Having sufficient light and heat to find "Treasure" in Classical Tai Chi

Plutarch said: "The mind is not a vessel to be filled, but a fire to be ignighted".

"Education is not the filling of a pail, but the lighting of a fire". William Butler Yeats

Regarding finding treasure, I can only relate in my own fashion what my teacher has told me:

The lighting of an educational "fire" for light and heat to gain "treasure" can be fraught with problems :  There can be many causes of this. Admittedly students like the wood  are  "green", and it will be harder to get it to 'catch'. If not enough starting material such as paper or in the case of Classical Tai Chi things like "silk reeling","basic walking"  is used, it won't generate enough heat to get the fire going. Putting pieces of wood that are too large such as forging ahead too far too fast,, in the form on one's own,  soon smothers the fire and it will die. If the fire is arranged so that air cannot get up through the wood,or one has built a "spaghetti like learning structure" as I outline below it will likely sputter and die.

My teacher has said: "Silk reeling exercise is encouraged for not so advanced students so that they can  experience some internal energy flow rather quickly. For advanced students who can play the form with ever  move using internal discipline, silk reeling exercise is no longer necessary, since the entire Form practice is a complex silk reeling exercise  with internal flow continuing without stop from beginning to the end." 

As I see it:  The problem with learning too much of  the form before "silk reeling" is like putting too much wood on a fire that has not really been burning for very long.

There was a student back in 2005 that purchased the DVD, Vol. 2 and did not purchase Vol. 1, Overview.  He stated at the time that he felt he should get input from every possible source rather than confining himself to one commitment.  He would continually say things that made it crystal clear he did not understand the overall structure, rationale and goals of Classical Tai Chi.  My teacher addressed that in an email to him because he said he did not feel it was necessary to view the "Overview DVD Vol. 1":

Master hwa said: "I think if you have studied vol 1 Overview, it will be much clear,to you the overall structure, rational and goal of learning Classical Tai Chi. Vol 2 Form Instruction is teaching details. It will take a while learning individual trees before you can see the forest."

The only thing this student seemed to accomplish was to be "lost".  He seemed to want to clutter himself with too much information as fast as possible.  The problem with "clutter" is that one cannot see the forest for the trees as my teacher says...the way is not clear.  In the early stages of learning one needs direct pathways to find stuff...I refer to the establishment of "neural pathways" in the brain.

Why burden oneself, complicate things with "neural paths" that resemble nothing better than a giant plate of noodles, with no starting point or end?  The same holds true for starting on Vol. 2 DVD before viewing Vol. 1 Overview.  That would be like buying a map that resembled a plate of noodles.

It also occurs to me that folks don't much like my telling them how to get their learning organized, to get the "neural paths" in order. Cetainly, my aim is not to force anyone to do things right, it can be frustrating to students if viewed that way. However, I've seen too many students that aim too high or burden themselves with all the wrong concerns.  Remember, the ignition of a fire cannot be rushed, it takes proper structure time and patience....and there is a distinct rationale to reaching that goal.

"Back to Basics"

 

Young Wabu and  Master Wu Chien Chuan

"When you have something that works well, why complicate it?"

The study of Kata cuts across all martial arts and Classical Tai Chi is no exception.  In Tai Chi of course, the term Form is most often used instead of Kata.  Prof. Geoff Lane of the Danzan Ryu  JuJitsu system has written an article entitled "Back to Basics" which can be found here: Back to Basics.

In the article Lane pays tribute to Grandmaster Young Wabu's devotion and adherence to fundamental principles.  I include the excerpt here:

"Another martial artist I was very fortunate to meet with a similar quality was Linyi Maslin's father: Master Wabu Young, a Tai Chi master.  He studied in Hong Kong under Master Wu Chien Chuan in the 30's after he came to Hong Kong from Shanghai to escape the Japanese.  He spent his whole life perfecting one kata.  Doing it square, round, regular and mirror image, fast and slow, large and small...the basics...doing the same Tai Chi form for 70 years.  He passed away in 2004 (correction: note that Grand Master Young Wabu passed away on April 18, 2005 at the age of 101 in Rochester, NY), dying a "typical Zen Master's death (but that's another story), exuding power and grace to the end.  The basics served him well.  When you have something that works well, why complicate it?"

 Professor Geoff Lane teaches jujitsu at the Nibukikan in Chico, California.  Grand Master Young Wabu's daughter Lin-Yi Maslin also teaches Wu Style Tai Chi at the Nibukikan.

