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  • Go Slow To Go Fast—And More: A Rationale For Slow T’ai Chi Practice

    Go Slow To Go Fast—And More: A Rationale For Slow T’ai Chi Practice

    A common joke about t’ai chi is about a practitioner who is confronted by a bully to fight. The practitioner agrees to go outside and fight, but tells the bully, “it will have to be in slow motion!” The popular misconception about t’ai chi is that the practice is just a slow motion dance, and many people are surprised that it is also a highly skilled martial art. But what about this slow motion aspect?

    Different speeds produce different effects for learning. At fast speeds one can appreciate the momentum of swinging and turning as well as experience the force of strikes, but it is too fast to attend to details and subtleties. Medium speed is perhaps a balance between learning momentum and balance, but still does not provide the detailed attention necessary for exploring nuances of movement.

    When moving fast through forms, one set of muscles becomes active to initiate the movement and another stops the movement. Between initiation and stopping there are many other processes occurring, but we move so rapidly we seldom notice them. Slow movement enables us to pay closer attention to relaxing muscles that are not needed for the movement, aligning and sinking the body, relaxing abdominal breathing (we tend to hold it or breathe in the upper chest when concentrating), and linking and coordinating all parts of the body.

    Learning t’ai chi is a complex motor process. Consider the principles of posture from the classics: Keep the head upright, hollow the chest, relax the waist, differentiate substantial and insubstantial, sink the shoulders and drop the elbows, coordinate upper and lower parts of the body, and so on. Each of these requires close attention and practice, let alone how they are all finally integrated into the flowing movements of t’ai chi. Slow and repetitive practice allows attending to each one and gradually integrating them into a fluid form.

    The benefits of t’ai chi practice are generally not noticed until after the practitioner has learned the basic forms and can begin to pay attention to other subtleties of the art. The slow pace of doing forms begins to create what is commonly called “muscle memory” but is actually “motor learning” in the brain at both a conscious and unconscious level. It takes hundreds and up a thousand repetitions to develop good motor learning. A fatty myelin sheath wraps the nerves, provides structure, and insulates the nerve for more rapid and efficient transmission of the nerve impulse, just like the insulation of household wiring. The more times a neural circuit is used, the more myelination occurs, and the more accurate, efficient, automatic, and unconscious it becomes.
    Brain scan studies in 2012 and 2018 of t’ai chi practitioners versus non-practitioners showed that practitioners had a thicker complex of nerve connections in the cortex or covering layer of the brain. They also showed that they had more developed areas of the brain for certain skills such as observation, carrying out motor tasks, sensory awareness of body parts, and integration of emotion and thinking. These findings were greater for practitioners who practiced more and longer over years.

    Physical posture is maintained by deeper layers of muscle fibers, called “static fibers”, while movement is executed by phasic or “fast-twitch” fibers. Static fibers work for a long time without tiring and keep us upright and aligned, while phasic fibers can burn out and fatigue. When posture is incorrect, the postural phasic fibers begin to compensate for the fatiguing static fibers. The extra work and tension to maintain posture can interfere with the efficiency of motion. Incorrect fast practice installs movement errors that eventually become unconscious, habitual, and are difficult to reprogram. Consequently, good t’ai chi alignment is relaxed but alert and posture feels effortless and enables agile movements, while tense postures are tiring and easy to uproot.

    Alignment of the body not only allows for efficient movement and redirecting force, but repetitions in good form also place strain on the skeleton so that calcium is taken into the bones and makes them stronger. Ma Yueh Liang, a physician and prominent master of Wu style t’ai chi, conducted a study of practitioners and found that they had increased bone density along the lines of force developed by good body alignment and movement.

    The persistent practice of deep relaxation and good postural alignment in forms can have remarkable effects on reducing muscle tension. Master T. T. Liang recounted the story of his visiting a reclusive old master in the Western mountains of Taiwan. The old man was reluctant to accept visitors, but he finally relented and demonstrated the Golden Rooster on One Leg posture and asked Liang to feel the tension in his calf on the standing leg. Liang said that the leg muscles were soft, with only the deep muscle fibers maintaining the man’s posture. The old man laughingly told Liang, that Liang had learned “wood style t’ai chi” (too tense), while he had learned “cotton t’ai chi.”Super Slow Training.

    World Hall of Fame golfer, Ben Hogan was among the first athletes to promote slow motion practice of his golf swings to analyze in more detail the mechanics of the swing and to train specific muscles for more precise and efficient action. The method is widely used today in golf practice, and other prominent athletes such as Monica Seles in tennis and Jonny Wilkinson in rugby have taken it up. Practitioners take as long as one full minute to execute a single posture. Or as football coach, Tom Martinez says it: “it’s not how fast you can do it; it’s how slow you can do it correctly.”

