THIS IS WORKING MATERIAL, WITH EDITS IN-PROCESS AND THE BUNDLED MATERIAL I'M WORKING FROM ATTACHED AT THE END. ANY COMMENTS AT THIS STAGE ARE QUITE WELCOME! /tec
"Any particular choreography of Taijiquan is a way of training,
coordinating, generating and moving internal strength (i.e., qi, jing,
peng, etc.) through the body via the use of a continuous series of
possible martial techniques (at least in the original styles). Hence
the external form is a way of expressing this internal process given
various parameters (e.g., frame and stance sizes)."
This is Ver.2 of the Beginner's Key Points list, meant to include issues
concerns, things to practice, principles to incorporate, fundamentals, or
whatever you might want to call them. It's also meant to be most revelant
to people just starting out, and there should really be no surprises. It's
also assuming a slow form basis, although much applies to any speed.
In fact, all of this should have been presented by a "good" teacher. It's
intended to be general taijiquan information, and where there seems to be
style differences I've tried to note them. Anyone with further commentary,
points that have been missed, other style differnces, etc. are welcome to
post to the list for discussion.
For clarity, and to avoid arguments over the map vs. the teritory I have
roughly split the information according to what I see as "fundamentals" vs.
"teaching aids". I've emblished the fundamentals section with suggestions,
however, keeping the teaching aids more along the lines of advice rather
than "try this" stuff. Words can only say so much, and this is not meant to
obsolete all the published books, so you'll have to interpret these within
the connotation of taijiquan; I also welcome any wording variations that
might make a point more clear to some segment of the student population.
Acknowledgements: My teachers, Marjorie Jackson and Toni DeMoulin, provided
the starting point for this list, and many people added via discussion
following the original post or simply thru the general neijia torrent
(those I had the presence of mind to make note of: Stephen Chan, Terry Chan,
Doug Heinsdorf, Kim Holburn, Peter Lim, Bob Loce, Mike Sigman, Robert Singer,
Jim Storey). In the interests of brevity, I've omitted all the references
as to who said what; there is no intention to slight, and if anyone really
wants their words tied to their name, please email me something to attach
to this list for posterity.
Also, I've succumed to the use of that catch-all word "energy" in several
places for lack of a more specific set of words. Suggestions for each place
would be appreciated. I'll post this to my web home page along with the
original for anyone who cares.
tec
----------------------------------------------------------------------
Fundamentals
In keeping with the Core FAQ, a primary fundamental for the beginner to
pursue is the use of peng to drive whatever form you are practicing.
Unfortunately, there is no good way to convey this in text, and even a
worded definition of "peng" fails unless you already can do it. So, what
is included below is a list of symptoms or perhaps important details that
can make or break finding your peng; a "guide to learning and practicing
the core principles". Separately, I've digested the long running mail list
discussions of what "peng" is, in case you wish to wade thru those (available
on my web page, http://www.alumni.caltech.edu/~tec/taijiquan/, or by email if you send
me a request--it's rather long, though, and currently only digestifies up
thru the end of '94 or so.
"At the start of the actual Taiji practice, the body moves into the
separation of Yin/Yang, weighting, etc., and uses Peng for each opening
move, Closing power for each closing.... a cycle of opening and closing
(which is done with Peng and Closing powers) is the hallmark of the form,
hence it is called Taiji Quan."
There seems to be some consensus for not worrying about "closing power" until
peng has been developed, so there won't be much (if any) mention of it here.
I do hope to get an intermediate's list put together, someday.
There is also general concurrance that breathing should not be focussed on,
that you should just let it come naturally. Hence, breathing is also not
included in this list. For more detail, see the Breathing digest posted to
my web page.
1- Prepare for practice by relaxing/stilling (sung) the mind, body, etc.
and becoming aware of your self, root, surroundings and the directions.
Release tension throughout, especially around the joints and lower back.
-----
"When the body prepares to practice Taijiquan, it first "fills up" with
the state of Wuji. In Wuji the body is connected, but is in void with
no differentiation of weight or Yin/Yang."
