,  please provide info. of  your current status as a student if you are interested in attending. If you are not currently a student, please  provide proof of DVD purchase in the email.

What is Neigong 内功 or "Physical Internal Discipline"

Not the best in translation from Simplified Chinese to Pinyin to English, (but at least refers to the physical) yields:
内功 [nèi ɡōnɡ] Pinyin
"exercises to benefit the internal organs, internal energy or power, internal capabilities"

I am never happier as a teacher than when I hear people both within and outside the Tai Chi community ask what "Internal Discipline" is. Although it is still perplexing that Tai Chi afficionados do not know what it is. After all Tai Chi has been known for a long time as an "Internal" martial art. A typical question from even long time Tai Chi practitioners is "what is internal discipline". 

Perhaps a literal definition would be appropriate to start things off. I do not like what Merriam-Webster had to say. I find that the "Free Dictionary" has this among several other definitions which I do like and find appropriate to Tai Chi: Discipline is : "training or conditions imposed for the improvement of physical powers, self-control, etc".

Note the use of the word "physical" which is particularly encouraging because most definitions only dwell on "mental". This, sadly to say is also the proclivity of most Tai Chi practitioners that I have heard over the years. I hear over and over and in many formats that Tai Chi not only cultivates but depends on a particular "mental" state. For the most part this is roughly defined as being one of relaxation, serenity, placidity, free of tension, "be cool", etc. Most, then expand this further to (as my teacher says) "an unspoken belief that as long as one has the right mental state, almost any Tai Chi movement is a Tai Chi movement" p. ii, "Uncovering the Treasure". This, he seems to feel is the direct cause for "infinite varieties of Tai Chi that have sprouted everywhere". Having heard and seen what he is speaking about I must say the use of the word "sprouted" is certainly not lost on this writer.

In light of the phenomenon that I describe I find that in going a little further I not only have to define "internal discipline" to people but I have to show it/demonstrate it. For in the explanations, I have found no justice. I inevitably end up showing it to both beginners and afficionados as I try to explain what I am doing. What is even more surprising to me is that even though "internal discipline" translates to the word or term called "Neigong". Long time practitioners do not understand the physical. That term has been in the Tai Chi lexicon for quite some time yet even the online martial art encyclopedia definitions still lapse into such things as: "Neigong, also spelled Nei Kung, neigung, or nae gong, is any of a set of breathing and spiritual practice disciplines associated with Taoist religion and Chinese martial arts".

I have a feeling my teacher realized the difficulties associated with explaining what it is and instead opted to explain HOW IT DOES: (From the Classical Tai Chi website)"The central element of the practice dictates how a movement should be made from the internal core of the body—the abdomen and the back—not from the external parts of the body, such as arms and shoulders".

AND WHAT IT DOES: "Internal Discipline enables you to initiate movements from the internal core of the body (the abdomen and back) rather than from the external parts of the body (the limbs), and cultivates and mobilizes your internal energy for health benefits and martial arts applications".