    Ken Hutchins, an inventor and exercise equipment designer, developed the super slow motion strength training method in the early 1990s. He discovered that super slow weight exercise with repetitive movements increased muscle strength faster than rapid movements. The slower the action, the more muscle filaments become activated and cross-connected, and that leads to greater workloads and thus more muscle development. Chen t’ai chi often includes forms with the quan-dao (關刀) (a long-handled broadsword) as part of its regimen, but it tends to be lighter (about 10 lbs) than the heavy training quan-dao of Shaolin that weighs about 40 pounds. The bagua dadao (big knife 大刀) can weigh between 5-10 pounds and is 4-5 feet long– a challenging weapon to swing. Slow motion practice with these large weapons can provide both the benefits of weight training as well as teach rooting, alignment, linking, continuity, and efficiency of movement that are essential in the martial arts.

    In the heat of a contest or self-defense, it is easy to become tense, and this in turn tends to produce more tension and anxiety, and reduces deep abdominal breathing. Tension also can interfere with the linking of body segments and development of torque—the “silk reeling” (chan suu jin 纏絲精) emphasized in Chen style. Practicing very slowly and gradually speeding up helps reduce unnecessary tension.

    Meditation and Mindfulness

    T’ai chi is often described as meditation in motion, and more specifically as mindful meditation. The prominent psychologist, Mihaly Csikszentmihalyi (pronounced Me-High Chick-Sent-Me-High), has studied athletes from many sports and coined the term, “flow” for the focused, alert, and unselfconscious state of mind when they are at the peak of their performance. Flow has been described by various athletes as the self and the activity becoming one unit; thoughts move to the background, awareness of body and environment become enhanced (mindfulness), and there is a sense of full participation in the present situation.

    The flow experience is strikingly familiar with Chuang Tzu’s story of the Taoist sage, Cook Ting. Ting was butchering an ox for Lord Wen-Hui, who complimented Ting who showed relaxed grace and skill in the cutting. Ting replied, “a mediocre cook changes his knife once a month because he hacks. I have had this knife for 19 years and cut up a thousand oxen, but the blade is just as good as when I got it. Without thinking I find the hollows with my knife and follow things as they are. Then the meat falls away.”The practice of mindfulness has reached faddish proportions in the health literature, but its real benefits should not be overshadowed by pop enthusiasm. Being mindful or “being in the present” is important in martial application as well as for health benefits. Mindfulness is nothing more than being fully aware in the present—not thinking, planning, or trying—just being and participating. While early t’ai chi practice involves paying conscious attention to your posture, direction of your feet, weight distribution, and so on, mindfulness is an openness to the flow of awareness, both internal and external. During forms practice, internal awareness may focus on internal sensations. External awareness may involve noticing sensations such as the colors and forms that come into your direct and peripheral vision, sounds carried to your ears, texture of the ground underfoot, temperature around you, and smells in the air. During sparring, mindfulness may be the awareness of space that you and your partner share in complementary moves but without thinking or planning ahead, or awareness of the slight changes in pressure of touch that signals a push.

    In the practice of t’ai chi sparring, thinking ahead of your goals or where to strike can cloud your awareness of the many opportunities that present themselves as you move with your partner. Staying in the moment with your partner results in your push or strike simply moving into the opening unconsciously, often surprising both you and your partner—like water flowing through rocks.

    Several years ago, I received a painful back strain and was faced with stopping sparring for quite a while. Instead, I thought it might be interesting to see if free sparring (san shou 散手) might be done slowly and enable me to continue practicing. Our class began to develop slow motion sparring as part of our regular practice routine. Instead of trying to strike the partner, we focused on mindfulness and flow, and merely watched as our hands slowly found openings. Slow sparring enables seeing the patterns of a partner’s movements and strikes, and this allows earlier adapting to the strikes. Such a complementary approach is also helpful when partners are mismatched in size, age, style, or experience. The purpose was not to compete or win, but to participate with the partner and observe how being in the moment would allow more fluid yielding, deflections and entries. It takes persistence to avoid speeding up to “win”, and the t’ai chi adage to “invest in losing” is at the heart of this practice.

    Slowness and Healing

    Injuries, surgeries, and aging can result in changing and limiting the way we move. We increasingly restrict our range of motion and it becomes habitual and feels normal as we become desensitized to body sensation—technically called “sensory motor amnesia.” Fast movement activates these habits of movement and maintains their inefficiency. However, practicing slowly with mindfulness can help identify the sensitive, awkward, and sometimes painful areas and enable working them through.

    A variety of studies in the medical literature show slow t’ai chi practice promotes relaxation and reduced stress, enhances immune function, reduces inflammation, decreases pain, improves stability and balance, lowers blood pressure and heart rate, increases range of motion, and provides mild to moderate aerobic intensity. It can also help develop attention, focus and patience as shown in studies with youths with attentional and hyperactivity problems (ADHD). Even brief periods of practice (10 sessions over 5 weeks) have showed improvements in lower anxiety, reduced hyperactivity, less daydreaming, and more appropriate emotions.
    Finally, fast self-defense applications are often accompanied by intense and sometimes aggressive emotions. With continued practice, such intense emotions become tied to the forms, rather than calm application that improves self-defense performance. Learning from the beginning with slow forms and calm emotions provides better self-regulation of emotions, both for stress management and self-defense. T’ai chi has been shown to decrease stress levels, depression, anxiety, and enhance emotional stability.