-----
-> a suggestion for finding tension: deliberately tense and release an
area or joint to get a sense for what releasing that area feels like
-> relax the knees and lower back to let the tail bone "drop" rather than
deliberately tucking it; relaxing the gluts and feet will also help
-> a suggestion for connecting: extend the spine by holding the head erect
as though suspended from a string until you just feel it in the feet;
likewise extend the fingertips until you just feel it in the spine
-> training suggestion: work up to standing in Wuji posture for 20-30
minutes to generally build/improve your peng and connection
2- The mind leads (the body follows); without removing the mind from the
body, etc., focus the mind in the direction of movement as that changes.
(Speaking here of mind=intent; mind=ego *should* be out of the body.)
-----
"The importance is in becoming the movement, the mind and body is not
seperate but fuse into one so that you do not exist except as part of
the movement."
-----
-> a suggestion for finding "intent": focus intensely, "like a hawk",
on an accomplished action while refraining from deliberate movement
3- All movements, transitions, etc. are "circular"; the continuous flow
forms smooth curves of yin and yang (every up has a down, every
forward has a back, every move has counter balancing); the change from
yin to yang and vvs. occurs at the apexes of the circles
-----
"All the motions of the joints are circular and that they should all move
together and never individually."
-----
-> suggested drills: silk reeling exercises, or repeatins clips from the
form like Wave Hands Like Clouds or Grasp Peacock's Tail
4- Movement continues to flow without stopping in a slow and even tempo,
but each movement flows to completion (don't smear one into the next)
and within the tempo there are tides of slow & very slow.
-----
"Enables smooth transitions between substantiality and insubstantiality
with no loss in inertia, regardless of speed or power transmission."
"This also allows for a psychological phenomenon often referred to as
'time distortion' to be trained."
-----
-> some schools teach that the tan tien moves at a constant speed,
everything else is adjusted accordingly
-> suggested drills: silk reeling exercises, or repeatins clips from the
form like Wave Hands Like Clouds or Grasp Peacock's Tail
5- Arms & legs must be loose and without tension but never "empty"; energy
(mind/intent) is directed into/thru both the yang and the yin hands/etc.
-----
"In movement [yin and yang] separate."
-----
6- Arms & legs must be "round", the back must be "straight", the hips must
be "under" the shoulders in terms of the your ground strength path
-----
-> lower back is not arched back, shoulder blades should be above or
forward of the buttocks
7- keep the postures low and at an even height (notwithstanding exceptions)
but do not sacrifice correct alignment for a low posture; the hips move
laterally, staying in one plane
-----
8- the leading foot points the direction of movement; the knees always
point/move in line with the toe of the foot
-----
9- the length of your stride is dependent on the strength, balance and height
of the supporting leg; step no further than you can immediately reverse
your movement and pick up your foot without pushing off or hopping
-----
10- the tip of the tongue should be lightly curled up and touching the palate
-----
-> start as far forward as needed for comfort and gradually work towards
connecting with the soft palate
----------------------------------------------------------------------
Teaching Aids
1- "do not look down; when the eyes are looking downward, the entire spirit
goes down and the alignment of the body cannot be optimal"
2- "to sink does not mean get a lower stance; you sink by putting a sense
of heaviness into the lower abdomen (tan t'ien) which usually lowers
the pelvis slightly but does not make the stance, the legs, go lower;
you can sink into the tan t'ien even while standing up almost straight"
3- "to turn the waist is to turn both shoulders simultaneously, the waist
and the shoulders are connected and one cannot turn without the other"
-----
-> "most beginners have trouble distinguishing their waist from their
hips--with `turn your shoulders and leave your hips stationary' the
concept of `waist' may be learned much sooner and more distinctly"
4- "imagine your waist as an axle and arms as spokes of a wheel; any time
there is horizontal movement in the upper arms, look for a waist turn
(the arms do not move independent of the waist)"
-----
-> "anytime you notice a movement where you consistently get ahead of
your teacher, look for a subtle waist turn you might be missing"
5- "when circling the hand, begin by first turning, curling the fingertips
toward the direction of movement in the circle; the palm will follow
the fingers and the arm will become round and full as it follows in
its natural order"
-----
-> "many people begin the movement of a circle with the heel of the palm,
