Names of the Steps and Other Thoughts

Names of the Steps

The names of each of the movements may have different meanings as the understanding evolves.

In the beginning, “Attack the Tiger” may be seen as looking like one is punching downward at an angle, as though to strike a large four legged animal (Mr. Chow would sometimes refer to this move as “Attack the Dog”).

After one’s form evolves, this movement, in which the arm and shoulder are extended (stretched) may be used to relax and un-tense the shoulder, facilitating the flow of Chi through these parts, thus attacking the tension, or Tiger energy, by stretching the shoulder. 

This allows the arm to connect to the spine and lets the movement originate from the center. 

So ‘Attack the Tiger’ here becomes ‘Attack the Tiger energy in the shoulder’, which allows for enhanced Chi flow through the body.

Isolating Muscle Groups

As we get rid of extra movements, the elegant simplicity of the form that is left may be likened to the concept of isolating muscle groups. 

This is encountered in the gym when using the weight machines (with pins to adjust the weight which is lifted), or with free weights (Bar bells or dumb bells). 

In the gym the idea is to work on the development of specific sets of muscles. We are more concerned here with improving the efficiency of specific movements, rather than specific muscles, but the principle is the same.

The Hand-Slap Example

After going into Flying Slanting in one of the first lessons, before the first Stork cools it’s wings, when the left hand swings over (Pivoting from the elbow) into Holding the Ball (Holding the Chi), a child’s game comes to mind that demonstrates this movement, which is done without engaging (Tensing) the upper arm and shoulder. 

This same movement is encountered when one holds one’s hands in front at waist height, palms up, and the opponent holds their hands over your hands, palms down, and tries to withdraw their hands quickly to avoid them being slapped. 

The elbow stays motionless as the slapping hand quickly makes a semicircle to come down on the back of the opponent’s hand, coming down palm down. 

The shape made by the forearm/hand pivoting from the elbow is that of half a funnel, pointed at the elbow. If a piece of chalk were held in the hand and one was standing at a black board, the letter ‘C’ would be drawn, the open side facing down. 

This demonstrates the correct movement, in which the upper arm and shoulder remains relaxed.

Monks Copying Holy Texts

Often these days, the form may be taught without understanding the purpose of the moves, with respect to the principles. 

This may be likened to Monks of many different schools in the Middle Ages, who accumulated merit by copying holy texts for years without understanding their content (They often had not learned to read).

Left Brain, Right Brain

Humans seem to have an ability to symbolize. As we categorize, organize and make plans in a linear progression of steps, our consciousness resides in what we sometimes call the left hemisphere, analytical brain. These logical processes allow us to participate in that uniquely human activity that Korzipski (Science and Sanity, A. Korzipski) called Timebinding.

Left Brain

Alfred Korzipski’s formulation of General Semantics, and more recent adherents such as S. I. Hayakowa (Language in Action, 1939),  point out some of the advantages, and also some of the limitations of this mode of thought/consciousness. Indeed, “The map is not the territory.” (Korzipski, Science and sanity) highlights this distancing encountered when we reside in the left brain hemisphere. 

Right Brain

A more direct experience of raw reality might be achieved by moving our consciousness into the right brain hemisphere. This is the realm of residing in immediate experience. We do this when we fully immerse our attention in the present, not blindly, but with intelligence, holistic, rather than linear in nature.

Examples abound: 

Drawing

As a Left brain activity, we may draw a face by first symbolizing what we see: Stylized eyes, nose, mouth, ears, hair, etc., within a circular shaped head. (Betty Edwards, Drawing on the right side of the Brain; See also Nicolaides, Kimon, The Natural Way to Draw). 

When we are in the right brain hemisphere, instead of symbolizing, and then drawing a series of symbols, the eye follows a line, and the hand, with a brush, pencil, or piece of charcol, follows the same movement. What is drawn is an accurate (more or less) representation of what we see.

Betty Edwards, in order to move into our right brain hemisphere, suggests a simple exercise which shows the difference between the two sides:

If one takes a picture of a face or a head and attempts to copy it, in a normal, upright position, one will probably draw symbols. By turning the picture to be copied up side down, and copying the then less familiar lines presented, a truly accurate representation is often created. This can be easily seen when the two pictures are then turned right side up.

T’ai Chi

In just such a way, in practicing our form, as we leave our old, habitual patterns of movement behind, we may more accurately represent the unity, balance, and relaxation which we seek.

By paying attention to our balance and our state of relaxation, which brings us into the present moment, our T’ai Chi performance  may become a far more accurate presentation of the unity and elegant simplicity to be found in good T’ai Chi Chuan.

Music

 The musician immersed in the sound may be far superior to one that is performing a series of mechanical steps. 

Much of the time, practice is required to attain transcendence, in music or T’ai Chi, or any other activity (Swimming, golf, archery. etc.).

Creativity

Such moments may be the wellspring of true creativity. 