    Practicing very slowly is one of the more challenging aspects of martial arts training. In a culture where we like quick fixes, rapid advancement, and fast and powerful actions, slow motion seems counter-intuitive. Yet, this mindful practice is a way to ensure thorough development of the body, mind, and spirit of kung fu.

    Remember to check out our other articles on Tai Chi Training!

  • Tai Chi Amongst The Clouds

    Tai Chi Amongst The Clouds

    As part of the Spring Festival Gala show for celebrations across China, three practitioners of the art of Tai Chi Chuan perform this ancient martial art and health amongst the clouds. They displayed the flowing dynamic movements that characterize the movements of what is now officially a cultural heritage on top of highest skyscrapers in three of China’s major cities of Shanghai, Guangzhou, and Chongqing.

    Tai Chi is fast becoming a mainstream form of exercise for physical and mental health. One of the things that make this unique as this type of exercise is that it can be easily adjusted to suit people of different physical abilities and health issues.

    Check out other great videos from news events, articles, and other features on Slanted Flying’s website!

  • Woman Documents Her Tai Chi Practice During Pregnancy

    Woman Documents Her Tai Chi Practice During Pregnancy

    A wonderful video we came across from YouTube user Misscatanna of a woman documenting her practicing Tai Chi for each month that she was pregnant. She filmed short video clips of her practicing Tai Chi each month. As the video progresses, we see in each clip, a larger “baby bump” than the previous clip. At the very end of the video is a wonderful surprise!

    Practicing Tai Chi while being pregnant is perfectly safe. For the mother to be, it is both relaxing and strengthening for both the body and mind. The movements will have to be modified as the pregnancy develops to suit the individual needs of the practitioner. Be sure to check with your doctor before starting to learn Tai Chi while being pregnant, and find a quality Tai Chi instructor to help guide you

    Below is a DVD about Tai Chi for the expecting mother . Click on the image to see more!

    Check out our all of our interesting Videos featuring Tai Chi!

  • African Students Learn Tai Chi While In China

    African Students Learn Tai Chi While In China

    Five African students in Cangzhou, China learn Tai Chi in this video from GLOBALink. The international students from Tanzania, Cameroon, Togo, Rwanda, and the Congo are studying at the Cangzhou Technical College in the northern China province of Hebei.

    The students expressed that they wish to bring their passion for Tai Chi back to their home countries in Africa and share the art by teaching others.

    “I think I can bring Tai Chi back to my country. For me, I am more close to children. So I think I can open some clubs for them to practice Tai Chi and to teach them the benefits of Tai Chi.”

    ~ Hounkpati Akouete Julien

    Check out our all of our interesting News articles!

  • Grasp the Sparrow’s Tail (And Look At It)

    Grasp the Sparrow’s Tail (And Look At It)

    The Progressive Forms of Fu Style Tai Chi – Grasp Bird’s Tail
    By Tommy Kirchhoff
    Translation by Gordon Yung

    Most experts believe there are only five major styles of Tai Chi Chuan, which are derived from five families: Chen (陳), Yang (楊), Sun (孫), Wu (吳) and Wu/Hao (武/郝). These critics proudly purport that all the rest are just lesser sub-sets of the big five.

    It is much less known but still a fact that around 1928 the Chinese Central Government named Fu Zhen Song (傅振嵩) as the chief instructor of BaGuaZhang (八卦掌) for the entire nation of China. Fu originally learned Chen Style (陳式) Tai Chi from Chen YenShi (陳延熙), the lineage holder of that epoch and the father of Chen FaKe (陳發科); Fu learned BaGuaZhang from most of the inside students of Dong HaiChuan (董海川). Fu traveled the country and exchanged martial information with many of the best practitioners, and eventually became very close friends with both Yang ChengFu (楊澄甫) and Sun LuTang (孫祿堂).


    Front row, left to right: Fu ZhongWen, Yang ChengFu, Fu ZhenSong. In the back row over Yang’s left shoulder is Fu WingFay.

    Fu Zhen Song and Sun LuTang were both grandmasters of the Wudang Fists (武當拳): Tai Chi, BaGuaZhang, Hsing-I Chuan (形意拳), and Wudang Sword (武當劍). Both were great innovators of these arts, as well as superb teachers. Fu and Sun each combined elements from BaGua and Hsing-I into their respective Tai Chi styles, and they enjoyed collaborating ideas, techniques and methodologies with one another. Even now in 2019 many Sun Style (孫式) practitioners teach Fu Style (傅式), and vice-versa.


    Lin ChaoZhen, Fu ZhenSong, and Fu WingFay.