causing the arms to become straight during the movement even though
full and round at the end"
-> "in leading with the fingers you actually use P9 (Zhong Chong; tip of
middle finger) to lead"
-> "lead with the tip of the little finger to twist the arm, like for a
scooping motion"
6- "focus your mind energy through your arms and out the contact point of
the hand/arm; try to extend this energy as though you were shooting
`laser beams' beyond and through an opponent"
-----
-> "most people know where their yang had is; try to direct equal
intensity, equal energy, through the yin hand"
7- "relax the fingers and concentrate energy on the correct part of the
hand for the specific movement"
-----
-> "when you bend your wrist, don't bring up the fingers--bring the heel
of the palm forward while relaxing the fingers (opens the pathways in
the shoulders and elbows)"
8- "use the hand to move or lift the arm, not the arm to move or lift the
hand; use just enough mind energy to lift the hand, the arm will follow
the hand without effort
-----
-> "elbows are are lower than the wrists when the hands are above the
waist"
9- "keep arms in front of and away from the body; picture a sheet of glass
always flat across your back--at no time would the arms need to go thru
the glass"
-----
-> "if the arm needs to go back further, you must turn the waist to get
the arm there"
-> Note: not all schools hold "no elbows behind the back" as a rule
10- "drop and relax the shoulders, do not raise and lower them; drop the
elbows, this will help to drop and relax the shoulders"
-----
-> "shoulders should be rounded (dropped, relaxed and brought forward
slightly)"
11- "if it is difficult keeping the back foot flat, try putting the "baby"
toe on the ground. If the "baby" toe is flat, then the entire foot
will be flat and the knee will be in proper alignment without directing
too much energy into keeping the foot flat"
-----
-> keep the foot relaxed, though
12- "the back foot points approximately sixty-five degrees away from the
direction of the leading foot"
-----
-> different styles run from 45 to 90 degrees, and to an extent it
depends on the stance, posture, application, etc.
13- "when stepping forward, step in a "channel", except all half steps are
at the instep of the other foot"
-----
14- "relax the abdomen and allow a heavy feeling, a sinking feeling, to
drop the body onto and trough the supporting foot and into the ground"
-----
15- "step forward with the heel first, then slowly unbend the ankle until
the foot is flat; only after the foot is completely flat should any
weight be transferred to that foot/leg; to raise the foot, lift the
knee, the foot will follow without effort"
-----
16- "to move forward, bend the front knee to the end of the toes, no
further and no less; do not "push off" with the back foot"
-----
-> for best turning on a weighted foot, you might want to turn while
the knee is over the ankle
-> the "knee at toes" is for moving or standing where the you release
support from the other foot; keeping the knee over the ankle in this
case makes a low stance difficult without leaning for balance
-> never take the knee beyond the toes, or you risk damaging the knee
17- "to step backward, step with the toe first; to move ("sit") backward,
unbend the front knee until all the weight is on the back leg"
-----
18- "push down with the front foot to move back, push down with the back
foot to move forward; push down by pushing the knee straight thru the
ankle (not just the heel) along the line of the leg bones"
-----
-> "push down *into* the earth--don't push off *from* the earth)"
----------------------------------------------------------------------
> - "when stepping forward, step in a "channel", except all half steps are
> at the instep of the other foot"
>
You didn't comment on this, but the "width" of the channel seems to be
one of the variables that beginners have to deal with. Generally it's
about 2" when advancing, going on 0" when retreating (but not crossing
ove the heels), and a little bit less than normal like for the diagonal
step-out after turning in Carry Tiger to Mountain. Do you get these kind
of corrections? Probably should be something more here.
>- "when stepping forward, step in a "channel", except all half steps
> are at the instep of the other foot"
>
> If this means that the foot moves straight ahead in a line to keep
> shoulder width between the feet, then I agree that this is where the
> foot should end up. In most movements though, it takes a different
> and often circular route to get there.
>
I made some comments in another reply about perhaps defining the
"channel" (here, I'm simply referring to the space between the heels
when viewed from the direction of movement, not the route the foot
takes to get there). It's been my experience that it is not quite
such a nominal thing as "shoulder width" at all times. Then, too,
there are the cat stances, the half step mentioned, follow steps,
and probably other foot work for other styles to be accommodated (in
an effort toward a multi-style list).
