Levels of
Synchronization
After incorporating the basic principles of 1) eliminating
extra movement, 2) shifting the weight, and 3) moving from the center, and
starting to practice our form within these parameters, synchronization – the
basic concept by which movement from the center is facilitated, takes on a
practical relevance.
Synchronization of
Simple Movements
This starts with the synchronization of perhaps two simple
movements, as when A) the bending and straightening of the elbow, used to
change the arm from a straight 45 degree down extension in front, to a position
where the wrist and shoulder are at the same height and the upper arm is
slanted downward 45 degrees, the elbow is bent 90 degrees, and the forearm is
slanted upward in a 45 degree angle so that the hand protects the face, is
synchronized with B) a 45 degree hip rotation from right to left and back,
after the first turn in the form. If the two movements are synchronized, an up
down movement created from the operation of just a few arm muscles, and a side
to side movement, similarly created by the minimal operation of a few leg
muscles, can create perfect circles with no extra movement, in balance – so
that no tensions/energy blocks are created by muscles coming into play to make
necessary adjustments to compensate for changes in the balance. (These changes
in balance are generated by any extra movements which change the positions of
any body parts un-necessarily.)
These synchronizations are basic to proper
practice. There exist a multitude of them inherent in the creation and
maintenance of the balance, and they become second nature (done without
thought, automatically), as our form comes into focus.
Synchronization of
Complex Patterns of Movement
At a higher level of competence, more complex correlations
become relevant to the central and related themes of balance and relaxation,
out of which the connectedness of all parts and the energy flow through them is
facilitated. Crucial to correct practice is the relationship between A) the
shifting of the weight between the two sides/legs, and B) the shifting of the
direction one is facing. One of the first places this presents is after
“Embrace tiger and return to mountain”. As one first steps forward while
turning 45 degrees, and next shifts the weight to the opposite foot while
turning 180 degrees, the synchronization of the weight shift with each turn is
what allows balance and relaxation through this part of the form, and many
movements after this, throughout the form. If one learns this here, the student
has no difficulty later learning “Cloud hands”, where one is shifting the
weight right to left and back repeatedly while turning 45 degrees right and
left and back at the same time. Later in the form, turns initiated from the
hips are performed balanced on one leg, requiring even more subtle control of
this synchronized coordination.
Thoughts on Higher
Levels of Synchronization
These physical examples of the coordination of diverse parts
into a complexly integrated whole, exemplified by the T’ai Chi form, have
obvious correlates in the emotional, intellectual, and spiritual realms, and can
be applied to eliminate or minimize the extra movements and lack of balance,
energy flow, and integration in these areas as well. This would allow for
immense growth in the meditative/awareness aspects of T’ai Chi, fostering both
personal, trans-personal, and societal evolution, and hopefully creating a better future for
all.
To be continued…