    It is said that the name “internal martial arts” has several meanings, but Neijia (internal arts, 內家) comes first from inside families. Fu ZhenSong’s martial heir was his first-born son, Fu WingFay (傅永輝). Although Fu ZhenSong was one of the greatest innovators of the Wudang arts, his son Fu WingFay grew up learning from many of the greatest grandmasters in addition to studying under his father for 40 years. Fu WingFay was also an innovator and a great teacher. Fu ZhenSong did not appreciate many of the changes Fu WingFay made to the Fu Style Wudang Fist system; but Fu WingFay earned the inheritance of the Fu Style system, so it became his to modify.


    Fu WingFay

    Fu WingFay’s first major change to the system was developing “Waist Skills.” He integrated bending forward, backward and sideways to step, move, slip and to control one’s self and his or her opponent. He also made the system much softer by eliminating iron body training, and also by developing a recoiling fajin (power emission, fājìn, 發勁). He worked for many years to develop a system of teaching with clear levels for beginner, intermediate and advanced study. He changed some of the postures so they made more sense for applications, and smoothed out many details and fine skills. He also omitted some of the old forms, such as the myriad of Fu Style BaGua spear forms.

    To get an idea of the excellence of Fu WingFay’s tutelage look no further than his student Grandmaster Bow Sim Mark (麥寶嬋) and her illustriously famous movie-star son, Donnie Yen (甄子丹).


    Fu WingFay and Donnie Yen

    The second generation of Fu Style also procreated an inside-family martial heir for the third generation. Fu WingFay had eight children, but only Victor Fu (Fu ShengLong, 傅勝龍) would become the martial-arts careerist who inherited the lineage. Victor Fu was immersed in the Fu Style Wudang Fist, and trained under his father for almost 40 years. So, too, did Victor Fu learn to innovate and develop the state of the arts, and teach them to many interested students.


    Fu ZhenSong with young Victor Fu

    Pull back (lǚ, 捋) is an inward pulling with both hands. Press (jǐ, 擠) is an outward expansion of structure using one horizontal arm with the other hand pushing the back of the wrist. Push (àn, 按) is a rolling, downward push with both hands. Directionally speaking Grasp Bird’s Tail is: up, in, out, and down.

    But Fu Style teaches a fifth movement in Grasp Bird’s Tail that is present in other styles but perhaps goes unlabelled. Roll back is the movement between press and push (Grandmaster Victor Fu says the most representative character is 分, or separate). In Fu Style, roll back goes up with both wrists, out laterally, and then down with the palms facing each other.

    Victor Fu, Ward off, photo by Vincent Wong


    Victor Fu, Flick transition between ward off and pull back, photo by Vincent Wong


    Victor Fu, Pull back, photo by Vincent Wong


    Victor Fu, Press, photo by Vincent Wong


    Victor Fu, Roll back, photo by Vincent Wong


    Victor Fu, Push, photo by Vincent Wong

    The Fu Style Tai Chi 105-Form teaches several variations of Grasp Bird’s Tail. As the 105-Form essentially follows the same sequence as the Yang Style 108-Form, GBT is one of the first postures. Whereas other family styles teach a simple palm change between ward off and pull back, Fu Style teaches a quick “flick” palm change with an upward-facing palm. Whereas ward off is meant to intercept and lift up an opponent’s arm, the hand flicks underneath, around and onto the top of the opponent’s arm to set up the pull back.

     


    Victor Fu, Waggle transition after push, photo by Vincent Wong

    After the push, Fu Style teaches a “waggle” transition. With the fingers pointing up, the
    waggle is a small, defensive circle with both hands. If performing Grasp Bird’s Tail –
    right, the waggle circles clockwise starting at six o’clock, up to twelve o’clock, and then
    back to six o’clock.


    Victor Fu, Embrace tiger return to mountain, brush knee, photo by Vincent Wong


    Victor Fu, Insert transition between brush knee and ward off, photo by Vincent Wong


    Victor Fu, High ward off, photo by Vincent Wong

    The first section of the Fu Style 105-Form is short. After crossing the hands in front, the first movement of the second section is Embrace Tiger, Return to Mountain (bao hu gui
    shan, 抱虎歸山). This movement starts with Brush Knee – right (you lou xi ao bu, 右摟膝拗步); then the torso turns left and the left arm draws back. The right hand moves across and “inserts” by raising up until the right elbow meets the left fingers. The torso then turns right and the right arm moves into high ward off. This time the ward off does not stop at chest height, but continues to lift until the right wrist is above the forehead.
    The high ward off finishes by turning the palm out. From this posture the player continues through the normal course of GBT including the waggle after the push.

    In the third section of the 105-Form, another variation of Grasp Bird’s Tail – right has the
    player press and roll back; but at the end of roll back the player turns the toes of the
    right foot out 90 degrees (bai bu, 擺步), then steps through and forward with the left
    foot. In essence, the push occurs several feet forward of a normal GBT push.
    In the next 105-Form variation, the player turns the toes of the left foot out 90 degrees
    but instead of stepping forward he or she steps only to the turned-out left
    foot. Simultaneous to a high ward off with the right arm the player steps back with the
    left foot. Like the variation just mentioned, this variation essentially has the pull back
    occur several feet back from a normal GBT pull back.