I think we certainly need better words (or at least a definition) for
what's meant by "channel", and what the basics of stance are in regards
to how far apart the feet are for various motions. What is your training
for this in regards to simple stepping forward, backward, and turning
(e.g. Carry Tiger to Mountain)?
>You didn't comment on this, but the "width" of the channel seems to be
>one of the variables that beginners have to deal with. Generally it's
>about 2" when advancing, going on 0" when retreating (but not crossing
>ove the heels), and a little bit less than normal like for the diagonal
>step-out after turning in Carry Tiger to Mountain. Do you get these kind
>of corrections? Probably should be something more here.
When stepping forward, or diagonal (why is a bow stance different if on a
diagonal?), our channel is a shoulder's distance (three fists side by side).
On Step Back and Repulse Monkey, we center, the foot floats back and out a
shoulder's distance, and as we shift the weight the forward foot rotates on
heel; from the stand point of the approaching opponent there is still a
shoulder's distance between the heels, although both feet are at an angle to
them, so its not easy for me to analyze.
> When stepping forward, or diagonal (why is a bow stance
> different if on a diagonal?), our channel is a shoulder's
> distance (three fists side by side). On Step Back and
> Repulse Monkey, we center, the foot floats back and out a
> shoulder's distance, and as we shift the weight the
> forward foot rotates on heel; from the stand point of the
> approaching opponent there is still a shoulder's
> distance between the heels, although both feet are at an
> angle to them, so its not easy for me to analyze.
>
The channel is a curious situation that I've never really
pushed too hard about. I'll see if I can get some good
martial explanation for why our channel varies with
the application. I suspect that it's one of those points
of view (literally) in that the hips are physiologically
not "square" to the front except under passing conditions.
I know I was trying for a long time to keep my hips really
square (like if you strapped a broom stick across the front
of your hip bones it would always be square to the opponent)
and eventually got corrected about it (cleared up some hip
achiness, too, when I mellowed out about it). It seems to
be like tucking the tail bone in that too much is as bad
as too little (seems like most of life goes that way...).
Anyway, I'm guessing that the "channel" relates to the
distance *in the plane of the hip bones* which is often
just slightly off from the plane of "forward". I believe
the "keep your hips square" wording is meant to keep us
out of that side-on stance the external styles use:).
> I hesitate about this somewhat because various forms can
> have very different stances. In the form I train the main
> stance is the "bow" stance. In the "bow" stance, the heels
> should be on a line about 45 degrees to the direction of the
> movement at a comfortable distance apart (given that the
> knees are above the toes). Front toes pointing in the
> direction of the movement, rear toes at an angle.
>
> This gives "shoulder width" between the feet, but you're
> right, it's not exactly shoulder width, but then nothing
> is really exact in the form. It's only when you do pushing
> hands that things need to be more precise because you get
> pushed over when you get it wrong. Push hands training
> teaches you much about stance.
>
Perhaps for this "beginner's list" we could start with some
discussion of bow stance (see the exchange concerning channel)
and move on to others. Again, would be good to get some
definite differences between styles, and to find some common
ground.
Not sure what you mean by "the heels should be on a line about
45 degrees to the direction of the movement". This sounds a bit
garbled in the translation. Do you differ from what we've said
elsewhere about channel? I also don't think that stance in the
form is any less precise than in push hands. After all, you are
training with internal energy and a sloppy stance would seem to
simply lead you into sloppy development.
######################################################################
> I have to also agree that concerning breathing and the
> beginners list: I also tried to control the breath early
> on, even when told it would occur in time correctly. That
> caused the mind to chatter during the form. I quit that and
> had a 3 month "doldrum" where I just breathed with no
> concern other than making sure it was abdominal, which
> after 2 years of wuji still wasnt that simple because of
> learning to move with the abdomen expanded. My breathing
> then just started correcting itself in accordance to
> movements of opening and closing. So I agree with
> prestated opinions.
>
Thought I might add that "controlling" my breathing never
got me anything except out of breath. What I do when I'm
"working on my breathing" is simply watch it and reflect
on how it merges (or doesn't) with what I'm doing. I also
occasionally "practice" doing a move specifically with
opening and closing in mind, which seems to make the breath
flow naturally. Separate from form practice altogether, I've
practiced reverse breathing in conjunction with visualizations
and microcosmic circulation. But certainly any deliberate
"learning" to breath in the form was detrimental for me
(although I'm noticing "improvement" just from passive
observation of how well integrated I am while moving).