Learning "stages" and "curve" in Classical Tai Chi

My student Barry knows the travails of “forget” when it comes to his training in external martial arts. He has trained many years in a form of Karate to the level of a high ranking Black Belt.  He is also a defensive training officer for the Government.  Barry made good progress these past 2 years with the form and one can see he can go through much of it without thinking of what comes next. 

Note: This is really what comprises the 1^st stage of learning Classical Tai Chi, wherein one can do the form in all the right directions.  

What is really next for 2^nd stage is correct hand position, then 3^rd is timing and finally 4^th is integration of internal discipline.  Barry feels chagrined about some things I mention but  what I see is somewhat normal for the stage of learning he is at.  In some respect that is that he holds his arms very close and tight (like a compact form with no internal discipline). That seems to create tension and compression of arms, one can see scrunching at the shoulders, tensing the neck.  It appears he does not stretch at the shoulder, for that matter he keeps the wrong angles of arms for postures.    

Barry’s learning, scrunching, tension is not very different from other students who are at the same stage. However, they all, including Barry are more advanced than they think.  Specifically, they do have  internal discipline in the major movements, I can see core moving and engaging with the arms. My own teacher, Master Stephen Hwa touches on this “learning curve” in an email that I include here.  So I thought about  this some more and  read pages 72 and 73 of “Uncovering the Treasure” (link to the book on this page).  This is where the discussion gets into whether arm leads core or vice versa.  I must say I got some inspiration for teaching him from this. 

Note: In some regard, I find that this is a situation where he truly needs to learn how to use his arms, which is clear to see falls into the realm of the 2^nd stage…learning correct hand position.

Now I spend a little more time with him doing repetitions of movements and pay particular attention to whether he is stretching at shoulder and keeping elbow down and not “chicken wing” the elbow out to the side.  This seems to alleviate the scrunching and tightening at neck and shoulders. I am also doing this with my other students who started at the same time as Barry. By encouraging him to stretch from shoulder, one can see the proper angles and hand positions improving as well.

After I sent an email to my own teacher  on this subject, I recalled his  narrative about his student  Ernie and how his concentration on relaxing shoulder actually did not work because he was thinking about it too much.  I include this  link to the Tai Chi Forums (just click) and you just search for Forum 14, do a search for the word “shoulder”.

Although Barry is not really ready for push hands, I thought the "solo" of that movement might be of some use.  I see now that doing that solo push hands movement where one can stretch at the shoulder appeals to him.  He seems to take to it naturally because of his Karate background . My telling him to stretch did not make much impression, however having him do the one person part solo of push hands seems somewhat intuitive for him.

He does not show scrunching when he does that.  So now time will tell if he makes that "transfer" to stretch shoulder lightly, keep elbow down to the rest of the form.

Email from Master Stephen Hwa:  Jim: I am teaching a group of not young people here (he is enjoying the wonderful climate in Florida after many years living in snow country). I do not expect them to really learn the whole form. So I started them on some of the silk reeling exercise including the "moving arm up while engaging the core". It is a hit to everyone. They love it. I know this is an upside down approach. But, if they enjoy it and getting somethng out of it. Why not?  With our methodology of teaching this move, we do not need to follow the old tradition which teaches this only after ten years of tai chi training! 

Now a day one needs to keep student's interest otherwise they leave. Learning this kind of internal movement seems really appreciated by even the beginners.

"FORGET the deeply ingrained external martial arts, in order to switch..."

Someone arrived in the studio and I said "How can I help you?"  "I saw your web page and I see that you teach Tai Chi".  "You studied other martial arts?" I asked.  "I studied Wu  Style for some time, I stopped, but I want to start again."  I asked her to demonstrate some of the Tai Chi that she knew and she refused.  "I don't remember it very well" she said.

"Do you realize you will have to unlearn all you have learned and start over again?" I asked.  "No," She said.

"Let me relate what my teacher Master Stephen Hwa says about his teacher's experience with the founder of Wu Style Tai Chi." I said. Biography of Grand Master Young Wabu 

"Now, you understand the point?"  "Yes," she said. "You want me to empty my head of old knowledge and old habits so I will be open to new learning."

"Exactly," I said

Later, she told me that she had to quit after the 3rd lesson.  "Why?" I asked.  "When I did Wu Style, my teacher did not do it like you are teaching it."

"By the way, did you forget what you agreed to?" I said.

"No." She said.

"That is why you  quit, you just cannot forget." I said.

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.