    Fu Style LiangYi Chuan (Harmonized Opposites Boxing, 兩儀拳) is a higher-level and more demanding form than the Tai Chi 105-Form. While LiangYi contains many elements and postures from Tai Chi, it also amalgamates BaGuaZhang changes, stepping and striking. Many of the movements are unique to the form and are not found elsewhere in the system.


    Victor Fu, LiangYi high ward off, photo by Vincent Wong


    Victor Fu, LiangYi short pull back, photo by Vincent Wong


    Victor Fu, LiangYi press with bai bu, photo by Vincent Wong


    Victor Fu, Liangyi press with weight shift, photo by Vincent Wong


    Victor Fu, LiangYi press with BaGua step, photo by Vincent Wong


    Victor Fu, LiangYi roll back with knee lift, photo by Vincent Wong


    Victor Fu, LiangYi roll back with capture, photo by Vincent Wong


    Victor Fu, LiangYi roll back with capture, photo by Vincent Wong


    Victor Fu, LiangYi push with feet separation, photo by Vincent Wong

    LiangYi’s Grasp Bird’s Tail – right occurs twice within the 81-movement sequence. The first begins with a fast, high ward off and an exaggerated twist of the trunk to the right. The pull back is shorter, followed by an immediate bai bu of the right foot. The player shifts quickly forward onto the right foot, and performs press with a brisk, long, BaGuaZhang step forward with the left foot. The press finishes with a snappy slide-off of the left hand, and a full shifting of weight onto the left foot. The roll back uses the same upward lifting of the wrists as before (it’s more of a “roll up” than a roll back), and raises simultaneous to an offensive high lift of the right knee. The player takes one more fast BaGua step forward with the right foot, bringing the left foot near the right heel. The push has an explosive fajin that drops the body weight quickly while spreading the feet apart. The distance between the point where the right foot started at ward off and where it finishes at the push can be 10 feet or more, which is impressive considering there are only two steps.

    The second GBT in LiangYi is the same as the first, but instead of a stationary ward off the player holds the ball – left and spins 360 degrees clockwise on the right foot. Then the player performs a double pull back, first to the right side and then to the left side. After the right-side pull back the player BaGua circle walks counter-clockwise, first with a right foot circle step finishing with the right toes turned in (kou bu, 扣步), then with a left foot-circle step finishing with bai bu. The right foot circle steps again, finishing with kou bu, then the left foot sweeps behind and the player half-spins on the right foot such that both feet finish parallel. The player pulls back – left from this position then launches into the BaGua-step press and the remainder of LiangYi GBT as detailed above.

     

    The Fu Style Tai Chi Lightning Palm (太極閃電掌) form is even higher level than LiangYi. It contains three sections of Tai Chi and one section of BaGuaZhang. The form begins with Grasp Bird’s Tail to the four directions, each finishing with an explosive fajin push.

    The Fu Style Yin (陰) Palm BaGuaZhang form includes Grasp Bird’s Tail in several of the Gua (第一卦) subsets. This time it is most similar to the GBTs in 105-Form Tai Chi but it is executed on the circle. It starts from the BaGua guard position with the long arm stretching toward the center of the circle, fingers up, and the fingers of the short arm pointing toward the elbow of the long arm. Both arms move across the body similarly to pull back; this transitions to press, roll back and then a push with fajin. This GBT also finishes with the waggle.

    Fu Style has an Advanced Tai Chi (高級太極拳) form that is unique to the martial arts. The player performs Grasp Bird’s Tail to the right and to the left, but the sequence is a mind-blowing departure from peng, lǚ, jǐ, an, as the sub-postures extrapolate and multiply unrecognizably. The player hip-pikes and extends; he or she rolls up and rolls down; the chest opens and closes; and the push finishes with three or more bouncing fajin.

    In application these variations on Grasp Bird’s Tail still train the basic energies and directions but provide the player with more options. As the repetition of practice gradually makes the movements occur naturally, the player will also feel his opponent’s pressure or retraction, and be able to adjust farther up or down, forward or backward. The stepping in particular allows the player to change positions easily, and the practice of sinking, shaking and recoiling can develop fajin power to great levels.

    Grandmaster Victor Fu continues to teach in Vancouver, British Columbia, and he offers all of his forms as instructional videos on his website, FuStyle.com.

  • Differentiating Yin From Yang in Taijiquan

    Differentiating Yin From Yang in Taijiquan


    Taijiquan (太極拳) practitioners sometimes view yin (阴) and Yang (阳) as two sides of the same coin, and this can seem like an appropriate analogy for yin and yang united as one whole. But an important principle in Taijiquan is to clearly differentiate yin from yang. A coin’s head and tail sides do not really have the ability to differentiate yin from yang. One could designate one side of a coin as heads and the other side as tails based on different markings, but that coin would behave the same as a two headed coin would. If a coin is behaving the same regardless of whether heads or tails is up (or forward…), then yin and yang are not differentiated.