> For beginners the basic breathing (Taiji normal breathing):
> Breathe through the nose, mouth closed and tongue touching GV28).
> Breathe as low in the belly as possible, not with the chest.
> Circular breathing - the breath doesn't stop but slows
> and changes without really pausing.
> You should keep breathing at all times.
> Breathe with the movements.
>
This level is probably good to add. Sounds like what I got from
my first class, and it's become so "obvious" that I totally forgot
there was even ever an issue. One of the reasons I want to put this
list together is to catch all those little things that become
second nature after you've practiced awhile.
Any comments about the rest of the breathing discussion going on?
> In general and except where your teacher has specific breathing,
> when you (or your hands (or possibly your feet)) are:
> extending, pushing out, striking - breathing out (important).
> drawing in, pulling in - breathing in.
> hands moving apart - breathing in.
> hands pushing closer together - breathing out.
> moving up - breathing in.
> moving down - breathing out.
> transferring weight - breathing out.
> stepping - breathing in.
>
This level is what seems to get written up lots of places, but
all the current wisdom says to pay no mind to. Also, I think there
is some disagreement on some of the details of moving. For instance,
I believe Needle at the Bottom of the Sea would be considered as
moving down, but I also believe that movement is a "closing".
Likewise, I've heard Close Hands referred to as "closing", and so
both of these are counter to your list. What form or style do
you practice? I would like to reference some differences for
general information (and I'm not really fixated on coming up
with a "master list" with what is "right", although I *do* hope
to find the common threads that define the really essential
aspects of good taiji).
######################################################################
######################################################################
XLTran@UH.EDU writes:
> I have a couple of questions concerning the principles of TCC.
> There are quite a number of things that we have to watch
> out for while doing the form, concerning about the back, the chest,
> the head, pelvis, shoulders, elbows etc. It's impossible for me, the
> beginner, to control all of them.
I don't think it is easy for anyone, but I think that that's one of
the reasons which Taiji is practiced slowly.
> of them should be grouped together?? For example, what would imagining
> the head to be suspended, straightening the spine, and tucking in the
> pelvis do to the human body? Would it bring benefit at all if I just
> try to straighten the spine and tuck the pelvis without imaginging my
> body being suspended???
If you didn't, then your structure would be collapsed along your
spine, my suggestion is to concentrate on feeling suspended from above,
and relaxed, then other stuff may just fall into place.
There are different supplemental exercises which zone in on particular
aspects of proper body mechanics.
I think that a good training system progresses from fundamental
exercises on up.
Try it this way:
1) loosen up a little
2) Start out with 5 minutes and work up to around 20-30 minutes of
standing post exercises. Start from the most basic posture (wuji)
and then add onto it. When doing the standing post, concentrate
on relaxing the kua, allowing the pelvis to tuck under,
straightening the spine, and feeling as if you are suspended from
above. Make sure that your legs are in a good position, so that
the structure isn't collapsed - relax.
3) Move on to a stationary, but active training. If you are a Chen
stylist, perform silk reeling. If you are Yang stylist, try doing
wave hands like clouds without moving footwork, or the peng, lu,
ji, an section of grasp sparrow's tail (isolate it even more
by just doing peng and lu). Do this for 10-15 minutes also
4) Go on to moving drills, such as the "taiji walk", where you
practice moving while staying "heavy" and rooted, add hand motions
after a while. Do this for 10-15 minutes
5) practice the form for the balance for something like 30 minutes,
stop at certain times to hold a static posture, as if you were
practicing standing meditation. Perform a self-check, and adjust
things if it isn't right. Make sure you haven't zoned out.
6) do push hands, or power training afterwards.
This training format isolates the most important aspects and then
adds on to it. It will take more time, but you can increase or decrease
the length of time for each section, just keep the overall idea.
I think that this setup is fairly standard, and has been suggested
by many of the serious Taiji instructors which I've met. Steps 2-4, if
done correctly, will develop the proper foundation for power. Step 5 will
develop techniques, and versatility in body usage, and step 6 (if you
have it) is where you build up more power.