This may be what Antoni Gaudi meant when he said that “The creation continues incessantly through the media of man, but man does not create… he discovers.”

Best Wishes Always,

Daniel

Late Wu Style

Our form is considered Late Wu Style (Mr. Chow), and has some changes from what Wu Chien Chuan practiced and taught earlier in his life. 

(For more on this, see the “About the Lineage” section in the “About T’ai Chi” tab from the Home page.)

 In looking at the internet I didn’t find much in the way of examples of this form. I have therefore added a tab (Videos) with some examples of our form to this website. These are meant to help the student, and are not to be taken as anything other than teaching aids. I hope they are useful.

The Etch and Sketch Analogy

First we get rid of extra movements, then as we begin the form, after the first turn (to the right), our arms produce a large vertical circle. 

This is made by combining a right-left movement from the hips with a vertical movement made by bending and straightening the right elbow. 

This can be likened to a child’s toy called an Etch and Sketch, which has two knobs - one creating horizontal (back and forth, the hip) movement of a stylus, and the other creating movement on a vertical axis (up and down, the elbow movement). 

When the two movements are coordinated perfectly, one may draw a perfect circle.

(This may also be conceptualized as the x and y (Cartesian) elements of a graph, or any other combining of vertical and horizontal components. 

This becomes more apparent as extra, un-necessary movements that may affect the balance are eliminated, and the elegant simplicity which remains is exposed.

The next movement in the form then produces a horizontal circle by combining a left-right hip movement with a forward and back movement made by straightening and bending the upper arms and elbows. 

To this is added a forward and back weight shift from the back foot/leg to the front foot/leg and back again. 

Thus we move from the hips while centered on the Back leg, move to the front leg and again move from the hips (movements originating from the center), and then go back to being balanced on the back leg. 

These are basic movements of good T’ai Chi, where we are never out of balance (can maintain a state of relaxation - engendering good Chi flow) and the movements are originated from the center.

The Chi Energy Pump

Here again we make and combine linear movements to create a perfect circular hand/arm movement through space.

 (When we are on the back foot and turn to the left to complete the circle we also rotate the forearms to turn the thumbs from the right to the left - palm up and palm down hands are reversed - but this does not effect the balance.)

This is followed by a forward weight shift and 90 degree left turn and then moves into a flying/slanting position and so on, all executed in balance and with the weight constantly moving back and forth between the feet.

The weightless side is in motion and the weighted side is stable, creating an energy pump as these sides switch back and forth, generating the Chi energy as a product of all the parts working together from the center.

This continues on through  “Stork cools its wings”, followed seamlessly by the turn which leads into the forward walk, and so on.

Hopefully this description isn’t too obtuse. 

It may help to watch these movements in one of the videos in the Video section and follow them there. 

Good luck with it!

Best Wishes Always,

Daniel

Teaching Across Styles

I was recently asked to take over a weekly class taught by a former student of Mr. Moy Lin Shin (Master Moy), of the Taoist Tradition. The previous instructor, who had moved to another state, Had taught the students well for three and a half years, and they all were well grounded in the same principles of good T’ai Chi; balance, relaxation, all parts working together. 

The practical manifestations of these principles, however, seems to require time, practice, and, most important, attention to one’s current state (meditation). This path may be considerably shortened by having someone who is further along on this path, so that the student does not have to “Re-invent the wheel”. 

This experience, at the heart of things, may transcend any specific style. I am finding that insight into what is good T’ai Chi may be useful to practitioners of many different styles, regardless of its’ source.

It is a pleasure and an honor to have something of value to offer to these sincere students at many different levels, and to perhaps be able to help them to advance on their paths, regardless of the style which brought them to their current level.

Watching videos of their masters on the internet seems to further my understanding, as I become more aware of the commonalities shared by these authentic styles of T’ai Chi Chuan. I have recently enjoyed immensely some videos of Al Huang, Sophia Delza, and Mr. Moy, whose impeccable form reminds me of that of my own teachers, the Chows.

Tipping the Scales

It seems to me that moving according to the principles of any authentic style of T’ai Chi is a cumulative process, and, independent of style, may be likened to moving grains of sand from one side of a scale to the other. 

As we put this more sane way of moving into our selves, its effects accumulate until, at some point, the scale tips to the other side, and we begin to externalize the effects of this in our lives. 

This beneficial process grows the longer we practice, and we don’t have to practice well or perfectly, or even regularly, for it to work. Of course, what ever we put in is what comes out, and regular practice does help a lot.

Thanks and blessings to All,    

Daniel

The Savings Account

My mom used to say “No matter how much or how little you make, always put something away for a rainy day.” My parents grew up in the Great Depression in the beginning of the 1930s, and knew the value of having a savings. Today I’m writing about a different, but equally valid concept of “Putting something aside” for times when you might find it useful.

When we practice our form, we work on paying attention to our current state, and attempt to come into a state of balance and relaxation. After doing this for a while, The practice of the form then begins to help bring us into a more relaxed and balanced state of mind.