    Slide a quarter and a dime across a tabletop so that they collide, and it would not matter which sides (heads or tails) were facing up. The force of the collision merely depends on mass times acceleration (F=ma), the ordinary qualities of the coins.

    Taijiquan does not rely, or focus its training philosophy or methods, on strength or speed. Coins only have mass (size or “strength”) and acceleration (speed) when they collide, despite having two differently designated sides (e.g., heads/yang and tails/yin). Because coins cannot have their yin and yang sides behave differently from each other, coins cannot use their different faces in a way that differentiates yin from yang.

    To illustrate the separation of yin and yang, a circular disk can be used, but it is easier to use a bicycle gear rather than a coin. The teeth of the bicycle gear engages the chain to transmit the power from the pedals to the rear wheel. If one only pushes down on the pedals, then they are alternating which foot is providing the power by pushing down on first one pedal and then the other. Each foot/leg would be alternating the yang (pushing the pedal down) and yin (relaxing as the pedal continues up), and this would be differentiating yin from yang.

    If, however, one is wearing toe clips (attaching the shoes to the pedals), then both the down-stroke and the upstroke can be used to power the bicycle. This would not only be differentiating yin from yang, but would also represent yang (hard) and yin (soft) mutually helping each other (刚柔相济 gang rou xiang ji). Because of the nature of the circular gear, and the cycle that is produced by its rotation, it is both capable of differentiating yin from yang and having them mutually help each other. This cyclical expression of power is desirable for Taijiquan.

    While alternating between yin and yang is necessary to propel a bicycle, it is less clear what is required when practicing Taijiquan. For example, how does one clearly differentiate yin from yang while standing with both feet on the ground? Can one have yin and yang mutually helping each other in one’s legs rather than just alternating between yin and yang when one shifts their weight?

    Since there are considered to be five bows (五弓 wu gong) in the body capable of producing power, the two legs, the torso/spine, and the two arms, I will address yin and yang clearly differentiating, and mutually helping each other, in these body segments individually.

    A drawn bow has potential energy stored until the string is released to shoot the arrow. This potential energy is obtained somewhat differently than in one’s body since the material on the outer side of the bow is stretched, and the inner surface material is compressed and, when the string is released, they attempt to regain their original (inherent) shape. So one side of the bow is yang (expanding or pushing) while the other is yin (contracting or pulling). In the legs, the extensor (yang) muscles are on the front of the leg and pull on the bones to extend the leg, whereas the flexor (yin) muscles are on the back of the leg and pull on the bones to bend the leg. But we can still have both yin and yang muscles primed for action simultaneously but without isometric tension (where both flexor and extensor muscles are tensed, and the joint angle is “locked” into an unchanging angle).

    The legs push against the ground in order to keep our body from collapsing in response to the force of gravity. This is yang. In order to avoid having just yang in the legs, we are taught to maintain some bend in the knees and avoid locking the legs straight. Additionally, the image of pulling the torso downward, like when lowering oneself into a chair, aids in establishing the potential for having yin (pulling downward energy) in the legs. We want the legs to have a springiness like we have when we jump from standing on a chair and landing on the floor. Landing with the legs just pushing into the floor makes the landing very stiff and could even lead to injury. This is landing with the legs just yang. Likewise, we do not want our legs to be just yin since relaxed legs would not catch us and we would fall to the floor. The way that we naturally learn to land from a jump is the same quality that we want to maintain in our legs while standing.

    Having both the extensor muscles primed for projecting force (or pushing), and the flexor muscles primed for receiving force (or pulling), simultaneously, is a condition that we want both of our legs to maintain in order to have both yin and yang simultaneously. This can be accomplished by the nature of the stretch reflex. The stretch reflex is an automatic recruitment reflexive action (without the need for conscious commands) that attempts to maintain joint angles. If the joint angle is suddenly changed without the person intending to do so, muscle fibers are automatically recruited to counter that unintended change. This reaction is reflexive and therefore is extremely fast [this is what is seen when a doctor taps the tendon below the knee when checking a patient’s reflexes, resulting in the foot kicking]. The resilience of muscles is also enhanced by their viscoelasticity [viscoelasticity is demonstrated by the classic children’s toy, silly putty, where relatively slow changes allows the material to stretch or act like a “viscous fluid,” whereas sudden changes makes the material bounce or behave like an “elastic solid”].

    But humans habitually fail to maintain this yin+yang balance. This can be seen in beginners who alternate between legs when shifting their weight forward or backward, causing them to raise up when straightening (yang) one leg before dropping down when bending (yin) the other leg. To counter this tendency, students are often taught to maintain a constant height (except for a few specific movements) when practicing their forms. Some view the situation where the body is raised because both legs are extended as being “double weighted.” Here the weight is also evenly distributed between the legs, and both are expressing yang (minimal yin) and could correctly be called double weighted. But double weighting can also be viewed as a broader concept and can be applied to what is occurring in a single leg, regardless of one’s weight distribution.