Does anyone have any other suggestions/criticisms?
--
Stephen Chan
Systems Programmer
Distributed Computing Operations
######################################################################
Just a few observations from a beginning student -
1. solitary practice for a beginner needs to include at least the
elements of flow practice, posture holding, and standing meditation
In my case I typically warm up with a run through a short form
observing the areas that need work and thinking about the
principles. Next I stand for a while maintaining an awareness
of my surroundings and working on relaxing the muscles around the
joints / finding the "right" alignment of the bones and joints.
I then come to the posture holding section of my practice where
I take one of the postures and work on it very slowly holding
at the usual places while determining if the alignment of the
body is correct and looking for spots of muscle tension which
indicate areas where alignment could be improved. Finally I go
through the form as flow practice looking for areas where I am
not "smooth" in my transitions.
2. play with the posture slightly while holding posture - often you can
find an alignment of your body that makes holding the posture easier
One real life note - I had trouble with excess tension around my
forward knee causing an almost burning sensation in the muscle
just above the knee. One day at a seminar I finally made the
connection with some of the things that I had been told and what I
should do : "knee over toe", "relax and sit", "root through the
middle of the foot". My translation of this after I understood a
little bit better was : there is a position when the knee is over
the toes where the muscles around the knee can be relaxed and the
bones / ligiments will support my weight with significantly less
muscle action but this will only happen if the root is properly
placed in the foot (ie just centered just behind ball of the foot)
and the muscles around the hips and base of the spine are also
relaxed as if sitting upright in a chair.
From: "Walter W. Sigman"
It really sounds just right to me. The problem is that all of our words
on this forum might not really convey what we mean or what we think we're
reading. From the completeness of your description, though, it sounds
pretty good to.
I liked your description of the spine alignment... now keeping that
correct alignment, rest a 2-pound bag of sand on the top of the head and
let it rest on the top of this relaxed support. That's very basic peng.
When you do "Brush Knee and Twist Step", stop, let your weight sink down
into the back leg, and have a classmate push with 2 pounds into the palm
of your forward hand. See if you can form the same relaxed path again,
from your hand to your back to the ground... no effort. (Keep the
shoulder very slightly forward and relaxed; relax the lower back so that
it bows incrementally outward). That's very basic peng, also. The
correct hand position for the "Brush Knee and Twist Step" is that
position which allows the propagation of this ground support with the
least muscular effort.
######################################################################
Okay, okay, I don't post here often, so listen up. I've been
reading a lot or argument on the various jings and the reduction
of such to opening/closing energies, but aren't we putting the
cart before the horse, so to speak? You guys have me thinking
about this, and the mind is a dangerous thing to waste. Let's try
to hammer out a few basic principles other than starting out with
energies, shall we? Here's my list so far:
(1) correct posture. Should have no argument here. The head held
erect as if suspended from above, drooped shoulders and
elbows, chest held in and back expanded, tailbone tucked in, etc.
No matter what your art is, if it doesn't follow these guidelines,
the meridians aren't gonna be open.
(2) use of yi (intention, mind) to guide physical movement-
not much commentary needed on this one. Surely all internalists
can agree on this one.
(3) relax and sink. Mike Sigman argues that this describes how to
*use* the core principles, but I would argue with Lee S. that
it should be included as a basic principle in itself. These
two should probably go together, along with such concepts as
sinking the ch'i to the tan t'ien and deep abdomenal
breathing.
(4) force comes from the sinews, not from muscular exertion.
This one separates the internalist from the externalists.
(5) whole-body connection. Basically, the taiji saying "when one
part moves, the whole body moves" type of thing.
(6) various ch'i circulaion exercises. Maybe these should be
regarded as supplemental (a la Mike's sugggestion), along with
such things as the microcosmic orbit and other Taoist
breathing practices.
######################################################################
Because it is only through sensitivity that you can detect your
opponent's movements and their origin.
Why Sinking (Chen)?
To build up proper coordination and relaxation in to develop a structure
that is condusive to maximum efficiency in relation to gravity.
Why No Tension (Sung)?
To develop proper effortless structure and to transmit power efficiently
and speed without tension.
Why Control The Centre?