We can then draw on that “savings account” whenever we need some calm and balance, by practicing a little bit of our form. The form has become a physical reminder that we can use to relax and center ourselves when something in our lives knocks us out of our calm, centered state. 

This may be useful when someone or something (Life situations, stressors, etc.) “Pushes our buttons”, and we find ourselves in a more negative state. 

If someone yells at you, for example, when you’re not at your best, you might tend to take it personally. If you can find your own sense of balance and equanimity at this point, you might, instead of taking offense, think “Oh, they’re having a hard time today”. 

Instead of “Losing it”, you might instead become the grown-up, and have a better chance to create a more positive outcome.

If someone close to you has a medical emergency and you find yourself at the hospital, If your flight is delayed and you wind up waiting for hours at the airport, if anything stresses you and throws you off your center, sometimes even a small part of your form may be used as a powerful antidote to the negativity which may ensue. 

This centering of your own self may then extend beyond your personal sphere and be beneficial for others as well.

“You can’t draw water from an empty well”

- Paula’s Kumu Lomilomi (Hawaiian spiritual  massage  teacher), referring to the need to take care of yourself in order to be able to help others.

Aloha

Coming Into the Here and Now: T'ai Chi of the Mind

We start learning the form by memorizing a series of movements (My hand goes here, my foot moves this way, etc.). As we get used to these movements, we have to think about them much less, in order to do them.

 Our attention at this point is freed to focus on things which are more “Here and now”, such as our immediate state of balance and relaxation. 

This re-focusing of our attention on the “Here and now” may bring with it a Zen-like freedom from the subtle emotional and judgmental filters through which our vision may often be clouded. (Our likes and dis-likes may color our perception, sometimes causing us to emphasize or, more often, “Not see”, some features of our experience.) 

Also, when we are “Always thinking”, we may sometimes lose ourselves and be deceived into thinking that we are those thoughts.

When we quiet our minds we may see much that is obscured by all these ripples and turbulences, and find the elegant simplicity in which peace resides.

T’ai Chi, as a meditative practice, allows this process to proceed within us. 

The balance which is allowed by this state of relaxation then often lets us more clearly see the solutions to our existential dilemmas, and work through them for optimal results. 

This process works by bringing our consciousness more fully into the present moment, the real work of meditation, or mindfulness practices. 

As we relax and become more comfortable within our own skin, we are able to slow down and get out of our headlong rush into the future, and fully reside in and look at each present moment. This may allow a powerful healing process to take place. 

As more becomes visible and becomes a part of our decision making process, we may make wiser decisions. 

We benefit from all our parts being able to work together and help each other. 

As with any meditative practice, we may evolve and achieve more of our potential. 

Balancing the Extremes

In many places in the form, as a foot is retreated, a hand/arm is extended forward. This acts as a counterbalance, preserving the body’s balance in the gravity field.This phenomenon occurs in several different parts of the form, but looking at it in any one part will suffice to demonstrate what may be applied in other parts of the form and also may be a useful analogy in many life situations.

Balancing the Extremes

We begin here with the above example from the Round Hand. Later we might contemplate this correlation of disparate elements as it manifests in the balance between one’s overt spiritual aspirations, and the passions which may engender power to them by means of our Jungian shadow, feelings arising from deep within.

One sometimes lives with many internal contradictions. By this mechanism of balancing one’s personal passions with one’s selfless spirituality, for instance, one can sometimes imbue the spiritual quest with the power of our personal passion. 

We bring our human qualities into the mix and thus empower our humanity. This can be both cosmic and also walk the fine line that is the razor’s edge.

Mr. Chow sometimes gave the appearance of being a ladies man, and yet he was always a gentleman. It is the Nexus of our personal desires and our transcendent nature, both moving in opposite directions, yet creating balance, out of which the laser bolt of creation, the conscious evolution of all may be manifested. 

Nothing is wasted. The power of our Jungian shadow’s passions is applied thusly to engender the forward movement of the larger self. 

This may not be the easiest path. As Trungpa Rinpoche has said, “A student of the Tantra may  sometimes be in a constant state of panic“. But here, where the illusory nature of permanence may become evident, lies the short path to enlightenment. 

Back to Earth: This balance which we create within ourselves may extend beyond our selves,  and further the evolution of spirit beyond our personal sphere. 

If much of this extension of the form into the metaphysical seems somewhat obtuse, please feel free to apply the concept of balancing opposites to examples from your own lives. 

Finding a state of balance may be useful in resolving many situations for optimal conclusions, in many areas of our lives. 

For example, we may use this concept to transcend polarization by encompassing both extremes within our solutions in working with those who think differently from us politically. 

This does not require acceptance, but only recognition, and allows communication and perhaps progress in working with those whose views differ from us. 

Nothing is wasted, we use everything, and include everyone. 

Even if this sometimes doesn’t work, It may allow us to move forward.