    Even experienced practitioners often fail to maintain the yin+yang quality in their legs when engaged in push-hands (推手 tui shou) practice. One often sees them bracing the extended back leg against the ground and exhibiting the undesirable quality like butting cows (顶牛 ding niu). The quality like butting cows is yang+yang and is typically seen in animals where the two back legs push forcefully against the ground in order to propel the body forward to butt against a rival. The back leg(s) then become yang rather than maintaining yang+yin (or yin+yang). If there is no quality of receiving energy (or pulling), then there is minimal yin. Not only are the animals using yang+yang (or double weighting), they are also using force against force, both undesirable qualities in Taijiquan practice.

    In the torso we want the energy of the back to be yang and expand upwards to the crown of the head. Simultaneously, we want the energy of the front to sink to the pelvic floor. This creates a cycle around the body (matching the “microcosmic orbit” of energy). To illustrate this, one can hold their hands with the palms together (like praying) and push one hand slightly upward to represent the energy of the back rising/expanding (yang) while the other hand sinks down to represent the front of the body sinking (yin). The result is that the “back” lifts simultaneously with the “front” becoming concave, as directed for in Taijiquan literature. This produces the complementary yin+yang cycle in the torso, and this should be maintained in one’s posture whether issuing, or receiving, energy/force.

    We also want to maintain a cycle of energy around our arms. The outer surfaces, with the extensor muscles, are yang while the inner surfaces, with the flexor muscles, are yin. An analogy that illustrates this cyclical quality is how the arms are used when hugging someone. When hugging, one uses their arms to extend (project/yang) around the partner while simultaneously drawing them close (absorbing/yin).

    When our arms are maintained in a rounded shape (like in embracing a ball), then we can maintain a cycle of yin+yang around the arms when interacting with an opponent. A properly inflated ball has a spherical shape that maintains a contact point on its periphery with anything that touches it. Additionally, when it rotates in response to the force that impacts it, one side of the ball turns away from the contact point while the opposite side simultaneously moves towards it. Therefore, on one side of the contact point with the ball is yin (turning away) while the opposite side is yang (rotating towards), and therefore the ball maintains yin+yang. We try to maintain this same quality in our rounded arms. If the arms become too angular, then we typically loose this yin+yang quality.

    The yin+yang quality in the arms is also facilitated in movement by smoothly transitioning through arcs (partial circles) rather than by reversing directions. Reversals indicate abrupt changes from yin to yang (or yang to yin) and an alternation of the two energies rather than a cycle of the two energies helping each other. Arcs cycle yin and yang energies in a manner similar to pedaling a bicycle while using toe clips. The cycle never stops and never reverses, it just switches from emphasizing yin to yang to yin to yang… as appropriate.

    The analogy of the hand stroking a beard addresses this same principle in the hands as was just described for the arms. Contrast this motion with how lobster claws open and close, which is more of an alternation of yin and yang rather than a cycle; claws require a reversal of direction to express different energies. Claws are “double weighted” since both sides are either yin+yin (opening/releasing) or yang+yang (closing/grasping), and are incapable of having yin+yang in how they operate. While this is differentiating yin from yang, claws are incapable of “stroking the beard” cyclical actions.

    Throughout our body, we want to have yin and yang clearly differentiated, but it is even better when we can have yang (hard) and yin (soft) mutually helping each other as is done when the energies are maintained cyclically. We seek to eliminate abrupt reversals when changing from one expression of energy to the other. We want to avoid the duality of “fight or flight” and maintain the potential for both yin and yang continuously, while still clearly differentiating yin from yang.

  • David Beckham Learns About Tai Chi

    David Beckham Learns About Tai Chi

    David Beckham, who is AIA’s Global Ambassador, recently had the chance to learn about the art of Tai Chi. Beckham is most well know for his fame on the soccer pitch in his earlier years. Si-fu Julian and Master Tsu teach David Beckham about the benefits of practicing Tai Chi while he was visiting Singapore.

    It will be interesting to see if David Beckham continues his interest in Tai Chi further and will take lessons to learn the art.

  • Taijiquan And The Parasympathetic Nervous System

    Taijiquan And The Parasympathetic Nervous System

    Taijiquan (太極拳) emphasizes calmness, relaxation, reduced anxiety and stress, smooth flowing movements, slow respiration and heart rate, and other traits that are characteristic of parasympathetic nervous system (PSNS) control. The PSNS is sometimes called the “rest and digest” system that activates the “relaxation response.” By contrast, the sympathetic nervous system (SNS) is responsible for the “fight-or-flight” response, and activates the body to be ready for action (increased respiration and heart rates, etc.). It is thought that the SNS is dominant when one is awake and active, whereas the PSNS is dominant when the body is resting or recovering.