Because once you control the centre or source of all his movements and
the point where his power originates you control all of his structure
through control of his balance via his root and centre of gravity. This
is the hallmark of Tai Chi Chuan, all other elements ulimately leads towards
this purpose.
######################################################################
> > > In palming techniques, leading with fingers...
> >
> > I wonder if this point is really relevant for a basic document....
>
> You're also right that this may not be suitable for a basic
> document, but it should be recorded somewhere since it is
> a legitimate transmission.
>
How about I add it to the Beginners Keypoints List? There's nothing
specifically about that in there yet, but it would nicely go with
the discussion about moving, mind leading the body, etc.
Bob Loce:
My mechanical understanding of "lead with the fingers" does not
have alot to do with the fingers. It has more to do with "settling
the wrist" at the end of the strike which, when performed by
settling the shoulder blade, gives the strike closing force.
The application that I am familiar with is - finger strike to the
throat while opening, which may change to a closing palm heel
strike onto the chest.
For health or "chi" considerations - leading with the fingers and
closing to settle the palm heel is a flexing or pumping of one side
of the body. That pumping, yin/yang type alternation, is good for
health and all that chi flow stuff.
The term "lead with the fingers" is somewhat bothersome to me
because it seems to give importance to what is going on out there
instead of what is going on closer to the center of the body.
Mike Sigman:
I agree with both of you. This statement only delineates one of many
different strikes in Taiji (and some other arts as well). This
particular strike has the fingers relatively close together (not fanned
out), the fingers touch just prior to the shock delivered by the base of
the palm. The shocking power is usually a combination of peng and
closing, which is controlled by the body, not the fingers, etc.
Why this one application is being looked at, I don't understand. A
statement which is closer to basics for us is the one where "hands follow
waist" ..... however the "fingers" discussion could confuse the more
basic issue, as Tim points out.
######################################################################
>----------------------------------------------------------------------
>Teaching Aids
>- "do not look down, except briefly to step; when the eyes are looking
> downward, the entire spirit goes down and the alignment of the body
> cannot be optimal"
>
The head should be 'ting' (thrust up), the eyes often focus our target
of movement. This is good advice, I sometimes train with eyes closed to
allow my mind to be the sole factor of focus and to control the sinking
and alignment without recourse to the eyes as a reference but using
gravity solely.
>- "to sink does not mean get a lower stance; you sink by putting a sense
> of heaviness into the lower abdomen (tan t'ien) which usually lowers
> the pelvis slightly but does not make the stance, the legs, go lower;
> you can sink into the tan t'ien even while standing up almost
straight"
>
Good point, not one fully appreciated by many. The Dan Tien should be
sunk and 'hung'.
>
>- "to turn the waist is to turn both shoulders simultaneously, the waist
> and the shoulders are connected and one cannot turn without the
other"
> [Toni says: Most beginners cannot distinguish their waists from their
> hips. I have found that when I say, "turn your shoulders and leave
> your hips stationary", that the concept of "waist" is learned much
> sooner and more distinctly.]
This actually comes from Chen Chang Xing (Mr Tablet) who got his
nick-name from keeping his body absolutely straight and moved it as a
single unit, the pelvis and shoulders should be a single unit. This
allows you to sink and 'sit' correctly.
>- "when circling the hand, begin by first turning, curling the
fingertips
> toward the direction of movement in the circle; the palm will follow
> the fingers and the arm will become round and full as it follows in
> its natural order" [Toni says: Many people begin the movement of a
> circle with the heel of the palm, causing the arms to become straight
> during the movement even though full and round at the end.]
Use P9 for this (standard Tung training).
> Other: Another source says this point is located at the middle of the
> fingertip. It is considered the Well point of the Pericardium
> channel.
>- "focus your mind energy through your arms and out the contact point of
> the hand/arm; try to extend this energy as though you were shooting
> "laser beams" beyond and through an opponent" [Toni says: Most people
> know where their yang had is; try to direct equal intensity, equal
> energy, through the yin hand.]
>
Focus to infinity, allows you to focus yet get the power totally out of
the limb.
>- "relax the fingers and concentrate energy on the correct part of the
> hand for the specific movement; when you bend your wrist, don't bring
> up the fingers--bring the heel of the palm forward while relaxing the
> fingers (opens the pathways in the shoulders and elbows)"
Correct, using P8 as a focus for the palm.
>- "use the hand to move or lift the arm, not the arm to move or lift the
> hand; use just enough mind energy to lift the hand, the arm will
follow
> the hand without effort (elbows are are lower than the wrists when
the
> hands are above the waist)"
This keeps the arm light but remember that is the waist directing the
fingers.
>- "if it is difficult keeping the back foot flat, try putting the "baby"
> toe on the ground. If the "baby" toe is flat, then the entire foot
> will be flat and the knee will be in proper alignment without
directing
> too much energy into keeping the foot flat"
Just remember not to focus on the 'baby' toe. Its a good guide but
should not make the 'baby' toe the position of the root.
>- "relax the abdomen and allow a heavy feeling, a sinking feeling, to
> drop the body onto and trough the supporting foot and into the
ground"
But not dead root.
######################################################################
Move to teaching aids:
Perhaps some more parenthetical comments as to the scope of this point.
I many pointed corrections not to even start moving that front knee until
the arm is fully in ward-off, and to let the let the push of the left hand
in Grasping the Bird's Tail untwist the waist and eventually bring the
weight forward. The mind is all from root to hand through waist, but the
exercise or image of letting the movement ripple "down" the body like beads
on a string seems important to keeping the energy from hanging up half
way along.
I think our approach to the form may be different. In *general* my nose stays
in line with my navel, and my shoulder's nests with the kwas. If I see
something in my peripheral vision, I turn my waist to turn my head. In
general, my movements are from the bottom up, not the top down. I work on
keeping the alignments of my torso constant throughout the form. IMHO, all my
movements are orginating in my feet, legs, and waist. Some of this emphasis,
undoubtly comes from my praying mantis training, but the tai ji teachers I've
dealt with all seem to agree. So far it's been holding up in push hands as
well.
>Perhaps some more parenthetical comments as to the scope of this point.
>I many pointed corrections not to even start moving that front knee until
>the arm is fully in ward-off, and to let the let the push of the left hand
>in Grasping the Bird's Tail untwist the waist and eventually bring the
>weight forward. The mind is all from root to hand through waist, but the
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
>exercise or image of letting the movement ripple "down" the body like beads
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
>on a string seems important to keeping the energy from hanging up half
^^^^^^^^^^^
>way along.
Once again I think this is a question of approach. I get the impression that
you're *splitting* your attention. The mind guides the energy, the energy
guides the body... If the "mind is all from root to hand through waist", how
do you guide the "energy ripple down" at the same time? Perhaps I'm simple
minded...
>How might you reword this to clear this up? Or do you actually do the
>movements different from what I've described? I agree with the reference
>to the classics, I just wasn't meaning to relate that concept here.
The other reason I don't care for this is more esoteric: it implies the
mind is *in* the head. Personally, I *feel* more stable if I sink my
attention into tan tien, or less correctly, into my *hips* (currently,
sinking my attention into my hips is helping me with neutralization
techniques in push hands). This doesn't really fit under fundamentals,
however.
It seems to me that some of the Yi training is going to vary between
schools. I wonder if the net can come to an agreement on what the natural
order is? I have a feeling this may not be a fundamental (the order, or
method of training, that is). I would vote for:
> It seems to me that some of the Yi training is going to vary
> between schools. I wonder if the net can come to an
> agreement on what the natural order is? I have a feeling
> this may not be a fundamental (the order, or method of
> training, that is)....
>
> I would vote for:
>
> 3- the body follows the mind.
>
> We could add various options as a follow on; IMHO, I think
> that could be very interesting.
>
OK. Perhaps the implementation of (or approach to) body
following mind is non-fundamental. I haven't seen anyone else
offering even $.02 on this. I'll reduce the "fundament" to what
you suggest, then try to work out some comparative options from
what we've each written. Would be nice if other inputs were
available...???
3- the body follows the mind in its "natural order": mind, eyes, head,
"shoulders"(waist)/arms/hand, weight, foot work (martially, within
each movement there is an opponent, and the "hand" leads the body
as first contact to your opponent)
-----
"This segregated focus is useful in plugging the 'gaps' of the mind in
the body, we still need to note that ultimately the mind and the body
should not be segregated but unified."
-----
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