    Many sports, including fighting, think that being “ready for action” or “ready for a fight” is necessary for optimal performance and get “pumped up” through various pre-competition routines that increase one’s adrenaline. They often use pep talks, play loud and pounding music, jump up and down, stare down the opponent, yell or get angry, use posturing or posing, etc. to get psyched. These actions activate the SNS. This seems to be incompatible with Taijiquan’s emphasis. Can one be ready for optimal performance while being in a state controlled by the PSNS rather than the SNS?

    Many of the principles used in Taijiquan activate the PSNS, like breathing from the diaphragm, using mindfulness, using imagery, moving smoothly and continuously, and even smiling, etc. It seems logical that we would want to maintain the benefits of these practices even when engaged in competitive situations. But thoughts on optimizing sports performance seem to indicate that one needs to activate the SNS instead. Is it possible to have optimal Taijiquan performance, within a competitive situation, while under the control of the PSNS?

    Several studies on Taijiquan have provided supporting evidence for its modulation (the decrease in the SNS) on the autonomic nervous system. Although the science behind sports performance rarely studies the PSNS, there are several factors that we can refer to that may help understand this apparent incompatibility between PSNS and SNS control for optimal performance. While speculative in nature, this article can provide ways to think about optimal performance that are different than the conventional thoughts on the topic.

    What do we want from Taijiquan that may differ from the conventional approach taken by sports scientists, physical trainers and athletes? In this article I am addressing performance from fit individuals rather than corrective health practice for less healthy practitioners, so a reasonable level of strength, endurance and general fitness for the Taijiquan practitioner is assumed for this article.

    One can view the PSNS and SNS as being like the principles of yin (阴) and yang (阳), respectively, in that they interact with each other rather than only one system acting while the other system is turned completely off. If they are both present to varying degrees, then one could further look at them as being a continuum with extreme yin (PSNS) on one end and extreme yang (SNS) on the other. Taijiquan and other physical activities like sports, as well as rest and recuperation, etc., will tend towards one or the other end of this spectrum. One could refer to the yin end as being “internal” whereas the yang end would be “external”.

    Sports that emphasize getting pumped up tend towards the yang end of the spectrum and rely on the activation of the SNS. But it has been widely studied and acknowledged that over intensity is detrimental to sports performance, as are anxiety and nervousness, etc. Therefore, techniques like meditation, deep breathing, massages, and other relaxation techniques are utilized to counter the negative effects of being too yang. This means that some balance with the PSNS is acknowledged as being beneficial for optimal sports performance.

    Despite the differences, sports and Taijiquan share some common indicators of proficiency. For example, grace and beauty of physical movements can indicate motor unit synchronization and can also indicate whole body coordination. Both also value balance and efficiency, although the means used during training may differ.

    Unfortunately for our understanding of Taijiquan, research on the PSNS rarely goes beyond correcting problems with over intensity, or for recovery, rather than looking at this end of the spectrum as potentially being beneficial for optimal performance. But there may be something else, known in psychology as the “flow state” or more commonly called being “in the zone” in sports, that may provide insights for Taijiquan practice and possibly help us understand the yin or PSNS end of the spectrum.

    Since the “flow state” where one is engrossed in an enjoyable individual activity so much that they lose track of time may differ from “the zone” in sports, which is associated with a rare peak performance above what the person normally achieves, I will compare Taijiquan primarily to flow (or the zone) in sports. The flow state has been described as being psychologically in a band between over excitement (e.g., anxiety) and under excitement (e.g., boredom), but that may not be particularly helpful for examining if it relates to PSNS or SNS differences.

    Clearly, Taijiquan is not looking to induce a state of boredom! So if we eliminate that extreme from what the psychologists use in their examples of the flow state, then we have a narrower range of possibilities where being alert but calm is opposed to being excited and aroused.

    Some athletes who get emotional during competition are praised (e.g., “their heart is in it” or they have the “competitive fire”…), but also praised are some athletes who maintain their composure regardless of the situation (e.g., unflappable, cool headed…). To me this shows tendencies towards one or the other end of the PSNS/SNS continuum and, while either approach may potentially lead to high athletic performance, they are clearly different.

    Continue to page 2…

  • Tai Chi Under The Water

    Tai Chi Under The Water

    Have you ever tried practicing your Tai Chi under water? I don’t mean doing it in shoulder height water with your head above the surface, but completely under the water! In this wonderful video by the “People’s Daily”, a young girl, Long Jiaoer, performs Chen style Tai Chi underneath the water’s surface while being weighted down with lead weights beneath her clothes. Long Jiaoer, from Chengdu province, was the champion of Tai Chi Sword in the World Tai Chi Championships.

    Where is the strangest place you have practiced your Tai Chi?

    Check out more of our wonderful posts featuring Tai Chi Videos!

  • The Tai Chi Journey

    The Tai Chi Journey

    Many people have described learning tai chi as ‘a journey’. And like all journeys, it begins with the first step. New students are often surprised to discover that tai chi is far much more than simply ‘waving arms through the air’ as they explore and develop diverse physical and cognitive skills through the constant, patient practice of this ancient art. (more…)